Writers know that creating interesting characters is an important part of writing fiction. Adding some conflict, however, creates fireworks and can change an okay story into a great one.
Let’s explore a few aspects. Is it true that opposites attract? Do people who are not suited to each other find themselves drawn together inexplicably? In romance novels, they make the best matches, but do they really? It’s not really known for sure, but in fiction, opposites can definitely create some of those aforementioned fireworks.
Opposites create friction, and friction, as writers know, gives power to the story by creating tension. Tension is what creates that exquisite tug that makes the reader want to keep reading. Relationships are important in real life and must carry the same influence in a story. Even the lone-eagle character who doesn’t think he needs any help at all must accept help from other characters to propel the plot forward. These are the building blocks for creating conflict.
When Conflict Is a Good Thing
In a novel, conflict is necessary. Love and lust have given many stories the lifeblood it needs. Anticipation is what draws a reader to your story and keeps him reading. Competition gives it action and excitement. Whether it’s a healthy manifestation of need or desire, an unhealthy obsession, or a power struggle, this is what interests the reader.
When you are creating your characters, take some extra time and develop their competitive personality traits. The resulting conflict will quicken the pace, build tension, and make your book a page-turner.
The Foil
A good way to put the power of opposites to work for you is to use a foil. A foil is a character 
who acts the opposite of the hero. The foil contrasts the main character to highlight one of their attributes and emphasize their traits. This does not always mean the antagonist. For example, if the hero demands action, the foil advises him to be cautious. The use of a foil gives a scene tension by highlighting the main character’s traits through the use of contrast.
Examples of Foils:
In the Sherlock Holmes series by Sir Arthur Conan Doyle, John H. Watson is Sherlock’s assistant and friend. Where Sherlock is almost unnaturally intelligent, Watson’s intelligence is a little lower (though he’s not stupid). Sherlock is detached and reserved, while Watson is kind and humane. Watson needs earthly cares, while Holmes can go for days without eating or sleeping.
In the Harry Potter series by J.K. Rowling, Albus Dumbledore is representative of all that is good. Lord Voldemort is the epitome of evil. Dumbledore was the only person that Voldemort ever feared and did everything he could to destroy him, while Dumbledore only wanted to help Tom Riddle (who later became Voldemort.) Dumbledore believes that good and love are universal solvents, while Voldemort considers love to be foolish and embraces evil.
The Wind in the Willows by Kenneth Grahame features Mr. Toad who is kind, good-natured, and wealthy. His foil is Mr. Badger who is extremely unsocial and hermit-like.
In Don Quixote by Miguel Cervantes, the eponymous hero has a very fanciful outlook on life. His foil, Sancho Panza, is more practical and down to earth. Physically, Sancho is also described as rotund and short, while Don Quixote is tall and thin.
All of these characters serve to illustrate each others’ strengths and weaknesses. Some of the conflicts are small and subtle (Sherlock and Watson) while others are huge and in your face (Dumbledore and Voldemort).
How and When To Use Character Conflicts
Dissecting each character’s personality traits will give you some great fodder for writing conflicts. The obvious way to do that is to put your characters in the ring together to fight their flaws out (laid back vs. high strung, controlling vs. submissive, happy vs. sad/angry etc.), but your readers may be anticipating that. Not all positive character traits complement each other, so neither do their flaws.
Here’s an example: Peter is a college professor. He’s very kind, intelligent, and understanding but is quick to temper. Imagine a student stays after class and demands that Peter regrade his test due to a low score. The student feels like he should have done better and is very pushy about it. The normally easy-going Peter, when confronted with an angry student, loses his temper very quickly. He refuses and calls the student a bad name. The student files a report and the professor faces legal action/job loss/reprimand, etc.
Here we have a self-centered and privileged character who faces off against an off-the-cuff reaction of a normally dignified character. The conflicts slam together with an explosion of flaw vs. flaw. You can clash any opposing character traits this way. An uptight personality type will clash with and uninhibited one, and extrovert will clash with an introvert, a character who is too generous will clash with a more frugal one.
Make your conflicting personalities rub against each other and create some friction. Maximize the explosion when they come together. If everyone in your story plays nice and believes that it all will work out in the end, it’s going to be a mighty boring story. Unless of course you’re writing for 3 year olds. In that case, good job. Plan your characters out, match their clashing traits and, go ahead, create fireworks. Your readers will thank you.
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