The Two Real Conflicts in Literature

May 17, 2023

Conflict is said to be the heart of a story. Frankly, some of what is called conflict I see as merely challenges to be met or problems to be solved. Why? Read on to see.

What Do “Experts” Call Conflict?

First, set aside your Merriam-Webster, Collins, Oxford English, or other dictionaries and skip all those dictionary websites. We are talking about conflict only as a literary device, which, by the way, is different from “conflict in the work place,” as this article among many others showed.

Conflict in literature is described in basically the same way. To save you some time in slogging through them all, I have slogged through a bunch. From that, I have compiled a comprehensive list of a number of these descriptions of the various “types” of conflict that writing “experts” proclaim. And after all that slogging I have concluded:

There are only two types: internal and external.

I agree with the internal conflict definitions that the “experts” have listed. But on the external side, I see a lot of “hair splitting” instead of seeing these conflicts for what they are. Also, often they are really internal conflicts.

Let’s start with those definitions, according to various sources listed at the end of this article.

Definitions of Internal Conflict (Character vs. Self)

Frankly, these all sound reasonable.

… when a character struggles with their own opposing desires or beliefs. It happens within them, and it drives their development as a character.
… the conflict the protagonist faces within themself [sic]; this could be because of their fears, their lack of confidence, their desires or other issues on their mind. Internal conflict is usually characterised [sic] by resolving two opposite thoughts within an individual.
… when the character struggles with something within themselves. They may be struggling with opposing desires, feelings, or beliefs. They may also be struggling to make a choice that is difficult to make. Internal conflict creates growth and helps with character development throughout the story.
… the challenges that a character presents themselves. This is the conflict Man Vs. Self.
Internal conflict in a story: The challenges that a character presents themselves.
Often, the protagonist must overcome certain flaws to achieve what they want. Those flaws might be related to their personality—egotism or narcissism, for example. They might also have to overcome certain flaws in their way of thinking, such as self-hatred, insecurity, or fear of others. These flaws usually sit in the character’s blindspot [sic], and their continued inability to address those flaws is what allows the conflict in a story to get worse and worse until the inevitable, explosive climax.
… a character might be conflicted with their own feelings or have two opposing goals. … a struggle between right and wrong or a struggle between opposing wants, needs or expectations. For example, a character might have to choose between two love interests.
… a character struggles with two conflicting desires or needs—such as whether to do something against their personal ethics in order to succeed or survive, or whether to alter a deeply-ingrained set of beliefs when faced with new information or a new circumstance.
… why their initial goal was so important to them in the first place, … what they’ve actually been chasing is something much deeper.
… explore psychological themes such as making moral choices and doing the right thing, or changing our personalities and beliefs in order to survive. They also enable us to look at issues like mental health.
… the opposition the character faces is coming from within. This may entail a struggle to discern what the moral or “right” choice is, or it may also encompass mental health struggles.
… when the protagonist or the main character fights against his bodily addiction such as in the case of some drug addict. Some may fight against the religious belief that has proved wrong or against political dogmas…
… a person has desires but he also has to fulfill his responsibilities. He has to perform his duty as well as do his responsibility or commit suicide and die or struggle for his survival.
… worlds that do not match with reality such as the dystopian world …, the world of magical realism …, or the world created by the superiority complex …
… a character’s inner dilemma. … a reader experiences the most empathy for a character when that character is in the middle of some intense inner strife. … will stem from a debate that occurs within a character.
… a character experiences opposing emotions or desires simultaneously—good and evil or vice and virtue, for instance. … struggles with mental illness or regrets actions they committed in the past.
… a character struggles with an internal issue. … an identity crisis, mental disorder, moral dilemma, or simply choosing a path in life.
A character battling inner demons, one who has an inner moral conflict (think Hamlet), or is simply striving to become a better person …

