#( it would be so easy to act on it as the cruel prince cardan literally masked himself under that very skin

[cruelprincae]

Mastermind always sends chills down my spine, like my dude. The notes hit are ... wow.

[she-who-fights-and-writes]

How would one write a realistic argument?

How to Write a Realistic Argument

Everyone argues.

Whether it be with a friend, sibling, parent, or coworker—arguments usually break out whenever there’s a stark contrast in opinion over certain things, which can happen a lot.

There are a variety of different kinds of arguments involving a wide range of people with different tempers. Because of this, writing arguments can be a bit difficult, but fear not, for this post is here to help!

1. Know The Writing Style of an Argument

For a very serious argument, the characters probably won’t stop and listen to what their opponent has to say.

It’s quick, choppy, and broken—each character shoving their emotions at one another and trying to get their point across without bothering to understand the other side’s opinions.

There should be a lot of em-dashes and italicized words for emphasis, and if it’s between two people, you want as few speech tags as possible; because there’s going to be a lot of back and forth, speech tags can serve to trip up the flow of the argument rather than help them.

When you do want speech tags or if there are multiple people arguing at once here’s some examples you can use:

Roared

Screamed

Yelled

Bellowed

Barked

Hissed

Shouted

Accused

Interrupted

Growled

Snarled

Spat

Screeched

Shrilled

But you also must know that your characters won’t just be standing stock still and yelling at one another; they’re going to be moving around, so here are some things you can describe your character doing during an argument

Expression contorting

Eyes narrowing

Speaking through clenched teeth

Baring their teeth

Lips twisting (into a sneer/into a snarl)

Hands balling into fists

Trembling

Breaking things/knocking stuff over

Pointing accusingly

Shoving

Spittle flying from their mouth

Stamping their feet

Face getting hot

Vein in forehead popping

Blood roaring in their ears/heart pounding

And if you want, to build tension you can put it in a dangerous place, like at the edge of a cliff or something—so you know fully well that if one of them goes too far it may end up with the other’s accidental death.

2.Know Your Characters

The most important factors of your argument are the characters participating in it.

You should have your characters’ tempers established beforehand so you know if they’re going to be hanging back while others argue or if they’re going to be throwing hands every other chapter.

Your characters’ tempers will shape how much tension the argument causes.

An argument with someone who is usually chill and slow to anger will be a whole lot more impactful and important than an argument with someone who is a known hothead, but it wouldn’t make sense if the argument happened over something minor.

Here’s a list of some of the tempers your character can have, ranked from lowest to highest on how much tension an argument with them causes

 (Just so you know, these aren’t rigid categories; most people are usually a mix of everything!):

–Hotheaded Character–

Fights with a hothead hold the least tension. 

Hotheads will fight over anything and everything, their quick fuse making them easy to irritate and anger. Their words can hurt people who aren’t used to it, but usually bounce off of close friends who are used to it and know that the hothead usually doesn’t mean it.

Arguments with hotheads have a high chance of turning physical, because their rage explodes in bursts rather than a slow buildup (the definition of going from zero to one hundred), and in any situation, hotheads are usually the ones to throw the first punch.

 Because a hothead could get riled up about a spilled drink just as quickly as they can get riled up about a friend dying, just having a hothead getting angry during a moment of severe tension won’t bring you the umph that you’re looking for.

However, your hotheaded character can serve as an instrumental character in triggering more serious arguments, one of their mindless snide remarks going too far with a level-headed or shy character.

Examples of hotheaded characters:

Stanley Kowalski, A Streetcar Named Desire by Tennessee Williams

Lt. Tom ‘Iceman’ Kazansky, Top Gun (1986)

Anger, Inside Out (2015)

–Aloof Character–

These characters are a lot like hotheads, but the many, many fights that they pick don’t involve them getting raging, screaming mad.

They’re cold, calculating, and cutthroat, and they couldn’t care less about what you think of them.

Their anger is a lot less “loose cannon” than the hotheads’. They say what they mean and mean what they say, and it’ll take a long time to recover from the tongue-lashings these people can dish out.

The greater tension, however, comes from when the aloof characters raise their voices and start shouting—their schooled, uncaring façade fades away and they’re left truly and undeniably angered by whatever tipped the scales.

It’s not too tension-building because these characters were just bastards to begin with, but it’s still unnerving and shocking to see a normally collected character lose their cool.

