Jennifer Lynn Barnes, author of the bestselling "Inheritance Games" series, discusses the psychology of fiction, drawing on her background as a psychology professor. She explores why readers connect with fictional characters, citing theories like parasocial relationships and the concept of "alief." Barnes details her process of incorporating psychological principles into her writing, including identifying universal pleasures like wealth, competition, and danger, and weaving them into her narratives, character development, and even book covers. She emphasizes the importance of balancing craft with these inherent pleasures to create compelling stories that resonate with readers.

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Summary

  • Readers form parasocial relationships with fictional characters, blurring the lines between reality and fantasy.
  • The concept of "alief" suggests that while readers consciously know characters aren't real, they subconsciously react as if they are.
  • Barnes uses psychological theories to inform her writing, creating stories that tap into universal human pleasures like wealth, competition, and danger.
  • Book covers for the "Inheritance Games" series are intentionally designed with objects representing these pleasures, further drawing in readers.
  • Barnes encourages writers to embrace their "id" and include elements they love, creating more enjoyable stories.

What makes this novel or interesting

  • Barnes provides a unique perspective, blending her expertise in psychology with her experience as a bestselling author.
  • She offers practical advice for writers, suggesting ways to incorporate psychological principles to make stories more compelling.
  • The discussion of "alief" offers a fascinating explanation for why readers become emotionally invested in fiction.
  • The analysis of the "Inheritance Games" covers highlights the intentional design choices that contribute to the series' success.
  • Barnes's encouragement for writers to embrace their personal preferences offers a refreshing take on balancing craft with pleasure.

Verbatim Quotes

  • Why we connect with fiction: "In the pages of a book, you actually get to experience being in someone else's head. You get to see them in the super intimate moments that no one would get to see."
  • The concept of "alief": "Maybe you believe these characters are fictional. But on this gut level, you have this alief that they're real."
  • The psychology of book covers: "The 'Inheritance Games' covers have all these objects in the covers, and the objects are consciously chosen for what they do for psychology and why we might like stories."
  • Writing for your Id: "As readers, we all have things that we just really like...if you are just finding all these ways to add in all these things you love into your book, then it doesn't matter if someone doesn't like half of them because they might really like the other half."
  • Balancing craft and pleasure: "I think we're falsely trained to think that craft and pleasure are mutually exclusive...there is no relationship between the two. You can write a book with a very high level of craft that's very high in pleasure or very low in pleasure."

How to report this in the news

Bestselling author Jennifer Lynn Barnes reveals the secret sauce to writing captivating stories: psychology. Barnes, a former psychology professor, explains how understanding human desires like competition, wealth, and danger can elevate fiction. Think of it like designing a delicious meal—chefs combine ingredients we crave, like sugar and fat, to create irresistible dishes. Similarly, writers can weave these "pleasure principles" into their narratives to make them equally addictive. Barnes’s own "Inheritance Games" series is a prime example of this, with covers and characters designed to tap into our deepest desires.

