Book Production Issues

The art of communication is as varied as its practitioners.  The creative process varies with each writer’s inspiration and often reflects the perceived desires of their target market and the writing tips to which the author has been introduced. There are many comprehensive sources of writers’ guidelines available on-line and in print. Through this blog, I am attempting to share snippets of authoring strategies as they arise in my own wordsmithing

Many publishing houses restrict the amount of input an author may have in the printing process.  But as a writer, you should be able to express concerns you have about the production of a work that will carry your name.  As someone who has assisted in the process for other amateur and professional writers, and served as the art director on a collaborative effort, I am somewhat familiar with aspects of producing a high quality book.  Now, as a debut author of fiction, I am entering a new phase of professional experience.  While the following areas of concern may not be presented in the sequencing of a publisher or art director, they represent my thought process while preparing for the publication of Prospect For Murder, the first book in the new Natalie Seachrist Hawaiian mystery series.
branding program
Unified Appearance in a Series
Career longevity for a writer often rests on their successful book branding and advertising.  These issues bring us to the appearance of one’s product; in this case, books.  There are many design dilemmas facing authors and the people who will introduce their work to the world.  Personally, I enjoy reading a classic hardbound book, so my contemplation of quality book printing rests on my perceptions of what constitutes a fine hardcover edition.
the reader’s experience
While the design elements of a print or on-line artistic project may vary in several ways (sometimes because of the genre), some issues are common.  In general, the test of a book’s initial appeal is its cover.  Does it draw the eye of the potential reader?  I say the reader, rather than the buyer, because with the constant rise in the cost of hardcopy books, library patrons represent a large segment of the public that may read your book.  Of course, to reach that readership, you will first have to appeal to the buyers of books that line library shelves.

Book jacket design is one of the most important elements that concerns marketers.  Therefore, I encourage you to seek an artist whose skills in fine and graphic art (as well as typography) will meet the needs of myriad projects.  Fortunately, I have found this breadth of talent in the work of Yasamine June.  

I do not claim to be a specialist in color theory, but generally, bold colors and print in product packaging are believed to help maximize sales In book publishing, successful cover design does not rest solely on these elements, or even on the overall quality of the artwork.  In publishing, the book’s genre is also vital.  Prospect for Murder is clearly a mystery.  In this genre, the coloration employed in book art often features dark colors, sometimes enhanced with the use of chiaroscuro [the effective contrasting of shadow and light]. 

To facilitate communication with my readers, my artistic vision embraces continuing historical and cultural features within the content and artistic accents that unify the appearance of the books.  Because my stories center on Hawai`i, I am using Island-themed framing based on Hawaiian heirloom jewelry for each book’s cover.  This repeating image, plus ones that are pertinent to each story, will serve to meet potential readers’ expectations by unifying my branding, thereby increasing the public’s recognition of each new addition to the series.

In classic format, I have included a cast of characters, chapter aphorisms, and a notes and acknowledgments section.  In addition, because of the inclusion of considerable foreign language and historical references, I offer a guide for pronouncing Hawaiian words and a glossary of non-English and specialized vocabulary.  For emphasis, the aphorisms are presented in italic fonts and a distinctive hibiscus-based image frames each page number.
formatting tips
Empowering Your Words Through Readable Text
The next concern I have is readability.  Given the length of my books [PFM is 92,000 words], concerns about the cost of printing could lead to printing decisions based on saving paper: Margin size can be reduced; spacing after periods can be decreased from two spaces to one, blank pages between chapters can be eliminated, and the weight of the paper reduced.  Such choices might reduce the overall size of a book and conserve paper; but they would not enhance the sensory experience of the people reading the book. 

Beyond these general considerations, my target market is older, well-educated women and men who are as interested in character relationships as they are intriguing plotlines.  Many readers within my target market may wear eye glasses or contact lenses.  Nevertheless, I am told that with the lack of certain vocabulary and situational elements, the inclusion of historical references and multiculturalism, my series may be appropriate to students in advanced placement courses in secondary school.  These students may not be as concerned with the layout preferences of older readers, but they too will benefit from easy-to-read text.

Regarding my recently published book, I have agreed to a layout that includes single spacing following the end of sentences, despite the continuing use of two spaces by many publishers both here and abroad.  To compensate for this, my publisher has used a larger font that enhances the readability of the text of the hardcopy.

