People—and by extension, characters—regularly do things that they don’t mention, or even admit to, even though they aren’t illegal, immoral or physically harmful. Writers can make their characters more realistic when said characters engage in unmentionable behaviors. What follows is an extensive but not exhaustive list of possibilities.
Nose Picking is a prime example of a virtually universal unmentionable behavior. It has its own Wikipedia entry, complete with a technical definition (extracting nasal mucus with one’s finger) and formal label of rhinotillexis. Psychiatrists at the Dean Foundation for Health, Research, and Education in Wisconsin conducted a study revealing that 91% of people said they were currently nose pickers (though only 75% believed everyone did it).
So, how and where does your character nose pick? Always the same digit? Always the same place? Always the same time of day?
And then what? Is the residue flicked off? Wiped on a tissue? Wiped on the underside of an article of clothing? Wiped off on a rug? On furniture? Added to a booger wall? Or maybe the residue is eaten.
Mucophagy is the technical term for eating nose pickings. Most societies condemn it, but some scientists claim there are health benefits. Dr. Friedrich Bischinger, a leading Austrian lung specialist, says that eating one’s mucus gives “a natural boost to their immune system” because the mucus contains a “cocktail of antiseptic enzymes that kill or weaken bacteria that become entangled in it.” Reintroducing weakened bacteria may allow the immune system to safely produce antibodies.
Time considerations for nose picking. How often? A few times a day—however unmentionable—isn’t odd. But one-to-two hours daily? When it becomes an obsessive-compulsive disorder, it’s called Rhinotillexomania.
Wiping your nose on anything available.
Urination is another universal. How about peeing in the shower? Or the bathtub? The ocean—or the swimming pool? Is your female character comfortable urinating outside?
Recently, there have been a number of devices developed and put on the market to allow women the same ease of urination as men. They come in very handy on long car trips or when getting to the bathroom requires a trek through an unheated house, up a snowy mountain, and behind a tree to squat over an unsettlingly drafty hole in the ground.
I once spent two weeks on a whitewater rafting drip on the Colorado River. People were required to pee in the river. (Recall that urine is sterile.) In camp men simply walked to the edge of the water. Women often waded out and pulled down their pants. On the water, men stood at the stern. Women pulled down their clothes, hung onto the cargo straps, and cantilevered out over the water.
In all of these circumstances, the other people politely looked the other way. But then how did it happen that the last night out I was voted the person most improved in peeing off the side of the raft? So if your character is urinating in unmentionable ways, consider both culture and circumstances.
Defecation is always fertile ground. It seems whole herds of people get completely naked to poop—every time. Imagine trying to use a public toilet!
Consider a character who wipes his/her anus and looks at it. Or smells his/her fingers afterward. One justification for frequently smelling one’s anus or genitals (via finger swipes) is being familiar with one’s usual smell so that changes that might signal a change in health status would be recognizable.
Not washing hands after using the bathroom. Or even turning on water so others in the public toilet will think you washed when you didn’t. And it raises the question of why not wash?
Burping, a cousin to the more offensive Passing Gas. These things happen.
I remember a joke from grade school. “What did the stomach say to the burp?” “Be quiet, and I’ll let you out the back door.”
But what about someone who burps and/or farts on purpose, on demand, or as loudly as possible?
What about someone who intentionally farts in elevators, subway cars, on trains or busses and casts a blaming glare at those nearby?
What about intentionally expelling loud farts and/or burps but only when alone?
Or sniffing farts to try to figure out which food made it smell that way.
For truly obnoxious characters (and spouses), there is the dreaded Dutch Oven: farting in bed and then pulling the blanket over your bed partner’s head, trapping them in the stench.
And consider whether your character has an extreme reaction to other people’s flatulence. I know of a woman who became furious if someone passed gas in her presence: smell is a molecular sense, so smelling a fart means taking in fecal molecules.
Eating is fraught with unmentionable behaviors. For example, eating food off the floor after 5 seconds have passed.
Eating from the cooking pot. Eating/drinking directly from thecontainer. (In this case, whether your character lives alone is relevant. )
Eating food other than snacks or sandwiches (for example, tossed salad) with fingers. Eating the unthinkable as a regular thing: chalk, insects, dirt, tissue paper, etc.
Nakedness is sometimes necessary, of course. But what if your naked character regularly sits on the sofa and reads? Cooks dinner? Sits on the deck or patio—and if so, at what time, and how private is the space?
What about taking naked selfies for no particular reason? Saying you deleted the naked pictures sent to you but you didn’t?
