“‘Do you like art, Clas?’ I asked, passing him one of the glasses Nick had brought.
‘Yes. And no. I like art that shows something. But most of what I see claims a beauty or a truth that isn’t there. It may have been in the artist’s mind, but the communicative talent is absent. If I don’t see beauty or truth, it isn’t there, simple as that. An artist who maintains that he has been misunderstood is almost always a bad artist who, I’m afraid to say, has been understood.’” (Jo Nesbo and Don Bartlett, Headhunters)
Writing Exercise: Communicating Truth and Beauty through Character Perception
This exercise will help writers explore how characters perceive the world and interpret meaning, focusing on how to communicate these perceptions effectively to the reader. It is designed around three key writing practices illustrated by the quotation:
1. Clarity in Communication: As Clas critiques art that fails to communicate its intended beauty or truth, this emphasizes the importance of clear and evocative writing that conveys the character’s thoughts and emotions with precision.
2. Subjectivity of Perception: The passage highlights how different characters may interpret beauty, truth, or meaning uniquely, creating opportunities for depth and complexity.
3. Show, Don’t Tell: The quotation exemplifies showing a character’s perspective through dialogue and subtle judgment rather than explicit narration.
Writing Prompt (500 Words):
Write a scene in which one character critiques or reacts to something that another character holds dear—a work of art, a personal creation, or a shared belief. The key is to reveal the critic’s personality, values, and worldview through their perception of the object, while also subtly showing the object’s impact on the other character.
Your scene must:
• Include at least two characters with conflicting perspectives on the object or idea.
• Use dialogue and body language to convey emotional undercurrents and tension between them.
• Avoid overt exposition—let the characters’ reactions and spoken words reveal their internal states.
Example scenario starters:
• A painter reacts to a gallery owner’s harsh critique of their new abstract work.
• A parent dismisses their child’s cherished hobby or creation as frivolous.
• Two friends argue over the meaning of a controversial film.
Evaluation Criteria
A strong response will:
• Clearly convey the critic’s perception of the object and their reasoning without excessive exposition.
• Develop both characters through their contrasting reactions, giving each a distinct voice and perspective.
• Use dialogue and description to show subtle emotional shifts and subtext, creating tension or poignancy.
• Leave room for the reader to interpret the truth or beauty of the object for themselves.
A weak response might:
• Overuse exposition to explain the critic’s thoughts instead of showing them through action or dialogue.
• Flatten the characters, making one a caricature of negativity or the other overly defensive.
• Fail to create a sense of tension or stakes, making the scene feel static or unengaging.
Follow-Up Workshop Questions:
1. Does the critic’s perspective feel authentic and grounded in their character? Why or why not?
2. How do the characters’ contrasting reactions build tension or emotional depth in the scene?
3. What could be added or removed to clarify the characters’ emotional stakes?
4. Does the scene invite the reader to draw their own conclusions about the object or idea in question?
Recommended Reading:
• “Good Country People” by Flannery O’Connor: This story masterfully uses dialogue and perception to reveal characters’ contrasting worldviews, particularly in how they interpret truth and belief.
• The Remains of the Day by Kazuo Ishiguro (excerpt): The subtle interactions between Stevens and Miss Kenton exemplify how contrasting perspectives can be communicated through subtext and nuanced dialogue.
This exercise is designed to challenge writers to focus on the art of perception and communication, creating multidimensional characters and scenes full of layered meaning.
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