Reading about Writing and Emotional Complexity

Currently reading Donald Maass The Emotional Craft of Fiction. It is a typical Don Maass book -- full of seemingly useful info if only the writer is savvy enough to pick up on it, a few sly digs at the shallowness of romance writers, and a number of good examples. HOWEVER I have now reached the point in my career when I can see the research (sometimes).

He mentions 'save the cat' without referencing Blake Snyder. There are also things there from Orson Scott Card's Character and viewpoint book. I also happen to like Karl Iglesias Writing for Emotional Impact which although aimed at screenwriters has a lot to say about getting the emotion on the page and how to make the reader feel. Because ultimately a book is all about how the reader feels and how much the reader engages with the characters and uses that story as outlet for her emotions.

The caveat in this is that nothing is new in writing and not every reader will get the same thing from every book. This includes books about writing. Maass may or may not have read the books. They have been around for awhile. Some of the knowledge does from asking the hard questions -- why does this book resonate? Why do I feel for these characters?

Don't get me wrong. I enjoy Maass. I have heard him speak. He is passionate about what he does. His exercises can be useful but there again sometimes they can muddy the waters. For me it is good to read and think -- ah but I know that and furthermore I know why you are saying this and what the outcome will be. I know where this is leading and that is because in part I have read the above mentioned books and put some of that knowledge into action.

Sometimes though I just need to back my own knowledge and realise that I do know a thing or three about writing. The most important of which is that good books are improved by repeated drafts where the writer engages more with the characters and can tease out threads.

At the moment I am also reading Pat Conroy's Death of the Santini. It is interesting to read about his process-- and not to be recommended as he seems to have suffered various breakdowns as he wrote his novels. There again he dug deep into his family and the dysfunctional upbringing.

Writing for Emotional Impact

My post contract splurge was to get 2 writing craft books. Fiona Harper is my new go to guru for finding great craft books. She recommended Dara Marks Inside Story and it has been on my wish list for awhile.  I plan to spend awhile reading it...but when I ordered it from Amazon, I noticed another book -- Writing for Emotional Impact by  Karl Iglesias.
His basic premise is that is it is not about plot points, it's not about act structure, it's not about character, but it is all about EMOTION.. in paritcular delivering emotion to the reader. His book is on how to create the WOW! feeling. It is a book full of techniques to create empathy and emotion. Many of them I already use but it is good to see them written down. And I do so agree that story telling is about delivering on the emotion. If you can get the reader to emotionally connect with characters and feel satisfied at the end, they will keep coming back for more.
He goes through many movie points and explains the various tricks. For example why is Melvin in As Good as It Gets not a thoroughly repellent character. He is obnoxious, rude and the audience has sympathy for him as he struggles to overcome his OCD. They are techniques rather than rules. It is about understanding the nuances and playing with  the palette of emotion. It is also about how you show those emotions and traits. Iglesias goes into the six ways you can reveal character on a page. He also explains about high concept and concept. His explanation of back story and The Ghost (or unhealed emotional wound) is so clear cut that I wondered others hadn't done so before. I have sat in workshops, muttering under my breath -- that not all back story is important or created equal. And I loved his quick way to get to the heart of any character.
It is not a beginning writing book and if you don't know that much about structure, you need to read something else first. But it does dovetail a lot with Orson Scott Card's Characters and Viewpoint.
I think it has been worth adding it to my tool kit.
I do worry about getting enough emotion on the page, but not so much that it becomes unbearable. There is a balance to be struck.
I am also mindful of Twyla Tharp's analogy of polishing the clock. You have to keep working on different things so your skills don't go rusty. It is all about continually improving your mastery of craft so the reader can have a better emotional experience when they read the book (or manuscript). It should be remembered that your first reader is always a jaded agent or editor and it is all about making that connection.