Writing Fiction a Reader Cares About

Writing fiction a reader cares about is a huge question many writers have. This post will be a short one but it strikes at, I think, the very heart of being a good writer. What is your number one objective as a writer?

To make your reader feel.

Whenever I speak about how to write a query letter at conferences, I always have one request: Make me care. This is the same idea. I want to feel my interest piqued with the query. I want to feel something, even if it’s just a stirring of feeling or concern or nervousness or longing. Most queries fail to elicit even one feeling (other than boredom).

how to write fiction, how to write emotion, how to write character, being a good writer — Being a good writer means you craft fiction that will make a reader care and feel.

How to Make a Reader Care

The manuscript itself, however, has to do much more than just make a reader care (though that’s an excellent starting point, and it will set you apart from most writers). When your character — who is the focal point of our feelings and our gateway into the story — feels hurt, the reader should ache. When they fall in love, the reader should feel her heart quicken. When they think all is lost, the reader should reach for the Ben & Jerry’s. That’s when you know you’re on your way to being a good writer.

If you’re not writing fiction that manipulates your reader’s emotions and takes your audience on a journey of feelings, thoughts, and realizations, what’s the point?

How do you make your readers feel emotion? You do it through crafting a character with feelings and goals, and also by knowing your own feelings. At the VCFA Alumni Mini-Residency I attended this July in Vermont, COUNTDOWN author and master writer Deborah Wiles said the following:

Allow your character’s heart to break. How? Know thyself. Feel what you feel. Allow yourself your heartache. Share it with your character. Heal together.

What Does a Reader Care About?

As you’re writing fiction and your character encounters a thrilling roller coast of emotional ups and downs, of victories and disappointments, you must always be thinking of their emotions. How are they reacting to this event? How are they interpreting it? What is the emotional context? Where do they think they go from here? Use your character’s interiority.

More importantly, use your own emotions and thoughts as guides for what your character is going through. That will lend your writing truth, and it’s a key part of being a good writer. Pour your heart out a little bit. Always think of the character’s emotions (usually a version of your own) and the emotions you want to evoke in the reader when you’re writing about feelings.

Readers expect to pick up a book and be transported and transformed, not only to another world or time or unique point of view, but to emotional places own hearts, minds, and lives.

Writing Fiction That Elicits Emotions

Last week, I watched The Notebook for the first time, just because it was so wildly popular and I wanted to see how it was put together. (I didn’t much care for it but that’s beside the point.) Has anyone ever recommended this particular movie to you? If you’re a woman and you have girlfriends that are crazy about it, what did they say to convince you to watch?

I bet it wasn’t, “You’ll really love the dialogue” or, “You should see how the filmmakers introduce the complication of the rich fiancé.” It could just be my own experience here, but the only thing anyone ever told me about The Notebook (and this came from about ten different people) is:

“It will make you cry your face off.”*

Readers couldn’t care less about the craft and framework behind a tale when emotions are in the mix. (When you’re writing fiction, you have to care very much about it, but that’s another story.)

Emotions and Writing Good Fiction

Emotion is going to be your reader’s biggest takeaway…and their biggest expectation when they’re considering reading a book. And if you’re writing fiction effectively — if you write a book that’s not only cathartic for your character and your reader but for you, too — you will definitely give your readers a journey they won’t forget.

* My eyes stayed dry and my face intact, unfortunately. Incidentally, some things that do make me cry: Swing Kids, Titanic, the second half of the BBC Office Christmas special, the last scene in The Royal Tenenbaums (happy tears), “Levon” by Elton John, BEFORE I DIE by Jenny Downham, IF I STAY by Gayle Forman, LOVE, AUBREY by Suzanne LaFleur, WHEN BLUE MET EGG by Lindsay Ward, THE VELVETEEN RABBIT, the scene with Harry’s family near the end of HARRY POTTER AND THE DEATHLY HALLOWS, etc.

Is your manuscript hitting the right emotional notes? Hire me as your developmental editor and get an expert second pair of eyes.

Beginning Workshop #5

This submission comes from Mike Hays and is the final beginning workshop for this round. This workshop will be a bit more nitpicky, and so I will make bolded comments within the paragraphs as well. Enjoy!

Ellis opened the front door to the Wonderland Gardens Retirement Community. He could kick himself for not seeing this before. The “it” here is vague, especially for an opening. Doesn’t ground the reader. So, this is how Alicia Swanson beat him again and again in sales contests. Still unclear…does he see her or what? What does he see? It was a good thing he called her house to ask about that algebra assignment. Her mom told him she was out selling tickets in the northwest part of town. Sentence ends with “of town.” After searching the few existing housing additions in that part of town, Town the only place left was an old retirement community which sat isolated near a cornfield on the edge of town. “of town.” The sheer size of the Wonderland Gardens complex led one to believe there were many residents. This is a prime example of dry voice. “Sheer size,” “complex,” “led one” and “residents” aren’t words that a 13-14 year-old kid would use. This reads more like a business memo. Many elderly residents who could fall prey to her It’s been a while since we mentioned Alicia, reintroduce her name. syrupy sweetness sales pitch and buy her tickets to the upcoming Plainfield Youth Summer Theater’s production of Alice in Wonderland, The Musical.

I’m missing some of the motivation. Are both Ellis and Alicia in the production? How are they connected? What do they get if they sell the most tickets? Etc. Build up the stakes. Dry voice here makes for a dense first paragraph.

Of course she would win most ticket sales, Italicize verbatim thoughts… Ellis thought as he stepped across the threshold. She always won, especially against him. Every lead in every show, every spelling bee, math contest, art contest, science fair, etc., etc., etc. (or at least that is how it felt). Even after leading the 8th grade football team to the city championship as quarterback last fall, he was still mercilessly harassed for getting beat out by Alicia for the 7th grade QB position the year before.

