How to Develop Conflict That Drives Your Short Story Forward

The beating heart of any compelling short story isn’t its exquisite prose, its intricate world-building, or even its memorable characters. It is, undeniably, its conflict. Without meaningful friction, a narrative drifts aimlessly, leaving readers disengaged and ultimately, unsatisfied. Conflict isn’t merely an obstacle; it’s the engine that propels your plot, reveals character, elevates stakes, and ultimately, delivers a satisfying resolution. I want to equip you with the tools and understanding to craft dynamic, multifaceted conflict that not only drives your short story forward but embeds itself deeply in the reader’s mind.

The Unseen Hand: Why Conflict Matters Most in Short Stories

Short stories operate under unique constraints. Unlike novels, they lack the luxury of expansive page counts to slowly unfurl character arcs or elaborate subplots. Every word must pull its weight, every scene must advance the narrative. This makes the effective deployment of conflict paramount. In a short story, conflict isn’t just a plot device; it’s often the central organizing principle. It provides immediate stakes, compelling the reader to turn the page, and efficiently reveals character under pressure. A character’s choices in the face of adversity define them far more succinctly than pages of internal monologue. Strong conflict grabs the reader by the collar on page one and doesn’t let go until the final word, making it indispensable for the format.

Laying the Groundwork: Understanding the Core Types of Conflict

Before you can effectively wield conflict, you must understand its fundamental forms. While various categorizations exist, most boil down to two primary battlegrounds: internal and external. Neglecting either diminishes the potential for a truly resonant story.

The Inner Turmoil: Internal Conflict

Internal conflict pits a character against themselves. It’s the struggle between desires, beliefs, fears, or contradictory aspects of their personality. This type of conflict is crucial for creating relatable, three-dimensional characters who feel genuinely human. Without it, characters risk becoming mere plot devices, reacting to external events rather than grappling with deeply personal stakes.

• Moral Dilemmas: This is arguably the most potent form of internal conflict. A character is forced to choose between two undesirable outcomes, or between what they want and what they believe is right.
  • Example: A renowned surgeon, facing a critical and rare operation on her only child, grapples with whether to proceed herself, despite the overwhelming emotional pressure and risk of error, or relinquish control to a junior colleague. Her expertise demands she act, but her love screams at her to protect her child from her own potential failure. The conflict isn’t if the surgery happens, but who performs it and the weight of that decision.
• Conflicting Desires: A character wants two mutually exclusive things. This isn’t about right or wrong, but about two compelling, yet incompatible, aspirations.
  • Example: A fledgling artist finally gets her big break – an exclusive gallery showing – but the condition is she must abandon her unique, abstract style for more commercially viable landscapes, a style she despises but which promises financial security and recognition she desperately craves.
• Fear vs. Ambition/Duty: The character’s drive or obligation clashes directly with a deeply ingrained fear. They know what they should do, but their fear paralyzes them.
  • Example: A retired firefighter, haunted by a past failure where he couldn’t save a trapped child, witnesses a car accident where a child is pinned. His duty compels him to act, but the visceral terror of historical trauma threatens to overwhelm him.
• Identity Crisis: The character struggles with who they are, who they’ve become, or who they are perceived to be versus who they truly feel they are.
  • Example: A celebrated war hero returns home, expected to be a symbol of strength and stoicism, but internally battles severe PTSD, feeling like an imposter and a broken man, incapable of living up to the idealized version of himself.

Actionable Tip: To develop internal conflict, identify your character’s deepest desires, greatest fears, and core values. Then, engineer a situation where at least two of these elements are directly at odds, forcing a difficult choice. Show, don’t just tell, their internal struggle through their actions, hesitant dialogue, and subtle physical tells.

The External Showdown: External Conflict

External conflict manifests as obstacles and confrontations outside the character’s mind. These are the physical and societal pressures, the antagonistic forces that stand between your protagonist and their goals. While internal conflict adds depth, external conflict provides the kinetic energy, the plot points that push the story visually forward.

