@DiAnnMills

Symbolism is a tangible items that means something psychologically to the character—and translates to the reader the same emotional response.

James Scott Bell states, “From the start, we have a connection . . . .” The character(s) and the reader form an attachment to an object that no longer means only its original definition. Bell discusses Norman Maclean’s A River Runs Through It, in which the setting is a river in Montana—and religion and trout fishing are considered one in the same. “The motif was literal at the beginning, symbolic at the end,” Bell says. “It frames and defines the story.”

A winding road may indicate a journey. A fork in the road may mean the need to make a choice. A straight road may represent determination or perseverance. Whether the choices are right or wrong depends on the character.

Symbolism in dialogue is another way to enhance the story’s theme. Dialogue is birthed in character, which means that what a character says, along with body language, demonstrates who he/she is. A character who stutters or uses flamboyant gestures or curses provides the reader with a glimpse into that character’s life.

The things characters notice through sensory perception offer another source of symbols. What a character sees can mean so much, whether the object is physical or in the character’s mind. In Charles Frazier’s Cold Mountain, the mountain also represents the harshness of life as the characters struggle to survive.

An antagonistic setting provides opportunities for strong symbolism. An encroaching forest fire can transform a fabulous vacation home into a death trap. Working for a prestigious company can become a source of evil, as in John Grisham’s The Firm.

What a character hears is a valuable literary tool. The call of a bird can be pleasant, unless the bird is a predator. A mother’s voice normally signifies love and caring. But if a mother is abusive, the sound can represent impending danger.

As Rebecca McClanahan says in Word Painting, “What a character tastes can influence memory and perception”. Any mother who’s endured morning sickness will recall the foods that triggered an upset stomach.

Imagine a feast of pizza for a team of high school football players before the big game. What usually stands for enthusiasm and a commitment to win can change drastically if the players fall ill to food poisoning. Then the smell of pizza can provoke a lingering repulsive memory.

The sense of smell has incredible power. A writer introduces a woman with a distinct cologne. Whenever the male character notices that smell, he associates it with beauty, charm, and grace. But if the woman shuns him, he comes to despise that scent.

Touch can also infuse a story with an array of emotions. As McClanahan says, “Touch, by definition, is an intimate sense . . . A well-written description that employs the sense of touch bridges physical and emotional distances.” Consider the parent who disciplines a child with a time-out. When the parent retrieves the child to talk about the inappropriate behavior and to reinforce her love, she touches the child, both emotionally and physically. As McClanahan says, “A person can be stimulated by what they see, hear, taste, or smell, but when a person is touched, the sensation invites intimacy.”

Symbolism, a vital part of a character’s emotional reaction to the world around her.

How are you adding symbolism to your story?