The tickle of curiosity. The gasp of discovery. Fingers running across the keyboard.

The tickle of curiosity. The gasp of discovery. Fingers running across the keyboard.

The World of Iniquus - Action Adventure Romance

Showing posts with label Bystander effect. Show all posts
Showing posts with label Bystander effect. Show all posts

Sunday, July 24, 2016

The Company You Keep - Does Your Character Act "Out of Character" in a Group Dynamic?

Dr. Vivian Lawry
A big welcome to Dr. Vivian Lawry. Vivian holds a BA, MS, and PhD in psychology and was a professor of psychology prior to her retirement.

In this article, we're talking about what happens to a character when they get into a group where a character might act "out of character", which is a fun way to develop the plot

Can you first give us a working definition for "group"


Vivian - 
We usually think three or more, but some "group" effects are present even with only two. Also, the "group" needn't be physically present to exert influence.

Fiona - 
Can you explain that last sentence?

Vivian - 
Some group memberships are literal memberships--for example, a church congregation, sorority, bridge club, etc. such groups are often in our thoughts, and serve as a reference or standard for behavior even when the member is alone.



S one group
S one group (Photo credit: Wikipedia)
Fiona - 
Does "group mentality" work both ways? For example, people in a riot become riotous, but people in a disaster, where they see all hands on deck, become heroes?

People in a religious forum feel more religious. . .sort of like a magnifier?

Vivian - 
Absolutely. I just mentioned formal groups--which are the ones having the strongest influence at a distance-- but crowds, mobs, any physical gathering of people, shapes our behavior to act or remain passive. 


Fiona - 
Can you give us a short tutorial on what we need to know about group dynamics to help write our characters right?

Vivian -
Well, there is a phenomenon known as behavior matching, a tendency to do what others around us are doing. This is reflected in everything from eating to body language. Even a person who has eaten his or her fill will eat more if someone else comes in and starts eating. If others are slouching, your character isn't likely to remain formal.


Fiona - 

Yes, it's hard to pass up a piece of chocolate cake when everyone else is moaning about how delicious it tastes.

Just sayin'



Vivian - 
A related phenomenon--I suppose it could be a subset of behavior matching-- has the label diffusion of responsibility. This is the tendency for people to stand passively by when others are present. There was a classic case, decades ago, in which a NYC woman named Kitty Genovese was murdered in the courtyard of her apartment. The murder took approximately half an hour, and dozens of her neighbors watched from their windows. No one came to help or even called the police. The more people who could help, the less likely anyone will take responsibility for doing so.

And then there is group disinhibition. This is sort of the opposite. It is that people are more likely to take risks, break the law, be violent when others are doing so. Think looting, or harassing a homeless person. Disinhibition is even more powerful when alcohol is involved. I recently posted a blog on alcohol for writers that goes into that a bit.

But the bottom line is that we behave differently with others present than when alone.

(LINK to Vivian's blog article - alcohol and character development)

(LINK to ThrillWriters' article - math formula of drunkenness)

Fiona - 
So there's a lot that can go on - lots of different ways we could route our character either toward the good angels or to the lowest common denominator. Is a character aware that she is acting out of character in the moment? If yes, what kinds of self-talk might they experience?

Vivian -
Sometimes there is conscious self-talk, especially if it is something one doesn't ordinarily do, such as taking drugs. One might think, "It can't be that dangerous, all my friends are doing it. Will they think I'm a wimp if I don't? Will they still be my friends?"

Self-talk is less likely in a riot, or emergency situation with adrenaline mixed in. People are just generally less thoughtful.

Perhaps we should give a nod to the power of individual action here. Although people are unlikely to break from the group, when someone does, it's often empowers others. For example, if someone is urging gang rape and one man speaks out forcefully, refusing to participate or even take stronger action, others are likely to follow the rebel. It's difficult to be a minority of one, but having someone to rally around makes it easier.

Fiona - 
You were talking about an adrenalized episode where actions outstripped thought process. Now, we move to the next scene where the character is reviewing their actions OR are confronted with their actions. What types of internal gymnastics might go on?

Vivian -
The first is likely to be, "Hey, everyone was doing it." Another common justification is blaming the victim, who was asking for it, deserved it, etc.


Somewhere in here, we should mention that sometimes the presence of others inhibits undesirable behavior, such as theft, spousal abuse, etc.

Fiona - 
What question should I have asked you so we have a better understanding of the subject?


Vivian - 
It just remains for the author to decide how her character behaves vis a vis others AND WHY. Almost any behavior is believable if the justification is clear to the reader.


Fiona - 
THIS article on OODA loops might help you to walk your reader through the internal/external event so everyone walks out the other side of your passage on the same foot.

You can see how Vivian uses her background in psychology and group dynamics in her short stories.


DIFFERENT DRUMMER: A Collection of Off-beat Fiction. Thanks! 








Thank you so much for your insights, Vivian. ThrillWriters, if you want to stay in touch with Vivian you an reach her on her 

website, and you can follow her on Facebook.

