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1. Body Language: How close is too close?

Cuddling, kissing, and hugging are often signs of affection. They could be signs of aggression if the character receiving the affection doesn't want it.

There are situations in which a character must control involuntary responses, especially if Dick is a spy, a cop, or pretending to be someone he isn’t. If faced with an angry mugger or screaming toddler, Dick's initial primordial response might be recoil. His body might tense to strike. If it is a mugger, he lets the punch fly, unless the mugger is holding a gun pointed at his head. If it is a toddler, Dick overrides the urge to strike and deals with it another way, unless he has poor self-control or the child is demon-possessed.


Every character has a different idea of how close is close enough when speaking to other people. We call it personal space. It's uncomfortable when someone stands too close. It is crossing a psychological boundary.

Some characters are touchy-feely types. An extrovert is more likely to be a hands-on kind of guy. An introvert hates being touched by people he doesn't know very well. A character who has been abused may not want anyone to touch him, no matter the reason, loving or otherwise.

Some families and cultures are big on physical displays of affection, others aren't. A character might hug every one he has ever met upon seeing them again. Others prefer a handshake or a bow. The reasons can be personality, culture, or life experience.

Touch denotes a degree of intimacy. Someone touching Dick's shoulder could mean multiple things: desire, anger, or compassion. Little kids touch more than adults. A toddler is not self-conscious about where his hands land or where his head rests. The elderly can crave touch as much as toddlers. It may be decades since someone has hugged them or held their hand.

Jane might not mind being touched by a lover or best friend. She might object to being handled by a stranger at a party. Friends and family touch Jane to greet her, tease her, get her attention, help her, or hinder her. How comfortable she is with them makes a difference in how well she tolerates it.

Jane may normally love being touched by her husband until she is angry with him. How your character feels affects how she processes the touch and the person touching her.

There are times when someone we don't know very well needs to touch us: massage therapists, hairdressers, doctors, nurses, medical personnel, rescue personnel, etc. A teacher may have to touch a child to direct him. A guard may have to touch Jane to direct her. It may make the character very uncomfortable. Children involved in sports are used to being tackled, patted, or punched by teammates. Others aren't.

Characters that are deceptive, don't like themselves, or are ashamed of something may avoid touch. They are uncomfortable when someone approaches them, pats them on the back, or moves in for a hug. Pedophiles touch inappropriately.

When a person touches Jane and it feels off, it sends a frisson of alarm through her system. Depending on the circumstances, Jane may subconsciously recoil, but consciously blow it off and make excuses for it. However, her subconscious remains on high alert until the danger has passed.

When describing touch in your fiction, make sure it is appropriate for the circumstances.

Make sure you tell the reader how the character feels about being touched. Is it a good thing or a bad thing?

What kind of caress, hug, or handshake was it?

Is Jane’s instinctive response to pull away when she knows she has to endure the hug?

These small conflicts illustrate character, reveal relationships, and make characters very uncomfortable at scene level.

Touch ignites an involuntary response, followed by a voluntary response, followed by a recovery. Illustrate the beats during critical encounters. The how and why are important. Was the touch appropriate or inappropriate? Tolerated or defended? Welcome or unwelcome?

Next we will discuss facial expressions.

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2. Why Do You Write?

"If you would not be forgotten as soon as
you are dead, either write things worth
reading or do things worth writing."

Thus wrote Benjamin Franklin in what seems to have been a reflective moment. How could those who lived in Franklin's time know just how their actions (and the way those actions were recorded) would change the future? How do any of us know how what we do now will make a difference?

Could Franklin's dictum have been advice given to young up and comers in his day to either do something that might change history or the live of others--or to write about it?

Maybe not. But his thought does raise an essential question for those of us engaged in the art of writing. If the fact that something notable was done is not recorded in some way, will it exist beyond the immediate memory of those who saw it done? Perhaps writing about such things is the literary equivalent of taking note of the proverbial tree falling in the forest.

The significance of the written word is that it becomes the de facto record of what has happened or might happen, whether in fact or only in the creative minds of human kind. So, pick up your pens, cuddle your keyboards and capture what is going on around you or in the lives of the tantilizing characters you create. Will you write poetry, a journal, an essay, an article or a book? Will it be fiction or the real McCoy? Will you entertain or incite? Will you satirize reality, giving life a funny face?

And, by the way, who is your audience? After all is said (whether done or not), will anyone read what you have so meticulously recorded? Will what you have written become its own version of the tree falling in the forest?

Perish the thought! Because thinking that thought may be enough to put an end to the writing. And that we can ill afford. So, take heart, my friend, and keep writing. Make every word count as a grand, bold, essential step forward. toward preserving who we are and what we have done.

Now, Maestro, please! The Crescendo!

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