What if you want to write a story other than the redemption tale? The hero’s journey and a slew of other plot outlines will provide little help to you because built into their structural guide is a latter section of the story that is exactly what Macbeth isn’t—an ultimate sacrifice, followed by an epiphany-induced power surge, and a final push toward a (spiritual) full potential.
We’ve all heard about the importance of conflict in storytelling. One of my favorite quotes in this regard comes from Charles Baxter, who says, “Only Hell is interesting.” If there’s not trouble in the story, we don’t want to hear about it. That’s not to say we want trouble to win out. On the contrary, when a story has elements of conflict or trouble, they work to expose what’s good and right and true about the protagonists with whom we empathize and sympathize.
But I want to unpack conflict a touch more because it comes in a few different varieties.