If you have plot bunnies coming out of your plot holes, it’s time for a writing break.
Today we are wrapping up our seven-part series on literary conflicts with the final boss: Character versus Destiny.
The Writing Break cafe is open, so let’s grab a drink and unwind on the Overthinking Couch.
The seventh and final literary conflict in our series is character versus destiny. Some people lump this one together with character versus supernatural, but not me. I covered character versus supernatural in episode 106, so check that one out if you missed it. Both conflicts can appear in one story, and there might even be some overlap between the two. Character versus supernatural and character versus destiny each involve a protagonist facing external forces beyond their control; however, there are key distinctions between the two conflicts.
For starters, character versus supernatural often explores themes of good versus evil, the unknown, and the limits of human understanding, while character versus destiny often explores themes of free will, predestination, and the role of fate in shaping one's life.
There’s also major differences in the nature of the two forces. Supernatural forces are often seen as magical, mystical, or otherworldly entities or powers. They can be gods, demons, ghosts, or other non-human forces, whereas destiny is often seen as a predetermined course of events, a fixed path that the character must follow. The predetermined course is often presented in the form of prophecies, societal expectations, or personal history. The conflict arises when the character rejects the idea that their fate is predetermined and beyond their control.
This affects how much control a protagonist has in each conflict. In conflicts against the supernatural, characters have a considerable amount of agency and can use their skills, knowledge, and allies to combat forces that defy the natural world. However, in conflicts against destiny, destiny is presented as an inescapable force, despite the protagonist’s best efforts to struggle against a predetermined path. When a character fights their destiny, it can lead to internal struggles but it can also lead to character growth.
Character versus destiny is an intriguing literary conflict because most readers have wondered at some point in their life if they truly have freewill or if their lives have been mapped out for them from the start. We might want to be autonomous, but we might also enjoy the irresponsibility that comes with fulfilling our destiny. For example, if I believe that fate is something I cannot control, how responsible am I for any wrongdoing? Wasn’t I going to do it anyway? Take Sleeping Beauty, for example, they burned all but one spinning wheel in the village, and Aurora still found the one that would fulfill the witch’s curse.
Character versus destiny conflicts often involve a prophecy that the character does not want to see fulfilled, such as in Macbeth. Perhaps you think you can change your fate, and yet it is the very actions that you take to change your fate that begins to fulfill it, as in Oedipus Rex and Minority Report.
The idea that life is predetermined and we cannot outrun our destiny can be thrilling and fun to explore. Once the story is over, we can resume our day just a little less certain that we are in control of things.
That concludes our 7-part series on literary conflicts. Next week listen out for a bonus episode putting all these conflicts into one episode. After that, we’ll start our next season, which will focus on advice from agents, authors, and listeners on the business of writing, including the writing process, the querying process, tools of the trade, and more. Until then, thank you so much for listening, and remember, you deserved this break.
If you would like us to visit your favorite independent bookstore, feature your favorite independent author (even if it’s you), or discuss something you’re overthinking about, please email me at podcast@writingbreak.com.
Thank you for making space in your mind for The Muse today.
Writing Break is hosted by America’s Editor and produced by Allon Media with technical direction by Gus Aviles. Visit us at writingbreak.com or contact us at podcast@writingbreak.com.
