4 Types of Story Conflict That Power Great Screenplays

Sometimes the “basics” of screenwriting aren’t as basic as they seem.

I know this because even after years of writing, reading, and developing screenplays, I’m still learning new things about the foundational building blocks of story. And I know it because most screenplay notes — even from professionals — usually come down to those same fundamentals.

The truth is: the basics are “basic” because they’re essential, not because they’re simple.

So let’s keep digging. This week, I want to take a closer look at one of those essentials: the main conflict of a screenplay. Specifically, the different ways that main conflict can work.

It’s something I rarely see broken down in detail — but understanding these variations might just give you the clarity you need to crack your next story.

What do we mean by “main conflict”?

Every screenplay contains many sources of conflict, but the main conflict is the spine of the story. It’s the throughline that keeps the narrative moving forward.

When you describe a movie as:

“Someone wants something and goes after it, against strong opposition.”

…you’re describing the main conflict.

We spend a lot of time talking about protagonists and story goals — the “someone wants something” part. But conflict doesn’t exist until that pursuit of a goal meets an opposing force. The story’s antagonist provides the “…against strong opposition” part.

The interesting question is: how exactly do these opposing forces interact? Because not all main conflicts are built the same way.

In fact, I’d argue there are at least four distinct types. And knowing which type your story is working with can help you clarify and strengthen your screenplay.

The 4 types of main conflict

The antagonist often shows up as another character, but not always. For simplicity, I’ll use “antagonist” here to mean the primary force of opposition — whether that’s a person, nature, society, or something else.

Just like your protagonist, the antagonist has a goal. And the way those two goals clash defines the shape of your story’s central conflict.

Here are the four main types:

1. The protagonist’s goal is to prevent the antagonist’s goal

In this setup, the protagonist isn’t just chasing their own dream — their main focus is actively stopping the antagonist.

Examples:

• Bridesmaids: Annie wants to protect her role as maid of honor and best friend to Lillian, while Helen is trying to take that spot. Annie’s goal becomes preventing Helen from succeeding.

• The Silence of the Lambs: Clarice’s mission is to stop Buffalo Bill from killing more women.

Other examples: The Ring, My Best Friend’s Wedding.

👉 This may be the most common type of conflict in mainstream movies, because it gives the protagonist a very clear “must stop” objective.

2. The antagonist’s goal is to prevent the protagonist’s goal

Flip the dynamic: now the protagonist is pursuing something, and the antagonist’s mission is to block them at every step.

Examples:

• The Babysitter: Cole uncovers what his babysitter and her friends are really up to, and once he tries to escape, her entire focus becomes stopping him.

• About a Boy: Will wants to preserve his comfortable, commitment-free lifestyle, but Marcus keeps forcing Will into emotional connection and responsibility.

In this version, the protagonist sets the agenda — and the antagonist reacts by opposing it.

3. Both protagonist and antagonist want the same goal

This creates a built-in rivalry: only one can succeed.

Example:

• Warrior: Estranged brothers both compete for the MMA title. They’re not villains in the traditional sense, but in function they’re antagonists to one another.

This type of conflict often brings emotional depth, since the opposition isn’t rooted in “good vs. evil,” but in competing desires that can’t both be satisfied.

4. The protagonist’s and antagonist’s goals are different but incompatible

Sometimes the protagonist and antagonist are after different things — but if one succeeds, the other necessarily fails.

Examples:

• Die Hard: John McClane wants to save the hostages. Hans Gruber wants to steal from the vault and is using the hostages as leverage. The goals are separate, but in direct conflict.

• Finding Dory and The Perfect Storm also show this type of conflict, where the “antagonist” may not even be a person. In stories with environmental or situational antagonists, the opposing force isn’t trying to stop the protagonist — it just exists in direct opposition to what the protagonist needs.

This structure is especially useful for stories where the antagonist is systemic, environmental, or otherwise not a straightforward “villain.”

Why the antagonist’s side matters

We often focus so much on protagonists that the antagonist becomes an afterthought. But remember: no conflict, no story.

The antagonist needs to be as active and motivated as the protagonist. If the opposing force is weak or passive, the story will run out of steam.

Unlike the protagonist’s goal — which is usually introduced in Act 1, pursued in Act 2, and resolved in Act 3 — the antagonist’s goal can be established before the story begins, or emerge in reaction to the protagonist. Either way, it must be strong enough to carry the weight of the story.

Putting it into practice

When you’re developing your screenplay, ask yourself:

• What’s the main conflict of my story?

• Which of the four types does it fall into?

• What exactly is the antagonist’s goal, and how does it directly oppose the protagonist’s?

If you’re unsure, try brainstorming from each type:

• Who might be trying to achieve something the protagonist must stop?

• Who might want to stop the protagonist?

• Who might want the same thing the protagonist wants?

• Or, what separate goal could naturally block the protagonist’s path?

Studying existing movies through this lens can also sharpen your instincts. Notice which type of conflict they’re built on. Do certain genres favor certain types? Which ones resonate most with you?

Conflict is more than just “good guy vs. bad guy.” By identifying the type of main conflict at the heart of your story, you can strengthen the spine of your screenplay, clarify your setup, and give yourself a clearer path through Act 2.