How Can Authors Write Believable Frenemies In Novels?

I love writing frenemies because they live in that delicious, uncomfortable gray where sympathy and spite sit at the same table. To make them believable I give them a real, sensible scaffold: shared history, mutual benefit, and contrasting values. Start by deciding why they tolerate each other. Is it convenience, a shared secret, social status, or the uncomfortable fact that no one else understands a part of them? That messy motivation keeps their barbs from falling flat.

Concrete scenes beat grand declarations. Show the frenemy saving the protagonist from embarrassment in one paragraph, and in the next have them deliver a cutting joke that lands like a paper cut. The contrast—the kindness that comes with the dagger—creates the emotional dissonance readers savor. In dialogue, lean into subtext: clipped compliments, affectionate insults, and tiny reciprocal favors. Let small physical details sell it too: the way one straightens the other's collar while rolling their eyes, or how they both notice the same offhand detail about someone else.

Finally, let the balance shift. A believable frenemy arc will tilt: maybe toward genuine friendship, maybe into antagonist territory, sometimes into a fragile truce. Use point-of-view to shade the relationship; a close POV that sometimes misreads a jibe will show the protagonist’s biases and let readers hold both truths at once. I adore writing those prickly relationships—there’s always a charge in the air, and it keeps scenes humming long after I stop typing.

Frenemies are deliciously complicated—they're where sympathy and rivalry collide, and I geek out over them every time I draft a scene. For me, believable frenemies start with a shared past that explains both trust and tension: maybe they helped each other survive a brutal internship, or they were childhood teammates who split over a betrayal that never quite healed. That history gives you small currencies to play with—old jokes, nicknames, a scar, or even a song they both hate. Sprinkle those details into scenes so their conflict feels earned instead of invented. I often borrow the awkward, sharp warmth of 'Mean Girls' for social friction or the begrudging teamwork vibe from 'My Hero Academia' when rivals have to cooperate against a bigger threat; examples help you see how tension can coexist with care.

On the nuts-and-bolts side, write oppositional wants and overlapping needs. One person might crave recognition while the other needs control; they fight over the same spotlight even when their end goals overlap. Language matters here: use clipped praise, backhanded compliments, and that odd protective gesture that looks like criticism—stepping between them and a true threat, for instance, but in a way that reads like interference. Scene structure can flip expectations: show them bickering publicly, then reveal a private moment where one hides bad news or helps the other cover a mistake. That subtext—what's left unsaid—is the secret sauce. Also, let power shift. A frenemy should have wins and losses so the dynamic never calcifies into one-note bullying or one-sided mercy.

Finally, give the relationship consequences and a believable arc. Don’t resolve everything in a single cliff scene; make tension simmer and occasionally boil over. Complicate loyalty with stakes: when a shared objective forces them to collaborate, their methods will clash, revealing ethics and soft spots. If you write in close POV, play with unreliable sympathy—the narrator might justify their own harshness while exposing the other’s vulnerability in private chapters. If you write in third-person, contrast internal monologues to show how both rationalize their actions. I like ending frenemy arcs ambiguously—maybe they don’t become best friends, but they stop tearing each other down. It’s messy, and that’s perfect; realistic frenemies leave the reader a little uncomfortable and oddly satisfied, which is exactly why I keep writing them.

I keep a tiny checklist in my head whenever I sketch a frenemy, and it helps me avoid two-dimensional bickering. First, they need intersecting goals: give them something they both need, like a job, a seat on a committee, or revenge, but let them want different ways to get it. Second, add a shared soft spot—an embarrassing secret, a person they both protect, a ritual—which makes them hesitate before striking the final blow.

Tone and micro-behavior sell it: sarcastic banter that sometimes shields genuine concern, hands that linger to fix a jacket, eye-rolls that hide gratitude. I also play with public versus private behavior—one character humiliates the other at a party, but calls them afterward to check they’re okay. Finally, let the power balance move around; sometimes the frenemy wins a battle, sometimes they save the other’s neck. That ebb and flow keeps readers invested and makes the relationship feel lived-in. Personally, seeing these small contradictions come alive on the page is one of my favorite writing pleasures.

At a quieter pitch, I think of frenemies as characters who are both mirrors and obstacles. They reflect parts of the protagonist the protagonist refuses to see, while also blocking roads the protagonist quite likes. To write them believably, I mix empathy with moral ambiguity: let them do kind things for complicated reasons, and cruel things with a trace of vulnerability behind the cruelty. Avoid making them cartoonishly evil or unrealistically benevolent; the truth lives in compromise.

Tactically, I focus on cadence and consequence. Keep their barbs specific—insults tied to a real fact—and let every slight have a cost. Also, resist tidy resolutions: a believable frenemy might stay a frenemy, or their relationship can evolve in a way that leaves both gains and losses. That unresolved tension is often more satisfying than neat reconciliation, and it sticks with me long after the page is closed.