There is a lot of telling as he talks about his feelings here. Also, a co-ed football team? My school didn’t have a football program, so maybe I’m missing something. The last sentence is overlong. Try reading it aloud.

He dreamed of being able to seek revenge for the thousand ills of Alicia he had endured “The thousand ills of Alicia he had endured” is clunky…a convoluted way of saying something simple, and this is not the voice of a 13 y.o. boy, even one who is steeped in Poe. like in his favorite Edgar Allen Poe story, THE CASK OF THE AMOTILLADO. The title of the short story, which should be in quotes instead of caps, is “The Cask of Amontillado,” with a missing “n” in there and without the second “the.” Maybe not sealing her in an underground vault to die, but…

“Oh, Mr. McGregor!” An ancient, but bubbly voice came from the shadows inside the lobby. “Another visitor!”

Actually introduce the speaking character, especially for their first dialogue. It’s always a stronger image when characters speak, not their disembodied voices. We do get some of Ellis’ character her, maybe even a spark of a sense of humor, which is good.

The door closed behind Ellis. He took a few measured steps toward the voice as his eyes adjusted from the bright sunshine to the shadowy darkness of the lobby. This is play-by-play narration, we don’t need all of these details, and they’re crammed into a sentence that could otherwise be cleaner. The smell of old flooded Flooded his senses. The flood Flood of memories from his experiences visiting his grandfather reminded him of how he disliked these places, places where they send great old people to get older and wither away, like his grandpa did.

Try to rephrase this last sentence without having to say both “grandfather” and “grandpa.” The implication that his grandpa went to an old age home is clear…if an old age home reminds him of his grandpa, that’s the obvious inference. There’s some over-explaining going on here.

A shiver ran up his spine Physical cliché as he walked into the lobby. He saw the origin of the voice Convoluted way of saying something simple, “origin” is also dry voice, a frail elderly woman. She sat behind an oak table in a red velvet arm chair and next to her, in a matching chair, was an equally old tall man. On the table sat an old fashioned black rotary dial telephone and a gold sign that read, “Welcome to The Wonderland Gardens Retirement Community, Angus and Matilda McGregor, Hosts”

A vivid bit of description here, but the syntax could be smoothed out for all the writing so far. Read the work aloud. I don’t have a finger on Ellis’ voice, and don’t really know much about him as a character, nor why he cares about this ticket sales contest (other than to beat Alice). I’m finding that I’m not connecting as much as I need to be in order to hook into a beginning.

“Young, sir.” Comma before a “said” tag…a period goes after dialogue only if you’re moving on to an action tag. said the old man. They stood up and walked around the table to meet Ellis. They wore matching khaki slacks and red flannel shirts.

Ellis is a bit of an impartial observer. All of this is told in a very measured way. There’s no reaction, no Ellis spin on any of what he’s describing. He’s acting like a camera, just recording the scene. That is one of the reasons why we aren’t bonding with him as a character…there’s no personalized spin on what he’s telling us about. Reactions? Thoughts? Etc.

“Welcome to Wonderland Gardens Retirement Community,” This one would be a period, then. Why do we need dialogue welcoming him if there was already a sign? Redundant. The man swung his long arm in a arc Before vowel-beginning words, h-beginning words, and acronyms, you use “an” instead of “a” motion “Motion” here is redundant… “swung his arm in an arc” implies “motion.” As Strunk and White say: “Omit needless words.”, his fingers at the furthest point in connected space from his lanky body. Don’t know if you need to describe the layout in this much detail, we all know that fingers are at the end of an arm…The entire lobby seemed to fall under the sweep of his arm.

Lots of play-by-play narration still going on, not a lot of emotional involvement. Some dry voice and basic writing issues here. I’d urge the writer here to work on grammar and syntax and giving us more of Ellis as a character. Then he can tackle voice.

How to Describe Emotion Without Physical Clichés

Many writers get tripped up on how to describe emotion without physical clichés. I understand why they use physical emotion clichés, though. In an effort to dodge the “show, don’t tell” bullet, a lot of writers have taken the external route in conveying the emotions of their character. As I’ve said before, there’s Bad Telling and there’s Good Telling when you’re creating a character through interiority in writing.

how to describe emotion, how to express feelings in words, physical emotion cliches, physical cliches in writing, how to write emotion, writing character emotion, character writing, creative writing, fiction writing — How to express feelings in words: Hearts and stomachs and butterflies and releasing breaths you didn’t know you were holding… So many physical clichés!

Bad telling deals with you just stating a fact about your character and then taking all the fun out of reading for your audience. Good telling involves using story context and, more importantly, interiority, to paint a three-dimensional picture where you make your reader feel like a savvy part of the story experience, but you don’t exclude them from participating, either.

An Example of Bad Telling in Action

Here’s an example of how to describe emotion via Bad Telling:

It was the last night of the play. Moxie felt sad as she lined up for the final curtain call. There would be no more stolen moments with Tobin. No more excuses for her to look at him as he performed the role of Hamlet. Just like the real Shakespearean Hamlet and Ophelia were doomed, so was Moxie’s crush. Tears sprung to her eyes. She didn’t know what she’d ever do tomorrow night without all this.

How to Apply Interiority to Telling

Here’s an example of how to describe emotion via Good Telling, using the principles of interiority:

The heavy red curtain cut them off from the audience and the lights. Moxie stood, feeling heavy and rooted to the stage, and looked around, her eyes adjusting to the darkness as the clapping started in the house. This was it. The last curtain call. The last time she’d teeter on the brink of insanity as Ophelia. The last time she’d peek out from the wings and watch the audience nod along and mouth the words as Tobin, with a deep, slow breath, launched into the “To be or not to be” soliloquy. The last time she’d get to tape the fake blood packet into his vest backstage, right before he went off to his fateful last duel scene. Moxie snapped to attention as the curtain swung up again. Tobin materialized beside her and grabbed her hand. The last time for that, too. When would she ever have such a perfect excuse again? The audience beyond the footlights, clapping and shouting, blurred, and she threw on her most dazzling smile, blinking away the tears.

