Introduction

Some of the greatest stories are ones where internal or external conflicts drive each other forward. Conflicts of interest can create a compelling narrative because they represent instances where two opposing forces clash, intensifying the tension and propelling the story’s momentum.

Internal conflicts occur when a character finds themselves torn between conflicting desires, beliefs, or emotions.

External conflicts involve clashes between characters or the protagonist and their environment.

In memorable stories, internal and external conflicts intertwine and intensify each other. The external pressures they encounter, or vice versa, can magnify the internal conflicts faced by characters. This dynamic creates an engaging story that keeps readers or viewers interested as they follow the characters’ emotional and physical journeys.

Understanding Conflicts of Interest

There are many ways conflicts of interest appear within a story. Using your knowledge of internal and external conflict will make the next part easier. So, let’s dive into some different subcategories of conflicts of interest and create them in your writing.

Exploring internal struggles within a character is one way you can add diversity to your conflict. When a character faces the internal conflicts of interest, you are most often seeing a conflict between who they currently are and who they’ve always seen themselves as. This aspect can be the driving conflict of your story, or the driving conflict as the character goes through the second half of act two. By the midpoint of your story, the character has realized they need to change, but nobody changes overnight. When you’re exploring internal conflicts of interest, ensure that you consider where your character came from and how they view their past selves. You can even add external character’s inputs to emphasize that they aren’t themselves anymore. This doesn’t mean it’s a bad thing, but it forces your character to consider who they used to be.

Facing the external conflicts of interest between your character and a group creates a different challenge. The one versus the many is shown often in stories of revolutions and the one good person against a herd of bad people. These are powerful because an ideal or dream for a better world usually supports that person. Or this external conflict of interests can be between two people. Two characters can be on the same team and want different things. Think of Atlantis: The Lost Empire (2001). Milo Thatch is looking for the lost city of Atlantis with an interest to learn and possibly find them. Commander Rourke wants to find it for riches and for the mysterious power source. Both want the same thing, to find Atlantis, but for very different reasons. This creates a sort of constant tension throughout the story that leads up to the point the one character isn’t getting what they want. Don’t forget to use this method for a powerful driver of your story.

Moral conflicts are intriguing when new morals clash with old ones or when two characters have opposing morals.

For the first option, it can be like Rand al’Thor from A Wheel of Time series. I don’t want to ruin anything for those who haven’t read the series, so this may be a little vague. Rand establishes his boundaries of action early on, and as the story progresses, his boundaries are constantly tested. The moral conflict doesn’t come into play at the moment of actions, but the time after. (The sequel if you would.) How he looks at himself and imagines others looking at him brings the conflict of morals to the surface. Often, moments like these leave your characters justifying to themselves and others on why they broke their own rules. If speaking with others, this often leans to the idea of you did what you had to do.

The second option of two characters with different morals is Amos and Pastor Anne Volovodov in The Expanse series offers a great example of two different morals at work. When the characters realize the moral barriers between them, the tension built for the audience is who will sway who to their way of believing. One a religious, peaceful type who believes in organized justice and a down and dirty, take care of the issue yourself type is a great contrast in morals. Amos may be a bit of an extreme as he’s learned to shut his emotions off to the killing and see what’s necessary in his mind. Though he doesn’t condone mindless murdering for someone’s personal satisfaction. In the end, they learn from each other, though they may not agree. Until then, there is tension about who will give in, but afterwards, the character develops a new trait from this moral conflict.

Conflicts of loyalty can add a twist to your story, or to emphasize the internal conflicts the character is facing, or isn’t. In these instances, my mind goes to stories like A Song of Ice and Fire, or any of the Game of Thrones books. Here you have loyalties swinging back and forth. So what can cause a conflict of loyalty?

Changes in power. People choose their loyalties for many reasons, but a main one is to follow the power. People recognize that if they want to have a favorable position in the future, it may require following whoever holds the best hand. When a new king or queen seems to gain power over another, they may defect only to find themselves killed the next day, or given their own seat of power. It’s gambling with a sense of self-preservation most often. But sometimes that change in loyalties because of a new power is survival of the fittest.

