teaching conflict in creative writing

43 Conflict Writing Prompts

When practicing creative writing, adding conflict to a story captivates the reader and drives the plot. As students improve their storytelling skills, their conflict and conflict resolution within those stories will become stronger and more believable. 

To help students exercise this skill, we’ve put together a list of conflict writing prompts. With this set of prompts, they can explore types of conflict and let their imaginations run wild.

Using This Guide

Our goal is to take even the most nervous writer and turn them into a confident storyteller.

Using this guide, you can encourage your students to improve their skills and have fun in the process.

Here are a few ways you can use our writing prompt guides in your classroom:

• Have students create a fake conflict that could fit into the plot of the book they’re currently reading.
• Challenge students to use one writing prompt each day for one week.
• Have students pick their plot by adding their birth month and date together and using that number.

Let’s Create Some Conflict!

• Write about a time you were blamed for something that you didn’t do.
• Write a dialogue between siblings who are naming their new pet.
• Tell a story about a kid who takes credit for someone else’s accomplishment.
• Write a poem about conflict using the words: bother, upside-down, lime, toothpick
• Talk about a time when you got into an argument with your best friend. What happened next?
• Write a story about a camper who gets lost in the woods.
• You find a treasure map at the end of a rainbow. What happens next?
• Why do you think conflict is important in creative writing? Use examples.
• You were blamed for pulling a prank, but it was actually your friend who did it. However, if they get in trouble at school one more time, they’ll be suspended. What do you do?
• Tell a story about two students who are having trouble taking turns during recess.
• Write a story about a kid who keeps copying another kid’s work in class.
• Write a dialogue between your two favorite superheroes, who each believe they are the best.
• Talk about a time when you overcame an obstacle when you didn’t think you could do it.
• You accidentally break your sister’s brand-new toy. Write about what happens next.
• Write a step-by-step guide on how to resolve simple conflicts.
• Open the dictionary and pick a random word. Use that word to write a story.
• Write a story about a small lie that grows out of control.
• Talk about a time when you felt like you were being treated unfairly. How did you resolve the issue?
• You and your friend have tickets for one more ride each at the carnival, but you want to do different things. Write about how you would solve this problem.
• Tell a story about a kid learning how to play an instrument.
• Write a story about a kid who is very confident about what they want to say… until they stand up in front of the class. How do they overcome this fear?
• Write 4-6 paragraphs about a historical conflict of your choosing.
• You go to take a bath and find a mermaid in your bathtub. What happens next?
• Tell a story about a kid who gets caught cheating during a family board game night.
• Create a conflict-to-resolution story involving your favorite superhero.
• When was the last time you got into an argument with your sibling? What happened next?
• Write a story between the hero and villain of your favorite video game.
• Write about a time you were afraid to try something new.
• You’re transported into your favorite book. To, you have to complete a quest. Tell a story about what happens next.
• Write a story about someone who is hiding a secret.
• You find a jewel-encrusted box in your attic. What do you do with it?
• Write about a time you were embarrassed.
• Retell your favorite fairytale but change the main conflict.
• Write about the most exciting thing that happened last summer.
• Your class takes a field trip to a haunted museum, where you befriend a misunderstood ghost. What happens next?
• Write a story about something exciting that happened when you were little.
• Your neighbor’s pet snake escapes its enclosure. How does your neighborhood react?
• Write a poem about conflict using the following words: litter, knuckle, happened, twice
• Write a dialogue between two opposing student council candidates.
• You wake up in your favorite video game. How do you get home?
• You’ve discovered the secret of the Bermuda Triangle in your locker, but no one believes you. How do you convince them?
• Your character has to choose between two fun activities. How do they make their choice?
• Write a poem about a storm.

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Teaching conflict to middle & high school students.

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Jerz's Literacy Weblog (est. 1999)

Crisis vs. conflict: engaging a reader with the protagonist’s “inner” story.

Jerz >  Writing >  Creative >

Good storytellers differentiate between a  crisis (an emergency, such as a car crash or an illness) and  conflict (a clash of wills, a difficult moral choice, or an internal mental struggle). Beginning authors often focus on the exciting crisis rather than the conflict that makes readers care about the characters enduring the crisis. (See also Short Stories: 10 Tips for Creative Writers , Show Don’t (Just) Tell , and Developing Ideas for Short Fiction .)

Lara Sterling cites Christopher Vogler’s explanation of a character’s “outer” problem (getting from point A to point B, beating the clock, beating an opponent, etc.), and the “inner” problem (learning to trust someone else, believing in yourself, maturing enough to handle new responsibilities, etc.).

The conflict that makes a story worth reading (and re-reading) involves the reader in the humanity of the characters involved in the crisis.

