3 Paths to Holistic Writing

The past two weeks, I have been reading articles on holistic approaches to psychology, martial arts, lifestyle, and medicine. So of course I decided to explore what people said about holistic writing on blogs, Facebook, LinkedIn, and the web in general.
I found near silence.
So I decided to tackle the idea myself.
Holistic comes from the noun holism,which is most commonly used in three ways. Below are three holistic approaches to writing based on these definitions.

#1

• Unity. In one use of holism, the parts can only be understood as they contribute to the whole. If you wish to use this approach, then look at your target section as a whole unit instead of as a lot of pieces because those pieces interact to form the whole piece.

Example 1: A scene often includes dialogue or monologue PLUS action PLUS description. You can certainly look at each element individually but to gauge the effectiveness of the scene, you probably should look at how these elements interact to form the whole. In this approach,we do not just look at the dialogue, action, description, etc, in isolation but in terms of how it/they contribute to the entire section. And we look at the section (be it a beat, scene, or chapter) not in isolation but in terms of how it contributes to a greater unit (the beat to the scene, the scene to the chapter, the chapter to the book, the book to the series).

#2

• Synergy. In a similar yet distinct usage of holism, the whole is more than the sum of the parts. To clarify, in the first definition, the pieces interact to make a whole unit. In this second definition, the parts synergize to form a whole that is greater than the parts.

Example 2: This holistic approach requires getting into your "reader mind". A reader does not analyze each part of a beat, scene, or chapter. the reader absorbs the entire experience presented by a blending of all the writer's techniques. Ask an uncritical reader and s/he hopefully say  "awesome", "couldn't put it own to sleep", "totally engrossing". What writing technique causes this? No single technique but the synergy created by every tool in your arsenal.

 #3

• Integrity. In this third use of holism, I use "integrity" not in the moral sense but in the structural sense -- specifically the broader structure of our lives.

Example 3: While some people try to live their lives in compartments, a more integrated life-style can greatly benefit your writing. First of all, by not compartmentalizing ("this is office time, this is family time, and this is writing time"), your writer mind will be more alert. You will have an easier time drawing on experiences that occur outside your "research and writing time".
Example 4: Healthy life-style practices definitely  affect your ability to function as a writer (especially in terms of creativity, productivity, and stamina). Making priorities of physical, mental, and spiritual health -- integrating healthy practices into your lifestyle -- is an important part of taking care of yourself as a writer.
--
There you have it. Three different paths to holistic writing! I enjoyed writing this post and hope you find it helpful.

---

Has this post prompted any ideas of your own? We'd love to hear about your ideas and experiences in the comments section!
Have a question or topic you'd like to see addressed? Drop me a line!

Writing: Difficult, Easy, or Both?

Today I am reminded of the quote...

“A writer is someone for whom writing is more difficult than it is for other people.”

― Thomas Mann
 

Normally, I'm not sure I agree with this. Writing is difficult and easy in turns. For me, it is difficult at the beginning. My mind is very sneaky in the ways it tries to sabatoge me. I learned to write anyway.

In one way, though, writing may be more difficult for writers. Writers sometimes take themselves and their writing too seriously. When writing becomes a life-or-death matter to the writer, she starts to block herself. She struggles more because it has turned into a fight with high stakes.

Or maybe writing is more difficult for “writers” because the writer has an arsenal of technical skills, forms, and rules that she juggles. The casual writer does does not bother with all that.

So maybe the easiest way to write is by not being a writer. Once the groundwork is laid, just write. Write like someone who doesn't know how difficult it is to write.

Tough Choices: Character-Informed Dilemmas

(Photo Credit: OffGamers)
Since we're talking about choices, we are obviously talking about characters. Regardless of the genre or the specific situation, it is the character who has to make the choice. An easy choice is almost no choice at all. While the specifics change from character to character, every character will have needs and wants. When the two or more clash, you can create tough choices.
The clash between a need and a want might be an easy choice... or it might not. Think of the many ways that we procrastinate fulfilling a need by chasing a want. Stopping this cycle can be difficult. A twist is when a need is mistaken for a want, or the reverse situation.
A clash of two or more wants can create a dilemma when the wants are almost the same intensity. A twist on this can be when one of the wants is given its intensity by a time limit, situation, or another character (ex, the real want is to please or impress another character).
A clash of two or more needs can be intrinsically more stressful for the character and engaging for the reader because of the very real possibility that one or more need will be sacrificed. Most often, these will be inner needs unless physical resources (food, shelter, etc.) are scarce.
I carefully avoided giving character-specific examples here (except for in the opening picture) and instead spoke of wants and needs. This is because the unique natures of your characters may contrast sharply with one another. What may be a need or want for your character may or may not even register with your villain. Happy writing!