Now, whether you think the sample itself is “good” or not, this is clearly an improved example of how to express feelings in words. You got more insight into Moxie’s character, into the context of her situation, and into the specifics of her emotions with the second example than you did with the Bad Telling snippet.

An Example of Physical Emotion Clichés

Let me introduce you, then, to another version of how to describe emotion via Bad Telling: Physical Telling.

The drape lowered on the scene, giving Tobin enough time, Moxie knew, to get out of his royal casket and join the rest of the cast for curtain call. She wiped at her eyes, hoping she wasn’t smearing her make-up. Her heart hammered, but it wasn’t the rush of finishing the show. Not this time. She hugged herself, her arms crossed tight. Tobin jogged up, fixing her with a dazzling smile. He tilted his head. There was a twinkle in his eye, something she couldn’t quite read. She relaxed her arms. Her hand grabbed his. The curtain swung up again and she felt a flush creeping up her cheeks.

Now. This is more subtle. There’s nothing technically wrong with this sample. Some might even find it well-written. Well, this is my blog, and you come here to hear what I have to say about stuff. And I am sick of Physical Telling. Over it. If you disagree, another blog is just a click away. (Don’t worry, this isn’t just a rant…I will also explain my reasoning.)

Why Physical Emotion Clichés Are Lazy Writing

First, the above is full of physical clichés. “She wiped at her eyes” isn’t telling per se, but it is such a cliché gesture for “Alert! Alert! Moxie is crying! Get it?!” that it might as well be telling. If I was to go on an actual stage and wipe my eyes to convey that my character is sad, or check my watch and tap my foot to convey impatience, a director would yell at me for being way too obvious. Instead of a director, you have me to yell at you.

Per my earlier post about describing emotions in writing, you’ll also know that what hearts, mouths, lungs, stomachs, and hearts do on the page is also, more often than not, a cliché. Hearts hammering, guts rumbling, smiles half-creeping up faces, eyes twinkling, all of that. Ugh. So if we can’t “show” a character tapping their foot with impatience, maybe we can tell the reader that their stomach is tightening in anticipation of being late. Maybe that will be better!

How to Describe Emotion in Fiction

Wrong. Because someone was once told “show, don’t tell,” and then was told “don’t use cliché gestures,” they have now started telling readers about the status of their main characters’ internal organs. Awesome! Except I’m not a doctor with a chart. I don’t care about the status of each little hunk of tissue on your main character’s body.

It’s when a writer starts telling me about guts and hearts and lungs and eyes that I most frequently highlight that section and write, “Interiority instead!” in my notes. Put that on a notecard and tape it to your monitor if you have this problem: Interiority instead!

This brings me to another specific subset of Physical Telling (dig deeper into this topic by reading my post on showing vs telling in writing). It’s when writers realize that stomach- and heart-status is cliché, so they think that the answer to “how to express feelings in words” is to move on to looks and gazes and twinkles of eyes and other body language cues.

Romantic Moments Are a Minefield for Physical Clichés

People writing anything with a romantic connection, listen up! Moments where you have your two romantic interests together are prime offenders in this vein. How do you convey chemistry without describing eyes lighting up and blushes and tilts of the head? I don’t know. You’re the writer. But don’t resort to the tired old fallbacks.

Why are we so good at these descriptions? Think about where we see them (key word here: see). That’s right. We’re visual creatures. When we watch movies or TV or interact with other human beings, these looks and tilts and subtle shifts in body language are glaringly clear. “Ah, he’s tipping his head ever so slightly when he talks to the girl he likes, that must mean he likes her, too…squeeee!”

A Picture Is Worth a Thousand Words

But what works well on the screen doesn’t always translate to the page. Those looks that we’re so good and so hardwired to interpret when we see them don’t necessarily convey the same information when we read them. Sometimes things are hard to read when we’re reading, yeah? Sometimes a picture is worth a thousand words, and we don’t have that kind of currency when we’re approaching how to express feelings in words.

Some things work on the page, others not so much. And the page is not a physical realm. Sure, some writing can be very visceral, and we can describe lots of action, but I don’t personally believe that the seat of emotion – as it is conveyed in writing – lives in the physical body of your characters. I’m always a fan of “interiority instead!” and of mixing the character’s inner life (and not their organs’ inner life) with what’s going on, plot-wise.

This is just one way to convey emotion. I happen to think it’s the right way. But, as such, I’m thrilled to start the conversation about Physical Telling and how it relates to “show, don’t tell.” What are your thoughts? Taps foot, checks watch, tilts head and glares.

ETA: JH’s point well-taken, I’ve added to the example of Bad Telling. Thanks, JH!

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What is Interiority?

What is interiority, you ask? I answer! This question about interiority in writing came to me from Janelle months ago. Now I want to get right into it:

Is there really a difference between telling (vs. showing) and internal monologue that states how someone is feeling? Isn’t saying something like, “The way she tapped her clipboard made me nervous,” actually telling? If so, is it acceptable to do that in YA as long as you don’t go overboard, making sure you’re using a variety of techniques to get the character’s reaction across throughout a story, rather than always stating the emotion?

My critique partners (whom I love and trust) are telling me at certain points in my novel that they need to know more about what my MC is feeling. I thought I was showing it already with action & dialogue responses, but it doesn’t seem to be enough; however, I’m terrified to make the dreaded mistake of telling when I should be showing. I’m hoping you can help solidify this very blurry line for me.

interiority in writing, what is interiority — How to create a complex character and build emotion via interiority in writing.

This is a really tough line to draw and, honestly, I can’t exactly define the difference between good and bad telling. (Here’s a guest post by one of my readers about how to write fiction that also digs into this debate.)