Cohesive Audio Books and Public Readings
With a trilogy of books already completed in the Natalie Seachrist series, I have already completed an audio edition of the first volume.  In general, I knew I had to employ a believable voice for each of the characters.  As the series is written in the first person, the most important voice is that of the protagonist, who is roughly my age.  For Natalie’s narrative, I have used a measured and calm voice; for her interaction with other characters, I employ tones and rhythms appropriate to each scene.  Other characters are presented to showcase their unique profiles.

In preparation for recordings and public performances, I recorded descriptions and samples of each cast member.  The text for each was printed in a distinctive color.  In addition, I utilized a 14 point font and 1.5 line spacing, plus varying spacing and marks to indicate pauses and emphasis.  For instance, I use: upward and downward arrows for changes in tone; ellipses for the trailing off of my voice; and long dashes for abrupt breaks.  For vocabulary or phrases about which I was concerned with correct pronunciation, I inserted underscoring and added hyphens between syllables.

In future blogs, I’ll report on the response to the decisions I have made in this phase of my practice of the art and science of writing!

 Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit my website: Https://www.ImaginingsWordpower.com

 

Energizing Descriptive Writing

Regardless of whether you’re a professional or amateur writer, the most challenging part of a day of wordsmithing may be facing a blank piece of paper, or an empty page on your monitor’s screen 
Writing Tips
The Art and Science of Writing
It may be surprising to you, but despite our electronic age, there are still writers who begin each project with hardcopy composition.  If this authoring strategy produces effective prose, it’s hard to argue with their writing process.  It’s all a question of the results that come from one’s practice of the art of communication.  In both fiction and non-fiction, when the writer’s inspiration produces a rich palette of words that maximizes their reader’s experience, their methods have been successful!

Regardless of your wordsmithing process, on days when you feel lacking in creativity and even editorial direction, I suggest you begin by capturing the images that first come to your mind as you contemplate the scope and goals of your project.  Work without concern for the structure of language, correct grammar, or the sequence in which the words emerge.  Within a short while, you should find yourself producing an unstoppable stream of verbiage. 

As your pace slows, you can pause to write a brief outline of your work to that point.  Confident that you will not lose direction, glance over your creative output for patterns within the images, dialogue, and activity that you have produced.  You can then begin empowering your words by strengthening the connectivity of fragmented text.

You should then be able to move back and forth between the creative and editorial processes fairly easily.  I stress the first category—creativity—because writers often lose images they have glimpsed by becoming too absorbed in initial self-editing.  Remember, editing can always be accomplished at a future time.  But if you lose your inspired thoughts, they may never be retrieved…or built upon as you initially envisioned.

Experienced authors often have an established writer’s voice on which they can draw.  This is true whether they are writing the fourth book in a series, or constructing a non-fiction piece reflecting their true voice and personality.  Whether you are in this position, or creating a wholly new voice, you may wish to take a few moments and reflect on the tone, sophistication of vocabulary, structure of language that is most appropriate to the current work, and images that will enhance the sensory experience of your audience.  [Pease note that I am referring to your voice as the teller of facts or a story, not the voices of any characters you may be creating.]

With these elements in mind, you can enter the realm of refining the vocabulary and organization of your piece.  As usual, I suggest you begin with the most obvious edits.  Personally, I have a tendency to employ overly complex sentence structure that begs immediate trimming.  Another pattern that many of us face is the need to flip first and last clauses, sentences, and even paragraphs.  Like everything else, practice makes better, if not perfect, form.  By the time you’ve reached the end of a couple of sections, your structure should have tightened with increasing clarity.
Writer’s Guidelines
My Editorial Process
Sometimes in the midst of mundane edits, I have a sense of the truly impactful changes I wish to make.  If working in hardcopy (often late at night in the midst of classic films or predictable episodes of television mystery shows), I’ll make marginal notes regarding a character’s appearance, vocabulary, motivations, or inner thoughts regarding other characters.  [This has proven especially important when working on books subsequent to Prospect for Murder in the continuing Natalie Seachrist Hawaiian mystery series.] And when at the computer, I may utilize small sticky notes to record my ideas.

