Bleeding Out: Transmitting Raw Emotions onto the Page

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Emotions are an extremely important part of writing well. In real life, they connect people to each other. In literature, they connect readers to the characters. Without emotions, people wouldn’t be able to feel a story, and if they can’t feel a story, then they can’t relate to it.

Think about some of your favorite stories. How did they make you feel? In all of my favorite books, I’ve felt like I’ve been on an emotional roller-coaster. I was able to experience every emotion the protagonist did, whether that was fear, anticipation, excitement, panic, dread, or love.

Our brains are wired to process other peoples’ emotions. When a friend loses someone they love, we feel that loss. When a person yawns, we yawn. When we read an article about a deceased soldier being flown home, or a lion being injured, hunted, and then killed, we experience sadness or anger, perhaps both.

When we are able to put raw emotions onto the page, readers are able to sympathize. Our emotions resonate with them.

But transferring raw emotions into our writing isn’t easy – it’s exhausting – so how can we do it effectively?

  1. We have to feel. Putting up a wall between us and our characters will only harm our writing. If we distance ourselves from our story, readers will know. They’ll be able to feel it through our words. So, imagine scenes as if you were there. Sit back and close your eyes and picture yourself in your characters’ shoes. What does each character see, smell, hear, touch, taste, and feel? Once you can clearly picture and feel a scene, then we’ll be able to write it down in a way that readers will be able to fully experience it.

An author friend of mine has gotten so sucked into her own writing before that she sometimes finds herself crying because her characters are heartbroken, or her heart is pounding and she’s sweating because her characters are filled with apprehension and fear.

  1. Show instead of tell. In some of the workshops I’ve been in, one of the most common critiques is that writers are telling a story rather than showing it. They’ll say that a character feels angry rather than showing anger. For example, “Sally is filled with anger when she sees Rex with his new girlfriend,” rather than, “After spotting Rex with his new girlfriend, Sally rushes out of the party, and when she gets home, she grabs the nearest kitchen chair and hurls it across the room.”

Showing emotion has a much stronger impact than telling it. This is because showing keeps readers immersed in the story. They are in “feeling” mode rather than “thinking” mode. If you say a character is sad, then the reader has to think of sad memories in order to experience the emotion. But, if you show sadness, instead of naming it, then the character will automatically feel the emotion.

Also, by showing emotion, readers connect with the characters, and will want to continue reading. Often when emotions are stated, readers don’t care about what happens because they haven’t bonded with the characters.

It’s not easy to let raw emotions out. It means having to dig inside ourselves to find those emotions, but it will be worth it because then our stories will successfully carry emotion.

As Ernest Hemingway says, “There is nothing to writing. All you do is sit down at a typewriter and bleed.”

How do you go about bleeding on the page?

(Photo courtesy of SeRGioSVoX.)

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