When there is tension in dialogue it is more interesting. Tension can be created when pursuing or attracting someone and forcing their move toward or with the opposing force. With conflict an essential basic element in a plot the antagonist opposes the protagonist then conflict and tension follow or occur as a result.
A loss resulting in harm is barely perceptible when there are big stakes and a solution is given to the protagonist. When that solution is a life changing loss the protagonist or the main character is being manipulated by the antagonist as a villain (the bad guy,) and against whom a hero (the good guy) fights in order to help himself or give aid others.
The antagonist precedes arbitrarily with a theft even when that could cause an inner or a moral conflict inside his mind. An antagonist usually will want to escape notice of their intentional removing to deprive of any type of property. Ensuring their security of a position hidden or not as a type of recognized authority, and or possibly partially concealed by official documents in place. Most antagonist promotion strategies could apply a documents context to any or all of their actions to reinforce their position as official. An antagonist and his group identity’s shows qualities that are in contrast with qualities of the protagonist.
Threats to result in harm done by a malicious antagonist are when the antagonist usually tries to ensure that someone else gets punishment. Even a document could be used by the antagonist to stave off any punishment to avoid defeat or downfall. The protagonist is forced to comply with arbitrary official document demands, a form of intimidation. The antagonist struggles against the protagonist taking the plot to the crisis the major turning point.
The crisis is placed close to the conclusion. The conclusion is the protagonist retains his worked for or earned belongings, such as home, vehicle, possessions and right to continue financial management. The antagonist is no longer allowed access to literally sell and throw away belongings or the protagonist into the street as homeless. The list of antagonist applicants to determine the protagonists’ financial management for gains to whatever areas hostile or not, with protagonist levels of learning could be left as a cliff hanger story end. The applicants odious human trafficking continues in applied policy levels by official sanctioning and appointment.
What the protagonist understands and what the antagonist understands, does it come out in their conversation? Does the antagonist interpret a response as criticism becoming indignant with whatever levels of education and or experience or point out documented text?
With the protagonist are his goals expressed versus the antagonist’s goals? If responses are on the surface there are no layers of subtle meaning. In real life people are not always open, honest, and or good at communication.
Characters could manipulate or evade, tell half-lies or lies of omissions or out-and-out lies. Do they misunderstand each other and or themselves? Readers experience the scene through the viewpoint character's perceptions.