Sucking Blood From a Cut.
Having sexual thoughts about an inappropriate target. Think relative, someone else’s spouse or partner, subordinate—whoever is beyond the pale because of relationship or other taboo.
Self Absorption.is almost always unmentionable! Narrating thoughts aloud—while driving, planning, etc. Closely related to talking to oneself.
Consider cracking up at one’s own jokes, even when alone. Practicing pick-up lines in the mirror, ditto facial expressions. How about making weird faces at yourself? Or googling oneself?
Women Only Unmentionables.Shaving—where and how often. Plucking or shaving facial hair from eyebrows to chin and jowls. Obsessing about changes in body odor during menstruation. Collecting “fuck me” shoes in colors to match every outfit.
Men Only Unmentionables: measuring his dick, jerking off to fantasies of his friend’s girlfriend, windmilling/ helicoptering his penis, frequently resettling his junk in his banana hammock.
Miscellaneous unmentionables could be almost anything.
Dancing like no one with the authority to commit you is watching
Running up the stairs on all fours
Eavesdropping or otherwise spying on people—including reading another person’s mail, email, or texts
Squeezing pimples or blackheads
Climbing on furniture
Bouncing on the bed
Making weird noises
Breath syncing to someone else, music, in the extreme known as sensorimotor obsession
Arithmomania, a strong need to have one’s life governed by odd, even, or certain numbers, brushing teeth to setting the thermostat, etc.
Blow-drying “down there”
Overview for writers: Make your character more human by giving her/him a characteristic unmentionable behavior or two. Don’t go overboard unless your character is totally neurotic and/ or you are going for humor. And remember that such behaviors are even more revealing if the characters do such things in the presence of others. Have fun!
When we think addiction, our first thoughts are likely to be drugs and/or alcohol, possibly nicotine—i.e., substance abuse. These addictions are defined bythe psychological and physical inability to stop consuming a chemical, drug, or substance, even though it is causing psychological and physical harm. These addictions provide almost limitless possibilities for tension, conflict, and drama—and they are well documented.
But wait! There’s more! Some addictions also involve an inability to stop partaking in activities, such as gambling, eating, or working. In these circumstances, a person has a behavioral addiction.
Addicts cannot control how they use a substance or partake in an activity, and they become dependent on it to cope with daily life. As writers, think of addictions as a path to comfort for your characters. As such, any comforting activity or substance could become an addiction.
Usually, people start using a drug or engaging in an activity voluntarily. But addiction reduces self-control. There have been many cartoons and jokes about shopping therapy. Consider the implications of a shopping addiction.
Uncontrollably seeking drugs or uncontrollably engaging in harmful levels of the addictive behavior, e.g., the shopper spends so much money that it endangers the family finances.
Neglecting or losing interest in activities that do not involve the harmful substance or behavior, e.g., dropping out of exercise classes, bridge, etc., in favor of eBay.
Relationship difficulties, which often involve lashing out at people who point out the dependency. In the shopping example, arguments with one’s significant other are obvious!
An inability to stop using a drug, though it may be causing health problems or personal problems, such as issues with employment or relationships. So, maybe the shopping addict is shopping online during work hours.
Hiding substances or behaviors and otherwise exercising secrecy, for example, by refusing to explain injuries that occurred while under the influence. In the case of the shopping addict, maybe shredding credit card statements so family members won’t see the dozens of PayPal charges.
Profound changes in appearance, including a noticeable abandonment of hygiene. For the shopping addict, noticeable changes might include a sudden increase in fashionable accessories, new golf clubs, etc.
Increased risk-taking, both to access the substance or activity and while using it or engaging in it. You fill in the examples! Maybe the money runs out and theft results.
Some of these symptoms are more typical of substance abuse than of behavioral addiction, but all could work for a character. On the other hand,if a person has regularly used alcohol or benzodiazepines, and stop suddenly or without medical supervision, withdrawal can be fatal.
Addiction is a serious, chronic dependence on a substance or activity.
A person with an addiction is unable to stop taking a substance or engaging in a behavior, though it has harmful effects on daily living.
Misuse is different from addiction. Substance misuse does not always lead to addiction, while addiction involves regular misuse of substances or engagement in harmful behavior.
BOTTOM LINE: Nearly any comforting activity—be it eating in general or chocolate, drugs or gambling—can become an addiction. Symptoms of addiction often include declining physical health, irritation, fatigue, and an inability to cease using a substance or engaging in a behavior. Addiction can lead to behavior that strains relationships and inhibits daily activities. Ceasing to use the substance or engage in the behavior often leads to withdrawal symptoms, as listed above.
