Navigating the Complexities of Mixing Conflicts

When writers encounter my Eight Universal Conflicts Framework, a common reaction is to question the idea of choosing just one conflict to focus on. Many writers feel compelled to mix multiple conflicts—or even all of them—into a single story. This stems from the excitement of storytelling possibilities, which often leads to confusion or clarity. Let’s unpack why this happens, why I emphasize choosing one conflict, and how I’ve developed a method for precisely integrating multiple conflicts.

The Immediate Reaction: “Why Choose Just One?”

The instinct to mix conflicts comes from a natural place. Writers know that many great stories feature layers of complexity—a Threatened Existence conflict might coexist with Life Unraveled, or a Romantic Entanglement could unfold alongside an Ultimate Quest. This realization often leads to questions like:

• “Why limit myself to one conflict? Can’t I include multiple layers of tension?”

• “How do I combine conflicts without losing focus?”

• “Does selecting one conflict mean excluding all others?”

There’s also the occasional “gotcha” critique, where someone argues that choosing a single conflict oversimplifies storytelling, given that most narratives naturally involve more than one source of tension.

These are fair questions but reveal a misunderstanding of the framework’s purpose. My emphasis on choosing one conflict is not about excluding complexity but creating clarity and focus.

The Problem With “Everything”

While mixing multiple conflicts can enhance a story’s depth, doing so without structure risks overwhelming the narrative. Here’s why:

1. Overcrowding the Story:

   Attempting to give equal weight to multiple conflicts can clutter the narrative, leaving no clear emotional anchor.

2. Diluted Impact:

   Dividing attention across conflicts can weaken the audience’s connection to any one of them, resulting in a story that feels shallow.

3. Fragmented Narrative:

   Without a unifying thread, conflicts can pull the story in different directions, creating tonal inconsistencies or disjointed pacing.

By focusing on one conflict, you gain clarity and depth. This doesn’t mean excluding other conflicts; instead, it’s about prioritizing one as the foundation for your story while allowing others to serve as complementary layers.

Why I Believe in Limiting Focus

Choosing a single conflict is about precision. When you focus on one conflict:

• The Narrative Gains Direction: An apparent central conflict gives the story a sense of purpose and progression.

• The Emotional Stakes Deepen: You create a more resonant and impactful narrative by exploring one conflict in depth.

• Other Conflicts Thrive in Support: With a strong foundation, secondary conflicts can add richness without competing for attention.

Limitations are not constraints—they’re tools. They sharpen the story’s focus, allowing the writer to make intentional choices that amplify the central emotional experience.

How Mixing Works: The Subplot Prism and M.I.C.E. Quotient

While I advocate for choosing one conflict as the foundation, I agree that mixing conflicts is essential for layered storytelling. The key is doing it with precision and thought. To achieve this, I’ve drawn inspiration from two concepts: the Subplot Prism and the M.I.C.E. Quotient.

The Subplot Prism

The Subplot Prism (borrowed from Support Character Secrets) explains how subplots refract from the main plot. Each subplot explores a different facet of the core conflict, providing new perspectives and adding depth. This ensures that additional conflicts:

• Reflect or comment on the central conflict.

• Have their own life and trajectory while still tying back to the main narrative.

• Enhance the story without derailing it.

  
  

For example:

• In Momo and Okarun’s story (Dandadan), their encounters with supernatural horrors consistently bring them closer together romantically. The supernatural elements are thrilling, but they serve to highlight and deepen the evolving romance, keeping the narrative cohesive.

• In Star Wars (Episode IV: A New Hope), defeating the evil villain (Darth Vader and the Empire) is the main conflict. However, the story integrates additional elements like rescuing Princess Leia, Luke’s progress as a Jedi, and Leia and Han Solo’s budding romance. Each subplot reflects or complements the central struggle, adding richness without overshadowing the main objective.

  
  

The M.I.C.E. Quotient

The M.I.C.E. Quotient (Milieu, Idea, Character, Event) offers a way to structure and layer conflicts. The key principle is that the first element introduced creates an open loop, and the story should close that loop last. Applying this to conflicts means:

1. Start with the core conflict as the primary loop. This is the heart of the story and what the audience is invested in from the beginning.

2. Introduce secondary conflicts as additional loops. These add complexity but must complement and enrich the core conflict.

3. Resolve the secondary conflicts throughout the narrative, ensuring they build toward the resolution of the core conflict.

4. Close the core conflict loop last, delivering a satisfying and cohesive conclusion.

   
   

For example, in a Milieu-driven story (e.g., a character trapped in an unfamiliar world), the primary loop is about escaping or adapting to that world. Other elements like Character (internal growth) or Event (a ticking-clock scenario) might layer into the story, but the resolution of the Milieu conflict must come last.

Moving Beyond M.I.C.E. to The Conflict Hierarchy

The M.I.C.E. Quotient (Milieu, Idea, Character, Event) inspired my approach but has been replaced with the Eight Universal Conflicts in my framework. While M.I.C.E. focuses on broader narrative elements, the Eight Conflicts centers storytelling on specific sources of tension and emotional engagement.

Here’s how the inspiration translates:

1. The Core (Primary) Conflict:

   • Just as M.I.C.E. teaches that the first narrative element introduced must be resolved last, my framework emphasizes the core conflict as the narrative’s primary loop. This conflict opens the story and is resolved in the climax, providing closure.

2. Subordinate Loops:

   • Subordinate conflicts function like secondary loops in M.I.C.E., adding depth and tension while serving the primary conflict. These are resolved to build momentum and emotional weight toward the final resolution.

   • These are the supporting players. They add depth, tension, and nuance but are always tied back to the core conflict.

   • Subordinate conflicts refract off the core conflict (as in the Subplot Prism) and are resolved before the core conflict (as in the M.I.C.E. structure).

     
     

This replacement makes the method more focused, practical, and emotionally resonant.

Final Thoughts

The Eight Universal Conflicts are not about limiting your creativity but about giving your story focus and purpose. You create a layered and cohesive narrative by selecting one conflict as your foundation and integrating others with intention.

Ask yourself: What is the heart of my story? How do other conflicts reflect or amplify that core struggle? By answering these questions and using The Hierarchy of Conflicts as guides, you can craft a story that balances complexity with clarity, delivering a powerful and satisfying experience for your audience.