Examples of aloof characters:

Mr. Darcy, Pride and Prejudice by Jane Austen

Prince Cardan, The Cruel Prince by Holly Black

Alex Stern, The Ninth House by Leigh Bardugo

Sherlock Holmes, Most Media Types

Tony Stark, The Avengers

–Nonchalant Character–

These people usually don’t engage in meaningful arguments because they literally don’t care enough to bother. 

When another character tries to pick a fight, a character who is more nonchalant will sometimes roll their eyes at whatever accusation is being leveled at them rather than retorting. This can go either way, perhaps escalating the tension or diffusing it by not offering up a reply.

Kind of like with the aloof character, they don’t have any emotional attachment arguments that they start or are dragged into. They’ll argue for the sake of arguing, but they really don’t give a fuck about it. 

The part that draws the tension, however, is when the characters do give a fuck. A fight they get into turns heated, and a character’s normal devil-may-care attitude may morph into something else altogether.

Most nonchalant characters also may exhibit some hotheaded tendencies, which shows how muddles these archetypes can be.

Examples of Nonchalant Characters:

Han Solo, The Star Wars Saga

Deadpool, Deadpool (2016)

Angel Dust, The Hazbin Hotel

–Level-headed/Stoic Character–

These characters are the cool cucumbers of the group. They’re very, very, VERY slow to anger, and usually exhibit more maturity than their peers, almost never starting arguments. 

They’re the masters of diffusing arguments with a few words, and hardly ever raise their voices.

Sure, they may serve as backup to someone else and may jump to their aid with a bit of heat behind their words, but this hardly happens when the argument is their own.

Many hotheaded or aloof characters may try teasing or pushing these characters in order to act out, but it rarely works.

On the few instances that a level-headed character is angered, it is pretty serious.

Either one of the other characters poked fun at something they shouldn’t’ve—their dead parents, something they’re self-conscious about, etc.—or a member of the group makes a terrible mistake with dire consequences, and the stoic character has had enough.

This causes a lot of tension because “oh shit, the calmest person in our group just went off” and can usually signal a breakdown of the group because their strongest link is snapping.

Examples of Stoic Characters:

Geralt of Rivia, The Witcher

The Mandalorian, The Mandalorian

Spock, Star Trek

The Doctor, Doctor Who

Atticus Finch, To Kill A Mockingbird

–Timid/Shy/Quiet Character– 

An argument with a timid person causes by far the most tension out of everything, to the point where I call it “The Snap.”

Someone who is timid, shy, or quiet would rather not argue at all because they don’t have it in them to retort.

They may care a whole lot about the situation under contention, but for one reason or another they don’t want to start too much trouble. These people actively avoid conflict and usually try their best to diffuse situations before they start, whether it be by conceding, walking away, or pulling the nonchalant route and not saying anything.

However, unlike the stoic characters, they might be much more emotional; it wouldn’t be out of the ordinary for a timid character to cry when being berated by the others, and they may even be outwardly livid, but they always back down in the end.

 However, they can only hold it in for so long.

 If you have a character who spends the entire book meekly accepting the verbal (or perhaps physical) harassment of other characters, you should most definitely put a “Snap” somewhere in the story, a point where the character has had enough and fights back.

 The timid character’s pent-up rage and sorrow explodes into a raging argument that will most definitely frighten the other characters.

 The tipping point may be the death of the loved one or just a simple, ordinary jab from an antagonist—the straw that broke the camel’s back.

 Unlike with the hothead’s quick bursts of anger like snap fireworks, the anger of a quiet character—much like with a stoic character—is like ten thousand pounds of dynamite with a very, very long fuse.

A quiet character will almost never have a contained argument once they’ve snapped; it will be like a category five hurricane, and God help the poor bastard that set it off.

Examples of timid/shy/quiet characters:

Carrie White, Carrie by Stephen King

Amélie Poulain,  Amélie (2001)

Bilbo Baggins, The Hobbit by J.R.R. Tolkein

3. Know The Rhythm of An Argument

An argument isn’t just 0 to 100 and then back to 0. 

The tension levels look more like a squiggly line than a single spike; the tension peaks and ebbs on various levels throughout an argument, especially if it’s a long, important one where both characters are snapping over a novel’s worth of building tension.

The argument can come in like a freight train or it can build up slowly, a character storming in after a realization or a single snide remark that snowballs into something much greater.

Then comes an accusation. Both characters brace themselves and realize that this argument isn’t just going to putter out.

