Archive for emotion

Go Beyond Telling Your Story – Show It and Make the Reader Feel It

Posted in Writing with tags , , , , , , , , , , on December 17, 2016 by Dawn Ross
Cinderella's Slipper

A talented writer can show you and make you feel this magical scene.

One of the biggest obstacles I’ve had to overcome as a writer is learning how to show the story rather than tell it. Anyone can tell a story, but not everyone can make the reader feel like they are actually a part of the story. So how does one write in such a way as to bring the reader into the story? Let me start with showing you the difference between telling a story and showing a story.

 

The prince slipped the glass slipper onto Cinderella’s foot. It fit. The two smiled at one another and then hugged. They lived happily ever after.

 

Short and sweet but not very engaging, right? First of all, it happens too quickly. I could drag it out more by describing more of their actions. But ‘dragging’ a scene out isn’t what separates showing from telling. There is so much more to it. Here is my rewrite:
The glass slipper glided easily onto her foot, sending a shiver up her spine. This was happening, this was really happening. But would he recognize her in these rags? Would he be able to see her through the soot and grime on her face?

He raised his head. Her breath caught as his blue eyes locked onto hers. Goosebumps prickled across her arms. She smiled tentatively, hoping against hope.

His eyes twinkled and a grin spread across his handsome face. Warmth flooded through her and her eyes burned with tears. He remembered her.

But no. This had to be a dream. It couldn’t be real. She looked down at her soiled clothes. Her nose twitched at her own sour scent. There was no way he could love someone like her. She was just a servant, a simple nobody.

She squeezed her eyes shut and brought her dirty hands to her face. A piteous sob escaped her throat. Her chest heaved and hot tears pushed their way out.

The warm touch of his hands as he cupped them over hers magically settled her. She let her shaking hands fall and hesitantly opened her eyes.

His face was a handbreadth from hers. “It’s you.” The warmth of his sweet breath whispered across her lips. “I’ve been looking everywhere for you.” His fingers gently wrapped around hers.

Dream or no, she couldn’t resist the tenderness in his eyes. She let go of one of his hands and delicately brushed his cheek with the tips of her fingers. He was real. And somehow he still saw her in the same way he had on that enchanted night.

He enveloped her into a longing embrace and she melded into the strength of his passion. All the world around her disappeared. It was just him and her, lost together in a whirl of everlasting joy.

 

This rewrite showing is obviously much longer than the telling part. But perhaps it didn’t really seem like it because hopefully you felt like you were a part of the experience. As stated earlier, it’s not because it is longer that makes it more engaging. Here are some things that helped show the story:

Emotions – Cinderella shared her emotions. And she didn’t just tell the reader she was nervous, ashamed, or relieved. She showed her emotions with her actions, gestures, internal sensations, and internal thoughts. Actions, his blue eyes locked onto hers. Gestures, she delicately brushed his cheek with the tips of her fingers. Internal sensations, warmth flooded through her. Internal thoughts, she didn’t think this was real.

Other Senses – Cinderella doesn’t just tell us what happened. She shows us what she sees, smells, and what she feels both internally and externally. Engage your readers by trying to include two or more of the five senses – sound, sight, smell, touch, and taste.

Adjectives – Adjectives have a way of putting more feeling into nouns. They help to bring those nouns to life. Consider Cinderella’s piteous sob, sour scent, and dirty hands. Consider the prince’s warm touch, blue eyes, and sweet breath. Consider their enchanted night.

Conflict – Conflict somehow has a way of really engaging the reader. Conflict keeps the reader guessing and keeps them hoping for the best. It creates setbacks and gives heroes the opportunity to show who they really are. And it makes things more real. Although the Cinderella story is a fairy tale, I’ve made her more real by showing her internal conflict. In real life, a man and a woman don’t just fall into easy love without some sort of internal doubts. Conflict can be external as well as internal. After studying how to show a story rather than tell it, consider doing some research on the many ways you can add conflict.

Word Choices – Consider the words you’re using when you’re setting a scene and showing your story. Use words that support the emotions. Consider sharp words when there is strong negative emotion or lots of action, or soft words for slow-paced scenes or gentler emotions. When Cinderella looked down at her soiled clothes, hopefully the word ‘soiled’ helped convey her doubts about herself. When she delicately brushed the prince’s cheek with the tips of her fingers, hopefully the word ‘delicately’ showed how she was still uncertain but beginning to believe. When they hugged, hopefully the words ‘longing embrace’ conveyed how relieved both of them were to be together again. Somehow, I don’t see the words ‘strong hug’ doing the trick.

Sentence Lengths – The emotions of certain scenes can sometimes be conveyed better through the lengths of your sentences. Action scenes or other scenes meant to be fast paced can be written with one-syllable words and short choppy sentences. Longer sentences help slow the momentum of the story. Love doesn’t happen quickly so love scenes like the one above do better with longer sentences.

