Stolen from actors: the movement journal

One surprisingly helpful class from my undergrad days was a theatre course I took called "Basic Movement." In it, we learned some of the tools of the trade of acting--stances, carriage, gestures, playing to the audience, and of course, choreographed violence.

An ongoing assignment throughout the semester was keeping a "movement journal," in which we recorded observations about how certain body types move, motions unique to certain activities, and how people express emotion through movement. The goal of all this analysis was to build up our own repertoires of motion, so that we could embody various roles.

I've at times joked here about "stalking" students who remind me of my characters. These motion studies are particularly what I try to do. Once I've found the right body type, I've got the perfect model from which to get the data I need. I observe his stride--smooth, bouncy, swaggering, trudging? What's his usual posture? Is he apt to smile at strangers, or have a more closed expression? How does he hold objects? Ham-fisted? Gently by his fingertips? Loose and relaxed? Precise and uptight?

Emotional exchanges go on all the time on the college campus where I work. Because of that movement class, I now watch for the postures and gestures that make up the physical expression of those emotions. You don't even need to be in eavesdropping range to discern the kind of emotions people are expressing. Their bodies shout them.

A particularly powerful lesson from that class was our focus on the body rather than the face as an expressive vehicle. We had to wear dance unitards to every class, and did most of our in-class exercises and performances wearing masks. In many classes we did charades-like exercises: a pair would act certain emotions toward one another without speaking and in masks, and our classmates would have to guess what we were expressing. Those who'd put in the time researching for their journals usually won big time.

If you struggle with "talking head" dialogue, I recommend spending some time people watching and gathering data on how they move. Watch not only faces, but necks, shoulders, spines, hands, legs and feet. An acting class can be surprisingly horizon broadening, too.

Because this kind of research has borne so much fruit for me, I created a tool to help you create your own movement journal and keep those observations organized, to use in any fiction project, no matter what genre: Emotions in the Wild: A Writer's Observation Journal.

This pocket-sized paperback is easy to tote with you and turn waiting in the doctor's office, carpool line, or checkout lane into rich research time.

Get it here: Amazon (US) / Amazon (UK) / Barnes and Noble / Book Depository (free shipping worldwide)



How might a "movement journal" help your writing?

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Traits on parade: Why I can't stop watching 24 hours of "Happy"

When I first heard about Pharrell Williams's 24-hour long video of his hit song "Happy" I thought it sounded like a unique, new form of torture. This went way beyond earworms.

Boy was I surprised.

Opening image from the video

The video is one continuous shot of one person or small group after another lip synching to Williams's song as they move/dance through various locations in and around Los Angeles. Williams himself appears once an hour on the hour, for 24 appearances. In between, if I've done the math right, are 14 unique performances each hour. And the performers? A huge range of ages, ethnicities, and level of fitness and ability. There are amazing break-dancers and a wheelchair-bound granny. Goofy toddlers and very dignified middle-aged folks. Ballet dancers and Lindy Hoppers. Self-conscious, awkward teens and insanely unrestrained college kids. Big folks and slender ones. Black, white, Asian, Latino, and all sorts of multi-racial mixes.

A number of the voice actors from Despicable Me 2 (the song was in the sound track) and some random minions also make appearances.

Just as fun as the performers are the reactions of the people on the street watching someone dance through their neighborhood shopping district.

This is honestly people-watching gold.

You don't have to sit through the entire performance of each person to get a feel for his or her character. Navigation on the side of the page lets you skip ahead or back from one performer to the next.

You can view the video HERE.

Where you drawn to certain kinds of performers? Were your prejudices about certain groups affirmed or challenged? What would the protagonist of your story do if invited to appear in the video? 

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How to rein in tangents: four tips

In my series on reducing bloat (aka revising an overwritten manuscript), today we'll be tackling tangents, a term you might associate with geometry. My MC Danielle, an gifted artist, struggles terribly with geometry in particular and with numbers generally. When she initially signed up for classes, she was sure shape-related math would be breeze-easy for her arty brain.

See, friends? This is how tangents worm their way into your work. It's exceedingly easy for one thought to trigger another, unrelated one. Suddenly you've followed a rabbit trail into a deep thicket.

I don't yet have a fail-safe for preventing these mental hiccups while drafting. But I have found that longhand free writing warm-ups help me gain focus before diving into a real manuscript in process.

There are a number of places tangents often appear in pieces I've critiqued (and my own drafts): moving from here to there, dialogue transitions, descriptions and internal monologue. Let's look at each.

Movement
Beginning writers often falsely believe they have to account for the MC's every move. Thus they write some intensely boring descriptions of waiting for the bus, or bickering with siblings in the car, or roaming soulless suburban subdivisions.

Unless something plot-twisting happens during movement, cut these yawn-inducing scenes. Instead, use narrative summary to get your character to the location where important action will occur. Remember that not everything your character does merits being dramatized (like potty breaks, for example).

Examples
My thighs are burning by the time pedal to the top of Breach Point.

When we return to Caitlin's place, she's sitting on the porch smoking.

The windows are dark when I reach the rectory. So far, so good.

Dialogue transitions
In The Two Towers, Merry and Pippin spend a day with the Ents' Council and learn from Treebeard that it took from mid-morning till dusk for the Ents to complete their initial hellos. Are your dialogue scenes like this? Wasting a full page each on saying hello and goodbye?

Maybe your dialogue gets tangential in the middle, when one character wants to change the subject and fearing a non sequitur, you waste line after line moving from one topic to the next.

How do you repair this? Mix in other narrative techniques: narrative summary, thought, action.

Examples
To skip lengthy meet and greets:
Once everyone was introduced, Penny said...

