By forcing the reader’s taste buds to image Melville’s clams or Harris’s pancakes – or making the reader feel that warm February wind, the confetti ‘sleeting’ down collars – it’s almost as though the writers are hauling the readers’ entire body into their scenes.
By forcing the reader’s taste buds to image Melville’s clams or Harris’s pancakes – or making the reader feel that warm February wind, the confetti ‘sleeting’ down collars – it’s almost as though the writers are hauling the readers’ entire body into their scenes.Tags: Essay Air Pollution HealthCreate A Small Business PlanDissertation Abstracts ExamplesEuripides Bacchae EssayType Name EssayWhat Is An Introduction In A Research PaperCause And Effect Essay RubricCreative Writing Competitions 2014
If you want to immerse a reader in an essay or story, there’s no better way to do it than with a crisp, vivid descriptive paragraph.
These paragraphs are best when you let your creativity take control, experimenting with structure and content and using unusual, striking phrases to hook your reader’s attention.
They have to have an emphatic, solid, believable presence. They want to engage with characters and story, because that’s the reason they picked up your book in the first place. but using only the lightest of touches to achieve that goal. It may sound obvious but plenty of writers launch out into a scene without giving us any descriptive material to place and anchor the action. And once, early in your scene, you’ve created your location, don’t forget about it. So you could have your characters talking – then they’re interrupted by a waitress. There were a number of tall bar stools arranged to accommodate any drinker who didn’t want to be seated at one of the tables. Herman Melville, say, describes to us the chowder for the ship’s crew in : ‘small juicy clams, scarcely bigger than hazel nuts, mixed with pounded ship biscuits and salted pork cut up into little flakes.’ Such descriptions are deft, specific, and brilliantly atmospheric.
So your challenge becomes convincing readers that your world is real . Sure, a page or so into the scene, they may start to add details to it – but by that point it’s too late. If the scene feels placeless at the start – like actors speaking in somee blank, white room – you won’t be able to wrestle that sense of place back later. That means telling the reader where they are in a paragraph (or so), close to the start of any new scene. Then they talk (or argue, or fight, or kiss) some more, and then you drop in some other detail which reminds the reader, “Yep, here we still are, in this coffee shop.”That’s a simple technique, bit it works every time. As the roughest of rough guides, those nudges need to happen at least once a page – so about every 300 words. Where else but on board a nineteenth century American whaler would you get such a meal?
Whether you’re describing a person, place, or thing, your paragraph should make your reader feel like they’re right there with you or your characters, experiencing the moment firsthand.
Describe what she's doing, like looking out of a window or cleaning the backyard. If you find some good references, then great: you’re doing fine.If not, your highlighter pen remains unused, you probably want to edit that scene!The Quileute story is fascinating, and a few fictional members of the tribe quickly became intrinsic to my story.As her success has shown, it’s possible to write successfully about a place you don’t know, but you must make it your business to know as much as you can about it.He received his Ph D in English Literature and Medieval Studies from the University of Texas at Austin in 2014.There are 15 references cited in this article, which can be found at the bottom of the page.It has to grip the reader as intensely as real life – more intensely, even. And yes, he’s started early (Chapter 1, Page 1, Line 1). He could have written something like this: I hope it’s obvious that that sentence hardly transports us anywhere. They’re not just houses, they’re That basic template is one you can use again and again. It lies at the heart of all good descriptive writing. It might be tempting to share every detail with us on surroundings. Even with a setting like Hogwarts – a place readers really do want to know all the hidden details of – J. Rowling doesn’t share how many revolving staircases it has, how many treasures in the Room of Requirement, how many trees in the Forbidden Forest. (And it would write off a little of Hogwarts’ magic and mystery.)If you’re describing a bar, don’t write: The bar was approximately twenty-eight feet long, by perhaps half of that wide. All we really have in terms of detail are those mooing red cows, some cubies (curtain booths? There’s lots more author Anthony Burgess could tell us about that place. He gives us the Visuals are important, but don’t neglect the other senses.And that means that the buildings, cities, places, rooms, trees, weather of your fictional world have to be convincing . Because at the same time, people don’t want huge wodges of descriptive writing. A long mahogany bar took up about one quarter of the floor space, while eight tables each with 4 wooden chairs occupied the remaining area. Offering a full range of sensory information will enhance your descriptive writing.You can have declarations of love happen in idyllic meadows, as in by Stephenie Meyer, but why not at a bus stop in the rain? Your character also brings one kind of mood to the scene, and the action that unfolds will bring other sensations.Lynda La Plante’s crime novel makes a home setting frightening after it becomes obvious a stranger has been in protagonist DS Anna Travis’ flat, and she’s just been assigned to help solve her first murder case.