All artists have a distinctive style, but have you ever thought about how they acquired it? I’ve worked alongside character sculptors for many years and noticed that whether they sculpt animals, monsters, or humans, each creation resembles them to some degree. It’s not a conscious effort but rather a subconsciously learned habit from looking in the mirror every day and seeing the same familiar features staring back.
For writers, it’s not so different. There’s no way to turn off the constant stream of thoughts, emotions, ideas, and annoying jingles swirling around in the figurative mirror of our minds. So, just like those visual artists, our writing is imbued with “features” of ourselves.
By “features” I don’t mean in the sense of “write what you know.” Anything you create will reflect your personality and interests. But there are other “features”—the subconscious ones—that you don’t intend to include.
While you inform how your characters think and act, this doesn’t mean they should think and act how you would in a given situation, or that your opinion of them should affect their identities. In my current project, my protagonist has two love interests vying for her attention. About halfway through my first draft, I realized that not only did my critique partners dislike the second love interest, but so did I (and so did my protagonist)! Far from making him compelling and attractive, I made him deplorable! His actions and dialogue completely discounted his strengths. Upon reflection, this was because the first love interest was someone I would want to be with. So when I was knee deep in the writing trenches, the mirror in my head had a thing or two to contribute to the second love interest’s character. Luckily, with a few dialogue tweaks and sequences where he could be more active, I was able to redeem him.
This is just one example of how the internal mirror can take over. It can also manifest in dialogue, plot, or theme. And although sometimes it will enhance your project, it won’t always. So be aware of the “features” you pour into your writing and then decide if they should stay or go. Here’s how:
- Write uncensored. Especially in a first draft, it can be hard to discern where you’re giving away too much information and where the integrity of certain characters falls short. So get the first draft out with no regard for the mirror.
- Identify where the mirror takes over. Some instances you’ll notice as you’re writing and others upon immediate review, but certain cases—the ones that have infiltrated an entire character arc or thematic message—you’ll have a hard time identifying. So start with dialogue and plot revelations, and then look at the larger picture of arcs and themes.
- Evaluate what works—and what doesn’t. Don’t be afraid to depart from what you know and love. Remember that removing the mirror’s influence doesn’t mean the writing’s gone forever; you can always relocate it to your ‘killed darlings’ document.
- Let others read your work. While they may not know you well enough to recognize where the internal mirror takes over, their critique may show you where your story is suffering. Not to mention, they could help you solve a problem you may not have noticed on your own.
All that being said, this is your story—of course, your “features” will be reflected within! So allow the internal mirror to take over once in a while, and then evaluate if you need to fog it up, shatter it, or give it a good polish.
PHOTO CREDIT: https://unsplash.com/search/mirror?photo=aUYmEjU6mvY