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It opens the work up to multiple interpretations. When done well, it enables the reader to engage with the characters and themes at a level that doesn’t feel didactic (on the author’s part) or biased (on the reader’s part). In fact, I’d argue that using cultures of inanimate objects to grapple with these types of issues can enrich reader participation beyond more expected approaches. Just like writing human, alien, or animal characters, the conflicts between and/or within the cultures of your objects will flesh out the world and ratchet up the emotional impact. The objects populating your story might have hierarchies or other social structures to navigate. Your object-as-character may be unencumbered by the usual indicators of socioeconomic status, ethnicity, etc.-at least not instantly recognizable to the reader-but you can still explore culture clash, class systems, and castes. Your characters’ naming conventions, slang, and jargon can also further the worldbuilding while keeping it relatable to the reader, or at the very least understandable.Įssentially, personification boils down to creating culture(s), which brings us to the second point above. For example, a narrator made of porcelain might liken emotional pain to physical breakage, whereas a scarecrow might refer to breaking apart more as a metaphor for loss of control.
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Employ metaphors filtered through their perspective. Talking? Telepathy? Solely body language? Use their language to describe the world where you can, without losing the reader. You must also determine the objects’ means of communication. My story “The Menagerie Machine,” about carousel steeds, touches on how some animals bob up and down while others stick fast to the wooden base. For a film example of mobility constraints, see the air conditioner scene in The Brave Little Toaster. It’s rather like creating the rules of a magic system, and it’s crucial not only for narrative consistency but also for the potential for deeper meaning (as we’ll get to in point #2). To the first point, in order to write objects as characters, you’ll need to figure out the basics such as how they move-IF they move-and determine any constraints around that.
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Your characters and story can function as an analogy for the real world, but-importantly-the reader may reserve judgment without having human markers of status to refer to when they first encounter your character.It challenges you as a writer while empowering you to create memorable characters and worlds, since you can explore plots and settings that humans don’t neatly fit into, either spatially or temporally.So why take on a non-human POV? What’s the appeal? Let’s consider the following points: Elizabeth Beechwood has written from the perspective of mountains in the stories “Stone Dove” and “Yes, Yes, Yes, We Remember.” Yoachim has written rich, recent examples in stories such as “Carnival Nine,” “The Carnival Was Eaten, All Except the Clown,” and “On the Pages of a Sketchbook Universe” (wind-up dolls, confections, and illustrations, respectively). Hoffmann’s The Nutcracker and the Mouse King use toys. Frank Baum’s The Wonderful Wizard of Oz has the scarecrow, tin man, trees, and porcelain figurines both Hans Christian Andersen’s “The Steadfast Tin Soldier” and E. For example, Lewis Carroll’s Wonderland books feature talking flowers, playing cards, and chess pieces L.
#Sonnet examples by students about an inanimate object movie#
Yes, breathing life into items and turning them into characters can stimulate both writer and reader in ways that typical, expected, human characters cannot.įilms such as the Toy Story and LEGO Movie series may leap to mind, but literature boasts a rich history of objects as characters too. Looking for unconventional, potentially striking ways to explore what it means to be human in your writing? It may seem counterintuitive, but personification-ascribing human qualities to inanimate objects-can open new avenues to plumb the depths of human experience. Not-so-still Life: Writing from an Inanimate Object’s Point of View SFWA Middle Grade and Young Adult Writers.Operating Policies and Procedures (OPPM).