When you’re asking, “what is interiority?” interiority is defined as a character’s thoughts, feelings, and reactions to the situation. It is accomplished in either first or close third person narrative by letting us into the character’s head (it can also be accomplished in omniscient third, where we have access to the heads of many characters, but omniscient third is really hard to pull off well).

The more I think about Good Telling vs. Bad Telling and how it plays in concert with Showing, the more I think that it’s a matter of context. Like, if you’ve done your job well, you’ll know exactly when to use Good Telling to good effect. If we know what is going on in a scene and what the characters want in relationship to one another, the subtext of each scene will be easy to understand and you free yourself up to play a lot with your character’s interiority. (I talk about the show, don’t tell rule all the time.)

What is Interiority in Writing

In terms of interiority, I am always begging writers for more interiority, and less Bad Telling, and less Physical Telling (which we will get into next week and which I do admit to using once in my rewritten examples below). But I think for writers unused to writing good interiority, you can cross the line over to telling every once in a while and we won’t really notice it that much or fault you. It’s when interiority is missing that telling becomes a problem.

One of my most frequent comments on manuscripts is highlighting a piece of telling and writing “Interiority instead.” I harp mercilessly on all of my clients to include more interiority (clients who read the blog: feel free to chime in and confirm, hehe). What does that look like?

Someone in the comments asked me to rewrite Monday’s examples with Good Telling and Showing. It would depend a lot on context. And what we’ve already established about the characters. Ideally, when you come to each of those lines, you already know what the situation is and who the characters are, so you’d know more or less how they’re reacting to something or what kind of scene they’re in.

What is Interiority: Examples of Good Telling

With the king example (I never defined him as a king when originally writing, he became one in my head and in the second half of the post), you could do something like the following. Keep in mind that I can’t indent on the blog, so there are no tabs to delineate dialogue or new paragraphs.

The new jester took a spin around the royal feast table on his unicycle. New jester, yeah, but same old tricks, thought the king. This was a disappointing opening night for the newly appointed clown, and on the king’s birthday, no less. The jester careened around a corner and aimed himself for the throne, a deranged smile on his face. Only then did the king see the banana creme pie in the Jester’s hand, and how it seemed pointed right for him.
“Happy Birthday, Your Highness!” the jester cried, and let the pie fly.
The king opened his jaw in horror at the realization of what was happening, but, alas, too late. He gasped and sputtered on a mouthful of whipped cream. A squishy explosion, then…silence.
The queen fainted from her chair with a thud. From what the king could see through the mask of oozing custard on his face, the courtiers were frozen, some mid-bite, gaping at him.
A dollop of pie fell onto the king’s brand new birthday jacket. This was not good. No, not good at all. Whatever he did here, he could either be a fool or a ruler. The Jester must’ve realized he’d gone too far, because he hopped off his unicycle immediately dove under the brocade table cloth.
“Well, I never!” the monarch shouted. “You have gone too far!”

I’m trying to give us some context for the situation. And there are some telling moments, like the shaking hands, the jaw dropping, the boredom with the new jester, that it’s the king’s birthday (which we would already know if we were reading this as a scene in a chapter), etc. But I’ve also added some interiority: his thoughts, the realization of his “birthday surprise,” his interpretation of why the jester hides, etc. I think this is a more fleshed out version of the scene with much more showing and interiority than blatant telling.

With the second example, where I’m trying to convey awkwardness and tension, you could do this:

I haven’t seen Sam since last summer. Since the accident. Since I begged Mom and Dad to move us away but could never bring myself to say exactly why. There’s nothing worse than this. He knows I ran away that June, that I begged to switch schools, that I did everything to get away from him. Now he’ll know something else: the money and my parents’ patience ran out and I’m back.
If all goes according to plan, he won’t recognize me. If all goes according to plan…
The bell rings and I’m still not to homeroom. What a great way to start my first day back in this hellhole. The classroom’s up ahead. My steps are too loud in the hall, my hand too sweaty on the doorknob, the hinges too loud as I push the door open.
Thirty pairs of eyeballs swivel lazily toward me. The teacher frowns and glances at his clipboard. I want to slip into a seat, any seat, and disappear, except…
Oh god. There’s only one left.
It’s next to Sam.
He looks at me for only a split second; it’s a hazy half-look that gives me a pang of hope. Maybe all the weight I lost will camouflage me. Maybe, to him, I’m just another beanpole kid pushing into homeroom. Then he looks back at me, his eyes narrow.
I’m finished. Just like that.
He knows exactly who I am.

Now, you’ll notice that my examples of Good Telling and Interiority are muuuuch loooonger than my examples of Bad Telling from Monday. This is on purpose. I am trying to flesh out the situation and the characters involved.

How to Use Telling Constructively

Once we know those, we are much more likely to be able to plug into moments of good, constructive telling. Interiority also adds bulk, but I hope you can tell here that this kind of padding isn’t bad. It conveys tension, it reveals character, it defines relationships, and it helps the reader stay grounded in the character as we move forward with plot.

Telling and interiority are probably some of the hardest higher-order writing things to nail (along with character and voice), so these posts are never going to be definitive. They will, however, try and introduce these concepts and get you thinking about them.

Do you struggle with writing fiction characters who are complex and compelling? Struggling with when to tell in writing? Hire me as your manuscript editor for book editing services.

Showing vs Telling in Writing

Today, I want to dive into a nuanced explanation of showing vs telling in writing. Want to know more? Read on!

Showing Vs Telling in Writing

Writers are very used to hearing about how they should show not tell, right? Well, one of my cornerstone posts is what “show, don’t tell” really means, and, more importantly, why it’s such a big deal. Follow the link if you haven’t read it yet.

Telling your readers about characters or atmosphere in your work is taking away their agency, their participation in the story. Plus, it’s just plain lazy. Really good writing is hard work, and telling is an instant shortcut, but it doesn’t fly with me. Let’s take a look at a sneaky version of showing vs telling in writing that I’ve been noticing lately.

