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Writing Angry Scenes: Tips to Avoid Melodrama and Make It Real

Anger can be one of the most intense, relatable emotions to read—and one of the trickiest to write. When handled well, an angry scene can pull readers deep into the emotional world of a character, building tension and driving the story forward. But when handled poorly, anger can easily slip into melodrama, making the character’s feelings seem overblown, forced, or even cringe-worthy.

So how can you avoid these pitfalls and write anger that feels real and compelling? Here are some tips to make angry scenes powerful without overdoing it.

1. Understand What Fuels Your Character’s Anger

To write anger authentically, you need to understand its roots. People get angry for complex reasons—fear, frustration, betrayal, grief, and even love. Ask yourself what’s truly driving your character’s anger. Are they afraid of losing control? Do they feel abandoned or misunderstood? Are they hurt by someone they trusted? Anger rarely exists in isolation, so dig into the deeper emotions fueling it.

When you understand the core reasons behind a character’s anger, you can weave those nuances into the scene, making the anger more relatable and layered. Readers will feel the depth of the character's rage, not just the surface heat of it.

2. Show, Don’t Tell—But Don’t Overdo It

“Show, don’t tell” is classic writing advice, but it’s especially crucial in angry scenes. Don’t rely on generic phrases like “She was furious” or “He clenched his fists in anger.” Instead, look for unique ways to convey how this specific character experiences anger. Maybe their voice drops to a deadly calm, or their eyes narrow in a way that makes everyone around them uncomfortable.

That said, showing too much can backfire, especially with exaggerated descriptions. Over-the-top body language, excessive shouting, or too many “flaring nostrils” can tip the scene into melodrama. Use body language and physical cues sparingly and mix them with subtler reactions for a more realistic portrayal.

3. Use Dialogue to Reveal Hidden Layers

People rarely say exactly what they feel, especially when they’re angry. Angry dialogue isn’t just about yelling or throwing out insults; it’s an opportunity to show the character’s deeper thoughts and vulnerabilities.

Consider using controlled, icy responses or unexpected silences. Maybe your character says something hurtful in a low voice rather than screaming. They might express sarcasm, avoidance, or even laugh at the wrong moment. Anger often carries hidden layers, and using these nuances can help your character’s dialogue feel genuine, even haunting, without falling into dramatic clichés.

4. Control the Pacing of the Scene

The pacing of an angry scene can be the difference between a powerful moment and a melodramatic one. In real life, anger doesn’t always erupt instantly; it can simmer, spike, or deflate depending on the situation and the character’s personality. Experiment with different pacing techniques to create tension.

You might build the anger slowly, with small signs that something’s brewing. Or maybe the character explodes suddenly, only to calm down just as quickly, leaving a chill in the air. Controlling the pace helps you control the reader’s emotional engagement, drawing them in without overwhelming them.

5. Avoid Clichéd Expressions and Overused Reactions

When writing anger, avoid falling back on clichés like “seeing red,” “boiling with rage,” or “blood boiling.” These phrases have been overused to the point that they lose their impact. Instead, get creative and think about how your character’s anger might feel specifically to them.

Maybe their skin feels prickly, or their jaw aches from clenching it. Think about details that are unique to the character and to the moment. By focusing on small, unique sensory details, you’ll help readers feel the anger rather than just reading about it.

6. Let the Setting Reflect the Emotion

The setting can be an effective tool to amplify a character’s anger without overstating it. Small details in the environment—such as the hum of a refrigerator, the slow ticking of a clock, or the distant sounds of laughter—can create a sense of contrast or isolation that heightens the character’s rage.

For example, imagine a character seething in a peaceful park or a quiet library. The calm of the surroundings can make their anger feel more potent. Or maybe they’re in a crowded, noisy room where they feel unseen and unheard, which fuels their frustration further. This use of setting can add depth to the scene without the need for dramatic gestures.

7. Let Consequences Speak for Themselves

An effective way to avoid melodrama is to let the consequences of the anger show its intensity. Characters don’t always have to yell or physically react; sometimes, a single choice can convey more than any outburst.