• Character vs. Character (Antagonist): The classic struggle. One character’s goals directly oppose another’s. This doesn’t always need a moustache-twirling villain; it can be two morally ambiguous characters with conflicting objectives.
  • Example: Two shipwreck survivors find the last remaining emergency beacon. Only one can send a signal before the battery dies, and both are convinced their family needs them more, leading to a desperate, physical struggle for the device.
• Character vs. Nature: The protagonist battles the forces of the natural world – a storm, a wild animal, a treacherous landscape, a pandemic. Nature is indifferent, making it a unique and powerful antagonist.
  • Example: A climber, separated from his team during a sudden blizzard, must navigate an unforgiving mountain face with rapidly dwindling supplies and hypothermia setting in, battling not a malicious foe, but the brutal, indifferent elements.
• Character vs. Society: The individual struggles against the norms, laws, prejudices, or institutions of their community or larger culture. This often explores themes of justice, rebellion, and conformity.
  • Example: In a dystopian society where all artistic expression is forbidden, a young woman discovers a hidden cache of antique paints and secretly begins creating, knowing her actions could lead to severe punishment if discovered by the omnipresent “Art Enforcement” bureau.
• Character vs. Technology: The protagonist confronts malfunctions, misuse, or the inherent threats posed by technological advancements. This can be AI, machines, or even everyday devices gone awry.
  • Example: A quantum physicist’s experimental time-travel device unexpectedly activates, trapping him in a chaotic temporal loop where his immediate future constantly reshapes itself based on his present actions, twisting his lab into a nightmare of overlapping realities.
• Character vs. Fate/Destiny: A character struggles against what seems to be predetermined events or an insurmountable external force (a prophecy, a curse, an inescapable doom). This often blurs the lines with internal conflict, as the character may resent or try to defy their assigned path.
  • Example: A village elder is told by ancient prophecy that only she can perform a ritual to save her dying village, but the ritual requires a sacrifice she finds morally abhorrent, pitting her innate compassion against the seemingly inescapable doom of her people.

Actionable Tip: Don’t just pick one type of external conflict. Consider stacking or combining them. A protagonist battling nature (a volcanic eruption) might also be battling another character (a rival trying to escape with the last rescue helicopter) AND battling the flawed societal system (the lack of viable evacuation plans).

The Synergy Principle: Weaving Internal and External Conflict

The most compelling short stories rarely feature only one type of conflict. Instead, they skillfully intertwine internal and external struggles, creating a feedback loop where each amplifies the other. External pressures force internal reckoning, and internal flaws or strengths influence how a character confronts external challenges. This synergy adds layers of complexity and emotional resonance.

• External Pressure Exacerbates Internal Struggle: The external plot point directly triggers or intensifies a character’s inner turmoil.
  • Example: An introverted programmer (internal: social anxiety, fear of failure) is suddenly thrust into a high-stakes emergency meeting to debug a critical system crash (external: character vs. technology, vs. time pressure). The external pressure of the impending deadline and the presence of intimidating executives makes his social anxiety and self-doubt almost unbearable, threatening his ability to solve the problem.
• Internal Flaw Leads to External Consequence: A character’s unresolved internal conflict or personality flaw creates an external problem for them.
  • Example: A man’s crippling indecisiveness (internal conflict) causes him to delay calling for help after his neighbor collapses. By the time he finally acts, it’s too late, leading to the neighbor’s death (external conflict: Character vs. fate, or just dire consequence of his inaction). The external tragedy is a direct result of his internal struggle.
• External Obstacle Forces Internal Choice/Growth: Confronting an external antagonist forces the character to re-evaluate their beliefs or make a difficult internal decision.
  • Example: A pacifist is kidnapped by a ruthless gang (external conflict: Character vs. Character). To protect others in captivity, he is forced to confront his deeply held belief against violence and consider acts he previously deemed unthinkable (internal conflict: morals vs. survival). His external predicament directly challenges his internal compass.

Actionable Tip: When outlining, don’t just list external plot points. For each major external turning point, ask: “How does this impact my protagonist’s internal struggle? What difficult choice does it force them to make? What internal flaw does it expose or challenge?” Conversely, for a character’s internal struggle, ask: “How does this internal state manifest externally? What problems does it create for them in the world?”