Atmospheric Telling

It’s more subtle than the basic “Johnny felt sad” example of telling which you never, ever want to do. Let’s call this new type of telling…atmospheric telling. Here are some examples:

“Well, I never!” he said, with an air of superiority.

An awkward silence filled the classroom as I hunted for my seat. Of course, it had to be in the very back, where the bully awaited me. I could almost swear I saw him lick his chops.

The echoing hallway of the old, abandoned hospital was just plain creepy.

The tone of her voice changed just slightly; there was an edge there now that I hadn’t noticed a moment ago.

Atmospheric Telling Still Fails to Dig Deeper

Now, once you know to look for this version of showing vs telling in writing, this is exactly as underwhelming as more obvious telling. Do you get where I’m going with this? In the first example, you’re telling in terms of characterization. This character has been insulted by someone and their tone has shifted and they’re being superior and defensive. I would argue that the dialogue does that work and conveys that without the telling phrase of “with an air of superiority,” so this example is also redundant.

The next two are examples I see all the time. You want to convey the mood of the scene. You need to get across that there’s something in the air, whether it’s awkwardness or fear or a jovial atmosphere. But just because someone tells me that something is awkward or scary or fun, I’m not going to feel it. That’s really the base problem behind all telling. You tell me something and it sort of bounces off of me on a surface level. “Oh, okay, it’s awkward in the classroom,” I think. But at no point does it go deeper, at no point do my toes start to curl because the scene you’re showing me is so uncomfortable, embarrassing, terrifying, creepy, etc. Instead, I’m getting the shortcut, the lazy version, the cop out.

Tone of Voice is Also a Shortcut

The tone of voice example is also telling. It’s a shortcut to conveying emotion. Next week, I’ll tell you more about why that kind of telling, that which describes vocal tone and also small changes in gesture or facial expression just doesn’t work on the page. But here you’re, in essence, doing just what the writer of the ultimate telling sentence “Johnny felt sad” is doing, only you’re doing it a touch more subtly. If I could rewrite all the examples above and reduce them to their essences, it would read like this:

The king was offended.

Mark felt awkward.

Amy felt scared.

Julie was on edge.

My examples of atmospheric telling are certainly better than the above but they’re still not quite letting go of the telling baby blanket. They’re still only halfheartedly approaching the topic of showing vs telling in writing. And they’re both hard to notice and hard to break yourself of. Still, they’re one of those really subtle things that could make a huge difference in your writing. Look for it in your manuscript and I think you will start to see atmospheric telling in many, many places.

How Do We Show, Not Tell?

Writers know they should show not tell. But how do we do this? Use scenework and interiority more (interiority meaning here). I had a great question posed to me a few weeks ago, and that’s “How do we tell the difference between good interiority (a character’s thoughts, feelings, reactions, usually narrated to the reader by the character in first person point of view or the close third narrator who has access to the character’s head), and telling?” It’s a really higher-order question, and I’ll delve more deeply into it on Wednesday. (Just to get you started thinking in that direction, here’s a post about how to write fiction that addresses when to tell instead of show.)

Struggling with your balance of showing, telling, and interiority? Hire me as your novel editor and I’ll apply these concepts in a completely custom way to your manuscript.

Emotion in Writing: Fact and Fiction

I’m editing a manuscript right now where an interesting issue has come up: rendering emotion in writing that’s realistic, yet doesn’t alienate the reader. Without giving too much of this particular manuscript’s plot away, I’ll tell you that it includes a character going into shock after a traumatic event (an understatement).

emotion in writing, evocative description — When a little madness starts to creep into the character and/or plot, take great pains to craft evocative description that makes story and character sense.

The Reality Of An Experience

Now, I don’t know if I’ve ever gone into serious shock (this is not an invitation to the Universe to provide me with such an experience, by the way), but I’m familiar with the biological process of it. One loses the ability to think rationally. There’s anxiety, a lot of adrenaline, screaming, paleness, chills, etc. The things one says make no sense. (To those wise-crackers out there who are planning to imply that the last criteria means that I have been in shock, and quite often, while blogging, I’m one step ahead of you!)

All of this is valid and, from a fact standpoint, true. When I turn on the TV and watch Law and Order (fact vs. fiction time: I don’t have a TV and, even if I did, I wouldn’t watch Law and Order, but bear with me here), a show where lots of people go through a rough time, I expect to see actors and actresses portraying shock realistically. So one would imagine that a character going through shock on the page would exhibit these symptoms when describing emotion in writing, right?

Emotion in Writing: Does Reality Translate?

Not so much. Why? Fiction is very logical. Even in moments of madness, there has to be “method in’t” (Hamlet, FTW). If you transcribe the exact experience of shock, it will be very realistic, but it would read strangely on the page. Just like when we read ONE FLEW OVER THE CUCKOO’S NEST, a novel about crazy people (or is it?!), you don’t just have a transcription of the nonsense that goes on in a mental ward the way you’d have it in a stereotypical movie. You know, people burbling their lips with their fingers and sprouting random nonsense. That’s fine for the screen, but it doesn’t translate as well when you’re rendering emotion in writing. Even if something “crazy” happens, it has to make fictional, motivational, character, and plot sense.

In other words, fiction is the art of taking something realistic to the next level. Even if you’re being true to life, you have to think of the craft and the character and story logic. This means that sometimes it’s better to go for evocative description rather than description that’s true to life.

Dialogue: Reality Versus Fiction

Another easy example to emphasize this point about emotion in writing is dialogue (check out How to Write Dialogue in a Story). Dialogue is for sure “the art of taking something realistic to the next level,” because when we write dialogue, we interpret and elevate instead of transcribing. If we “wrote” dialogue to exactly mimic real speech, our pages would be pitted with “uh”s and “um”s and other useless stuff that infests our conversations. Great dialogue writers keep the cadence and voice of real people but they distill the words and how they’re spoken to be like life, but better. (This is, of course, just one component of truly great realistic dialogue.)

