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.
