Three Simple Ways to Say Your Character is Losing Their Mind Without Actually Saying It
By Gail Tagarro / 29 September 2022 / 5 minutes of reading
There's no better way to engage your readers emotionally than by showing your characters 'in their feelings'. After all, characters are people too, and it's hard not to relate when you see them experiencing something familiar.
But how do you let your audience in on your characters' inner workings? Not by saying, "Nathan is angry," I hope! If you've followed this blog for a while (or indeed ever sought out writerly advice), you'll be aware of the war on telling (of 'show, don't tell' fame).
So, without pummelling the deceased equine, what are our alternatives? And why is Nathan so angry? Let's check it out!
Thanks to guest blogger Tyrone Couch for today's post.
Method One: Telling
Now, I know what you're thinking, but hear me out. What if I told you there was a way you could 'tell' without incurring the wrath of me and mine?
The reality is, it's not always practical to show rather than tell. It's a nuance of the rule that's rarely discussed, but I think is important to note: sometimes, it really is better to state something outright so you can move onto bigger and better things. If you've had this phrase hammered into you and are yet to master it, however, it's possible to go too far in your efforts to avoid it, and/or become overwhelmed in the attempt.
An acceptable way of telling us that Nathan is angry might be:
Blissfully unaware of the madness she was about to unleash, Rebecca took a bite of the decadent cupcake, the sweetness of it plain upon her face. Nathan, who happened to enter the kitchen at that exact moment, was livid.
"What the hell do you think you're doing?"
In this example, you could easily have 'shown' by having Nathan's hands balling into fists, or clenching his jaw. By doing that, however, it would've taken longer to communicate his reaction, and thus made it seem like more of a slow burn. No—I wanted to show that Nathan was immediately unhinged, shifting focus from his initial reaction to his impassioned tirade.
The beauty of this method of telling is that effectively, it's still showing. At least, in the sense that it's setting up for Nathan to show us exactly how he feels about Rebecca eating the last cupcake.
Moderation is key here. You're not doing this to avoid showing; you're doing it to enhance showing elsewhere. Don't misuse it and make me regret telling you!
Method Two: Thoughts
Imagine what might be going through Nathan's mind as he sees his sister taking that which is rightfully his. He's certainly not thinking, "Oh boy, I sure am angry." Rarely in the throes of our emotions are we able identify them so clearly, and Nathan is no exception.
He couldn't believe it. Most people had some respect for the sanctity of the last stick of gum in the packet—took stock of who'd had how many, and made sure that everyone got a roughly equal share.
But not Rebecca.
The worst part? He couldn't even get mad at her for it. He knew there was no malice in it. His sister was simply an airhead, unable to think about anything that wasn't right in front of her.
Today, he didn't care. He'd shed enough tears over missing out on Tim Tams and vanishing ice cream, and these were no ordinary cupcakes. They'd been made especially for his birthday, and he hadn't even had one.
Today was Nathan's turn not to think.
The important thing is that these revelations are coming from your character, not the narrator. It's not explicitly stated that Nathan is having these thoughts (i.e., qualified by "... thought Nathan"), but they deal with things he knows and feels, and are clearly from his perspective.
With the above approach, we're privy to all of it, and his anger and frustration are communicated without having had to use either word. We even got some characterisation out of it to boot!
Method Three: Body Language
This one, often paired with the five senses, is a go-to for converting telling to showing, and for good reason. As with people, what characters do is often a better indication of how they're feeling than what they say. It's fairly easy to overdo to the point of absurdity, however, so use with caution.
Nathan's whole body seized. He began to sweat profusely, his palms damp and hot. His jaw tightened as Rebecca, yet to notice his presence, sank her teeth into the cupcake.
Once the pleasure subsided enough for her to open her eyes, she saw him standing in the hall.
"Hey, Nathan. How good are these cupcakes?"
His teeth began to grind audibly, and his neck ached with the tension.
"I wouldn't know."
Method One Clinic
The trick to successfully and naturally portraying character emotion is a careful balance between all three of the above methods. To practise, try coming up with a simple scenario and portraying it exclusively using one of them. Then, use another of the methods to portray the same scenario. Once you've used all three individually, try rewriting the scene using all of them together!
Not confident you can kick your 'telling' habit on your own? Check into one of our book coaching and writing programs for personalised support today, or book a free chat to discuss your writing challenges.
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