As always, a big thank you ThrillWriters and readers for stopping by. Thank you, too, for your support. When you buy my books, you make it possible for me to continue to bring you 

helpful articles and keep ThrillWriting free and accessible to all.

Monday, June 3, 2013

A Heroine's Plan to Escape a Car Abduction - Information for Writers

__________________________________



Cain surprises Tom and Sadie
 (Photo credit: Wikipedia)
DISCLAIMER - This is a non-political site that is geared to help writers write it right. I am presenting in
formation to help develop fictional characters and fictional scenes. In no way am I advocating any position or personal decision.

Car abduction 


Statistically, being moved by an attacker from a primary location to a secondary location is extremely dangerous. Consider any movement to be imminently life-threatening.

Most abductions are done by someone who is known to the victim. The heroine should treat the perpetrator, known or not, as a deadly enemy and do everything in her power to escape.


Optimally, your heroine was on her toes. She was aware of her surrounding, and she was prepared
with a hand-held weapon such as a KUBOTAN, ASP, PEPPER SPRAY, or ELECTRIC WEAPON
(clicking on any of these links will take you to a how-to blog)


I took this picture on December 17th, 2006. It...
(Photo credit: Wikipedia)

But those heroines always seem to be getting themselves into trouble!


Escape Action Plan

1. Noise! Research shows that just making noise is a deterrent to a potential attack. Further, research has proven that yelling "help" is an ineffectual way to get help. When people hear help, they are alerted to a danger and move away. Screaming "fire" on the other hand has the opposite effect, people will come.

 * Video Bystander Effect


2. Resist - studies prove that resisting an unarmed assailant is an
  effectual way to thwart an attack. Unless there is a personal
  component such as a stalker or a vendetta, the attacker will look
  for a victim-personality. More on victims' behaviors at this link
  Your heroine's efforts make her too much trouble and too risky
   or the attacker.      


English: left limbic lobe(red). Polygon data a...
 (Photo credit: Wikipedia)


3.What if he has a weapon such
   as a gun or knife? 
  That's a trickier call. The best
   advice here is to let you limbic
   system tell you what to do. If
   you feel like an action is the 
   right one - even if it seems
   counter intuitive - trust that 
   your brain is processing
   more than is on the surface.
   LIMBIC BRAIN (this
   is a link to a blog about how
   your limbic system can
   get you out of trouble)

   Somehow he got the girl in the car and is
   taking her to another location:
   She must assume that the other location
   means death, so the heroine must take whatever
   action she can even if it causes her injuries.

1. Jump out of the car when it slows or stops in a
    populated area.
2. Cause the car to have an accident by pulling on the steering
    wheel  or suddenly shifting the gears
3. If the attacker stops the car for any reason, jam something into
    the ignition so that it can't be restarted.





If she is locked in the trunk: 


1. If she has been restrained she will need to break free
    If you need a tutorial on breaking out of tie rods or
    duct tape CLICK HERE and if she is handcuffed,
    CLICK HERE.
Front left of car
 (Photo credit: Wikipedia)
2. Feel around  the trunk for a
    release latch (required
    on cars since 2000) Have her
    try to spot the
    location before the trunk is
    shut because she will be
    in pitch black. Most of the
    pulls are made of glow-
    in-the-dark material.
3. If none, search for a weapon to
    use once the trunk
    is opened.
4. Does she have her phone on her? Call 911 (This
    might have been missed if she carries it in her
    pocket or bra. Remember the attacker is
    experiencing an adrenaline rush, too.) Give as many
    details as possible about the car and the attacker.
5. She can attempt to kick in the back seat and crawl
    through to attack the driver.
6. She can attempt to kick out the brake lights to call
    attention to the vehicle, especially if this is seen by
    handy-dandy police officer who happens to be
    patrolling that stretch of highway.

VIDEO QUICK STUDY - FIGHT FOR YOUR LIFE (11:27)


If the heroine is taken to a location and not killed immediately, she might try:


1. Getting a hold of a phone and dialing 911 then walking away

   from the phone so the abductor's attention is not drawn to the
   movement, and the police might have time to trace the call.
2. Clog a toilet or create another distraction that might allow
   escape.
3. At night, flash the lights in a pattern of three repeatedly. Sets of
   three - horn blasts, light flicks, whistle blows are a universal sign
   of distress. (If you hear or see this, call authorities to investigate -
   you may be saving a life.)

VIDEOS
Older car escape using the locking mechanism (1:01)
Showing the escape chord (:55)
Safety Instructor Talking Through What He Tells His Students (8:56)

And on a final note, many cars have crawl-outs from the back seat. If your heroine goes into water, the back will float; the engine will sink. The passengers can escape through the trunk, in many cars. Authors, check on this possibility for your character's car. This might be something she remembered as a safety feature pointed out to her during the sales pitch.




Thank you so much for stopping by. And thank you for your support. When you buy my books, you make it possible for me to continue to bring you helpful articles and keep ThrillWriting free and accessible to all.