• The  Enterprise encounters the slime monster.  It attacks the ship. ( Crisis! )  Kirk kills it by freezing it. ( Resolution )
• The  Enterprise encounters the ice beast.  It attacks a peaceful planet. ( Crisis! )  Kirk kills it by melting it. ( Resolution )
• The  Enterprise encounters the crystal demon.  It attacks a strategic Federation base.  The only way to stop it is to shatter it with sound waves — but doing so will deafen an entire city of the galaxy’s finest musicians.  Doing nothing would mean that the Romulans  might occupy the planet, shatter the demon and deafen the city anyway.  Kirk has to  decide what to do.  ( Conflict!! )

The first two scenarios might be exciting to watch.  Imagine the screams of the slime monster, the howls of the ice beast, the tension on the bridge as the Enterprise closes in for the kill.  Sounds like fun, but it is only  action , like a video game.

The last scenario has the same potential for action, but in addition, it lends itself to  introspection , to the  exploration of values , to the  examination of choices .  For example, we might see the tearful pleas of the city dwellers, the belligerent boasting of the Romulans, and an argument between Spock and McCoy.  We might even  see the hero change in some way, too, as he tries to negotiate a moral path that takes into account what all parties have at stake.

This is true  dramatic conflict .

Drama in Writing

According to a dead French guy you’ve probably never heard of, drama involves “the spectacle of the will striving toward a goal, and conscious of the means which it employs.” (Ferdinand Brunetière; quoted in Lawson 59).  (The immediate context was actually discussing theater, but the concept applies equally to other genres.)

The spectacle…

The word  spectacle , like “spectacles” (eyeglasses) or “spectacular” (something worth looking at), implies that the author is  showing what happens, rather than simply telling about it.

My handout, “ Show, Don’t (Just) Tell ,” reminds us that some of the most expressive and interesting writing re-creates for the reader the very experience that the characters in the story are living.

…of the will…

The  will is the human capacity to desire, and to make decisions accordingly.   If you describe the progress of a disease, or if you do a wonderful job recording the aftermath of an earthquake, you haven’t necessarily written a good story.  You may have created a great medical textbook, accident report, or historical document, but  a good story hinges on the will of the protagonist .

…striving towards a goal…

The reader should know  what is at stake .  Characters, whether they are fictional or real, need to pursue a clearly defined goal.  It can be a complex and sweeping goal, such as “to boldly go where no man has gone before,” or simple and specific, like getting a kiss from your date.  The story describes the actions of the characters as they try to achieve these goals.

Just as it’s possible for Captain Kirk to explore the universe and pursue space women at the same time, complex interplay between the “outer” story (where most of the action takes place) and the “inner” story (where most of the character development takes place) can offer the mix of spectacle and sentiment that makes the most complex stories rich enough to reward re-reading.

…and conscious of the means which it employs.

What this means is that the hero can’t simply stumble his or her way towards the resolution.  The hero has to make choices (or deliberately refuse to choose) in order for the story to work.  If your main character is simply along for the ride, then something is missing.  You can still have a great story about an ineffective main character, or one who fails to reach his goal, but the story should still be about the struggle.

For instance, your protagonist might initially desire to survive a catastrophe at all costs. During the course of the story, when it becomes clear that survival is not an option, the character might shift to a new strategy — do as much good as possible before dying.  The character may die, along with all the people that he helps, but we still saw the spectacle of the hero’s will striving towards his goal.   We also saw the character change.  The change could be for the better, or for the worse; or, the story could end with the hero’s failure to learn anything at all — but perhaps your reader will be a little wiser.

Types of Conflict

The dead French guy (Brunetière) goes on to list several different ways that authors represent conflict:

• the individual vs.  fatality (that is, a fight for survival)
• the individual vs.  social law (justice, morality, etc.)
• the individual vs.  another person
• the individual vs.  himself
• the individual vs. “the  ambitions , the  interests , the  prejudices , the  folly , the  malevolence of  those who surround him “

Other resources:

• Brunetière, Ferdinand Brunetière.   The Law of the Drama . Trans. Philip M. Hayden. New York: Columbia University, 1914.
• Lawson, John Howard.  Theory and Technique of Playwrighting. New York: Hill and Wang, 1969.  Reprint.   Putnam, 1936.

18 July 2011 — minor tweaks 21 Mar 2022 — fixed a typo and a broken link

23 thoughts on “ Crisis vs. Conflict: Engaging a Reader with the Protagonist’s “Inner” Story ”

Your tips were very helpful.I can now understand why my writing always feels immature ans stale.It would be very helpful if could explain the types of conflicts.

I really want to know the difference between conflicts and crisis thanks Amadi

You have come to the right web page, Amadi.

