How to Develop Your Writing Skills - Part Ten

A number of years ago, I was taking a class in fiction writing at the local junior college. My professor was an animated instructor, enthusiastic about his teaching, and quite skilled at getting his point across in a fun a memorable way. He taught me well about writing down the details.

As a newbie to the whole writing scene, I had some preconceived notions about what writing was and the amount of work it took to get a finished piece in print, let alone convincing any one from the outside world to read it. I also had some misguided ideas of how audiences approached their selected genre. The biggest surprise to me was that most reading audiences could only be counted on to understand the written word at a sixth or seventh grade level. Granted, there are bookworms and specialists who possess a much higher reading skill level, but the vast majority of our readers do not want to struggle when they read. But, before we head off into the shortcomings of our educational system, let me return to the subject at hand. (Please see my article on "Public Schools and the Financial Incentive".)

Along with an average reading and comprehension level comes a reduced ability to imagine beyond the written page, to visualize in the mind's eye what the intellect is reading. It's that left brain/right brain barrier thing again. Analytical versus imagination and creativity. When we read, it is an analytical translation/absorption process in our brain. To take that written word and immediately picture the scene, or better yet create the whole scene by filling in the missing pieces of information is a talent possessed by few.

Unfortunately for my early writing development, I was under the impression that most people could imagine and fill in the blanks, as well as "see" the scene in their minds . . . like I could. It was never a struggle for me to read a minimalist passage and develop an entire visual scene in my mind to accompany it. Wow! My lively and active imagination had actually been a stumbling block in my understanding about audiences.

Fortunately, my creative writing instructor, as well as my technical writing instructor taught me that most of our readers need details, and more details, to help fill in the blanks of their imaginations. Bear with me a moment while I illustrate what I learned. I found that if I wrote a passage featuring my story's hero standing in a thick woodland at night, cold and alone, that I must also fill in the scene with the mention of frigid air and barren tree limbs whose darkened and twisted forms shadowed the crunchy leaves scattered on the rough and slightly muddy ground. I must also mention the moonlit night (or lack thereof) enhancing some shadows, softening others as it blends with the farmhouse porch light a mere 200 paces from his position. Along with those elements, I might need to establish the temperature of the air, or the slight, but chilling breeze, causing each hair to stand on end while he stands there in his short-sleeved plaid shirt and dirty jeans, a baseball cap screwed onto his head in a backwards, slightly cockeyed fashion statement. It seemed to go hand in hand with his rough, three day stand of whiskers on his chin. Are you getting the picture? Are you beginning to visualize it? Or do I need to point out his scuffed construction work boots with the crack in one sole that allows a few droplets of water to migrate upward by capillary action to moisten his sock, contributing to the chill in the air and enhancing the goose bumps on his arms?

Did I ever get an education that semester . . . right between the eyes. I learned to "see" as most others "see" when they read. I learned that what comes easily to me, does not to the vast majority of the population. In fact, it seemed that many readers have little imagination at all and really need to be spoon-fed scenes and details. That sounds a bit simplistic and could be construed as arrogant, but it's not meant to be. It's simply a statement of fact. People need details when they read, especially fiction. That's the way the majority of our readers function when they read, so it's our responsibility to adapt and get our message/story across. We don't need to know extreme details such as the design of buttons of a flamboyant woman's red dress unless they have some significant tie to her personality or heritage. All we might need to know is that she wore her "red dress that day, the one with the hemline just above the knee and the four inch slit traveling up her well toned thighs. It was attention getting, and at the same time dominating. She often referred to it has her power dress . . . the one that turns heads, revealing that she is a sensuous, yet powerful woman. She was ready to conduct business, on any level.

Set the scene, and even more important, set the mood with your details. They can define the moment and the emotion. By the time you describe your character, the reader should begin to identify with them, even share their feelings, longings, and regrets. We need to provide enough details that our readers shiver with the first snow of winter, become excited and full of expectation when swimming with the dolphins, or feel the deep emptiness left by his passing. His kisses would never fall on her soft, pale lips again. Their bodies would not share a mutual embrace, arms wrapped tightly, eyes closed, listening to the surf below the rocky cliff. The rhythmic pounding of the salty mist seemed to draw her heartbeat into it's repetitive cycle, unending, pulsing, droning, and empty . . . . oh, so hollow and empty. Tears.

Imagine the scene, then make certain that your readers can see it too.