More back and forth words exchanged. “I don’t like that you do this, this and this,” while the characters’ tempers flare even further, pushing them to say more extreme, hurtful things and working each other up into a rage.

A physical fight may break out between the two, throwing punches and insults.

The climax should be a huge, shocking exclamation or accusation. “I hate you!” “If you were never born, Mom would still be alive!” “This is all your fault!”

The tension ebbs. The characters stand in silence, bitter and ashamed of themselves.

They may agree on a few things, their tempers start to die down. They may come to some understandings or storm off with the tension unresolved. The argument ends.

This is the basic format of an argument; however, there are usually several levels of accusation-buildup before the eventual climax.

The whole point of an argument is that it leaves the characters’ relationships much different than they’d been before; they either understand each other much more, or they’ve become much more wary of one another.

If your characters’ relationship doesn’t change after an argument, then there was no point in writing it.

I really hope this helped! Happy Writing!

[coeurvrai]

I wonder how many pages this review/rant/scream into the void has taken up on my blog so far? Far more than it deserves, I’m sure of that much.

“But back to the point, we have to get past the Vultures to get to the king?”

Rashid glanced at Malachiasz, but nodded. Malachiasz leaned back on the chaise, pulling at his lower lip.

“That complicates things,” Nadya said. “We can’t just wait for the opportune moment. I need to know what I’m doing if this is going to work.”

Malachiasz nodded. “You’re going to go to the dinner. Watch the king. Charm the prince. He’ll be your way to get to the king. Tell me exactly what the masks on the Vultures near the king look like.”

He was going to deal with the Vultures. Fine. Good, even, because Nadya didn’t know what to do when they were involved. They were a variable she feared and did not understand.

God, if only you knew an individual who had been a part of that order/cult for a very long time and knows the intimate details of how it works and what they do.

Oh wait...

But seriously, Nadya, if you were so curious and so concerned with your lack of knowledge about the inner workings of the Vultures, you could just fucking ask Malachiasz about it. I know he’s the Black Vulture, but you have no real reason to believe that he wouldn’t just tell you. Then again, asking for common sense from this girl is like asking a block of cheese for directions.

Also Nadya wouldn’t recognise an opportune moment if it walked up right to her face and held up a bright flashing neon sign saying “opportune moment”.

Rashid stood. “I’ll go find Parijahan; you don’t have much time before dinner.”

That left just Nadya and Malachiasz.

NO! Don’t leave these two fuckers alone in a bedroom, Rashid! I don’t want to deal with what I’m sure is gonna be more focus on this stupid relationship that I neither need nor want. ED just provides us with a surplus of this damn stuff.

“You should go as well,” she said softly.

She could feel his gaze burning against her face, but she refused to look at him. She saw him stand and move toward the door out of the corner of her eye, but he changed his mind. Instead, he dropped down into a crouch in front of Nadya’s chair so he was looking up at her.

“I acted without trusting your judgment, and for that I apologize,” he said.

It’s not an apology for murdering that girl, she noted. But it was a start. It was something from this boy who obviously had no morals and no regard for anything that didn’t serve his own interests. She just wished she could understand what those interests were.

Nadya, we do not have time to once again get into your utter stupidity because it will just make myself go into a blind rage over it and that’s just not healthy. I still have like a good 150 pages to go and I cannot afford to burn myself out so, I’m just going to ignore that for now. Also, “the girl” has a name. It’s Felicíja, Nadya. I know you know it because you’ve used it before.

Also, “no regard”? Nadya, you say that like you have regard for anything else but your own interests. You don’t. You still view Tranavians as lesser than you, as unworthy of existing as they are because they have blood magic, as “heretics” because they rejected your religion and do not want it.

You can’t tell me you feel empathy and understanding towards the Tranavians, genuinely, because you haven’t gone through the character development for it - no matter what this book is trying to tell me. Unlearning biases and xenophobia is tough, unlearning any kind of systemic discrimination is tough, but you haven’t made an effort to. You haven’t. And this isn’t how to do it, anyways.

Also the moral high horse that Nadya is sitting on is eye-roll worthy. You’ve also murdered people, Nadya; I can’t say this enough.

“Nadya,” he started and stopped. He let out a frustrated breath.

Inexplicably, she felt herself soften. She reached out and threaded her fingers into his soft, black hair, letting her hand settle against the side of his head.

Why—after being so furious with him—did she find herself desperately yearning to kiss him? The heat of anger that he sparked was still felt fresh in her veins and yet she couldn’t help but gaze at the bow of his lips.