With obvious adjustments to structure complete, I move within the piece to maximize its overall flow and tone.  I usually begin by modifying nouns and adjectives.  In a previous blog on color theory [see Design Dilemmas for Authors, Part 3:  Color, May 30, 2015], I discussed various words that might be used in place of the word blue to enhance your color palette

Facilitating Communication
Likewise, consider how you might embellish a scene referring to a red sofa.  While inappropriate for a children’s picture book (and most contemporary fiction), the author of a dramatic historical novel might say, “The heroine entered the study nervously and perched on the garnet colored velvet chaise lounge.”  Here I wish the reader to feel wooed by the distinctive color, texture and shape of a piece of furniture. 

In my own writing, I frequently draw on the breadth of my writer’s palette to concisely depict the ambiance of a scene.  For example, “She heard the sharp sound of a gunshot” became “She was startled by the sharp report of a bullet slicing the air.”  Here I turned a matter-of-fact incident report to a description of my character’s response, which allows the reader to join in the heroine’s frightening experience which will enable your reader to feel they are present at the scene…and who knows how that may prove useful if your piece were to be converted to a script for a movie or television show.
Impactful Advertising Messages
Altering Punctuation
Consider the following examples of shifting vocabulary, word sequence, and punctuation that can alter a reader’s interpretation of a passage within commercial as well as fictional text:

Experience the unique luxury of a journey to the Orient aboard the majestic RMS Empress of Britain.  [Advertising copy similar to posters for the ship’s 1932 world cruise]

I journeyed from Hong Kong to Honolulu aboard the RMS Empress of Britain.  [A matter of fact statement appropriate for any type of writing]

Truly…I did enjoy my trip aboard the RMS Empress of Britain.  [A plea to be believed; perhaps for the dénouement of a murder mystery]

I immensely enjoyed my sojourn from Hong Kong to Honolulu aboard the luxurious RMS Empress of Britain.  [An elegant, almost fussy statement, appropriate to a romance novel]

There are many ways to strengthen your writer’s voice for each project you undertake.  Reading other works in the same genre by authors you like and dislike will provide examples to emulate, as well as to reject in your own work.  There are also reference materials that will broaden your ability to describe people and occurrences in an articulate manner appropriate to your genre.  You might begin by perusing your own reference library to ensure you have:  A couple of grammar-cramming style books such as The Chicago Manual of Style and the Associated Press Stylebook, which are standards.  You will also want to have a thesaurus or two, and a few dictionaries, including ones for foreign words or phrases you might use. 

Rich Palette of Images
Beyond these basics, consider how you can use Internet search engines and other materials.  One of the most interesting sources I’ve found is obituaries [see Shopping for Characters, May 12, 2015].  This is a great place to find physical descriptions of people, and to discover comprehensive biographic images and sometimes even the settings through which men and women of past generations walked.

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit my website:  Https://www.ImaginingsWordpower.com

The Fear of Losing Files

A Never Ending Dilemma

Authoring strategies include more than conceptualizing, writing, publishing, and promoting your creative ideas.  Being an effective writer demands honed organizational skills as well!

Are you old enough to remember life before computers?  I actually know some people who have only discovered the wonderful world of electronics in the last five years.  In each case, the revelation of Life Electronic was triggered by a pressing need to communicate with a person or organization that could not be accessed regularly by telephone or postal service.

Once you have joined the electronic age, there are many challenges to be faced. Some parallel those prior to the microcomputer.  The issue I’m addressing today is preventing the loss of files.  Electronic files that is.  If you have never encountered this dilemma, please let me know how you’ve been so fortunate. Each time I think I’ve solved the problem, a couple of years pass in relative peace.  Then I commit some new error and again face the potential loss of valuable information.

Let’s begin our discussion with a basic question:  To avoid losing information, how many files should I keep?  Unfortunately, there’s no single answer that will meet the needs of every person in every situation.  Some authors I know keep every electronic file they have ever created, as well as their hardcopy edits.  I cringe to think of the complex file naming they must employ.  Unfortunately, such people have been known to compare my past editorial remarks regarding the same text.  What they fail to realize is that just as their writing has evolved, so too have my knowledge and sense of style—as well as my awareness of developing trends in the world of publishing.

Another trigger for keeping multiple versions of copy is the fear of losing pleasing verbiage that has proven impractical for a project at hand.  When I find a need to remove favored words and phrases from a major writing project, I simply create files of unused verbiage named to pinpoint the topic and source. One example is a narrative passage from Prospect For Murder that I converted to dialogue.  The single archived file is named,  WongP_orig_speech_re_family.

