Writing_Magazine_-_November_2019_UserUpload.Net

22 NOVEMBER 2019 http://www.writers-online.co.uk

W

e have become,
by evolution or
accident, a more
visual society.
Or maybe we’re
returning to the time before print, when
people had to rely on what they saw
before their eyes. Either way, increasingly
over the years, we’ve become reliant
more on seeing images in place of words.
(Can’t think why but the first example
that sprang to mind was the once
courteous and tell-all signs of ‘Ladies’
and ‘Gents’ on public conveniences,
now replaced by utilitarian stick figures).
However, I can’t deny that it plays to
the eye more effectively than a stream
of words and, if one’s need is desperate,
saves a bit of time, effort – and maybe
embarrassment – reading.
Film is a prime example. As
viewers we soak up what we’re being
shown, often without the need for a
commentary or dialogue. These images
are easy to absorb, streaming past us in a
recognisable fashion.
Conversely, as writers we use our
skills with the written word to convey
scenes and actions. Since most books are
usually text-heavy and image-light, it’s
up to us to conjure up what we want the
reader to ‘see’. But this often requires a
little attention to get right.
We each of us, from the moment we
start to read, develop the ability to turn
words on the page to images in our
brains. Read about a horse running and
we see the familiar image... even if we
don’t consciously think about it. And the
wonder is, anyone reading the same text
will see a different horse. It’s there, like a
picture automatically on-demand from
a vast internal library. In a similar way,
when we write a scene, we do so with a
range of images flickering through the
back of our brain. And because we’re

also thinking ahead to the next scene or

piece of dialogue, they’re quickly pushed

aside by others on the conveyor belt of

the storyline we’re building.

As writers, it’s a useful function to

be able to look at the text we’ve written

down and, allied to the images we also

see, check to make sure we’ve done

a complete job. The reason? Because

while we see a vast array of fast-moving

images and scenes, with accompanying

dialogue or action, the reader might not

see any if we’ve left something out in

the description.

Actions have consequences. For every

action there’s a reaction. If we describe

a character screaming at someone, but

there’s no context, it’s an empty event.

In real life, the screamer would show

something – usually physical, by way

of expression or movement – and the

screamee (the one on the receiving end)

would show a reaction. If there are

others nearby, they might also react, even

if it’s muted. If it’s something funny, the

reactions are ones of laughter or amused

observation. It’s there, a natural response

we all have in us.

But do we always think to include

these signs?

Well, hands up, I know I don’t –

at least, not always on the first run.

But that’s where my personal editing

function kicks in – or should do – to

go over the scene on the page and see

what might add a touch more colour

or depth.

If writing about someone falling over

in a crowded street, we might portray

someone reacting by rushing to help,

while the faller struggles to get up.

But real life isn’t limited to those two

simple acts. In reality you get others

stopping to help or commiserate, with

others walking by, either unaware,

uncaring or chatting on their phones.

BEGINNERS

Action and reaction

But what about the faller, who’s dying

of embarrassment and just wants to run

away and hide? Each of these, albeit

mentioned briefly, add to the scene and

give it a greater reality.

Action and reaction

On film, actors’ facial expressions convey

thoughts, responses and intentions.

Frowns, smiles, grimaces – even a total

blankness (this not always deliberate on

the part of some thespians, I find) – tell

us what the character on the screen is

thinking – or thinking of doing. We

know this because these human indicators

surround us every day. They can give

added colour to the scene, while taking

the place of unnecessary dialogue. For

example, you can write about a character

disagreeing strongly with someone –

maybe even violently – and telling them

so. But there might be greater colour in

the scene if you describe the offended

character’s jaw clenching and the eyes

hardening – and then have them turning

to leave without a word, but slamming

the door after them.

There’s an advert around at the

moment where a young man is trying

to explain to an older man how to

use an electronic voice-activated

gadget to play music. The old man

hides behind his newspaper, perhaps

disinterested or cynical, and the

younger man exits, singing some

lyrics. When he next enters, that tune

is playing and the old man merely

looks at him and, with a twinkle in

his eye, nods at the gadget, effectively

saying, ‘See – I got it.’

It doesn’t need words, but conveys a

strong message.

Events don’t happen in a vacuum.

There’s always a reaction, great or small

• but leaving it out might take away
  some of the reality we’re striving for.
  
  
  • Don’t forget
    the small stuff:
    people reacting,
    background
    sounds.
  
  
  • Not all
    scenes require
    dialogue;
    sometimes
    description and
    reaction is all
    you need.
  
  
  • Think about
    your scenes in
    a visual way.
    What could be
    added to make
    it more real?
  
  
  • Take examples
    from film.
    What little
    events have
    added to a
    scene and
    made it stand
    out for you?
  
  
  
  

TO P

TIPS

Learning to think visually is a valuable skill for a writer, says Adrian Magson