{"id":291,"date":"2020-11-17T11:46:22","date_gmt":"2020-11-17T11:46:22","guid":{"rendered":"https:\/\/jerichowriters.com\/?p=291"},"modified":"2023-03-13T16:52:59","modified_gmt":"2023-03-13T16:52:59","slug":"using-internal-and-external-conflict-in-genre-writing","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/using-internal-and-external-conflict-in-genre-writing\/","title":{"rendered":"Using Internal And External Conflict In Genre Writing"},"content":{"rendered":"\n<p>What is it that makes a truly exceptional genre novel? What can an <a href=\"https:\/\/jerichowriters.com\/how-to-become-a-better-writer\/\" target=\"_blank\" rel=\"noreferrer noopener\">author<\/a> of a horror, science-fiction, <a href=\"https:\/\/jerichowriters.com\/how-to-build-fantasy-world-guide\/\" target=\"_blank\" rel=\"noreferrer noopener\">fantasy<\/a> or any kind of genre novel bring to their work that elevates it in some way, so that when reviewers write it up they describe it as \u2018transcending its genre\u2019?<\/p>\n\n\n\n<p>That\u2019s a phrase that used to annoy the hell out of me until I realised the essential distinction between \u2018literary\u2019 and \u2018commercial\u2019 <a href=\"https:\/\/jerichowriters.com\/points-of-view-in-fiction-writing-with-plenty-of-examples\/\" target=\"_blank\" rel=\"noreferrer noopener\">fiction<\/a>.<\/p>\n\n\n\n<p>All fiction deals in <a href=\"https:\/\/jerichowriters.com\/driving-the-story-internal-vs-external-conflict\/\" target=\"_blank\" rel=\"noreferrer noopener\">conflict<\/a> of one kind or another. It can be a moral conflict, perhaps the threat of war or the consequences of unreasoning prejudice. It might equally be the need to survive an invasion, or a plague, or the unintended consequences of an earth-shattering new technology.<\/p>\n\n\n\n<p>My concern in this article has to do with the source of that conflict.<\/p>\n\n\n\n<p>Broadly speaking, the distinction between literary and commercial fiction is this: literary fiction deals in&nbsp;<em>internalised<\/em>&nbsp;conflict. That could be fear, jealousy, greed, desire for power or revenge, thwarted love and so on. It\u2019s these internal conflicts, after all, that are the cause of so many of the great tragedies that characterise humanity. Wars of religion, of power, of survival. In Greek myth, the entire Trojan War took place because Paris fell in love with Helen of Troy and stole her away from her husband. A ten-year-long conflict is thereby triggered entirely by one person\u2019s desire for another, regardless of the consequences.<\/p>\n\n\n\n<p>Commercial fiction, on the other hand \u2013 and remember, we\u2019re speaking broadly here \u2013 deals in&nbsp;<em>externalised<\/em>&nbsp;conflicts. It creates dramatic stories out of direct conflict with something \u2018other\u2019, other races, other religions, other cultures, classes or political orders, and so on.<\/p>\n\n\n\n<p>Fantasy at its most basic, generic level deals with the threat of a \u2018dark power\u2019 of some kind \u2013 with magic turned to evil purposes. A good deal of science fiction deals with the consequences, intended or otherwise, of sudden technological change or scientific discovery. Those consequences are external \u2013 created in a lab, or built in a workshop, rather than formed in a human mind.<\/p>\n\n\n\n<p>Once I realised this distinction between internalised and externalised conflict, the defining quality of the very best sci-fi and fantasy became clear to me. It synthesises both approaches \u2013 and most often it does so by&nbsp;<em>externalising<\/em>&nbsp;what is otherwise an internal conflict.<\/p>\n\n\n\n<p>Some of the best examples are in film as much as in literature. In&nbsp;<em>Star Wars<\/em>, our internal conflict between what we know is right, and our own, darker capacity for evil, is externalised in \u2018the Force\u2019. The Force can be channelled for good, but it has a seductive side \u2013 one that can ultimately lead one to commit terrible acts of genocide or injustice, should one fall prey to darker emotions. The Force, then, is our own internal dialogue between what is morally right and wrong, objectified as a physical part of the universe into which we tap.<\/p>\n\n\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" src=\"https:\/\/jerichowriters.com\/wp-content\/uploads\/2020\/11\/conflict1.jpg\" alt=\"conflict\" class=\"wp-image-473428\" height=\"500\" srcset=\"https:\/\/jerichowriters.com\/wp-content\/uploads\/2020\/11\/conflict1.jpg 833w, https:\/\/jerichowriters.com\/wp-content\/uploads\/2020\/11\/conflict1-600x432.jpg 600w, https:\/\/jerichowriters.com\/wp-content\/uploads\/2020\/11\/conflict1-300x216.jpg 300w, https:\/\/jerichowriters.com\/wp-content\/uploads\/2020\/11\/conflict1-768x553.jpg 768w, https:\/\/jerichowriters.com\/wp-content\/uploads\/2020\/11\/conflict1-640x461.jpg 640w\" sizes=\"(max-width: 833px) 100vw, 833px\" \/><\/figure>\n\n\n\n<p>So why does this work? Because where that internal dialogue between good and bad is in the real world entirely subjective, Lucas, in his <a href=\"https:\/\/jerichowriters.com\/how-to-write-a-script\/\" target=\"_blank\" rel=\"noreferrer noopener\">screenplay<\/a>, makes it into a distinct, objective thing that can be tapped into and that can influence us. Externalising what is otherwise an entirely internal dialogue allows the reader \u2013 or in this case, the viewer \u2013 to see that internal conflict in an entirely different light.