Detective vs. criminal mastermind, knight vs. dragon, cowboy vs. rogue bandit — all these classic stories fit neatly into a conflict model called “Character vs. Character.”
There are a variety of conflict types you’ve probably heard of: Character vs. Self, Character vs. Society, Character vs. Nature, etc. Although these structures abstract the idea of conflict, the original conflict we can most easily recognize is that of one person pitted against another — for survival, for power, for the right to be the last one standing.
In this article, I’ll explain the main aspects of a Character vs. Character conflict: a deep connection between the two characters, their mirrored qualities, and the climax where one emerges as the victor. Lastly, I’ll give you a Story Weapon to clarify your conflict and flesh out the tension.
Break down character vs. character conflict by exploring the deep emotional connections, mirrored qualities, and opposing values that make rivalries compelling. Using examples like Harry Potter vs. Voldemort and the Starks vs. Lannisters, it shows how powerful conflicts shape story structure and character growth. Find practical advice for building tension in your own story.
A deep relationship
For two characters to have a rivalry or feud that lasts the length of the whole story, they need a special connection. For someone to occupy your thoughts and factor into your plans, they can’t just be the last person to cut you off in traffic. It takes more than that to make a nemesis.
Let’s take the example of Harry Potter and his antagonist Voldemort. This dark lord has killed family members across the Wizarding World, so why is his connection to Harry Potter special? Though most wizards and witches have plenty of reasons to hate Voldemort, only one wizard is the “Chosen One.” By dint of a prophecy, Voldemort seeks to kill the child who would overthrow him much like Kronos in Greek mythology sought to eat his own children. By trying to circumvent the prophecies, they both create the circumstances for them to arise. Voldemort kills Harry’s parents and Zeus vows to free his siblings in Kronos’ belly.
Though Harry didn’t choose to be special, he owes his “celebrity” status to Voldemort. Harry is treated differently than everyone else when he enters Hogwarts and his identity revolves around Voldemort. They’re even bodily connected. Harry’s scar hurts whenever Voldemort is near and Voldemort takes different forms just to take down Harry. It’s an obsession for Voldemort and a quest for Harry. Both orphans are equally devoted to their final battle. That’s enough intimate animosity to last seven books.
“Conflict is the soul of literature.”
– Erica Jong
Mirrored qualities
The hero and the villain often share qualities, with their choices leading them in opposite directions. This is another way to maintain that deep relationship and make their clash inevitable. It’s like there isn’t room for both these people in their world. Eventually, they’ll have to meet and test their beliefs against each other.
Let’s use Eddard Stark and Tywin Lannister from A Song of Ice and Fire by George R.R. Martin and the television adaption Game of Thrones. Eddard Stark (commonly called Ned) is the patriarch of the Stark family. He believes in duty and honor, as well as his lineage. Ned’s natural abilities in battle made him a powerful force in the North and he seeks to protect his legacy by passing his values onto the Stark children.
Tywin Lannister, on the other hand, is the patriarch of the Lannisters. His belief in winning by any means necessary have rewarded him with a great deal of power in the South. He’s a great tactician and his children have ascended to the throne. Tywin’s children have been controlled, manipulated, and threatened by their father time and again. They’ve inherited his belief in using honor as a means to an end, ready to dispose of it when it stops being convenient.
The mirrored qualities of these two characters define the entire series. The Stark children explore their belief in honor and duty in their battle against the Lannisters. The Lannisters test their method of lying and cheating their way to power against the Starks. With two patriarchs operating under similar concerns about legacy, George R.R. Martin spins out thousands of pages for millions of readers who want to see how the conflict plays out.
Who wins and why?
A key aspect of Character vs. Character conflict is remembering that there doesn’t have to be a morally correct hero and a morally dubious villain.
The “hero” is the protagonist you’re using as the lens of the story. Told differently, the roles of hero and villain would be switched. Deciding who triumphs in the final conflict isn’t always as simple as finding a way for the Chosen One to win.
Your decision of how the final battle plays out is about the rules of your imagined world. In our example of the Starks and the Lannisters, George R.R. Martin strikes a brilliant middle ground. Ned Stark dies early in the story, tricked and beheaded. He looms over the story as the Stark house is dispersed and the Lannisters seem to triumph. That’s not the ending, just the premise.
The story offers an interesting worldview from the author. The world is presented as harsh and dangerous, where blind belief in honor is foolishness and the cruelest characters seem to be doing just fine. That is, until the tables turn on them. Tywin Lannister doesn’t die in public at the hand of an enemy. He dies in private, killed by his son, in the bathroom. His family seems outwardly strong, but there’s rot in the woodwork.
The Starks, on the other hand, individually become heroes in their own right. They act with nobility and that serves them well, pushing them closer to destroying the Lannister tyranny. With the (admittedly unwitting) help of a few dragons and their queen, a Stark ends up on the throne (in the TV series at least).
Your story weapon: Play into the tension
To craft a strong Character vs. Character conflict, treat it like a romance. I know, that seems counterintuitive. You probably don’t want to think about Harry and Voldemort as romantic, or Ned and Tywin. Approaching the story this way, however, can give you a unique way to build tension.
In the best romance books, the tension between the lovers builds and bubbles. A few exchanged glances and indirect compliments feel like big events when they’re communicated in the right way. Though there are other characters at play, we only really care about the two people at the heart of the story. Everyone else is just helping or hurting their chances of ending up together.
The same is true for your protagonist and antagonist. They’ll be surrounded by like-minded characters, whether that’s the Death Eaters or the Order of the Phoenix. There will be side quests and moments of levity, but all of that rests upon the destiny of the two main characters. Just like Mr. Darcy and Elizabeth Bennet are destined to meet, so are your “hero” and “villain.” What they do in that meeting is what separates your story from a romance and makes it a thrilling Character vs. Character conflict.
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