From Writer Unboxed:
Some of the most important moments in our lives could not have been captured on video. They happened inside. Those moments define us even more, perhaps, than life’s observable milestones: graduations, marriages, births, trophies, moving, funerals.
I’m talking about the moments that define who we are and whom we are becoming: realizations, revelations, decisions, turning points. When we relish our triumphs or recognize our follies we, for a moment, pin ourselves to a cork board. When for a split second we see ourselves objectively, as others must, our experience of our own being is stone solid. We know at those moments exactly who we are.
When we affirm a conviction we become even more ourselves. On the other hand, when we change our minds we become someone different. The self is not static. It’s dynamic, meaning changing. Our inner shifts are steps in an journey without end: our search for meaning and purpose, our quest for ourselves.
Call it the human condition but whatever it is, we humans feel a strong need to capture, mark and name those critical moments in our experience. We journal. We think in questions and expect that there will be answers. We hunt for words to express that for which there are no precise terms.
Moments of profound self-awareness are different for everyone, too. That is as true for fictional characters as it is for our corporal selves. To bring a character alive on the page, then, requires finding words to capture immaterial inner states. When something big happens wholly inside, how do you get that across?
Approaches to the Invisible and Inchoate
Despite the difficulty, writers have for centuries found ways to pin down the wispy fog of self-realization. That is especially evident when an effective story brings a character to what is often called the mirror moment, middle moment or dark moment. It is not exactly the moment of all-is-lost—that’s a step late in a plot—but rather the time when a character is sunk in despair, hollow inside, lost in the dark with no lantern or map.
Rene Denfeld’s The Enchanted (2014) is a dreamy, magical novel set in a nowhere place in a nowhere time (although there are lightbulbs). Denfeld’s protagonist is known only as “the lady”, who investigates prisoners on death row. As the novel opens the lady visits a prisoner called York, who wants to die. Finding the lady kind and non-judgmental, York opens up to her:
York talks and talks until his words sound like poetry even to him. He tells her why he has volunteered to die. “It isn’t just that it is torture,” he says, “being locked in a cage. It’s never being allowed to touch anyone or go outside or breathe fresh air. I’d like to feel the sun again just once.”
Her eyes show a sudden distance. What he said is true, but it isn’t true enough.
“Okay. I’m tired of being meaningless,” he admits. “I’m done, okay?”
He talks about the confused mess inside of him. He says everyone thinks sociopaths are super-smart criminals, but he is just a messed-up guy who doesn’t know why he does what he does. Except there is like a switch in him, and when the switch flips, he cannot stop.
“If it made sense, I would tell you,” he says. “When you kill people, it is supposed to make sense. But it doesn’t. It never does.”
The lady nods. She understands.
With each secret that he tells her, her eyes get darker and more satisfied…The look in her eyes is of a person who drank from the end of a gun barrel and found it delicious. Her eyes are filled with a strange sort of wondrous sadness, as if marveling at all the beauty and pain in the world.
A couple of things to note about York’s moment of bleak despair: First, it doesn’t come in the middle. It’s only a few pages into the novel. Second, he is given a mirror into which to look, which is the lady. Third, what he sees in that mirror isn’t what’s squatting inside him, it’s what isn’t there. No meaning. No sense. He doesn’t understand why he has killed.
The lady in Denfeld’s novel is, like the author, a death penalty investigator. The lady delves into York’s life and, naturally, her own. Over the course of the novel, the lady comes to understand York, learns the horror inflicted on him and his mother, and discovers meaning in what, for him, is his meaninglessness.
The mirror moment, in Denfeld’s novel serves as motivation. The lady seeks to fill an empty void. There is in that opening darkness a sense that there has to be light around somewhere, somehow. The very fact that early on York can express his hopelessness—that he is conscious of his condition—allows us to hope that the lady can succeed.
Thus, the “dark” moment is not only about darkness but about knowing that there is nevertheless light, even if that light isn’t present right now. A lost character isn’t completely lost, it’s just that such a character just doesn’t yet see a path forward and maybe despairs of ever finding one. But knowing what should be there is, in a way, an affirmation that what’s lacking nevertheless is able to be found.
Empty isn’t empty, then, it’s rather just the feeling that comes with waiting—waiting when you don’t even know what you’re waiting for.
Another approach to the dark moment can be through analogy. Nobel Prize winner Patrick Modiano’s Prix Goncourt-winning novel Missing Person (1978—translated Daniel Weissbort) is a detective-with-lost-memory novel about Guy Roland, who lost his past during the war. He doesn’t know why. Having inherited a detective agency from his retired boss, Hutte, Guy follows the few slender and ambiguous clues to his identity in the agency’s files.
