Chapter 2
Communicating through symbols
- Draft 1

Copyright © 2004 Dorian Scott Cole

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Communicating through symbols

If someone throws a rock at you, or gives you the finger, or bows in front of you, there is little doubt what the person basically means. We understand gestures. But can we communicate effectively through symbols?

Attempts have been made for years to try and interpret art, modern art, and body language, often to no avail. These things don't have consistent interpretations. People in business are infamous for sending messages. The messages fall on misunderstanding ears. The interpretation is in the eyes of the presenter and the beholder, and often there is no intersection.

Even words fail us - people often misinterpret e-mail messages, and even the spoken word. The speaker meant one thing, but the hearer interpreted it as something else. If even words (symbols) fail us, is there any hope for using symbols in stories? Much, much more than people think.

How is it possible to communicate dramatic action through symbols? First, because physical actions are a continuum that is witnessed in the context of all the dramatic action. The actions have solid interpretive context. We know what is important to the character from the preceding parts of the story, and we also have some indication how the character might react.

Second, we can communicate dramatic action through symbols because we experience physical action from everyone we meet, on a daily basis from birth, so we all have a well-stocked set of examples for reference.

Physical action can symbolize a character's frame of mind, tell us the extent of his feelings, provide a meaningful reference (as in "my love is bigger than those mountains"), and indicate how far he is willing to go (would he earn the money, trick someone out of the money, steal the money, rob them with a gun, injure or kill them?).

Physical action portrays the conflict. Progressive physical action, together with dialogue, presents the dramatic action, raising the intensity as the story unfolds.

The power of symbols

Most physical action reveals the complex inner state of a character. Psychological dramas are the most difficult of all stories to portray until you begin to think of physical actions that will reveal those inner mental states.

In the following two examples, the inner state of the character is revealed through physical action.

Example 1: John is disappointed because he lost a yacht race. He keeps a cheery face and doesn't show his disappointment to those around him, but after they move away, he might communicate his disappointment to the audience with the following actions:

1. Looks crestfallen.
2. Takes his race number and slowly tears it in half.
3. Looks at a "For Sale" sign for his yacht.
4. Sits in his yacht seat, braced with a bottle of liquor.

Note that the actions are physical, but the writer has to put words on paper. A journalist might say that, "John's crestfallen appearance, although hidden from the world, said that he was a badly disappointed racer." A scriptwriter might write, "John turns back to his boat, crestfallen, broken in spirit." A novel writer might write, "As the crowd faded away, John's smile faded. As he faced his boat, he hung his head in shame and disappointment, thinking he would never race again."

The writer describes the action that communicates the character's inner feelings.

Each of the four actions in the list have slightly different meanings and ramifications. Some just mean that John is disappointed. Some indicate that he is giving up racing. Some, like eyeing a "For Sale" sign, but not using it, indicate that he is very disappointed but not giving up. The writer has to weigh each action, and decide which one communicates the character's inner state most accurately.

Example 2: Wilson is torn over his love for his daughter, and a woman who wants him to move to her country. Wilson shows his indecision by:

1. Looking at their pictures, alternating from one to the other.
2. Stopping at a travel agency, viewing a poster for the foreign country, and then viewing a wallet shot of his daughter. He sits in his car, not going in the agency, but not leaving.
3. Arriving at an airline gate, watching everyone board, hearing the final call, but not moving.
4. Kissing his daughter goodbye and turning to the woman waiting in the car. As he goes down the steps, his steps become slower, faltering, and he comes to a stop and sits down and weeps.

In this example, Wilson's actions symbolize that he is torn, and has not made a decision.

Increasing dramatic tension

In most stories, there is steadily increasing tension over the conflict as the protagonist faces increasingly difficult obstacles to his goal. Tension is an internal state that isn't communicated to the audience unless it is symbolized by the "stakes" and the character's actions. Stakes equate to risk: more is at stake, or the effort needed to win is greater. So the character risks more and begins to "sweat."

