We communicate with more than words…let’s explore that today
Write a short story describing your character’s inner reactions/emotions/thoughts to outside events entirely through body description.
Use this ending for your short story. “After he signed the papers, he stood up slower than usual. He almost limped away from the desk and into the corridor.
No, that’s not it.
His head hung to the left a bit, his whole torso’s weight shifted to the right leg for longer than the left one, as if was lugging around a log of wood attached to his left calf. His left knee didn’t bend. His arms, usually swinging, hung limp.”
Steve Maxwell, a fitness instructor, says: “People’s bodies are exactly what their thoughts are.”
Including the body’s reactions to outside situations is a great way to develop depth in characters. It creates a more immediate connection with readers (since they can absorb a lot of implicit information through such descriptions) and makes your writing more effective with just a few details!
How can we show defeat (like in the ending shared above) or anger or love or excitement/fear through body reactions of characters?
Neha is a generalist currently obsessed with stretching, mind-body-world connection and the spirit’s dwelling place. She writes fiction, non-fiction, takes on editing assignments she enjoys and works with people she admires. She lives by a lake in an overcrowded coastal city with her family and some wildlife. Check out her writing here
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I saved this prompt for last because it tends to be the one that we modern writers, raised on TV and movies, reach for first and are most reluctant to demote.
My hope is that, after four weeks of writing in the other senses, you’re a little disappointed to be invited to concentrate on what your characters can see this week. My hope is that you’ll be open to using sight in more creative ways than you might have been last month.
Your character is searching for something…and time is running out.
Touch is a sense that some writers naturally use often and others, hardly ever. I mean obviously if you’re writing a romance, there’s going to be some touching, but there are other ways to use this sense that will pull readers into your story. Let’s give it a try.
Your main character has been deprived of a wide range of touch for some reason (a medical crisis? A custodial sentence? Some otherworldly reason…) and re-enters a life where they can touch and be touched. They have anticipated this day for so long. Does it go the way they expect?
Last week’s prompt encouraged you to describe everything in terms of smell. It was tough, wasn’t it? But I’ll bet you discovered some things about your go-to style of description and how you could branch out a little.
This week is, I think, a little easier, focusing as it does on sound. It’s a sense that we often see represented on the page, but I’m going to encourage you to move beyond cliches like ‘rolling thunder’ and ‘the squeal of tires on asphalt’.
Your protagonist is hiding from someone. The stakes are high. They must not be discovered.
One of the most common (and most overlooked) pieces of writing advice is to use the five senses.
This month I’m going to use the five weekly writing prompts to encourage you to get more sensory detail into your writing by focusing on one sense per week.
Write a story in which a non-assertive character is stuck in a situation with other people who know less than they do and keep proposing the wrong solution to a problem. Make as many of your descriptions and metaphors smell-based as possible.
Choose a setting for your story based on a real place that you know intimately. You can change details, of course, but this just makes it easier to summon up images in your mind. You can change it to be it futuristic, or historical, or on another planet, but base your buildings on building as you know, base the weather on whether you understand. Use your experiences to make this story shine.
Sometimes we worry too much about plot and forget the story is NOT just about the things that are happening. A reader wants to be sucked into the story. They want to be able to see and feel everything the characters are seeing and feeling. Having a strong setting, a strong sense of where they are in space and time, can really help with this.
In a short story we don’t have a lot of space. It’s important for every element of the story to serve multiple functions. Setting can provide atmosphere. It can echo or heightened emotions, and it can tell us a lot about the time, place, characters, and mood of your story.
Think about your grandmother’s house and how it was decorated and furnished. Didn’t that tell you a lot about who you were going to find living in that house? Think about the houses in Architecture Digest magazine. Who would you expect to find living in one of those houses?
Atmosphere, weather, climate, all of these things can enhance or echo your character’s situation and emotion. Storms speak of peril. Humidity makes things feel oppressive. If the trees are bare we know it’s winter.
Simple details like whether or not there are weeds growing up through the paving can tell is a lot about the neighborhood in which your character finds themselves.
Don’t worry about creating a complicated or original plot in this story. The exercise here is to practice using setting to enhance the simple story that you’re telling. Choose a character, give them a simple mission, and build the reader’s experience into a feast.
Use all five senses. “Cinematic writing” can be good, but it means you’re only using your eyes. Use sounds to hear things, use the feel of things, the smell of things, the taste of things — even if the person isn’t eating, the tang of something-in-the-air can tell us whether we are near the sea, or near a decomposing body, or whatever it is that your story needs. Using all five senses will make your reader unable to separate themselves from the story, which is what you want.
Leave a comment and share what kind of setting you used. How’s the challenge going? Got any tips for the rest of us? Share them now!