This week: Tips for Gut-Punch Drama Edited by: Roseille ♥ More Newsletters By This Editor
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Hello, all! concrete_angel here. Imagine a situation with me, if you 'd be so kind. You're watching a movie or reading a story that uses the tenets of dramatic writing.
In it, a man enters a crowded, lived-in kitchen—frilly yellow curtains (bearing an unidentifiable orange stain in one corner), flour on the counter, photos on the wall. The fridge, too, is covered in magnets from all over and notes about appointments and drawings from children. The man stops in front of the fridge, solemn and contemplative. He doesn't open the fridge, doesn't even reach for it. Instead, he's staring at some sort of picture in a flimsy plastic frame. He could stare at it for hours. It feels like forever, anyway.
Finally, he pulls the frame off the fridge. Gentle, he extracts the picture from the frame. He looks down. He squeezes his eyes shut, folds the picture in half, and drops it into the trash can. It flutters down on top of organic waste and candy wrappers and lands halfway open, revealing the image. The man stalks from the kitchen.
And you? You, reader, start to bawl. |
ASIN: 0995498113 |
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Okay, so maybe you're supremely stoic and have ironclad control over your tear ducts. I'm more of a quiet crier myself. Maybe you are, too.
Comes from having so many brothers, I imagine. I get misty-eyed and I very stoically, in the dark, blink the tears back and deal with the stuffed-up emotion headache later on. But that's not what we're talking about. That theoretical scene, described above, isn't particularly emotional all by itself, but if something like that evokes a response in a reader, chances are the writer is using powerful emotional callbacks.
What, if, much earlier in the story (if it's introduced too close to the actual "big event", a callback may not land as hard), you learn that the image on the fridge is not a photograph but an advertisement for an aquarium? What if you see with your own eyes the man's wife telling him how she grew up landlocked and has always wanted to see the ocean? She wanted to see those beautiful spotted whale sharks and the stingrays wheeling overhead in the water and schools of jellyfish floating, weightless, in the water?
Maybe this couple doesn't have a lot of money and isn't very mobile (age takes us all), but the aquarium is just barely across state lines and they've been meaning to go for years. But we all know how that goes. A tire blows out. The roof needs repaired. The dog needs to have alphabet blocks surgically extracted from its intestines. Next week becomes next month becomes, "Someday, maybe."
Maybe, throughout the story, we see reminders. They talk about it. They do little things somewhat like it. And they dream. We long for it along with them. They save and they save and they hope and they plan. They're so close. The wife takes on two extra jobs.
Then, perhaps, the wife is in an accident on the way home from one of her new jobs. We panic, worried she might die (Geez, is it that kind of story?), but she's fine.
The only problem is that the head injury she sustained caused permanent and irreversible vision loss. She will never see the stingrays. Their savings go toward an unexpected emergency again... this time for the last time.
This is all off the top of my head, and maybe it sounds a bit maudlin, but hopefully you get the point. As readers, we're stingy, right? We won't spend our tears on just anyone. I mean, I certainly don't.
If you want to elicit an emotional reaction, callbacks and buildup are essential. Have you ever read something and known you were probably supposed to be feeling some way about it but your only response was, "Meh. That happened, I guess," and a lazy shrug? The story was probably missing an important element. If you want readers to engage emotionally with your writing, you should aim to make it:
Specific and Distinct — "I want to play basketball" isn't enough. What position do they want to play? What got them interested? And maybe that's not enough. Plenty of people want to play basketball. What makes this particular desire specific to your character? They must answer the all-important question, "Yeah? But why should I care?"
Real — If these desires or details or bits of history feel generic, unimportant, or unrelated to your character, you've lost readers. If they can apply to just any old cookie-cutter character, they're no good. Why this character? Why is this important to this singular, distinct human being? Why does it matter to them, and how does it intertwine with their needs and desires?
Memorable — If you mention it once on page one and then it comes in on the last page and you want it to make a splash, good luck. (I mean, if your story is two pages, you've done well, but otherwise, be careful.) These callbacks and details should be inextricable from who your character is. Maybe you don't mention it again in words, but readers recognize it in the way the character counts how many quarters she has in a jar or in the way he runs every morning until his feet blister. The characters don't have to say a word, but you know it. You see them striving, and it matters. Don't ever give readers a chance to say, "Wait... what? Why was that important again?"
No single newsletter can cover all the intricacies in laying out and maintaining the sorts of things that allow readers to really engage with a story, but hopefully something here might be useful to someone! Thanks for reading, and Write On!
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ASIN: 0995498113 |
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Amazon's Price: $ 19.95
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Is there a moment in any work you've read or watched that deeply moved you and lingers with you even now? What do you think made it so effective? |
ASIN: 0997970618 |
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Amazon's Price: $ 14.99
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