<\/p>\n\n\n\n<p>Similarly,&nbsp;the<a href=\"https:\/\/jerichowriters.com\/how-to-plot-a-novel\/\" target=\"_blank\" rel=\"noreferrer noopener\"> plot<\/a> of <em>The Lord of the Rings<\/em>&nbsp;revolves around a <a href=\"https:\/\/jerichowriters.com\/heros-journey-writing-compelling-story\/\" target=\"_blank\" rel=\"noreferrer noopener\">journey<\/a> to carry a ring of enormous power back to the mountain where it was forged, in order to destroy it. The ring is our desire for power, objectified and made external, rather than internal. It\u2019s this externalised internal conflict that in part makes this such a strong and overwhelmingly popular story.<\/p>\n\n\n\n<p>It\u2019s very often the case that budding fantasy writers will make the mistake of entirely externalising the conflict in their novels; the source of evil in this case is always a Rising Dark Power of some kind. The hero is always pure and true. And it\u2019s boring.<\/p>\n\n\n\n<p>The best way to write such fiction is instead to introduce internalised conflict, to balance the external.<\/p>\n\n\n\n<p>Frodo in&nbsp;<em>The Lord of the Rings<\/em>&nbsp;struggles with his own internal desires, and the seductive power of the ring \u2013 all he must do is slip it onto his finger, to achieve power he can only dream of \u2013 and he struggles with this internal conflict (made flesh by the ring) all the way to Mount Doom. Gollum is a stand-in for the terrible price that the ring can exact on those too weak for its seductive power, and he also represents what can happen to us if we allow the worst parts of ourselves to override our conscience.<\/p>\n\n\n\n<p>This internal conflict on Frodo\u2019s part, then, balances the external conflict with Mordor\u2019s armies, on the march to retrieve that very ring. It also elevates the story above one of simple good and evil by reminding us these conflicts exist within us, as well as outside us.<\/p>\n\n\n\n<p>In Frank Herbert\u2019s&nbsp;<em>Dune<\/em>, we at first appear to have a simple tale of a messianic figure, born to lead the Fremen to victory against an imperial occupying force. But Herbert quickly elevates the story by focusing the narrative around Paul of Atreides\u2019 struggle with the path his life appears to be predestined to follow. By imbibing the spice of the worm, he can see the future, and his role in it; but as in the best Greek tragedies, it\u2019s a path he rejects utterly, even while his attempts to resist fate cause the very events he foresees to take place with grim inevitability. The external conflict \u2013 between the dastardly Harkonnens and the Fremen led by Paul \u2013 is balanced by Paul\u2019s own, equally gripping internal conflict.<\/p>\n\n\n\n<p>In Philip K. Dick\u2019s&nbsp;<em>A Scanner Darkly<\/em>, a policeman is working undercover, living with people whose lives revolve around a drug called Substance D. He\u2019s so deep cover, even his bosses don\u2019t actually know his identity; he wears a futuristic \u2018scramble suit\u2019 when he meets with his superiors, so they cannot find out who he is, thereby assuring him absolute anonymity as he searches for the source of the drug.<\/p>\n\n\n\n<p>One day, he is given a new assignment; to investigate one of the people living in the same house as him. He has, in fact, been asked to investigate himself.<\/p>\n\n\n\n<p>This creates a wonderful internal conflict that balances the external \u2013 the search for the source of the drug. Increasingly schizophrenic from his own use of Substance D, Dick\u2019s character finds himself struggling with his own identity, as to whether he is a policeman, or the addict he is investigating.<\/p>\n\n\n\n<p>If your book isn\u2019t coming together \u2013 if your <a href=\"https:\/\/jerichowriters.com\/round-vs-flat-characters-a-complete-guide\/\" target=\"_blank\" rel=\"noreferrer noopener\">characters<\/a> feel lifeless, or lack <a href=\"https:\/\/jerichowriters.com\/character-motivation-all-you-need-to-know\/\" target=\"_blank\" rel=\"noreferrer noopener\">motivation<\/a>, or feel wooden and two-dimensional \u2013 provide them with an internal conflict to balance the external. It\u2019s that conflict that, when handled properly, keeps readers glued to the pages.<\/p>\n\n\n\n<p>To sum up: the best sci-fi and fantasy fiction takes internal conflicts, and re-represents them as&nbsp;<em>external<\/em>&nbsp;conflicts in a way that creates a kind of \u2018useful distance\u2019, allowing readers a degree of objectivity on their own fears and desires they might not otherwise have. But even then, that conflict must be mirrored through your <a href=\"https:\/\/jerichowriters.com\/protagonist-vs-antagonist-complete-guide\/\" target=\"_blank\" rel=\"noreferrer noopener\">protagonists\u2019<\/a> own thoughts and actions, and their own internalised moral dialogue.<\/p>\n\n\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n","protected":false},"excerpt":{"rendered":"<p>What is it that makes a truly exceptional genre novel? What can an author of a horror, science-fiction, fantasy or any kind of genre novel bring to their work that elevates it in some way, so that when reviewers write it up they describe it as \u2018transcending its genre\u2019? That\u2019s a phrase that used to<\/p>\n","protected":false},"author":2,"featured_media":473426,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[16],"tags":[28894],"class_list":["post-291","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-novel-writing","tag-how-to-plot-masterclass1"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/using-internal-and-external-conflict-in-genre-writing\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Using Internal and External Conflict in Genre Writing | Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"What is it that makes a truly exceptional genre novel? 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