The last word: A book addiction is relatively benign, although it seriously endangers your ignorance!
I have already written about smoking and drinking, but realized that there are several facts about alcohol—potentially helpful to writers—that I omitted heretofore. Other factors are so crucial to reality that I’ve repeated them here.
How much is too much?
When writing realistic drinking scenes, be aware of factors that affect the effects of alcohol. You probably know that eating—particularly fatty foods—slows the metabolism of alcohol and thus one gets high faster on an empty stomach. (I once read that ancient Romans drank straight olive oil to increase their tolerance before big feasts. Just saying.) You may also know that people who drink regularly and heavily have a higher tolerance. But regardless of anything else—as these two charts show—weight and gender are huge factors in alcohol effects.
Causes of gender differences: Besides weighing more in general, the male body tends to have more water to dilute alcohol. Also, women have significantly less of the enzyme that breaks down alcohol in the stomach.
Bottom line: Even when controlling for weight, women get drunk faster and stay drunk longer than men.
How long does alcohol stay in your system?
A normal, healthy liver can process approximately one drink per hour. To put it another way, one drink of alcohol stays in your blood approximately one hour. More than that, and it takes proportionately longer to get clear.
Alcohol stays in your urine about 80 hours.
Alcohol stays in your hair follicles approximately three months.
Alcohol can be detected on the breath as long as there is alcohol in the system. E.g., with a blood alcohol of .20, that would be approximately 13 hours.
Using the EtG test, one beer was detectable 16 hours later; six shots of vodka taken in 3 hours was detectable 54 hours later. Important note: this is the most sensitive test to detect whether a person has had alcohol. It does not detect drunkenness, which can have passed off during the intervening hours.
So, consider those factors when your are writing about alcohol testing,e.g. for a job application or entrance into a treatment program.
How long does it take to sober up?
Short answer: it depends on how much you’ve had to drink. (See above.) In many states, a blood alcohol concentration (BAC) of .10 means that 1% of your bloodstream is alcohol—and therefore drunk. Writers: Be sure to confirm the level for legally drunk in the locale of your story.
More technical answer: most alcohol metabolism depends on the liver, which takes one hour to metabolize 1.0 to 1.5 ounces of alcohol (depending on study cited). If one ounce of alcohol produces a blood alcohol concentration of .015 will have no alcohol in his/her system after 10 hours. The healthy, average liver metabolizes alcohol at a constant rate.
Ramping up the problems
One sure way to do this is to write a character with other health problems that require medication. (See list above.)
Given the frequency of use for pain, over-the-counter NSAIDS (non-steroidal anti-inflamatory drugs) deserve special mention. According to my reading, Tylenol is the worst because it can cause severe liver damage from regular doses that are taken when drinking alcohol daily. Others are more likely to cause internal bleeding, ulcers, etc., which (in my opinion) would be likely to be detected sooner.
Conveying drinking problems without labeling them
You can find many self-tests online that would give you thoughts and/or worries for your character. Answers to the four questions on the CAGE assessment identifies 9 out of 10 alcoholics! Other resources include the MAST Alcohol Assessment Quiz, which comes in various lengths, and the 10-multiple-choice-question AUDIT Alcohol Assessment Quiz.
If the drinker is the POV character, these might be private concerns. If not, perhaps the character talks about these concerns with others.
Realistically, which characters are most likely to be problem drinkers?
Bottom line: I’ve tried to provide helpful info for realistic writing. Did I succeed?
Indeed, people who drink the most, as a group, also consume the most tobacco. According to NIH research, between 80% and 95% of alcoholics smoke cigarettes, and approximately 70% of alcoholics smoke more than a pack of cigarettes per day (compared to 10% for the general population. Drinking influences smoking more than smoking influences drinking, but even so, smokers are 1.32 times as likely to consume alcohol as are nonsmokers. So, consider this linkage when bringing in alcohol and/or smoking in your writing. Why might your character indulge in one but not the other?
Recovering alcoholics have told me that it’s harder to kick alcoholism than addiction to other drugs. In the U.S., alcohol isn’t just legal, it’s ubiquitous. Even so, approximately 30% of American adults don’t drink alcohol at all. This number includes recovering alcoholics, but also people who don’t drink for health reasons, for religious reasons, from not wanting to feel out of control, etc. Why might your character choose not to drink at all?
