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I want to talk about writing today. Let’s begin by looking at this famous image of John F. Kennedy, which I came across & posted yesterday in connection with a quote:
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As writers, we need to try to see people and convey that in words. I’m not great at this by any means. It requires effort, a struggle, as it doesn’t often come naturally in my writing. But as writers, we must try to notice things, mannerisms, telling details. Why? To help the reader see. And also: as a way into character.
Look around: People are everywhere. Ask yourself, how would I describe that posture? The woman in the coffee shop. The kid on the slide. How do it quickly, efficiently, in a sentence or two?
Back to the Kennedy image. It could be, simply:
He stands with arms crossed, neck bent, head down.
Or a little more:
He stands with arms criss-crossed, neck bent, head down. He is reflective, feeling deeply.
Yuck, okay, the voice feels wrong — I might be trying to avoid the “lost in thought” cliche — or, say:
Arlo stands with arms criss-crossed, neck bent, head down. This is the Arlo I love. When he is quiet and reflective. I long to know what is in his heart.
Or that last bit in the 3rd person:
Esme longs to know what is in his heart.
Or inject more story into it:
Arlo stands with arms criss-crossed, neck bent, head down. This is classic Arlo. A performance. He is such a fraud. I can’t wait to hear what utter bullshit he’ll say next.
Or, okay:
He tucks his hands beneath his crossed arms, stands quietly, head down, considering.
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And on and on and on, endlessly. There are a million options, a million ways to get at it. Or to paint it, if you will.
Try to do that today. Watch people closely. Notice how they hold themselves. At first, try to strictly describe only what you see: the ankles crossed, the fingers touching a necklace, the mouth a thin line of disapproval, etc.
The truly amazing thing is how entire characters, entire world views, can grow out of this simple practice. The posture is a seed that flowers into a fully-formed, “living” character.
For example, say, this:
The way Anna fidgets with the bracelet on her thin, right wrist. The bracelet was her mother’s, a gift before the cancer took her away. It was a year ago but feels like yesterday. Anna reaches for it when she feels nervous, or insecure, or just bored and lonely. A habit of the heart. It seems to help. She remembers the love that is gone and, almost magically, the love that persists.
I just made that up. Beginning with an image of a physical act.
Now it’s your turn.
Go deeper, if you wish. But mostly, as an exercise, try to describe what you see. A sentence or two. The crossed ankles. The twirling of the hair. The setting of the shoulders. The forward-leaning walk, arms swinging. It all begins & ends with the seeing.
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Don’t miss my newest middle-grade novel, Shaken. Now also available on Audible, read by Caitlyn Davis.