Using Star Trek to explain crisis vs. conflict is brilliant. You also touch upon the star trek goal, “to boldly go where no man has gone before,” and correct hint that underlying story is Kirk’s quest for space poontang! The man truly goes where no man has gone before!

I found this essay on “Kirk drift” really interesting. http://strangehorizons.com/non-fiction/columns/freshly-rememberd-kirk-drift/

Riker pursues a lot more of the extra-curricular action.

Pingback: The ‘inbetween’ scenes – Euan B Pollock

Pingback: 6 Story Conflicts Possible in Your Book | Now Novel

Pingback: More Story Tips | Madeleine Robbins

My flash fiction, (less than 200 words) usually involves internal conflict.

RT @DennisJerz: Crisis vs. Conflict: Engaging a Reader with the Protagonist’s “Inner” Story #writing #fiction http://t.co/aryzXpwlB0

RT @DennisJerz: Crisis vs. Conflict: engaging a reader with the protagonist’s “inner story” #nanowrimo http://t.co/u9uULiFOyQ

I am working on my MA in Creative Writing and I am copying all of your pages on the site. I am so glad I found this and I will share it with the people in my class.

I truly enjoyed reading this article. I have always wondered how we were supposed to show, but not tell. This opens a new pathway in which the mind can stroll on showing while telling.

wow. this needs to say more about internal conflict

Thank you for writing about the enterprise. LOL that is an old tv show!!

My Short Story called “Anne and the 12 seedlings” create a nice image in our town… thanks for the help wish you could teach us the right way of writing novels and short stories by also the use of live chat… thank you!!!

Thank you for the help, it really means a lot for me. At my age of 12 create my first novel by the help of yours., thank you!!!

thank you soo much

I hope I get a level 5 or 6. :) my story has to include suspense. do you know any important tips to achieve this level?

Thank you so much for this. I wrote a novel and thr feedback was that it was difficult to connect with the characters. This really helped.

Pingback: Seek Personal Conflict, not Just a Situational Crisis: National Novel Writing Month (NaNoWriMo) Writing Tip — Jerz's Literacy Weblog

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• Creative Writing Lesson 4: Conflict, Conflict, Conflict

Writing is about Fighting

Conflict isn’t important for what it is but for what it tells us about your characters. Your character isn’t what you tell us they think or feel. Your character is what they do. Action is character: what they do shows us who they are. A lot of writers make the mistake of trying to tell us who their characters are, when 100% of the time they would be better of sticking them in a tricky situation and showing the reader how they get out of it.

So, what does conflict mean, and how do we right good conflict?

Remember the Basic Structure

So, we’ve established our wounded character is unhappy in their life but a personal flaw stemming from their wound. Then something happens to interrupt their normal like and confronts them with obstacles that force them to confront their flaw.

Desire + Obstacle + Flaw = Conflict.

Without desire why would the protagonist attempt to overcome the obstacle? The greater their desire – their need to succeed – the greater the emotional impact of the scene.

Without the obstacle there is no story: “Fred wanted be loved. He met Eddie and they fell in love. Now Fred is loved.” See what I mean?

Why do we need the flaw?

Lots of stories skip flaws and are worse for it. Our retired-CIA assassin wants to avenge his murdered wife (please don’t write this story again), and there are a room full of hired thugs in his way. Okay, desire, obstacle, followed by an action scene where you know exactly what will happen. Now, give him a drug addiction he’s trying to overcome – he wants to get off the drugs, but when he stops taking them his reflexes are slowed and his fight with the thugs results in injury. It’s immediately more interesting. I’m sure you can think of better wounds – incorporate them into your conflict, and your story will illuminate.

Thus, good story we are locked into a cycle of conflict, action, and resolution, until they overcome their flaw or succumb to it.

Good Conflict Challenges Flaws – Bad Conflict is Boring

We’ve established that the conflict must a) directly link to their wound and b) require a difficult decision (otherwise it isn’t a real obstacle.) Ideally, the reader should be thinking “Oh my God, what are they going to do now?”

And this is how conflict reveals character. Because conflict requires action. And action tells us more about a person than any number of words.

So, what makes good conflict. Here are some easy examples:

Theo is about to break up with his girlfriend when she tells him she is pregnant.

The engine room door must be sealed to contain the fire, but two of Rey’s team are still inside and shouting for help.

Sandy pops out for a quick cigarette when through the window she spots her wife giving her best friend head.

See what I mean? Oh my God, what are they going to do?

Here are some bad examples of conflicts:

The adventurers need to get into the dungeon, but a group of goblins bar the way.

Riley is scared she will lose control if she summons the power of the void to defeat the reapers.

Tom must give his first lecture to 100 students but fears public speaking.

