Does Reading Fiction Affect Your Brain?

Image courtesy of FreeDigitalPhotos.net 

Annie Murphy Paul raised the question earlier this year with her article: Your Brain on Fiction posted in the New York Times Sunday Review. As readers and writers, we need to know the answers to the questions raised by her article.

In this day of instant gratification, with our children and grands fixated on computer games and other digital distractions, is reading dead?

According to Neuroscience’s findings on how reading affects the brain, perhaps we should encourage the old-fashioned virtue of reading stories.

Or should we?

For further research, I ordered first one book and then another.

Keith Oatley’s Such Stuff as DreamsBrian Boyd’s On the Origin of Story Tilottama Rajan’s The Supplement of ReadingLisa Zunshine’s Why We Read Fiction Lewis Mehl-Madrona, D.D., Ph.D.’s Healing the Mind Through the Power of Story

To read Keith Oatley’s blog go here.

While waiting for the books to arrive, I printed out 50 pages of web articles on the subject. I searched the brain’s known language regions, like Broca’s area and Wernicke’s area. Fascinating stuff for me, it brought back memories of pouring over Dad’s medical books as a child.

It was worth it. Now to compress all this information into a 500-word blog post.

Can you say brain overload?
#1. Does reading fiction affect the brain differently than reading non-fiction?

#2. If so, is reading fiction . . . safe?

#3. Will reading fiction turn men into sissies?

Neuroscience shows the Broca’s area and Wernicke’s area of our brain affect how the mind interprets written words. Other parts of our brains are involved as well.

No wonder the experience of reading can feel so alive. (At least for those of us who love novels.)

While words describing smells like “apple pie” or “vanilla” or “vomit,” cause a response from Broca and Wernike, the language-processing areas of our brains, these words also affect the parts that process smells and scents.

Anne describes using brain scans to reveal how stories stimulate the brain and can even change how we act in life. I’ve condensed and paraphrased her content.

Volunteers read while scientists scanned their brains with a functional magnetic resonance imaging (fMRI) machine. As the readers looked at the words cologne, bacon, and eggs, their primary olfactory cortex lit up. The words describing objects such as car, or building, left this part of the brain dark.

Motion words activated sections of the brain other than those for language processing. Participants read sentences like “Gritting his teeth, he ran after her” and “He grabbed her forearm.” Interestingly enough, these scans showed stimulation in the part of the brain which coordinates body movements. When the action described was arm-related, the stimulation was concentrated in one part of the motor cortex and in another part when the action concerned the leg.

Fiction, in the form of a novel, examines the social and emotional world of mankind through created characters. We have documented how the brain responds to words of smells and textures and movements as if they were the real thing.

While we read, our brains treat the interactions among fictional characters the same as if we, or someone in our real life, has experienced them.

Which leads us to the next question, “Is reading fiction . . . safe?” What are your thoughts? I will discuss the answers in my next post.

Find Your Writing Passion


 

Some writers try their wings to see if they can make it as writers. They give it a year, five years, maybe even ten, thinking if they aren’t published by this time they will give it up. Why waste your time, energy, and money on such a hard and often thankless occupation? If you can quit writing, DO IT NOW now, and put yourself out of your misery.

Others write because we must. Writing helps us think and remember information. Writing helps us generate ideas and organize our thoughts. We write to make sense of the world.

What is your passion?

What is something you alone can share?

A lesson from page 210 of Stein on Writing, used with permission from Sol Stein:

“I ask you to imagine yourself on a rooftop, the townspeople assembled below. You are allowed to shout down one last sentence. It is the sentence that the world will remember you by forever. If you say it loud enough, everyone in the world will hear you, no matter where they are. What one thing are you going to say?”

Is your sentence one that could have been said by any person you know? If so, revise it until you are convinced no one else could have said that sentence.

When you have reworked your original sentence, consider these additional questions:

Is your sentence outrageous? Could it be? Is your sentence a question? Would it be stronger as a question?

Would the crowd below cheer your sentence? Can you revise it to give them something they’d want to cheer?

Suppose the person you most love in all the world were to strongly disagree with your sentence. Can you answer his or her disagreement in a second sentence?

Has your second sentence weakened your first? It usually does. If so, make it stronger than the first.

You now have the option of choosing one of the other sentences. There may be value in combining and condensing them.

You look down and see only one person, your greatest enemy, who says, “I didn’t hear you. Would you repeat that?”

Can you alter your sentence so that your statement will be enemy-proof?

Suppose you found out that the only way to get your message across would be if you whispered your sentence. How would you revise it so that it would be suitable for whispering?

