FILTERS, WHAT ARE THEY, HOW TO AVOID THEM
By Jennifer Turner
Filters are the extraneous words we use when attributing a thought or action to a character. Here are a list of a few of the most common used:
He/She felt
He/She heard
He/She saw
He/She smelled
He/She tasted
and others, like:
He/She thought
He/She believed
He/She wondered
The latter three (and others like them) are really not as "bad" as the above 'sensory' list. As with any general writing 'rule' there are instances when a filter is actually needed, or works better than without it--such as there are sentences where the word "was" works better than any other word, although we're taught to avoid using the passive form of that word.
The reason filters are considered unnecessary or bad for the story, is because it keeps the writer from reaching a depth of character they might otherwise obtain. It can also jerk the reader out of the story and remind them they are reading, rather an experiencing the tale. For instance:
"She felt embarrassed by his lewd comments."
Could be written stronger, and give the character more depth if, you show this, rather than tell it: "She recoiled and averted her face, embarrassed by his lewd comments."
In the first instance, we're being told about her embarrassment, not how she behaves when embarrassed. Now, take another character, who perhaps becomes angry when she's embarrassed and the sentence would read like this:
"She clenched her fists and scowled, enraged he would embarrass her with such lewd comments."
By fixing the reader deeply into the character, there is no need to tell them she felt, or she saw, the writer simply needs to show what that characters feels and sees. As in a character who has a background in fashion design might look at a sunset and see:
"The glowing sun cast the landscape in vermillion and gold, a combination she could use in the fall designs."
Or another character, who is a romantic at heart, might see the same sight and think:
"The glowing sun cast the landscape in vermillion and gold, a lush and perfect backdrop for her date's handsome face.
Neither of the above would have quite the same impact if the writer used:
"She saw the glowing sun cast the landscape in vermillion and gold."
Working with you're characters, their experiences, and learning to show their thoughts rather than telling them, will enliven your work and carry the story to the next level.
Author of dozens of articles and award winning short stories, Jennifer Turner offers caring and
concise critiques for aspiring authors without the high cost of big business editorial services at,
ROTO-WRITER CRITIQUE SERVICE
http://jturner.00books.com/index.html