Types of Internal Conflict

Religious – a character’s thoughts or feelings contradict his/her religious beliefs, leading to doubt or disbelief.
Moral – a struggle between two opposing values such as an action that goes against their morals in order to reach a goal.
Self-perception – characters question if they are presenting their true self to others. A character running for public office may have a carefully crafted persona they deliver to the public and their genuine self, causing him to doubt his self-image and self-awareness.
Love – a character faces a decision that may hurt a person he/she loves. The choice may ultimately benefit their loved one despite initial pain.
Political – a character experiences a political struggle or when a character discovers a policy he/she opposes within the political party. Can overlap with moral conflicts.
Societal – characters experience conflicting emotions about their role in society or its expectations of them.
Addiction – the character comes into conflict with his/her own self. This could be the difference of nature, or self-contradiction or even addiction when the character in question has to go through suffering to forsake that addiction. This addiction could be of a drug, or a person or even a place. The important point about this type of conflict is that it occurs in the mind. Therefore, it is also called a mental conflict.
Existential – characters question their place or purpose in the world. Could include fears or questions about the universe or the meaning of life.

Definitions of External Conflict (Character vs. Character, etc.)

Here is where I see the “experts” veering off course, especially when including things like the weather as a source of conflict. “Something” isn’t sentient and has no free will, essential elements in conflict. Even so, I will present all external types they claim here anyway, since my purpose is not to persuade you but to bring another perspective to the situation and thus aid you in your writing.

… sets a character against something or someone beyond their control. External forces stand in the way of a character’s motivations and create tension as the character tries to reach their goals.
… the conflict between characters and other external forces such as technology, nature, society etc. It acts as a barrier to the protagonist reaching their goals.
…a struggle that takes place between the main character and some outside force.
… the character struggles with something that is outside of their inner self such as an antagonist, weather, or other real world obstacles.
… any conflict that a character has with another person, place, or thing.
… a character comes up against an outside force that creates the conflict.

External Type 1 – Character vs. Character

Also called: person vs. person, character vs. antagonist, interpersonal conflict, man vs. man, protagonist vs. antagonist

For me, this is the only legitimate type on the external side.

… the most common type of conflict in stories … can refer to all kinds of struggles between characters, whether it’s a hero battling a villain or two potential romantic partners seemingly unable to sort out their differences.
… the main character’s goal is obstructed by another character or multiple characters. … result in either an argument or a physical confrontation. … has to choose how they will try to overcome the person or people who are keeping them from getting what they want. … could be a scene that takes place in a crowded subway station where the hero is running away from the villain.
… two people, or groups of people, find themselves fighting for contrasting desires that are absolutely exclusive to each other. … classic “hero vs. villain” story … two otherwise good characters, such as two best friends fighting for the same wedding venue, or two business owners competing for customers in a small town.
… one character’s needs or wants are at odds with another’s. … a straightforward fist fight … as intricate and nuanced as the ongoing struggle for power …
… two characters are pitted against each other in a battle, either literally or figuratively.
… a character struggles against other characters in the story …
… ancient conflict in which a protagonist and an antagonist come into conflict with each other, representing evil and good. The antagonist could be the second major character or not-so-important character, a man, a child, a woman or even a neutral gender.
… When one character does not find it easy to sync his interests with that of the others and faces obstacles, this creates a conflict between the characters.
… the thinking and subsequent actions of the people that do not match …
… (cops vs. robber, hero vs. villain, etc.), but it can also cover subtler kinds of personal confrontations: romantic entanglements and familial disputes, for example. … commonly rendered as the traditional “protagonist vs. antagonist” setup, where these two central characters will usually have diametrically opposing goals.
… a character being in opposition to another character or characters. This conflict generally occurs between a story’s protagonist and antagonist, but sometimes it unfolds between the protagonist and a friend or acquaintance.
… two people, or groups of people, that have goals or intentions that conflict with each other. The resolution comes when one overcomes the obstacle created by the other.
… a good vs. evil story in which an unambiguous challenger opposes the main character. … two characters with opposing outlooks, opinions, or goals. The story will become richer when both characters believe themselves to be right or when there is no clear right or wrong between their differences.
… two characters or two or more characters are pitted against one another in a battle, either literally or figuratively. The outcome can bring about maturity and growth, or a restoration of peace in the protagonist’s world. … as obvious as a physical altercation, or as vague as an underlying power struggle.

