Definition The Struggle story type centers around the conflict between two or more opposing sides. The sides could be involved in an open conflict where they are directly attacking each other, such as is found in a war movie, or they could be in competition for a similar objective, like a sports story. Similarly, the opposing sides could be entire football teams or armies, or each side could consist of a single individual, mono-a-mono. Wherever it is Us vs Them, or Me vs You, you are looking at a struggle.
When the antagonist in the struggle is something outsized in power, something that cannot be communicated with, something irrational and whose nature and motivations cannot be changed, then the story type becomes Overcome the Monster. A monster can be many things, both figurative and literal. The monster might be addiction, or fear, or memories from childhood. It could be an impersonal government, or an evil serial killer, or it could be a force of nature, like a hurricane or a volcano.
Component
The hero is the central point of identification for most stories, but identification is particularly powerful in the struggle. There is also a primary role for a central antagonist, someone actively working against the efforts of the hero. An antagonist can be found in other types, but is not required in a Rags to Riches or Redemption story, for example. Nor does the presence of an antagonist automatically make the story type a Stuggle. Resolution of the primary conflict between opposing sides must be the main objective of the story.
As compared to Overcoming the Monster, the Struggle can be more personal, more realistic. It is also possible for a struggle to end in ways other than the opponent's ultimate defeat. Monsters must be overcome, but antagonists can be turned into allies, compromises can be struck, contests can end with the opponent living and growing to return next basketball season. The Stuggle is more universal and allows for more possible resolutions. The hero may even attain a better understanding of a situation and unilaterally end the conflict on her own terms.
The Monster, on the other hand, is usually more one-dimensional. By definition, it cannot be reasoned with, or bargained with, or lived with. It must be overcome. In this sense, this story type usually allows for only one form of resolution, and must end with the defeat of the monster. If the monster is not defeated, the story type might well change to Tragedy.
Because of its realism, the Struggle allows for an extended development that gives the author space to explore the ramifications of the struggle. The story may investigate the origins of the conflict, and the implications for its resolution. Expect the story to explore multiple solutions, and experience failed attempts at resolution before the struggle finally ends. It's realism allows the Struggle to operate on many power levels, including the very personal.
By contrast, the Monster is usually larger than life, and overcoming it is an all-consuming task. Monsters don't allow for gradations of resolution; if the monster is not overcome, then the story is not resolved. Outcomes are typically more extreme, with either the hero or the monster being utterly destroyed. Overcome the Monster stories typically become epic struggles, referencing deep and basic truths like the right to exist, principles of freedom and self-determination. The more fundamental a challenged right, the greater and more horrific the monster necessary to represent it.
Monsters can easily be metaphorical. For example, bigotry or racism could be the monster, or deception or abuse - abstract concepts that must be defeated just as much as physical dangers.
Identifiers
A Struggle is typically between balanced, rational actors. That is, each side is generally portrayed as acting reasonably and while there can certainly be imbalances in power levels, with the underdog fight being unusually compelling, the two sides are generally operating by the same rules, and with the same level of resources. Where the disparity becomes too great, or one of the sides begins to act irrationally and unreasonably, the story type becomes Overcome the Monster.
In contrast, Overcoming the Monster involves things that are not equal and cannot be reasoned with. Monsters are driven by motivations that cannot be assailed by appeals to compassion or human emotion or logic. A Monster, by definition, is beyond those things. Instead, it is implacable, twisted by evil or hunger or rage.
So when High King Peter fights King Miraz, as Caspian's army has been fighting Miraz' army throughout Prince Caspian, the story type is a struggle. Although it appears lopsided, with the true Narnians overmatched by the disciplined army of Miraz, Peter defeats Miraz in what was basically a fair fight, and Miraz was willing to accept the parley of Edmund and consider the proposal. For all his faults, Miraz is not a monster.
Contrast this with The Lion, The Witch, and the Wardrobe, where the four children are fighting against the evil and sadistic white witch of the title and have little with which to combat the power of the witch's wand to turn people to stone. The story type of this latter book is basically Overcoming the Monster.
Other Examples
Classic examples of Overcoming the Monster:
Beowulf, Dracula, Frankenstein, David and Goliath, The Lion, the Witch, and the Wardrobe, Star Wars, The Mummy, Criminal Minds, most horror films, most catastrophe movies, most alien invasions stories
Examples of Struggle
David and Saul, Jacob and Esau, Hoosiers and most sports team movies, Prince Caspian, The Phantom Menace, Person of Interest, Patton, Band of Brothers, Deadpool, A Few Good Men, Perry Mason and many courtroom dramas, Patton and many war movies
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