Perhaps your character cuts off a close friend or says something they can’t take back. Maybe they throw away a meaningful object or walk out in silence. By focusing on the consequences of their anger, you can reveal the impact without over-explaining it.

8. Let the Emotion Simmer After the Scene Ends

Anger is rarely resolved in a single moment, and its effects often linger. When writing an angry scene, think about how it will affect your character moving forward. Are they holding onto grudges? Do they feel guilty or exhausted afterward? Does their anger transform into something else, like sadness or regret?

Allowing the anger to simmer in your character’s mind even after the scene ends creates a more authentic and layered portrayal. It shows that anger is complex and doesn’t just disappear the moment the scene is over, adding emotional weight to both the character and the story.

Ley Strider By WillOBrien

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NO ONE knows how to use thou/thee/thy/thine and i need to see that change if ur going to keep making “talking like a medieval peasant” jokes. /lh

They play the same roles as I/me/my/mine. In modern english, we use “you” for both the subject and the direct object/object of preposition/etc, so it’s difficult to compare “thou” to “you”.

So the trick is this: if you are trying to turn something Olde, first turn every “you” into first-person and then replace it like so:

“I” →  “thou”

“Me” →  “thee”

“My” →  “thy”

“Mine” →  “thine”

Let’s suppose we had the sentences “You have a cow. He gave it to you. It is your cow. The cow is yours”.

We could first imagine it in the first person-

“I have a cow. He gave it to me. It is my cow. The cow is mine”.

And then replace it-

“Thou hast a cow. He gave it to thee. It is thy cow. The cow is thine.”

Writing Realistic Characters - part 2

- Journal from their perspective. It can be hard to write compelling, realistic motivation for characters if you don’t understand them yourself. By journalling from their perspective, even if the content of the journal isn’t included in your story, you’ll essentially be thinking as the character. This should help you understand who they are and how they make choices and react to things, like a real person would.

- Answer “character questions”, but be careful when using lists found online. The internet is full of lists of questions for writers to answer when building characters, but not all of them are actually that important or useful. The fact is, it really doesn’t matter what a character’s favourite colour, animal or day of the week is (unless it’s relevant to your story… but it usually isn’t). When looking for question lists online, or making your own, focus on questions that have to do with your character’s personality, such as how they’d react to a situation or which values matter more to them.

- Make character charts! I can’t stress this enough — character charts are incredibly useful tools for writers and I don’t know what I’d do without them. They’re a great way to keep track of important information about your characters in an organized way that’s easy to access when you need to quickly check a detail. I’d also strongly recommend making your own charts, not using templates online (I find it a lot easier to stay organized when I’m using my own organizational system). If you need a place to start, though, I normally create charts with 4 categories: role (protagonist, antagonist, etc.), name, identities (gender, ethnicity, sexual orientation, etc.), and description (just a brief few sentences about them). You can also make personality charts with things like their greatest flaw, greatest strength, story goals, etc.

- Come up with a few detailed memories/anecdotes from their past. Think of them as mini-stories you can drop into your main story to build a more realistic life around the character. These don’t have to be crucial to the plot, and should be brought up in a natural way, such as in conversation with another character or in the main character’s thoughts. For example, your MC’s best friend might compliment her necklace, and she tells them how her sister gave it to her as a birthday present before moving away. You can also use these anecdotes to drop in important information in a non-obvious way. Continuing the example above, the MC could mention that her sister has the same design necklace, but in green. Later, this becomes a clue, when she finds the green necklace outside the villain’s lair.

- Keep a record of their backstory. This one doesn’t really need much explaining… Just keep notes of your character’s backstory as you come up with it so you don’t risk inconsistencies, which tend to break down realism. 