She was feeling too many things in too little time. She wanted it all to stop. She wanted whatever this was she felt for him to stop.

I want it to stop too but I know it won’t, because otherwise ED would have nothing else to write about, and we can’t have that.

I don’t know why, either. It’s stupid. You’re so abhorred by him killing Felicíja when you claim that she didn’t need to die, and that he’s undermining your agency, and you know, he’s a former Vulture and a blood mage and your enemy but yet you still get all gooey over him for no real reason.

To the point that you checked out his unconscious body before you checked whether or not he was alive.

If he was startled by her actions, he didn’t show it. He let another moment pass between them—fraught with a tension still too new to her—before he spoke. “You have to trust me, Nadya,” he said, his voice low. “I know I am everything you have been taught to hate and more. I have done terrible things in my life. If I disgust you, I understand. But—”

“We have to work together,” Nadya whispered. “All four of us, or else this whole mess of a plan will go up in smoke and we’ll all be hanged for it.”

He leaned his head into her hand and she felt herself warm. To have another person react to her touch was a peculiar feeling, a connection she had never really had with anyone. The monastery didn’t encourage relationships; one’s devotion to the gods was more important.

This was a disaster. Anyone, anyone but him. Anyone but the enemy boy who had tormented her people, who was faithless, godless, monstrous. If she tore out her own heart would this stop? If that was the thing betraying her, then she would be rid of it. Anything to stop from being pulled to this terrible boy.

This plan is an absolute mess but also you’re the one who put “the plan” in jeopardy in the first place, so you should really start pulling your weight, Nadya.

Also “the enemy boy”, I’m fucking laughing. Nadya, you could just like, stop, you know. Not acting on your attraction to people is like a thing. You act like you literally cannot help yourself but get all blushy blushy over him and you HAVE to touch him. Like, that’s not how things work.

“And you and I need to come to an understanding,” he continued. “We can be enemies when all this is over.”

It was fairly clear now that enemies wasn’t quite what they were before, and an understanding probably wasn’t going to be what either of them wanted.

Maybe she had knocked her head during the duel, but she found herself sliding her other hand up his neck to cradle his cheek. He grew very still, as if he truly thought her a little bird and sudden movement might startle her away.

“What if I don’t want to be enemies when all this is over?” she asked softly, her voice betraying her by trembling. Her heart was pounding in her throat.

Yeah, no shit “enemies wasn’t quite what they were before”, because it was a half-hearted attempt at the trope. ED couldn’t bother building it up in a believable and organic way, so she just threw it aside completely and was like “what I really want to see them is suck face!”

Also bullshit, Nadya! You’d think your gods would have something to say about that, since they’re the only reason you have power in the first place. It almost infuriates me that I had to sit through all of her xenophobia and discriminatory tirades, just for it to not bloody matter one fucking bit to her character.

Anyways, I’ll spare you guys the descriptions of them kissing. Nadya is the one who initiates the kiss and she describes kissing him as “heresy”. Because that is a word you should just throw around. Totally, ED. Totally. Also Malachiasz calls her little bird again and I hate it.

She still finds blood magic repulsive, though. She asks Malachiasz if he felt it when she accidentally used the spells, and he nods. She says he knew this could happen, since she had to draw blood to pass herself off as a blood mage. He’s like “yeah... but I mean, I didn’t think anything bad would really happen!”

Malachiasz says he’s gotta go and they’ll continue this conversation later. Good, I can’t stand another moment of your bullshit. And we get this heavily advertised quote.

“Even so. Dazzle the monsters, Nadya. You’ve already charmed the worst of the lot; the rest should be easy.”

*rolls my eyes*

This is also weirdly reminds me of that one quote from The Cruel Prince, a book I have not read and have no intention to but have heard a lot about.

“So I am to sit here and feed you information,” Cardan says, leaning against a hickory tree. “And you’re to go charm royalty? That seems entirely backward.”

I fix him with a look. “I can be charming. I charmed you, didn’t I?”

He rolls his eyes. “Do not expect others to share my depraved tastes.” 

But thankfully, Malachiasz is leaving for reals.

“I’m still mad at you,” she said, but the words felt flat.

“I know.” He grinned as he slipped his mask back over his face. He was gone before she could say anything more.

She pressed a hand to her lips, wrenching her eyes shut. There would be hell to pay for this.

