Post by account_disabled on Jan 3, 2024 5:20:22 GMT
Emotional states are not easy to render. Emotions such as fear, tension, terror, physical pain or internal suffering, anxiety, depression require particular attention and care on the part of the writer, perhaps even a certain sensitivity. The thing is, the reader has to participate in that scene, so we have to be able to make them feel those emotions. Scaring him when there is a madman chasing the character with a chainsaw, depressing him when there is a poor guy who has just lost his wife, children, house and job, and so on. Who is capable of doing it? Resource : on Grazia's “Writing is living” blog you can read some posts on emotions under the microscope and how to translate them into a story. Erotic scenes This is where your attention peaks. But I won't say anything rude. I'm not interested in love and erotic stories, neither to read nor to write, so on the one hand I don't care much.
However, you never know, maybe in a novel a love story emerges between her and him and a little kiss might slip through the cracks. Even in a case like this I would have difficulty knowing how to convey the atmosphere. A long time ago I talked about how to Special Data describe erotic scenes , taking as an example two authors, Guido Morselli and Cormac McCarthy, who were true masters in two novels. The reader understood everything without anything anatomical being written there. Genes. Dangerous or urgent situations Take, for example, an earthquake or a crashing plane or a group of rabid, demonic dogs chasing a character. Or a car teetering on a cliff. Or the conductor approaching you and you don't have a ticket.
There are so many situations that can occur. How do you get out of a jam like this? How best to resolve and make the reader experience those sensations of danger and urgency that the characters are experiencing? Possible solutions Obviously read as many books as possible in which it is easy or intuitive to find this type of scene. Many times it is sufficient to change point of view, "say and not say" to resolve the scene. I turned to him. I'm sure my face was expressionless, but when my eyes met his, he faltered – his mind wasn't clouded, not at all – and took three quick steps back, on instinct. Over the edge of the bridge. Ancillary Justice, Ann Leckie A cold, detached description. But in my opinion it explains very well what happened. Sometimes the simplest choice is the most appropriate one.
However, you never know, maybe in a novel a love story emerges between her and him and a little kiss might slip through the cracks. Even in a case like this I would have difficulty knowing how to convey the atmosphere. A long time ago I talked about how to Special Data describe erotic scenes , taking as an example two authors, Guido Morselli and Cormac McCarthy, who were true masters in two novels. The reader understood everything without anything anatomical being written there. Genes. Dangerous or urgent situations Take, for example, an earthquake or a crashing plane or a group of rabid, demonic dogs chasing a character. Or a car teetering on a cliff. Or the conductor approaching you and you don't have a ticket.
There are so many situations that can occur. How do you get out of a jam like this? How best to resolve and make the reader experience those sensations of danger and urgency that the characters are experiencing? Possible solutions Obviously read as many books as possible in which it is easy or intuitive to find this type of scene. Many times it is sufficient to change point of view, "say and not say" to resolve the scene. I turned to him. I'm sure my face was expressionless, but when my eyes met his, he faltered – his mind wasn't clouded, not at all – and took three quick steps back, on instinct. Over the edge of the bridge. Ancillary Justice, Ann Leckie A cold, detached description. But in my opinion it explains very well what happened. Sometimes the simplest choice is the most appropriate one.