Ch 1 Blunders: Missing Beats

(Photo Credit: Imgur)
Don't confuse your readers with illogical flow of sentances and action!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I did not have a logical flow of events. Here were three bloopers that I made in the first chapter...

• Action-reaction. Both need to be external. There can be a stated internalization (thoughts, feelings) but both the cause of the action and the response to the action need to be external and sensory (I'd say physical but depending on your genre...)
• Rising action. Things should get worse for your character. I like to use a "Rule of 3". Set-up, Complication, Disaster. But I'm learning to keep the set-up short by removing backstory and other forms of explanation.
• Scene flow: Okay, I did not use on in this book -- but I have in others! The first scene needs to cause thee second scene, and so on. Possible exception is if you change point of view to someone like a villain or love interest who is not in the same place as the MC and can't logically be affected by the MC's actions.

DISCLAIMER: This was feedback for one author's MS and should not be taken as all-or-nothing advice for all stories.

(what is a beat, action-reaction, exception is action-internalization-reaction)

Ch 1 Blunders: Generic Characters

(Photo Credit: Adventures in Married Life)
Few readers will read about stick figures!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I used fleshed out stick figures. Here were three bloopers that I made in the first chapter...

• Interchangeable characters may be well rounded but have overlaps in personality, functions, or appearance (physical, speech patterns, names). Overlapping personalities can be a source of conflict (especially in opposing forces) but can also mean that you are not fully exploring the posibilites that people offer.
• Emotional reactions are a must even in the most action-driven story. Ultimately, the reader reads because of the character. Readers can relat better to characters who react and act emotionally. Emotion provides motive -- and therefore logic -- for the action, too.
• 2-D: Okay, I did not use on in this book -- but I have in others! Archetypes are one possible building block for character design. However, if you do not "build" but instead stick with the model, you can end up with stereotypes.

DISCLAIMER: This was feedback for one author's MS and should not be taken as all-or-nothing advice for all stories.

Ch 1 Blunders: Premature POV Changes

(Photo Credit: The Metropolitan Museum of Art)
Don't blur your reader's vision of your story!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I made it difficult for my readers to connect with my characters. Here were three bloopers that I made in the first chapter...

• Establish the character first before changing points of view. This may mean that you keep the first chapter mostly or entirely in the main character's (or villain's) POV. Give the reader space to invest in a character before you change POV. A point-of-view switch will build reader if done after the reader cares about the character you are leaving for the moment.
• Confuse the reader. Aside from caring about the character and needing to identify the main character, rapid POV changes can confuse the reader. Changing points of view means looking through another seet of eyes -- and the minds behind those eyes. Gender, assumptions, mood, emotions, involvement, goals, and focus all change each time you change perspectives. Confusing!
• Who is the MC? Okay, I did not use on in this book -- but I have in others! Typically the character given the most POV scenes is the main character. the importance of other characters is often determined by the reader according to 1) the order in which the characters are presented and 2) the amount of "air time" each character is given.

DISCLAIMER: This was feedback for one author's MS and should not be taken as all-or-nothing advice for all stories.

Creativity: Capture Your Dreams

(Photo Credit: Tumblr)

    Dreams play out our deepest fears and our wildest fantasies—the stuff great fiction is made of. Approximately four times each night, our minds take creative journeys. Sometimes mystifying, sometimes delightful, dreams are stories, poems, settings and scenes waiting to be expressed. The trick, of course, is capturing them.

    I’m not a fan of gimmicks some “experts” recommend to remember more dreams, like drinking lots of water before bed so you’ll wake up more often (and most likely just after a dream). I am a huge fan of sleep, and the importance of getting enough of it is about the only thing health researchers seem to agree on these days. So I’ll offer three harmless ways to make to most of a good sleep.