The Escalation Ladder: Building Conflict for Maximum Impact

Conflict isn’t a switch; it’s a dial. It must escalate over the course of your short story, increasing in intensity and stakes to maintain reader engagement. A static level of conflict quickly becomes boring. Think of it as climbing a ladder, with each rung presenting a higher, more perilous challenge.

1. Inciting Incident (The First Spark): This is the event that introduces the primary conflict and throws the protagonist’s world off balance. It’s the moment the problem reveals itself.
   • Example (from a story about a historian searching for a lost ancient artifact): The historian receives an anonymous, cryptic email containing a partially deciphered, ancient map fragment, suggesting the long-lost artifact might actually exist and be within reach. This immediately creates a goal (find the artifact) and hints at the obstacles (cryptic clues, danger).
2. Rising Action (The Build-Up of Pressure): Each subsequent scene adds another layer of difficulty, raising the stakes and complicating the protagonist’s quest. New obstacles emerge, existing problems worsen, and the consequences of failure become more dire.
   • Example (continuing from above):
     • Rung 1: The historian deciphers more of the map, only to discover a rival, ruthless collector is also pursuing the artifact, suggesting a literal race against time. (Character vs. Character).
     • Rung 2: Following a clue, the historian travels to a remote, unstable archaeological site. A cave-in traps them, testing their ingenuity and physical endurance to escape. (Character vs. Nature/Environment).
     • Rung 3: The rival collector ambushes the historian, stealing vital research notes and leaving them stranded, alone, and without key information. The financial and academic stakes increase exponentially. (Character vs. Character, and potential Character vs. Society if their funding is withdrawn).
     • Rung 4: The historian discovers the artifact isn’t just a historical relic; it possesses a dangerous, unforeseen power, and its awakening could have catastrophic consequences beyond personal gain. Their internal conflict shifts from mere acquisition to ethical responsibility. (Internal: Desire vs. Responsibility/Fear of Consequences).
3. Climax (The Ultimate Confrontation): This is the peak of the conflict, where all the major internal and external forces converge. The protagonist faces their greatest challenge and must make a decisive choice or take a critical action. There’s no turning back.
   • Example (continuing): The historian and the rival collector converge at the artifact’s final resting place, a crumbling ancient temple. They engage in a desperate struggle, both physical and intellectual, to secure the artifact. As the historian finally gains control, the artifact’s dangerous power manifests, forcing them to choose between their life’s ambition (possessing it) and preventing a global catastrophe.
4. Falling Action/Resolution (The Aftermath): While the climax resolves the main conflict, the falling action shows the immediate ripple effects and the protagonist’s response. The story doesn’t just end; it shows the aftermath of the struggle and hints at the character’s new state.
   • Example (continuing): The historian makes the agonizing choice to destroy the artifact, sacrificing their life’s work to save the world. The rival collector is apprehended or flees. The immediate danger is averted, but the historian is left with the profound weight of their decision, the loss of their dream, and the secret knowledge of what they prevented.

Actionable Tip: Chart your story’s conflict points. Start with a low-level spark and identify at least three escalating points of internal and external pressure leading to the climax. Each point should build upon the previous, making the problem harder, the stakes higher, or the solution more elusive.

The Art of Subtlety: Showing, Not Telling, Conflict

One of the most common pitfalls is simply stating that a character is in conflict. Effective conflict is shown through character actions, reactions, dialogue, and even the environment. Avoid exposition dumps explaining internal struggles or external threats. Let the reader infer through carefully crafted details.