Why don’t these work? Well, first, there isn’t a hard decision. We’ve told the reader there is danger/emotion, but the decision seems obvious: fight the goblins, summon the void, go out and give the speech. The third is the best, but even if Tom decides to run away, we don’t get the emotional identification because it seems so obvious what he should do.

Can we fix the three bad conflicts? Maybe…

Elarius is badly wounded. If he lets his comrades fight the goblins alone, they may die, but if he joins the battle he certainly will.

Does Riley wait for the refugees to escape and risk the Reapers breaking through, or gamble she can control the void to protect the refugees and strike the Reapers at the same time?

Tom, a biology professor scared of public speaking, has been told that if he doesn’t emphasise in his first lecture that evolution is only a “theory” he will lose his job.

These are better, although still not as good as the first three. How do we improve them? Make things worse! Elarius is thinking of his husband and kids at home. He is also having an affair with one of his comrades. The more your characters suffer, the more your reader will enjoy the story.

Write a 200 word Scene Driven by Desire and Weakness

Having established this notion: conflict = desire vs obstacle + flaw, and that a story is constructed from a cycle of conflict, action, and resolution (until the character overcomes their flaw or is destroyed by it), your job is to write me the most powerful conflict scene you can manage in 200 words.

Here are your criteria.

1) Following on from the last exercise, give me a protagonist and antagonist who are both wounded and have a strongly justifiable (and contradictory) desire.

2) Show me they have a REALLY good reason for wanted to overcome the obstacle.

3) Make the obstacle as BIG as possible. If your characters aren’t suffering, they should be.

4) Have both the protagonist and antagonist’s actions informed by their flaw.

5) Resolve the conflict WITHOUT resolving EITHER’S flaws – give me an outcome that is a) unresolved but b) raises the stakes.

If you’re stuck, here are some starting points:

• A breakup where neither partner wants to break up but feels they must
• A battle where a controversial artefact might be best preserved or destroyed
• A seriously ill person for whom the best treatment is not clear
• A secret that must be preserved, but the parties cannot agree how best to do so.

These are just suggestions. If you have your own idea, use it! Remember, you only have 200 words, so get to the point and hit all the bases.

Post your response in the comments below or join the AU Forum .

Find out more about my (totally free) writing lessons here.

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The Secret to Creating Conflict

by Joe Bunting | 59 comments

We often think that to create conflict we need to show major conflict or fight scenes. For example, a car chase, an argument between lovers, a fistfight, or the threat of a nuclear explosion. Or we think of conflict as some kind of internal suffering: depression, longing, or pain.

But the truth is that if events and emotions were the only elements of conflict in our stories, we'd have some pretty flat stories.

Conflict, in good stories, is not always about spectacular events or painful emotions. Good conflict is about values.

Conflict is at the heart of good fiction. Our characters have to face opposition in their pursuit of a worthy goal to keep us interested. It's conflict that shows us who they really are. Let's look at how to develop good conflict story ideas from values.

What is a Value

When you hear the word value in this context, you might think of “family values,” or in other words, morals. While morality is crucial to storytelling, morals aren't what I mean by value.

Let's simplify it. A value is something you admire, something you want. If I value something, it means I think it's good .

Here are some examples of things you might value:

• Money / Wealth
• Your little brother
• Getting good grades
• Organization
• The Environment
• Productivity

Think about a few of your favorite protagonists. What do they value?

For example, Elizabeth Bennet, our heroine from Pride & Prejudice , values honesty, humility, intelligence, kindness, and her family (am I missing any?). The source of conflict with Mr. Darcy was on the basis of these values. She thought he was dishonest, prideful, rude, and worst of all, he “ruined the happiness of a most beloved sister.” She believed he acted against her values.

Types of Conflict

Once you know what a character values, you can decide how to put that value at risk for strong character development . There are different types of conflict.

One is external conflict, meaning that something outside the character gets in the way of what they value. If a villain tries to stop the superhero, that's external conflict. If a terrible storm keeps a character from reaching the person they love, that's external conflict.

Win Pride and Prejudice, when Mr. Darcy convinces Bingley that Jane doesn't love him, he's creating external conflict that gets in the way of Jane's happiness (even if this is a secondary conflict in the novel).

Another type is internal conflict, where the character is at war with themselves. Elizabeth Bennet holding onto her own pride is an internal conflict—she has to overcome something in herself to find love.

When Good People Create Conflict

You don't need a villain to create narrative conflict. Most conflict comes about between two positive values that conflict.

In our example of Pride & Prejudice , looming above the whole story is the value of marriage and love . Mrs. Bennet wants all her daughters to get married. The daughters want to get married too, but only if they're in love… and preferably in love with someone wealthy (another central value in the story).

