How to write a vulnerable moment without it seeming cliche or mushy?How to deal with cliche dialogue?Explain...
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How to write a vulnerable moment without it seeming cliche or mushy?
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So, I have a kinda loudmouthed character who's always the first to fight and first to go on the offensive (This is a fantasy, so she fights a lot.) But, later in the story, she comes across someone she truly fears, and finds that she must fight that person in order to free the townspeople of an oppressive ruler.
Thing is, I want her to have a moment when she's weeping on her bed, and the MC/her love interest comes to comfort her. Then again, I don't want (insert group here) screaming in criticism and tearing that scene apart.
My question is: How do I show her vulnerability, and have a comforting moment, and tease the romance, without being overly cliche or overboard?
creative-writing characters emotions relationships
add a comment |
So, I have a kinda loudmouthed character who's always the first to fight and first to go on the offensive (This is a fantasy, so she fights a lot.) But, later in the story, she comes across someone she truly fears, and finds that she must fight that person in order to free the townspeople of an oppressive ruler.
Thing is, I want her to have a moment when she's weeping on her bed, and the MC/her love interest comes to comfort her. Then again, I don't want (insert group here) screaming in criticism and tearing that scene apart.
My question is: How do I show her vulnerability, and have a comforting moment, and tease the romance, without being overly cliche or overboard?
creative-writing characters emotions relationships
add a comment |
So, I have a kinda loudmouthed character who's always the first to fight and first to go on the offensive (This is a fantasy, so she fights a lot.) But, later in the story, she comes across someone she truly fears, and finds that she must fight that person in order to free the townspeople of an oppressive ruler.
Thing is, I want her to have a moment when she's weeping on her bed, and the MC/her love interest comes to comfort her. Then again, I don't want (insert group here) screaming in criticism and tearing that scene apart.
My question is: How do I show her vulnerability, and have a comforting moment, and tease the romance, without being overly cliche or overboard?
creative-writing characters emotions relationships
So, I have a kinda loudmouthed character who's always the first to fight and first to go on the offensive (This is a fantasy, so she fights a lot.) But, later in the story, she comes across someone she truly fears, and finds that she must fight that person in order to free the townspeople of an oppressive ruler.
Thing is, I want her to have a moment when she's weeping on her bed, and the MC/her love interest comes to comfort her. Then again, I don't want (insert group here) screaming in criticism and tearing that scene apart.
My question is: How do I show her vulnerability, and have a comforting moment, and tease the romance, without being overly cliche or overboard?
creative-writing characters emotions relationships
creative-writing characters emotions relationships
edited 5 hours ago
Cyn
23k150108
23k150108
asked 8 hours ago
Kale SladeKale Slade
1,347633
1,347633
add a comment |
add a comment |
3 Answers
3
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oldest
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There is a trick for this in The Emotional Craft of Fiction.
It's called 'me centered narration.'
Essentially, you have the character express at length in narrative (protest too much) what she wants everyone to think about her, in this case the opposite attribute of what she is actually feeling.
He came into my room and I quickly wiped my eyes, before he could see my tears.
I refused to show any vulnerability, I was nothing like the girls in town, who constantly needed help for the least little thing. That wasn't me.
"What's wrong" he asked gently.
"Nothing." I busied myself about the room, not looking at him, afraid
that doing so would lead me to another melt down. Where had that come
from? I wasn't a frail little girl who needed saving. I'd saved myself
long ago--knew plenty well how to stay ahead of trouble.
...etc...
"All right," he said at last, "I'm glad you're okay."
He made to leave, and I said, "No, wait."
Of course if you did something like this it'd be in your style, which this isn't. I think what it might do for your case is to keep the screaming hordes from saying your girl character is acting out of character. Instead, the scene serves to deepen her character and show that she has inner conflict.
1
+1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).
– wetcircuit
7 hours ago
1
Works in third person too.
– Galastel
7 hours ago
add a comment |
Switch the bravery. For this scene, her love interest is the brave one. As always, create a conflict between them. First draft of a long example:
Marcie heard something, a gasp, and moved to the back of the house. She heard it again, from Lexi's room, and moved to the door. Crying. Muffled crying. It sounded like Lexi. Was she crying? She thought she should walk away, respect her privacy, but the thought of Lexi actually crying was too much. She opened the door and walked in.
