HOW TO PORTRAY EMOTIONS--THE VISCERAL REACTION

In my blog on emotion (1/16/14), we looked at ways of demonstrating the point of view (POV) character’s feelings. Why are we interested? Because story is conflict or tension fueled by emotion. In response to a motivator (see The MRU 8/26/13), an internal reaction provides the reason for the POV’s response, which moves the story along.

The portrayal of an emotional reaction within a story is broken down and shown chronologically as it happens. Immediately after the motivation, there is a visceral response followed by thought then dialogue and/or action. If taken out of order, the reader feels unsettled.

So what is a visceral response? It is the fight or flight mechanism. Triggered by a threat, the body shuts down organs not necessary for survival and concentrates on those that do. Eyesight may narrow. Attention may concentrate on a particular sound. Adrenal glands may spurt adrenaline. There may be physical reactions like goose bumps or flushing. The contraction of the muscles in the stomach wall may cause nausea or butterflies.

The visceral response is the strongest indicator of an emotion that will activate a change in the POV’s mind. If powerfully written, the story world becomes real and vivid as the reader imagines the same emotion in his own body.

Ways to portray visceral reactions are with involuntary internal and physical reactions. Here are a few:

 Emotion                         Visceral Response

 Anger            Internal: body tense, heart pounding, face flushing

                       Physical: noisy breathing, protruding eyes, veins that pulse

 Fear               Internal: speechless, weak leg joints, rapid heartb
                       Physical: frozen to a spot, shaking, hair standing on end

 Love              Internal: flutters in stomach, tongue-tied, heart hammering

                       Physical: brightening, euphoria, nervousness

 Sympathy      Internal: ache in throat, emotionally strained
                       Physical: sad countenance, deep sighs, crying

 Never label an emotion. Show it. This allows the reader to experience it. And always depict the emotion as it progresses. When a sad person finds joy, show his sadness. Have the sadness go to wonder, then to belief, then to joy.

The second phase of an emotional response is thought. Next time we’ll investigate internal dialogue.—Quinn

A Great Conference!

Last weekend I had a great time at a Christian writers conference. Several hundred authors from novice to the multi-published attended. Among them were home educators. It seems to me homeschoolers and home school graduates are disproportionally represented at the Christian conferences. Perhaps for them (me), after teaching their students literature and writing skills, becoming a writer is a natural progression.

The first evening opened with an awards ceremony for the best published books of the year in various categories. A keynote speaker followed. Afterward, an authors panel and an editor/agent panel discussed the industry and fielded questions from the audience. The next day was filled with speakers, workshops, and opportunities to pitch a manuscript or an idea.

This year I elected to explore the various methods of publication. Traditionally, an author submitted a manuscript to an agent who took it around to publishers. If a publisher could use it, he’d offer a contract. His job was to take care of editing, printing, and distribution. A newer way to publish is with e-books through Amazon Kindle, Barnes and Noble, Apple, or Google. The author is responsible for formatting and graphic design. He must do all the marketing, which seems daunting. However, the traditional publishers are now requiring the authors to market as well. Why would some be interested in e-books? The royalty on a printed book is typically $1.12 and 15% of that goes to the agent. E-books yield about $2.50, and there is no agent involved.

While at the conference, I had the opportunity to pitch both ECHOES and KOKOWEEF to an agent, an acquisitions editor, and a publisher. How that works is the author makes a fifteen minute appointment. During that time, he briefly tells what the book is about, leaving time for discussion and marketing strategies. If the person the author pitches to is interested, a full manuscript is requested.

You might consider attending a conference for enrichment or just to see if writing is something you’d like to do. If there aren’t any conveniently located, you might try MuseOnLine Writers Conference. It’s too late to enroll this year, but there is another chance next October. As with regular conferences, there are general sessions, workshops, and pitch sessions. And the price is right—free.—Quinn