Internal vs External Conflict in Literature - What's the Difference?

Think about the stories you remember most vividly. Perhaps it’s a tense courtroom drama, a sweeping romance, or a fantasy adventure full of danger and discovery. What they all have in common is conflict; the struggle that drives the story forward and keeps you invested in what happens next.

Without conflict, there’s no tension. Without tension, there’s no reason for a reader to turn the page. But not all conflicts in literature are the same. Writers often think about them in two main categories: internal conflict and external conflict. In this guide, you’ll discover exactly what each one means, how to tell them apart, and why the best stories often use both. 

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Conflict is the problem or challenge that a character faces. It creates obstacles, forces decisions, and shapes the character’s journey. In literature, conflict usually falls into one of two camps:

Internal conflict (sometimes called inner conflict) happens inside a character. It’s the mental or moral struggle they face, often invisible to other characters but clear to the reader.

This kind of conflict is personal and intimate. It’s about wrestling with fear, doubt, guilt, or desire. The stakes are often emotional rather than physical, but that doesn’t make them any less intense.

Although each character’s struggles are unique, internal conflicts often fall into a few broad types:

If you’ve ever had to make a decision you desperately didn’t want to make, you already understand internal conflict. It’s the tug-of-war between different parts of yourself.

Example: In Hamlet, the prince is torn between avenging his father’s murder and his uncertainty about whether revenge is morally right. His hesitation and self-questioning drive much of the play’s tension.

Example: In The Great Gatsby, Jay Gatsby’s longing for Daisy and his belief that he can recreate the past are at odds with the reality of who she has become. The tragedy of the novel lies as much in his refusal to accept the truth as it does in any external event.

External conflict happens when a character faces opposition from a force outside themselves. This force might be another person, a group, nature, technology, or fate itself. Unlike internal conflict, it’s visible to other characters and often drives the physical action of the story.

This kind of conflict is outward and realistic. It’s about confronting obstacles, fighting enemies, or surviving difficult circumstances. The stakes are often physical, social, or situational, but they can still carry deep emotional weight.

Although external struggles vary widely, they often fall into one of these common categories:

If you’ve ever faced a problem that no amount of self-reflection could solve because it came from the outside world, you’ve experienced the essence of external conflict. It’s the fight to change your circumstances rather than your own mind.

Example: In The Hunger Games, Katniss Everdeen must fight for survival in the arena, with the rules and dangers set by the Capitol acting as constant external threats.

Example: In The Old Man and the Sea, Santiago’s battle with the marlin and the relentless sea is a pure struggle against nature and against the limits of his own strength.

Wondering if a conflict is internal or external? Here’s a simple approach:

Quick test: If the problem could be solved purely by a change in thinking or feeling, it’s likely internal. If it requires action against an outside force, it’s external.

Many of the most memorable stories combine them. This not only makes the plot richer but also allows the character’s growth to mirror the external events.

To Kill a Mockingbird:

The Lord of the Rings:

Jane Eyre:

Pride and Prejudice:

The Girl on the Train:

For writers, knowing the difference shapes how you build tension and reveal character growth. For readers, it deepens your appreciation of the story’s layers.

A story with only external conflict may feel action-driven but emotionally shallow. A story with only internal conflict may feel thoughtful but static. The most satisfying narratives often weave the two together, so that external struggles trigger internal ones, and internal growth enables characters to face external challenges.

Conflict is all about shaping your characters’ journey and pulling your readers into the story. Here’s how to make both internal and external conflict work for you:

Decide what your character wants more than anything else. This goal is the heartbeat of your story; it drives every decision they make. The clearer the goal, the easier it is to see what’s standing in the way.

Tip: Write down your character’s main goal in one sentence. Keep it visible while writing so every scene either moves them towards it or pulls them further away.

Decide whether your main source of tension is internal, external, or a combination of both. Knowing this from the start helps you stay focused.

Tip: Ask yourself, “Is my character’s biggest obstacle something inside them, something outside them, or both?” Then plan scenes that target those barriers directly.

Make it matter if your character fails. The higher the emotional or practical cost, the more invested your reader will be. Stakes can be physical danger, loss of a relationship, or damage to self-respect.

Tip: For each major scene, list what your character stands to gain or lose. If the answer feels small, increase the consequences.

Don’t let your conflicts exist in isolation. An external problem can trigger internal struggles, and internal struggles can make external problems harder to solve.

Tip: When you plan a major event, ask how it will affect your character emotionally. Then ask how that emotional shift will change their ability to face the outside challenge.

By the end of your story, your character should be different, even if they’ve failed. Conflict is the engine of growth, and the way they deal with it should reveal something new about who they are.

Tip: Write a short “before and after” note about your character. Who are they when the story starts, and who are they when it ends? Make sure the conflict is the reason for that change.

Conflict in a story should feel purposeful. If every scene is packed with unrelated arguments or crises, it can overwhelm the reader and dilute the main tension. Focus on conflicts that connect to your character’s central goal and theme.

Ground your conflict in realistic motivations. Even in fantasy or science fiction, characters should have goals, fears, and reactions that make sense to the reader. A well-built backstory can help explain why a character responds the way they do.

Side characters with their own smaller-scale conflicts can add richness and complexity, as well as create new challenges for the main character.

Use body language, dialogue, and behaviour. A character hesitating before speaking, avoiding eye contact, or contradicting themselves in conversation can all hint at internal struggles without spelling them out.

If you’re ready to bring your own stories to life, you can master the art of conflict and much more in the Novel Writing Diploma Course with Centre of Excellence. Right now, you can enrol for just £29 and gain the skills to craft stories that captivate from the first sentence to the last.