Lexi jumped, wiping her eyes. "Get out. Get out of here!"
"You're crying. What happened?"
Lexi wouldn't meet her eyes, she turned her head to the side. "Nothing."
"No, something." Marcie took a slow step toward her.
Lexi stood and faced her, eyes red, then strode to meet her. She raised her voice. "I said, get out!"
Her fists were clenched. She was angry. Marcie felt herself flush, she almost turned and ran, but stood her ground. Her knees felt weak. Her voice trembled. "I won't. You don't cry. So something's really wrong, Lexi. Tell me what's wrong."
Lexi's expression changed, from anger to ... is it sorrow?
"I'm sorry," Lexi said. "I shouldn't scare you." She turned back and sat on the bed, then fell face first into the pillow. She didn't say anything else.
Marcie hesitated, then moved to sit on the bed beside her, and put her hand on Lexi's shoulder, which made Lexi twitch. "Tell me."
Lexi's voice was muffled through the pillow. "I'm afraid. I have to fight Petrovski, and I think he might kill me."
Petrovski. Holy shit. "Wow. That's a really good reason."
Marcie was silent, thinking. Lexi sat up, and looked at her, half amused. "You think so?"
Marcie's hand had fallen to her lap. "Well. I would cry."
Lexi sniffed. "You cry if you spill coffee on yourself."
"Coffee stains, and that was my favorite dress!"
Lexi nodded, and leaned left to gently bump into Marcie, then looked away toward the window. "I know. What do you do when you're afraid?"
Then, however her love interest comforts her, proceed.
add a comment |
I always search for words that would convey or express the characters emotion when the character is in an emotional state. For example, if I have a sad, crying character but I don't want the typical "sad, crying" character to be depicted, then I search for words such as: sad, crying and I look at the synonyms to those words- and for sad, I would use despondent EX: She was in a despondent state causing a few tears to slip from her eyes," or something like that.
New contributor
add a comment |
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3 Answers
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3 Answers
3
active
oldest
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There is a trick for this in The Emotional Craft of Fiction.
It's called 'me centered narration.'
Essentially, you have the character express at length in narrative (protest too much) what she wants everyone to think about her, in this case the opposite attribute of what she is actually feeling.
He came into my room and I quickly wiped my eyes, before he could see my tears.
I refused to show any vulnerability, I was nothing like the girls in town, who constantly needed help for the least little thing. That wasn't me.
"What's wrong" he asked gently.
"Nothing." I busied myself about the room, not looking at him, afraid
that doing so would lead me to another melt down. Where had that come
from? I wasn't a frail little girl who needed saving. I'd saved myself
long ago--knew plenty well how to stay ahead of trouble.
...etc...
"All right," he said at last, "I'm glad you're okay."
He made to leave, and I said, "No, wait."
Of course if you did something like this it'd be in your style, which this isn't. I think what it might do for your case is to keep the screaming hordes from saying your girl character is acting out of character. Instead, the scene serves to deepen her character and show that she has inner conflict.
1
+1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).
– wetcircuit
7 hours ago
1
Works in third person too.
– Galastel
7 hours ago
add a comment |
There is a trick for this in The Emotional Craft of Fiction.
It's called 'me centered narration.'
Essentially, you have the character express at length in narrative (protest too much) what she wants everyone to think about her, in this case the opposite attribute of what she is actually feeling.
He came into my room and I quickly wiped my eyes, before he could see my tears.
I refused to show any vulnerability, I was nothing like the girls in town, who constantly needed help for the least little thing. That wasn't me.
"What's wrong" he asked gently.
"Nothing." I busied myself about the room, not looking at him, afraid
that doing so would lead me to another melt down. Where had that come
from? I wasn't a frail little girl who needed saving. I'd saved myself
long ago--knew plenty well how to stay ahead of trouble.
...etc...
"All right," he said at last, "I'm glad you're okay."
He made to leave, and I said, "No, wait."
