Stephen King, in On Writing, discussed how when we read and study, we collect the tools to tell stories and store them in our mental toolbox. We all need to practice in order to master their use, but it’s good to know what tools we should on the lookout for and know how to use them.
I spent a great deal of time developing how to use action as character development. If a character was neat and orderly, he would place something in a drawer. Aggressive and angry, they might jam or slam the same object into the drawer. Unkempt and sloppy, they might stuff the object. A form of show, don’t tell. I haven’t mastered this tool yet, but I think about it as second nature during writing and edits.
Recently, I’ve been ruminating on a new tool I’ve dubbed emotional resonance. Whenever I bring it up with other writers, they all seem to understand exactly what I mean by just those two words. It is the ability to drive not only the emotions of our characters to the surface, but to cultivate empathy with out readers. Simply, to make readers care about the imaginary friends and enemies we conjure, to feel the stakes of the story and the action therein. In my opinion, no one applied this technique better than Ray Bradbury.
I won’t to go into a lengthy discussion on how to do this. As I said, I’m still developing the skill. However, I want to touch on the difficulty I’m having. I don’t feel emotions the same way most people do.
Two incidents in my life drove me to re-evaluate how I let the world touch me. The first came at an early age. I pulled into myself and took a long time to allow myself to feel again. The second time broke me and I’ve never truly recovered. I look at the world with a sense of logic and analysis. If something crazy happens, I don’t panic, I analyze. I’m great in a crisis, but a poor shoulder to cry on. I’ve become better with empathizing with loved ones, but that doesn’t translate into good fiction writing.
So how does one who focuses on only the strengths and weaknesses of any encounter, who habitually removes emotion from all situations, create emotional resonance in their own work? Well, practice is one option. The other is finding readers one trusts and respects. Though, ultimately, it’s a case of identifying the problem, analyzing the root, and admitting the weakness.
I can do that last part. I’ve already begun. Now to study the work of the masters, emulate their techniques, and practice, practice, practice. Eventually, I’ll find my own techniques and process. Once I’ve become accustom to applying this new tool to my work, I’ll find a new flaw that needs attending to and begin again.
Until then, we all have a lot of reading and writing to do.