External Type 2 – Character vs. Society

Also called: person vs. society, man vs. society

This is actually a variation on Type 1, since societies are merely groups of people, each an individual, no matter how much they have in common. In each of the below descriptions, they are referring to things that are really other names for one or more individuals.

… the protagonist’s struggle as a way of making important comments about society …
… the protagonist pitted against a collective, impersonal antagonistic force such as a government body, an unfamiliar culture, or a conflicting demographic.
… a character or a group of characters leading a protest against an agency or group of leaders. … society or an agency pursuing a character.
… the main character is usually fighting against societal rules, a dystopian government, or a mindset in their community.
… the protagonist is placed in opposition with society, the government, or a cultural tradition or societal norm of some kind. Characters may be motivated to take action against their society by a need to survive, a moral sense of right and wrong, or a desire for happiness, freedom, justice, or love.
… the main character stands up to support his beliefs and struggles against the social forces.
… the main protagonist comes into conflict with the social setup, norms, traditions, and conventions.
… pits the individual against the collective. … an oppressive government, adults (as seen from a teenager’s perspective), or systemic corruption. … society will put pressure on our character to change and fall neatly into order. On the other hand, our protagonist will resist this change and, in extreme cases, will try to bend society to fit their vision.
… the protagonist struggling against social or culture norms or against a ruling body, which could be the protagonist’s family or the government.
… a character at odds against the culture or government in which they live.
… a character against a tradition, an institution, a law, or some other societal construct.

External Type 3 – Character vs. Nature

Also called: character vs. natural disaster, conflict with nature, man vs. nature

Now we’re really going astray, claiming that something or some creature that just acts is doing so by free will, essential to a conflict (see A More Realistic Way of Seeing Conflict below). But I present these by way of explaining the problem.

… ideal for creating adventure and disaster stories, as writers can use the weather and natural disasters as obstacles for the protagonists to overcome. [Emphasis mine. They are not items of conflict.]
… the main character, or central characters, are battling against a force of something beyond anyone’s control. … being lost at sea and surviving against impossible odds, or preparing a town against the threat of an incoming hurricane.
… a character might find themselves in conflict with an element of nature or an animal. … can put the character in a difficult situation or introduce them to a new setting.
… the main character usually must be victorious against the natural elements of the world like a storm, disease, or dangerous animals.
… a character is set in opposition to nature. … the weather, the wilderness, or a natural disaster. … man struggles with human emotions, while nature charges forth undeterred. [Note: that means this is really a man vs. self conflict.]
… the protagonist struggles against the forces of nature, or an external environment.
The main character or other characters find themselves having conflicts with the natural forces such as weather or some other calamity. … a disease, an epidemic, a flood, an earthquake etc.
… a man comes into conflict with nature.
… wildlife (Jaws), natural disasters (The Day After Tomorrow), the weather (The Perfect Storm), or a post-apocalyptic landscape (The Road), the antagonists in this type of conflict cannot be reasoned with. [Note: therefore nature is not an antagonist.] … usually center on a character’s survival. In the absence of a human antagonist, our heroes will often discover that “character vs. self” conflict… is at the heart of their narrative arc.
… a character struggles against the forces of nature, such as a storm or an animal attack. … the protagonist is adrift at sea or lost in the wilderness. … often involves internal conflict as well, since the protagonist may experience self-doubt as they struggle against the powerful forces of the natural world.
Natural disasters, weather, animals, and even just the earth itself …
… a character against some force of nature, such as an animal or the weather. … A classic example is Ernest Hemingway’s Old Man and the Sea [See my commentary on this below.]

External Type 4 – Character vs. Technology

Also called: person vs. machine or technology, man vs. technology, person-versus-machine or technology-themed

This type has the same issue as Type 3. Again, though, I present them to show the way in which the concept of conflict as it applies to literature is being greatly skewed.

