Tag: stanislavski

stanislavski

Substitution For Difficult Scenes

I write domestic suspense. The bad people in my books are philanderers and emotional abusers, financial manipulators, unreliable narrators with horrific back stories and, in general, people who play fast and loose with the rules. As a helicopter mom of two young kids, I’m kind of a stickler for rules. So how do I write these characters?  One way is through emotional substitution. I try to get into the feelings driving a character’s actions by thinking of a time that I have felt similarly, albeit not to the same degree. Though I can’t relate to the anger my character may be experiencing stalking her husband’s girlfriend, I have had times when I’ve felt betrayed and angry in my life. I overlay these experiences to write my character’s emotions in a believable way.  The danger of not using such substitution, I think, is that characters’ actions can read false. I end up writing a lot of   “he nodded” and “she grimaced” in scenes where the person would more likely be either standing dumbfounded or attempting a smile to cover her disgust. It’s too easy to forget how I and other people actually behave in difficult situations without connecting to how I have actually behaved in my own life […]

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Method Writing: Getting Into Character

To play Holocaust survivor Wladyslaw Szpilman in the The Pianist, actor Adrien Brody learned how to play piano, practicing for four hours a day. He also gave up his apartment, sold his car and drifted around Europe so that he could identify with Szpilman’s isolation.  To write a memorable character, I think authors have to be just as willing to lose themselves in their protagonists. A main character’s actions and words, the way he or she handles problems and the thoughts that run through his or her head, can’t be a thinly veiled version of the author’s own responses and musings. Authors must become “method” writers.  The Method was developed by famous acting teacher Constantin Stanislavski. It’s a way of getting into character that involves an actor doing things in his own life to allow greater identification with a part. Actors playing dancers learn to dance. Charlize Theron gained a bunch of weight and changed her appearance for Monster to get into the head of her hard living, serial killer character. Nicholas Cage walked around the street in facial bandages to understand how isolating those kind of wounds can be to get into his wounded veteran character in Birdy. I tried to employ the method with my first book, […]

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