FILTERS, WHAT ARE THEY, HOW TO AVOID THEM

By Jennifer Turner

Filters are the extraneous words we make use of when attributing a thought or action to a character. Here are a list of a few of the most common used:

He/She felt
He/She heard
He/She saw
He/She smelled
He/She tasted

and others, like:

He/She thought
He/She believed
He/She wondered

The latter three (and others like them) are really not as "bad" as the above sensory list. As with any general writing rule there are instances when a filter is actually needed, or works better than without it--such as there are sentences where the word "was" works better than any other word, although we are taught to avoid using the passive form of that word.

The reason filters are considered unnecessary or bad for the story, is because it keeps the writer from reaching a depth of character they might otherwise obtain. It might also jerk the readers out of the story and remind them they are reading, rather an experiencing the tale. For instance:

"She felt embarrassed by his lewd comments."

Could be written stronger, and give the character more depth if, you show this, rather than tell it: "She recoiled and averted her face, embarrassed by his lewd comments."

In the first instance, we are being told about her embarrassment, not how she behaves when embarrassed. Now, take another character, who perhaps becomes angry when shes embarrassed and the sentence would read like this:

"She clenched her fists and scowled, enraged he would embarrass her with such lewd comments."

By fixing the readers deeply into the character, there is no need to tell them she felt, or she viewed , the writer simply needs to show what that characters feels and sees. As in a character who has a background in fashion design might look at a sunset and see:

"The glowing sun cast the landscape in vermillion and gold, a combination she could utilize in the fall designs."

Or another character, who is a romantic at heart, might see the same sight and think:

"The glowing sun cast the landscape in vermillion and gold, a lush and perfect backdrop for her dates handsome face.

Neither of the above would have quite the identical impact if the writer used:

"She saw the glowing sun cast the landscape in vermillion and gold."

Working with youre characters, their experiences, and learning to show their thoughts rather than telling them, will enliven your work and carry the story to the next level.