Don’t Overdo It – Sometimes, showing can get a little out of hand. I thought about adding more to Cinderella’s doubts by having her speak back to him and being more hesitant to believe this was real. But sometimes enough is just enough. You don’t want to bore your reader with too much detail. And you don’t want to dwell on one emotion for too long.

Telling Has Its Place – Sometimes telling is actually appropriate. Telling could be used to skim over boring parts that have no real value in the story other than to get your character from one place to another. An example would be if one of your characters just experienced an event and is now telling another person. Rather than go into dialog relating events the reader already knows about, the writer can tell the reader, “Jack told her everything in a rushed breath.”

But use telling very sparingly. There are better ways to transition a character. You can end the chapter at one scene and begin a new chapter in another scene. You can have your character thinking about something important as they move from one place to another. Or you can insert a sub plot so that something happens as the character is going from one place to another.

These are just a few of the things I’ve learned about showing a story and engaging your reader. I hope I’ve covered all the points but if I’ve forgotten something, please feel free to add a comment or two.

Review of The Emotion Thesaurus: A Writer’s Guide to Character Expression

Posted in Writing with tags , , , , , , , on October 31, 2015 by Dawn Ross

The Emotion Thesaurus: A Writer's Guide to Character Expression

I know I have a difficult time showing rather than telling my characters’ emotions. And I know I tend to describe emotions the same way every time even though each scene and each character might be different. The last chapter with Terk and Jako is a perfect example. So when the book The Emotion Thesaurus: A Writer’s Guide to Character Expression was recommended to me, I ordered it right away.

COMMON PROBLEMS TO WRITING EMOTIONS
Telling
Before the book gets into the emotions, it gives some tips for avoiding common problems with writing emotions. The problem I have was listed first, which is basically telling rather than showing. In chapter 11 of part two, a sentence reads, “He glowered at Jako and the weasel of a man finally had the sense to begin feeling uneasy.” Even though Terk can sense emotions, it might be more beneficial for the reader if I showed this part rather than just stated it.

Clichés
Another problem The Emotion Thesaurus mentions is with clichéd emotions. Grinning ear-to-ear is an example the book presents. So when a writer wants to show that a character has a wide grin, perhaps they should try to show it in a different way, or at least a way that is not overly common. My problem isn’t so much a trouble with clichés as it is with using the same expression too much. For example, chapter 11 seems to have a lot of scowling and glowering.

Not Balanced
Too much reliance on either dialogue or non-verbal expression is another problem The Emotion Thesaurus mentions. A writer needs to have both well balanced together. My problem is that my dialogue isn’t balanced well enough with the non-verbal expressions. In other words, the characters talk, but no one feels anything. Or if they do feel something, it is barely mentioned.

The Emotion Thesaurus mentions two more common problems with writing emotions, but I’ll let you buy the book and learn about them for yourself. The book also gives some very good examples of each problem and how to fix them.

THE EMOTION THESAURUS
The rest of the book is the emotions part of the thesaurus. Emotions are listed in alphabetical order from adoration to worry. There are 75 emotions total and each one is broken down into the following parts:

Definition
The definition is first. Some emotions, like embarrassment and shame, are synonyms. But there may be some slight differences that are important for a writer to distinguish between.

Physical Signals
The next section is the emotion’s physical signals. These are the signals that other people can see. There are a number of physical signals for anger including flaring nostrils, glaring, baring one’s teeth, turning red, pounding fist, and so on. Terk was partially angry and he showed it with his glaring and he smacked his hand down. But I could show a little more. He was also annoyed that Jako wasn’t afraid of him. I stated this, but perhaps this thesaurus can help me show it instead.

Internal Sensations
The next section is on internal sensations. These are things a character feels but doesn’t necessarily show. Depending on how angry a character is, their internal sensations can include sweating, quivering muscles, and more.

Mental Responses
The Emotion Thesaurus also lists the mental responses for a character. A character who is angry might also be irritable or irrational, among other things.

Long Term Consequences
If a character feels an emotion for a long period of time, The Emotion Thesaurus lists the cues for this as well. So someone who is angry for a long time, for example, might develop a problem with getting angry over little things, develop hypertension, or escalate into rage.

Suppressed Emotion
But what if a character feels an emotion but tries to suppress it? The Emotion Thesaurus covers this as well. Jori and Terk both have a tendency to try to hide their emotions. So if Terk wanted to suppress his anger, he might try to carefully control his tone, avoid eye contact, or clench his fists behind his back so someone like his father doesn’t notice.

Writing Tip
Each emotion ends with an additional writing tip. Some of the tips are specific to the emotion just presented while other tips can be applied in a number of situations.

CONCLUSION
For me, the three issues first mentioned all boil down to the fact that I do not show my characters’ emotions to the reader well enough. My writing isn’t balanced because I don’t show it and I tend to rely too much on common expressions. I really think The Emotion Thesaurus can help me. Rewriting part one with this in mind might make a huge difference when it comes to developing my characters better. But before I go back that far, I am going to rewrite chapter 11 of part two. Come back next week to see if I’ve made a noticeable difference. In the meantime, buy The Emotion Thesaurus from my Amazon A-Store.