Marriage, love, and wealth are all positive values. They're values most of us would agree with! However, figuring out how to adhere to all of those values at once is incredibly difficult, and in Pride & Prejudice , we get to watch the characters try, fail, and then finally succeed at achieving all of these good but conflicting values.

There can even be conflicts within a single value.

All of the Bennet daughters value love, but what does love even mean? Does it count when the object of your affection isn't respectable? Is foolish passion still love? What if you love knowledge and books more than people? What if you make a marriage of convenience and end up loving your lifestyle but not your spouse? Is that okay? Those are all conflicts raised within the single value of love.

How To Create Conflict in Your Story

To create conflict within your own story, ask yourself the following questions:

What does your main character value? Do any of his values potentially conflict? How can you reveal the conflicts in those values? Do any of his values conflict with themselves ? How can you delve into the complications of that single value?

A Note About Villains

While your story may not need a villain to have conflict, it's always fun to have one. A villain is a character who has the opposite values as those of your main character.

For example, Batman values justice and order. Joker values crime and chaos. Frodo values his friends and the peace of the Shire. Sauron values power at the cost of relationship and beauty.

To create the perfect villain, figure out what your main character values. Then, twist those values into some hideous shape and set the characters loose on each other.

Who are some of your favorite characters? What do they value and how are those values tested? Let us know in the comments .

Write a short scene showing one of your character's values. Then test that value, either with another positive value or by negating that value.

Write for fifteen minutes . When you're finished, post your practice in the practice box below. And if you post, please be sure to comment on a few fellow writers' work too.

Joe Bunting

Joe Bunting is an author and the leader of The Write Practice community. He is also the author of the new book Crowdsourcing Paris , a real life adventure story set in France. It was a #1 New Release on Amazon. Follow him on Instagram (@jhbunting).

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Lesson #107: Exercises for Conflict

Lesson #103 :Conflict is the glue that holds the reader to the page. Beleive it or not, conflict can be created in the most mundane situations. Your challange is to take the following normal situations and list ways a character can face both internal and/or external conflict.

*character placing an order at Wendy’s *characters doing laundry *characters at family dinner *characters preparing for a trip *characters feeding the pets

The point of this exercise is to show that conflict is possible in everyday life. You don’t have to have squittens with rabies invading from outer space to create conflict, or create and interesting and compelling scene.

Lesson #104 : According to James Scott Bell in his book Conflict & Suspense , at least two of the three types of death (physical, professional, and psychological) must be on the line in every story. Analyze your story. What type(s) of death is your protagonist facing? If you can only find one, how can you add another?

If you don’t currently have a story in progress, analyze a few of your favorite movies or TV shows. Define the conflict in terms of which type of death is on the line. (BTW, you should get into the habit of analyzing every story whether written or on screen to determine how well or how poorly the story structure, conflict, and emotional bonding between character and audience is created. Most people can tell you whether they liked a movie or not. A good story teller can tell you precisely why the story didn’t work. The better you develop your skill at pinpointing what’s wrong in someone else’s story, the more easily you can’t fix it in your own work.)

Lesson #105 : In this lesson we talked about internal forces creating conflict. Always keep in mind that conflict drives the story. Your assignment here will be to map out the different roads your character could take because of conflict. Make up a character that at the beginning of the story has to choose between five different job offers. They are in different states: Kansas, California, New York, Florida, and North Dakota. Your character needs to battle (internal conflict) with the decision. The jobs are amazing in each place and all have their pros. One could be near family, one could be where your character has always wanted to live, one could be the best pay, one has access to Broadway and your character is obsessed with musicals. You get the idea. Sit down and map out what the different internal conflicts could be for your character in each of the jobs. THEN map out the external conflicts that could arise because of that decision. (i.e. tornadoes can hit in Kansas and it demolishes the character’s house, the mother of your character could get deathly ill and he/she chose the job farthest away from family, the chandelier prop in Phantom of the Opera, actually falls and injures the character while he/she is at the Broadway show. You get the idea.) The point of this exercise is to play around with the different conflicts your character could encounter remembering that external conflict is most of the time completely OUT of the character’s control, whereas internal conflict can oftentimes be IN the character’s control. As you map it out in different ways you can also play around with how external conflict feeds the internal conflict and vice versa. Sometimes you just need to sit down and see all the options so you know the best way to put your character through the wringer. 🙂 Conflict drives the story. And it drives our lives. Enjoy the journey!

Lesson #106 : Choose a favorite book, movie, or TV show (preferably a story in the same genre that you are currently writing). It needs to be well-known and well-liked. At this point, honestly, it’s best to choose something from the best-seller list, an Oscar-winner, something with VERY good ratings… etc. List all of the “causes” of conflict you can see/think of. Now, map out the flow of conflict. When does the tension rise? Fall? When does the character development take place? How often does it appear? When does the internal conflict rise/fall? When does the external conflict rise/fall? Next, turn to your own story. Map out your conflict. Is your conflict as “plentiful” as the other story you examined?  Is it as engaging? Is it as believable? Now, list what areas your flow of conflict could improve in. How will you go about making these changes?