Certain Realistic Experiences Alienate Your Reader

So in the case of a scene of trauma or madness when the character experiences it too realistically, I’m challenged as a reader by that and feel really removed from the character. Why? Because, again, shock is all about floating in and out of awareness, random screaming, etc. A character, who I’ve gotten to know over the course of a book, is no longer making sense to me if their shock experience is described completely true-to-life. I feel outside of their experience (whereas elsewhere, especially in first person, I feel very close to them, as the connection is excellent).

This is especially true if the moment of hyper-reality happens at the climax of the story, and that’s actually when I need to feel closest to the protagonist and as clued in to their interiority (what’s going on in their head/heart) as possible. To yank the reader away from the character at such a critical point in time with how you’re describing emotion in writing does the reader a disservice. Reach for that evocative description that’ll loop your reader in rather than alienate them.

Always Include Your Reader

Where’s the lesson for you? When you’re describing emotions realistically, especially when a little madness starts to creep into the character and/or plot, take great pains to make story and character sense so that you include your reader. And speaking of Hamlet, it couldn’t hurt to study your Shakespeare. He does “logical madness” very well, with characters from Ophelia to Lady Macbeth. Shakespeare did, also, invent teenagers, by the way, so he’s worth a reread for today’s YA writers.

Characters need to be believable and relatable in order to hook readers. Hire me as your book editor and we can hone in on your protagonist together.

Writing Young Adult Fiction: the High School Hierarchy

A very interesting conversation about writing young adult fiction happened in one of my workshop groups during this past weekend’s Big Sur conference. One participant had painted a character very vividly in his particular high school environment, to the point where everyone in the group knew exactly where this character belonged on the social ladder. But that wasn’t the unique part.

writing young adult fiction, writing about high school — Writing about high school: are you conveying the social climate without the usual telling?

Writing Young Adult Fiction: Show, Don’t Tell

The refreshing thing was that this character never lamented his nerd status, he never described his clothes in a way that hinted to us that he was (let’s face it) a loser, he didn’t go into any detail about how out-of-reach the popular kids were. He just went about his business, thought his thoughts, and through the author’s scenework and his interactions with others, we got perfect context for where he lived in the high school hierarchy. But never once (in my recollection) did he come out and tell us exactly where he did or didn’t fit in.

Some of you reading are like: Yeah. We get it. Show, don’t tell. Right. But writing young adult fiction that touches on the teenage social order is a particular issue where “show, don’t tell” is even more relevant. The pecking order is present in every school, in every group of kids or teens, and, as one person from our group said quite well, everyone always knows, at a glance, what the deal is. Kids know their place and the place of everyone around them. It’s as innate to teens, as instant and unconscious as breathing. Now, this isn’t a blog post about whether that’s right or wrong or how damaging it is to the development of our social mores. The fact is: it’s true. So if we’re writing about high school, how do we reflect it in a way that’s believable?

The Tired Run-Down of the Social Scene

Most people who are writing young adult fiction include a run-down of the social scene. This usually happens in the first chapter for stories set primarily in school and within the first 30 pages for stories that don’t immediately need to put us in a popularity context with the character’s peers. The character will be walking down the hall and commenting on

the Goths, with their black eyeliner, the emo kids sulking into their genderless thrift store cardigans, the cheerleaders puffing out their push-up bra-enhanced chests at the jocks, who are crushing soda cans on their foreheads and emitting caveman grunts…

Etc. Etc. Etc. I have read this list in probably every well-meaning YA manuscript and many published books. The thing is, most YA readers will know the high school archetypes. They don’t need some thirtysomething (and, lest anyone get offended, let me repeat, again, well-meaning) writing about high school in such detail. Most writers include this obligatory run-down for their own sake, to get the lay of their land and to put themselves back into the high school mindset as they write.

Sublimate the Atmosphere

So when we’re writing young adult fiction, how do we convey this atmosphere more organically? How do we sublimate it without the usual telling, without the list of the school’s cliques? I’d love to hear some examples in the comments of books that you think paint a social picture without being too obvious about it. One great exception to the tried-and-true high school hierarchy descriptions, fresh in my mind because I recently reread it, is BEFORE I FALL by Lauren Oliver.

The main character, Sam Kingston, is a popular girl, and a bitchy one, at that, but Oliver describes Sam’s unique take on the social hierarchy in a fresh and very voice-driven way. There’s also a lot of tension inherent in the story premise, so whenever Sam describes her peer group, there’s something working beneath the surface, also. So Oliver doesn’t necessarily get away without any telling, but this is one instance where it worked for me.

Examples, Anyone?

However, I’m also looking for your thoughts on writing about high school that avoids talking about the social structure altogether. And here’s the kicker — it still manages to convey the character’s rightful place and all the longing and disappointments and hopes that the high school caste system inevitably inspires. Any thoughts on the subject, readers? Bueller?

Working on a young adult novel? YA is my favorite category and I’d love to be your young adult editor.

Writing Character Growth: Characters in Denial

Writing character growth if the character is in denial is a tough proposition. This is a very nitpicky post that I’ve been meaning to write for a while.

Examples of Characters in Denial

One of my biggest pet peeves in fiction is characters in denial. What do I mean by that? Examples:

Something about the way Rolf looked at me chilled the back of my neck, but he was just so darn cute that I followed him down the darkened alley.

Morgan firmly believed that she would never, ever get her first kiss.

The new girl gave me a pained, significant look but I just turned away and rushed off to class. She was probably trying to cry out a contact or something.

These types of little moments of denial in a book are understandable. A fiction writer’s job is to create “the fictive dream,” and to entice a reader to suspend their disbelief and jump into a completely fabricated world and story.

