Everyone knows feelings are essential to evocative writing. Without emotions there is little reason for the reader to care about what is going on in the story or what happens to the characters.
So we write how our characters are angry, or sad, or furious, or happy or any of another dozen or so standard emotions.
Take a second and try to imagine how many different emotions we humans have.
I saw a list of emotions that listed 101 emotions, and it stated explicitly it was not a complete list. There are emotions for which we have no words in English, but other languages do.
So how do we write all this myriad of emotions? Do we dig out the Emotional Thesaurus and expand our emotional vocabulary. This is a great book by the way. It gives you an emotion, then the corresponding physical sensations and body language. This is a good start. Using words like cranky or grumpy, or ecstatic to describe feelings will add depth to your writing. Even more so when you start using the corresponding body language to match the words.
When I was studying to be a therapist, one of the things we were trained to watch for was body language that didn’t match what the client said or expressed as feelings. Clients whose bodies said one thing while their words said another were extra challenging. When you asked questions based on the body language, you tended to be more successful working through the issues at hand.
Imagine what you could do with a character whose body language didn’t match their expressed emotions? Your reader knows something is off, but they don’t know what. It is a great device to create distrust toward an otherwise bland character.
The next step is to get beyond the basic four emotions, mad, sad, glad and scared along with their hundreds of synonyms to feelings which are further off the chart. How do you write humility? Loyalty? Disgust? How do you use an emotion which has no name? We use the physical sensations and body language without identifying the emotion we are trying to portray.
This is where the real nuance starts coming in. Stop and think for another minute and list all the physical sensations you use to show character emotion to the reader.
How many did you come up with?
From my editing these are the favourites:
Sinking or rising heart/stomach
Some form of fire/heat/cold/ice
Shaking legs, hands
Of course the smile/smirk/eyebrow and other facial movements and movements of the head
Various forms of crying/laughing
Blushing/heat in the face
and of course the ever present Sigh
As there are hundreds of emotions, so there are at least as many ways we experience the emotions. We experience them intellectually and mostly write about them intellectually. The problem with writing emotions from the intellect, that is describing them through naming and categories, is the reader will process them the same way.
If we use the standard ways to show emotion, we never get below the surface and more to the point, we don’t pull the reader below the surface either. Moving away from the usual ways of showing emotion makes the reader think about the physical experience and label the emotion for themselves. While they may end up with a different word than we had in mind, they will be pulled into the experience.
I suggest that one start with the usual expressions and gradually shift to more unusual ones as the book progresses. In essence we train the reader to dig deeper into their own emotions to understand the emotions of the characters. They feel every emotion the character does.
Writing deliberately nuanced emotions, physical reactions and body language gives us the opportunity to affect the reader in powerful ways.
A fantastic resource for writing emotion is The emotional thesaurus: