|The Verulam Writers' Circle Crystal Decanter and Gnome de Plume|
We can probably agree that good writing is good writing, whatever the genre or subject of that writing, and we can probably also agree that we recognise good writing when we see it. But what about when we hear it? If we're listening to writing that's from a genre or is about a subject that has little attraction to us – best intentions notwithstanding – do we listen as carefully?
I am fortunate in belonging to an excellent writers' group, Verulam Writer's Circle (VWC), where we have regular manuscript evenings at which our members read their work aloud and receive critique. Over time it has become clear to me that some people are far better at retaining, analysing and critiquing orally delivered work than others. I for one am very poor at this, and – although I enjoy the readings – prefer to analyse work from the screen or printed page. Of course there must be many factors that influence this, including the confidence and projection skills of the reader and the acuity of the listener's hearing. The factor I'm interested in here, however, is the writer's ability gain interest – to hook the listener's attention – by creating 'pictures' in the mind.
At one recent VWC manuscript evening I was delighted to have my drifting attention lensed into sharp focus by passages in two different pieces, each by a different writer, both of which performed that magical trick of forming clear, colourful, images in my mind. From that point, but regrettably only from that point, both readers had my effortless attention: the operative word being 'effortless'. The message from this is, I guess, that if we writers can get those 'visual effect' moments in the right places in our work, we are in with a chance of winning-over listeners – and therefore, I would assume, readers/editors/publishers – who might not otherwise give our work their best attention.
Fair enough, but how to achieve such images? I really can't say. In my view those pictures in the mind are not achieved, as some people might think, by simply mentioning colours, textures aromas etc., by their bald names, or even by complex similes or metaphors, because among the few 'rules' I do believe in are: Less is more and Show, don't tell. All I can say for certain is that when those visuals work the effect is truly magical.
What I would like to know most of all is: Given that [truism alert] it is impossible to read your own work for the first time – any more than you can tickle yourself – is it possible to know you've successfully achieved 'the visual effect' as you write and, if so, how?
If you know an answer to that final question, I'd be extremely grateful to hear from you because it's not a secret I've learned.
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