Welcome here! Today we are learning about the ways in which we can write immersive dialogues –– especially the cases of arguments, negotiation, and confrontation.

Let's start

Writing Anger, Fight, & Argument:
[Jenna Moreci]

• Number 1: Understand the motivation
Think about the character delivering the verbal blows. Why are they doing this? If they're angry, why are they angry? Is it jealousy? Is it frustration? Is it betrayal? You need to understand where this reaction is coming from because it will dictate the type of dialogue they deliver. Say your character is fed up. They've been tolerating some bullshit for far too long and they finally snapped. A character who snaps is gonna be speaking completely differently than a character who is calm and collected. A snap is typically curt and explosive, whereas a calm character may be cruel or calculated. They've had time to think about and craft exactly what they're going to say. This is why the motivation behind the argument is key. It gives you an idea of how to perfect their verbal blows.

• Number 2: Know your characters
Particularly, their baggage. This is pivotal for writing dialogue of any kind, but it’s especially the case when your characters are getting angry. People handle anger differently based on their personality, their experience, and most of all, their baggage. Some characters have trust issues; their walls are up, their defenses are on. If that's the case, they are less likely to show vulnerability in an argument, and they might pull moves that put them in an offensive position. That means they may deal out low blows or cutting criticism. Anything that keeps the other person at a distance. Sometimes fighting is triggering for a person, especially if they grew up in an explosive household. They may clam up in these situations. They may disassociate. They may go stone-faced, quiet, or numb. And of course, there are people who get very vulnerable in angry situations. Sometimes they ramble. Sometimes they cry. Dialogue will always depend on your character’s background and personality. But in this case, baggage is especially important.

• Number 3: Know your intention
This is when you need to take a step back from the characters and look at your plot. What is the intention behind this scene? What are you, the writer, trying to accomplish? Is this scene the character's breaking point? If that's the case, something needs to be said in this argument that breaks your character. Think about dialogue that cuts deep. That means tapping into your main character's deepest insecurities and fears and worries. We will elaborate on this in a later point. What if your intention is to establish the villain? In that case, lots of bitter, cruel dialogue will make it clear to the reader that they need to watch out for this character, ‘cause they're an a**hole. The intention of the scene will dictate the kind of dialogue you dish out, and you need to make sure that the argument you’re writing serves its purpose.

• Number 4: How does it end?
If you're establishing the intention of the scene, you also need to establish where the scene is headed. How is this argument going to move the characters and the plot forward? Sometimes an argument instigates a breakup. This is especially relevant in romance novels, as well as romantic subplots. Sometimes arguments are stepping stones toward betrayal, murder, or the climax of your novel. Every scene within your story needs to serve a purpose to the plot, and bitchy dialogue is no different. Knowing where the scene is headed is super important, because it will dictate how severe the dialogue needs to be. For example, if your characters are breaking up and you intend for them to get back together, then the dialogue needs to warrant a breakup but still be forgivable so that readers can continue rooting for the ship. Think about fighting words that are harsh enough for them to take a break from one another, but not too harsh to prevent a reconciliation.

• Number 5: How bad are we aiming for?
Not all angry dialogue is supposed to evoke rage. Sometimes you want the words to cut deep. Sometimes you just want readers to go, “Damn, that was good!” It sounds like common sense, but so many writers do not know where to set the bar. They'll either go way over the top at the wrong moment or barely scratch the surface when it counts. Know the depth of your character's anger and stick to it. Say this is a life or death situation. Someone nearly died, and they are pissed the f*ck off. This is gravely serious, so calling someone a turkey head isn't gonna cut it. That's what you call your kid after they forget to take out the trash! On the other hand, say your characters are simply auditioning for the same part in the school play. If one tells the other to “Eat shit and die,” well…that's a little extreme. Look at the scene and be honest with yourself. Hold back when it calls for it and go all in when shit gets dire.

• Number 6: Hit the characters where it hurts
You've gone through step Number 5 and you've decided this argument needs to be intense. Your character is going for the jugular. In order to do this, you need to ask yourself two questions. First, look at the character on the receiving end. What is their greatest insecurity or fear? In The Savior's Champion, Tobias prides himself on his integrity and he begins to question that element of himself. So if you really wanna cut deep, you would probably call out his morality or humanity. Second, look at the character delivering the blow. What is their greatest insecurity or fear? Flynn is a character with a fragile ego, so for him, emasculation is the biggest blow. This means that if Flynn and Tobias were in a heated argument, Flynn would likely insult Tobias’ masculinity. It's a big blow to him, so he assumes it’ll be a big blow to Tobias. However, as we already covered, that probably wouldn't matter much to Tobias. That means if we wanted Flynn to hit Tobias where it hurt, he would have to insult Tobias’ integrity. That would be a crushing blow.

