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The bestselling Emotion Thesaurus, often hailed as “the gold standard for writers” and credited with transforming how writers craft emotion, has now been expanded to include 56 new entries! One of the biggest struggles for writers is how to convey emotion to readers in a unique and compelling way. When showing our characters’ feelings, we often use the first idea that comes to mind, and they end up smiling, nodding, and frowning too much. If you need inspiration for creating characters’ emotional responses that are personalized and evocative, this ultimate show-don’t-tell guide for emotion can help. It includes: • Body language cues, thoughts, and visceral responses for over 130 emotions that cover a range of intensity from mild to severe, providing innumerable options for individualizing a character’s reactions • A breakdown of the biggest emotion-related writing problems and how to overcome them • Advice on what should be done before drafting to make sure your characters’ emotions will be realistic and consistent • Instruction for how to show hidden feelings and emotional subtext through dialogue and nonverbal cues • And much more! The Emotion Thesaurus, in its easy-to-navigate list format, will inspire you to create stronger, fresher character expressions and engage readers from your first page to your last.
In this unique book, Ann Hood will help you find fresh, creative images, words and gestures to evoke feelings in your fiction. In 36 "mini-lessons," Hood sheds new light on love, hate, fear, grief, guilt, hope, jealousy and other major emotions. Each lesson offers instruction on rendering that particular sentiment; "good" and "bad" examples illustrating how writers have succeeded and where others have gone wrong; and imaginative exercises for putting the feeling into words.
The train tracks ran right by Bigmama's house in Cottondale, and the children were warned to stay off the tracks. But one night they were late, and the tracks were a shortcut, so they started off. And when there was no turning back, they heard the train coming.
Celebrate feelings in all their shapes and sizes in this New York Times bestselling picture book from the Growing Hearts series! Happiness, sadness, bravery, anger, shyness . . . our hearts can feel so many feelings! Some make us feel as light as a balloon, others as heavy as an elephant. In My Heart explores a full range of emotions, describing how they feel physically, inside, with language that is lyrical but also direct to empower readers to practice articulating and identifying their own emotions. With whimsical illustrations and an irresistible die-cut heart that extends through each spread, this gorgeously packaged and unique feelings book is sure to become a storytime favorite.
Readers connect to characters with depth, ones who have experienced life’s ups and downs. To deliver key players that are both realistic and compelling, writers must know them intimately—not only who they are in the present story, but also what made them that way. Of all the formative experiences in a character’s past, none are more destructive than emotional wounds. The aftershocks of trauma can change who they are, alter what they believe, and sabotage their ability to achieve meaningful goals, all of which will affect the trajectory of your story. Identifying the backstory wound is crucial to understanding how it will shape your character’s behavior, and The Emotional Wound Thesaurus can help. Inside, you’ll find: * A database of traumatic situations common to the human experience * An in-depth study on a wound’s impact, including the fears, lies, personality shifts, and dysfunctional behaviors that can arise from different painful events * An extensive analysis of character arc and how the wound and any resulting unmet needs fit into it * Techniques on how to show the past experience to readers in a way that is both engaging and revelatory while avoiding the pitfalls of info dumps and telling * A showcase of popular characters and how their traumatic experiences reshaped them, leading to very specific story goals * A Backstory Wound Profile tool that will enable you to document your characters’ negative past experiences and the aftereffects Root your characters in reality by giving them an authentic wound that causes difficulties and prompts them to strive for inner growth to overcome it. With its easy-to-read format and over 100 entries packed with information, The Emotional Wound Thesaurus is a crash course in psychology for creating characters that feel incredibly real to readers.
At the height of the Vietnam War in 1971, Jake Abrams is desperate to leave his oppressive home in Colorado and begin a new life in college in LA, but his dreams are waylaid when he meets Leah, an antiwar protester who pushes him into marriage and family. Jake tries to juggle school, his job, and raising four children, but Leah turns to drugs and drinking, and finally runs off with her rock band, leaving Jake reeling. When he falls for Rachel and marries her, his children rebel. And when Joseph, their love child is born, Jake makes the same fatal mistake his own father did--he shows favoritism to this divinely gifted boy who has the power of healing. After Rachel dies in childbirth, bringing Ben into the world, Jake turns his back on God and buried himself in denial. His children are wild weeds, and as they grow, the older sons' resentment of Joseph's gifts fester until they can take it no longer. The family hides a dark secret of murder, which Joey threatens to spill out of righteous indignation and fear of God, and the only way to stop him is to kill him. The intend harm for him, but God has other plans for Joseph, and in a divinely orchestrated twist, years later Joseph confronts his brothers, who do not recognize him. True to the Bible story this is patterned after, Joseph is reunited with his estranged brothers, and Jake finally welcomes his long-lost son back into his arms, which brings closure and healing to his hurting family.