Many situations are loaded with expectations of alcohol consumption. Think of New Year’s Eve, wedding receptions, anniversaries, sporting events, fraternity and sorority parties, etc., etc., etc. How would your various characters respond to those situations?
The last thing I want to say about smoking and drinking is that using both multiplies the effects of using either alone. For example, compared to nonsmoking nondrinkers, the risk of developing mouth and throat cancer are 7 times greater for those who use tobacco, 6 times greater for those who use alcohol, and 38 times greater for those who use both tobacco and alcohol.
The strong link between smoking and drinking is the result of chemical changes each causes in the brain. If, by chance, that brain chemistry is relevant to your writing, you can find a number of ALCOHOL ALERT papers at www.niaaa.nih.gov which offer more details and references. Suffice it to say, there is evidence that stopping alcohol and cigarettes simultaneously is more likely to succeed than trying to stop one or the other.
…although I don’t advise writers to drink, I do advise knowing about alcohol. It’s such an integral part of life in America—celebrations, business dinners, relaxation, sports events, picnics, parties, all sorts of gatherings from weddings to funerals—that one can hardly write realistically without scenes involving alcohol. So here are a few basic facts you should be aware of and ready to justify if you go against them.
Both illness and pain can be either acute or chronic: acute is episodic, such as a bout of cancer, pneumonia, or a broken bone; chronic is ongoing. When acute, there is a presumption of a cure or healing, whereas with chronic conditions the focus is on coping or managing.
Acute conditions can be excruciatingly painful, even life threatening. Most people have some experience with acutely painful conditions. As a writer, draw on your own experiences or those of family and friends to provide rich descriptions of symptoms and responses. Depending on the specific condition, activity will be limited. So, do your homework on the limitations and effects of a broken shoulder, so-called walking pneumonia, measles, a rabies bite, etc.
Chronic painis often the result of normal aging effects on bones and joints. But other causes include nerve damage and injuries that fail to heal properly. Plus, some chronic pain has numerous causes. Back pain, for example, could be a result of aging or of a single injury.
As writers, be aware that pain affects behavior, mood, and interpersonal relationships. If your character in pain is the POV character, you can describe the effects directly. But if you need to convey chronic pain from outside your character, be aware of the symptoms and side effects.
Chronic pain limits what one can do, or the amount of what one does in a day.
ability to work
play with children
take care of personal needs
This, in turn, can cause disuse syndrome, the result of “use it or lose it.” Continued limited activity causes weakness, which leads to even less activity. Losing strength and flexibility makes one more susceptible to pain and additional injury—truly a detrimental cycle.
Chronic pain has a huge effect on psychological well-being.
These psychological effects can be as debilitating as the pain itself.
Writer decisions: How does your character cope—or attempt to cope—with chronic pain?
alternative or complementary treatments: massage, magnetic therapy, ultrasound, energy medicine, acupuncture, herbal medicine
hired or volunteer helpers
traditional pain meds: consider side effects and possible addiction
self-medication (a.k.a., alcohol)
Bottom line: Pain can be great for complicating the plot and/or upping tensions among characters. Use it wisely!
VL: When I invited the four authors who have stories in To Fetch a Thief to contribute something to my blog page—interview, blog, rant, whatever—I was hoping for diversity. And they are coming through!
I’m a writer. I write cozy mysteries. When I’m not huddled in my writing hut, I’m out and about, either physically or cyber-ly, mingling with readers. The number one question I am asked is “Where do you get your ideas?” My answer: I collect “story nuggets” everywhere I go and in everything I do and all the crazy stuff I see in the news. All it takes is a teeny tiny event and my imagination is off and running. It’s no secret I am particularly influenced by things in my life and events that occur in my coastal community.
For my most recent publication, I was challenged to write a novella (about 15,000 words) that involved a dog, a theft, and a murder. Two years later, a book was born. To Fetch a Thief is a collection of four novellas. My story is titled “It’s a Dog Gone Shame!”
Fortunately, I had a cache of “story nuggets” at the ready.
The “dog” part of the story was easy. Although dog-less at the time, we’d been lucky enough to have been adopted by four wonderful rescues over the years. I knew how to write “dog.”
The “theft” part of the story was a snap. We have a wonderful place in our neighborhood to honor dogs that have crossed the rainbow bridge. It’s called The Dog Gone Garden. A local artist paints a colorful rock to represent each dog as it passes. The rocks are huddled under the shade of a Crepe Myrtle tree. Our own Norwegian Elkhound, Jamaica, has a rock there. One summer’s day all of the rocks disappeared! Just gone! Nobody knows where or why or how. (There were a lot of them so it was a heavy load!) Aha! my mystery-writer self said. A theft! I tucked that into my carton of story nuggets. (Although I solve this little mystery in my story, the real rock theft remains on the loose.)
