The Purpose of Conflict: Why Great Stories Require Philosophical Struggle

n the world of screenwriting, the concept of conflict is often touted as an essential ingredient for a compelling story. Scriptwriting books and courses emphasize the significance of conflict, yet they rarely delve into the underlying reasons why it’s so crucial. We’re told that conflict drives the plot forward and keeps the audience engaged, but what is its true purpose in a story?

In this article, we’ll explore the fundamental role of conflict in storytelling and how it should be approached when crafting a screenplay. We’ll examine the different types of conflict and their impact on a narrative, ultimately uncovering the philosophical and moral dimensions that elevate a story from mediocre to truly great.

Defining Conflict

To begin, let’s define what we mean by conflict. Conflict is a struggle between opposing forces, and it’s this struggle that forms the backbone of a story’s events. As a character strives to reach a goal, someone or something stands in their way, forcing them to overcome obstacles. Conflict can also be viewed as the problems that arise, and the attempts to solve those problems become the plot itself.

Types of Conflict

Most screenwriting resources focus on two common types of conflict: external and internal.

External Conflict

External conflict deals with the obstacles a character faces in the external world, often related to their specific goal. In “Dead Poets Society,” a group of boys at a preparatory school wants to form a poetry club, but they’re inhibited by the headmaster and other professors. In “The Shawshank Redemption,” Andy Dufresne’s goal is to escape from prison, but the warden, guards, and the institution itself stand in his way.

While external conflict propels the story forward and creates situations for deeper conflicts to arise, it’s rarely the most compelling element on its own.

Internal Conflict

Internal conflict revolves around the internal choices a character must make and the emotional attachments they grapple with. In “Dead Poets Society,” Neil Perry struggles with his love for acting and his fear of his father’s wrath. In “The Shawshank Redemption,” Red contends with feelings of hopelessness due to his long sentence, while Andy holds onto the hope of creating a better life within the prison walls.

Many stories incorporate both external and internal conflicts, but even when these elements are present, they often leave audiences feeling unsatisfied, asking, “What was the point?”

The True Purpose of Story

To understand why external and internal conflicts alone are insufficient, we must first examine the purpose of storytelling itself. As Robert McKee writes in his book “Story,” “Story is a metaphor for life, and to be alive is to be in seemingly perpetual conflict.” Stories exist to show us examples or metaphors of possible ways to live our lives, and conflict is an inherent part of the human condition.

Stories may entertain, inform, or persuade, but ultimately, they exist to show us how to live life within conflict, how others navigate it, or to grapple with deep existential questions.

Meaning Produces Emotion

Robert McKee’s quote, “Meaning produces emotion,” encapsulates the essence of why great stories resonate so deeply. Michael Arndt, the writer of “Little Miss Sunshine” and “Toy Story 3,” expands on this idea, stating, “When you’re talking about meaning, you’re talking about the values that are embedded in your story. So, in a weird way, stories are really sort of guides to how you live your life.”

If stories are about competing values, then they’re about competing visions of how one should live their life. It’s this exploration of meaning that evokes deep emotions within the audience.

The Philosophical Conflict

While external and internal conflicts are crucial components of storytelling, there is one type of conflict that separates truly great stories from merely good ones: philosophical or moral conflict.

Characters, like human beings, navigate their worlds with their own set of values and worldviews. The world they inhabit challenges these values in different ways, creating moral conflict. As John Truby writes in “The Anatomy of Story,” “Great storytelling isn’t just conflict between characters; it’s conflict between characters and their values.”

Exploring Philosophical Conflict Through Characters

Filmmakers explore philosophical conflicts by giving characters different worldviews or value systems, placing them in opposition to one another.

In “The Shawshank Redemption,” Andy Dufresne embodies hope, even in the darkest circumstances, while Red struggles to embody that same optimism. Warden Norton represents the antithesis of hope, actively working to crush the prisoners’ spirits. The conflict between these characters represents the philosophical struggle between hope and despair, and how one should approach life in difficult situations.

In “Dead Poets Society,” Mr. Keating challenges the traditional values of the school by encouraging his students to think for themselves and embrace individuality. Mr. Perry, on the other hand, believes in adhering to tradition and following a predetermined path. The conflict between these characters explores the philosophical question of whether tradition should be followed simply because it’s tradition, or if people should learn to think for themselves.

Conclusion: The Art of Philosophical Storytelling

Great stories don’t merely present external and internal conflicts for the sake of plot progression or character development. Instead, they use these conflicts as vehicles to explore deeper philosophical and moral questions about how we should live our lives.

By weaving together characters with contrasting worldviews and value systems, storytellers create a tapestry of philosophical conflict that resonates with audiences on a profound level. It’s this exploration of meaning and values that separates truly great stories from those that leave us feeling unsatisfied.

As writers, our task is to uncover the philosophical conflicts at the heart of our stories and use them to create narratives that challenge, inspire, and ultimately guide our audiences in navigating the complexities of the human experience.