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4 Ways to Teach the Types of Conflict in Literature

If you’re looking for creative and engaging ways to teach your students about the different types of conflict in literature, you’ve come to the right place. I’ve got four slam-dunk lesson plans that will help get you rolling. But first, let’s take a quick look at the different types of conflict in literature.

There are four main types of conflict in literature: man vs. man, man vs. nature, man vs. society, and man vs. self. Each type of conflict presents its own challenges and opportunities for character development. By teaching your students about the different types of conflict, you’ll help them understand how to learn from complex and interesting characters and, hopefully, create them in their writing!

Tip #1) Hook with a Picture Book

You can’t go wrong by hooking students with a good picture book. Reading aloud a story is one of the most powerful ways of engaging all students, and using a mentor text creates a shared experience from which you can anchor the learning. 

When teaching students about types of conflict in literature, “Greyling” by Jane Yolen is a great picture book to use. The story follows a young rabbit named Greyling who must overcome his fears to save his family from a hungry dragon. Through Greyling’s journey, students will be exposed to all the different literary conflict types.

After reading the story, complete an anchor chart together where you discuss Greyling’s experiences with character vs. character, character vs. self, character vs. nature, and character vs. society conflicts.

Tip #2) Get Creative With Comics

Differentiating between the types of conflict in literature can initially be difficult for students, but it is an essential skill for understanding the story elements . One fun way to give your students additional practice with the four types of conflict is through the use of comics.

Display a comic on the board or create a slideshow with different comic images on each slide. The students should write a brief story to pair with the picture. They must use one type of literary conflict in each short story, which must be obvious (without being directly stated) through the creative use of language. This additional practice gives students time to process the different types of literary conflict and understand how they contribute to the overall story.

Tip #3) Put Their Knowledge to the Test with Task Cards

Before increasing the complexity of the task or turning over more responsibility to the students, try giving them additional practice identifying the different types of conflict using task cards. Task cards are low in rigor, so students can focus on the basics, and the repetitions are high, so they can master the skill. Plus, task cards get students up and moving around the room, which is always a bonus! If you’re interested in trying them, I have a set of conflict task cards you can purchase here .

Tip #4) Gradually Release Students with a Short Story

“Dragon, Dragon” by John Gardner is a short story that is perfect for having students practice identifying the different types of conflict. The story centers on a young boy named Harold who discovers a dragon in his backyard. Harold must then decide whether to tell his parents about the dragon or keep it a secret. This story provides great opportunities for discussions among students. Is the conflict between Harold and the dragon an example of person vs. person conflict? Or is it an example of person vs. nature conflict? Either way, “Dragon, Dragon” is a great choice for this lesson. Have your students read the story whole class, in small groups, or with a partner. By working through the conflict in the story, they will be better prepared to identify conflict in other pieces of literature.

Another great short story option is “The King of Mazy May” by Jack London . The story is about a young boy, Scruffy, who finds a wounded coyote and decides to nurse it back to health. However, when the coyote starts to recover, it becomes clear that it is not content to be kept as a pet and soon makes its escape. While the story is fairly short, it contains several examples of conflict, both internal and external. For instance, Scruffy must conflict with his own fears in order to take care of the coyote, and later, he must confront the reality that the coyote does not want to be domesticated. As such, “The King of Mazy May” provides an excellent opportunity for students to practice identifying and understanding conflict in literature.

As you teach your students about the different types of literary conflict, don’t forget to tie the conversations back to the story’s theme and the main character’s development. I hope you find some of the ideas from this article helpful and that your students will be well equipped to identify and analyze the conflicts that arise in the stories they read!

Happy Teaching!

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PLOT AND CONFLICT CREATIVE WRITING LESSON PRIMARY LEARNING STUDENTS ELEMENTARY TEACHING LANGUAGE ARTS EDUCATION CURRICULUM KIDS THEME UNIT RESOURCES ACTIVITIES

CREATIVE WRITING

Lesson 3: plot and conflict.

As mentioned in lesson 1, every story has a plot and a conflict. The conflict is the problem faced by the main character. Most stories have a main conflict and other, smaller problems that the character faces along the way.

Please click here for a printable version of this lesson (below).

For the lesson plan for this lesson, click here

Characters can have problems with other people, with objects, or with nature. We all know about the different types of problems people have with other people. They may fight or simply be getting to know about each other. In fiction writing, this is considered a conflict.