Of course if you did something like this it'd be in your style, which this isn't. I think what it might do for your case is to keep the screaming hordes from saying your girl character is acting out of character. Instead, the scene serves to deepen her character and show that she has inner conflict.
1
+1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).
– wetcircuit
7 hours ago
1
Works in third person too.
– Galastel
7 hours ago
add a comment |
There is a trick for this in The Emotional Craft of Fiction.
It's called 'me centered narration.'
Essentially, you have the character express at length in narrative (protest too much) what she wants everyone to think about her, in this case the opposite attribute of what she is actually feeling.
He came into my room and I quickly wiped my eyes, before he could see my tears.
I refused to show any vulnerability, I was nothing like the girls in town, who constantly needed help for the least little thing. That wasn't me.
"What's wrong" he asked gently.
"Nothing." I busied myself about the room, not looking at him, afraid
that doing so would lead me to another melt down. Where had that come
from? I wasn't a frail little girl who needed saving. I'd saved myself
long ago--knew plenty well how to stay ahead of trouble.
...etc...
"All right," he said at last, "I'm glad you're okay."
He made to leave, and I said, "No, wait."
Of course if you did something like this it'd be in your style, which this isn't. I think what it might do for your case is to keep the screaming hordes from saying your girl character is acting out of character. Instead, the scene serves to deepen her character and show that she has inner conflict.
There is a trick for this in The Emotional Craft of Fiction.
It's called 'me centered narration.'
Essentially, you have the character express at length in narrative (protest too much) what she wants everyone to think about her, in this case the opposite attribute of what she is actually feeling.
He came into my room and I quickly wiped my eyes, before he could see my tears.
I refused to show any vulnerability, I was nothing like the girls in town, who constantly needed help for the least little thing. That wasn't me.
"What's wrong" he asked gently.
"Nothing." I busied myself about the room, not looking at him, afraid
that doing so would lead me to another melt down. Where had that come
from? I wasn't a frail little girl who needed saving. I'd saved myself
long ago--knew plenty well how to stay ahead of trouble.
...etc...
"All right," he said at last, "I'm glad you're okay."
He made to leave, and I said, "No, wait."
Of course if you did something like this it'd be in your style, which this isn't. I think what it might do for your case is to keep the screaming hordes from saying your girl character is acting out of character. Instead, the scene serves to deepen her character and show that she has inner conflict.
answered 8 hours ago
DPTDPT
17k23294
17k23294
1
+1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).
– wetcircuit
7 hours ago
1
Works in third person too.
– Galastel
7 hours ago
add a comment |
1
+1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).
– wetcircuit
7 hours ago
1
Works in third person too.
– Galastel
7 hours ago
1
1
+1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).
– wetcircuit
7 hours ago
+1 never heard of this. I've been struggling to write the inverse scene (hero comes to apologize, ends up talking only about himself).
– wetcircuit
7 hours ago
1
1
Works in third person too.
– Galastel
7 hours ago
Works in third person too.
– Galastel
7 hours ago
add a comment |
Switch the bravery. For this scene, her love interest is the brave one. As always, create a conflict between them. First draft of a long example:
Marcie heard something, a gasp, and moved to the back of the house. She heard it again, from Lexi's room, and moved to the door. Crying. Muffled crying. It sounded like Lexi. Was she crying? She thought she should walk away, respect her privacy, but the thought of Lexi actually crying was too much. She opened the door and walked in.
Lexi jumped, wiping her eyes. "Get out. Get out of here!"
"You're crying. What happened?"
Lexi wouldn't meet her eyes, she turned her head to the side. "Nothing."
"No, something." Marcie took a slow step toward her.
Lexi stood and faced her, eyes red, then strode to meet her. She raised her voice. "I said, get out!"
Her fists were clenched. She was angry. Marcie felt herself flush, she almost turned and ran, but stood her ground. Her knees felt weak. Her voice trembled. "I won't. You don't cry. So something's really wrong, Lexi. Tell me what's wrong."
Lexi's expression changed, from anger to ... is it sorrow?
"I'm sorry," Lexi said. "I shouldn't scare you." She turned back and sat on the bed, then fell face first into the pillow. She didn't say anything else.