… often used in science fiction and dystopian stories to create conflict. … show us the power of technology, with humans often pitted against obstacles that they have created themselves.
… a character versus a machine, robot or piece of technology. … a character physically battling a robot who is trying to attack them. … a character whose car breaks down in an unfamiliar town and leaves the character stranded.
… the main character is usually struggling against technology run amok, like robots, or technology that has become too invasive and is used by a dystopian power for evil. A character can also be battling against the technological advances that he or she can’t keep up with, such as an innovator not being able to keep up with competitors’ products.
… a character is in conflict with some kind of technology.
… might summon up the image of a Terminator-like robot apocalypse …could also be as modest as someone struggling to teach their Grandma Millie how to use emojis!
… the protagonist faces off against threatening technology, such as machines, or technological failures. These stories can contain elements of man vs. society, as technology is often an extension of and tool for societal or cultural norms. Man vs. technology narratives can also appear in tandem with man vs. man stories, as an antagonist may frequently use superior technology to fight against the protagonist. [Why not simply call it Character vs. Character? The technology is just part of the props.]
When a character is confronted with the consequences of the machines and/or artificial intelligence created by man … a common element used in science fiction writing.
When science moves beyond human control …

External Type 5 – Character vs. Fate/Destiny/Luck/Supernatural

This is in the realm of fantasy fiction, most definitely. I lump them all together even though some articles split them into different categories. They are all beyond the limits of the real world.

Character vs. Fate

Also known as: character vs. fate, man vs. fate, person vs. destiny or fate, person vs. destiny (fate/luck/god), man vs. god, man vs, god or fate

The concepts of fate and destiny strip man of free will, which again is an essential element in conflict (see A More Realistic Way of Seeing Conflict below).

… pit the character against something that nobody can control. … frequently in ancient myths and legends, where the gods take revenge on people who displease them. … can also have a prophecy at its centre [sic], with the character taking action to stop the prophecy coming true, or trying to avoid the inevitable.
Similar to “character vs. supernatural,” … can include dealings with God or the gods and their prophecies — where our protagonists desperately try to assert their free will. … common trope in Greek tragedies, where the characters can do nothing but endure the destinies befallen to them.
When a character is in conflict with their own destiny, they may struggle with accepting their fate in the story. … add texture and nuance to a character's internal struggle. … how they reconcile their external destiny with their internal feelings.
… main character is cursed by a prophecy …
… since accepting fate can be seen as an inner personal struggle, some define it as Person vs. Self instead. Or some might reframe Person vs. God as being person against religion and, therefore, would put it in the external conflict type of Person vs. Society.
… difficult to differentiate from man versus society or man, but it is usually dependent upon an outside force directing the path of a character.

Character vs. Supernatural

Also called: character vs. supernatural, character vs. supernatural/paranormal, person vs. a supernatural being, person vs. supernatural, man vs. supernatural

The idea of a god can go here as well as in the above and often does.

… quite a lot in common with character vs fate, in that the character is facing something they can’t understand or control. … the enemy is usually a magical or mythical creature with superhuman powers, raising the stakes …
… a struggle with a fated outcome or with a ghost or deity-type creature. … a ghost story where a character has to battle with a ghost or multiple haunted creatures. … mythical stories of deities where a character is struggling with multiple deities or their powers.
Pitting characters against phenomena like ghosts, gods, or monsters … creating an unequal playing field. Supernatural conflict also covers characters … who have a fate or destiny and struggle to accept the sacrifices that come along with it.
… between the main character and the supernatural forces or paranormal creatures such as gods, spirits, ghosts, or heavenly bodies.
… up against something that cannot be explained by logic or science … can also explore human fears and inexplicable everyday events. … often see the protagonist face off against the forces of fate, religion, ghosts, gods, demons or aliens.
… the protagonist finds themselves [sic] struggling against an angry god, spirit or other supernatural force. This is frequently accompanied by man vs. self, as the protagonist is often forced to confront their human limitations while battling the supernatural or divine.
… humanity vs. ghosts … or humanity vs. aliens.
… a character and some unnatural force or being.
Vampires, werewolves, aliens, and ghosts – any typically unbelievable, supernatural, or inexplicable phenomena …

A More Realistic Way of Seeing Conflict

Okay, there is some merit in the above “conflict” types. They do make a story more interesting. My issue is with using the word “conflict” to describe these literary situations. I propose something different and point you to Ayn Rand’s slim non-fiction volume The Art of Fiction.

