Most things are worth a second glance, whether it’s a person, a place or an object. Looking again can reveal hidden beauty, or unexpected faults – and as I type this I realise how much this applies to re-reading one’s writing! I’m in the process of editing a manuscript and every time I open it I find another mistake, or I find a piece of dialogue or imagery that makes me think “did I really write that?” (and not always in horror.)
Oops, that’s was a very early diversion down tangent alley. I’ll admit now that this blog post started as an excuse to post two photos of the same spot but it evolved in my mind into being more about how characters in our writing see things on a second glance, or more specifically, how they have interpreted phrases that can have a completely different meaning years later when more information, or life, has been accrued.
These two phots were taken at Dolgoch Falls in Wales, the first in March and the second in August 4 years later. It wasn’t a conscious duplication, just a perfect spot to capture the twisted ancient woodland that enthralled me the first time I visited – to me, those moss covered trunks and corkscrew branches reaching up from a deep ravine full of thundering water are the perfect embodiment of all secret woodlands described in books like the Hobbit, the Narnia Chronicles, Arthurian Legend and of course Susan Cooper whose Grey King is largely set just a few miles from Dolgoch.
Apart from being shocked by the weird coincidence of standing in the same spot over four years later, what else do those pictures make me – or you – think? I long to capture the scene in Autumn, or in snow. They make me want to go back and explore the gorge and the river further, away from the easily marked footpaths; but I also want to just sit in that glade and look closer at the ivy and holly clad trees, I want to see if the grass is as soft as it looks, if some of those fallen branches are still there, or have they rotted back into the earth? And just which picture do I prefer? Logically the autumn one has more colour and depth and life, but it was the stark silvery grey silhouettes of the trees that first captured me and which draw me now more strongly.
Obviously the second glance, or the reassessing look is a common trope in romance – not just the cliché of how beautiful the spinster looks when she takes off her glasses and lets down her hair. I’m thinking of the fish out of water scene that often occurs, or the “this is going to be uncomfortable but actually we’re really turned on by the end of the evening” scene. How often do characters have to attend a ball or dress function, or a family meal with everyone on best behaviour? Or the boss and secretary end up in a casual situation and realise how different each looks out of the usual business suit. These are all familiar scenes or plots because it is often exactly at such moments that we see someone we had a fixed view of in a completely different light and have to reappraise our opinion of them; not just the surface looks, but a deeper understanding of their character. Modern romances are not simple enough to fall into a “clothes make the man/woman” cliché but a change of scene or situation can tell us a lot about both the character being seen in a new light, and the one doing the seeing.
I’ve blogged before with pictures of the same location in different seasons, that time I was trying to explore the way seemingly inconsequential memories can add depth to a character, how backstory can be given in fleeting glimpses rather than an info dump, or how the different things two characters see in a room can tell us about their background and expectations. Where I was planning to go this time was to reflect on my current manuscript where both protagonist have had their lives shaped by a key phrase – and by the end of the book they have come to see, or rather to hear, the words differently.
This is of course something we writers try to do a lot, straightforward seeming conversations can be imbued with subtext for the other characters or for the reader who may already be party to a secret that one of the protagonists doesn’t yet know. I personally love it when a secret or something from the past is revealed and I go back to an earlier scene to reread it in the light of the new information and see a character’s reactions in a whole new light. It is again a crucial tool in giving insight into plot, conflict or motivation.
I hope I handle it less clunkily than I am trying to explain it now. In my manuscript learning more about the background to the situation, or the people who said the words that shaped their lives is only the start of my character’s dilemma. How do they take that knowledge? If someone else’s words have been so important in shaping their lives, how will they now reshape themselves? A second glance, or fresh light on a familiar view can be refreshing, or terrifying if it reveals aspects we had no idea were there. Balancing the expected with the new, the known with the subtly altered is tricky enough in everyday life, let alone when it is with characters we have created and whose worlds we are turning upside down. But it is exhilarating and literally life changing for them.
Those last two pictures were taken on the same day, I came across them last week when I was looking for photos to illustrate the precise shade of green that I had been coughing up for weeks. I remember that mossy wall deep in Coed y Brenin forest and how the stones looked as soft and inviting as pillows. These were simply taken with different exposures or with and without flash, but they show two completely different scenes. In one the wall is as emerald as I remember it and the rest of the wood could be dressed in springtime. In the other the wall no longer catches your eye, it is the autumnal golds and russets that leap out at you, and the fairylike sparkles of rain caught in the camera’s glare. Each tells a different story, which would you rather read?