Marcie hesitated, then moved to sit on the bed beside her, and put her hand on Lexi's shoulder, which made Lexi twitch. "Tell me."
Lexi's voice was muffled through the pillow. "I'm afraid. I have to fight Petrovski, and I think he might kill me."
Petrovski. Holy shit. "Wow. That's a really good reason."
Marcie was silent, thinking. Lexi sat up, and looked at her, half amused. "You think so?"
Marcie's hand had fallen to her lap. "Well. I would cry."
Lexi sniffed. "You cry if you spill coffee on yourself."
"Coffee stains, and that was my favorite dress!"
Lexi nodded, and leaned left to gently bump into Marcie, then looked away toward the window. "I know. What do you do when you're afraid?"
Then, however her love interest comforts her, proceed.
add a comment |
Switch the bravery. For this scene, her love interest is the brave one. As always, create a conflict between them. First draft of a long example:
Marcie heard something, a gasp, and moved to the back of the house. She heard it again, from Lexi's room, and moved to the door. Crying. Muffled crying. It sounded like Lexi. Was she crying? She thought she should walk away, respect her privacy, but the thought of Lexi actually crying was too much. She opened the door and walked in.
Lexi jumped, wiping her eyes. "Get out. Get out of here!"
"You're crying. What happened?"
Lexi wouldn't meet her eyes, she turned her head to the side. "Nothing."
"No, something." Marcie took a slow step toward her.
Lexi stood and faced her, eyes red, then strode to meet her. She raised her voice. "I said, get out!"
Her fists were clenched. She was angry. Marcie felt herself flush, she almost turned and ran, but stood her ground. Her knees felt weak. Her voice trembled. "I won't. You don't cry. So something's really wrong, Lexi. Tell me what's wrong."
Lexi's expression changed, from anger to ... is it sorrow?
"I'm sorry," Lexi said. "I shouldn't scare you." She turned back and sat on the bed, then fell face first into the pillow. She didn't say anything else.
Marcie hesitated, then moved to sit on the bed beside her, and put her hand on Lexi's shoulder, which made Lexi twitch. "Tell me."
Lexi's voice was muffled through the pillow. "I'm afraid. I have to fight Petrovski, and I think he might kill me."
Petrovski. Holy shit. "Wow. That's a really good reason."
Marcie was silent, thinking. Lexi sat up, and looked at her, half amused. "You think so?"
Marcie's hand had fallen to her lap. "Well. I would cry."
Lexi sniffed. "You cry if you spill coffee on yourself."
"Coffee stains, and that was my favorite dress!"
Lexi nodded, and leaned left to gently bump into Marcie, then looked away toward the window. "I know. What do you do when you're afraid?"
Then, however her love interest comforts her, proceed.
add a comment |
Switch the bravery. For this scene, her love interest is the brave one. As always, create a conflict between them. First draft of a long example:
Marcie heard something, a gasp, and moved to the back of the house. She heard it again, from Lexi's room, and moved to the door. Crying. Muffled crying. It sounded like Lexi. Was she crying? She thought she should walk away, respect her privacy, but the thought of Lexi actually crying was too much. She opened the door and walked in.
Lexi jumped, wiping her eyes. "Get out. Get out of here!"
"You're crying. What happened?"
Lexi wouldn't meet her eyes, she turned her head to the side. "Nothing."
"No, something." Marcie took a slow step toward her.
Lexi stood and faced her, eyes red, then strode to meet her. She raised her voice. "I said, get out!"
Her fists were clenched. She was angry. Marcie felt herself flush, she almost turned and ran, but stood her ground. Her knees felt weak. Her voice trembled. "I won't. You don't cry. So something's really wrong, Lexi. Tell me what's wrong."
Lexi's expression changed, from anger to ... is it sorrow?
"I'm sorry," Lexi said. "I shouldn't scare you." She turned back and sat on the bed, then fell face first into the pillow. She didn't say anything else.
Marcie hesitated, then moved to sit on the bed beside her, and put her hand on Lexi's shoulder, which made Lexi twitch. "Tell me."
Lexi's voice was muffled through the pillow. "I'm afraid. I have to fight Petrovski, and I think he might kill me."