Knowing I might forget a particular name, I convert both electronic and printed files named for past clients and projects to topical files.  This does NOT mean I keep everything I’ve ever created.  My concern is to prevent unnecessary research and writing in the future.  If I’ve addressed a topic three times, I may save only the last piece, if the layout and text are the most interesting.  This way I do not have to remember the client’s name, yet I can quickly access text by topic, such as the insurance industry, movies of the 1930s, or ocean liners plying the waters between Hawai`i and Asia.  To decrease file size in my electronic archives, I remove logos and other artwork…after verifying the imagaes are stored elsewhere.

As to forms of electronic backup, the technology is constantly changing and you will have to decide when to shift from one form to the next.  I must confess I’ve still got floppy disks [diskettes] and zip disks.  These disks are large enough to label with client or project names, yet small enough to store alphabetically in clear plastic containers for rapid access…another positive aspect to this old technology is the longevity of the disks, despite innumerable formats.  I also have CDs, DVDs [more fragile], and Universal Serial Bus [USB] flash, pen and thumb drives, which I use for large folders and art files.  Unfortunately, these drives are so small that they preclude easy labeling, but you can use colored markers to color code your choices of media to remember the general category of their contents…

In addition to being concerned about where you save your files, be cautious about how you save them.  While compiling Under Sonoran Skies, Prose and Poetry from the High Desert, my co-authors and I encountered problems with disappearing edits during manuscript preparation until we learned the difference between the file commands, Save and Save As.  When you specify “Save as,” you are creating a wholly new file, which usually precludes the possibility of multiple edits leading to a corrupted file.  So,unless I am writing a single-use document, I now use Save As for every file I re-edit—art, data or text. [To maintain high resolution, technical experts suggest editing art images in Tagged Image File Format [TIFF] prior to saving them in whatever format you require for publication.]

Regardless of the number of electronic files you keep, you will need a file naming system that is consistent and memorable.  Even though today’s technology allows long file names, minimizing the characters used simplifies future reference. Since Imaginings WordPower is a lot of characters, I simply use an “I” for the start of operational file names.  Thereafter, I may abbreviate the minimal words used in a title, underscoring between words.  I conclude the titling of files by dating them, with two-digits for the year, the month, and the day a file was created.

The resulting name for a business card might be “I_bus_card_150708.” To differentiate between files with similar names, I may insert “merged,” to note merged layers, “New” for a recent edit, or the name of the company that last printed it. Sometimes I also insert a Header in a document to mimic the source file’s name when I am setting up topical folders of samples of my work. That way I don’t have to wonder about the electronic file name for hard copies I’ve printed for my personal records.  The only thing to remember is that you may need to temporarily delete the header if you are printing the document for public viewing or distribution….

I hope these measures—and your own modifications—will help you avoid corrupting or losing files.  But what happens if you prematurely delete a file from a recycle bin?  The problem is easily resolved if you have not emptied the bin.  In such a situation, you can simply double click the bin, mark the file you wish to un-delete, and choose Restore to return it to its former location on the hard drive.

Unfortunately, restoring files that have been deleted from a recycle bin is not as simple or perfect a process. Again, you can choose to leave the bin overflowing with files; but if you need to restore one, you may find that recognizing the correct file is difficult if you do not have a recognizable file naming system.  In the midst of short projects, I try to avoid emptying the recycle bin.  But once I have completed a section or the entire project, I complete my housekeeping of files, emptying the recycle bin when I am confident that I have properly backed up every relevant file.

Recently I triggered the loss of a file for a potential sci-fi novel. I was lacking material for my writers’ salon, and had decided to share part of this story, which is a departure from recent work in the genre of mystery and suspense. I recall isolating the passage I wanted to use, and reformatting it to double line spacing to facilitate editing by my fellow authors. But when I returned to input the suggestions I had received, I could not find the file.

Knowing files can be mistakenly dragged into an incorrect folder, I systematically checked every subfolder within my creative writing folder. After that, I used the Search programs and files feature offered by MS Windows when you click on the Start button [usually in the lower left hand corner of your monitor screen]. When my inputting of several combinations of words failed to uncover the missing file, I downloaded a free program for recovery of files deleted from the Recycle Bin.