In the following example, note how the action symbols communicate the degree of tension:

Angela wants the job of office coordinator. Her first action is to look like a well organized person, trying to fit the office coordinator role: she straightens her office cubicle and she cleans up a pile of waiting requests.

Next Angela tries to get the inside track. She arranges for her supervisor to enter and see her cubicle, and then asks him how to get the job. He gives her very little information.

The job of office coordinator suddenly becomes available. Angela dresses more professionally and goes to see her supervisor. She learns that the job has already been filled by seniority. She returns to her cubicle, messes it up, and throws waiting requests into the waste basket.

Angela reads the Want Ad section of the paper. She scans the columns, doesn't stop on any ads, and in dismay closes the paper and puts it in the waste basket. She pulls the requests from the waste basket.

Another day, Angela sees the new coordinator and her supervisor laughing, and he compliments her good work in front of others. Angela looks on jealously, and then says to a coworker, "Bitch. The only magic she has is in her pants."

At home, Angela opens a late notice on her rent (stakes rising). She lets it fall out of her hands onto her desk and turns away from it.

At work, Angela sees her supervisor alone in the shipping room. She undoes her top blouse button (riskier behavior), enters the room, and pretends to check the postage on a table. "Just looking for better rates," she says. "Save the company a little money."

Angela's supervisor acknowledges her and starts to move on. Angela says, "Look, I know how Marie works. You only see what she wants you to see. I can work rings around her." (Riskier behavior.)

Angela's supervisor replies, "She's doing well, Angela. Just do your job, and maybe... someday."

After he leaves, Angela buttons her blouse, and then bursts into tears.

Another day, Angela returns home and finds an eviction notice on her door. She crumples the notice and throws it into the trash. (Stakes raised.)

The following day at work, Angela goes to the executive offices and asks to see a manager. On seeing the manager, she tells him that she was the front-runner for the office coordinator position, and that Marie and the supervisor are having an affair, and she is sure Marie was stealing from the company. (Riskier behavior.)

Later in her cubicle, Angela receives a pink slip in the company mail.

In this little story, actions are used to symbolize the inner state of the character, and the degree of tension. We see Angela becoming increasingly desperate and willing to take greater risks as her financial troubles worsen.

Why not just focus on action? Having critiqued hundreds of stories, I know that even good writers... just don't focus on action. They revert to dialogue and the tension doesn't build. By asking, "What symbolic action will best portray the drama?" much better stories come to life.

Symbolic actions reveal the inner state of the character, indicate the intensity of motivation and feeling, and show what lengths the character is will to go to, to achieve his goal.

Exercises

The following quick exercises will let you not only show the character's inner state, but show increasing levels of tension through an entire story.

Exercise 1. Jesse and Sharon want to get married, but their parents don't like each other and won't approve of the marriage. They throw obstacles in the path of their marriage. Each obstacle is a symbolic action, getting bigger each time. As the stakes rise, Jesse and Sharon's reactions symbolize the rising intensity.

Fill in the symbolic actions:

Movement 1 - Introducing the conflict

Jesse and Sharon find out their parents disapprove. Each reacts (symbolic action) in the following way:
Jesse's mother:
Jesse's father:
Sharon's mother:
Sharon's father:
Jesse:
Sharon:

Movement 2 - obstacle 1

Jesse and Sharon decide to go ahead with marriage. Each parent puts an obstacle (symbolic action) in the way of their marriage:
Jesse's mother:
Jesse's father:
Sharon's mother:
Sharon's father:
Jesse reacts to this:
Sharon reacts to this:

Movement 3 - obstacle 2

Jesse and Sharon manage to overcome the first obstacle, so their parents react by putting a larger (raise stakes) obstacle in their path:
Jesse's mother:
Jesse's father:
Sharon's mother:
Sharon's father:
Jesse reacts to this:
Sharon reacts to this:

