Creativity in Writing (4): Decide the Main Problem or Conflict

Here are seven exciting and creative ways to help young writers with the story step: “Decide the Main Problem or Conflict.” Each method is written in simple English and includes a clear explanation, a fun example, and three helpful cautions to guide thoughtful storytelling. These ideas encourage young minds to think deeply about the heart of their story — the challenge that makes the journey interesting. By learning how to create meaningful problems, writers can build stronger emotions, suspense, and growth in their characters. A warm and inspiring conclusion is added to remind young storytellers that every great story needs a problem worth solving.

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1. Ask: “What Is the Character Afraid Of?”

Fear is a powerful way to find a story’s main problem. Ask yourself: What is my character most afraid of? Is it public speaking, being left out, failing, or losing something special? When a character faces their fear, the story becomes more emotional and meaningful. The fear can be small or big, but it must matter to the character. You can then create a situation that forces them to face this fear. This builds natural tension and gives a strong reason for the character to grow.

Fear makes the conflict personal and helps the reader feel connected to the character’s inner journey.

Example:
A girl who is afraid of being laughed at is asked to lead her class play.

Cautions:

1. Don’t choose a fear that is too dramatic for a short story.
2. Avoid copying fears from movies without adding your own twist.
3. Don’t forget to show how the fear affects the character’s actions.

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2. Use the “Opposite Wants” Method

This method creates a problem by giving two characters opposite goals. One wants peace, the other wants noise. One wants freedom, the other wants control. This difference causes natural conflict. You can also use this inside one character — they want two different things at the same time. This tension helps make the story stronger and more realistic because, in real life, we all face inner or outer conflict like this.

Opposing wants create strong conflict that feels real and keeps the story interesting.

Example:
Two siblings both want the last piece of cake — one wants to eat it, the other wants to save it for mom.

Cautions:

1. Don’t make the conflict too simple or too silly.
2. Avoid resolving the problem too quickly.
3. Don’t forget to explain why both sides matter.

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3. Imagine Something Goes Wrong

Start with something normal — a trip, a party, a class — and imagine what could suddenly go wrong. A power cut, a missing item, a wrong message — all small things that cause big problems. This method helps create external conflict quickly and gives the story action and drama. It’s fun to think about surprises and twists that make the character react in new ways.

Surprise problems keep the story moving and help characters show their true feelings and choices.

Example:
A boy forgets his lines during a school play and has to think fast on stage.

Cautions:

1. Don’t add problems that feel forced or fake.
2. Avoid creating too many problems in one story.
3. Don’t forget to show how the problem matters emotionally.

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4. Use the “Lost and Found” Technique

The story starts when your character loses something or someone important — an object, a friend, a chance. The conflict comes from their journey to find it or understand its loss. This method creates an emotional story that shows how much things mean to the character. It can be about real loss (a lost toy, a missing pet) or emotional loss (trust, confidence, friendship). The story can end with finding it, replacing it, or accepting the loss.

Losing something creates immediate emotional tension and makes the reader care.

Example:
A boy loses his lucky cricket bat before the big match.

Cautions:

1. Don’t make the loss too complicated to explain.
2. Avoid making the “found” part too easy.
3. Don’t forget to show why the lost thing is special.

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5. Build Conflict from a Character’s Weakness

Every character has a weakness — fear, laziness, jealousy, or doubt. Use this weakness to build the story’s problem. Maybe the character makes a mistake because of their weakness or fails to act when needed. Later in the story, they must face their weakness and overcome it. This makes the conflict internal and gives the character room to grow emotionally and mentally.

Internal conflict leads to deeper stories that show personal change.

Example:
A girl’s fear of speaking up causes her friend to get wrongly blamed — and she must decide whether to tell the truth.

Cautions:

1. Don’t make the weakness too extreme or negative.
2. Avoid making the character feel bad all the time.
3. Don’t forget to show growth or change by the end.

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6. Use a Time Limit or Deadline

Add pressure by giving your character a short amount of time to solve a problem. This could be one day to fix something, reach somewhere, or win something. The time ticking down creates urgency and natural tension. The story moves faster and the reader feels the pressure along with the character. It also helps you keep the story focused.

Deadlines raise the stakes and keep the story exciting and action-packed.

Example:
A boy has one hour to find his missing science project before class.

Cautions:

1. Don’t choose unrealistic or overly dramatic time limits.
2. Avoid rushing the ending just to meet the deadline.
3. Don’t forget to build small challenges within the time.

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7. Create a Conflict from a Big Choice

Give your character two difficult options and make them choose one. This method creates a problem based on values, loyalty, or dreams. Should the character tell the truth or protect a friend? Go to a competition or help a family member? The conflict comes from the heart and makes readers think and feel along with the character.

Big choices create emotional depth and help readers connect with the character’s values.

Example:
A boy must choose between joining a cricket tournament or attending his sister’s birthday party.

Cautions:

1. Don’t make the choice too easy.
2. Avoid choices that feel fake or forced.
3. Don’t forget to show why the choice matters deeply to the character.

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Conclusion

Deciding the main problem or conflict in a short story is one of the most important steps because it gives the story energy, emotion, and purpose. The conflict is what pushes the character to act, change, and grow. Whether it’s an inner fear, a lost item, a big choice, or a race against time — the problem must matter deeply to the character. The 7 creative methods listed here help young writers explore different types of problems — emotional, physical, or moral — in a fun and meaningful way. These methods not only build strong stories but also teach important life lessons like decision-making, courage, and empathy. By using one or more of these tools, your story will feel real, exciting, and touching. And remember — conflict isn’t just about trouble, it’s about transformation. Every great story begins with a problem… and ends with growth. So, find your character’s challenge — and let your story begin!