I’ve been polishing up a pitch document for a new TV drama series, and the notes I’ve been getting back reminded me of one of the most important things I learned about writing pitches, outlines, etc –
Don’t expect the reader to make assumptions about the characters’ emotions.
I used to write outlines that simply described the events happening to the protagonist, and assume that the reader would supply the emotional content. So I’d write “And that night, her dog runs into traffic and is killed” and expect the reader to mentally add “and she feels sad about it.”
It was only when a script editor pointed it out to me that I realised: you have to be explicit about how the character is feeling and reacting at all times. You can’t expect a reader to supply the character’s emotions, because – unlike someone reading a book or watching a movie – they don’t expect to have to make that imaginative leap. That’s not how outlines and pitches work. Your outline’s job is to be precise and explicit about the character’s emotional journey.
And as soon as I started writing in what to me had seemed obvious – he’s sad when his mother dies, she’s elated when she gets elected mayor – readers’ reactions to my work became much more positive.
And this is an ongoing lesson. I still have to check every document to make sure I’ve picked out every moment of emotional importance. So, however obvious your characters’ emotions feel to you, make sure they’re down there in black and white at outline stage…