When it comes to watching acting, I suppose all of us have our personal critical benchmarks. At least, that's how I explain to myself why Awix is so fond of Mr Jason Statham. Some pay attention to diction, others to body language. Me, I judge actors by the way they handle their coffee cups.

If you think for a moment, you'll know what I mean. A lot of US TV, at any rate, takes place outdoors in an urban setting. People are forever buying coffee in those Greek-patterned cups. They chat as they sit, stand, or stroll along, manipulating their morning coffee.

The problem is, there's nothing in the cup. OSHA¹ regulations. Coffee could be dangerous while acting. Unfortunately, in the hands of a novice actor, an empty coffee cup is patently empty. You can tell that it has no weight. It takes a really good actor to convince me that there's coffee in that cup. Some can, some can't.

The trick, of course, is to practice feeling the weight of the cup in your hand. That, and not to move too fast.

I can see you rolling your eyes. 'What does that have to do with writing?' you ask. And well you might. Let me tell you what I learn from the coffee cup issue.

Feel It, Describe It

Have you ever been in the position of trying to write a Christmas story in July? Then you'll see what I mean. You're going to want atmosphere. How are you going to write about sleigh bells jingling, when all you're hearing is the ice cream truck? Worse, it's 98 in the shade out there.

• Step 1: Close the curtains.
• Step 2: Turn up the a/c. Try for arctic.
• Step 3: Stick your feet in a bucket of ice water. Suffer for your art.
• Step 4: Watch carollers on Youtube.

See? Now you're ready for the hard part: making your reader feel the season. Or the weather. Or the sentiment. Imagine yourself into the situation: It's Christmas. What do you hear? What do you see? What do you feel? What's your next move?

Now, tell about it, with appropriate detail. Give that coffee cup some weight.

Crossing the Gobi by Camel

This sort of exercise is good for us all. Not just when we're writing out of season, although that happens a lot. We also have to write about things we ourselves may not experience, or about hopes, fears, and attitudes we may not share.

Suppose I've got a character. He's a nomad. He's travelling across the Gobi desert by camel. Now me, I've been on a camel exactly once. For about 15 minutes, or however long the people at the zoo would let me for my two dollars. It was fun, though a bit smelly. How do I translate my limited camel-riding experience into a full-blown you-are-there?

1. I do some research. I need to know: what kinds of nomads cross the Gobi? What language do they speak? Can I pick up a few camel-related words to make this more realistic?
2. I imagine the experience. I need to decide: Do I travel at night? What do I need to bring with me? How long does this take? What would it feel like to ride a camel every day, all day? How sore would I get, and where? What would I do about this, besides curse? Is there a folk remedy for saddle sores?
3. I need to make the reader feel all this. What details do I tell? What do I leave to the imagination? What dangers do I face?

What sorts of sources can we use to help us cross the Gobi? Well, there's Google Maps, I guess. But you could look on Youtube to find a video like this one. Okay, now you've seen it, you don't want to go. Send your reader there instead. Just make sure he can feel that camel under him.

Happy writing! And may all your coffee cups be hot and full.

Writing Right with Dmitri Archive

Dmitri Gheorgheni

22.07.13 Front Page

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