In retrospect, I probably should have paid for a more sophisticated program with additional features, because what I recovered was a mass of undated and unnamed files of multiple edits that had to be individually examined. This was a time consuming and frustrating activity. However, I not only retrieved the file I was seeking, but in reviewing other files, I gained ideas for blog posts and other writing projects. In short, the experience was the proverbial blessing in disguise…but this is not an activity I wish to repeat.

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit my website:  Https://www.ImaginingsWordpower.com

 

Design Dilemmas For Authors, #3, Color

Rainbows of Color

There are many perspectives on the use of color in the art and science of writing.  But even if I were an expert, this short space wouldn’t allow a comprehensive discussion of color theory [the traditional theory for mixing three primary colors to derive all other colors] or colorimetry [analysis of human color perception]. 

Variables in Color Perception.  Most people can see three distinct ranges of color.  Due to genetics, some women [called tetrachromats] are able to see four ranges of color.   Sometimes a temporary inability to see some or all color is caused by illness, allergies, medication, or hormone replacement therapy.  Even sufferers of Post-Traumatic Stress Disorder [PTSD] may notice a decrease in perception of color.  And, did you know that one out of twelve men and one out of two hundred women have color vision deficiencies? 

Choosing Color Palettes For Artwork to Accompany Text.   As discussed in my blog on engaging a reader’s senses, I believe that analysis of one’s genre provides the answer to many publishing questions and can help solidify authoring strategies.  Empowering your words as an author can take many forms.  One author I know brings a minimalist approach to her creative process in selecting art for a children’s book.  She believes that faint sketches without full form, shape, or color will encourage children listening to or reading her prose to bring images from their own minds to their reading experience.  This minimalist approach may be ideal for poetry and historical fiction.  However, it would be at odds with the hardnosed writer’s voice usually employed in a police procedural and would lack clarity for many non-fiction projects.
Art and Science of Writing
While minimalism is a specific art movement, the term may be used generically to describe the overall expression of modern art in the late nineteenth and twentieth centuries.  Beyond an escape from classic realism, modern art focuses on the artist’s desire to interact with the minds and life experiences of his or her audience members.

Consider More Than Personal Preferences When Selecting Color.  If you are new to wordsmithing, you may not be thinking about branding.  But you might want to consider establishing the foundations of the brand for which your writing will be noted someday.  And just as an effective editorial process dictates that writers carefully select modifiers to create a scene rich in sensory images, a distinctive color palette can be one element in a design aesthetic that harmonizes with and even intensifies the impact of text.
Writers’ Guidelines
Beyond technical research you conduct regarding coloration, there are several issues to consider.  Does the style of your writing reflect your taste in art?  Do you like the detail of classism or the sharp clean lines of modern art?  Are you drawn to bright primary colors or muted subtle tones?  Do the peach and aqua tones of a sunset in the Southwest reflect your taste and your work? 

Regional Coloration.  Differences in regional color can be indicated by the dialect[s] of your characters, as well as the scenes you describe.  Growing up in Oregon, I was accustomed to the dark green of Douglas fir trees and the mosses that grow on them.  The palm trees in Hawai`i are pale in comparison.  In Arizona the array of green is mixed, depending on topography, season and the amount of rainfall.  So which green would be most appropriate to your project?

The Juncture Of Style And Color.    In children’s books, hard-edged cartoon-like solid color images (like those a child might create) may be ideal.  But regardless of the style of art you select, the bright saturated colors associated with modern art are popular with and stimulating for young children.  Conversely, the sometimes dark tones of animè lend a sophisticated note to projects for both adults and older children.  For most genres, classic realism is appropriate.  To present images realistically, considerable detail and subtleties of color are usually required.

Articulating Your Artistic Vision is vital.  Since it is unlikely that you will be the artist shaping the images that will highlight your writing, you must be able to describe your desires to whoever is in charge of publication.  I suggest writing a paragraph outlining the specific elements you are seeking.  As with a journalistic endeavor, an inverted pyramid structure is useful.  Begin with an overview of the style you desire and then move on to specific issues like color.  If possible, use technical terms an artist or printer will understand.  For instance, consider specifying the tones and shades of colors you prefer. 

