Bias in Writing
[image error]Fiction, by nature, is not objective nor should it try to be. It is subjective even when the omniscient point of view is used because it contains the ideas, themes and outlook of the author. The entertainment aspects of a story are weakened when bias is not used properly. Bias is defined as prejudice for or against someone or something, usually interpreted as being unfair. You definitely want to learn how to be unfair in your writing. Unfairness, if nothing else, raises the hackles of readers and gets their emotional blood pumping! There are many ways to show bias.
Bias as a Pattern of Expectation
You most typically show bias by showing a pattern of assumptions or errors that support one particular view or by simply ignoring facts that might disprove the point of view or support an opposing view (aka putting a "spin" on things). If the author, or character, systematically highlights details that favor his viewpoint and ignores or discounts details that oppose it, he is biased.
It'd only taken a couple of stints as a hitchhiker for Sarah to conclude it wasn't the way for a single woman to travel. Granted, the knife she'd had held to her throat by the second—and last—driver she'd ever flagged down would only leave a tiny scar on the outside, probably some deeper damage to her psyche. The buckshot presently lodged in her side from a run-in with a territorial farm owner… Now that injury seemed poised to linger. Whoever had given her the impression that people from postcard-pretty places like Montana would be kind and welcoming… Well, next time she'd ask for proof.
This paragraph happens near the beginning of the book. Not only does it give the reader insights into the cynical worldview of the character, Sarah, but her two bad experiences resulting in physical injuries are also somewhat difficult to believe. Yet, this is all the author presents as evidence of Sarah's trek across Montana. The author does not attempt to provide a balanced view that might include the more ordinary or even somewhat pleasant aspects of her journey. What about the first driver she flagged down? That experience is not included.
What does this bias do for the reader as far as entertainment? You might say it sets up a hostile mood. By sympathizing with Sarah, even a little, we feel the sting of her injuries as well as the sullen expectation of more unpleasantness. We don't yet know the purpose of Sarah's journey, but we can guess that if it was not important, she would have turned back. Without knowing what she intends to do, we are being drawn in to seeing her succeed. Or we may scoff at the idea that she was so badly treated by strangers and wait for her to meet a nicer person if only to prove her wrong and restore our faith in humanity. In short, we are "expecting" more of the same, but also hoping for a better outcome. This author successfully built sympathy for a character in a single, short paragraph.
Bias by Labeling
Attaching a specific label to describe something or someone or some action or using more extreme labeling for one character than for others is a way of pushing bias onto the reader.
It was almost impossible to look into the shocking eyes of the vampyre, and yet the gaze of the creature was compelling. It was like attempting to force two poles of a magnet together. Erik could barely withstand the blaze of scarlet energy that flowed into his view. The vampyre's words were a vice, locking his head in position, insisting he answer.
Four short sentences to describe the vampyre character. The word choices: "shocking", "compelling", "force two poles of a magnet", "blaze of scarlet energy", and "a vice, locking his head" all create a bias that tells the reader that the vampyre is dangerous and since they are given from Erik's point of view, we know that Erik is frightened and rightfully so.
How can you take advantage of this kind of bias? Look for areas of short description of characters appearance or actions. Choose words that reflect the emotion of the person doing the describing. Use simple metaphors, preferably ones that add tension, rather than ones that are more poetic. Notice that the four sentences do not use big, unfamiliar words. Even the action words are simple. KISS. This author was able to describe a character using only the emotion that character evoked in another character (with the assistance of a couple of analogies).
Bias by Placement
By mentioning something and then putting something else right next to it, you can make it so that a reader draws a particular conclusion.
Jaq came from the streets. A homeless teen with a five-year-old sister had nowhere to go except Mother. The agency had approached her—they recruited youth on the streets from time to time—trained her, and housed the two sisters, and all Jaq had to do was become an agent, then take assignments to keep watch on the megacorps. Bovine had been young then and took to her like an older brother. Harp hadn't looked at her like family. Not at all, but that was past. She blinked fast to clear the blurring sting in her vision.
In this example, we're getting the impression of a character who has seen tough times. Then, the paragraph mentions "Bovine" who treated her like an older brother, and "Harp" who didn't. We don't know exactly what that means, but with the addition of "to clear the blurring sting in her vision" we can conclude that she was unhappy about it and is still feeling hurt by Harp. This author has created sympathy for a character in a few sentences, and has opened a question we would like to see answered, "How did Harp treat her and why is she upset about it?".
I'd love to see any more examples you can find! :)