At a certain point, for Guy, the contradictory hints about who he might be becomes overwhelming. Maybe the truth about himself will never be known. For some people, it never is:
Strange people. The kind that leave the merest blur behind them, soon vanished. Hutte and I often used to talk about these traceless beings. They spring up out of nothing one fine day and return there, having sparked little. Beauty queens. Gigolos. Butterflies. Most of them, even when alive, had no more substance than steam which will never condense. Hutte, for instance, used to quote the case of a fellow he called “the beach man.” This man had spend forty years of his life on beaches or by the sides of swimming pools, chatting pleasantly with summer visitors and rich idlers. He is to be seen, in his bathing costume, in the corners and backgrounds of thousands of holiday snaps, among groups of happy people, but no one knew his name and why he was there. And no one noticed when one day he vanished from the photographs. I did not dare tell Hutte, but I felt that “the beach man” was myself. Though it would not have surprised him if I had confessed it. Hutte was always saying that, in the end, we were all beach men” and that “the sand”—I am quoting his own words”—keeps the traces of our footsteps only a few moments.”
Modiano finds in the analogy of “the beach man” an apt expression of how his protagonist Guy Roland feels. A man is present—the evidence is there in holiday photos—but is unknown. He’s real but at the same time it’s as if he doesn’t exist. If you’ve ever looked at old family photos, say of a wedding, and wondered who is that?—and who hasn’t wondered such a thing—then you have briefly felt the bewilderment of Modiano’s existential hero.
Writers of the pulp noir period were especially good at using atmosphere to evoke alienation, emptiness and despair. Their method was to conjure a dread state by suggestion. Everything in the environment points to the inner feeling but the inner feeling itself isn’t named. In a black-and-white world full of silhouettes and shadows, we sense what’s there but not fully seen. We feel bleak because, heck, the place we’re in is bleak.
Link to the rest at Writer Unboxed
5 thoughts on “Writing Elusive Inner Moments”
A timely article for me. I’m writing #3 of a series right now, but out of the blue the whole mid-point crisis of #5 has materialized in my head (and onto paper), that is, the hero’s disaster, even if the larger context isn’t known yet (and doesn’t really matter).
The hero vanishes under strange and sinister circumstances, his associates wonder what has happened, and when he reappears a few days later, we don’t get his POV for quite some time as the anxiety ramps up. We see the result from the perspective of rescuers, family, associates, and so forth. He tells his audience something about what occurred, but avoids going into too much detail. Only gradually will the reader fully understand the event, as the hero muses destructively on the incident while he tries to grapple with the consequences. He cannot possibly reconnect with his life until he deals with all of this, and so he’s left feeling lost and isolated, just as the original event left him lost: rescued but not healed.
I’ve never tried deferring the POV of the hero for an extended period like that before for this sort of effect (delaying the readers’ knowledge), and yet it just seemed the right thing to do as I fabulated the story-fragment. Looking at it now, I can see how the same sort of thing would suit, say, a crisis such as a rape: just the bare facts, then the implications, then the “official” narrative, then the inner knowledge and turmoil, and the doubt of being able to get past it. For my hero, that is the real crisis he has to survive, not the incident itself, and it’s going to take him a while to understand that and find a path out.
Writing fiction is always a joy — understanding human narratives is a constant delight, and you’re forced into it by these sorts of fictional situations. Whenever I write a scene that gives me shivers, I find it still does so, years later. And that’s the best that I can do.
What you are saying is haunting me.
Why do I see a Story where the people surrounding the character devour each other as the reason he vanished is revealed.
I can’t tell if the character is a “good guy” getting even or a “bad guy” taking out other bad guys.
BTW, Maass is always insightful, often despite himself, and often on things he didn’t realize he was revealing about himself.
 The Count of Monte Cristo
 And then there Were None
Got up with a nasty Fugue about the Story. Yikes!
I created a Story folder and started adding notes so that the intensity would reduce. Now that it’s in writing I can put some distance between myself and the Story.
It turns out that the Story is neither “1” nor “2”, it falls in between.
Thanks for the Image/Seed.
Terrific! That makes me happy!
I had the same problem — my seed began with a dream, the kind where you are in the middle of an ordinary scene with people moving about but they don’t see you and you can’t interact with them, and it scares you [lost, alone], until suddenly one of them looks straight at you and sees you, and begins to speak (which is less scary — if he can see you, you must be real).
The more I play with the Image/Seed the more dangerous it becomes. I found the “Funny”.
The Stress of Her Regard
This is where the Story falls “in between” “1” or “2”. Yikes!
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