• Number 7: Keep it brief
Not all fights end quickly, but if you go on for pages and pages, you will lose the reader. The best blows are quick and to the point. That's why the phrase is “Go to hell,” and not “Be gone to the darkest lairs of the fierce and maddening underworld.” A lot of writers find long, rambling rants fun and cathartic. They think readers are going to eat ‘em up, but they usually come off as cheesy and self indulgent. Plus, they're not that realistic. People don't regularly go off on long diatribes. They usually stick with a good ole “F*ck you.” Long rants lack impact. What hurts more? A single heavy blow to the gut, or a bunch of teeny tiny pokes in rapid succession? Go for the blow and learn when to stop.

• Number 8: Calm down on the descriptors
“You good for nothing, yellow belly, pea brained mama's boy!”
“You soft, fragile, sissy, blubbering mess of a princess!”

This doesn't work. No one is hurt by a laundry list of adjectives. Writers go this route because they think the more descriptors, the bigger the impact. And descriptors do help…to a point. When you go on and on, it doesn't make the burn harsher. It just makes it cheesier, and a little embarrassing. A general rule is to choose one effective descriptor, maybe two, and leave it at that. For example, “You dumb f*ck.” Or, “You miserable, worthless shit.” Those statements pack power. They sound angry. But if you extend it on and on, it loses its oomph.

• Number 9: Curse
Let's preface this with the fact that not all people curse. Many have never said a swear word in their life. It’s just not classy at all! If you have a character who would absolutely never swear in any situation, by all means, honor that trait. You also have to take your target audience into consideration. If you're writing a Children's book or a Middle Grade book, maybe don't use cuss words. But for a majority of Adult, New Adult, and Young Adult fiction, it's realistic for people to swear from time to time, especially if they're pissed off. No one is gonna say “Fudge!” when they're battling their lifelong nemesis. Cursing is realistic, especially in anger. Utilize it where it fits.

• Number 10: Punch down with caution!
This is by far the trickiest part about writing anger and cruelty, particularly if you're writing a villain. One of the easiest ways to showcase an evil character is for them to punch down. This is basically when someone in a more powerful position insults a character that is in a more repressed position. For example, if a rich person makes fun of someone for being poor, that is considered punching down. This is a very easy way to establish a villain or showcase that a character is an a**hole. However, it gets messy when writers take it too far, especially if they're writing insults about a group of people they do not belong to. Sure, the character is the one ‘saying’ these things, but you–the writer–are writing them. And if you get excessive, it can come across as gratuitous and self indulgent.

A few words of advice. First, never write slurs about a real world group of people that you do not belong to. Readers are gonna be uncomfortable and rightfully pissed. Second, ask yourself if the punching down is necessary. Can you create conflict in a different way? For example, does your character have to say something racist, or can they instead say something classist? Which is still terrible and still considered punching down, but it's going to make your readers less uncomfortable. And third, have you created a completely fictional world? If yes, you can create your own unique hierarchies. You can create your own version of punching down that does not alienate or offend your readers. If Elves are more powerful than Pixies, you can create a ton of really powerful insults that will absolutely showcase how awful your characters are!

Hope these pointers help you writing an action packed angry scene.

Negotiations:

First of all, any negotiation scene needs characters to be involved, and those characters will come into your scene with pre-existing backstories and relationships with each other. Having a bunch of high-stakes discussion and dialogue between characters who don't know each other very well wouldn't be as interesting as characters who know each other too well. What is their relationship with each other? Is there any history between your characters that could complicate the negotiations? If there is, try to sprinkle it into the dialogue. Make it affect how they speak to each other.

You don't want to read this:

"I'm here to negotiate," said Janice.
"Great!" said Chloe. "Let's talk."

You want to read this:

Janice wouldn't look Chloe in the eye. "I'm here to negotiate," she said. "That's all."
"Figures," said Chloe, poisonously. "It figures you would be. Let's get this over with."

And just like that, we have lots of questions about these characters and why they're interacting like this, and what history they might have with each other. We have intrigue. We have drama. And a good dollop of drama is half the fun of a compelling negotiation scene. Don't be afraid to spoon it in!

Where is the negotiation taking place?
There are so many interesting places and settings in the world to choose from, so why do most negotiations in fiction take place with a bunch of characters sitting around a table, talking blandly at each other? Or standing around in a room holding glasses of brandy? Place the negotiation in a unique or unusual setting, and you've already won half the battle of making the scene interesting to read.

