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Source: https://writers.stackexchange.com/a/46882
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

Source: https://writers.stackexchange.com/a/46882
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

### You need a prop.

I will explain! Somebody fighting a losing argument is typically fighting because the consequences for them of losing the argument is giving up something valuable or dear to them, or it means taking a risk they fear taking.

If the consequence is TOO awful for them (perhaps they don't have the courage to face it, or perhaps it harms or kills someone they love) they just will not give up. Often, they won't even tell you what the consequence is! The "winning" side will have to figure that out for themselves.

If it is _possible_ to persuade them, it will be done by addressing this awful consequence, or ramification, or whatever you wish to call it. Either dissipating it, or making it recoverable, or persuading them it is unavoidable either way, or convincing them their alternative has worse consequences (that they care about).

In film, you need to show (hopefully visually) why the losing guy is arguing at all. What is the consequence he wants to avoid so badly? It isn't enough for the winners to have a _logically_ best approach, they need an _emotionally_ best approach to convince the other guy.

**You need a prop to represent the consequence.** Let me say his favorite photo of his sister at twelve. He keeps looking at this, handling the prop, looking at it, and whenever he does he makes _emotional_ arguments, but sticks to them.

Then what you show, by body language, is he begins to understand. Less handling or viewing of the prop. Finally he puts the prop aside, he puts the picture of sister back in his top pocket (near his heart); a signal that he is done. Either he cannot find a way to protect her, or his opponents have assured him his sister will be safe.

Because arguments that are all about logic do not last very long, there must be some sort of anti-logic in play, and that means an emotional commitment that overrides the frontal cortex. You make it an emotional commitment, some sort of love or hate, that must be overcome; and you signal this commitment with a prop. Even a wedding ring could do it.

Original score: 3