1. Depicting a character's feelings in fiction - be it grief, or anger, or happiness - can be a minefield of clichés. I mean, how often can you say: "She smiled", or "His eyes filled with tears"? #TenWaysToExpressFeelings
2. And although "show, don't tell" isn't always good advice, sometimes you do need to have one character assess another's feelings via what they observe. So, what do you do to make that observation feel authentic and fresh? #TenWaysToExpressFeelings
3. I think the way to start with this is to really think about the feeling you're trying to describe. Its nature. Its physicality. Its neurology. Remember, not everyone expresses - say, grief - in the same way, all the time. #TenWaysToExpressFeelings
4. Similarly, not everyone understands body language in the same way. Think of the character trying to understand the signals from the grieving one. Are they neurotypical? Also affected by grief? Or are they coming from a very different perspective? #TenWaysToExpressFeelings
5. It helps to understand how you might feel in the same situation. Or to talk to someone who can describe the way they felt to you. But everyone processes grief (or hate, or anger) differently, depending on their personality. #TenWaysToExpressFeelings
6. It might help to ask yourself how this character's normal behaviour has changed. Have they gone silent? Are they withdrawn? Or are they, on the contrary, putting on a slightly manic persona, to avoid dealing with the emotion? #TenWaysToExpressFeelings
7. Are they making eye contact? Physical contact? Looking away? Are they finding excuses to stay busy? Compulsively looking at their phone? Finding displacement activities, like housework or going to the gym? #TenWaysToExpressFeelings
8. Do they even know what they're feeling? Or is the character observing them in a position to understand them better than they do themselves? (Obviously this depends on their relationship, but my point stands.) #TenWaysToExpressFeelings
9. Does their mood affect others? How? Feelings are often catching. They can trigger reactions in others. How is this happening to your character? To the one observing them? How does it affect their interactions? #TenWaysToExpressFeelings
10. If you find yourself straying into cliché country, back out slowly and start again. Clichés are mostly a sign that you're looking for a shortcut. With human beings, there are no shortcuts. There's only the individual, and how well you understand them.#TenWaysToExpressFeelings
If you enjoy these occasional threads, you might want to check out my book, TEN THINGS ABOUT WRITING, which contains 100 more of them... amazon.co.uk/Ten-Things-Abo…
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1. Broadly speaking, there are two types of character in fiction: flat and round. Flat characters exist to serve the plot, and we generally don't need to know much about them. Round characters are more developed, and tend to be your main players. #TenWaysToWriteRoundedCharacters
2. A very easy way to tell the difference is this: Flat characters don't change. Round ones are changed by their participation in your story, and by their interactions with others. The more they change on their journey, the more developed they are.#TenWaysToWriteRoundedCharacters
Cup of tea; time to kill. You know what that means; #Storytime.
There is a story the bees used to tell, which makes it hard to disbelieve. #Storytime
A woman was going to market. As always, she took her own carriage, adorned with her ancient family crest, and lined with scarlet cushions and curtains of matching velvet. #Storytime
Sunday lunchtime; cup of tea. You know what that means, Twitter. #Storytime.
New followers, to explain; #storytime. In which I write a story from scratch, live and unprepared, on Twitter. And it always starts like this: "There is a story the bees used to tell, which makes it hard to disbelieve..."
An opera singer of great renown fell sick and died at the height of her fame. #Storytime
Reminder to anyone who needs it today: the 50s weren't a golden age, and the people who tell you it was aren't remotely on your side.
The advertising of a time is a direct line into its dreams and desires. Here we see white men in charge; white women subservient, and POC and LGBT people, not at all. Some men never gave up this dream. This is the world they want for us.
My childhood was the Seventies. This was what advertising was then. Now the sexism is in colour, but it hasn't really changed much...
Let's do something about TENSES. It may be almost as polarising as my hardline jam-before-cream stance, but it might be fun. Follow #TenThingsAboutNarrativeTenses to collect them all!
1. First off, remember that there are no inflexible rules. There's what you like, and what works for you, and what keeps the reader fully engaged. If what you do achieves what you need, then you're doing fine, and you need not worry. #TenThingsAboutNarrativeTenses
2. Commonly, past tenses are used in narrative. There are three: the perfect (I did something), the imperfect, most used in description (I was doing something) and the pluperfect, which delves further into the past (I had done something, when -). #TenThingsAboutNarrativeTenses
I'm not going to waste my time responding to all the unfounded accusations I'm getting today. Just this one, which I believe to be the most important (and potentially actionable.) So listen up, and if you're good, I might send you a picture of my son's excellent cat.
Basically, I have been accused of abusing my position as Chair of the @Soc_of_Authors to discriminate between gender critical people and trans allies. That is a very serious and damaging allegation. And it's not only false, but it's based on a complete ignorance of my role.
I'm Chair of a committee of twelve. We work alongside the SOA staff to determine policy. Any change in policy has to be agreed by the committee. So if somehow I wanted to create a policy of discriminating against GCs, I would have to put it to them, and they would have to agree.