If men have no choice, you cannot write a story about them, nor is there any sense in reading one. If they do have choice, there is no sense in reading about unchosen events. What you rationally want to read is a story about men’s choices, right or wrong—about their decisions and what they should have decided—which means: a free-will, Romantic plot story.
…
The essence of plot structure is: struggle—therefore, conflict—therefore, climax. A struggle implies two opposing forces in conflict, and it implies a climax. The climax is the central point of the story, where the conflict is resolved.
“Conflict” here mean conflict with other men or conflict within a man, but not conflict against nature or coincidence.
For the purpose of dramatizing a man’s struggle and choice, a conflict within his own mind, which is them expressed and resolved in action, is one of the best devices. By that means, you present clearly and in action the man’s freedom—the fact that his decision is what resolves the conflict.
A man’s struggle against nature, by contrast, is an issue of free will only on his part, not on the part of nature. The blind forces of nature can be only what they are and do only what they do. A conflict against nature is therefore not a dramatic conflict—no choice or suspense is possible on the part of the inanimate adversary. In a fully volitional conflict, both adversaries must have free will; two choices, two sets of values, must be involved.

There is much more. I encourage you to read the whole book.

Basically, she is saying (and I concur) that conflict is between one or more protagonists and one or more antagonists and involves free will. How can you have conflict with a non-sentient being which also has no free will or with something inanimate such as the weather or nebulous as “society” or “culture”? How do you have conflict with a rock, a bunny, the wind? You can certain be challenged by these things and be presented with one or more problems to solve, but to say these are true conflicts in literature is to broaden the definition of the word “conflict” beyond any real meaning. And society and culture are basically about individuals as I have noted above.

An example is The Old Man and the Sea. It was a man challenged by, but not in conflict, with the sea. He was in competition with the sharks over his prize catch, but the real conflict was with himself, driven by his obsession, just as Captain Ahab was in Moby Dick. The idea of a conflict with nature seems based on some kind of sentience and free will in nature which is unscientific. Humans cope, adapt, succeed, fail with nature (animals, weather, geological events such as earthquakes and volcanoes, etc.).

My Take on Conflict in Some Literary Works

One thing that quickly became apparent in the dozen or so articles through which I slogged is that the same literary works came up repeatedly. Some I have not read, so I refrain from commenting, but for those I have read, I wonder if the author of the article and I read the same book.

Here are the main ones with which I take issue:

In the Character vs. Society Category

These are clearly Character vs. Character or in some instances Character vs. Self, since societies are groups of individuals.

1984 by George Orwell — A dystopian society (i.e., group of people) with an all-powerful government that persecutes individualism and individual thought. Winston, the main character, seems to be in line with the thinking of government people but really is not. He finds himself in a battle with these people. A source article author mis-categorizes this as Character vs. Supernatural/Paranormal.
Charlotte’s Web by E.B. White — An article author says this is Wilbur fighting for survival against a society that eats pigs. Actually, Charlotte, spinning messages in her web, is the one fighting. And neither is fighting society. They are fighting the farmer who wants to slaughter Wilbur and recover money invested in Wilbur’s care and feeding.
The Devil Wears Prada by Lauren Weisberger — This is Character vs. Self. A young woman gets a job that isn’t her ideal and needs to make the most of it to eventually get to that ideal job.
The Handmaid’s Tale by Margaret Atwood — Mentioned in six or seven source articles. Handmaids are fertile women used as surrogate child bearers. That makes this Character vs. Character. The author mixes in some environmental elements, so some call this Character vs. Nature, but that category is actually just man being challenged by nature and the conflict is really with himself, drawing upon his inner strength and wits to survive.
Oliver Twist by Charles Dickens — Orphan Oliver deals with the people around him and deals with obstacles, making this also a Character vs. Self story.
Romeo and Juliet by William Shakespeare — Romeo and Juliet against their feuding families with destiny in the form of feeling hopeless against that situation. But destiny is just a conviction in one’s mind that one is hopeless to change a situation or that the future is already determined.
The Scarlet Letter by Nathaniel Hawthorne — Hester Prynne is in conflict with other people in the town, having gone against one of the tenets of their morality.
Tess of the d’Urbervilles by Thomas Hardy — One article properly categorizes this novel, stating that Tess is in conflict with first Alec and then with Angel Clare. Another thinks this is conflict with society, but since society is just people, that’s accurate except for the terminology the article author uses.
To Kill a Mockingbird by Harper Lee — An attorney stands up against most white people’s views of black people as he defends a black man accused of raping a white woman. This novel comes up in about six of my source articles. Each mis-categorizes it.

