So what?

What’s the big deal?

Why should I care?

You think you’re the only one asking those questions? Think again, every time a reader picks up a book that’s what’s in the back of their minds. As the writer it is your job to make sure the answers are on the page because that is what keeps them turning.

Think of it like this: if you’re at a party and someone starts to tell you a story you don’t care anything about, what do you do? Yeah…you either make an excuse to walk away or you tune them out, making meaningless sounds of acknowledgement from time to time to make it seem like you’re actually listening. Readers are the same way. If they don’t care they don’t keep reading (unless it is school work…then they get the cliff notes and read those).

Face it, you need the reader to CARE, and since we relate to the world through our emotions that means there needs to be some emotional connection made between the reader and what is happening on the page.

Sometimes excitement will do it on its own, but not for long. You can’t really maintain constant action in a story without losing…well…the story, and the reader for that point.

So, how do you inspire an emotional connection without giving a running commentary on how each character feels? Glad you asked…

Visible Physical Cues

Yeah…you’ve heard it before: “Show, don’t Tell.” It is the easiest, least obtrusive way to inspire a response in your reader because it draws on their own experiences to provide the content that connects with the physical effects of emotion…the shudder, the clench, the frown, etc. For example:

Tammy was angry.

Simple enough. Definitely clear. But lacking something. To what degree was she angry? How did she respond to the feeling? How did she express it?

Tammy’s lips pursed and her forehead tightened in a scowl. She glanced away, not meeting his eye as a muscle in her cheek twitched.

See, the first example gives us information, but it’s flat, there is no dimension to it. Whereas the second example resonates; it calls up memories of how the reader might have felt faced with a like situation, when they may have reacted in ways similar to the character. There is an intensity to such memories that transcends a mere statement of fact.

Most people reveal emotions by what they do before they even say a word, in fact, often the physical cues are more honest and informative than anything they tell you. Not because everyone is dishonest, but because we typically grow up with two understandings: emotions are vulnerability, and emotional displays are impolite. Because of these we don’t always let our emotions loose. (Yes, I know, this doesn’t go for everybody. Some people thrive on emotional displays. But it’s true enough.) Because of this, we have learned to put more faith in the physical signs of feeling, those unconscious, sometimes uncontrollable indicators. In gambling they call it a “tell”. Sometimes they are obvious, sometimes subtle.

Since this is the way we interact with our world and gauge our encounters with others, employing that in our writing establishes a connection between the reader and the characters.

Internal Reactions

Emotions are messy.

(Yeah…tell you something you didn’t know, right?)

Because of that, for various reasons, we internalize a lot of how we feel. Repression has become quite acceptable when applied to emotions. With that in mind you can set the tone for your reader by addressing the emotional and related physiological responses a character may have to a situation in the narrative or the inner monologue, writing in such a way that it is clear the character is aware of the reaction, but those they are sharing the scene with are not. For example:

Carl smiled. “You’ll do it. You have no choice.”
Tammy stared at him a moment. “No, I don’t think so.” Without another word she turned and walked away.

There really aren’t any emotions in this exchange. A smile is an action that could have many different emotional motivators. This is statement of facts and actions with no clues as to what the characters are feeling or how the reader should feel about them. Let’s give it another go:

Carl smirked. “You’ll do it. You have no choice.”
Tammy felt a sharp jab deep in her gut, brutal and cold. Swallowing a gasp, she locked down her expression, refusing to let her features betray her as he just had. “No, I don’t think so,” she answered, her tone deceptively calm. Despite the cold tinges running the length of her body, threatening to grow into uncontrollable shudders, she silently turned and walked away, holding her heartache deep inside until she reached the privacy of her room.

Thanks to Tammy’s internalized responses we know how to react to the scene and we also know that Carl is not aware of the emotion he has inspired in her. Maybe he suspects, or maybe he assumes, but he doesn’t know, which sets the tone for the encounter and the relationship between these two characters.

Can’t you just hear the reader asking what’s the deal? Where is this going? People respond to emotion. True…in their own way, colored by their own experiences, so you can’t really predict what reaction the reader will have absolutely, but there are some universals that you can be reasonably sure with resonate with the reader, particularly the physiological responses to emotion, if not what inspires said emotions.

Don’t be afraid to get into the character’s head—and heart—and give the reader a peek.

Unconscious Signifiers

In fiction, characters are not the only ones with emotions, sometimes writers need to set a scene, they need to build a tone that will culminate somewhere down the line. Because of this we need to be aware of the emotional impact of words and descriptions that motivate responses, rather than just describing them. Mostly this deals with building some sort of tension or mood in a scene that puts the reader in the right mindset or emotional state for the pending action.

For example, a character moving from one place to another can be a simple statement of fact, an action completed and nothing more, such as:

Chrissy stood in the doorway. Anthony moved across the room.

Or an act can be a part of the emotional climate:

Chrissy stood in the doorway, her face pale and her dress torn. Frowning, Anthony hurried across the room.

This is a simple adjustment that layers the detail and implies the emotion, rather than putting it right out there. The reader—drawing on their own inherent responses—has to interpret the actions and events based on the cues you provide and the context surrounding them. Not only does that draw the reader in and help provide them with the “why” behind the “what” but it also further immerses them into the story, connecting them to it almost without them realizing it.

The Roles of Emotions

Emotions are a powerful tool in the writer’s toolbox, adding depth and impact to any prose, particularly if properly utilized. Keep in mind that there are subtly different roles that feelings can play in a story.

Communicate – emotions and how characters react to them tell the reader and other characters about their personality, their character, and motivation.

Relate – emotions provide—with hope—a common ground and a basis for understanding.

Affect – emotions draw a response from others, sometimes predictable, sometimes not, often changing the course of actions.

Manipulate – emotions, in the wrong hands can be tools or weapons, putting pressure on characters to change their stance or act against their nature.

Summing Up

As both readers and individuals we are often left wondering. That’s frustrating in life. In fiction it is extremely dissatisfying. Let’s assume we don’t have much choice about life; the book, however, we can put down and forget it ever existed.

What you need to remember is that the reader isn’t the one the character is trying to hide from, so keep that in mind as you are writing. Share with the reader, give them a glimpse of what’s going on inside. They will love (or hate) your characters for it even more. But most important of all, they will care.

If you leave too much for the reader to infer or figure out on their own you are relinquishing way too much control over your story. Tug here, jerk there…guide them through the world you have created and inspire them to see it from your perspective, through your emotional filters, or you never know what they will get out of the story…if they even finish it.