We hope you had a wonderful Thanksgiving! Because of the four-day holiday, we decided to post one of our older columns written by the fab Angela Ackerman. Grab a leftover drumstick and join us!
If you’re a writer, I’m betting you’ve been to Angela Ackerman’s website The Bookshelf Muse. She and partner Becca Puglisi run a wonderful blog, offering authors a wealth of information on descriptions, emotions and settings. And more!
Emotional Description: 3 Common Problems with Show & Tell
Writing compelling emotional moments is the lifeblood of any story and the key to building a relationship between characters and readers. Yet steering clear of the show-don’t-tell pitfalls requires practice and skill. Here’s a quick look at three challenges writers face when creating the right balance of emotional description.
Telling is a big issue, especially when writers are still getting to know their characters. Often they do not yet have enough insight into the hero’s personality and their motivation to really be able to describe how they feel in a unique way. Instead of using a vivid and authentic mix of body language, thoughts, dialogue and visceral sensations, writers convey emotion in broad, telling strokes:
Bill had to steel himself emotionally before entering the church. He’d managed to avoid his family for seven years, but his father’s funeral wasn’t something he could blow off. Anger and jealousy welled inside him as he thought of his two older brothers, the ones who always impressed Dad by being just like him: athletic, manly, hard. Now he would have to face them, and hear once again how he was a failure, a disappointment, an abomination that should have done the world a favor and hung himself from the Jackson family tree.
What’s wrong with this passage?
While the above alludes to an unhealthy relationship between brothers and conveys that Bill is the family misfit, the emotions are TOLD to the reader.
Bill had to steel himself emotionally… What does that look like? Does he sneak a slug of whiskey in his car before going in? Shuffle around on the church step, tugging at his starched cuffs? Something else? With emotion, the reader should always get a clear image of how the character is expressing their feelings.
Anger and jealousy welled inside him… This again is telling, simply by naming the emotions. What does that anger and jealousy feel like? Is his pulse throbbing so loud he can barely think? Are his thoughts boiling with brotherly slurs that show his jealousy: dad’s golden children, his perfect prodigy, etc. Does his chest feel stuffed full of broken glass, and with each thrum of the church organ, the pain drives itself deeper?
Showing and Telling
Another common snag is showing the character’s feelings (thoughts, actions, body language, visceral sensations, etc.) but then adding some telling to make sure the reader ‘got it.’ This often happens when a writer doesn’t have confidence in their own abilities to get emotion across to the reader, or they question whether they’ve shown the character’s feelings strongly enough for the situation.
Dean Harlow finally called Tammy’s name and Lacy’s breath hitched. Her daughter crossed the stage in her rich purple robe, smiling and thrusting her arm out for the customary handshake. Warmth blurred Lacy’s vision and she swiped at the tears, unwilling to miss a second of the graduation ceremony. Her calloused fingers scraped beneath her eyelids, a reminder of long hours at the laundry, all to ensure Tammy would have opportunities she herself never did.
When her daughter accepted her diploma, Lacy shot out of her seat, clapping and cheering. She had never been so happy and proud in all her life.
What’s wrong with his passage?
Emotion is shown clearly through Lacy’s hitching breath, the warm rush signaling tears, her rapt attention and then finally jumping up to cheer her daughter on. But that last line: She had never been so happy and proud in all her life. This unnecessary explanation of Lacy’s happiness and pride is like hammering a nail long after it’s flush with the board. In the book, Description by Monica Wood, there’s a great rule of writing called RUE: Resist the Urge to Explain. So when it comes to emotion, remember RUE.
Over showing is when a writer gets caught up in the moment and goes too far by showing everything. Too much emotional description can slow the pace of the scene, create purple prose or clichés, and come across as melodramatic.
Finn huddled behind the rusted oil drum, dripping with cold sweat as she tried to control her loud, rasping breath. The sound of Alex scraping the crowbar along the warehouse’s cement floor turned her heart into a jackhammer. A scream built up in her throat and she clamped her teeth tight, converting it into a nearly soundless whimper. Her body trembled and shuddered in the dark, and a cascade of thoughts piled up like shoreline debris– the odd things he said, the strange gifts and creepy poems, his interest in seeing blood—why didn’t these things didn’t send off air raid sirens in her head before tonight?
What’s wrong with this passage?
In some ways, this is a great moment showing fear. Body language, thoughts and visceral sensations all work to bring about intensity, but because there is so much of it, it feels overblown. Emotion doesn’t just build here…it roars. As a result, clichés form (the jackhammer heartbeat) and purple prose emerges from too many fanciful ideas (cascading thoughts, shoreline debris, air raid sirens, etc.) The combination of too much description creates the flavor of melodrama, which can cause the reader to disengage. Showing is great, but in moderation. Sometimes an author can say more with less.
YOUR TURN: Do you struggle with showing your character’s emotion? Let me know in the comments—maybe I can help!
Join us on Monday for Editor Christine Pride’s post on Drive Them Wild – what makes readers fall in love with a book
Bio: Angela Ackerman writes on the dark side of Middle Grade and Young Adult and is the co-author of The Emotion Thesaurus: A Writer’s Guide to Character Expression. When she isn’t blogging at The Bookshelf Muse or creating new writing tools, she’s carefully deleting her browser history and pretending to live the life of a normal, quiet Canadian. Find her on Facebook or Twitter, and stay up to date on new writing tools, resources and writing tips by signing up for her newsletter.
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