Use of Emontion in Stories

By Cave Troll · Jan 2, 2019 · ·
  1. When I say this, it is more in how the characters use them through out the course of the story. After all a decently fleshed out character will have a range to give a semblance to being 'realistic', as opposed to being robotic. Even so far the way they use their emotions to shape the persona of the characters.

    I notice how my characters work based on there emotional states, at given points in the horrific setting that I have thrust them into. Like Cor using her connection to Marckus, as an excuse to willingly do everything that causes her inner turmoil and self loathing. Effectively weaponizing Love, and using it as a justification for doing horrible acts that under standard protocols would carry massive consequences. Even go so far as to outright explain this to Sarge at one point not too long after they meet. However, there is nothing wrong with having a complicated and conflicted character like Cor going a bit off the rails, since she is still working to understand how to manage her feelings, since she hasn't had them before. Funnily enough she won't ever call it love, even though everyone around her does. Perhaps by the end she may use it. :p

    In a way having Marckus offer up himself, and his consequent imprisonment and torture, is kinda admission to the deep guilt he has carried. So in an odd back-handed fashion is seeking punishment for the things he had done in his past, and finding a way to allow the deep regret to finally come out in the open for all the terrible things he had done. I think at about the time he starts hallucinating in his pitch black cell in the sweltering heat, does he start to understand that he can't blame himself entirely for the choices he had made, sometimes there is no good choice, you just have to hope you're not completely wrong.

    And well what can I say about Graxis, he is oddly enough the 'straight man', which is kinda odd. Even keel he is, with a few deviations here and there, but not overly off the rails. Of course he has been tempted to toe the line with his own morality, but at the same time has an impact on the other two MCs. He garners no ill will towards his role that he plays, and well in a way is just living through life (such as it is), and be able to have a life once all is said and done without too much mental and bodily scarring. :p

    Perhaps I am just mad for seeing the depth to a story, that is probably not much more than a brutal messy affair of blood, guts, and chaos all wrapped up in a bow with good intention of the character's mind? :p

    IDK.

    What about you, how do your characters use their emotions to shape who they are in their universe?
    ThunderAngel and John-Wayne like this.

Comments

  1. Mark Burton
    For a moment there, I thought you were talking about a new type of emoticon or emoji, given the title "Emontion".

    In answer to your question, I find it more effective to speak about how the emotion affects the character. Examples include: blushing, wheezing, tears blurring vision, whimpering, heart hammering away, yelling about something to another character, and others. I try not to betraying the emotion itself. If I give enough clues, the reader can figure out for themselves what's going on without me having to resort to telling the reader what my character is feeling.
      Foxxx and Cave Troll like this.
  2. Some Guy
    Ya know CT, for a self proclaimed purveyor of gore and chaos, you sure have depth. :D
    My tale starts with emotions driving choices (or failing to choose) that lead to raw visceral circumstances. You have raw visceral circumstances producing an opportunity to express/reveal emotions where none are obvious. A nice cave of treasures to explore there. Maybe you can take advantage of opportunity to develop a character that has to discover what emotions are to them, or the meaning lost to them. Gold! :D
      ThunderAngel, Foxxx and Cave Troll like this.
  3. Cave Troll
    @Mark Burton firstly that is funny. :p
    Secondly I agree in the show don't tell department, where it concerns the reader.
    Though with Cor she kinda has to be told about some things, since she has no idea
    about them, only that she is experiencing them. As for her explaining things, it was
    a less to do about what/why she was doing things, and more of Telling Sarge that
    with all that she had been up to would (under normal circumstances) land her in
    a ton of hot water. :p

    @Some Guy I can see that. Though as you know I write of the cuff, rather than from
    an outline. Unfortunately it is getting harder to drag it all together and end the whole
    story. Mainly cause I have to consider the remaining bits carefully to avoid being like
    every other action story in either book or cinematic format. The hard part is knowing
    how they would/should react given their current situations. #PantserProblems. :p

    Thanks to both of you for your thoughts. :)
      Some Guy and Mark Burton like this.
  4. ThunderAngel
    I'm a fellow pantser; had to get SG to explain that to me awhile back, lol. :)

    In my current fictional memoir, the main character is in disguise after he escapes Romania. While on board an ocean liner, he encounters an American spy who is also escaping to America, and they end up pretending to be together to throw off the Romanian operatives and Russian assassins who are also on board looking for them. The spy is very conventional while the main character is very bohemian, so there is a bit of drama between them at first because of their differences.

    What they don't realize is that a cosmic horror is on board for a very dark and perverse reason, and their confrontation with it will cause them both to realize how close they became in so short a time.

    The story has humor, sadness, joy, suspense, horror, and tragedy; I wanted it to have a broad range of emotions to show the complexity of the characters.
      Cave Troll likes this.
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