Movement 4 - obstacle 3

Jesse and Sharon manage to overcome the second obstacle, so their parents react by putting an even larger (raise stakes) obstacle in their path:
Jesse's mother:
Jesse's father:
Sharon's mother:
Sharon's father:
Jesse reacts to this:
Twist: Sharon doesn't react the same way as Jesse:

Movement 5 - Final battle - Climax and resolution

Things seem hopeless for Jesse and Sharon, especially with Sharon abandoning Jesse. One of them finds enough courage and inner strength to propel them forward. They fight their final battle and the conflict is resolved:
Jesse's mother - final obstacle:
Jesse's father - final obstacle:
Sharon's mother - final obstacle:
Sharon's father - final obstacle:
Jesse reacts to this:
Sharon reacts to this:

Congratulations! If you completed this exercise, you just successfully plotted a story. While creating story structure may not be your preferred way to compose a story, you now have a better sense of how composition can proceed successfully by using symbols to represent the action.

Exercise 2. Jill wants to be a minister in her religion. Her parents, friends, and religious rules are against her.

Fill in the symbolic actions:

Movement 1 - Introducing the conflict

Jill announces her desire to her work for her religious establishment, and gets shot down: Each reacts (symbolic action) in the following way:
Jill's religious leader:
Jill's spiritual companion:
Jill:

Movement 2 - Obstacle 1

Jill presses on, but her parents come out against her, putting obstacles in her path. Each reacts (symbolic action) in the following way:
Jill's mother:
Jill's father:
Jill:

Movement 3 - Obstacle 2

Jill's friends put obstacles in her path. Each reacts (symbolic action) in the following way:
Jill's friend:
Jill's group of friends:
Twist: Jill reacts by starting her own independent ministry.

Movement 4 - Obstacle 3

Jill's religious organization works against her, putting obstacles in her path. Each reacts (symbolic action) in the following way:
Jill's religious organization:
Jill's father:
Twist: Jill shuts down her independent ministry and decides to work elsewhere.

Movement 5 - Final battle - Climax and resolution

Everyone makes it impossible for her (to relocate?), putting obstacles in her path. Each reacts (symbolic action). Jill finds enough courage and inner strength to propel her forward through a final battle and the conflict is resolved:
Jill's mother:
Jill's father:
Jill's spiritual companion:
Jill's religious organization:
Jill's independent ministry:
Jill:

Congratulations again! If you completed this exercise, you just successfully plotted another story. Again, while creating story structure may not be your preferred way to compose a story, you now have a better sense of how composition can proceed successfully by using symbols to represent the action.

Exercise 3. Jason's town is under attack by a major industry that wants to put everone out of their work and homes to build a new industry.

Fill in the symbolic actions:

Movement 1 - Introducing the conflict

Jason finds out the industry plans and decides to oppose them: He reacts (symbolic action) in the following way:
Jason:

Movement 2 - Obstacle 1

The town leaders, fooled by the industry, support the industry for the town economy, and put obstacles in Jason's path. Each reacts (symbolic action) in the following way:
Town leaders:
Jason:

Movement 3 - Obstacle 2

The town is also fooled by the industry and the town leaders, and they organize against Jason. Each reacts (symbolic action) in the following way:
Townspeople:
Jason:

Movement 4 - Obstacle 3

The town police now try to stop Jason with obstacles of their own. Each reacts (symbolic action) in the following way:
Town police:
Jason:
Twist?

Movement 5 - Final battle - Climax and resolution

Everything seems hopeless. Jason is in jail on false charges that he can't even fight. Jason finds enough courage and inner strength to propel him forward through a final battle to convince the town of the industry's bad intentions, and the conflict is resolved:
Jason:
Industry:
Town leaders:
Townspeople:
Police:

Once again, congratulations! If you completed this exercise, you once again successfully plotted a story. The method may not be your preference, but you now have a better sense of how composition can proceed successfully by using symbols to represent the action.

- Scott

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