- Remember that the reader can’t see what’s in your head. Your characters may be fully developed, realistic people in your head, but that makes it easy to forget that your readers don’t automatically understand them the way you do — they only know what’s on the page. Asking other people to read your work can help you understand how your characters come through to an audience, but if you don’t want to do that, just re-reading it yourself is also helpful. If you do the latter, though, go through an entire chapter at a time, the way a reader would, not small sections.

plot feeling a little empty in the middle? here’s some food for thought.

actions have consequences. things that your characters do inevitably can affect other people around them. what might they have done in the past that could come back and serve as an obstacle? or, maybe, what could they do now that could possibly raise the stakes just a little bit more?

subplots! be mindful of the subplots you’re adding - but sometimes it might be a good idea to include one if your plot is feeling a little bit empty. not only can it tie back into the overarching struggle, but it could also serve as a way to explore one of your characters or points further.

character exploration. get to know your characters a little bit better! let your readers find out something new. connecting and understanding the people within your story is important if you want your readers to grow attached to them.

world exploration. similar to the previous point, with the addition of creating a greater sense of familiarity of the circumstances that your story is taking place in. remember that nobody else knows the world of your wip as well as you do - illustrate it even further so everyone else can grasp it even better.

let your characters bond! maybe there’s a lull in the plot. if your characters have the chance to take a breather and get to know the people around them, let them! it might help flesh out or even realistically advance their relationships with each other.

some dnd backstory ideas that give your character a reason to leave home that isn’t “everyone in my family died.” (just to say: i have nothing against those backstories (i use them a lot), but its fun to mix it up!)

family/friends/personal

someone close to you is sick. you need to adventure to find a cure

someone stole something important from you and you need to find it

you’ve received a message from a long lost relative and are trying to find them

someone that you love has been kidnapped (maybe you have to earn money to pay a ransom or complete some deed…)

adventuring runs in the family! everyone is expected to complete one quest in their lives

your family/culture sends people out to complete certain tasks when they reach a certain age as a rite of passage

another player’s character saved you in the past so you feel indebted to them and travel with them, protecting/aiding them

there’s a magical drought in your hometown and you have to fix it

your hometown doesn’t have a lot of jobs so you have to travel and send money back home

some childhood friends and you made a “scavenger hunt” where you try and complete a checklist of certain tasks (ie. defeat a barbarian in hand to hand combat, steal x amount of gold, slay a dragon, etc) in an allotted amount of time

quests/jobs

a god/patron has sent you on a quest to do something for them

you’ve been hired by someone to complete a task (and you get sucked into the big adventure along the way)

you’re on a quest for knowledge. maybe it’s to learn the best ways of fighting, maybe it’s something more academic related

your priest received a vision from your god and they sent you on a quest

you’re writing a book about the world and different cultures and you need first hand experience

you’ve found every map you’ve come across is shitty, so you decide to become a cartographer and make your own

you’re a detective who helps solve crimes and need to travel to solve a particular case

you’re a collector of a certain object and travel across the land to find it

you’re apart of an adventuring academy and have to complete a quest to graduate

you’re an artisan and you travel with your wares, trying to sell them. alternatively, you’re trying to spread word of your business and gain new business partners

you worked at a tavern your whole life where an old bard would sing songs of their adventuring party and that inspired you to go and do some adventuring of your own

feel free to add some of your own!

Ally: Lady Keiva Marzanna, The Waylaid Huntress

“ What are you standing around for? Any longer and It’ll kill all of them, think you can distract it long enough for me to get off another few shots?” 

Adventure Hook: Shots and screams ring out as the players approach the city, along with the roaring of some great beast and the thunder of its footsteps across snowy earth. 

Arriving, they find a grisly scene in action: a procession of riders and their mounts slaughtered, and a towering jotun murderously trundling towards a crowd of fleeing travelers. 

A woman in a voluminous winter riding gown sits with her back to a tree, face stained with blood, black powder, and frozen tears. She labors to reload her massive flintlock rifle braced against a broken leg and splintered ribs. With a plea, she turns and fires, drawing the jotun’s attention to her position and the party’s presence. 