Plant Seeds Without Being Too Obvious

Often, a writer needs to work in events and people that will be significant later, but they don’t want to seem too obvious about it (learn more about foreshadowing.) Since novels are all about weaving in details that should grow in significance over the course of the plot, you have to jam this stuff in there somewhere and somehow.

But characters in denial in the face of Something That We All Know Will Be Important Later is just not the way to go. My examples above are purposefully bad but I think we all know what’s going to happen. Rolf and his dimples probably aren’t leading our narrator down the dark alley to show her a box of puppies with big red bows around their necks. Morgan gets snogged breathless. And that new chick is giving Narrator #3 that look because she’s got bad news/is a demon/can read his aura/is his long lost sister/whatever.

Let the Character Be Perceptive

Readers want to follow a character who is smart and perceptive (check out this related post: active protagonist). But putting characters in denial so that you can layer in Something That We All Know Will Be Important Later is not the way you’ll earn sympathy, character growth, and respect for your fictional people. Readers see right through that. If anything, you’re damaging your protagonist’s credibility and creating an unreliable narrator. (The unreliable narrator isn’t necessarily a bad thing, but you don’t want to unintentionally create this kind of character.)

So what do you do? Don’t have your characters say never. If someone says in chapter one that they’ll never fall in love, I know I’m most likely in for an “unlikely” love story. (One issue I had with the upcoming DELIRIUM by Lauren Oliver is that there’s a lot of time spent reassuring the reader that the protagonist has bought society’s anti-love propaganda hook, line, and sinker…despite having a family predisposition for love sickness…and even after she meets Obvious-and-Rebellious Love Interest Dude. Riiiiiight.)

Don’t Be Obvious About Important Details

If you need to introduce significant details that will lead to further character growth and make sure that the reader, not the character, notices them and understands that they’re looking at Something That We All Know Will Be Important Later, here’s an idea: don’t call the character’s attention to it in such an obvious way. Describe the new girl, then leave it at that until she pops up again.

Don’t describe the new girl and then make a point of describing how the narrator doesn’t notice the new girl. Plus, that’s a lie. You have to notice something to be able to describe it.

If you need to make your character do something stupid or dangerous because it’s part of your plot, but what they have to do is out of character, like going down Rolf Alley, don’t try and justify character actions with denial, and don’t have them lie to themselves. Characters are always smarter, more interesting, and more believable when you give them layers. (Learn more about writing believable characters.) So to make these types of character growth moments read as authentic, don’t be afraid to put a little doubt in the character’s head.

How to Fix Stunted Character Growth

For example:

I didn’t want to follow Rolf down that alley but Meghan’s snarky comment from last week, calling me a prude in front of everyone, rang in my head and I set out to prove her wrong.

That’s realistic, flat-out denial isn’t.

The art of fiction is the act of making the implausible seem plausible and relatable to readers. Writing characters in denial is very often one of the cheapest and laziest ways to do that, and I never fall for it.

(Please feel free to point out that the agent who said “never say never” just said “never.” Looks like there’s going to be some pretty convincing denial in my future!)

If you’re working on characterization and wondering if your protagonist is coming across as an unreliable narrator when that’s not your intention, hire me as your developmental editor. We can dive into your manuscript together.

Is Contemporary YA a Difficult Market?

Reader Rachel asked about contemporary YA novels in the comments a few weeks ago:

In our writing group, we have been talking about whether or not it is harder to find an agent and/or sell our YA manuscripts if they are contemporary romance/realistic vs. paranormal or fantasy. What are your thoughts on this? If it is more difficult, is there anything that does happen to work particularly well or would make a manuscript more saleable within the contemporary genre?

I know that I got into Young Adult fiction and into reading and into writing and into agenting because of contemporary young adult fiction. I was always more of a Sara Zarr, John Green, Jenny Han, Laurie Halse Anderson reader than I was a fantasy or paranormal fan. And when I started looking at the market, there were a lot of contemporary YA novels on shelves and doing well.

Current Trends in Young Adult Fiction

But today’s kidlit market, which got going in earnest over a decade ago with HARRY POTTER and has now been given another injection of money and attention by the TWILIGHT franchise, has always been anchored in fantasy and paranormal. And that’s where the trends — somewhat unfortunately for me and my contemporary YA tastes — all seem to be going. Even if there’s no outright fantasy, magic, or paranormal element, YA novels would rather be set in dystopian times than in the good old real world.

Not only do I know this from observation of bookstore shelves and publishers’ upcoming catalogues, but I’ve heard countless editors discussing how difficult it is to get a straight contemporary YA novel through their acquisitions committees. Apparently, contemporary realism isn’t much of a sales hook these days, unless either the voice or the subject matter is simply irresistible. Some publishers are, obviously, more interested in this genre than others, but the going still seems to be much tougher now than it was a few years ago.

What Makes Contemporary YA More Appealing to Agents and Editors?

So what can writers of contemporary YA novels do in order to make their books more saleable? Well, YA romance is a huge hook. I think it’s the number one thing that girls (especially) and boys (in the John Green vein, not in the flowery sense) are interested in as teenagers. So every contemporary manuscript I look at should have, if not a flat-out romantic relationship, at least some romantic interest. The teenage years are a time when everything from friendships to family gets complicated, so you have to really play up on those themes and relationships when writing teenage characters.

And you do have to have a really strong hook. It’s not enough to just have a story of one girl’s senior year as she experiences different relationships and events at school. “Coming of age” is no longer a great sales hook, because every book for the kidlit market is, in one way or another, a coming of age story.