In the Character vs. Supernatural/Paranormal Category

Depending on how the terms “Supernatural” and “Paranormal” are used, this is often Character vs. Self.

A Christmas Carol by Charles Dickens — The ghosts in this story are actually allegories for Scrooge’s inner mind or conscious. Marley pops up to warn of more ghosts coming to give Scrooge a chance to change.
1984 by George Orwell — See In the Character vs. Society Category above.
Antigone by Sophocles — Categorized by a source article author as Character vs. God, doomed characters who battle their destiny (a conviction in one’s mind that he had no free will and that whatever happens is beyond his control and therefore not his fault). See Prometheus Bound by Aeschylus below.
Dracula by Bram Stoker — Sorry, but even a vampire is a character, so this is Character vs. Character, Jonathan Harker, Van Helsing and Mina Murray on the one hand, and Count Dracula and vampires on the other.
The Harry Potter series by J.K. Rowling — Mentioned in three articles, each with a different categorization. One is Character vs. Character – Harry Potter against Lord Voldemort and his ilk, good versus evil. Another says it’s Character vs. Supernatural in the form of wizardry and Character vs. Self with Harry dealing with being a magician. A third says it’s Character vs. fate in that Harry is marked (literally by the scar on his forehead) to battle Voldemort but also states: “In some ways, the Harry Potter story is a classic character vs character conflict, with Harry battling his enemy Voldemort.” I must again point out that Harry has free will and can choose not to engage in that battle.
The Haunting of Hill House by Shirley Jackson — Mentioned in two articles. A group of people deal with themselves and each other while trying to find proof of a haunting.
The Lion, the Witch and the Wardrobe by C. S. Lewis — The antagonist is a witch but she’s still a person, so this is Character vs. Character. Her profession and the setting (Narnia) are window dressing.
Lord of the Rings by J.R.R. Tolkien — Sorry, but Frodo could have said no and stayed home by the cozy fire. So saying that he is in conflict with fate is a bit nonsensical. He is in conflict with his own bad decision and the resulting conflict with other characters.
Macbeth by William Shakespeare — Mentioned in three articles, each with a different categorization: Character vs. Fate, Character vs. Society, Character vs. Supernatural. Again the protagonist is in conflict with himself in that he feels bound by a prophecy instead of knowing that he can act freely. He ends up in Character vs. Character conflicts.
Moby Dick by Herman Melville — Mentioned in four articles, two calling it Character vs. Supernatural/Paranormal and the others calling it Character vs. Nature. Captain Ahab of the ship named Pequod is obsessed with catching a whale. Obviously, a Character vs. Self story. They deal with challenges from nature, but that isn’t the conflict.
Oedipus Rex by Sophocles — Another one of these prophecy things. The author calls it Character vs. Supernatural but then adds, “If these stories teach us anything, it’s that tragedies are almost always self-inflicted!” So it’s Character vs. Self.
Prometheus Bound by Aeschylus — Categorized by a source article author as Character vs. God, doomed characters who battle their destiny (a conviction in one’s mind that he had no free will and that whatever happens is beyond his control and therefore not his fault). See also Antigone by Sophocles above.
Robinson Crusoe by Daniel Dafoe — Mentioned in a couple source articles. One says this is a crisis of religion, but that makes it Character vs. Self, not Character vs. Supernatural. Another says it’s survival and calls it Character vs. Nature. Again, that’s Character vs. Self.
Rumpelstiltskin (German fairy tale) — Just a girl, a king, and an imp in conflict, so a classic Character vs. Character.
The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson — Definitely Character vs. Self as a doctor experiments on himself, releasing the evil inside him in the persona of Edward Hyde.
The War of the Worlds by H.G. Wells — Mentioned in a couple source articles. As with Dracula and other novels, just because the antagonist has supernatural powers, he/she is still a character. In this case it’s Martians.

