Alan’s TTIM Stories #17

Author’s Note: In a quest to become a better writer, I’m compiling a summary of what I’ve learned (and learning) to be added to my website soon. The project points out the importance of including elements of history and nature in writing. A third, but equal,  important ingredient is emotion.

Emotional Writing
Given a name – Psychological Fiction: “a specific genre of novels that places a heavy emphasis on the inner thoughts, emotions, and mental processes of its characters.”

You’ve reached the reader with an interesting book cover, catchy title, a reasonable purchase price, and – in some cases – a history of interesting works. Your job is not done. I laughed, I cried, it became a part of me. Without relating to your reader on an emotional level, the reader will experience boredom, leave a review with the word of doom – mediocre, and forgo any future purchases from works by the author.

Our job is to immerse the reader in the story – engage emotionally. Reach deep. How would you feel about a situation in your story? Put yourself in place of the characters and imagine their reactions. Put yourself in place of the reader. Can they relate to the situation faced by the characters? 

Let’s look at the art of the tearjerker. An example is overcoming impossible odds (Rudy running onto the field at a Norte Dame football game).  Most effective is the death of a beloved character – Bridge to Terabithia. Just as impactful is the death of a beloved pet – The Yearling or Old Yeller.

Character development enhances your ability to reach the reader. Dreams, opinions, backstory, motivations – all create a well-rounded character with numerous possibilities to relate to the reader. Connections create sympathy and empathy.

Save the Cat! is a book series by Blake Snyder for screenplays, novels, television series, online advice empire including nine books. The basic premise is the realization of the importance of sympathy not to be ignored by writers – getting a cat out of a tree gains compassion and positive feelings for the hero. Writers of modern literature don’t want to admit, or don’t care, the fact that most audiences (readers) want the good person to win!

A mention of the emotion will not suffice – in a classic example of Show Don’t Tell principle.Let imagery flow (at least in the first draft).

He cried:
Did he sob uncontrollably? Did his face redden as tears flowed? Did he fall to his knees? Did he push away efforts to be consoled?

She laughed:
Was it a hearty laugh that gained the attention of everyone in the room? Were those around her disgusted by the inappropriate reaction? Did the laughter bring tears to her eyes?

Imagine a variety of emotions appropriate to the situation. Remember non-verbal responses express emotion.

Let’s take a look at a novel that appears on many of the saddest books list – The Book Thief. It’s a young girl’s story of World War II from inside Germany. An immediate clue of the mood – narrated by Death. I watched the movie (three times) before reading the book. Likable, sympathetic characters fill the pages as the horrors of war slowly reach into the lives of innocent citizens. The genius of the narrative lies in the depiction of resilience versus the fragility of the human experience. Through the description of daily life, the joys and pain, you become a family member with the associated unconditional love. You feel deep loss.

If you lack emotional experiences (it’s possible) – read books, watch movies, interview interesting people, or better yet – get out there to experience life.  If what you write doesn’t bring a tear to your eye, did you miss something?

Sources:
Save the Cat series of advice books by Blake Snyder
The Book Thief by Markus Zusak
Photo: Wikimedia Commons

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Follow announcements of Alan’s TTIM Stories on Facebook.com/alan.vandervoort or Treads at vandervoort_author. All Stories are available at www.alanvandervoort.com. Novels by the author include: Sandhills – A Novel and Key Largo Summer are found at Booklocker.com and other online booksellers.