Everything about this romance falls flat, so I’m not surprised. What’s the point in them being enemies-to-lovers if you’re not going to follow through with the enemies part of the trope? Oh wait, it’s for cheap angst, plus otherwise this wouldn’t be published Rey/Kylo Ren fanfiction.

Also, I doubt you’re gonna get that much of a chewing out for it, to be honest. I mean, the gods had plenty of opportunities to chew you out for your bullshit with Malachiasz and they didn’t, and that was back when they had easy access!

Anyways, that’s the end of that chapter!

[the-little-witches-books]

The Cruel Prince (Review)

Holly Black, 5/5

• Going into this not knowing anything, because it’s a common theme with me apparently and it seems to work well.

• Low key relate to Jude in the way of having a weird family dynamic where we're a family but we've never really established what we are to each other? Kind of just taken in because we had to be taken in as well and now here we are in this awkward step-family not really step family but totally a step-family dynamic.

• She's ready to throw hands and I appreciate that about her.

• At this point in time I don't actually trust anyone. I don't trust Dain, and I don't trust Locke or anyone else and I feel like there's a huge plot twist coming and Jude deciding to work with Dain is going to be a huge mistake.

• AN ENTIRE PAGE OF ‘JUDE' WHAT A LOSER

• Taryn is still young and I’m low key worried about the fact that I don't see anything about her on tumblr but we'll see how she turns out. Maybe she gets married and has an OK life? Who knows.

• The fact that everyone refers to Madoc as her father and they can't lie just proves that, despite everything they really do love each other and they just needed to establish family things better.

• Oriana thinking Jude is a mistress is the funniest goddammed thing since its probably Taryn whose the mistress.

• Calling it now that Taryn's mystery man was the one Jude killed and so now she hates her and wants nothing to do with her sister or something.

• MADOC FUCKING KILLED DAIN HOLY SHIT

• Despite all the shit that's going on I still appreciate Madoc?

• “I just chased my sister around the downstairs with a sword. But what to do with that talent is the question.” Honestly I think this is my favorite quote?

• Cardan is an absolute mess and I adore him.

• The Queen which is an accurate name for her considering Cardan is going to make her rule.

There was so much going on here honestly can't believe that I put off reading this book for as long as I did when it was such a masterpiece. I do know, actually. It's because I couldn't stand to read The Coldest Girl in Cold Town and didn't want to bother with this and then impulsively checked this out from my library and read it all in one sitting.

The characters were deeply flawed and they knew it and were able to point out their flaws and that was really refreshing to me. Often, in YA you have characters who are deeply flawed and use them to their advantages but don't actually acknowledge them aloud to each other the way that the Black has these characters point out their flaws to each other and to themselves. They know that hey maybe I shouldn’t be this way, but I’m a product of so and so it’s kind of just the person that I am at this point and that’s it. That’s how they are and it’s a well known fact that they don't try to hide.

I’m feeling for Jude and her weird family situation because at this point I don't even know what to call this dynamic? Are they going to be okay, is this going to end with Madoc dead or Taryn dead because she's marrying a fae who literally lives to start drama and now has the perfect chance to start some stupid shit? It can all really go downhill from here and I won't even know until next year and then some to actually get to it with my TBR pile the way it is.

Jude got herself into such a mess, and the worst part is that I know exactly where it went wrong and where if she had just stopped none of this would have happened. If she had just waited, like Madoc had told her to try for knighthood I don't think any of this would have happened the way that it did. Or, it would have obviously happened anyway just in a different sequence of events with Jude and a far less amount of people in the mix and then we would have gotten a completely different story that I now want to know.

It wasn't like a lot of other YA books, where there is a big influence on fighting but then you can't figure out what they're doing because it’s so complex and I appreciate that it was easy to keep up with. It was detailed, yet simple to follow and still captivating and has you wanting more and more until finally you’re at the end of the book and you're stuck there like “Now I’ve got to wait another year for the rest of it when there's so many questions that I have?” I didn't go into this expecting much but yet here I am leaving with everything.

I want to see how Jude can handle being acting Queen, because Cardan is being…Cardan, and I want to see what happens with Madoc and Locke because I don't trust either of them individually and I feel like they're going to be big parts of this next book. Locke, as Jude's brother in law and Taryn's husband and because of how open he is about loving to cause so much unnecessary drama. Madoc as who he is in general. They're definitely characters that I’m keeping an eye on in the next book to see how they develop along with the rest of the plot.