Writing Arguments Between Characters
Writing Arguments Between Characters
– Arguments in books are some of the most pivotal and important scenes in a narrative, but they’re also some of the most difficult because fights, in the moment, can seem much more dramatic in our heads than they would seem to an outsider. The great thing about writing is that you have the option to add context you wouldn’t have otherwise, which puts the reader in the characters’ heads and into the heat of the moment. I decided it was worth an article because it’s a very hit or miss kind of scene to pursue and I’ve received a lot of questions on the subject, so I’d like to answer (most of) them here. Enjoy!
Instigation
Which character began the fight? Sometimes fights start days before they actually turn into a heated argument, so if there is a build up to the scene, make sure you’ve taken the time to make that clear in the last couple scenes or chapters.
Sometimes, it isn’t actually clear to the characters what or who started the argument and it just sort of bubbles up over time or as events make the characters more confused, angry, scared, etc.
That’s another thing you need to know before you start writing an argument: what emotion is driving the characters to participate? Fear? Anger? Confusion? Sadness? Frustration? Tiredness? Repression of past feelings? Betrayal? In order to make the characters argue believably, you need to be in their headspace, and you can only do that if you know why they’re fighting in the first place.
Tone and pace
Build up
In order for an argument to be impactful to the reader, there needs to be some substantial escalation. Fights are like stories. There’s something that starts it, there’s rising tension, there’s a climax, and then there’s a cool down period before the resolution. Focus on the way you do the rising action especially, because the climax of the argument should be an “oh sh*t” moment.
Dialogue & Interraction
There are different types of arguments people can have. There’s the slow burn ones that the reader knows are coming, but are still really jarring when they come to pass. There are also the ones that seem like they’re out of nowhere if you don’t have context, but to someone who has been following maybe the past few days of the two people’s lives, they can tell that the actual subject of conflict isn’t what they’re really fighting about, but a deeper underlying issue they’ve both been struggling with. There are many ways an argument can go and feel to a reader, but a huge part of the subtext is how the two characters interact.
If your characters are screaming about a dish that was put away wet and left a ring on the stained cabinets, it will be fairly obvious to the reader, as that sort of interaction, at surface level, wouldn’t serve much of a story-telling purpose, and therefore will lead the reader to assume there’s more to it and search their arsenal of contextual evidence to find the real source of tension between the characters. This can also be accomplished through clues in dialogue, such as sarcasm in response to when something relating to the actual issue is mentioned, or a lull in the argument when the two characters realize that they’re not really talking about a stupid bowl, are they?
Resolution
How the argument ends could be used to shift where the reader believes the story is going from there on. The end could be very insignificant to your story, as fights between characters are often used to get across some key information about characters or context or introduce new conflicts, which brings up my next point.
Integration
Arguments are a really good opportunity to integrate lots of important information for your reader in a way that shows instead of telling. You can use arguments to relay lots of information to your reader, such as:
Character tendencies
Relationships between characters
Smaller conflicts
Foreshadowing
Associations that will be useful in future scenes
Shifts in tone
Changes in the direction of the story
Underlying issues that might come up later
and many more.
Some General Tips To Keep In Mind
Always ask yourself “would so and so really do this?”
During arguments, people’s responses will often be blended with their reactions. Their face will be shocked and their words will be sharp. Try to include these little mixes in order to make the pace faster and more suspenseful.
Most large arguments start with something smaller and less significant
A lot of the time, the reactions won’t be like “i can’t believe he said that to me”, they’ll be defensive and/or a shot back without much thought.
Most arguments, especially between two characters who generally like each other, will end with something like one person walking out of the room, one person deciding to sleep on the couch, or one person avoiding or ignoring the other. Most fights between characters who know and matter to each other don’t end with a punch in the face.
Arguments don’t usually end when they’re no longer yelling at each other.
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I don't know what I miss more, having free time to draw or these fellas
The raven cycle!!!!
Oh I love these guys. Everything about these books, I want to draw them soooo much more (I probably will)!!
Guys I'm back-
It has been a nightmare lately this is the only thing I managed to draw in weeks? Finals and uni stuff that's taking all of my time and energy, slowly turning me into a cafeinated slug (worst part is caffeine doesn't even have an effect on me? I only drink coffee for the TASTE can you imagine). Anyway the rush won't be over until end of January but hopefully I'll be able to ignore the stress and draw anyway :)
"Luck Runs Out" from EPIC but Erin is Odysseus
character motivations:
fear
hurt
survival
failure
being pressured
instability
desire / hunger
guilt
belief they are doing something good
love
loyalty
vengeance / revenge
inequality
unfulfillment
hatred
honour / dishonour
pride
jealousy
death
humiliation
pain
greed
shame
rejection
loss
power
do you have any advice on writing beginnings? i never know where to start so that the exposition and action are balanced enough to make the opening interesting. i can do middles and ends easily enough if the beginning is well-set up, but i’ve always struggled. any tips?
