Have you ever done a word search for “stomach” in your WIP and then have your own twist into knots? Exactly how many times can a stomach clench, drop, or flip anyway?
If you’re like me, belly action is a go-to reaction indicator when our characters need to feel. Because of course it is. Our bodies tell us how we’re feeling before our brains can process the words to communicate our reactions, so it’s only natural that our characters would do the same.
What if I told you there were more places in our bodies that communicate feelings than just the stomach? (You’d probably say “duh” but stay with me here…)
The chakras exist in our bodies and are tied to where we store energies that can manifest as emotions. If certain chakras are open, we experience fluidity and connection. But if they’re blocked, they can create some complicated feelings.
The chakras are similar to the hero’s journey because they’re both representative of the path to enlightenment. As the body’s energy moves up the spine, it works its way from the root to the crown. It’s an individual journey that a person is called to experience. Joseph Campbell called the hero’s journey the left-hand approach because it is a strange path that not everyone can take. It’s counter-clockwise and goes against the grain of society. Knowing where our characters are on their journey can help us figure out where in their bodies we should be concentrating.
The lower the chakra in our body, the more basal its purpose. Conversely, the higher the chakra, the more in-tune with the universe.
Since they’re tied to energy and emotion, it makes sense to look at the chakras for help in how to express our characters’ reactions. Even though there are differing opinions on how many chakras there actually are, we’re going to focus on the seven main ones.
Let’s start at the bottom. The root chakra is at the base of the spine. It is literally our foundation When a character is called on their journey, the initially say no. They crouch down and clench their fists. They burrow into what’s familiar to avoid the unknown. Fear and anxiety show up here when we’re threatened and can manifest in breathing problems, feelings of spinning out of control, and fidgety movements. Of course, once the challenge is accepted, this chakra opens to feelings of groundedness and stability.
There is a confidence in the way a tree is rooted so safely in the ground that its branches feel safe enough to move with the wind.
The second chakra is called the sacral and is located in the sacrum, or the pelvic region of the body. It’s the focal point for creativity, sexuality, and flow. Flexibility in life mirrors that in the body, so if a character is stuck, they may have stiff hips or walk with a limp. They may come across as rigid and speak short, contrite sentences. They may find it difficult to see the good in a situation or experience joy.
But on the other hand, if a character is in tune with themselves, they may be entirely flexible. This chakra is associated with water, so they might be a crier, or they may pull a Cameron Diaz in The Holiday and be unable to shed a tear.
The third chakra is located at the navel or solar plexus and reflects discipline, power, and ego. As writers, we tend to stick to this area to demonstrate character reactions since ego and power are huge components of a personality on a quest (or story arc). We can add much more nuance to our beloved creations if we examine what they’re grappling with.
While the second chakra is associated with water, this one is all about fire. Think about how characters can warm up to others or become cold or uninviting. Are they touchy-feely or do they turn to cement when someone tries to hug them?
I hope these explanations give you new and interesting ways to get your characters reacting to all the terrible things you’re doing to them. In my next entry, I’ll go over the last four of the main chakras and demonstrate how you can use their traits to enhance your story-telling skills!