* Inner Conflict: The character is struggling within themselves, with what they want or what they do
* Relational Conflict: The character is struggling with someone else
* Social Conflict: The character is struggling with a group
* Survival Conflict: The character is struggling with fatality
* Situational Conflict: The character is struggling with a situation -- in this case, the character’s problems involve the interests, problems, ambitions and situations of others and their affect on the character.
It seems what I'm battling is an inner conflict. I have no discipline in sitting myself down and hashing out some hard copy pages. The screenplay I'm working on is simple. I started at the end and the main character dies. My own personal inner conflict is in coming up with a way that leads to his demise. I found this web site by googling "How to write conflict"
How to Write Conflict: Understanding the Most Important Part of Writing Fiction
The ending is bittersweet in that, while some of the characters disliked the main character, one antagonist hears about the death and mourns. But when said antagonist learns more about the main character's life, it becomes obvious that while this tragedy may have arrived too soon in life, it was truly the best thing that may have befallen our protagonist, as living would have been too sufferable for him.
What the "F" am I talking about? What could possibly be so bad to welcome death? Pancreatic cancer, AIDS, progeria, downs syndrome, brain cancer? Even if I wanted to, I don't think I could write about these conditions. The bloke is suicidal as in Crocodile Dundee, or Leland Van Lew. The only difference is, he is disliked by most everybody in the story because he's a bully, an evil monster, a hater, a pessimist, and all that other good stuff I have yet been able to conjure up. He steals mementos from people's desks just to watch them scurry about. He discreetly farts in strategic locations to see his most loathsome co-workers suffer. He back stabs, he lies, he's most definitly a man who would hurt a fly. My biggest problem is how to approach one antagonist into believing he was a righteous, misunderstood gentleman.
Well, I've been tossing the idea of sexuality. We all know that a movie must contain a sex object as a leading character in order to maintain the audience's attention. So, considering the male hormone being what it is, when a nice girl, who's been around the block, tries to get close to him, this sorry excuse for a man, who isn't very good looking at all, reacts inconsiderately with intent to harm whatever feelings in her he can manage. Somehow, someway, the antagonist catches wind of this and sees clearly what we all seemed to miss the first time around, that he was only trying to save this woman whom he recognized as having a crush on him from the only thing that could result from a relationship with him. The pain and the suffering.