I'm going to focus on balancing exposition and action in this answer, as it seems to be the key area you are struggling with, rather than openings more generally.
Okay. Let's go!
1 - Need to know
The first question to ask yourself is what does the reader actually need to know to follow and understand the story?
Openings can vary by genre and the age group they are written for, but beneath all of the variations and methods, is the need to know. So long as you have that covered, the rest honestly just comes down to reader and author preference.
What a reader needs to know will depend on your story and your plot. E.g. if it is a portal fantasy, then we typically just need to know what the protagonist is missing/yearning for/struggling with in their everyday life in order for us to see how this is changed through their adventure in a new world. We will learn about the new world as the protagonist does so there will be a natural exposition point as they explore (exploring = action, we learn as they learn).
If, on the other hand, the whole story is set in a magical fantasy land that the protagonist has always known, then you're going to have to do more exposition in order for your reader to understand the key rules of the world and what things mean.
2 - Start at the interesting bit/provide your protag a goal or the reader with a question they want answered
We don't typically start on an ordinary day where nothing happens, even if it shows us what the protagonist's normal life is like. We start on the day that they have a job interview they desperately want to ace, or the day a body is found in the river, or a day where something unusual happens or two characters meet for the first time.
This raises external, concrete plot questions.
Because we have started at an interesting point in the story where something is actually happening, it makes it easier to interweave action with exposition.
To go hand in hand with this, give your character a goal/something they want. This doesn't have to be a big or seemingly important thing, although it can be. The recent film Everything Everywhere All At Once did a wonderful example of this in that the main character just wanted to do her taxes. Other examples might be that a character just wants to get home after a bad day, or to pick a cake for an event. Whatever.
This can have a number of different purposes depending on the story. For example, it provides tension and conflict because there is an obstacle in the way of what they want (to get home), or it provides an opportunity to showcase character or relationship (e.g. the cake).
3 - Options for exposition
There are different options for doing exposition.
A narrator or first person POV can tell the reader about the world even through direct narration or their internal thoughts. This works especially well if you have a strong sense of character. It is useful for conveying key information quickly, but you will likely want to break it up with other forms of exposition to avoid an info dump.
A flashback. Flashbacks are a great tool! I don't recommend starting a story with a flashback. They are much better for providing important information a little later after you have hooked your reader with the more immediate plot.
Dialogue. Dialogue is a natural and excellent way for us to learn about characters and the world that is also action. The danger being that your dialogue still has to sound natural. If the characters wouldn't be standing around actually talking like that in that setting at that time, sorry mate. Do a different exposition technique.
Exploration/setting. Characters can learn about a place/world as they explore it, which means the reader can learn with them as they experience the world.
One way to balance your exposition with action is to vary how you do your exposition. If your reader is having fun reading the story, they won't care that it's exposition/set up. All stories start with exposition. Look at your favourites and break down what they are actually doing, shamelessly steal the framework, and adapt as relevant for your work.
4 - Remember that you don't have to start by writing the opening
Openings are easier when you know what your story is about. This is because openings often showcase something that is going to be relevant throughout the story. This could be a specific image, a nod to theme, or some character trait that will be important.
If you don't know what your story is about yet because you are still writing it (totally valid!), feel free to come back to the opening later, in the same way that you might write the body of an essay and then do the introduction/conclusion last once you have figured out what you want to say.
You're allowed to work backwards. You're allowed to work in any jigsaw way that works for you. You don't have to write the first line first.
When you know your story, it's also a lot easier to figure out what your reader will need to know.
7 Tips to Build an Audience for Your Writing
I got a great Ask about this a little bit ago about how to establish an audience for your writing. Here’s my answer!
#1 Start small… with people you already know
When you’re just starting out, many of your fans or supporters will be the people who already know you. Your friends, family, co-workers, peers, acquaintances, etc. Share and talk about your writing with these people, and pluck up the courage to ask for their support! At least a few of them will genuinely like your writing, and you never know who might have a connection that can help get you more exposure.
#2 Don’t feel try to “sell” or “promote” yourself to these folks. Instead, make authentic, person-to-person connections
Sometimes writers fail to create an audience because they have a perception of what it means to “self promote” which leads them to plaster their social media with desperate pleas to buy their book, or feel pressured to “sell themselves” to new friends and contacts. It seems counter-intuitive, but the best thing you can do is to make genuine, authentic connections with people and be open about your writing with them.
That way, when your friend who works at a bookstore needs someone to open for a touring reader… they think of you. Or when you have a release party to celebrate your release, your co-worker will come (and maybe bring their friend who happens to be a newspaper writer… see where I’m going with this?). When you have authentic relationships with people, they will help you grow your base without having to beg or sell to them.
