Book Review: Corrag by Susan Fletcher, a historical romance of Scotland

CorragCorrag by Susan Fletcher
My rating: 5 of 5 stars

One of the most lyrical stories about historical Scotland I’ve ever read!

It is told from the viewpoint of a Sassenach, an Englisher, who is said to be a witch because of her skill with herbs. She falls in love with Glencoe and with a Highland Laird’s son who lives there.

In her own words: “Rocks can have a thousand colours in them–grey, brown, purple-grey, dark-blue. They can have moss and lichen on their sides, and heather, and birch trees, and waterfalls, and marks where waterfalls have been…I put my hands upon a stone beneath the northern ridge, and felt it. It had an old warmth, and a wisdom. It was rough, like a tongue. And like all the skies I saw there, it was a blowing sky.”

Or, “As for her grey-eyed daughter it meant a home all handmade herself from stone and reeds and heather in a lost Highland valley that was guarded by two boulders, and where stolen cows were kept. Where she found a proper peace. Where the wind rocked the birches at night, and that was a good sound.”

But that peace is shattered when the Laird signs a peace treaty six days too late, and the Redcoats come calling. And then Corrag must choose.

I’m saving this one to read again. It is that beautiful…and that romantic!

5 ways to deepen emotional layering in your writing

Even experienced wordsmiths struggle to portray deep emotion in their writing. It’s as hard as mining copper from sulfur-laden rocks.

Writers may either tell about the emotion, for example, “He felt really, really angry.” Or, they may use the “dot-dot-dot” bypass popular when describing sex in 40s novels: “They entered the bedroom, the lights went out, and the next day…”

But effective writers know that emotion is a vital part of the human experience and pull it into their writing whenever possible.

Here are five way to deepen the emotional layering in your writing:

1. Accept the challenge that writing about emotion is hard. Good writers get immersed in their words, just as they hope their readers will. And writing about unpleasant emotions is difficult. Who wants to experience, even vicariously, the deep emotions of rage, grief, humiliation, sorrow, fear?

Delve into a time you, yourself had such a feeling. How did you feel experiencing it? What preceded the emotional outburst? How did you relive and rationalize your experience afterwards? Then write about the universal emotion that you felt, and that your character is also feeling.

2. Emotion is a daisy chain. Your character doesn’t immediately go on a rampage or experience an out-of-the-blue terror about high places. Something came before. Consider giving your characters a chance to delve into their back story internally. “This was just like the time when I was four, and the dog next door pushed through the fence and bit me.”

3. Emotion is physical. The old adage “show don’t tell” is critical here. An emotion courses through a person’s body, affecting their breathing, heart rate, skin temperature, stomach tension. Only then may it be reflected outward on the facial muscles: clenching the jaw, frowning, weeping. Finally it erupts into words: “You can’t mean that!” and actions: “He slammed the door so hard the glass cracked.”

emotional thesaurus angela ackerman



Angela Ackerman’s book, Emotional Thesaurus is highly recommended to help you begin this journey of writing about the inward and outward signs of physical emotions.




4. Emotion is slower than rational thought. Think of seven objects: an orange, the London Bridge, a deck of cards, a big tree, a mailbox, a white horse, a can of Pepsi.

Not hard, right?

Now, picture in your mind each of these: fear, terror, joy, amusement, irritation, embarrassment, hesitation…

Can you feel your mind stopping to ponder each experience before moving on?

Give your readers a chance to do the same thing. Don’t rush over emotion, but rather create a scene that can fully explore what’s happening. And then go back and lengthen it by twice.

5. There is an arc to emotion. In other words, the emotion will typically build in intensity.

For example, the character punches the alarm and sleeps too late. In her rush to get ready for work, the glass of orange juice spills to the floor, she trips on the rug on her way out the door, the car battery is dead…by the time she gets to the office, she explodes at her assistant over one small typo in a memo…

And a bonus concept to build your emotional writing skills:

6. Emotions are not rational. Your character in the middle of intense emotion is not going to stop and think, Oh, I am afraid.”

But afterwards, there can be a place for a rational assessment of what happened: “I was stupid for going into that dark alley alone.” “I really did a good job at that presentation, even though I was nervous.”

Or they may decide to do differently next time. “I’ve got to watch myself and not make such a fuss. It wasn’t my assistant’s fault I was late.”

emotional craft of fiction donald maas




Donald Maas, in his wonderful book: The Emotional Craft of Fiction, explains that the purpose of fiction is to get the reader to feel their own emotions, triggered by the words on the page.



Think about it. What authors do is time-travel. They are able to connect with anonymous readers somewhere in the far distant future.

Including deep emotions in your writing can layer, deepen, and enrich your work. This skill makes your reader eager to return a second, and a third time, demanding more. Exactly what you as a writer want!

Book Review: Fire Season: Field Notes from a Wilderness Lookout by Philip Connors

Fire Season: Field Notes from a Wilderness LookoutFire Season: Field Notes from a Wilderness Lookout by Philip Connors
My rating: 5 of 5 stars

When I was 19, I spent a summer as a forest fire lookout. It changed my life indelibly, and for that reason, I was interested in Philip Connors’ book. He does not disappoint.

Phillip, for the past 8 years, has spent the summer fire season on top of a 75-foot tower in the New Mexico wilderness, looking for fires. He has only his dog Alice for company (although his wife does visit for occasional weekends.)

His book is an interesting compendium of how it is to spend that much time alone, a history of fighting fires in America and how that changed after the disastrous Yellowstone fires, and how he and his wife deal with the separation for months at a time.

“We seek out wild raspberry bushes where the last of the year’s fruit is turning ripe; I pluck a handful to accompany my evening treat of chocolate, leaving the rest to the bears. On days of heavy rain, hail drumming on the metal roof, I cloister myself in the cabin, drink hot tea, read in my sleeping bag with a fire going in the wood stove. Tattered flags of fog drift past the mountain when the rain breaks…”

If you enjoy reading about nature, and about the nature of solitude, this book is for you.