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Describing Location Posted at If good descriptive writing is used, their experiences become yours, too, for the duration of the book.
But because the medium is textual, visual imagery has to form part of the narrative for it to become effective.
Your job, as an aspiring author, is to create, through the words that you choose, a cinematic experience in the imagination of your reader. So it is crucial that, as authors, we understand the importance of descriptive writing of character, experience and location, and its impact on our readers.
Consider the reality we encounter everyday. In addition to the natural wonders of the animal kingdom, elements, and environment, the man-made edifices of buildings, roads and bridges, we have other images.
Our world is dominated by artificially created imagery and icons: From the sensual film messages of chocolate-eating female models, to those of the Ferrari-driving Alpha male, we are urged — by still or moving pictures — to Buy Me or Try Me. The vividness of visual imagery is used to play upon our emotions and create, in us, the required response.
Creative writing techniques are as manipulative as the visual imagery used in advertising; both demand a response from us.
Thus the creative writing descriptions that we include in the narrative of a novel are crucial. Good descriptive writing in a novel has another essential role to play. It should be used to convey an impression: You, the author, need to choose the emotion you wish to convey, and, therefore, the dominant response you want from your narrative.
Suppose, for example, you were describing location, and the scene included a waterfall. Before you begin, you need to know exactly what this scene is about in relation to your plot.
Your descriptive writing will then be influenced by that symbiosis. Its power and strength would be emphasised, as well as the danger it represents.
If, however, your heroine were out walking when she came across the man for whose love she has secretly craved for years, then your description of the waterfall will veer more towards its dark passion, the depth and churning of the waters, the beauty and tranquillity of its surroundings.
In either example, you cannot mix your metaphors. The waterfall is either a thing of fear and danger, or of excitement and beauty. It cannot be both. Your reader must feel either the terror of your escaping heroine; or her thrill of anticipation as she encounters the love of her life.
The dominant impression of the visual imagery you use in your creative writing must evoke a single emotional response from your reader.
On the contrary, your reader must not simply know about that fear, but must feel it for himself. Thus the environment in which your fictional characters finds themselves — the waterfall in this instance — should take on all the aspects of threat and fear. It is imperative that the nouns, adjectives, and adverbs that you choose and use take that into account.
In order to achieve that, the following guidelines should be used in your descriptive writing: It was snowing heavily. The drifts made walking difficult and a wolf howled in the distance. He began to sweat. A smell of burning made him think of his loved ones, and the possibility of them being lost in the smoke and flames.
Remember that the aim is to evoke an emotional response in your reader. The falling snow caressed sensory — touch him; his skin crawled sensory — touch with fear. Heavy drifts grasped sensory — touch at his feet, trapping him, pulling him down.
It was as if the elements, themselves, were colluding with the devil.
As if to confirm his thought, a wolf howled sensory — hearing in the distance. He broke into a sweat. On the air he smelled sensory — smell the acrid scent of burning. He could almost taste sensory — taste it on his tongue, and in the swirling obscurity sensory — sight of falling snowflakes, he imagined the confusion of those he loved, lost in the roaring darkness of flame and smoke.
Note that this is no longer just a straight description of the environment. There is action implied with the use of the active voice. Without explicitly stating the reason for our hero to be hastening through a snow storm, it is clear that something terrible has happened to those he loves.
All five senses — touching, hearing, tasting, smelling and seeing — are used in the example of descriptive writing above.Sep 15, · Think about where your book takes place. Think about what the architecture looks like, how cities are laid out, what the natural environment looks like, etc.
A description instead of a question would be best, but all in all, either will hook your reader if you write it right. To begin writing a book, start by coming up with a 90%(). Model Place Descriptions: Four Descriptive Paragraphs. Search the site GO.
Languages. English Grammar Model Place Descriptions: Four Descriptive Paragraphs Descriptive Paragraphs About Places. Share Flipboard Email I did my homework and first writing at the kitchen table, and in winter I often had a bed made . Descriptive writing may also paint pictures of the feelings the person, place or thing invokes in the writer.
In the video section below, watch a teacher use a Five Senses Graphic Organizer as a planning strategy for descriptive writing. In no place does this description connect the reader to the issues in the book in a way that is engaging or compelling.
More Book Description Best Practices To Get Right 1. The primary purpose of descriptive writing is to describe a person, place or thing in such a way that a picture is formed in the reader's mind.
Capturing an event through descriptive writing involves paying close attention to the details by using all of your five senses. Teaching students to write more descriptively will improve their writing by .
Modern readers won’t (necessarily) think about seventeenth-century connotations like this, so if you’re writing a scene set in a very different era or culture to what you know, research so you’re creating a true sense of place.