    The first way to remember more dreams is to focus on doing it just before going to sleep. Sound too simple? It works for many people, including me. If it doesn’t help you, a few minutes of creative contemplation before going to sleep certainly won’t hurt. (Doesn’t it beat dropping off to the babble of late-night TV?)

    And speaking of staying up too late, a great way to remember your last dream is to wake up naturally. Blaring alarms and radio banter blast us into wakefulness so quickly that fragile dream memories stand little chance of surfacing. Of course, to wake up naturally you need enough sleep. So play with this for a week or two. Try using your alarm as a “backup” until you find the right balance of waking up alarm-free and making it to work on time.

    The final harmless trick is: whenever you wake up with a dream still simmering, don’t get up, don’t even open your eyes. For a few minutes, try to recall as many details as possible. Bring images and events and emotions to waking memory where they will stick for longer—long enough, hopefully, to log them into a journal while the morning java brews.

    Dreams are fascinating creative resources, and it may take little more than focus to remember more of them. But if these tips don’t work for you, don’t lose any sleep over it! The worst that’s likely to happen by trying is that you’ll finally get enough rest to wake up totally refreshed and ready to write.

Ch 1 Blunders: Generic Settings

(Photo Credit: Popupology)
Don't leave the reader guessing about where the story takes place!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I started my reader off in a generic setting. Here were three bloopers that I made in the first chapter...

• Genre can easily be established through setting details. A shoreline backed by imposing cliffs seems a distinctive setting but could appear in many different genres.  Add a dragon in the sky, a castle on top of the cliff, or a metal dome instead of sky, and you have swiftly taken advantage of genre -- and oriented the reader -- with very few words.
• Any old shoreline.  After (or while) you've established genre, show what makes this shoreline into this shoreline and not another in your world. One way to do this is to use landmarks personally important to the reader. Have the dragon circle her home, the castle belong to her brother, the shoreline is the only shoreline in the space station.
• Missed opportunities: Okay, I did not do this in this book -- but I have in others! How does the shoreline play into other elements of the story? It may be a recurrent setting, a symbol for the edge of two choices the heroine must make, set the mood, and so forth.

DISCLAIMER: This was feedback for one author's MS and should not be taken as all-or-nothing advice for all stories.

(Flash Fiction) "Progress"

Progress

By Jane Matthews

               It’s taken us five years to get here. Five years, four nights in a hospital, three lost friends, two major fights, and one attempted murder. And, of course, that all-important partridge in a pear tree.

               “Marry me.”            

               Those two little words made it all disappear.

               Theresa and I met in high school. I was on the cheer squad; she hung out with the stoners in the back lot smoking. We met when our science teacher decided that I would be her new tutor. It was hate at first sight.

               Then something changed.

               We began meeting outside of school. First we met at the library, then we migrated to a local coffee shop, and soon she was coming over to my house to study. Then my boyfriend broke up with me. I went through two boxes of tissues, had a twenty-four-hour movie marathon of the worst rom coms ever made, and burned the sweater he gave me for Christmas. The funniest part of it was that the only person who could cheer me up was Theresa.

               Eventually we started seeing each other secretly. We went on dates and strolled together in the park, holding hands when we thought nobody was looking.

Two years later we decided to come out at prom. Cliché right? We lost three of our closest friends and I made one of the hardest decisions of my life: I broke up with her, cruelly.

               I didn’t see her for two years after that, until we met one day at a bar and still clicked. We were heading to my apartment when some guys attacked us. They were going to kill us but the police showed up, they even admitted it. I was in a coma for four days. After we were released we had our second big fight: I wanted to stay hidden, but she refused to hide. She won, and we’ve been together publicly since.

               Now one year later she kneels in front of outside that same bar, holding a ring and saying those magical words.

               “Marry me.”

               And I realize that I’m finally home.

 

Ch 1 Blunders: Starting Too Late

(Photo Credit:  Pinterest)
Don't let readers leave your book behind!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I started some elements of my story too late. Here were three bloopers that I made in the first chapter...

• Main story I started this too slowly. Although the Inciting Incident does not start until the end of the first portion of the book, I should have introduced an important clue or trigger to get that snowball rolling.
• Tangents are the main reason I started too slowly. I started with an arc (okay, maybe a whole subplot) that my main character pursued before fiding that important clue.
• Prologue: Okay, I did not use on in this book -- but I have. Prologues are tricky creatures and should be handled with care.

