Most writers find it easy to connect with the flamboyant emotions, such as hate, anger, desire, and adoration. However, emotions have “volume” ranging from soft to loud. Today we are looking at generally positive emotions, but at low volume.
The volume control is a crucial part of the overall pacing of your story. “Loud” deafens us and loses it’s power when it’s the only sound. However, like the opening movement of Beethoven’s 5th Symphony, the entire range of volume can be effectively used to create a masterpiece.
These subtle emotions convey the mood of the piece.
As we said in the previous post, Writing Subtly Negative Emotions, low-key shades of emotion can go almost unnoticed, but they lend solidity to the world. Under the surface, vibes, positive or negative, give us a rounded view of a character, making them less of a cardboard-Barbie and more of a real person.
We’re all aware of one positive emotion that can go bad—love. When love is reciprocated, it’s a positive feeling, and we all enjoy a good love story.
However, when love starts out with promise and then goes terribly wrong, you have the makings of a deep, dark story filled with possibilities.
But none of that—we’re focusing on the less intense, but still good, vibes today.
Another positive emotion with many nuances is Joy. The way we feel joy ranges from mild to overwhelming, from a slight smile to an experience so profound that tears spring to one’s eyes.
Subtle emotions don’t stand out and grab the reader.
They are there under the surface, tinting the reader’s opinions about the story and the characters. Small, quiet emotions linger, and if they are positive, they leave an impression we can’t describe, but we are happier for having experienced them.
These feelings are difficult for a writer to articulate. However, if you want to forge a connection between your reader and the characters in your narrative, you must include small indicators that individuals in the cast sometimes experience a sense of:
- Confidence in their friends
- Group ethics
- Individual moral courage
Some positive emotions can be more intense, yet still not overpowering. Those moments can be shown by an immediate physical reaction, combined with internal dialogue or conversations. We use the same 1 – 2 – 3 trick of word order when describing a mild experience as we do with louder emotions.
- Start with the visceral response. There will be an instant reaction. Good emotions are felt first in the chest, in varying degrees, from a feeling of warmth to the stronger, heart-pounding sensation. But we’re keeping it subdued, here.
- Follow up with a thought response. If it is a mild reaction, give it a moderate thought response. “Ah hah!” Whatever your style and word choices are, showing small moments of relatable happiness or pleasure makes our protagonist more sympathetic.
- 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 one of the antagonists will eventually become part of the protagonist’s inner circle? Including small positive thoughts early on in their narrative can foreshadow that this character may turn out to be the ally that turns the tide.
I’ve pointed out many times that conflict is what keeps the protagonist from achieving their goals. Large emotions are easy to write. But frequently, in real life, our smaller joys have a longer-lasting impact, and the memory of these can be the impetus that keeps the soldier fighting during the darkest hours.
Allowing ourselves and our characters to feel joy over small things, to experience a sense of accomplishment is a gift to the reader. The reader will experience those emotions as if they are theirs, and the book will be that much more meaningful to them.