In the Character vs. Technology Category

This is usually Character vs. Self where someone is facing up to solving a problem from something without free will or sentience. The character is drawing on his own strength and abilities to deal with that problem. It can also be Character vs. Character(s) where the problem comes from something those others have created and set against him/her.

2001: A Space Odyssey by Arthur C. Clarke — Mentioned in two source articles. A group of astronauts on a mission to Jupiter, accompanied by the computer HAL 9000, confront the challenge that technology poses. The conflict is with themselves and their ability to deal with the situation, which Dave finally does.
Do Androids Dream of Electric Sheep? by Philip K. Dick — Mentioned in three source articles. They call it Character vs. Technology, but it’s classic Character vs. Character with a bit of Character vs. Self thrown in as the protagonist finds himself attracted to one of the androids.
Frankenstein by Mary Shelley — Mentioned in five source articles. One calls it Character vs. Supernatural / Paranormal, and the others Character vs. Technology. Both are mis-categorizations. A classic Character vs. Character conflict, even if one of them is patched together from bits of corpses.
I, Robot by Isaac Asimov — Man challenged by technology created by other men. The conflict is Character vs. Character therefore.
Jurassic Park by Michael Crichton — Man challenged by a result of technology – dinosaurs. But the conflict is with himself, using all his wits and ability against formidable foes.
The Terminator by James Cameron — Man challenged by technology created by other men, in this case cyborgs with no free-will or sentience – just machines with fancy programming. The conflict is Character vs. Character therefore.

In the Character vs. Nature Category

This is usually Character vs. Self where one or more characters face a problem posed by non-free-will, non-sentient factors such as weather. Again, the character draws on his own strength and abilities to deal with that problem.

Fahrenheit 451 by Ray Bradbury — This is Guy Montag versus people who catch him hiding banned books. That’s Character vs. Character.
The Old Man and the Sea by Ernest Hemingway — Mentioned in about five source articles, all of which say it’s Character vs. Nature. Sorry, but it’s Santiago, an old Cuban fisherman, against himself and his obsession about a huge marlin. He faces challenges from nature, not conflicts.
Robinson Crusoe by Daniel Dafoe — See In the Character vs. Supernatural/Paranormal Category above.

Why It Matters

So, why fuss about all this? Because for writers, words matter. They are out stock-in-trade, the means by which we convey our thoughts and ideas to others. Accuracy is, therefore, paramount. Also, when someone mis-categorizes your writing as for example Character vs. Nature but you are really writing about Character vs. Self, this can impact readers. They actually begin to think that we can engage in conflict with a volcano when your character is actually struggling within himself. In addition, ideas liked destiny/fate strip humans of one of their best attributes: free will. Treat your characters better than that. They’ll thank you.

On the other hand, this matters to all us writers because we need to have a clear idea what we’re writing. Sure, Joe Versus the Volcano is a cute title, but what was the story really about? It was Joe dealing with his own ability to survive. Was The Wizard of Oz about Dorothy versus a tornado? No. And Frank L. Baum would probably laugh at his book being called Character vs. Nature. Clearly this was Character vs. Self where Dorothy, in her semi-comatose state, deals with her internal conflict – dissatisfaction with what she saw as a boring life on her aunt and uncle’s farm. If you start to write a Character vs. Nature story, you’ll end up with a muddle. If instead you start to write that story as a Character vs. Self, such as The Old Man and the Sea, you will end up with something more poignant and memorable. Start from the right place, stay on course, and you will reach your true destination.

But again, all of this is my opinion. Your thoughts always welcome. And thanks for reading.

Sources

Disclaimer: I get no compensation for links in this post or on my site to other sites and/or products.