Captivate the hearts and minds of young adult readers! Writing for young adult (YA) and middle grade (MG) audiences isn't just "kid's stuff" anymore--it's kidlit! The YA and MG book markets are healthier and more robust than ever, and that means the competition is fiercer, too. In Writing Irresistible Kidlit, literary agent Mary Kole shares her expertise on writing novels for young adult and middle grade readers and teaches you how to: • Recognize the differences between middle grade and young adult audiences and how it impacts your writing. • Tailor your manuscript's tone, length, and content to your readership. • Avoid common mistakes and cliches that are prevalent in YA and MG fiction, in respect to characters, story ideas, plot structure and more. • Develop themes and ideas in your novel that will strike emotional chords. Mary Kole's candid commentary and insightful observations, as well as a collection of book excerpts and personal insights from bestselling authors and editors who specialize in the children's book market, are invaluable tools for your kidlit career. If you want the skills, techniques, and know-how you need to craft memorable stories for teens and tweens, Writing Irresistible Kidlit can give them to you.
Actors and actresses play characters such as the embittered Medea, or the lovelorn Romeo, or the grieving and tearful Hecabe. The theatre audience holds its breath, and then sparks begin to fly. But what about the actor? Has he been affected by the emotions of the character he is playing? What'sgoing on inside his mind? The styling of emotions in the theatre has been the subject of heated debate for centuries. In fact, Diderot in his Paradoxe sur le comedien, insisted that most brilliant actors do not feel anything onstage. This greatly resembles the detached acting style associated with Bertolt Brecht, which, in turn, stands in direct opposition to the notion of the empathy-oriented "emotional reality" of the actor which is most famously associated with the American actingstyle known as method acting. The book's survey of the various dominant acting styles is followed by an analysis of the current state of affairs regarding the psychology of emotions. By uniting the psychology of emotions with contemporary acting theories, the author is able to come to the conclusion that traditional acting theories are no longer valid for today's actor. Acting Emotions throws new light on the age-old issue of double consciousness, the paradox of the actor who must nightly express emotions while creating the illusion of spontaneity. In addition, the book bridges the gap between theory and practice by virtue of the author's large-scale field study of the emotions of professional actors. In Acting Emotions, the responses of Dutch and Flemish actors is further supplemented by the responses of a good number of American actors. The book offers a unique view of how actors act out emotions and how this acting out is intimately linked to the development of contemporary theatre.
What if you can't remember the most horrible day of your life? A shocking tragedy leaves Sarah with partial amnesia. Torn by nightmares, she must face her fears...and remember.
How do you convey an emotion? The answer to this question is a very complicated challenge for us writers, perhaps the most difficult one of all of them: that's why we can't take it lightly. Of course, we could write: "And then, the main character in our story... died".Was that clear? No doubt.But did we stir anguish in the reader? Fear? Awe? Concern? Well, no, not really. And the truth is, it's not easy to convey an emotion to the reader, in the same way that it's not easy to talk about it in real life. Many of us prefer to show our emotions through actions, or by buying a gift, for example a bouquet of flowers: but how do we make our reader feel the love that two characters are feeling for each other without falling into clichés? How do we make the reader sad when our character has lost someone they care about? How do we make them frightened when our character is investigating a murder? The simple answer is: through the "show, don't tell" principle, and we've talked about it at length in our course "Creative writing: the full course". We need to become excellent sociologists or psychologists, or scholars of social and romantic relationships; or, as an alternative, you can enroll this course. How do you show and make people feel anxiety, depression, anger, desire, boredom and many other emotions that we will describe in this course? How do you make the scene in which the character is feeling such an emotion a realistic one, and how do you make your reader feel it--almost like they're living in that moment themselves?We will compare sentences that "tell", or describe an emotion, with those that "show" it and that trigger the same feelings in us who are reading. We will make a detailed list of the bodily reactions that each emotion provokes in us.Because that's the only way you can learn how to really get your reader excited.Are you ready to begin this journey? I can't wait!