Creative Writing Imagery

Creative Writing Imagery-16
You need to create an impression without creating a whole picture (so to speak).The trick is being frugal with your description, so that you can let the image stand on its own without overloading it.

You need to create an impression without creating a whole picture (so to speak).The trick is being frugal with your description, so that you can let the image stand on its own without overloading it.This is an emotional moment, and the image spins it in a more visceral direction. But it’s a good example of where an image might be desirable, if you’re the type to add embellishments to your significant and emotional moments.

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These images are able to cut through the exposition or dialogue of a story and create an almost physical reaction in the reader, something that makes them stop and savour the writing for a second more.

In ‘Imagery and the Third Eye’ King says: If I can say anything important to writers who are still learning the craft of fiction, it’s this: imagery does not occur on the writer’s page; it occurs in the reader’s mind…

the writer must be confident enough in his or her own imaging ability to stop when it's time to stop, because as we all know, the joy of reading novels, which no movie can equal, is the joy of seeing in the mind, feeling the fantasy flower in the way that is unique to each individual reader.

In my creative writing class, we begin the semester-long class with an exercise that helps students find the right words to convey to their readers the sensory details that bring the story alive. First, it describes using sensory language, and second, it evokes strong feelings in the reader.

Give the reader just enough information that they can form the image on their own, and be content with it.

One of my favourite images is on pages 240-241 of In the middle of the window, dangling from a string, hung a crude circle made from a bent coat hanger. ‘It’s mine.’ Egan captures this poignant moment perfectly, using simple language and the imagery of the bent coat hanger and the sun to say something important about Sasha’s character and her situation.Just think, there are millions of slightly alternate Hogwarts Castles crafted in the minds of readers around the globe, and that’s kind of beautiful.Because imagery, as Stephen King says, ‘occurs in the reader’s mind’ it’s important to realise that your job as a writer is not to tell the reader exactly what to see down to the smallest detail.If you’ve gotten the feedback that your imagery in writing and that it can sometimes slant toward cliché, really think about it and maybe pick the third or fourth image that comes to mind.You want to make sure you’re being evocative and Struggling with voice, description, and imagery in description?Sasha sat on her bed, watching Ted take in her meagre possessions… Words like ‘crude’, ‘bent’, and ‘dropped’ all allude to Sasha’s downfall in running away from home, while the image of her being ‘aflame with orange light’ basks her in a destructive but warming glow. Egan doesn’t need to tell us what colour curtains hang in the room or what kind of look is on Sasha’s face.the sun finally dropped into the center of her window and was captured inside her circle of wire. Egan probably sees these details in her mind when she writes, but it’s not necessary for the reader to see them.A lot of writers are terrified of doing any kind of telling, and I understand why.And that’s where this overuse of imagery comes into play.The reader must only see that sun dip into the circle of wire, because that is where the heart of the image lies.In his essay King says: Leave in the details that impress you the most strongly; leave in the details you see the most clearly; leave everything else out...


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