He jerked his pistol free and fired it at the pavement:
Verbs Writing is an account of how people think. As a medium it's intrinsically empathic; it communicates patently human sensibilities.
The more detailed and rich your descriptions, the better your writing will approximate the human experience, thereby establishing a connection with fellow minds. The best descriptions are the ones that are completely original, easily understood and often reminisced. Appeal to the senses Words with strong sensory associations always increase your chances of yielding an empathic response.
In order to maximize that empathic response, try to appeal to all the senses as often as you can. Recent studies show words containing sensory descriptions are so powerful they even stimulate areas of the brain that aren't used to process language.
When we read a detailed account of how something smells, for example, our sensory cortex gets a signal. In other words, the brain often treats real experiences and reading about them as the same thing. If you really want to place your reader in the story, your writing should take advantage of our collective faulty wiring whenever you can.
The same applies to our relationships with the laws of physics. Words describing motion can stimulate the motor cortex, which is responsible for coordinating body movements. If you really want to simulate motion, try doing this while varying the rhythms in your sentences.
Want to increase action? Put your subject directly before the verb. To slow down the motion in other words, to add emphasisshorten the sentence. If you want to bring things to a stop, try replacing a conjunction with a comma: The fields are barren now, deserted. Be specific Avoid summary in your descriptions.
Offer concrete information, engage us with moment-to-moment details, tell us about each detail, and how they affect the senses. One of the most practical — and indeed, easiest — ways of laying out a descriptive foundation is to envision each scene before you write it.
Literally close your eyes, see the scene and then write it down.
Now — to establish storytelling authority — make sure the description is told from the proper subjective viewpoint: But this was intended to be a work of fiction.
The heat is oppressive, sweltering and exhausting, it sticks to the skin and makes ovens out of parking lots. Do they make us participants in the story instead of mere observers? Not only is this new sentence more specific, it brings in a few common experiences associated with heat sticky skin, broiling parking lotsthereby placing readers into the action and increasing the chances of an empathic response.
More often than not, they actually abstract a thought, so sentences that rely on modifiers for descriptive strength are building on faulty foundations.
When you edit your work, spend considerable time scrutinizing your sentences to make sure the action maximizes full descriptive potential. They arrived at the house just behind the streaming line of fire trucks, their street alive in the opulent glow of lights and sirens, their house ablaze in a perennial bloom of orange and yellow.
Unfortunately, this story was published before I possessed the wherewithal to edit such obtuse overwriting. Looking at it five years later, the sentence would have been fine if I simply cut down on the modifiers and let the action breathe.
They arrived at the house just behind the fire trucks, the street alive in a glow of lights and sirens, their house ablaze. Notice how this version places an emphasis on the verbs.
In the first version, the sentence ends with a description of the colors of the blaze, hardly essential information.
Now emphasis is placed on the most important information in the sentence and in this case, the entire story: If you want to draw extra emphasis to anything, put it at the end of the sentence.
Placing it at the beginning is a close second. Never bury important information in the middle. Use figurative language Ever wonder why metaphor and analogy are such powerful — not to mention, popular — tools? Figurative language is an unmatched ally in descriptive pursuits.
It gives the writer a chance to deconstruct a specific, subjective event and recast it into something familiar. The human mind is engineered to see patterns.
The analogous relationships you establish have to be earned. The overcast September sky stared back under a blanket of ashen gray.M.S. Dhoni: The Untold Story is a Indian bollywood biographical sports film written and directed by Neeraj Pandey.
It is based on the life of former Test, ODI and T20I captain of the Indian national cricket team, Mahendra Singh ashio-midori.comng: Sushant Singh Rajput, Disha Patani, Kiara Advani, Anupam Kher, Bhumika Chawla.
This item: Pimping Fictions: African American Crime Literature and the Untold Story of Black Pulp Publishing by Justin Gifford Paperback $ Only 1 left in Reviews: 1. Times, Sunday Times () You say you want your story to remain untold. The Sun () Untold numbers have died trying to make the journey.
Times, Sunday Times () This process can be lengthy doing untold damage to the reputation of the business in the meantime. Times, Sunday Times () Your predictions would bring untold misery to many. Something in the Blood The Untold Story of Bram Stoker, the Man Who Wrote Dracula. Justin Gifford is an associate professor of English literature at the University of Nevada, Reno.
His teaching and research focus on American and African American literature. He specializes in popular literature, archival research, and critical theory. Justin Gifford is an associate professor of English literature at the University of Nevada, Reno.
His teaching and research focus on American and African American literature. He specializes in popular literature, archival research, and critical theory.