Petrovski. Holy shit. "Wow. That's a really good reason."
Marcie was silent, thinking. Lexi sat up, and looked at her, half amused. "You think so?"
Marcie's hand had fallen to her lap. "Well. I would cry."
Lexi sniffed. "You cry if you spill coffee on yourself."
"Coffee stains, and that was my favorite dress!"
Lexi nodded, and leaned left to gently bump into Marcie, then looked away toward the window. "I know. What do you do when you're afraid?"
Then, however her love interest comforts her, proceed.
Switch the bravery. For this scene, her love interest is the brave one. As always, create a conflict between them. First draft of a long example:
Marcie heard something, a gasp, and moved to the back of the house. She heard it again, from Lexi's room, and moved to the door. Crying. Muffled crying. It sounded like Lexi. Was she crying? She thought she should walk away, respect her privacy, but the thought of Lexi actually crying was too much. She opened the door and walked in.
Lexi jumped, wiping her eyes. "Get out. Get out of here!"
"You're crying. What happened?"
Lexi wouldn't meet her eyes, she turned her head to the side. "Nothing."
"No, something." Marcie took a slow step toward her.
Lexi stood and faced her, eyes red, then strode to meet her. She raised her voice. "I said, get out!"
Her fists were clenched. She was angry. Marcie felt herself flush, she almost turned and ran, but stood her ground. Her knees felt weak. Her voice trembled. "I won't. You don't cry. So something's really wrong, Lexi. Tell me what's wrong."
Lexi's expression changed, from anger to ... is it sorrow?
"I'm sorry," Lexi said. "I shouldn't scare you." She turned back and sat on the bed, then fell face first into the pillow. She didn't say anything else.
Marcie hesitated, then moved to sit on the bed beside her, and put her hand on Lexi's shoulder, which made Lexi twitch. "Tell me."
Lexi's voice was muffled through the pillow. "I'm afraid. I have to fight Petrovski, and I think he might kill me."
Petrovski. Holy shit. "Wow. That's a really good reason."
Marcie was silent, thinking. Lexi sat up, and looked at her, half amused. "You think so?"
Marcie's hand had fallen to her lap. "Well. I would cry."
Lexi sniffed. "You cry if you spill coffee on yourself."
"Coffee stains, and that was my favorite dress!"
Lexi nodded, and leaned left to gently bump into Marcie, then looked away toward the window. "I know. What do you do when you're afraid?"
Then, however her love interest comforts her, proceed.
answered 6 hours ago
AmadeusAmadeus
62.5k780200
62.5k780200
add a comment |
add a comment |
I always search for words that would convey or express the characters emotion when the character is in an emotional state. For example, if I have a sad, crying character but I don't want the typical "sad, crying" character to be depicted, then I search for words such as: sad, crying and I look at the synonyms to those words- and for sad, I would use despondent EX: She was in a despondent state causing a few tears to slip from her eyes," or something like that.
New contributor
add a comment |
I always search for words that would convey or express the characters emotion when the character is in an emotional state. For example, if I have a sad, crying character but I don't want the typical "sad, crying" character to be depicted, then I search for words such as: sad, crying and I look at the synonyms to those words- and for sad, I would use despondent EX: She was in a despondent state causing a few tears to slip from her eyes," or something like that.
New contributor
add a comment |
I always search for words that would convey or express the characters emotion when the character is in an emotional state. For example, if I have a sad, crying character but I don't want the typical "sad, crying" character to be depicted, then I search for words such as: sad, crying and I look at the synonyms to those words- and for sad, I would use despondent EX: She was in a despondent state causing a few tears to slip from her eyes," or something like that.
New contributor
I always search for words that would convey or express the characters emotion when the character is in an emotional state. For example, if I have a sad, crying character but I don't want the typical "sad, crying" character to be depicted, then I search for words such as: sad, crying and I look at the synonyms to those words- and for sad, I would use despondent EX: She was in a despondent state causing a few tears to slip from her eyes," or something like that.
New contributor
New contributor
answered 8 hours ago
Dawn KelliDawn Kelli
164
164
New contributor
New contributor
add a comment |
add a comment |
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