We exchanged the usual BS about track and chem before I got the nerve to ask, "You think that guy we saw last night was breaking the law?"

To suddenly shift topics with thought:
Jerome was not going there with this girl. "So, what'd you think of Hayden's plan?"

Was he flirting with me? No freaking way. "I, um, just get headaches from ponytails after a while."

To suddenly shift topics with action:
Izzy checked her watch. "Well, look at the time. You give any thought yet to our project?"

Vic's phone buzzed in his pocket. "Shoot, that's my dad. He's probably hyperventilating that we still haven't found Kip."

Descriptions
Descriptive tangents are probably the easiest to identify. Your character might begin describing the lay of the land then expound a full-blown encyclopedia entry of your setting--its climate, topography, architecture, history, etc., ad nauseum. Or your heroine the fashionista savors every last detail of every outfit worn by every guest at a party.

It's so easy to get carried away in loving your fictional world. Just remember that your reader will savor more of the flavor if you sprinkle shorter descriptions all through the work. For more help with punchy descriptions, see my post "Engaging Descriptions Readers Won't Just Skim."

Internal monologue
Exploring your character's inner world in all its rich vagaries might be fun for you, but as a reader I frankly don't give a rip if those thoughts go absolutely nowhere. Character monologues must have multiple purposes in the narrative or they're just filler. Revealing personality alone is not enough.

Monologues must drive the narrative by revealing inner tensions, moral dilemmas, past wounds, drives, desires, attitudes, prejudices, dislikes or fears that could help or hamper your MC in her quest.

Which of these areas trips you up? Any other helpful hints to add?

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Top 7 of 2010: #7 Motion and emotion

I have just seven more scheduled posts till year's end, so I thought it would be fun (and frankly more sane for me) to repost my seven most popular blogposts of 2010, minus the contests and the blogfest entries (except one as a holiday treat).

The repost below appeared in October 2010 and according to my stat counter got more pageviews than comments. Which of you had been googling "unitards"? Huh? Huh? (FYI the unitard requirement for the acting class I describe below was FAR worse for the guys than for us girls.)

(I really need to break this parenthetical asides habit....)

= = = = =

One surprisingly helpful class from my undergrad days was a theatre course I took called "Basic Movement." In it, we learned some of the tools of the trade of acting--stances, carriage, gestures, playing to the audience, and of course, choreographed violence.

An ongoing assignment throughout the semester was keeping a "movement journal," in which we recorded observations about how certain body types move, motions unique to certain activities, and how people express emotion through movement. The goal of all this analysis was to build up our own repertoires of motion, so that we could embody various roles.

I've at times joked here about "stalking" students who remind me of my characters. These motion studies are particularly what I try to do. Once I've found the right body type, I've got the perfect model from which to get the data I need. I observe his stride--smooth, bouncy, swaggering, trudging? What's his usual posture? Is he apt to smile at strangers, or have a more closed expression? How does he hold objects? Ham-fisted? Gently by his fingertips? Loose and relaxed? Precise and uptight?

Emotional exchanges go on all the time on the college campus where I work. Because of that movement class, I now watch for the postures and gestures that make up the physical expression of those emotions. You don't even need to be in eavesdropping range to discern the kind of emotions people are expressing. Their bodies shout them.

A particularly powerful lesson from that class was our focus on the body rather than the face as an expressive vehicle. We had to wear dance unitards to every class, and did most of our in-class exercises and performances wearing masks. In many classes we did charades-like exercises: a pair would act certain emotions toward one another without speaking and in masks, and our classmates would have to guess what we were expressing. Those who'd put in the time researching for their journals usually won big time.

If you struggle with "talking head" dialogue, I recommend spending some time people watching and gathering data on how they move. Watch not only faces, but necks, shoulders, spines, hands, legs and feet. An acting class can be surprisingly horizon broadening, too.

Any of you also have some theatre training? How might a "movement journal" help your writing?

Read More

Motion and emotion

One surprisingly helpful class from my undergrad days was a theatre course I took called "Basic Movement." In it, we learned some of the tools of the trade of acting--stances, carriage, gestures, playing to the audience, and of course, choreographed violence.

An ongoing assignment throughout the semester was keeping a "movement journal," in which we recorded observations about how certain body types move, motions unique to certain activities, and how people express emotion through movement. The goal of all this analysis was to build up our own repertoires of motion, so that we could embody various roles.

I've at times joked here about "stalking" students who remind me of my characters. These motion studies are particularly what I try to do. Once I've found the right body type, I've got the perfect model from which to get the data I need. I observe his stride--smooth, bouncy, swaggering, trudging? What's his usual posture? Is he apt to smile at strangers, or have a more closed expression? How does he hold objects? Ham-fisted? Gently by his fingertips? Loose and relaxed? Precise and uptight?

Emotional exchanges go on all the time on the college campus where I work. Because of that movement class, I now watch for the postures and gestures that make up the physical expression of those emotions. You don't even need to be in eavesdropping range to discern the kind of emotions people are expressing. Their bodies shout them.

A particularly powerful lesson from that class was our focus on the body rather than the face as an expressive vehicle. We had to wear dance unitards to every class, and did most of our in-class exercises and performances wearing masks. In many classes we did charades-like exercises: a pair would act certain emotions toward one another without speaking and in masks, and our classmates would have to guess what we were expressing. Those who'd put in the time researching for their journals usually won big time.

If you struggle with "talking head" dialogue, I recommend spending some time people watching and gathering data on how they move. Watch not only faces, but necks, shoulders, spines, hands, legs and feet. An acting class can be surprisingly horizon broadening, too.

Any of you also have some theatre training? How might a "movement journal" help your writing?

Read More