Writers have to learn to work on more than one level. At the same time we’re writing, we’re also reading – we’re both creating and reacting. While my mind keeps track of the story and the character’s progress through a scene, my heart is connected to her mood and my gut is registering tension. All my senses are alert to what her senses would be. (I could add that my hands are typing, but you get the idea.) If I have a character say something that doesn’t suit her state of mind, I get a sense of disconnection which tells me that I have to go back. If the tension flatlines, the first clue is that my stomach has unclenched. To some, this full body approach to writing comes naturally, but it can be an acquired skill. Often I go over a scene numerous times, focusing on three levels in particular.
First, the heart check: is the character carrying forward her emotional experience up to this point? If something angered her in the last chapter, that should still be throwing off some heat. If she’s anxious, that should color what she says. If the story is in first person or close third, then everything in the scene should be filtered through her state of mind, even the description of objects. The most effective and authentic way to accomplish this is to carry that state of mind inside yourself. This will allow you to go beyond the analytic (she should) and experience the filtering directly in an act of sympathetic imagination (she would). I assign this to my heart simply as a way of ordering the experience. What I’m talking about here is deep identification with our characters.
Next, the gut check: is there tension? Would a reader need to read on? Is there a mystery, a worry, an unfulfilled desire, a conflict, or even just a disquieting imbalance, something that a reader would want to see through? As writers, we must try to anticipate the sensation of reading our work as honestly as we can. To captivate others, we have to captivate ourselves. As you write, is your stomach so tense that the world outside falls away? Or do you find yourself starting to skim? The feedback of your body doesn’t lie. I assign this one to my gut, which is where I actually experience this kind of independent processing. What I’m talking about here, of course, is our identification with our readers.
Last, I return to the mind, which is also where I start. The mind has the biggest job. Character development, dialogue, plot, setting, language, metaphor, the list goes on and on…. Writing is submersive. You have to bring all your talents and faculties to bear. But that is how we can spend so many hours by ourselves at the computer, or with nothing but pen and paper. We carry inside us more than one experience, more than one person. We create a world outside ourselves by expanding the one inside.