Setup: It was an inauspicious morning when Lady Keiva set out with her brother  Valiboor’s hunting party, restless of her life as the family’s courtly heir and jealous of her younger sibling’s marital pursuits.   As it happened, this was the morning a giant burst from the thick ice of the nearby trade river and decided to besiege the city. Barely past the gate ,  Valiboor and his hunting party turned about to try and delay the beast till proper help could arrive and managed to harry it for some time as it picked them off in twos and threes. Though Keiva had held back as was her duty as noble heir, she took up her brother’s gun after watching Valdiboor and his last few riders fall beneath a tree hurled by the jotun. 

The party finds her just having been swatted off her mount, injured and mad with avenging grief she pulled her body free of the mangled beast’s carcass and limped over to find a better shooting vantage. If they aid her, the party will earn the favor of one of the city’s most powerful noble families, that is if they survive a confrontation with an icy, bone-crunching colossus first.  

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Figuring out your OC's 'voice' and physicality/characterization

I often struggle with creating distinct characters, so I came up with some questions about your OCs that I haven't seen in any other lists.

I recommend answering these for each character once you've already spent some time with them on the page.

What irks other people about the way they converse?

What kind of conversations do they usually have?

Are they a good listener?

How do they react to confrontation?

How do they react to being corrected?

How do they correct others?

Do they tend to speak in long sentences, short & clipped sentences, or somewhere in between?

How likely are they to heed social cues when talking to others?

How likely are they to use body language rather than words to express discomfort and other emotions?

Do they care more about getting their way, or more about how others feel?

What's their favourite skill?

What niche thing are they competent at?

What trait immediately draws them to other people?

What trait immediately repels them?

Even if they haven't met (or even if they're not even in the same universe!), what would your other OCs' first impression of them be?

What makes them angry?

What makes them sad?

What makes them happy?

What's their posture like?

How do they want others to see them?

How do they move through a room?

Do they prefer being barefoot, and if not, what kind of footwear do they usually like best?

What kind of climate do they prefer?

What would make them distrust somebody?

What would they consider the greatest betrayal?

Intrigue: Baroness  Magali Turcas, Lady of the Court and Daughter of The King’s justice.

“You know why I brought you here? Because you’re a nobody, and I admire that.  If you were a somebody around this court it invariably means that my father or his father tortured someone very important to you, and that means you’d be to intimidated by me to engage in conversation. Are you intimidated by me? Good, go and fetch us some drinks and I’ll tell you everyone’s dirty little secrets.”

All great courts employ torturers and executioners, but it’s only the cruellest of monarchs who have such need of these grim servants that they’d grant them lands and titles.

Such was the case for the Turcas family, simple but loyal jailers who found themselves elevated when during an attempted palace coup, their patriarch helped prevent the escape of the King’s leading political rival, thereby stifling the nascent rebellion, and preventing a civil war.

Magail Turcas grew up the beneficiary of her father’s windfall, educated along with the children of the court as befitted a young lady of nobility, but was continually excluded due to her family’s infamous reputation. Ever the outsider, Magali became a gossip and rumormonger, exposing the secret weaknesses of her rivals and dismantling reputations with the same vicious practicality that her forebears used to dismantle bodies.

Adventure Hooks

With the old king dying and an executioner sized ax to grind, Magali looks to cement her position as an indispensable fixture of the court, leveraging her web of informants and proxies into an actual spy network. Becoming master of whispers isn’t going to be easy, and she seeks competent agents who don’t mind digging up dirt or slinging mud on her behalf.

Having earned an enemy among the member of nobility, the party is approached by Baroness Magali after they’ve been backed into a corner: Bounties on their head, thrown into prison, assassins out for their blood. Magali offers to remove these obstructions, along with promises of financial and social assistance, provided they’re willing to help her destroy the antagonistic noble, and take public credit for their downfall.

Investigating a crime, the party comes across evidence that an otherwise inconspicuous servant was observing the proceedings and sending coded messages to an unknown benefactor. Breaking the code could provide vital information, but the servant is one of Magali’s loyal spies, and will not betray his mistress, even under threat of violence. IF the party wants this shortcut in their cimesolving escapades, they’ll need to broker a meeting with the would-be spymaster, and perhaps put themselves in her debt in exchange for some much needed clues.

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