Your character can have trouble with a machine or with nature. Technology is a good source for this kind of conflict. Who has not had some kind of struggle with a computer? If nature is your interest, try writing a story about a character facing a wild animal or a terrible storm. Sometimes, the conflict is with something imaginary, like a vampire or a UFO.

As you can see, there are many possibilities for conflict. Think of some of your favorite stories. What is the conflict the main character faces? In a novel, there may be many conflicts as the story unfolds. For instance, Harry Potter faces new villains and forces of evil in chapter after chapter. Since we will be writing short stories, you will need to keep your conflict simpler. There is not enough time to resolve many conflicts in a short story, so you will need to choose only a main conflict and maybe one other small problem for the main character to face.

Printable version of this lesson.

For the lesson plan for this writing lesson, click here

Samantha in Secondary

Tips for Teaching CONFLICT in the Secondary ELA Classroom

April 25, 2022 by Samantha H.

When teaching conflict in the secondary ELA classroom, it’s important students really see its importance. The conflict is the ebb and flow of a story. It’s the interest to keep an audience reading. Its crux drives the climax. Its solution brings it to resolution. Read on to find some tips to bring into your ELA classroom.

1. Identify conflict in mentor texts

This is one of the easiest activities to implement. Allowing students to see what conflict looks like in strong, recognizable texts is probably the easiest way to teach students how to identify conflict. 

2. Specifically, conflict in YA realistic fiction

Conflict is also freely on display in YA realistic fiction. Far from the Tree by Robin Benway (I have a great article if you’d like an overview of this title), Sadie by Courtney Summers, Concrete Rose by Angie Thomas, and Goodbye Days by Jeff Zentner are all excellent selections to consider. 

3. Or, find shorter works

Find novellas or short stories to do the same identifying activities you would do in a longer work. It might even be easier for students to identify with a short work because the plot is so concise. “There Will Come Soft Rains” by Ray Bradbury is an excellent choice, as are some other of his works that you can find in my bundle here .

4. Types of conflict sorting activity

Put together a collection of short stories for your students or a list of recognized titles that students can easily pinpoint the conflict. Have students sort them into categories based on conflict type. Expand the activity into comparing stories within the same types or discuss the most popular conflicts that students recognize. 

5. Identify conflict in short films

If you need a quicker review method than reading stories, you can try short films. Pixar shorts are excellent places to start and many students will be familiar with them. You can also use movie trailers if you want something even more concise. This is a great activity to use as an exit ticket where students can write the conflict on a sticky note as they leave so you can check for understanding. 

6. Create conflict with photos

Print off selections of photos or images that students can use to write short stories. I really love these types of activities that get students using their own writing to recreate the topics we are studying. If you’re really stretched for time, just have students look at the photos and write down what type of conflict they’re seeing and discuss as a class.  

7. Conflict focused mini-lesson

Mini-lessons are great ways to work in several topics in a short amount of time. If you’re searching for activities before testing week, or realize your students are a little lacking in know-how, consider focusing with a mini-lesson like this one . It’s got a bit of notes and a couple of writing activities like identifying the type of conflict and write-the-photo. So if you’re looking for a mix of some of the activities so far, it’s a great resource to have. 

Don’t let teaching conflict become a conflict in your classroom. Make sure students understand this key component of plot development with any of these activities. Let me know your favorite activities and resources over on Facebook and Instagram , or just come say hi!

Happy teaching!

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Teaching conflict in creative writing

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Teacher’s Guide: Tips and Tricks in Teaching Creative Writing

John anderson.

• February 6, 2019

Creative writing is one of the most enjoyable forms of writing that students learn in school. Unlike in the case of academic and formal theme writing, students are able to express their creativity in such writing classes. They can craft stories, describe characters and settings, and share with the readers their thoughts and ideas. Through creative writing, they can share their experiences, make their own world, design their heroes and villains, and create and solve conflicts for their characters.

Teachers play a big role in encouraging their students to enjoy writing. As the captain of the ship, you should lead and inspire them to enjoy the craft and later on, be good at it. However, how can you be an effective creative writing teacher? Here are some tips and tricks for you:

As with teaching any subject, planning is of great importance when teaching writing. Plan ahead to make sure that you and your class will be on the right track. Schedule your lessons and arrange topics chronologically. Start with the basics such as plot and character development. Look for materials to supplement your lessons. There are plenty of creative writing worksheets online . Make use of them as part of your students writing activities—either as seatwork or homework.

Set themes and topics

It also helps to line up themes and topics for your students to draw inspiration from. Browse through magazines and books to get ideas. List down topics as your “seed ideas” and arrange them according to your scheduled lessons. This should help students use their imagination as they work on subjects that may not be familiar to them.