DISCLAIMER: This was feedback for one MS by one author and should not be taken as all-or-nothing advice for all stories.

Clche Traps

(Photo Credit: Ethereal Illuminations blog)
      “Once upon a time an evil dragon kidnapped a beautiful princess from her father's castle. The king offered half the kingdom and her hand in marriage as a reward for her rescue.  A handsome, brave, kind-hearted, orphaned knight with a magic sword slew the dragon and won the princess's heart. Everyone cheered and loved the orphan because he was the best hero ever. He ruled wisely and well. And they lived happily ever after.”
 
      After you read the first line, did you have any doubt about the last line? As soon as you read that the princess was beautiful, did you have any doubt that there would be a hero who was handsome? Once the antagonist was identified as an evil dragon, did you guess that there would be a princess, a prince, and a castle?
      I don't want to take up more words providing you with lists of cliches. Instead, let's look at three problems that cliches pose...

1. less conflict. At first, this may not seem to be the case. After all, there's a knight and a dragon, right? but that's as far as it goes. Lots of missed potential -- even if you throw in an evil step-mother. If you went beyond the cliche, there could be conflict between the princess and dragon, princess and king, knight and king, king and dragon, etc. And that's just external conflict. What if someone had mixed feelings about the princess's capture or the rescue or the reward or the wise rule of the hero? Or if the inner conflict belonged to the dragon? And don't forget about conflict between person and society/nature/fate. So yes, there is still conflict but also many missed chances.
2. too much predictability. You were able to predict most -- if not all -- of the Westernized story, right? Maybe you thought there would be a prince instead of a knight but... Readers instinctively look for patterns. Nothing wrong with giving the reader what he wants. But as much as your reader thinks he enjoys guessing the next move correctly, what most readers really want is for you to surprise them. Cliches are patterns that have been over-used to the point that they have lost most of their potency. There's some fun for the reader to predict them but...
3. boring characters.  Cliche characters are a bad idea for the above reasons. Cliche characters are not just the "perfect character" but also over-used combinations of traits.

      All that said, cliches can be used deliberately for humorous effect. Or as a starting point. After all, you have to start somewhere. Only when you fail to develop a predictable boiler-plate character/setting/conflict does it become cliche. Before then, it's fair game.

Ch 1 Blunders: Floating Characters

(Photo Credit: Pinterest)
Don't leave your characters to float in a vacuum!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I did not ground my characters. Here were three bloopers that I made in the first chapter...

• Setting: Ground your character in physical surroundings either immediately or almost immediately. This can be tricky if you start with dialogue or thoughts but if you do not physically ground your character then you risk confusing the reader and/or making the action (verbal or otherwise) less immediate.
• Mood: Think about the mood of your story (comic, dark, sensual, etc.) and make sure your character introduction is permeated by this mood. This may mean going back and rewriting your hook from scratch or taking the already-written hook and changing the angle.
• Genre: Okay, I did not use on in this book -- but I have in others! It is important to establish your genre (and preferably your subgenere) in the first few pages. The reader who picked up your book typically expects a certain genre but don't leave the reader guessing. Show her that she chose the right book and the right character to meet her fantasy/romance/suspense desires.

DISCLAIMER: This was feedback for one author's MS and should not be taken as all-or-nothing advice for all stories.

(cartoon) too many characters or too few?

(Photo Credit: Zooky World)

Ch 1 Blunders: Starting Too Soon

(Photo Credit: Pinterest)
Sometimes you have to wait!
Last month, I received some fantastic feedback on the first quarter of my current MS. For this series of articles, I will draw from the remarks of my wonderful Beta readers and discussions I have had with other writers on these topics.
In some ways, I started my story too soon. Here were three bloopers that I made in the first scene...

• Character-driven action can be risky. Her actions are, of course, affected by her unique make-up. But opening action should show her "normal" while being interesting. LESSON: Show her normal before her deviation from normal!
• Backstory-driven action is a no-no when it confuses the reader instead of intriguing. Details of backstory should not be spelled out in an opening scene (or chapter). Engage the reader's curiosity. LESSON: Delay backstory-driven action until after the frontstory is established!
• Many characters: Okay, I did not make this mistake this time. But it is a common blooper. Typically, it is easiest on the reader to when the writer introduces characters one at a time in the general order of importance.

