and how we play it
Story-writers have a trick that people in films, television drama and theatre can only envy. We can take our readers into the minds of our characters and deep inside their emotions. While you’re reading a story or novel, you are not just walking a mile in those characters’ shoes, you’re with them every step of their biggest crises, maybe their whole lives, living and breathing it sometimes from behind their eyes. This trick happens so lightly that readers maybe aren’t even aware of the miracle but it has changed the world.
Drama on screen or in a theatre can move us very deeply but the best it can do is show us a selection of characters acting out their stories in front of us. Actors and script writers work hard at helping us know what those characters are going through, and it can feel genuine. Film directors often fill the gap with swathes of music. But do we really know what the characters feel, think, plan, need at the deepest level? Characters talk to each other, yes, and sometimes they even move out of the action into a monologue to talk to us direct what they’re up to. But it’s always at a remove – we are watching it, not living it.
From the first word of a novel we are invited deep inside a character’s internal essence. Why are the Game of Thrones novels so clever? Because George RR Martin writes each chapter from the mind of a single character so, whatever horrors are going on, we live those events through that person.
Why was Charlotte Bronte’s Jane Eyre so revolutionary when it was finally published in 1847? From the beginning, we are inside the formidably honest, rebellious mind of Jane growing up and it’s a thrilling place to be.
Anne Bronte’s novel The Tenant of Wildfell Hall (1848) broke boundaries too in bringing truths about marriage to an alcoholic into the daylight, beautifully written and from his wife’s point of view.
It’s hard these days to understand the impact of something like Anna Sewell’s Black Beauty in its day (1877) about the life of a working horse in Victorian society. It has sold 50 million copies (so far) and brought animal welfare changes all over the world. At the core of the book’s success is that the story is told by the horse himself.
Whenever we have our scribble-chats with our characters, do your best to let them tell the story for you. In their own voices.
Too many first drafts have characters who all speak in the same voice. This tends to be because the writer is ‘designing’ the characters from the outside without getting inside their heads. These writers are more likely to tell us what a character is wearing than thinking or feeling.
Readers want their interior worlds. If you work through scribble-chats at letting your characters speak to you, each in their own way from their own lives and hearts, you will jump past that first draft error and find yourself in a much more vibrant fictional world with more realistic characters around you.
Think of a character, just one. Ask him how old he is and be aware of his reactions while he’s telling you. How does he feel about his age? Let him keep talking about it while you catch it on your page or screen. Stay inside his thoughts and voice. When is his birthday? How does he feel about birthdays? How did his last one go? Any plans for the next one?
You are mining for depths you never would have thought of if your character summary stopped at ‘Age: 26’.
Have a happy time!
Incidentally, I said last week that we’d be with the Churchill Writers this weekend. I got ahead of myself – that’s not until next month. We’ll do it then …