Last week at WITS I wrote about writing deep point of view using layers of emotions and I promised this week to share about writing love in deep point of view. If you missed last week’s post, make sure you check it out.
Let’s recap for a moment. A secondary emotion is our thinking response to primary (instinctive, unthinking) emotions. A secondary emotion could be triggered by one or a dozen primary emotions, and that blend will be unique for every character in every situation.
In deep point of view, it’s vital to understand the why of an emotion. Why is your POVC attracted to that other character? What need or desire are they trying to ease or fill? What emotions (or mix of emotions) is fuelling that feeling of love?
“I opened the door and there he was. It was like I was a magician and had thrown aside the curtain to show my lovely assistant. The sight of him caught my breath in my throat.”
Laurel K. Hamilton, Blue Moon
When it comes to love there isn’t a one size fits all kind of love, is there? It’s nuanced and varied, the relationships don’t all have to look the same or be founded on the same primary emotions. The Greeks have/had 7 words for love:
Eros – erotic-sexual love
Agape - selfless, sacrificial love
Ludus - playful love, overt flirting/teasing/seduction with no strings attached
Philia - deep friendship, platonic and sincere
Pragma – standing in love (as opposed to falling in love) the longstanding practical love as shared by a couple married for a long time
Philautia - self-love – could be meant in an narcissistic way, or in the way of taking care of yourself enabling you to better love others
Storge – familial love as between parent and child
I would guess there’s a lot of books out there that focus on ludus moreso than eros or even pragma. So, let’s reframe how we think about writing love. All too often, what I see from beginning writers is something like this:
Love flooded Steve’s chest every time he looked at Melissa.
In deep point of view, we want to avoid naming emotions. Here’s why. Does this tell us anything about Steve’s character? Or Melissa’s? Do we know in what way Steve loves Melissa or with how much intensity Steve feels this emotion? Do we understand why? No.
Writing love like this draws conclusions for our readers and in deep point of view we want to give evidence or proof of an emotion and let the reader decide what emotion is being felt.
Telling your readers that your character is in love is a wasted opportunity to show characterization and emotional arc for readers. Just as beauty is in the eye of the beholder, love is very individual and subjective. Help readers understand the emotions fueling your character's love—hand the reader the virtual reality headset.
Show readers what qualities and characteristics your character is in love with, show what love feels like to that character. That’s the goal with deep point of view. Some fall in love because they’re looking to be understood, others are seeking security or confidence, humility and simplicity, someone comfortable in their own skin, someone with similar values.
“It made more sense that way because when they weren’t together … well, Holly just felt as though she was missing a vital organ from her body.”
Cecelia Ahern, P.S. I Love You
Let’s have another try at why Steve loves Melissa.
Steve shook his head and smiled at the over-filled backpack Melissa wore, likely filled with every textbook assigned to every class, and more paper and pencils then she could ever need. She turned, scanned the room, and then shot up to her tiptoes and waved at him. His chest filled with warmth. The heat spread through his whole body until sweat broke out on his brow. Didn’t she know he’d been watching for her? He’d always look for her until she was beside him again.
So, which primary emotions are at play here? Seeing Melissa filled Steve with adrenaline, hence the racing heart and sweating. This could be excitement or anticipation. Happiness is also in the mix and security or safety—Melissa isn’t someone who likes surprises clearly. She’s prepared for anything. Those instinctive, unthinking emotions force Steve to DO something so he’s waiting and watching for her to enter a room.
Steve could’ve commented on her hair or body, on how smart she is, how she fills in the gaps where his own introversion and social awkwardness work against him – I could continue coming up with theories. This is what love looks and feels like to Steve. Knowing why Steve loves Melissa shows readers what’s important to him, how he values others, the gaps or weaknesses in his own character he’s looking to shore up in a partner, etc. Readers see what’s important to Melissa through what Steve is drawn to.
Aim higher than just communicating to readers that your point of view character is in love. Use love to show readers why your character is in love, why they’re in love with that person and what that feels like. This helps readers made their own decision about what the character is feeling through what they’re attracted to, what they value in others, and what they’re seeking more of in their life.
The body language of new love is very similar to the body language of attraction: sweaty palms, leaning in, touch, open body posture, change in tone of voice, puffed out chest, preening, eye contact, smiling, etc. Most writers seem to instinctively understand this body language—just be sure to capture the why for readers.
Ever watched the body language of a couple who’ve been together for a long while? It’s different, right. What body language cues might you observe between long-together couples?
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Lisa Hall-Wilson was a national award-winning freelance journalist and author who loves mentoring writers. Fascinated by history, fantasy, romance, and faith, Lisa blends those passions into historical and historical-fantasy novels.
Find Lisa’s blog, Beyond Basics for intermediate writers, at www.lisahallwilson.com.
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