In stories, personalities solve problems. This is the basic principle of story.

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Problems come in all shapes and sizes. What’s more, in storytelling castle come from within and also without. The troubles that come indigenous within are hidden, internal, and it is quite feasible for a character not to be mindful of them. Lock are generally character flaws or shortcomings.

But they room not generally what gets the story going. Many stories begin with the protagonist being confronted with an exterior problem.

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The external trouble of the main character triggers the plot. It is displayed to the audience as the event which eventually incites the protagonist come action. 

In some genres this is easy to see. In crime or mystery fiction, the external difficulty is nearly by an interpretation the crime or secret that the protagonist needs to deal with. So at the beginning of the story over there is a murder, the detective is dubbed in to investigate and solve the crime. The situation of the murder is the external trouble – it has nothing to execute with the protagonist until the contact to investigate it. In adventure or search stories the external difficulty is typically the task of attainment the a valuable thing (the shed Ark, the Maltese Falcon), or the damage of a danger one (the dragon, the ring in lord Of The Rings). So the external difficulty arises as soon as the protagonist is assigned a mission to find, protect, accompany, destroy, etc. Miscellaneous or someone either an useful or dangerous.

By saying the story question, the external trouble on the level that plot sets increase what the story is about. Will certainly Indiana Jones uncover the lost Ark? will certainly Sam Spade retrieve the Maltese Falcon? will certainly Marty make it back to the Future?

While in other category the external problem may not be together sensational or spectacular, over there is nonetheless likely to be one. Meeting a potential partner could be the external problem in a love story.

We are specifying the external trouble per character, so the is not totally synonymous through the term inciting incident, i m sorry is usually provided to decide one details scene in the narrative. It is quite possible, also likely, that different events present the external difficulties of various characters. Because that example, in The Godfather, the external difficulty for the Godfather is conveyed in the step of his meeting with Sallozzo. For Tom, the moment comes as soon as he is kidnapped. Because that Sonny the is as soon as he gets the phone call about the shooting. For Michael that is as soon as Kay points out the title in the newspaper come him. 

Wanting the Solution

The external trouble creates a desire in the character, i.e. To deal with the problem. That’s why the is necessary as a component of story: come provide the factor for the story to begin now. The external problem acts together trigger, or beginning gun, because that each character. In plenty of cases, the ide of external problem is directly related to the scene the is often referred to as inciting incident. In this sense, the external difficulty is the prime mover of the plot the the story. That is the first domino the falls, the first cause that a string of events that impact the character.

That plots room built about the external problem is no new, by any kind of means. The classical. Odysseus’ trouble is the he is lost. Oedipus’ difficulty is the plague, which he learns was sent by the gods due to the fact that of one unsolved murder.

The outside problem causes the character’s motivation, i.e. To settle the problem. The protagonist wants a instance which is freed the the problem, which typically means reaching a goal. Attaining the score will, in the character’s mind, solve the problem. In countless stories, the score is reached close to the finish of the story. What happens at the score is the story’s climax.

But in part stories, the goal is reached much sooner, perhaps round about fifty percent way through. Then the story becomes around the after-effects for the character of attaining the case he or she wanted. This have the right to mean the the external problem is replaced by another, regularly its opposite. Stories that job-related like this are stated to have a midpoint or peripeteia. Sophocles’ Oedipus Rex works choose this, so does Nabokov’s Lolita, or the oldest of the Star wars movies.

However soon the protagonist’s trouble is solved, each major character must have actually his or she own trouble in stimulate to develop conflicting interests. In some cases, the problem and resulting want might be the very same for several or every characters. Practically everyone in Raiders that The shed Ark desires the Ark, in the same means that the Maltese Falcon is the thing of desire because that each human being in that book and also film. Whether the characters have the very same or various problems, the most crucial thing in the story is the the wants resulting native their corresponding problems an outcome in problems of interest between the characters.

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Why? due to the fact that conflict is a driving pressure of stories. Where does the come from? that boils under to the external difficulties the personalities have. It is why the is essential for the author to be mindful of each significant character’s external problem at an early stage in the an innovative process of thinking up a story.