Subtle shades of emotion give us a rounded view of a character, making them less of a cardboard-Barbie and more of a real person.
One negative aspect of our human character is a tendency for us to experience an uncharitable emotion known as schadenfreude. We are all familiar with it, as we experience it on a personal level every now and then. Some people take great joy in this, gaining a sense of superiority.
About schadenfreude, Via Wikipedia:
Schadenfreude is a complex emotion, where rather than feeling sympathy towards someone’s misfortune, schadenfreude evokes joyful feelings that take pleasure from watching someone fail. This emotion is displayed more in children than adults; however, adults also experience schadenfreude, though generally concealed.
In other words, we know it’s an unkind emotion, and we don’t like it in others. Like theft and lying, it is a fundamental aspect of our survival mechanisms that was hardwired into us before we came down from the trees. Primates in the wild have been observed exhibiting our most negative behaviors. 10 Facts About Chimpanzees That Hold A Dark Mirror To Humanity
For most of human history, popular humor has had an aspect of schadenfreude to it. Charlie Chaplin, The Three Stooges, and Jerry Lewis were all popular comedy acts of the 20th century who employed physical comedy that evoked a feeling of schadenfreude in the audience.
We don’t like admitting it, and we try to rise above it. This is one easily relatable emotion you can use to show that your protagonist or others in the cast are real.
Another negative emotion with many nuances is envy. Envy can take the form of wishing one had that lovely thing. Allowed to rage out of control, jealousy becomes the propellant fueling a violent takeover.
Subtle emotions are the kind that prey on you. These feelings are difficult for a writer to articulate. However, if you want to keep raising the tension in your narrative, you must include small indicators of:
- Ethical Quandaries
These are emotions that can be shown by an immediate physical reaction, combined with internal dialogue or conversations.
As with louder emotions, we want to create a sympathetic response in the reader. So, we use a simple 1 – 2 – 3 trick of word order when describing the character’s experience.
- Start with the visceral response. How does a “gut reaction” feel? Nausea, gut-punch, butterflies…how do you respond to internal surprises?
- Follow up with a thought response. If it is a mild reaction, it might be on the order of “Heck!” or “Oh dear….” Whatever your style and word choices are, showing their dismay makes them human.
- Third, finish up with body language. That is how emotions hit us. We feel the shock then experience the mental reaction as we process the event. Our body language reflects these things.
What if you are writing a story where the antagonist begins as part of the protagonist’s inner circle? Including small negatives like envy and schadenfreude in their narrative can foreshadow that this character may turn out to be the skunk in the laundry hamper.
Conflict is what keeps the protagonist from achieving their goals. Large conflicts and emotions are easy to write. But frequently, in real life, our smaller, more internal conflicts create greater roadblocks to success than any antagonist might present.
These tiny inner voices of self-destruction that hold us back are crucial to creating relatable characters.