The thing is, emotion - if it's visibly felt by the writer - will go through all the processes it takes to publish a story and still hit the reader right in the gut. But you have to really mean it.
Sentiment: POSITIVE
So much emotion goes into writing fiction.
The audience wants to be attracted not by the critics, but by a great story. You must deliver to the audience emotion - and when I say emotion, I mean suspense, drama, love.
Writing is a solitary profession; you are really alone when you write. Then the emotions become well shaped and distinct. But their transition into words must be done deliberately and with rigid artistry.
I think, as journalists, we sometimes are afraid to enter into the emotional lives and the complications of the lives of the people we write about - we don't really have the space and the room to deal with those things. But as a novelist, that's precisely what you're writing about.
I think, in a written novel, the way in which you play with the readers' emotion or the way in which you engage the readers' emotions can be very indirect. You could come at it through irony or comedy, etcetera, and you could capture people's sympathies and feelings kind of by stealth if you like.
A writer is always, always searching, even against her will, against all her better instincts, for the thread of a story. Everything is fodder. Everything is fuel. You can feel it coming on like the tingling of a sore throat. The brain never stops struggling to reshape every experience and feeling into a coherent narrative.
When you write fiction, you can sort of invent more but also pack it with emotions that are very pertinent to you. Whereas with nonfiction, you have to be as factual as possible but also hopefully - also bring... emotional relevance to the piece.
You just have to make sure you're writing about something that's true. It has to be honest and it has to have a real emotion behind it, regardless of where it's coming from.
Generally, I think most of my writing tends to have some kind of magical element to it. That's the way I can access the emotional life of the character.
Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.
No opposing quotes found.