When viewed under varied lighting, a color’s tone [intensity of color] or shade [how bright a color is] will be perceived differently. Personally, I have found it challenging to use what I have termed a plum color in artwork for Prospect For Murder [the first book in the Natalie Seachrist Hawaiian mystery series].  While my artist Yasamine June [view her work at www.yasaminejune.com] generated a wonderful color for the book jacket, subsequent applications for the audio book and some promotional materials have deviated from the color and/or tones she utilized.

Samples Of Your Preferred Palette and style will greatly aid the person executing your artistic vision.  These can be drawn from many sources:  websites; books and other printed material; fabric and clothing; pieces of art.  Consider offering the images of famous paintings.  Simply naming a type of art or an easily referenced artist will communicate your wishes.  Personally, I am drawn to the delicate images of classical Asian paintings, as well as the neo-classism of Maxfield Parish who was known for his use of saturated color.  Unfortunately, since his work ended mid-twentieth century, a young artist may be wholly unaware of his work.

You can also provide numerical descriptions of colors.  Paint Stores offer samples of colors, with numerical coding as well as alphabetical names.  Printers can provide numbers for the Pantone® colors of ink used in most hardcopy printing.  And remember that you do not have to access a graphic art program to provide the color model numeration of computer font colors.  Simply mark a section of text within a word processing program and examine the ranges of colors available under the drop down arrow for font color.

I should caution you that identifying a color is no guarantee of how a printed product will arrive at your doorstep.  Have you ever seen two editions of the same book, printed by the same company following the same instructions?  Even in hardcopy printing, variations in color can occur because of differences in batches of ink or toner, the moisture content of the paper used, and production executed on innumerable types and conditions of equipment.

A final consideration in our discussion of color printing is publication via downloading from the Internet.  If this is how your work will be published, you should consider using colors designated as “web safe.”  Again, there will be varied results in what is viewed by your readers.  If nothing else, variations in monitor settings can prevent uniformity in how myriad viewers will experience a color on your website or in your book. 

Before we leave the topic of color, let’s consider the historical and classical interpretations of color.  Some colors, like the royal purple from Tyre, Lebanon, were originally drawn from rare and precious sources.  To produce even small amounts of the Tyrian colorant, thousands of Mediterranean sea mollusks [scientific name, murex brandaris] were needed for the dyes with which luxurious garments for ancient royals were fashioned.  Another historically rare color was the crimson worn by Roman legionnaires and wealthy matrons.  Traditionally associated with power and wealth, this color was obtained from the kermes vermilio planchon, an insect that grows on the kermes oak tree [quercus coccifera] of southern Europe.  Although the means for obtaining and utilizing dyes and paints have changed dramatically through history, their inner meanings have remained linked to aspects of nature.

 Yellow and Orange – Associated with the sun and gold, these happy and bright colors are used for many attention-getting purposes.  Depending on their tone, they may be linked to base and deeply discounted items, or conversely, to the richest and most valued products.

Red – Traditionally linked to sunsets, fire, blood, Mars the planet and Mars the Roman god of war.  Red is now often associated with signature holidays like New Year’s, Christmas, and St. Valentine’s Day and certain nations like China.   This vibrant color calls attention to anything depicted in it.  It is sometimes associated with licentiousness and the concept of Satan.

Purple – Blending blue and red, this rich color is remains linked to the concepts and value of royalty, power and wealth.

Blue – In its deepest shades, blue speaks of clear waters and skies.  In many religious expressions, it is associated with holiness and purity.  This color is often utilized by financial and insurance institutions, as well as myriad industries dealing with healthcare that wish to be considered honest and dedicated to be wellbeing of their clients.

Green – Representative of health in nature, itis often used for health and environmental topics, products, and services.

White –  Reflects light and embodies the presence of all colors of light.  While many substances in nature are white, animals having pure white fur are rare, and therefore their pelts were historically associated with the power and wealth of royalty.  Once difficult to achieve in pure form, white colored clothing was often valuable regardless of the type of fabric.  The color is historically linked to purity, cleanliness, goodness, and perfection. 

Black – Absorbing all colors of light, it is actually the absence of color.  Obtained by the mixing of all primary colors, black is sometimes associated with darkness and evil in historical religious written materials.  It is an excellent background for both vibrant and subtle colors.

