Real people (you and I) form their characters and behaviour over time, but writers are creating ready-formed lives and there is a lot to think about and invent to make your character — and your story — believable in the reader’s eyes.
Let’s take a look at some examples of what I mean. Continue reading
What is meant by Active or Passive voice?
Active voice is clear and direct. It stamps out what is happening in a dynamic way. It tells you who or what is doing the action (subject) and who or what they are doing it to (object).
Passive voice can be clear as to what is happening to the subject but usually sounds weaker as a statement. It loses the strength you want to give to your words (and strength in your words is important when you are writing for others).
Let’s take a few examples to show you what I mean. Continue reading
Our facial expressions give away more of what we’re thinking than we thought. New research shows that people’s eyes, in particular, are a dead giveaway.
The function behind a facial expression mirrors the person’s emotional state. So if someone is narrowing their eyes as if they are scrutinising something they are likely to be feeling thoughtful; wondering about something. If you feel as though you are being scrutinised then you probably are.
In Psychological Science we read that:
The research reveals, for example, that people consistently associate narrowed eyes – which can enhance visual discrimination – with discrimination-related emotions including disgust and suspicion.
I wrote a story a while back about a couple going through the break-up of their marriage. I wanted dialogue to tell most of the tale rather than narrative.
As I write the characters into existence I felt as though I knew them and could almost feel what they were going through. It gave me the confidence to write strong dialogue because I just knew what they would be saying to each other.
I could feel what they were feeling; the hesitation in parting, the longing for each other and what they once had, the distance that had grown around them. This gave me the confidence to describe their internal world in ways that showed you, through their actions and body language, what was going on rather than telling you. It makes it more interesting to the reader to get to know your characters themselves. This is how we do it in real life; we all make judgements about people without being told about them by someone else.
There is a book entitled, ‘The New Drawing on the Right Side of the Brain’, which teaches you to see in a different way.
Where drawing is concerned we often draw what we think we see (left brain) rather than what we can actually see (right brain).
For example, one of the exercises asks you to draw the spaces around and between the object you want to draw (negative space) rather than trying to draw the thing itself.
How observant are you?
Do you register faint changes in facial expressions? Do you notice the body language as one person passes something to another? Do you recognise the real meaning in people’s tone of voice?
These are all elements you can write into your story to make the characters, and what they do, more believable.
People watching is a great way to build up a resource to draw on.
I wanted to follow up from my post about a website called: Dear Photograph.
The photographs on the website conjure up some brilliant imagery of layering story.
The concept behind it is simple: take an old photograph of people you know and hold it up against the original backdrop where it was taken and photograph it so that past and present blend into one photograph.
The results are very poignant. Continue reading
Some time ago I stumbled across the website, Dear Photograph. It works on the simple idea of taking an old photograph of people you know and holding it up against the original backdrop where it was taken and photographing it so that past and present blend into one photograph.
Along with the images, the photographers write a very short piece about the picture they have uploaded. In a combination of words and image, a vivid story emerges that is often far more than the sum of its parts.
You can see where this is going, can’t you?