The murder part? We live on the Chesapeake Bay. It is a semi-annual occurrence for a body to wash ashore. Mostly they are traced back to a drug gang further up the bay. Sometimes it’s a result of too much drink and too little sense when a person climbs aboard their trawler to sleep it off. One misstep and they splash in the bay and end up sleeping with the fishes. The beauty of being a cozy writer is the amateur sleuth only has to discover a dead body. We don’t have to know how to kill. Interviewing neighbors who’ve discovered the “floaters” has given me enough “nuggets” for a dozen mysteries.
To answer the perennial question, “Where do you get your ideas?”; I get them from life. Once the “story nugget” is planted, I turn it over to my imagination. I then stand back and watch the words fly! (Most end up on the cutting room floor, but that’s another story for another day.)
VL: Big thank you to Jayne Ormerod! No doubt readers have enjoyed this peek into your writing process—and some may decide to emulate you! To read more about the stories in To Fetch a Thief and the writers who wrote them, check out www.MuttMysteries.com
About Jayne Ormerod: Jayne Ormerod grew up in a small Ohio town then went on to a small-town Ohio college. Upon earning her degree in accountancy, she became a CIA (that’s not a sexy spy thing, but a Certified Internal Auditor.) She married a naval officer and off they sailed to see the world. After nineteen moves, they, along with their two rescue dogs Tiller and Scout, have settled into a cozy cottage by the sea. Jayne has penned over a dozen novels/novellas/short mysteries.
When writing food scenes, the eating and drinking are seldom central to advancing the plot, so people have coffee and cake or do lunch, and all the plot and character development are carried by the dialogue. Such dismissal of eating/drinking habits is a big opportunity missed.
“Food-ology links FOOD RELATED HABITS to PERSONALITY TRAITS and BEHAVIORAL TENDENCIES. A PORTAL INTO THE LAYERS OF ONE’S CHARACTER. Learn more about yourself and those around you – to support better judgment, improve relationships, increase effectiveness and empower your life. You are HOW you eat.” ~ Juliet A. Boghossian, Founder, Behavioral Food Expert
Juliet Boghossian is a self-styled behavioral food expert. Her research has spanned 20 years. She’s cited all over the place, so here are her major assertions about eating style and personality. Now, in the interest of full-disclosure, I admit that I read secondary sources. I couldn’t quickly find Boghossian publications. (Make of that what you will.)
The slow eater. According to Boghossian, slow eaters usually prefer to be in control, and they know how to appreciate life. They’re also likely to be confident and even-keeled. Perhaps they put themselves and their needs ahead of others, are selfish, and do not give priority to others.
The fast eater. Fast eaters tend to be ambitious, goal-oriented, and open to new experiences. They may tend to be impatient. May come across as overly competitive. Often finish tasks ahead of deadlines. May be considerate, putting others ahead of their own needs.
The adventurous eater.These people never meet a food they don’t want to try. This person is probably a thrill-seeker and risk-taker in other areas of life, willing to try new things, maybe beyond his/her experience/comfort zone.
The picky eater. Does this really need definition? People who hesitate to try new food, continue childhood food preferences, etc. According to Boghossian, picky eaters are likely to be a little neurotic in general.
Julia Hormes, psychologist specializing in food behaviors at SUNY Albany, notes, “Research on ‘food neophobia’—the reluctance to try new foods—shows that it is related to certain personality traits, including sensation seeking, anxiety, and neuroticism. Those high in food neophobia appear to associate many avoided foods with a sense of disgust.”
The isolationist. These people eat all of one food before moving on to the next food, and so on around the plate. According to Phil Mutz, author of the LittleThings post, “You are a very detail-oriented person, and you are sure to always think things through thoroughly… You are a very careful person.”
Boghossian says, “This behavior conveys a task-oriented personality versus a multi-tasking individual. …Also, it conveys a disciplined and borderline stubborn tendency to complete one task before moving on to another.”
Earlier this year, Tastessence presented opinions on these and other eating habits. They discussed the personalities of people who adapt their eating speed to match the pace of companions, change eating pace based on schedule, experiment with food combinations, order without looking at the menu, take a long time to order, cut all their meat portion at one time, make noises while eating, ask questions about the menu, refuse to share food, and/or keep foods from touching each other. If any of these variations are of interest to you, look it up.