What if the negotiation takes place in the back room of a seedy pawn shop, or in a bowling alley? Or a crowded taproom full of people where the characters have to shout to be heard? Or in a graveyard under a patch of trees, huddled over an old tombstone? What if it happens at the family dinner table while their kids play obliviously in the background? Find an interesting and evocative setting for your characters to have a tense negotiation, besides just a room with a table in it, and try to match your setting to the mood of the scene. A negotiation about what to do with Grandpa's inheritance money is much more compelling when it's taking place right over his grave!

What does each character want?
The next and most obvious thing to consider when writing a negotiation is to ask what each character wants, how badly or how soon they want it, and what they will do and the lengths they will go to get it. Think about why they want to negotiate.

Specifically, you can ask yourself the following questions for each character who is involved:

Why does this character want what they want? What are their motivations or ulterior reasons for that desire, and are there any deeper character-driven or backstory reasons for it? What if their real motivation isn't obvious at first, but bubbles to the surface in the negotiation scene to cause some exciting drama? A character who just wants something for no reason, or because they're just "greedy" or "evil," isn't interesting or sympathetic to the reader.

If they want money, why do they want money? Are they trying to feed their family, pay off debts, buy their way to a new life, fund a relative's medical bills? Are they trying to fleece the other character blind, or trick them out of more money than they should pay? Is the money ill-gotten? Try to make their motivations more complex than just dollar signs.

How much are they willing to compromise? The character (presumably) agreed to meet the other character for this negotiation, so clearly they are willing to compromise on some level to get what they want. How much will they do so? What are they willing to give up, and what will they keep? Do they have any "non-negotiables?"

Will they, in the end, get everything they want? Do they come away from the negotiation satisfied? If not, do they do anything about it? How do they react to being forced into a bad position in the deal? Perhaps their discontent will set up more scenes later, or lead them to hold a grudge.

What does their negotiation style tell us about their character?
Each character will approach this negotiation in a way that tells you more about who they are. Think about how they negotiate.

Are they...

aggressive and confrontational, with lots of shouting, anger and righteous indignation?

logical and calm, rational and reasonable, with a good deal of factual evidence and logos?

emotional and manipulative, using a lot of pathos and "tugging heartstrings" in their arguments?

soft-spoken and nervous, and not really prepared for a serious negotiation like this?

agenda-driven and strawmanning, constantly bringing their beliefs or politics into the discussion and trying to derail it with ad hominem or attacks on character?

Each of these negotiation styles will make their voice distinct in the discussion, and convey important information about their character and personality.

Does everything go as planned?
In the real world, an ideal negotiation usually ends when both parties involved have compromised as much as they are able and talked things out, and are (somewhat) satisfied with the outcome. But your own negotiation scene doesn't have to play out like our boring real world, and if you just write one big long talky scene without any action, the reader's eyes might glaze over. If you feel like things are getting too dry and conversation-heavy, spice things up a little with some more drama!

What goes wrong? What is unexpected? Is there any interesting plot information revealed? Does this negotiation scene lead straight into a pulse-pounding action scene, or some gripping character drama, or some other high point in the story that will re-invest the reader? Is it interrupted by some shocking news or another character barging in? Does a calm and collected negotiation devolve into an all-out fight, or a screaming match? What happens next?

Some ways you could build drama in a scene like this include:

One or both of the characters don't want to be here, or are deliberately throwing a wrench into the works. Maybe these are two characters who aren't usually on speaking terms, but they've been forced into this negotiation due to a mutual interest and now they have to deal with it. Maybe one of them knows a secret and they are insinuating it into their words to see if the other character will take the bait. Some interesting drama or character relationships will help to add some flavor to your interactions and dialogue.

A plot development derails the negotiation or changes its terms. Maybe it is suddenly revealed that one of the participants has a compelling conflict of interest. Maybe one of them was being deceitful and trying to trick the other character into a bad deal. Whatever the case, something drastic happens and now a seemingly uneventful negotiation scene is framed in a new light.

The negotiation goes badly awry. Maybe things devolve into a full-on fight and the characters start throwing fisticuffs. Maybe one of them pulls a gun. Maybe one of them betrays the other! Why not give an otherwise somewhat-dry scene a real showstopper of an ending?

A good negotiation scene has character relationships, drama, intrigue, mutual interests and compromises, and an interesting outcome and consequences. It has an interesting setting, and complicated characters who want different things for their own reasons. It might not go as planned, and it might lead to further plot developments or play some other important role in the story. All of these elements together should help you to build a framework for writing this kind of scene effectively.

Confrontation:

We authors generally owe our readers to show the major confrontations instead of telling about them later. These are the scenes in which monsters are slain, shootouts happens, or lovers fight or finally reconcile. Frequently the climax of the story is a confrontation, but other scenes can also be confrontational. You might not want your story to consist entirely of confrontations, as that can be emotionally exhausting (although some thrillers attempt it). Confrontations are the emotional payoff for the conflict that you have created in your story.

