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Creative writing

The Potion for Emotion: A Dissociative Guide to Writing About Emotion

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When a memoirist cannot readily recall—or name—what a younger self felt, the scene can still carry emotion. Darla Clement’s craft article “The Potion for Emotion” offers practical routes through concrete detail: a recurring image, a body’s response, a child’s gesture, or the weather as it was actually experienced. These are writing techniques drawn from Clement’s personal account of childhood dissociation, not clinical guidance or a universal description of trauma.

How to write emotion when you cannot name the feeling

Begin with what can be observed. Instead of announcing “I was frightened,” show what the narrator noticed, did, or could not do: a dry mouth, a lurching stomach, a hand gripping a seat, or attention fixed on one detail. Those specifics give the reader material from which to infer an emotional state, while leaving room for uncertainty in the narrator’s memory.

This approach is especially useful in memoir, where the writer may be reconstructing a younger self’s experience rather than reporting a feeling that is clearly accessible now. Clement’s examples are personal memories, not diagnostic signs; a bodily sensation does not prove a particular emotion.

Use a recurring image as an emotional bridge

A motif can hold meaning across scenes when direct emotional language is difficult to reach. Clement describes using a gosling to suggest a child’s dependence and a lake monster whose movement on or beneath the water could shift with her younger self’s emotional state. Repeated images let a reader sense change without requiring the narrator to explain every feeling afresh.

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Choose an image that belongs naturally to the story and allow its meaning to develop through context. A motif is most helpful when it clarifies or deepens a scene; if readers cannot tell whether an image is literal, remembered, or symbolic, add enough grounding detail to keep the scene intelligible.

Let setting and weather carry specific mood

Rain, clouds, puddles, and snow recur in Clement’s memories as part of the emotional texture. Weather can contribute to mood, but it is not a universal code: rain does not automatically mean sadness, and sunshine does not guarantee happiness. The effect comes from the writer’s observed details and the meaning those details acquire in a particular scene.

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Rather than writing “the weather was gloomy,” show what the narrator actually perceived: water gathering in a familiar place, the feel of wet clothing, or the way snow altered the journey home. Specific setting details help a reader inhabit the moment instead of receiving a generic mood label.

Ask, “How did my body feel?”

When emotional recall is distant, follow the physical memory without treating it as a diagnosis. Clement describes sensations including tremors, dry mouth, a stomach lurch, pressing against a vehicle floor, and warmth in the chest. A writer can ask what the body did, where the sensation was, and what the narrator paid attention to next. The answers may provide a route into the scene even when the emotion itself remains unnamed.

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Keep the detail true to the remembered or responsibly reconstructed moment. A bodily reaction should not be added merely because it is a familiar shorthand for fear, grief, or anger; specificity is more persuasive than a stock signal.

Observe behavior, especially small reactions

Posture, facial expression, eyes, and minor actions can reveal what a broad emotional label leaves out. Clement describes watching children’s physical reactions as a way to find such details. A character might turn away, go still, repeat a soothing action, or fixate on something ordinary. Let the behavior arise from the scene rather than assigning every gesture a fixed meaning.

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This method also helps when writing another person: describe what you could observe, and be careful not to claim certainty about what that person privately felt unless the narrative has a basis for doing so.

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Use ordinary details to create unease

Suspense does not require dramatic events in every sentence. Clement points to Shirley Jackson’s We Have Always Lived in the Castle as a model for making ordinary routines feel subtly wrong. In a memoir scene, familiar actions and objects can likewise build tension when the narrator’s attention, timing, or response makes them feel altered.

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Read for how a writer arranges those details and controls what the reader knows. The goal is not to imitate Jackson’s style, but to notice how an everyday scene can gather emotional pressure without naming it directly.

Read craft models for voice and emotional contrast

Clement recommends Marion Roach Smith’s The Memoir Project as a memoir-writing study resource, Mary Karr for authentic voice, and Joe Bunting for a value scale that contrasts emotional states. She also points to an example in Smith’s book in which grief is rendered through an unexpected concrete detail. These are reading suggestions, not a ranked or tested method; use them to study how different writers make emotion legible on the page.

Try a fifteen-minute exercise

  1. Choose a moment. Pick a specific instance of strong feeling. It can be small; do not choose material you do not want to revisit.
  2. Set a timer for fifteen minutes. Write continuously about what happened and what was perceptible in the moment.
  3. Do not name the emotion. Show it through body language, a repeated or soothing action, attention, weather, or another concrete detail.
  4. Read the draft back. Notice which details make the feeling easiest to infer and whether any image or physical response feels unearned. Revise for clarity rather than adding explanation by default.

The exercise is an invitation, not a demand to open painful material. If the scene feels like more than you want to work with, choose a different moment or stop.

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