DISCLAIMER: This was feedback for one MS by one author and should not be taken as all-or-nothing advice for all stories.

Flash Fiction: The Invisible Elements

(Photo Credit: duitang.com)
Flash fiction often relies heavily on what is left unsaid. Like the glass in this sculpture, the invisible elements accentuate and highlight what is visible.

• Structure, of course, is invisible. Different story structures accentuate different elements of the story and create different effects – much like in longer fiction. One might think that with the brevityof flash fiction, there wouldn't be many variations of structure. A quick web searchwill show you that this is not the case.
• Details ommited can effectively engage and intrigue the reader, forcing her to either imagine or infer the missing elements.When your reader conjures the details, she makes the story uniquely hers. This is an excellent way to build reader raport while saving space on words. The simple scarcity of details will also lend additional force to the details that you do include.
• Background is typically invisible in flash fiction, either entirely ommitted or simply inferred. This intrigues the curious reader who will, almost certainly, fill in the missing pieces herself. Clues to the inciting incident, too, are built into the story because only certain triggers would cause your characters to act the way they doat the start of the piece.
• Ending with a cliff-hanger can be seen as an invisible element, since the full outcome iss not spelled out. A good cliff-hanger will prompt the reader to go back over the story, looking for clues that will help her fill in the details of the ending. A great cliff-hanger can cause the story to haunt the reader.

Not only is flash fiction like the solid glass sculpture above, a good flash fiction story is like a ghost: part substance and part invisible, partly knowable but with a past and present and future that can only be guessed at. And thoroughly haunting.

Tough Choices: Genre-informed Dilemmas

(Photo Credit: Pinterest)
Since your genre has a specific focus, why not make use of this fact when brainstorming dilemmas? Every genre has built-in reader expectations for focus, issues, stye of world-building, etc. You can exploit built-in assumptions while developing touch choices for your characters. Here are three examples of what I mean...
Historical fiction often touches on how past conditions shaped -- and were shaped by -- social conditions. Hopefully, you are familiar with what makes your time period unique. A Great Depression has different built-in dilemmas than does a Renaissance, Great War, or a Liberation Movement. People living in times like these often feel strong pulls in multiple directions... tough choices.
Detective fiction often deals with issues of justice, injustice, and the grey area between the two. Likely, you have fine-tuned your area of interest.  Your explorations do not need to be limited to your main plot. Maybe a character changes as a result the tough choices she makes.
inspirational fiction often handles a very character-focused struggle to find and/or keep religious faith in times of trial. Since the character always chooses to follow her faith, the trick to making this a tough choice is to set up scenarios that strongly tempt the character to make the wrong choice.
Remember your genre as you write. Readers of your genre are picking up your book with certain expectations. Whether you flip,stretch, or reinforce the assumptions, there are issues that the reader expects will be addressed. So keep your genre in mind as you write.

Some Appeals of Flash Fiction

(Photo Credit: Ocean Wonderland)
A flash fiction piece is like a mermaid in a bottle. There's not much space in that bottle. You'll have to choose carefully what to include and leave out. FF is a popular form for both readers and writers for many reasons, including...

• Shock value. Flash fiction is known for delivering messages, twists, and scenarios that evoke strong emotions in the reader. Some readers seek out FF for the emotional impact. Writers can enhance any form of communication by learning to deliver an emotional punch.
• Unanswered questions. Did the mermaid fit through the opening or was the bottle built around her? Why is she there? FF has a habit of leaving some questions unanswered and thus engaging reader curiosity and imagination. Works are enriched by learning to balance the elements of show, tell, and silence.
• Taste of writer style. Just like this painter has a style, every writer has a unique style. FF can give readers a taste of that writer's personality, voice, and perception of the reader. A reader who enjoys FF by a certain writer is probably more likely to buy from that writer.
• Experiment. FF is a chance to experiment with genres, characters, and craft. Skeptical readers and writers can invest comparatively little time on several FF pieces in a genre that has them curious.
• Time constraints. Flash fiction seems tailor-made for the current age of short attention spans and shorter down time. And for writers, FF offers a chance to test-drive characters, plot ideas, and themes while without investing the resources required by a whole novel.

Not all (maybe not even most) flash fiction is written with a novel in mind. While I think flash fiction makes a great teaser and suppliment for readers, it also stands gloriously on its own. Flash fiction is distinct form with its own strengths and weakneesses. Like the mermaid in the photo, it is limited by its “bottle” – but only in size, not in power.

