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"When the contact is intimate between the mind and the emotions of the reader, you can just drop snowflakes," Allen says of the difference between jokes for the page and jokes for the stage.
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Newspapers are selling themselves more and more on political views and rousing the emotion of the reader.
It presupposes a kind of calculated effort to extract a specific emotion out of the reader and that's not the way I work.
The most the novelist can ask is that somehow the arc of his story survives and the audience will leave the cinema having met some of the characters, and shared some of the emotions, that the reader experienced when he closed the book.
As stated by Denzin ([ 30], p. 228), autoethnographers "…bypass the representational problem by invoking the epistemology of emotion, moving the reader to feel the feelings of the other".
That's the deal: the writer engages the reader's emotions, makes the reader care what happens next; and the reader engages with the world being presented.
Look closely at how the example vignettes use tone, language, and mood to evoke emotions in the reader.
And Offill puts some distance between the rawness of the emotion and the reader by switching her protagonist's "I" to a blank or even slightly arch third person, "the wife": Afterwards, the wife sits on the toilet for a long time because her stomach is twisting. . . .
The second overviews the neurobiology of perception and emotion, bringing the reader back to deep questions about perspective taking and neuroaesthetics.
You can use this character as a way to influence the emotions of your readers, such as their pity, sadness, and fear.
Royal Young's searing emotions burst through the page, cutting to the heart of the reader's own experience.
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Since I tried Ludwig back in 2017, I have been constantly using it in both editing and translation. Ever since, I suggest it to my translators at ProSciEditing.

Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com