Wednesday, November 12

Three Tips for Creating Evocative Prose

By Janice Hardy, @Janice_Hardy

When you think about it, writing is a pretty amazing thing. Ten writers can use the same ten words and create completely different sentences. They can use them to evoke a myriad of emotions from joyous to terrified, and bring a reader to tears as well as laughter.

What words we choose matter. A single edit can change how a reader interprets our work, and knowing that, we can put them in the right mindset for the story.

1. Be Suggestive


There have been a slew of movies, TV shows, and Vegas acts that have the hero--usually some type of con man--setting up a "mark" (the victim) to think or respond a certain way. They use subliminal clues to suggest what they want the mark to think or say. Drop enough clues with the numbers 3 and 6 in front of someone, then ask them to pick a number between ten and forty, and you'll get a lot of 36s.

This works in fiction.

If you want the reader to get an idea in their head but don't want to bash them over the head with it, plant a few suggestive clues. Nothing explained, don't draw attention to any of them, but if you want them to think "blue means bad," then put in something blue whenever something bad happens. Associate blue with bad, so by the time your protagonist reaches why blue is bad, the reader will already feel apprehensive.

(Here's more on foreshadowing)

2. Clue in the Context


Sometimes we want readers to start thinking a certain way so they'll accept the more fantastical or coincidental aspects of our stories. It's hard to throw in a ghost or time traveler if there's nothing to prepare the reader for it. It can feel out of place and jar them right out of the story. Plots that relay on a huge coincidence are also likely to give the reader pause.

A few well-placed words or images can get the reader thinking about what you need them to think about, so by the time something happens--be it that ghost or chance meeting--readers will be prepared and accept it more readily.

If characters talk about ghosts, or mention the new time travel movie they saw over the weekend, or has someone suggest to them that great sushi place everyone is talking about over on fourth, then when the ghost appears, the time portal opens up, or the heroine bumps into an old flame at the restaurant, it'll feel inevitable.

(Here's more on how a single word can change the context)

3. Add Some Mood Lighting


Horror movies know how to set a scene and take advantage of tension, and writers can benefit from similar techniques. If we want our readers feeling nervous, choosing words that evoke peace and tranquility won't exactly put them on the edges of their seats. But use words commonly associated with nervousness? Now we're creating the right mood.

We can even use words or images that typically make people nervous, such as someone tipping back in their chairs, children running close to a street, bugs or other classic animals people are often afraid of. Whatever works to achieve the emotion we're looking for.

(Here's more on how details can change the mood or tone of a scene)

Every book is made up of the same twenty-six letters. How we arrange those letters makes the difference between a romantic comedy and police thriller.

Writing Exercise Time!

It's been a while since I've done any writing exercises, so for fun, write a snippet using all of the following words that evokes a feeling or thought. What you evoke is totally up to you.

truck
lanyard
candle
scurried
swelled
turned
blue
sticky
clumsy 


Looking for tips on planning, writing, or revising your novel? Check out one of my books on writing:  Planning Your Novel: Ideas and Structure, a self-guided workshop for planning or revising a novel, the companion Planning Your Novel Workbook, Revising Your Novel: First Draft to Finished Draft, your step-by-step guide to revising a novel, and the first book in my Skill Builders Series, Understanding Show Don't Tell (And Really Getting It).


A long-time fantasy reader, Janice Hardy always wondered about the darker side of healing. For her fantasy trilogy The Healing Wars, she tapped into her own dark side to create a world where healing was dangerous, and those with the best intentions often made the worst choices. Her novels include The Shifter, Blue Fire, and Darkfall from Balzer+Bray/Harper Collins. The Shifter, was chosen for the 2014 list of "Ten Books All Young Georgians Should Read" from the Georgia Center for the Book. It was also shortlisted for the Waterstones Children's Book Prize, and The Truman Award in 2011.

Janice is also the founder of Fiction University, a site dedicated to helping writers improve their craft. Her popular Foundations of Fiction series includes Planning Your Novel: Ideas and Structure, a self-guided workshop for planning or revising a novel, the companion Planning Your Novel Workbook, Revising Your Novel: First Draft to Finished Draft, your step-by-step guide to revising a novel, and the first book in her Skill Builders Series, Understanding Show Don't Tell (And Really Getting It).  

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4 comments:

  1. Thanks for posting this Janice, it is definitely food for thought. Stephen King is of course the master of foreshadowing -- he can write three pages about some guy reading the morning paper, and by the time you reach the bottom of the third page you are TERRIFIED!
    Setting up the expectations of the reader is what it's about. Setting the mood, giving subliminal hints ("blue is bad!"), really directing the reader's attention, can make a difference in how successfully you get the reader to join you on "the journey."
    Wonderful post!

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    1. He is indeed. A good author to study for some tips there. Thanks!

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