Writing Like an Actor: Making the Page Your Stage by Theo ZuckerI often describe what I do as “storytelling.” It seems easier than explaining my roundabout path through novel writing, acting, playwriting, back to novel writing, back to acting, and finally to where I am now: at some in-between place where genre and medium matter less and meaningful storytelling matters most. Acting and writing have many similarities: both rely a lot on emotional memory, both benefit from an engaged audience, and both often seek to stir an emotional response in that audience. However, despite my best efforts, I’ve found that writing tends to be a much more solitary experience. This is difficult for me sometimes, as I’m so drawn to the communal aspect of theatre, with its intimate ensemble dynamics and subtle adjustments that ripple through the whole cast and crew. No matter how many times I’m told to just “write for myself,” the truth is it’s an art that often feels thankless, and at times even dull. So, without the immediate feedback of a director or fellow cast-mate to reflect on my work, I’ve developed a technique I like to call emotional imagination — in other words, “writing like an actor.” I developed this method when I was writing plays, as a way to ensure consistency in the characters and their storylines. Today, the majority of my writing lies within the realm of prose fiction, and I believe this technique will be most helpful for writers of similar genres. However, I think it could be applied to poetry as well, especially poetry with narrative elements. As storytellers, we know that a solid emotional arc is key. It helps the audience get engaged and stay engaged, and it allows us to track the narrative we’re telling. For many of us, our stories boil down to their emotional hearts. But I’ve found it can be difficult to hold a whole story in my mind at once — especially one the length of a novel. So, how do you ensure that you — just one person sitting at a desk, writing a story — are creating a tale full of the rich interior lives of all your characters? This is where emotional imagination comes in. Step One: Jot down a list of all the characters whose emotional arcs you’d like to track. Start with the major players — you can always get more granular with supporting roles later. Choose which character you’d like to start with, and keep the pen and paper nearby to take notes as you go through the rest of the exercise. Step Two: Find a comfortable seat and close your eyes. I enjoy putting on ambient music, soundscapes, or even just songs that remind me of the character I’m working with. Step Three: Now it’s time to use your imagination! This exercise is meant to show you the whole scope of a character’s journey — which means the starting point is up to you. You can begin from their first appearance in the story, or go further back in their life. When does the story start for them? The goal is to put yourself in the character’s shoes and really feel what they feel. To me, this looks and feels like inserting myself into snapshots of their scenes and interactions. Track their trajectory from start to finish. Ask yourself: Where are the major emotional beats? Where are the turning points? Who is this person at the start, and how have they changed by the end? (It’s worth acknowledging that characters sometimes live through traumatic experiences. As any theatre director worth your time will tell you: remember to take care of yourself during this process and tap out if you need to. No writing exercise is worth dealing yourself emotional harm!) Once you’ve finished your journey through a character’s emotional arc, take notes. Do any of their choices throughout the story now feel inconsistent or “out of character?” If so, how could they respond that would be more true to who they are in your emotional imagination? Repeat this process for as many characters as you like. Making changes based on your discoveries during the exercise can feel intimidating. For example, if one character reacts to an event differently than what you’ve already written…wouldn’t that change the whole plot? In this situation, ask yourself: What needs to change — the character’s motivations, their personal traits, or the plot itself? The answer to this can help you pick apart the problem, and should align with what feels most honest within the story you’re trying to tell. So much of writing is about processing and articulating emotion. As a performer, this “acting out” stories comes naturally to me — but I’ve found that writers are usually very empathetic people, whether they’re actors or not. When you’ve followed the emotional thread of each major character, you’ll find that many issues unravel and the pieces fall into place. Emotional imagination can teach you a lot about your characters, your story, and maybe even yourself. Happy writing! If you try this exercise, I’d love to hear about your experience!
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