Changes in Standards/Morals. How many stories have you experienced where a character changes loyalties when the boss’s standards no longer align with theirs? This could be a thug no longer listening to his boss because he’s become too “soft” or so ruthless that they can no longer stand to follow them? A change in standard or morals will drive a wedge between one character and another. Whether that change is good or bad, it doesn’t matter, your character will drive the people from their life away just because they no longer accept the same things they used to. Consider this as an option the next time you need to separate characters before they join back together for the last battle in the climax.

Examples of Conflicts of Interest in Fiction – The Name of the Wind by Patrick Rothfuss

I’ve already received feedback on using this book as an example. Not that it’s bad, just that the Author has yet to complete the series. So, I apologize up front if this adds some frustration in your life as I remind you of these outstanding books and the lack of series completion. That being said, The Name of the Wind by Patrick Rothfuss is a great example of conflicts of interest at play.

If you’re unfamiliar with Kvothe’s story, here’s the synopsis from amazon.com:

DAY ONE: THE NAME OF THE WIND

My name is Kvothe.

I have stolen princesses back from sleeping barrow kings. I burned down the town of Trebon. I have spent the night with Felurian and left with both my sanity and my life. I was expelled from the University at a younger age than most people are allowed in. I tread paths by moonlight that others fear to speak of during day. I have talked to Gods, loved women, and written songs that make the minstrels weep.

You may have heard of me.

Now is your time to turn back if you want to read the story with fresh eyes, because there are spoilers ahead.

Even from the beginning of the story, there is a conflict of interest with Kvothe’s desire to remain only known as the innkeeper of the off the Waystone Inn. Sometimes the greatest people only desire peace as they reach a certain point in their life. Kvothe has no desire to rehash the stories of old or to remind others of he used to be. But one of his friends, unbeknownst to Kvothe, has slipped some information out hoping the great man will remember who he is once more. This is an example of a conflict of interest between characters and internal conflicts of interest.

Until Chronicler arrives, everything is as it should be at the Waystone Inn, but after that, the events that happen lead to Kvothe sharing his story to make sure things are put down correctly. Kvothe’s desire to stay hidden is challenged by the desire for his story to be told correctly. The thing about great people is they know that rumors and legends may spread, but only they know the true narrative. You understand the conflict of interest in getting a story right if you’ve ever faced a situation with someone who remembers it differently. You debate and fight over who’s right until, internally at least, you’re not sure who’s wrong. Then add to it that someone is trying to get the story you don’t want to share out of you. There is the conflict you can use to create dynamic scenes in your fiction.

Kvothe’s desire to learn naming conflicts with the University’s bans on certain areas of study. He wrestles with pursuing forbidden knowledge vs. following the rules. The search for knowledge often leads to a conflict of interests. As your character searches to understand, they will face those who want everyone to stay in their lane. Certain knowledges are adorned with rumors to keep people from wanting to study them. You make the cost too high, and no one dare risk it. Sometimes, the rumors are a little more accurate than expected. However, when the right characters are involved, conflicts of interest push them to gain knowledge and face the consequences of seeking forbidden knowledge. The cost vs. reward principle is a great thing to remember during your story craft.

Conclusion

Conflicts of interest are a crucial storytelling tool that can captivate readers when handled skillfully. Internal conflicts arise when characters face competing desires, beliefs, or emotions within themselves. External conflicts occur between characters or when characters clash with their environment. In the most engaging stories, internal and external conflicts intertwine and amplify each other.

There are various types of conflicts of interest authors can employ. Common examples include internal struggles between a character’s current and former selves, clashes between an individual and group, moral dilemmas, and conflicts of loyalty when power dynamics shift. Patrick Rothfuss’ fantasy novel The Name of the Wind provides an excellent case study. The clashes between protagonist Kvothe’s motivations, outside forces, and societal constraints produce compelling momentum and high stakes. Incorporating diverse, multilayered conflicts of interest will make a story resonate strongly with readers.

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