This seems related to my recent post about details. Using her experience as an actress, the author writes: “Actors spend years honing their craft; good actors know this includes getting out of the way in a performance so people can become immersed in the story on stage, not the actor’s impressive craft on display.” I think something similar is true for writers.
A guest post from Cecile Callan:
“I’m noticing a pattern in your work, and it’s a problem,” my mentor said.
I was near the end of my third term of my fiction MFA when she put her finger on something happening in my writing whenever emotions grew strong. To show an intense scene’s rage, anger, or grief, I’d throw in more adjectives and adverbs, believing more description would create more emotion and show I really meant it. Only it had the opposite effect. Instead of getting across intensity, my frantic, overly dramatic writing pushed readers away by taking them out of the scene.
“But it feels that intense,” I argued.
“It’s not your job to feel it, it’s your job to make your readers feel it,” she replied.
I remembered, then, something I’d learned decades before, working as an actress. In rehearsal for The Cherry Orchard, the director had…
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