 Fantasy: August 19, 2015 Issue [#7166] |
  Fantasy
This week: Sensory: Taste and Touch in Fantasy Edited by: Dawn Embers  
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An Elf Fantasy Newsletter
Looking at taste and touch, two of the senses, along with some uses within fiction writing. Some uses are going to be more obvious than others and at times, the use of a sense may even feel out of place. Time to consider why.
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Back again to the topic of the senses and how we can use them in writing. This time we are going to look at taste and touch to not only their uses within description and character point of view but also possible pitfalls. While I often forget taste, when it comes to touch I seem to do a little better without trying, or so readers have pointed out. However, both are good to use within a speculative fiction story.
In particular, these two senses help draw us into the character and their point of view no matter if the story is in first person or third person. We get to experience them through the character, which helps many different aspects in the long run.
Taste (not just eating)
Certain parts of stories can be easy when it comes to taste because, well the character is eating something so the taste factor is more obvious. When a character takes a bite of a crisp, crunchy apple or maybe gets to eat delicious warm stew after traveling long distance through winter (cause stew is harder to cook when we make our characters walk long distances for weeks, lol), that taste can be a good moment. However, when it comes to using the sense, it's not just about what the character experiences while eating.
There are other times a story where you can use the sense of taste to draw the reader more into the scene that you are creating. It gives a paragraph that is more pulled into the main character's point of view because with sight and sound it involved aspects outside the character (dialogue and how setting is described for example). With taste, it's very internal even in third person point of view. It can be the dry, grit of dust out on the road. A sharp metallic taste or something that is brought to mind by a memory. It could even be something sparked by scent since smell and taste have some links when it comes to our senses. There are many options to use depending on the story, character, world and scene.
Though, I also feel that of the senses, taste can seem the most out of place in certain non-food instances. I know that I don't often think about the general taste in my mouth throughout the day, unless it's time for a mint. While it's good to use the senses within our writing, trying to get them all or most in all of the time can at times cause more problems. Instead of keeping the reader immersed in the story/world, it can distract or stand out too much. So, we want to use it some but have to avoid pushing away the reader through its use as well.
Touch (show or tell)
This one is both easy and difficult. There are many things that come across this type of sense and how the character experiences them can also help draw a reader into the story. I've had an easier time using it in romance scenes, or at least those are the ones readers tell me that this type was done well. It's useful in any genre though and the elements that come across the character's sense of touch will show quite a bit about many aspects in the writing.
The way a different type of fabric feels when the character needs to get ready for some big event. How another character's warmth helps in the moment when they rest a hand on their arm. Or maybe it is the soft breath of air that twists against the back of their neck when the character is working a difficult bit of magic. Many options exist for this particular sense.
Why is it both easy and difficult? Here is one aspect that can be done in both telling and showing. Knowing which to use, however, can be a challenge, especially in the beginning. Learning how to show the experience of touch the character is having can take a little practice and tweaks during edits. However, not everything has to be shown all of the time. Some instances, it might be better and easier to do a shorter, more tell-like approach to what the character touched in a scene. Other times, tons of detail on the sense won't be necessary and will distract from the plot. We don't need tons of details every single time the character grabs their weapon or picks up a spoon. When and what gets described, that is up to you.
So, that's two more of the senses discussed along with some of their uses and even difficulties in writing them. We have one left, but that will be for another month. For now, consider your recent work in progress. How are you using taste and touch? Should you be?
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How do you use taste and touch in your speculative fiction? Does one ever feel unnatural or out of place to you?
Last month I wrote about groups in fantasy and sci-fi stories and received a few comments on the topic.
Comment by Osirantinous  
I have a number of 'main' characters in a story, but I've got few stories where there is an actual 'group'. I've always been wary of it because of the feeling it'd be like herding cats. But this newsletter is just perfect in giving me ways to maintain control, and understand what's going on with everyone! And thanks for highlighting my story, too 
- Interesting. I haven't done much group wise either, but I do have one on the backburner. Glad the newsletter was helpful.
Comment by Smee 
I'd forgotten about the boys in the early Wheel of Time. They were all so serious by the end of the books. Might have to reread them again. Nice thoughts.
- I still haven't gotten far. Need to get back to reading. Thanks for the comment.
Comment by brom21 
Thanks or the four facets on writing with groups. I found it helpful. I really need to work with each of them. I’m writing a novel that over the course of a year that I hope to publish eventually. The one thing I want to work on is personality. I have a relatively good grasp of the other points. Would you say that some are easier than others? They are all closely related.
- Good question. They are all closely related but I think it depends on the individual writer. I've done so much focus on not trying to break out of pov that I find doing multiple main characters more of a challenge now compared to my usual one or two point of view stories. Some can jump easily but struggle to get the right dynamics that fit the story. It does vary with different aspects creating more of a challenge for others. The good part is, in first draft a lot of it can be worried about later. The bad part is you have still have to worry about them all and work on them at some point.
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