#3 Make friends with readers, other writers, editors, bookstore clerks… basically anyone in the literary world
Truth: There’s a lot of networking, nepotism, and hobnobbing going on in the literary world. Of course, we all know this stuff happens at the super-famous level. People network their way into recognition all the time. Celebrities get book deals. Keanu Reeves is allowed to be an actor. You might not be lucky enough to be bumping elbows with the elite, but your connections can help you no matter how small they are.
#4 Write your social media posts like you’re talking to your friends, not the anonymous masses
This ties into #2. When you use social media to share about your writing, make it personal. A lot of writers feel like they have to sell themselves on social media, so they end up making promotional posts that are basically like “buy my book!” or “read my writing!”
But if you share something real, much like you would if you were talking to a friend, people are much more likely to respond. I know this from personal experience. My highest-performing posts about my writing are always the ones that make a connection and share something personal with my followers.
Additionally, if you’re using certain platforms (Facebook and Instagram for sure do this), your post will get buried by the algorithm if it’s overtly “promotional.” So in certain instances this becomes not just wise but absolutely necessary so that your posts get seen.
#4 Consider trying to get a story traditionally published
This can help in a few ways. First, you’ll have made a connection with the editor of that magazine. (Connections!) Second, your work will be seen by a new audience of readers. Third, it can give you credibility that makes people (editors, readers, etc.) more likely to give your work a second look further down the line.
#5 Get off the internet
My biggest base of supporters are the folks in my town. That’s because they see me and interact with me regularly. It’s way easier to keep the attention of people IRL than it is online, in my experience. Here are some ideas of how to make friends in the real world who can be supporters of your writing:
Attend or give a public reading
Start or join a writing group
Hang out at the bookstore
Go to any and all literary events in your town
Make friends with other creative people: musicians, artists, photographers.
Seek out collaborative projects with other writers and creatives
#6 Accept that, yes, it takes time
Building an audience doesn’t happen overnight. But there can be a cumulative, exponential effect over the long run. Take Tumblr for example. Most people who have a blog can probably remember how it took forever to get those first 10 followers. But once you have the first 10, it’s a little easier to get the second 10, and so on. It’s the same with an audience.
There may be huge surges in your popularity that leave you feeling awesome, then after that you may find your growth starts to lag a bit. That’s totally normal. Which leads me to my last tip:
#7 Remember that it’s quality, not quantity, that counts
Especially in the age of social media, we can get totally hooked on numbers. How many followers, how many email subscribers, how many patrons, etc. But in my experience it’s the quality of your audience, not the quantity, that counts. Focus on building real relationships and delivering something great to just a few loyal readers rather than trying to please everyone. Those people will be the ones to help promote you and have your back when it’s really important.
Ok, that’s all I’ve got for now. I hope this helped!
The Legendary Scarlett and Browne SPOILERS
Let's gooooo!!!!!!
Shhh.. They're communicating..
Question!!! But how do I integrate subtlety into my writing? Like I have a hard time picking up on it and I annoyingly have a tendency to tell not show, so I wanted to know if you have any advice!
Writing with More Subtlety
-- Getting the hang of "showing vs telling" is a great place to start if you want to integrate subtlety into your writing. Saying, "Moonlight glinted off the lake," is more subtle than, "The moon was shining."
Guide: Showing vs Telling
-- Learning to evoke emotion and ambiance with sensory description is another way to write with more subtlety. After all, saying, "The house was scary looking," is not as subtle as, "Thick fog curled around the decaying timbers of the once grand Victorian home."
Horror by Darkness Horror by Daylight
-- Knowing what internal and external cues can be used to illustrate your characters' feelings is also helpful, because, "Sarah was sad," is not as subtle as, "Tears pooled in the corners of Sarah's eyes, and she bit her upper lip to keep it from quivering."
Showing a Character's Feelings The Subtle Signs of Romantic Interest and Love
-- Learning to weave details into your story is also helpful, as it's more subtle to work details in naturally than to do a big info dump.
Weaving Details into the Story
-- Finally, learn to drop hints rather than declare something outright.
Dropping Hints without Giving Everything Away
I hope that helps!
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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!
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50 WORDS TO USE INSTEAD OF “SAID”
Do you ever find yourself over-using the word “said” in your writing? Try using these words/phrases instead:
stated
commented
declared
spoke
responded
voiced
noted
uttered
iterated
explained
remarked
acknowledged
mentioned
announced
shouted
expressed
articulated
exclaimed
proclaimed
whispered
babbled
observed
deadpanned
joked
hinted
informed
coaxed
offered
cried
affirmed
vocalized
laughed
ordered
suggested
admitted
verbalized
indicated
confirmed
apologized
muttered
proposed
chatted
lied
rambled
talked
pointed out
blurted out
chimed in
brought up
wondered aloud
(NOTE: Keep in mind that all of these words have slightly different meanings and are associated with different emotions/scenarios.)
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