In the meantime, I will turn to findings published in the journal Appetite. This is by researchers at the Swiss Federal Institute of Technology, who maintain that personality informs eating habits. This was a serial survey study of nearly 1,000 participants (not college students). They researched what psychologists have put forward as the five basic dimensions of personality: openness, conscientiousness, extraversion, agreeableness, and neuroticism.
So, in a reversal of the above, here are the five personality types and what their eating habits are, according to who scored high on a personality dimension.
Openness: More likely to stick to a healthy, balanced diet, like the Mediterranean diet; not a huge red meat fan; more likely to have a plant-based diet, perhaps including fish; eats lots of fruits and vegetables.
Conscientiousness: Likely to seek information, control stress factors, and adopt behaviors with health benefits; less likely to eat meat; more likely to be a restrained eater; does not eat emotionally; prefers fruits and vegetables to sweets.
Extraversion: Social, good at networking; engages in social eating, so more likely to respond to external food cues (like smell); eats more meat, sweet foods, savory foods, and sugar-sweetened drinks.
Agreeableness: Less likely to consume meat, but otherwise no significant correlation between this personality dimension and most food choices.
Neuroticism: Diet only when convenient, eat to cope with emotions; tend to eat “comfort foods,” not so many veggies, and fewer whole grains.
Bottom line for writers: Make more of your food scenes! Whether it’s your protagonist or another character, use their eating habits to establish and deepen the portrait of their characters.
As the great communicator once said, “You can tell a lot about a fellow’s character by the way he eats jellybeans.”
I’m a long time fan of the PostSecret Project.The photo above is one published secret that inspired me to write “Self-Portrait,” a short story published in The Griffin in 2012. In this story, a much-tattooed as well as pierced woman says something like, “People think I do this to get attention. I do it so I won’t be seen.”
If you don’t know about this project, check it out online. Basically, it started with Frank Warren working on an installation art project for which he dropped self-addressed, stamped postcards in public places, inviting people to anonymously share a secret. For example,
Over time, thousands of people responded, long after the original call went out. The result is five books of postcards with virtually no other text, plus the most recent one, which includes postcards (some from earlier publications) plus commentary on the meaning of the project for the author/editor, Frank Warren, and others.
I have all the books in hardcover and they are incredibly valuable. For one thing, virtually every secret could start a story. (See above.)
And several themes emerge. Many of the secrets deal with mental health and/or suicide.
This cover/title made me smile. Who else would have secrets? In any event, like the earlier books, the secrets varied widely by theme. A major theme is love, attraction and sex. People post about everything—not being interested in sex, adultery, masturbation, having been raped, fantasizing about rape, and sexual insecurity.
Secrets often have to do with faith (or lack thereof) and religion. Often these concerns overlap with others, such as being gay or lesbian—e.g., “I’m a lesbian and I wonder whether I can still go to heaven.”
Parent/child relationships are a major theme. Of course, these often overlap with other themes.
The most recent book was copyrighted in 2014. Perhaps the project has run its course. As mentioned earlier, this one contains much more text and is about the project, beyond the publication of secrets themselves. (After writing this bit, I discovered that there is a PostSecret book published in 2008 that I don’t have. I just ordered it!)
Not surprisingly, yet another theme that emerges is the profound effect of childhood events.
Bottom line: These books of secrets are windows into human souls. Some secrets might seem trivial to the reader, some are humorous, some heart-wrenching, many surprising. A writer could only benefit from exposure to these very human confessions.
Just as characters affect one another in your writing, they are also affected by the weather around them. In fact, just like people do with the setting, think of weather as a character. Keep in mind that weather and climate are two different things and will affect characters in different ways. Climate tends to affect lifestyle, social structure, and culture, whereas weather affects daily choices. There are myriad ways weather can affect your characters. If you can think of more to add to my list, I’d love to hear them!
This can sometimes be overdone, but think of the symbolism of some weather forms. Is your character confused or unsure of something? You could make it foggy outside. Is the plot building up to a big climactic scene? Maybe a storm is approaching as well.
Even a small turn or change in weather can lead to a turn or change in plot or characters’ movements. Weather is a huge factor in decisions people make throughout the day. For example, if it’s raining, fewer people will be outside, which could be a way for there to be fewer witnesses in, say, a plot involving murder.
Do you have more examples to add to this list? Let me know in the comments section! And remember: depending on where your character lives, the climate (and weather) will vary based on season and location. Do your research!