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Much more than the finer points of the story, or even the characters themselves, the thing readers remember most about a book is how it made them feel. It’s the thing that consistently brings them back to reread it every few years, and what motivates them to stalk the author until they release a new one (which they purchase religiously).
That being said, when you're the one writing, the 'experience' your book will provide is something you should have in mind at all times. Are you aiming to please? Mortify? Excite? Disgust? All of these are valid choices. But if you really want to make the mark, you have to be fairly deliberate in how you go about it.
This is how.
The twelve stages of emotion while waiting on hold to Centrelink
This post brought to you by guest blogger Tyrone Couch.
It's Good to Be Bad
In keeping with Writer's Connect Newsletter 80's theme of emotion, a common misconception about writing is that it should make the reader feel good. Not so. In fact, eliciting an emotion that is generally considered negative does wonders for engagement. If you can make a reader care enough about your story to hate a certain character or outcome, that's just as much of an accomplishment as making them weep tears of joy. Really, the only thing you don't want your audience to feel is boredom.
Love and hate are two sides of the same coin. If you love a character, then you're probably going to hate it when something bad happens to them. But that's not going to stop you from reading, is it? You want redemption. You want revenge. At the very least, you want resolution.
Even if none of those things comes about however, and everything continues to go completely sideways for them, there's still a certain beauty and appeal to that complete desolation you feel when things are utterly hopeless, and the world is revealed for the cruel mistress it can be.
Your book should never be just one thing. Ideally, you want to strike a balance between polarising emotions so your reader can experience the full spectrum of what this life has to offer. Don't be afraid of 'turning them off' by inviting a little misery.
The Doing of The Thing
You've thought about it, and you now know exactly what you're aiming for. You're going to write about x, and it's going to make reader feel y.
How the hell do you make the reader feel y?
It's deceptively simple. This is where your experience in the world, and/or your consumption of other media, kicks in. What has made you feel y? Why did it make you feel y? If you can answer those questions, you're most of the way there already.
Take the classic example of Luke Skywalker discovering that Darth Vader, the enemy he'd been railing against for much of his life, was actually his father. There's a lot to unpack there. It was such a powerful emotional experience that even forty years after Return of the Jedi, even if you know nothing else about the franchise, you know that Darth Vader is Luke Skywalker's father.
When you boil it down, the thing that caused people to resonate so much with this was the character's realisation that their father was ultimately the cause of most of their hardships in life. Another layer of emotional significance in this is that, in his final moments, Darth Vader finally bears witness to his son's pain and validates his existence, giving his own life in an attempt to make up for what he's done.
Though I'm extremely grateful to not count myself among those for whom this is true, I've known many people who have had fairly destructive father figures, and can appreciate the gravity of the sentiment.
Now, what does any of this have to do with your writing? Everything! This was almost certainly the 'experience' that George Lucas was going for with that film (and look where that landed him!). By defining the 'experience' of your book early, you could build up to it over the course of three feature-length films, drop it like an atomic bomb, and change history.
While your story would benefit enormously from a defining experience such as this, it's important to note that there should be many micro-experiences within it, and they don't all necessarily have to lend themselves to the larger one. It could be in the way a mother looks at her child, a street rat steals a loaf of bread to survive, a misunderstanding shatters a relationship, or a dog comforts its grieving owner. If it evokes emotion, it's worth its weight in gold.
Hear, Think, Feel
Maybe the problem is that you're struggling to translate your life into an 'experience'. You might be having some difficulty framing the feeling or experience you want to capture in a way that's uniquely your own. If so, why not check out our book coaching & writing programs? We have all the tools you need to start transmuting your tears into sweet, writerly gold.
For more fortnightly tips, make sure to subscribe to Writer's Connect (at the bottom of the page).
Word of the Day
amorous (adj.) ăm′ər-əs
That which is amorous is indicative of love, lust, or both! Where the subject is an individual, it suggests they are strongly predisposed to romantic feelings or pleasures of the flesh (though generally the latter).
The painting depicted an amorous couple in the throes of passion. He had a reputation for his amorous pursuits.
Quotidian Quote
"What is written without effort is in general read without pleasure." ~ Samuel Johnson
Get Competitive!
A selection of current writing competitions YOU can enter!
First Pages Prize 2023
Format: Fiction or non-fiction Theme: Open Word Count: max. 1,250 (5 pages) Entry Fee: $20 Prize: $2,000 plus mentoring Closes: 24/04/2023
Look over the fine print to make sure that your submission qualifies and you're happy with the terms of engagement.
The Australian Society of Authors has a highly informative post on their website called 'What to look for in a writing competition's T&Cs' . To locate the article, click on 'Home', then 'News'.
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