Look at all the versions of your sentence. Is there a prior version that is actually stronger than the last? Can the virtues of one be embodied in another? And most important, which sentence now strikes you as the most original, the one least likely to have been written by someone else?

This exercise will direct you to a theme or expression of a theme that is uniquely yours.

Q4U: Most writers are introverts. If this is true for you, what subject will prompt you to talk or write?

Having Confidence in My Own Voice


I took writing classes, read and applied hundreds of writing craft books, and hired freelance editors. So ten years later, why did one freelance editor say I had no voice?

“It’s time,” she said, “to write a mission statement for your story. And stick to it.”

Then I read one more book, Finding Your Voice by Les Edgerton. I’d mistaken craft for voice, he said. And, as I honed my writing skills I’d lost my voice in the process.

Yet there was hope. On page 73 Les gave me a signed permission slip to write in my own natural voice.

My unique voice reveals my take on life, including my beliefs, fears, hopes, and dreams, memories of childhood celebration and disappointment, the embarrassing teenage years, followed by adult accomplishments and failures.

Some have said that writer’s block comes from editing out your natural voice before it reaches the page. Yet when you’re in the zone, words pour out freely, words that are in your natural voice.

When I use my natural voice, I have an original story. One that no one else can tell. I must simply accept that not everyone will like my writing and not everyone is my target audience.

Have you ever wondered why movies are so different from the books that inspired them? The fact is the filmmaker destroys the novel writer’s voice. If you prefer the book over the movie, what you loved about it was that voice.

In my own writing, I like to read the printed pages of my draft while walking around the house. The body mind connection kicks in and I realize when the dialogue is off. Ooops, I think, he wouldn’t talk like that. Layer by layer the character voice emerges.

“When you sit down to write, allow God to flow through you to use you. Let His words inspire you to write the things He lays on your heart. You are unique, and therefore your voice is unique in speech and in writing. Your voice is a gift straight from God’s hands, speak and write for His glory, and your matchless qualities will touch lives that no one else can touch”. ~~Lisa Buffaloe

Q4U: How did you find the secret to unlock the personality in your writing voice?

Do You Hear The Voices?

Dialogue should be short, snappy, and punchy. Image: photostock / FreeDigitalPhotos.net

Dialogue that is short, snappy, and punchy, engages other characters as well as the reader. Dialogue is meant to be experienced, not studied. Halting over a line of dialogue can interrupt the reader’s experience.” ~~ Sol Stein

At a recent writer’s conference, an agent said dialogue could make the difference in making a request for more of a writer’s work. She takes the first five pages of a manuscript and looks for the white space created by dialogue. Then she puts the manuscript aside and picks up the next one.

From that conversation, I gathered dialogue is an important part of novel writing. Internal monologue is not dialogue. So, even if no one else is in the room, the character should talk aloud to himself, or to his pet.

Conversations in real life often have little or no purpose. In fiction, that’s a killer. What do you hear as the characters meet and greet? Is it meaningless chitchat? Or are they talking about anything and everything to avoid the deeper subject they know they should discuss? That’s great. Avoidance dialogue is called subtext.

Who’s talking? Do the characters sound alike? Are they predictable? Do they always say what you’d expect them to say?

If so, the writer’s in trouble. You see, dialogue has to sound natural, but it also has to be more condensed and much more interesting than everyday language.

Info dumps are boring. Just as you don’t enjoy listening to a person who talks on and on without giving others a chance to get a word in edgewise, neither do your readers. Most exchanges in dialogue should be brief. Consider using five word exchanges or less in your dialogue. Avoid using more than three sentences without a break or at least an action tag on the part of the speaker.

Can the reader visualize the characters? Characters don’t talk in a vacuum. To avoid the talking heads syndrome show us what they’re doing. Is Mary cooking dinner? Is LeRoy chopping wood? And by the way, is the ax dull?

Speaking of what’s happening, in your own writing, don’t mix the actions of one character with the dialogue of another. Be sure each speaker gets his own paragraph. Even if the character only uses one word. Make it easy for your reader to know who is talking.

And while we’re on the subject of give and take between characters, teach them to give another character a chance to react. Short dialogue paragraphs leave that coveted white space and increase pacing.

Last but not least, dialogue should move the story along. Do the characters have an agenda? Does dialogue reveal the different sides of an issue?

For dialogue to do its job, it needs to create an emotional effect in the reader. How much of the dialogue reveals disagreements and misunderstandings that affect the other characters’ goals? Does it increase suspense and uncertainty?

Q4U: Would you care to share a tip for stronger dialogue?