Tag: reading

  • Review: Sensory Writing

    Review: Sensory Writing

    Val Andrews, Sensory Writing: How to Write Unforgettable Stories by Including Sensory Detail (Opal Tree Press 2024)

    https://www.goodreads.com/book/show/210910630-sensory-writing?ref=nav_sb_ss_4_15

    Using sight, hearing, smell, touch, taste and ESP to enliven your writing
    I often advise authors to ‘use sensory clues’ as an alternative to info-dumping (a writing crime of which I am especially guilty). Writing from your characters Point Of View—what are they seeing, hearing, smelling, feeling, tasting—is a great way to Show not Tell. It places the reader ‘inside the protagonist’s emotional journey’, precisely what we are trying to do with our writing.
    This book outlines everything an author needs to know.
    Sensory detail can:
    • Stimulate sensory memory
    • Activate imagination
    • Foster empathy
    • Evoke emotional resonance
    • Embody cognition and muscle memory
    • Sensory engagement and immersion
    • Increase attention
    • Enhance memory
    • Narrative presence
    • Create flow and vary Pace
    Some tips for using more sensory details:
    • Choose specific, concrete details
    • Enrich with metaphors and similes
    • Use selective focus to guide perception
    • Create dynamic descriptions
    • Symbolic use of colour
    • Weather
    • Visual contrast/harmony
    Sensory details should not be thought of as ‘additions’ but rather as ‘integral components of your story’s emotional and thematic development’.
    Use the six senses in your writing:
    • Sight
    • Hearing
    • Smell
    • Taste
    • Touch
    • The 6th sense
    Sensory writing
    Your character receives messages from their five senses and processes them. How do they respond? This is a big part of character development.
    Aim for specificity and make the experience unique to your character and appropriate for their world.
    Creating one dominant sensory experience and focussing on the emotion it invokes can ‘anchor’ a scene in the reader’s mind. Then you can add extra or contrasting experiences to add complexity. Ending a scene with a strong sensory detail is an effective device for leaving the reader with a lasting emotional impression.
    Changing sensory details can be an effective device for a shift in the Plot, and your character’s sensory experience can change as they develop emotionally. Varying longer passages with much sensory description with shorter passages with little can help to vary your Pace.
    Use sensory description to attune your character’s inner mood with their outer environment. And past events can leave sensory traces in the present—e.g. the lingering scent of gunpowder on a battlefield.
    Sensory tropes can zero in on your genre, but be wary of cliches, and subverting those tropes can provide contrast.
    Mixing the senses, e.g. using sound and colour can make your scenes more vivid or freshen up your metaphors.
    To feel real, your characters must be located somewhere on the personality spectrum. The OCEAN spectrum, Clifton Strengths model, DISC Assessment, Myers-Briggs Type Indicator and Enneagrams are different tools to use for doing this.

  • Review: Dreams of Revolution

    Review: Dreams of Revolution

    Linda J Collins, Dreams of Revolution (BookBaby 2021)

    https://www.goodreads.com/book/show/62634456-dreams-of-revolution?ac=1&from_search=true&qid=ctQU6UAHvi&rank=5

    1777 Hopewell, Pennsylvania
    15-year-old Rachel Palsgrove sneaks around the side of the furnace to peek in the window. Inside her father is molding iron—at night.
    Rachel’s wealthier friend Susanna dreams of living in a mansion. Rachel’s mother is anxious for her to find a beau, but she dreams of becoming a teacher. She goes to Philadelphia in hopes of studying at the university, defying the gentlemen-only rule, but it is closed due to the British occupation of the city.
    While waiting for news from the college, she is brutalised by a British spy and is betrayed by her best friend. She makes a daring midnight ride (actually three days) to warn Patriots in Hopewell of an impending British raid and, while her beau is imprisoned, becomes a spy for General Washington.
    I loved the references to historical American Revolution espionage, rich material for intrigue. The system—coded messages in invisible ink and coloured laundry on the line—is the same as the one historically used by Washington’s spies the Culper Ring. Rachel sweet-talks Captain Crammond the way Peggy Shippen groomed Benedict Arnold. And real historical figures like John André come into the story.
    We meet the characters in the course of their daily lives, giving us an opportunity to learn about early American lifestyles—making soap, making coal, predicting the weather by looking at the colour of the ‘woolies’ (brown bears’) fur, getting letters to relatives in other towns, the wedding customs, etc.
    I think we could have had an earlier indication that war with Britain is looming, some hints at how the characters felt about their colonial masters, perhaps. Rachel finally finds out what the men were making—cannons, defying the Iron Act—but we don’t see any Redcoats until chapter 20. I wish we could have reached the exciting bit, Mr Morris and Jesse’s arrest, earlier in the story.
    I bought this book because my sister lives in modern-day Hopewell, and I love anything having to do with revolution.
    Contains a rape, but it’s not graphic.

  • Review: The Curious Case of the Kitnapped Cat

    Review: The Curious Case of the Kitnapped Cat

    em.thompson, The Curious Case of the Kitnapped Cat (Eccentric Directions 2024)

    Crime fiction at its most comedic

    https://www.goodreads.com/book/show/213564034-the-curious-case-of-the-kitnapped-cat?from_search=true&from_srp=true&qid=9HpLkIRzai&rank=1

    Terrence ‘Tiny’ Bottomley, a swot in Heather Prendergast’s class at Merton Police College, answers the teacher’s question on ‘the most important weapons in a modern detective’s armoury’.
    ‘Forensics, CCTV footage, DNA analysis…’ he begins.
    Prendergast begs to disagree. She believes in ‘old fashioned gut instinct’. It may be that even her zany and filthy rich Aunt Elizabeth’s hefty bribes—I mean, donations—won’t be sufficient to get her to graduation so she can achieve her dream of becoming ‘Prendergast of The Yard’.
    Armed with her Girl Guides training and her illustrated Sherlock Holmes almanac, Prendergast’s gut instincts lead her on another madcap case, in the course of which she is ever decked in the highest-end yet most outrageously inappropriate fashion from Paris or Milan. The campus cafeteria skivvy Debb’s gran’s cat Puffball is missing, and aided by Tiny and Debbs, Prendergast goes in pursuit, wreaking hilarious havoc everywhere she goes.
    Em.thompson is a master comedic wordsmith, inventing words and phrases (‘cornerflap of pinafore’, ‘humzinger of a brainwave’, ‘bedraggled straggle of homelessness’, ‘earwigaphobia and occasional bouts of dreadheightedness’) and twisting metaphors into jokes (‘a helping hand from the long arm of the law’, ‘like impetigo on a honeydew melon’).
    Despite the non-stop witticisms, there is a proper plot, and despite Prendergast’s kooky blundering some real detecting happens.
    Move over, P G Wodehouse, Douglas Adams.