Detailed Recap

For Fiction Writers

  • Universal Pleasures: These are psychological buttons you can push, and they can be implemented in many ways. Don't be limited to stereotypical representations. Be creative!
    • Wealth: Doesn't just mean money. It can be access, privilege, rare objects, beautiful homes, etc.
    • Competition: Can be rivalries (sibling, romantic, professional), races, literal games, contests, dares, or any situation where characters are striving to outperform one another. Subtle competitions work too.
    • Danger: "Safe danger" is key. The reader enjoys the thrill of danger without real-world risk. This can be suspense, mystery, action sequences, or even the implication of danger through a character's personality or history.
    • Power: Explore different facets of power - physical strength, social influence, intellectual prowess, financial control, or even the power of knowledge. Show the dynamics of power shifts.
    • Touch/Warmth: Use sensory details to evoke these feelings. Describe physical contact (hugs, a hand on a shoulder), comfortable settings (a warm fire, a soft blanket), or emotionally warm interactions. Food descriptions also evoke sensory experiences.
    • Beauty: This extends beyond physical beauty. Include descriptions of beautiful art, music, natural landscapes, or even elegant prose itself.
  • Character Development:
    • Dominant Pleasure Note: Each character should have a core "pleasure note" that defines their essence. This will influence their motivations, dialogue, and interactions.
    • Secondary Pleasure Notes: Layering in secondary notes adds nuance and prevents characters from becoming one-dimensional.
    • Language: Word choice matters! Use verbs, adjectives, and adverbs that reinforce the character's pleasure notes. Barnes’s example of Grey's Anatomy demonstrates how language can amplify the sense of competition and danger.
    • Show, Don't Tell (implied): Barnes emphasizes showing these pleasures through character actions, dialogue, and setting rather than explicitly stating them.
  • World Building:
    • Puzzle House Concept: Consider creating settings with built-in intrigue, like Barnes's "puzzle house" with secret passages and hidden clues. This adds an extra layer of engagement.
    • Symbolic Objects: Use objects that represent the chosen pleasures. These can be recurring motifs or clues within the story.
  • Plotting:
    • Gossip Theory: Think about what would make people talk about your story. Incorporate elements of scandal, mystery, or unexpected twists. Barnes uses the question, "What would make an ordinary teenage girl world-famous overnight?"
    • Wish Fulfillment: Tap into readers' desires for escapism and fantasy. Offer them a taste of a life they might dream of.
  • Embrace Your Id:
    • Id List: Create your personal list of favorite tropes, settings, objects, situations, character types, etc. Refer to it when you need inspiration or want to inject more enjoyment into your writing.
    • Don't Fear Clichés (with a caveat): If you love a certain trope, use it! However, be mindful of execution. Even common tropes can feel fresh with a unique perspective or skillful writing.
    • Trust Your Gut: Your enthusiasm will translate to the page. Don't let self-doubt or fear of criticism stifle your creativity.

For Editors:

  • Pleasure Note Audit: Help writers identify and strengthen the presence of universal pleasures throughout the manuscript. Ask questions like: "Where can we dial up the sense of danger?" or "How can we make the setting feel more opulent?"
  • Character Consistency: Ensure that each character's actions and dialogue remain true to their dominant and secondary pleasure notes.
  • Pacing and Engagement: Use pleasure notes as a guide for pacing and scene construction. High-stakes competitions or moments of danger can be used to create exciting climaxes.
  • Cover Collaboration: Don't just consider the aesthetics of the cover. Work with the designer and author to incorporate visual elements that represent the core pleasures of the story, like objects that symbolize wealth, danger, or power. This subliminally reinforces the themes of the book.

The Grey's Anatomy Pilot as Example

Barnes uses the Grey's Anatomy pilot episode to illustrate how language can subtly amplify the universal pleasures she discusses, even when the surface-level plot might not seem to emphasize them strongly. She initially rewatched the pilot expecting it to be low on these elements, but was surprised to find them woven into the dialogue and narration.

Here's a breakdown of how Grey's Anatomy uses language to heighten those pleasures:

  • Competition: The narration refers to surgery as "the game," immediately framing the medical profession as a competitive arena. This is reinforced by the two competitions the interns face: vying for the chance to scrub in on surgeries and dealing with the inherent hierarchy within the hospital. The language surrounding these competitions, though medical in nature, carries a weight of rivalry and striving for dominance.
  • Danger: Although the pilot isn't an action thriller, the language creates a sense of "safe danger." Surgeons are described in terms that evoke gladiators entering a ring, heightening the tension and stakes of medical procedures. This creates a thrilling atmosphere, even if the danger is primarily metaphorical.
  • Power: The pilot introduces the power dynamics between Meredith Grey and Derek Shepherd, revealing their accidental intimate encounter and the subsequent realization of their professional hierarchy. The language used emphasizes the imbalance of power and the potential consequences, adding a layer of intrigue and tension to their relationship.

The key takeaway from this example is that writers can use specific language choices to evoke universal pleasures without relying on obvious plot devices.

Even a seemingly mundane setting like a hospital can be transformed into a compelling arena of competition, danger, and power struggles through carefully chosen words. This reinforces Barnes's point that these pleasures can be subtly layered into the narrative to create a more engaging and emotionally resonant reading experience.