Elements of Confrontations
According to the online Merriam-Webster dictionary, the first two definitions of confrontations are (1) "face-to-face meetings" and (2) "clashes of either forces or ideas." Now let's review the elements that you will find in most confrontations.

Conflict is generally the basis for confrontation. Before you create your confrontation, your story should have some reason for it, in the conflict(s) you have set up in your story.

Intense Emotion. The emotions should be intense: both for your characters who are enduring the confrontation, and hopefully for your readers as they read it. The first test is if you, as the author, also experience these emotions while reading it. You could be scared; you could be deliriously happy; you could be relieved; you could be exhausted. If you do not feel the emotions as you write and rewrite a confrontational scene, you cannot expect it of your readers.

Great Dialogue. Generally your confrontations will contain conversation. Will there be misunderstandings? Will things go wrong or fail? These things are very likely if your confrontations occur near the beginning or in the middle of the book. In most books with happy endings, confrontations close to the end lead to less confusion, and in these cases information and motives may be revealed.

Physical Action. Not all stories lend themselves to physical action, but the ones that do, such as thrillers and adventure stories, tend to have physical action as an integral part of their confrontations, such as Harry Potter and his magical duels with Lord Voldemort.

Fantastic Setting. If possible, place your confrontations in great settings. What makes settings great? Well, it depends on your story. If you are writing a romance, you may want your big romantic scenes to complement your confrontations. Perhaps love scenes occur on beautiful balconies, as in "Romeo and Juliet;" perhaps quarreling scenes occur in sewers. Or perhaps you decide to have your settings clash with the confrontation, so that the declarations of love occur in sewers and the misunderstandings happen on balconies.

In creating your setting, especially if there is action that involves the setting, make sure that your readers understand what they need to know about the logistics. Perhaps you are placing a confrontational battle scene on a trireme (a type of boat used by the ancient Greeks and Romans). You may want to help your readers understand triremes before the confrontation, so that they don't become confused when the excitement surges. For example, in "Harry Potter and the Order of the Phoenix," the final big battle of the book takes place in a special section of the Ministry of Magic. Rowling makes a point of writing about this section of the Ministry of Magic before the battle.

Increase Tension With a Ticking Clock. By having some sort of deadline, known to the reader if not to the characters, you can increase the urgency.

Surprises and Twists. You should do your best to create these in your earlier confrontations, as these will propel your plot along. Creating surprises and twists in confrontations near the end of your story may be a little difficult, because at this point your characters and their motives should already be known to your readers. Nevertheless, your readers will enjoy it if you can surprise them. Will you be cheating the readers if you throw out something new? One way to get around this is to hint at the twist earlier.

If you have written a good story and you have captured your readers, you can expect that some of your readers will read your most confrontational scenes over and over. Because of this it is a good idea to give them more than your usual amount of attention and to polish them thoroughly.

Despite all this, there are sometimes reasons to skip confrontational scenes. Some reasons may be good, and some may be bad.

You have nothing new to say. Occasionally the "confrontation" between two characters involves one of them learning what the readers already know, and so instead of showing the scene in which this information is learned, you only show the reaction to the information's being learned.

You don't feel that you can do it justice. If this is the case, ask yourself why you can't do it justice. Is the problem that you, as a person, tend to avoid conflict and therefore you don't want to write it? In that case, you must attempt to get over your feelings and write it anyway!

Is the problem that it is out of character? In this case we recommend that you either tweak the character or you tweak the conflict and the confrontation.

Are the characters too hard to create in a manner that does them justice? It is challenging to show beings that are supposed to be absolutely good, such as Almighty God, or thoroughly evil, such as the Devil. Usually the writers don't show them, or only let them make cameo appearances, although generally writers seem to find it easier to depict devils than to depict God. An example of not showing the most absolutely evil being is in The Lord of the Rings, in which we never actually see Sauron, but only the effect the evil being has on others.

The confrontation would be too graphic for your audience. For example, in cozy mysteries, even though they generally focus on solving murders, the killings themselves are usually glossed over instead of being shown in gory detail.

The Confrontation is not central to your story. In The Lord of the Rings, Frodo never actually confronts Sauron, although he does feel Sauron's influence. One reason may be that that it was difficult for Tolkien to create a convincing on-stage version of Sauron. However, a more important reason is that Frodo's goal is not to become all-powerful by mastering evil; Frodo's goal is to destroy evil. The greatest temptation with respect to evil is the temptation within ourselves, and this is the central conflict that Frodo faces. If we all conquered the evil temptations within ourselves, the world would be a much better place.