Flash Fiction Contest

In June, you can to share your FF stories on several platforms, get feedback, and maybe win a prize... Sound fun?

PRIZES: 3 Amazon gift certificates
DISTRIBUTION: WordPress, Tumblr, Blogger, Facebook, Twitter, LinkedIn
JUDGING: number of ratings, likes, comments, and shares on the blog
CATEGORIES: “clean” Romance, Fantasy, Historical
SUBMISSIONS: April 28 – May 28. 350 word limit. Maximum two submissions per person. Specify the category of each submission. No more two categories per submission.
EMAIL: writerblock149@gmail.com, with the heading "FF Contest"

Tune In To Your Rhythms

By Alina Chase

 ------------------

We all have daily, weekly and seasonal rhythms. Working with them is one of the most painless ways to increase productivity. Write when we write best, and relieve ourselves of guilt-inducing deadlines when we know our creative energy wanes.

This sounds simple. So why is it so hard to do?

We underestimate the ripple effect. Doing more of one thing requires doing less of not one other thing, but more likely several other things. And shifting our writing schedules may impact so many autopilot activities that we’re surprised it takes so much effort—and fail to do it.

For many of us who naturally write best in the morning, why is it so hard to squeeze in an hour of writing before work instead of struggling to crank out coherent prose at night? Because getting up an hour earlier means getting to sleep an hour earlier. And that means nixing an hour of evening activities. It may mean skipping evening surfing but also may take eating earlier and replacing a beloved evening Espresso with chamomile tea. Sticking with the plan is even trickier when it affects others—what if a mate insists on watching TV in bed long past our newly declared bedtime?

So maybe Saturday morning writing marathons will work? Maybe, if we can get up before ten—which could mean implementing energy-enhancing weeknight changes to avoid being wiped out by the weekend. (Including that getting-to-bed-early thing.) Add to that doing laundry on Wednesday, mowing grass on Thursday and doing whatever else it takes before Saturday to free up extra hours to write. How simple is this?

And while allergies, holidays and tax deadlines are predictable seasonal disruptions, it takes even more forethought and discipline to plan for and around these downtimes.The key to making small changes is to recognize that there is no such thing as one small change. But continuing to work out of sync with our natural rhythms and easily anticipated downtimes can turn what we love doing into just plain work. While tuning into our rhythms, changing what we can when we can, will help create the flow we crave. Isn’t this why we write? The effort is worthwhile!
-------
-------
-------
(Photo Credits: Spring pic found on Tumblr and Winter pic found at TopDreamer.com)

Verbal Fight Scenes: Anger Patterns in Relationships

Photo Credit: EmotionallyVague.com
      Parent. Love interest. Best friend. Rival. You main character will react differently to anger depending on the nature of the relationship she is in – and the nature of the other person. Luckily for the writer, within the relationship these reactions are  consistent across time (until one character decides to change).
      Anger patterns are a useful way to further individualize relationships and characters. Why does your character go on the offensive with her father but go silent with her mother and use sarcasm with her brother? Notice that there is an internal pattern to the scenario that I just laid out that can be explained by several different back-stories. Once you know the why of your character's side of several relationships, you will probably have a predictor for how she will automatically react in other relationships.
      What allows this anger pattern to continue? Your character's pattern in the relationship is enabled by the other person (otherwise the relationship probably would have been severed long ago). Person B knows the moves in this dance every bit as well as your character. Even though there is anger, they've (unknowingly) agreed that this is the way to handle it. So when your character finally starts taking responsibility for herself and tries to change this pattern... well. The other character will try to restore the old pattern.
      While verbal fight scenes can happen at any time in a story, of course, but these scenes are especially likely to happen when other character try to prevent your character from changing. Even allies are likely to have verbal fights with your character when your character's change also means a change in their relationship.
      “Change back” can include logic, threats, and actual punishments. These efforts by other characters initially meet with some success as your character backslides. You can see how these attempts can be turned into verbal fights where your character comes out worse of in some way. She can backslide and temporarily gain peace or she can hold fast to her new thought process and risk damaging (or loosing) a relationship.
      I hope this gives you some new ideas and helps you further understand and develop your characters through their relationships with others. Anger can be a useful tool!