Challenge your students

Test your students’ skills by giving them writing challenges. One good example is writing a six-word story. Writing stories can be daunting, especially when you’re required to write at least three pages, for instance. But the thing is that it’s harder to write when you’re limited to just a few words. This kind of challenge will make your students get those creative juices oozing for good.

Encourage competition

Friendly competition is great for every class. Encourage your students to step up their game by giving them activities that will earn them points and bragging rights. Give them contests such as character designing and making their own story endings, as well as homework like word bank and journaling. Give them points for their output and give recognition to top scorers. Remember that creativity is subjective, so create a simple rubric to assess their written works.

Allow review and feedback

Let your students review the works of their classmates. You can group your class into small groups wherein they can share their stories and writing pieces.  This should help your young writers to gain confidence in what they’re doing and listen to other people’s comments and suggestions to better their skills. At the same time, it helps you gauge the competencies and weaknesses of your students through the eyes of other audience.

The best thing about teaching a subject like creative writing is that you don’t just get to teach, you also learn in the process. It is truly a great experience seeing your students get better at writing. Who knows, you could very well be training the next Hemingway or perhaps the next J.K. Rowling.

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Conflict Resolution Strategies for Grades 3-5: Activities & Printables

Teach students conflict resolution skills and support their social-emotional learning (SEL) with these conflict resolution strategies and activities for elementary school.

Effective conflict resolution is a valuable social skill to learn and develop at any age. For students, conflict can arise on a daily basis, in and out of the learning environment. As educators, we wear many hats. Besides teaching young minds, we also have the privilege of nurturing their social-emotional learning and needs.

Conflict Resolution Activities: What’s Included

• 6 conflict resolution activities - choose from role-play, writing, and drawing tasks, or introduce the benefits of meditation
• Step-by-step instructions and teaching notes
• Printable worksheets and posters to support activities

Teaching Conflict Resolution Using These Activities

These 6 conflict resolution activities help students develop a toolkit of strategies for resolving conflict. They will practice problem-solving, active listening, and effective communication to brainstorm solutions to different conflict scenarios and learn ways to regulate their own emotions. Conflict resolution is an important aspect of classroom management and social-emotional learning (SEL) and these practical and easy-to-follow activities are easy to integrate into existing SEL programs but also make a great starting point for lessons on conflict management, and developing effective conflict resolution in the classroom.

Choose From Activities Like

• Activity 1: My Grumbles - Students listen to different points of view as they share the things that bother them, and work together to come up with possible solutions.
• Activity 2: Morning Meditation - Students learn how clearing their minds and deep breathing can relax and calm them to set them up for a positive day.
• Activity 3: Drawing Duos - Students collaborate and use their problem-solving skills to find solutions to student conflicts.
• Activity 4: What NOT to Do! - Students role-play scenarios where classroom conflict has not been resolved in the right way.
• Activity 5: What Would You Do? Students work in small groups to discuss different conflict scenarios and brainstorm solutions using the conflict resolution skills they’ve begun to develop.
• Activity 6: The Worst Day Ever - Students complete a writing activity to reflect on a difficult situation they’ve experienced and then identify conflict resolution strategies they could have used to improve it.

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'Going after kids first!' Children writing on Gaza and LGBT in creative writing is 'sick stuff!' - Chadwick Moore

U S author Chadwick Moore has claimed that children in creative writing classes choosing themes such as Gaza and LGBT is "sick stuff."

It comes after a new report claimed that children are increasingly turning to themes such as gender fluidity and Gaza in their creative writing at school.

Analysis of 44,000 stories written by under-12s found a surge in tales about fashionable Left-wing issues in comparison to three years ago.

These included transgenderism, including using a person's preferred pronouns, the Israel-Palestine conflict and climate change activism.

Researchers from Oxford University Press (OUP) said the children's writing "reflects the world around them" and shows the "evolving linguistic landscape of young minds."

Speaking on GB News Moore said: "This is something that it just goes to show how impressionable one way the left wins.

"In this country, it's controlling the education system and the teachers unions.

"It is another example of children being brainwashed by these woke, miserable teachers that are in these studies.

"Themes like Gaza popping up in elementary school, students writing about LGBT rights and things of this nature it's a form of child abuse.

"I mean, children shouldn't be thinking about these things. They shouldn't even know about these things.

"Children's stories shouldn't be about war in the Middle East. But this is how all of these totalitarian regimes have always behaved.

"Go after the children first and get them on your side and you create supporters for life.

"Once again, it's another reason to homeschool your children.

"It just exposes exactly what these schools, teachers, unions and school boards are about. It's really sick stuff.

Their study looked at the stories submitted by children aged five to 11 to the BBC's 500 Words competition, which was launched more than a decade ago and supported by the late Queen.

The report noted: "A number of stories this year either address themes of gender, or include references to gender identity in an incidental way."