Do You Wanna Dance?

by Cindy Layton

I often wonder if my outlook is permanently skewed to view everything in writing terms. A good book becomes an exercise in literary criticism. Lived experiences become plot points. People watching becomes character development.

In that vein, a study in psychology becomes a lesson in writing.

Via the publishing platform Medium, this article, “A Guide to Changing Someone Else’s Beliefs,” by science journalist Kate Morgan, sparked my acknowledgement that much of writing has to do with influencing.

I don’t mean some fire-breathing essay in a point of view publication. I mean fiction writing. Aren’t I, as an author, required to make the reader believe something that doesn’t exist in real life?  Am I not in the business of selling the reader my story and my characters? Readers come prepared to adopt a “willing suspension of disbelief,” but it’s up to me to maintain that willingness. If I don’t continue to feed the reader with enough details, engaging characters, scenarios that track with real life, I’m at risk to lose them, and quickly.

So, how do I close the sale?

Morgan’s article suggests that we must first understand that our brains will hold tightly to and defend against any challenge to our core beliefs. In order to overcome this entrenchment, it matters less what I say than how I say it. Since, as Morgan says, it’s much easier to influence people who are close to you, bring them closer.

Salespeople understand this and establish a relationship at the outset by asking about you, your family, and then remembering this information later when closing the sale to establish and keep a personal touch.

Politicians also use this technique by talking, not about policy, but about their constituents, and only then, how policies will impact voters in their district, making the universal, personal. They answer the question – Why is this relevant to you?

I must also answer that question for my readers.

To achieve this, I need to confront the reader, not with indisputable truth, but with an appeal to their hearts. Morgan suggests using a person’s history to my advantage. Of course, writers don’t have access to every reader’s personal history, but they can incorporate details that resonate with their audience. Give the reader a setting that evokes their childhood, or makes a personal experience, universal, and vice versa, perhaps using themes about being human, (i.e. lost love, friendship, etc.).  The surroundings, the plot points, the theme, must touch the heart of the reader in some way. There must be a point of connection that makes the reader believe they understand this environment and these people, despite the fact they exist in a fictional world.

Morgan, talking about science writers, says “you’ve likely already experienced another principle of persuasion psychology: authority. (Robert) Cialdini and (neuroscientist Paul) Zak are published authors with advanced degrees —experts in their fields — so you’re likely more willing to accept what they have to say...” Fiction authors, too, must establish their authority in order to gain credibility.

Writing with authority will cement the bond between author and reader, and maintain the reader’s willing suspension of disbelief. Using consistency, along with a proper voice, and incorporating specificity in the details, will enhance the writer’s authority.

Morgan writes that we are far more influenced by people we have things in common with. Again, politicians know people can disagree vehemently on ideas, but can still bond over other things, like music. Never underestimate the power of a great song – it can influence a roomful of people to get up and dance. Finding the music that makes our readers join us in the dance creates a shared common place. The elemental experiences in life that we, as humans, can agree upon, is a writer’s line of engagement.

In the end, the article quotes neuroscientist Paul Zak, saying, “The mistake people make is using logic. For normal humans, data and evidence isn’t the way to change a mind…. We’re social creatures, and we’re fascinated by other humans. It’s not about the story. It’s about the storyteller.”

Here’s an article from Jon Gingerich, writing for the Lit Reactor, that explains in detail how to establish authority.

And here’s another from Nicole Krauss, appearing in the New York Times, questioning “Do Women Get to Write With Authority?”