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Source: https://writers.stackexchange.com/q/46872
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

## Arguments, discussions, disagreements

In my script I have a lot of "arguments" – loose definition: **long discussions where characters disagree about what to do**.

These arguments don't escalate to a full-blown fight, rather they are more like sparring and **establishing dominance**.

It affirms characters motives (they can just _say_ what they want), but more importantly the arguments **show who is influencing whom** , and in some cases **what the characters are willing to compromise** to get what they want.

## The argument isn't the real fight

My problem is a bottleneck episode where the conflict turns on these discussions. 2 team mates are at complete odds, trying to convince a 3rd. My hero senses he's losing, which motivates off-screen destructive manipulations that are out-of-proportion to the argument. This motive only makes sense if I can show that he fears he's losing influence. **It's not really about losing the argument, it's about losing control of the 3rd character** , but that motive is beneath the surface.

## What's the current score?

**I'm looking for ways to signal the score** : who is "winning" the discussion at specific 'beats'. I've tried to compress the actual argument (the points being discussed) so there's structure and progression to their positions, as well as to the subtext and powerplays. It's plotted so it all makes sense (to me, the author) but it's still a huge wall of dialog that spans the whole episode. The characters are _playing their cards close to the vest_ and all have ulterior motives which muddy the power dynamics.

**My fear is an entire episode of portentous talk that's all subtext and moral philosophy.** I have a battle going on, but it's subtle and under the table.

# How do I signal who's winning the argument?

What are some unambiguous signals I can give the reader to show that the 3rd character is being _persuaded_? After the off-screen manipulations, this dynamic shifts back the other way, so I need show it reversing too.

It's not really about the merits of the argument, it's about manipulating the 3rd character – that's the whole point by the end of the episode, but it's a slow burn and hints at a negative character arc for the hero.

Original score: 4