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

For examples of sample color palettes, please visit:  https://www.ImaginingsWordpower.com/color/plays_on_color.html
Additional discussion of the nature and impact of color is provided at: https://www.imaginingswordpower.com/wearing/wearing_your_brand.html.
To learn more about Prospect for Murder and other writing projects, please visit my author’s website at Https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit: Https://www.ImaginingsWordpower.com

Communicating with the Senses

Sense Memory:  Words For The Eye and Palette

 The art of communication is largely reliant on visual and aural stimulation.
An author communicates with the written word.
~  A dancer creates a visual message with his or her body.
~  Actors and public speakers communicate with the spoken word and their bodies.

In the past, the sense of touch helped to share the message of written words, as finely tooled leather-bound tomes invited the reader’s fingers to trace the lettering on a book cover.  Even the sense of smell might be involved, as the carved leather fostered anticipation of the remarkable thoughts within. 

Today, all five of the senses of the writer’s audience may be involved through the communication tools of our multi-media civilizationBeyond the realm of streaming radio and audio books, there are audio messages being sent into space that may not be heard for thousands or even millions of years.  We are also at the brink of attempts at smell- or taste-athon forms of entertainment. 

The goal of any communicator is to ensure that their readers, listeners, and/or viewers will respond positively to their message.  Sometimes the process for achieving this is straightforward, even mechanical.  At other times, the gathering of ingredients for connecting with one’s audience seems happenstance if not magical.

A successful advertising campaign is an example of how this process can work.  Most of us are accustomed to extending our minds beyond a limited promotional image and message to the full experience enjoyed when actually partaking of the featured product or activity.  Whether viewed in a full-page magazine ad or television commercial, the sight of a glistening golden turkey on a platter is expected to invoke memories of holiday feasts shared with our loved ones…rather than the reality of a studio of near-strangers focused on taking pictures of an artificial bird glued to a platter and painted with an oily brown glaze.

Sadly, the perception of truth can be more important than truth itself.  For example, I recall being instructed about the art of opening doors, shaking hands and kissing on stage.  I quickly learned that the natural ways of performing these tasks were irrelevant. The actors had to adjust their movements to make the audience feel comfortable with the actions necessary to theatrical performance.

To ensure our audience will be accepting of the images we have created, the artful wordsmith must do more than employ accurate vocabulary.  This is one reason that translation of text from one language to another is so difficult.  In fact, in addition to being an editorial process, it is a fine artMerely selecting a word that correctly describes something does not make it a successful choice:  The descriptive word you eventually choose must evoke the most appropriate image to both your genre and your audience.

Consider how you might employ the following words and phrases:  Azure, blue, and sapphire; highlighted, revealed, and shone down upon; bright, luminescent, and sunny; juicy, moist, and succulent; boar, ham, and pig.  Depending on the scene being described AND your audience, the text you compose from these words will differ.  While the word blue may be appropriate for an advertisement, a children’s book and a romance novel, the same cannot be said for luminescent, azure, and succulent.

As adults with sophisticated English vocabularies, we may envision immediately the magical sparkle of a luminescent sky and the moist deliciousness of a pork loin described as succulent. However, these word choices would be inappropriate for a children’s book intended for a beginning reader.  Our creative process may draw on a rich palette of images within our mind’s eye, but it must be tempered by the realities of the genre in which we are working.

Refining our writer’s palette is one of the most important authoring strategies we can employ, regardless of whether we are working on fiction or non-fiction projects.  In my work as a practitioner of the art and science of writing, I seek to create a juncture between language and the sensory organsI do this by striving to balance carefully chosen nouns and modifiers within an appropriate structure to provide my targeted audience with a rich sensory experience that they will accept within the current genre.  

There is, of course, no right or wrong decision in the scenarios you create as a writerThe options are many.  The choices are yours.  But as you work on any project, consider the demographics, as well as the expressed responses of members of your audience.  In the end, your word selections should be guided by determining the effect you wish to create in each passage…

Wishing you the best in your writing endeavors,
Jeanne Burrows-Johnson, wordsmith and design consultant

For more ideas to strengthen your Wordpower and branding, please visit:
Https://www.ImaginingsWordpower.com
For examples of sample color palettes, please visit:  https://www.ImaginingsWordpower.com/color/plays_on_color.html
Additional discussion of the nature and impact of color is provided at:
https://www.imaginingswordpower.com/wearing/wearing_your_brand.html.

To learn more about Prospect For Murder and other writing projects, please visit my author’s website at https://www.JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit: https://www.ImaginingsWordpower.com