The Emotion of Changing Your Mind

Throughout a story there will be moments where the central character will do things that are interesting, exciting, scary or whatever. These kinds of scenes where key events occur are what you build towards, and their aftermath will provide the momentum/motivation to keep the reader turning pages to get to the next one, and the one after that.

But even though the chase, the rescue, the attack on the enemy base, will be an entertaining set-piece, there is another, equally important, part of this moment: the decision to do it.

Every big scene will be preceded by the character having to choose to engage with whatever scenario they’re faced with. This choice is incredibly important, both to the character and to the reader.

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Scene Simpatico

In a scene where your character gets angry, you want the reader to share that anger. If the character is scared, you want the reader to feel that fear. If a character being interviewed for a job feels nervous and his leg is bouncing up and down, it’s very rewarding to be told by a reader that their knee started sympathy-bouncing when they were reading that scene.

Putting the reader into a character's shoes by having them experience the same emotion is a powerful tool and a great way to form a connection between story and audience. But this isn’t always just a simple matter of describing what the character is experiencing and hoping the reader will be immersed into their world.

Moreover, not all states of mind are equally interesting to be immersed in. An insane character, a disoriented character, a bored character, these can all be accurately conveyed, but should they be?

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Emotions Belong To Readers

When it comes to using emotion in a story, the person whose emotions should be most important to you is the reader.

An emotionally invested reader is more likely to go wherever the story leads, and also more likely to make allowances for parts of the story they aren’t too sure about.

You can still keep readers engaged through intellectual curiosity or general drama and action, but grabbing them emotionally is always going to be the most intense experience for them.

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Sympathetic Characters Part 1: Danger

This first part of this series on creating emotional attachment between readers and characters is going to look at engendering sympathy, and in this particular post, by putting characters in risky situations. If you want the reader to feel concern for the characters in your story, putting them in danger is a simple way to do it.

Any time something of value is on the line, how the situation plays out will be of interest, and that is true for all the parties involved. But if you can communicate what’s at stake and make the reader as keen to avoid that outcome as the character, then it will amplify the level of interest in what happens next.

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Forcing Readers To Like Characters

The story you’re writing may have the kind of lead character that people automatically root for. He may be a good guy doing the right thing; or a decent woman trying to sort out something that needs sorting. Heroic behaviour and overcoming adversity can bypass the whole need to tell the reader this is someone to cheer on. It’s obvious.

But they might be a little more complex than that. Maybe flawed, maybe even a bit awkward. Or they may not get to their heroic moment until much later in the story. How do you get the reader on board as quickly as possible without having to add ‘stick with it, things get good later’ at the bottom of each page?

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Putting Emotion In Story

The travails and adventures of your characters should have more than a superficial effect on the reader. Ideally, the impact should be somewhere between enthralling and devastating.

But how do you convert words on a page to tears in eyes, lumps in throats or hearts in mouths?

There are two basic ways to transfer emotion from page to reader: sympathetic and empathetic.

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Story Is A Drug

Making the reader want to know what happens next in a story is an excellent way to get them to turn the page and keep reading. But that’s not what hooks readers.

Curiosity will only provide part of the glue that makes readers stick with a story. The truth is even if the reader knows what happens next, if they’ve read it before, seen it before, heard spoilers, know the original version... they can still enjoy it.

But if you already know what happens in a story, why is it still worth reading?

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How To Start A Story The Stephen King Way

Carrying on from my last post, (Chaper One: 11/22/63), I’ve been thinking a lot about what’s really important in those first few pages of a novel.

If you didn’t have to worry about what agents and publishers think are the vital elements to a first chapter (and let’s face it, more and more of us are finding other ways to get stories out there), what is it a reader is looking for?

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Don't Overstuff Your Verbs — Unpack

Having received some interest in Minimalism (mentioned in my last post), I thought I’d share this minimalist writing technique for making verbs more active and immediate. It is an approach I picked up from The Cult Writer’s Workshop, part of Chuck Palahniuk’s Official Fansite (this is a paid membership online workshop that costs about $40/year. It was certainly worth the money back when I was a member. Any current active members, please let me know how things are going).

Unpacking Verbs

There are time when it’s obvious an adverb is unnecessary.

He ran quickly to the phone. It’s redundant to have quickly in there, running already implies speed, so you should cut it out. He ran to the phone.

Sometimes it’s perfectly fine to use an adverb (no, really , it is). An adverb is a modifier, and if you’re modifying the verb in an unexpected way that changes the meaning of the verb it can be a useful tool. Examples:

She smiled sadly.

His arm was partially severed.

He whispered loudly.

But most times the adverb is modifying the verb in a way that there is already another word for. Examples:

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