write from the heart – Almost An Author

Acting Techniques to Deepen Your Writing – Part 3

So far in this series, I’ve shared with you techniques I’ve learned as an actress that has strengthened my writing. These techniques have helped me deepen characterization, tap into emotion, and break down scenes and plot. But did you know there’s even more we can learn from actors, apart from the craft?

Let’s take a look at what actors can teach us about our approach to the writing process.

On Approaching the Writing Process…

1. If actors want to experiment with a range of possibilities for delivering a certain line or scene, they might experiment with different moment-before scenarios. They will brainstorm a range of ideas as to where their character just came from and what happened to them previously. Doing this will result in unique and fresh responses, reactions, and ways of delivering the scene and their lines. As writers, we can try the same trick. Can you brainstorm new ideas of where your character comes from the moment before a scene takes place? Then allow the scene to unfold in response to each unique moment-before scenario, and take a look at how these moment-before scenarios affect the character and the dialogue, resulting in multiple possibilities of approaching the scene.

2. When an actor is assigned a role in a project, he must understand the overall tone and style of the film (or show). This may require speaking with the director, inquiring about his vision. Understanding the tone will then help the actor adhere to this in each of his scenes, resulting in an overall stylistically cohesive film. Let’s remember to do the same in our projects as well. Let’s ask ourselves, What is the tone of this book, and how will the scene I’m writing now emphasize that tone?

3. Method actors are constantly reminded that good acting is not equivalent to a good “performance” of their lines. In other words, actors should not memorize the inflection of the voice in delivering lines, the mechanics of performing; doing this actually results in unauthentic acting. This bad acting is often a result of an actor relying too heavily on the left side of their brain while they are delivering their lines. Unfortunately, I’ve noticed the same fault amongst writers as well. When we write—especially those firsts drafts—let’s not focus so much on the appearance of our art. The way that we string words together to result in a beautiful, flowery language. Oftentimes, this comes across as though the writer is trying too hard to “perform” and show off their writing abilities. Instead, if we hope to deliver an authentic story that touches our readers, we must remember that, when it comes to writing a good story, beautiful writing comes second. That can be embellished after we deliver the heart of the story. Because it’s this heart of the story that will connect with readers and stick with them.

4. Actors must avoid being “in their head” as they act. Thinking is an enemy to method acting. We often do the same when it comes to writing. The more writing techniques we learn, the more tempted we are to become paralyzed by these “writing rules.” But if we try so hard to avoid making a mistake as we write, we risk “being in our head” throughout the entire writing process. The acting coach, Warner Loughlin, suggests that actors “go for the emotional journey of the character, not the result.” I recommend we do the same. Let’s remain in the right side of our brain as we write, allowing our imagination to lead us through the story.

5. Even though a script may already assign lines for an actor to deliver, often a director will allow the actor to bring their own interpretation, reaction, and emotion—as long as it feels natural to who their character is in that moment. In writing, let’s give ourselves the freedom to improvise in our scenes as well, allowing our characters to come to life. Instead of being strictly tied to our plot/scene outlines, let’s grant these characters the freedom to act on their natural impulses and follow their instincts. Then we can see where these choices lead the scene and story.

Which of these tips do you struggle with the most? Let me know in the comments!

Tessa Emily Hall is an award-winning author who writes inspirational yet authentic books for teens to remind them they’re not alone. She writes both fiction and devotionals for teens, including her upcoming release, LOVE YOUR SELFIE (October 2020, Ellie Claire). Her latest devotional, COFFEE SHOP DEVOS, encourages teens to pursue a personal relationship with Christ. Tessa’s passion for shedding light on clean entertainment and media for teens led her to a career as a Literary Agent at Cyle Young Literary Elite, YA Acquisitions Editor for Illuminate YA (LPC Imprint), and Founder/Editor of PursueMagazine.net. She’s guilty of making way too many lattes and never finishing her to-read list. When her fingers aren’t flying 128 WPM across the keyboard, she can be found speaking to teens, decorating art journals, and acting in Christian films. Her favorite way to procrastinate is through connecting with readers on her blog, mailing list, social media (@tessaemilyhall), and website: tessaemilyhall.com.

Bleeding Into your Words

When it comes to writing, wordsmiths sometimes hold back on the deeper emotion. While there are times that works—I doubt writing out a recipe is terribly heartrending—there are other scenarios that beg for an author to bleed a bit through their words. Without the infusion of feeling, you may not connect with your reader. If there is little connection, you could risk losing the attention of not just your readers, but editors and agents as well.

Sometimes I see a question on social media from a writer who seems surprised that they cry when they are reading over their work. They wonder if this is normal.

I say a resounding “YES!” This is not just normal but you have accomplished the goal of expressing deeper emotions that bring your story to life.

This can be a challenge for many writers because bleeding on the page makes us feel vulnerable. It forces us to examine feelings that we prefer to keep hidden in our hearts. But when was the last time you experienced a book that made you cry? Did the words that elicited tears make you want to stop reading? Not likely. You probably picked up a tissue, blew your nose—and proceeded to finish the story.

You may wonder how you can express emotions when a fictional storyline you’ve created is an unfamiliar pain in your own life. I’d suggest two things: 1. Interview someone with experience in that particular loss (i.e. someone who has lost a pet, a parent, a child). 2. Search your memory for a similar experience and recall exactly how you felt. You can glean much from your life that transfers into your writing.

In my YA historical, “Fields of the Fatherless,” the heroine’s father is killed in a battle. Although my father died under completely different circumstances, I’ll never forget touching his stiffened body at the visitation service. I then described how “Betsy” experienced the same sensation. I cried a great deal writing that scene, and through many other scenes in that book. In fact, through every edits I worked on, I repeatedly cried at the same scenes again and again. I had allowed my emotions to drip into the words. The result was a book read by many, which won or was a finalist in four awards, and continues to sell on Amazon despite its release date in 2013.

Will every book require deep emotion? Of course not. But when sorrow and pain becomes appropriate, go for it. I encourage you to bleed that emotion into your words.

Carry on.

Elaine Marie Cooper is the award-winning author of Fields of the Fatherless and Bethany’s Calendar. Her latest release (Saratoga Letters) was finalist in Historical Romance in both the Selah Awards and Next Generation Indie Book Awards. She penned the three-book Deer Run Saga and has been published in numerous magazines and anthologies. She freely admits to being a history geek. She has a four-book series set in Revolutionary War Connecticut that will begin releasing this year. You can visit her site at www.elainemariecooper.com