descriptive character emotions

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  • descriptive character emotions

    I recall seeing a thread earlier this year that listed a variety of ways of describing basic human emotions, but I didn't think to book mark (or pay much attention to) it at the time. Anyone remember it, or something similar?

    I'm finding that my characters spend far too much time biting their lip or furrowing their brow... It's easy to picture what an emotional response would look like, but a lot tougher to put it into the proper words.

    Dan

  • #2
    Express it through action not facial expressions. Drama means "to do" and is the art of expressing the internal through the external. Give the character something to do that reveals how he/she feels.

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    • #3
      seems a bit too much like you're trying to direct from the page. Something I'm guilty of from time to time.

      Is it more important to describe the contortions of the characters face, let's say he's a highschool math teacher, when his long time girlfriend from college informs him that she's leaving him for one of his female students or what he'll go do right after that?

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      • #4
        Those are good points, and there probably are times I can and should go that route, but it seems like there are plenty of situations where you merely want to show a character's gut level response to something that has happened or been said.

        Dan

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        • #5
          i hear ya bro

          i feel the same way. and if it continues to bother you and you find yourself more and more concerned with character behavior and what the actors do with the characters, you may discovering that writing isnt fulfilling enough. that directing may be more for you. of course, thats a can of worms and a whole new discipline. but - thats how it happens. over time, little by little.

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          • #6
            Re: Laws of Physics!

            For every action there is a reaction!:lol

            Don't say it if you can do it!:rollin

            Actors, in general, hate character cues and that's what your giving them even if you veil it within your narrative!

            The mood you covey via diologue and the established theme and tone of the scene itself is all good talent needs. Anything requiring further clarification best left to the Director!

            Ditto Whistlestock & Dues!:smokin

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            • #7
              Re: i hear ya bro

              I get my bossin' around in from coaching.

              Dan

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              • #8
                Re: i hear ya bro

                Read lots of scripts that apply what Deus said.

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                • #9
                  Re: i hear ya bro

                  We seem to have a consensus...

                  But to belabor the point, what would you do with, say, a "wide eyed look of terror?" Such expressions often are not accompanied by any actual action, and two characters in the same scene may react differently. Surely such nuances need to be conveyed, assuming the differences carry some importance?

                  Dan

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                  • #10
                    Do something!

                    Actions not expressions.

                    "A wild eyed look of terror" is someone standing there. I usually run or hide or puke or *do something* when faced with something terrible... like story notes.

                    - Bill

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                    • #11
                      Re: Do something!

                      So, force the action even if it doesn't fit the scene, just to avoid directing on paper?

                      Dan

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                      • #12
                        Re: Do something!

                        Not that I'm arguing or anything, but sometimes a simple "look of terror" fits the scene. Of course this isn't as exciting as running or jumping off a roof, etc. But look at how effectively the original RING uses a guy standing frozen in terror, eyes and mouth open wide. And sometimes, just sometimes, "He grins" or "He frowns" or similar low key reaction at just the right moment can alter the course of a conversation. I vote for sprinkle sparingly and be aware of limitations, but don't avoid completely -- and don't litter the script with over-the-top artificial reactions instead that maybe nudge the story further and further into comedy. Unless it's an action-comedy. Shrug, my thoughts.

                        -Derek
                        -----------------------
                        My Web Page - naked women, bestial sex, and whopping big lies.

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                        • #13
                          Re: Do something!

                          from Pulp Fiction:

                          As Brett talks, Jules takes out his gun and SHOOTS Roger three
                          times in the chest, BLOWING him out of his chair.

                          Vince smiles to himself. Jules has got style.

                          Brett has just sh!t his pants. He's not crying or whimpering,
                          but he's so full of fear, it's as if his body is imploding.
                          from Scream:

                          CASEY
                          What do you want?

                          MAN
                          (pure evil)
                          TO SEE WHAT YOUR INSIDES LOOK LIKE.

                          Casey's jaw drops as total fear storms her face. She hangs up
                          the phone, throwing it down on a side table when...

                          THE DOORBELL CHIMES.

                          Casey leaps out of her skin. She turns to the door as it chimes
                          again.

                          Comment


                          • #14
                            Re: Do something!

                            pulp fiction isn't a good example to use as it's a writer/director piece. He can put any type of direction he wants on the page.

                            With Scream, if you remove the jaw dropping line, do you loose anything? No. The jaw line enhances the actions that immediatly follow the facial expression.

                            and that's the key point to remember; it's the action afterwards, not just the facial direction. We could leave it as, "her jaw drops as total fear storms her face..." but what does she do about that?

                            that's not just a facial action, like DK is asking about, but a expression accompanining an action. If you eliminate the expression you don't change to much from the scene, elliminate the action and the scene become static.

                            Movies are about movement, what happens next. Not about crinkling noses and furrowed eyebrows.

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                            • #15
                              Re: Do something!

                              For kicks, let's see how the Scream excerpt plays without the offending bits:

                              CASEY
                              What do you want?

                              MAN
                              (pure evil)
                              TO SEE WHAT YOUR INSIDES LOOK LIKE.

                              Casey hangs up the phone, throwing it down on a side
                              table when...

                              THE DOORBELL CHIMES.

                              Casey turns to the door as it chimes again.

                              This doesn't capture the emotion, doesn't make clear what we'll see on screen, which is a girl scared out of her mind, nearly as well as the original excerpt does.

                              I don't think you should summarily dismiss the Pulp Fiction example, either. Look at Vince's reaction after witnessing Jules' surprise murder of Roger.

                              Vince smiles to himself. Jules has got style.

                              The way that action is written reveals so much about Vince to us. We, the audience, are shocked by the surprise shooting of Roger. Vince is impressed! He's used to seeing this kind of violence. He thinks it's cool. This plays, both in the readers mind, and on screen. Point being, this kind of writing would serve any writer well.

                              What about this:

                              Brett has just sh!t his pants. He's not crying or whimpering,
                              but he's so full of fear, it's as if his body is imploding.

                              In my book, that's an action and it's written in a way that captures the emotion. And with style. Again, no reason to dismiss. Just good writing here.

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