• Dialogue as a Weapon: Dialogue isn’t just for conveying information; it’s a battleground. Characters with conflicting goals will have tense, indirect, or even outright confrontational dialogue. Subtext is key.
  • Instead of: “Mark was clearly frustrated with Sarah.”
  • Consider: “Mark slammed his fist on the table. ‘Are you hearing yourself, Sarah? This plan is suicide.’ Sarah’s eyes narrowed, not flinching. ‘And your plan, Mark, is surrender. Which, last I checked, sounds a lot like death.'” The conflict is immediate and palpable through their words and actions.
• Body Language and Physical Manifestations: Internal conflict often manifests physically. A character’s fidgeting, averted gaze, clenched jaw, or restless energy can convey their internal turmoil without a single expository sentence. External conflict creates physical reactions like fear-induced tremors, defensive postures, or exhaustion.
  • Instead of: “She was scared of leaving the house.”
  • Consider: “Her hand hovered over the doorknob, trembling. A fresh prickle of sweat beaded on her forehead despite the cool morning air. She pictured the bustling street outside, a knot tightening in her stomach, and retreated, pressing her back against the wall.”
• Setting as an Extension of Conflict: The environment can actively participate in the conflict, either by reflecting the character’s internal state or by providing external obstacles. A decaying, oppressive setting can amplify a character’s sense of despair, while a chaotic, unpredictable one can mirror external dangers.
  • Instead of: “The old house was creepy, and she felt trapped.”
  • Consider: “The floorboards groaned underfoot with every hesitant step, each creak echoing the frantic thrum of her own pulse. Dust motes danced in the lone shaft of moonlight piercing the grimy window, illuminating the skeletal shadows of forgotten furniture, pressing in on her, cornering her against the oppressive silence.”
• Failed Attempts and Setbacks: Conflict thrives on difficulty. Show your protagonist trying, failing, and trying again. Each setback deepens the conflict and reveals more about the character’s resilience or desperation.
  • Instead of: “He eventually overcame the problem.”
  • Consider: “He spent hours feverishly writing code, his fingers flying across the keyboard, only for the debugger to spit out the same error message, mocking him. He slammed his monitor down, the screen crackling, a guttural cry tearing from his throat.”

Actionable Tip: Review your scenes. For every instance where you’ve told the reader about a conflict, brainstorm two ways to show it through dialogue, action, physical description, or setting.

Common Pitfalls to Avoid

Even with a solid understanding of conflict, missteps can derail your short story. Being aware of these common traps will help you ensure your conflict remains robust and engaging.

• Conflict for Conflict’s Sake: Don’t throw in random obstacles just to have something happen. Every conflict point must serve a purpose: to advance the plot, reveal character, raise stakes, or develop theme. If it doesn’t, it’s filler.
• Easily Resolvable Conflict: If your protagonist can solve their biggest problem with a simple phone call or a single, obvious action, your conflict is weak. It needs to feel genuinely difficult, requiring effort, sacrifice, or a change in the character.
• Lack of Stakes: If the reader doesn’t understand what the protagonist stands to lose if they fail, the conflict loses its urgency. Stakes can be physical (life/death), emotional (love, friendship, happiness), professional (career, reputation), or societal (freedom, safety of others).
• Overwhelming Conflict (Too Many Threads): While diverse conflict is good, too many unresolved B-plots or tangential struggles can dilute the main conflict and overwhelm the short story format. Focus on one primary external conflict and one primary internal conflict that are closely intertwined.
• Contrived or Convenient Conflict: The audience recognizes when obstacles feel manufactured or when solutions appear out of thin air. Conflict must emerge organically from the story’s premise, characters, and setting. Avoid deus ex machina solutions.
• Static Conflict: The conflict must evolve. If the initial problem remains unchanged and the protagonist makes no progress or experiences no new challenges throughout the story, the narrative will feel stagnant.
• External Conflict Without Internal Resonance: If a character constantly faces external challenges but never grapples with them on a personal, emotional, or moral level, they feel flat. The external should always challenge the internal.
• Internal Conflict Without External Manifestation: A character mired in their own head, with no external events to force their hand, makes for a dull story. The internal must lead to choices and actions that impact the external world.

The Ultimate Goal: Conflict as Catalytic Change

Ultimately, the purpose of conflict in a short story is to change something. It forces the protagonist to grow, to choose, to adapt, or to confront a harsh truth. The resolution of the conflict – whether victorious, defeated, or bittersweet – should leave the character (and the reader) in a different place than where they started. The story isn’t just about what happened, but how the character was transformed by the struggle. This transformation is the real payout for the reader.

Think of your protagonist’s journey not as solving a puzzle, but as navigating a crucible. The conflict is the fire, and the character is the metal. By the end, they should emerge either tempered and stronger, or perhaps broken, but never unchanged. Embrace the power of conflict to breathe life, urgency, and profound meaning into your short stories. It is the indispensable element that elevates a mere sequence of events into a truly unforgettable narrative.