Author: Shelley-Ann

Start

Knowing where to start is a challenge all writers face. Young writers, especially, often go straight to the excitement and underestimate the value of the beginning. Introductions are important because they generate interest in readers and give them context, all the while building anticipation about what’s to come.

To help your young writer create effective introductions, ask them to think about the introduction as having five parts. First, they must hook the reader with an enticing first line. Then, they must transition to who the story is about. Then, they must move on to explain what the situation is. Then, they must tell readers where all this is happening. Finally, they must hint at impending trouble.

That order works well in most situations, but the list can be reordered to suit how the writer wants to develop the story. The only things that don’t change are the location of the hook and that all the elements mentioned must come in the introduction. Practicing first lines and introductions is important because, as the saying goes, you never get a second chance at a first impression.

So, don’t leave young writers guessing about what to do. Show your young writer that there are different strategies for hooking the readers’ attention and allow them to practice. Remind them to include description from the onset, especially when introducing characters and setting. And above all, encourage them to build excitement along the way.

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How to Include Imagery in Every Paragraph

One of the strategies writers use to help readers immerse themselves in a story is descriptive language. We’ve discussed that before, and how focusing on imagery helps, but the question still remains: How can you include imagery in every paragraph? If you’ve been following these posts so far, by now you already have your answer.

But let me explain further, just to be absolutely clear. Descriptive language is used to explain how the characters interact with the setting and overcome their challenges to accomplish their goals. Since a little bit of that is explained in each paragraph, then it should be natural for descriptive language to be used in each paragraph.

Get young writers to think about how they describe actions and reactions as the story unfolds. Remind them to always ask themselves this question: Have I helped my readers imagine the situation? Here are some follow-up questions:

1. Where can I add visual imagery? (sight)

2. Where can I add auditory imagery? (sound)

3. Where can I add tactile imagery? (touch)

4. Where can I add olfactory imagery? (smell)

5. Where can I add gustatory imagery? (taste)

6. Where can I add kinesthetic imagery? (movement)

7. Where can I add organic imagery – sensations?

8. Where can I add organic imagery – emotions?

It’s not necessary to include all eight (8) mentioned above because that would make the story heavy on description and troublesome to read. Aim for about three (3) types of imagery in each paragraph as the setting, characters, and action are explained.

There is no formula to say which ones should be in which paragraph, so writers must think about what’s happening in the story to decide which type of imagery to use. Young writers need to practice this in order to get it right, so get them writing!

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Organic Imagery

Organic Imagery is perhaps the most puzzling of all the types of imagery because feelings and emotions are completely subjective. Writers are tasked with explaining sensations that are often only in the minds of the characters.

The trick with creating awesome organic imagery is to think about constructing a visual and tangible equivalent to these otherwise intangible experiences. So, get young writers asking “What does it look like on the outside?”If someone is angry, what do they look like? Furrowed brows? Narrowed eyes? Heavy breathing that causes the chest to heave up and down? Clenched fists? Pursed lips?

Young writers should also think about showing emotions and sensations through behaviour. Continuing with the example of the angry individual, what do they do? Slam doors? Stomp off? Become violent?

Then there’s an often neglected component of describing feelings and sensations – internal experiences. This is the most subjective part, but it adds a beautiful depth to the description that makes it worthwhile. When describing what happens on the inside, writers will often have to make use of comparisons to get the point across. So they should use similies and metaphors, but they should also describe the actual sensation. Again, following our angry person, perhaps they can be described as having the anger boiling within them and then spilling out. Or even rising up their necks into their face, causing the physical reactions described earlier.

A combination of these three strategies would yield the best results. “I had never seen him so angry. The anger seemed to boil in him until he looked like he was going to explode with rage. He balled up his fists and charged behind the other boy. His jaw was tense, eyes narrowed, and the hunch in his shoulders told me he was ready to fight. I wasn’t the only one who noticed. The other children on the playground began gathering around, shouting, “Fight! Fight! Fight! Fight! Fight!”

Just as with all other types of imagery and descriptive language, observing what people do and say in situations helps to build a foundation upon which writers can draw from.

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Focus On Imagery

One of the crucial components of well-written narratives is the element of description. Quite a lot has been said about “show don’t tell” and while most writers understand it’s needed, grasping how to do it is more challenging.

Many writers turn to adjectives, adverbs, and even figurative language, thinking this is the answer to their dilemma. The trouble with those solutions, is that they rely too heavily on what the reader knows and sometimes come across as clumsy attempts to express ideas.

Imagery, on the other hand, is a writer’s tool to take a reader from one point and carry them to somewhere magical, totally crafted and created from the writer’s imagination. So, when it comes to mastering descriptive language, focus on imagery. Take some time to explore the different types of imagery. Not only is it going to be lots of fun, but it’s also the type of tangible substance that allows young minds to wrap around intangible concepts. I’ve done posts on imagery before, mainly from the perspective of comprehension because that’s how many people think it applies. But writers need it just as much.

And just in case you’re wondering what imagery is, let me give a brief definition and list the different types.

Imagery: in literature, the use of vivid descriptions to describe a phenomenon.

Types of Imagery

– Visual (what you see) The radiant sun sliced through the dark clouds, bathing the earth below with golden sunshine.

– Auditory (what you hear) The tinkling of the dinner bell echoed down the hall, letting everyone know it was time to eat.

– Tactile (touch sensations) The cushion was soft and smooth, cradling her body in a fluffy embrace.

– Olfactory (smells) His eyes brightened as the aroma of freshly baked cookies wafted down the halls into his nostrils.

– Gustatory (tastes) She savoured the minty freshness of her favourite chewing gum for a long time.

– Kinesthetic (movement) The wave rose above the ocean and gradually curled inward on itself in a graceful arch, as the dolphins lept in and out the water.

– Organic (emotions and physical sensations)
EMOTIONS: Anger rose up the back of her neck and into her face as her eyes burned with fury.
SENSATIONS: This was more than thirst, it was a kind of dehydration that evaporated all moisture from throat and mouth until only parched skin was left.

If you’re looking for ways to infuse students’ writing with vivid descriptions and sensory details, then focus on imagery.

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Interaction is Important

Stories have many moving parts, and sometimes it helps to think of each part as a thread in a tapestry. Each thread has its own colour, texture, and role to play in making the tapestry special. However, it’s the skill with which the threads are woven together that really brings out the beauty.

When it comes to words, there is nothing more beautiful than well-written descriptions. Young writers must learn to include figurative language and imagery throughout their stories. At first glance, this seems challenging, but there are a few strategies and guidelines that help make the process easier.

One way is to have characters interact with the setting. Instead of dropping random sentences of description for characters and setting separately, have the characters react to their environment. For example, if writers want to show that the path characters are walking on is rugged, they can have characters stumble on an uneven pavement. And to emphasize an untidy room, characters can trip on an object that’s out of place. Characters can also make observations about their environment through dialogue, rather than the author just telling readers what’s there.

Those observations should be accompanied by emotional reactions in order to make them meaningful. When these things are done, writers will also have an opportunity to show a character’s attitude or personality through positive or negative reactions. So after the experience, characters could say things out loud or think something that helps readers learn more about them.

As a result, a lot more showing instead of telling can happen because these are instances where imagery can be used. Writers would be able to describe what characters are seeing, hearing, smelling, tasting, and touching, as well as how they move and feel. And because actions and reactions are part of plot development, stories can move forward with excitement and energy instead of stopping for unconnected descriptions just to bring readers up to speed.

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