Trouble is essential to engaging storytelling! "A problem must arise" for the story to begin.
A plot design guide that turns dull ideas into compelling stories.
New releases in the bestselling "Trauma Dictionary" and "Dilemma Dictionary" series

Recommended by novelist Lee Kyung-hee and drama writer Lee Na-eun

"It presents a variety of choices that open up new avenues for the plot." _Lee Kyung-hee (novelist)
"This is a wonderful book that serves as a reliable companion for writers." _Lee Na-eun (drama writer)

An interesting writing guide has been published that contains all sorts of troubles and conflicts that characters can experience.
This is the newest installment in the "Dictionary Series for Writers," which has established itself as a proven creative partner among aspiring and working writers alike. Following "Trauma Dictionary," "Detail Dictionary," and "Dilemma Dictionary," which are helpful for character setting and background direction, "Trouble Dictionary" is packed with ideas that will add realism to your stories.

Whether it's a novel, a drama, or a movie, interesting characters always have 'trouble'.
There is nothing interesting or moving about a story where a character achieves his goal easily without facing any problems.
A skilled writer should create appropriate conflict situations for each scene, naturally portray the character's actions and emotional changes, and increase the persuasiveness and immersion of the narrative.


"Trouble Dictionary" presents a variety of internal and external problem situations that are difficult for people to control.
It lays the foundation for plot design that will solidify the story structure and provides specific writing materials.
You can encounter 115 different types of troubles that can drive a character, ranging from worries about the ego or relationships to sudden events or accidents ('suffering a panic attack', 'losing a friend', 'having something important stolen', 'being injured', 'being unfairly accused', 'having a house fire', 'being invaded by uninvited guests'...), and for each type, the character's likely attitude, psychological changes, and emotional line items are included.
The introduction also provides useful writing tips that will help you transform vague ideas into compelling stories, such as how to effectively build a central plot and subplots, how to build tension in a story, and how to properly direct a climax scene.

When the scene you're writing feels a bit bland, doesn't tie in closely with the overall story, or you want to describe a character's emotional line in more detail, open up the "Trouble Dictionary" and check the structure of the story.
Great material to fill in the gaps in the story will stimulate the hidden imagination in your head.

An interesting story that instantly captures attention is like fishing.
A skilled storyteller, like a skilled fisherman, catches the listener's heart with a hidden bait.
Therefore, to draw the reader into the story without them noticing, you need a goal, a motivation, and an exciting conflict as a secret bait.
You should remember that if you keep coming up with useful incidents and writing without a specific conflict, the plot of the story will just wander in the air, and the reader's interest will quickly disappear.

---From "Page 19, Conflict Forms the Plot"

What's the greatest sin in storytelling? It's leaving out conflict.
Elements like challenges, obstacles, and internal conflicts in a story capture the reader's attention by making them question the character's ability to move toward their goals.
Meanwhile, readers tend to focus on the events that occur in a story scene by scene.
Therefore, conflict may seem to occur scene by scene, but in reality, conflict exists in various and complex layers that go beyond the scene and span the entire structure of the story.
Therefore, maximizing the ways in which various obstacles and challenges interact is key to telling a rich and powerful story.

---From "Page 22, Four Levels of Conflict"

By now you've probably realized that there are countless conflict scenarios your character could face as the story progresses.
But as the story progresses and the protagonist faces increasing difficulties, the central conflict risks becoming overshadowed by the surrounding noise, diminishing its presence or disappearing altogether.
When too many or too trivial issues take up too much time, conflicts can lose their momentum and become disjointed, leaving readers confused as to where the characters are headed.
When you focus as much as possible on the central conflict and plot, the elements you've placed in your story can progress steadily toward the final climax.

---「Page 40, The central conflict should always be placed at the center of the stage.]

When do characters feel the most heartbreaking? When they have to make decisions in situations where someone has to pay the price for their choice.
These moments in a story can be pushed forward boldly because no matter what decision the character makes, there will be a bad outcome.
In a perilous moment, will the character save her daughter, even if it means sacrificing her son? Will the character remain in their current position, even at the risk of capture, or will they flee and risk exposure and death? This hopeless scenario creates tension not only for the character, but also for the reader, who, recognizing the impossible situation, wonders what choice the character will make.

---From "How to Increase Conflict" on page 65

Your protagonist will encounter numerous conflicts throughout the story, many of which arise from various antagonists.
Romantic rivals, well-meaning meddlers, frenemies, and intruders can provide valuable opportunities for the protagonist to learn how to respond to attacks.
This conflict is especially important when the story includes a villain.
Because through the villain, the protagonist can train himself and prepare for the final confrontation with him at the climax.
Since immoral villain characters are a fixture in many stories, let's take the time to thoroughly discuss how to write them well.

---From "In a Room with the Villain: Creating Powerful Conflicts" on page 71

The purpose of the climax is to give the protagonist a chance to succeed and achieve his or her goals.
Countless conflict scenarios have tested the protagonist's resolve and abilities.
The protagonist is not always successful, but as the conflict and danger increase, the protagonist steadily moves toward his external goals (or internal goals, if the protagonist undergoes a transformation).
And now comes the greatest test of all.
It is the final battle against the enemy.
This is the protagonist's last chance to prove himself.
If you fail here, you fail forever.
Therefore, the climax must show a clear winner and loser.

---From "Page 80, Climax: The Peak of Conflict"

Everyone is uncomfortable with conflict.
It is human nature to do anything to avoid conflict, and when conflict is unavoidable, it is also human nature to try to resolve it quickly and move on to the next step.
Your characters might try to avoid conflict in this way, but if you force them to overcome conflict too quickly, the story can fall flat and fizzle out.

---From "Page 93, Relationship Conflicts, Don't Resolve Them in a Haste"