Examples of Contemporary YA Novels

SWEETHEARTS by Sara Zarr: The only boy a girl ever loved disappeared and she thought he was dead, until she gets a mysterious message.
13 REASONS WHY by Jay Asher: After a classmate’s suicide, the boy who had a crush on her must put together what happened with thirteen cassette tapes that show up on his doorstep, tapes she sent before her death.
BACK WHEN YOU WERE EASIER TO LOVE by Emily Wing Smith (coming Spring 2011 from Dutton): A girl’s hipster boyfriend up and leaves their conservative Utah town, and she follows him, part of her still thinking they’ll pick up where they left off.
PAPER TOWNS by John Green: A boy follows a trail of mysterious clues left by the alluring neighborhood girl who disappeared one day.
LIVING DEAD GIRL by Elizabeth Scott: A girl kidnapped and trapped by a monster of a man has to find hope and sanity and, finally, escape.
SORTA LIKE A ROCK STAR by Matthew Quick: An upbeat, spiritual girl hides the fact that she’s homeless while helping everyone else with their problems, until her mother dies and she can’t hide anymore.
WINTERGIRLS by Laurie Halse Anderson: After anorexia killed her best friend, a girl has to struggle with whether or not she, too, will succumb to the disease that still has its hooks in her.

Contemporary YA with a Fantasy Element

IF I STAY by Gayle Forman: A girl left in a coma after a horrendous accident that kills her family must decide between following them and living without them. (There’s also a huge romantic element here.)
BEFORE I FALL by Lauren Oliver: A girl killed in a car accident gets the chance to relive her last day in order to try and change her fate.

The Defining Element Is…

What sets all of these books apart, in my mind, is character, voice, and one high-concept element in the plot that makes the premise a great read. I do think a romantic element, or at least an unrequited crush, is vital to a contemporary YA novel…teens care more about friendships and the possibility of romance than they do about most other things in their lives. Other than that, character, voice, and a high-concept idea are what will really make the difference in this market.

Are you working on contemporary YA novel? YA is my favorite category to edit, and I’d love to be your young adult editor.

Writing an Antagonist Character in Contemporary Fiction

Reader Rachael asked the following question about writing an antagonist character, and she brings up an interesting point:

I’ve been wondering if a lack of one clear antagonist character is a problem if you’re writing YA contemporary (which I am). It seems like it would be a huge problem for fantasy, sf, mystery, etc., but for contemporary, I just don’t know. I can think of several YA contemporary books that don’t seem to have one clear big bad antagonist. Don’t get me wrong, they’re packed with conflict, but the antagonists change throughout the book (usually it’s some combination of the MC’s best friend(s), boyfriend(s), family, and the MC his or herself). So, does that mean it’s okay?

antagonist character, writing an antagonist, antagonists, writing a villain, villains in fiction, antagonists in fiction, creative writing — You want to spend almost as much time writing an antagonist character as you spend on your protagonist. Surprised? Read on to learn why.

Writing an Antagonist Character Is Important Business

Antagonists in today’s fiction can take many forms. Lord Voldemort (yes, I said it) in HARRY POTTER is a traditional antagonist character. He’s a big, bad villain and the entire series is spent tracking Harry as he clashes with Voldemort and his supporters, the Death Eaters (read more tips about writing a protagonist and antagonist). And Rachael is right. In a lot of fantasy, adventure, and sci-fi, there usually are villain characters who you can point to and name. This is usually a person, and they are usually as multi-faceted as the main character (or they should be), which gives the story more tension and raises the stakes.

But what do you do if you don’t have a villain in mind? If there’s no shadowy baddie behind the curtain, always threatening danger and doom? Do you still have a story?

Writing an Antagonist If You Don’t Have a Villain

I’d say you do. For another complex and fascinating villain, check out Lia, the main character of Laurie Halse Anderson’s WINTERGIRLS. She’s also our point of view narrator, and the hero of the story. But she’s suffering from anorexia and the demons of the disease, not to mention the guilt she feels when her best friend and partner-in-dieting, Cassie, dies. The hero and the villain here are one and the same.

In the highly-anticipated MATCHED, by Allie Condie, there are individual people who are antagonist characters, but one might say that the villain itself is the big, bad government (a popular theme in dystopian fiction), which seeks to control its citizens and uses that control for nefarious purposes.

Antagonist Characters Generate Conflict

Instead of thinking about this from the is-it-or-isn’t-it-a-villain perspective, I want you to consider your story in terms of conflict. Every story needs a balance of external and internal conflict. Internal conflict is what the character has going on inside them, basically, character’s inner life vs. the world. The story must also have external conflict. In other words, character’s outer life vs. the world and/or character vs. other characters.

An example of internal conflict: I am eating lunch under a table in the library because I am so different from everyone and I feel so alone.

An example of external conflict: Now I’m headed to the principal’s office because the librarian found me. The principal is going to call my parents and I’m going to get in so much trouble.

If your story lacks a central antagonist character in the style of Lord Voldemort, don’t fear. Even if your story does have a baddie with all the evil fixin’s. Your focus should be on developing a rich and complex balance of internal tension and external tension that still carries all the tension and stakes of a story that has a centralized antagonist.

Think About Your Antagonist’s Contribution to The Conflict

Would HARRY POTTER still have its oomph if Lord Voldemort vanished from the storyline? It would lose a central story engine, sure, but there is still enough going on for Harry internally and externally that the series wouldn’t be totally sunk. I think that’s key.

Even if you do have a Lord Voldemort in your cast of antagonist characters, that can’t be the only source of conflict. It’s much more important to look at all your sources of conflict and make sure they’re balanced and come into play throughout your plot, not just at the beginning and the climax.

If you forego the villain route, study writers like Sara Zarr, David Levithan, John Green, Lauren Oliver, and many others. Their worlds are populated by kids who lack a mortal enemy, per se, but who still have plenty of internal and external conflict to give the story fireworks and momentum.

Plot is extremely difficult to do well. Hire me as your novel editor, maybe for a Reader Report service, where I will read your entire manuscript and comment on all of its key components, including plot, conflict, tension, and pacing.