Interviews & Oral Histories: #4

AFTER THE INTERVIEW

You’ve done it!  Regardless of whether an interview is the first or the hundredth, I hope you will feel a sense of accomplishment while parting company with whomever you’ve interviewed! By this point, you should have an audio (if not visual) recording of the dialogue, plus notes you’ve composed prior to and during your conversation. You should also have a signed interviewee release that can allow you to draw from the experience indefinitely.

The Significance of Your Relationship with Your Subject
In my last discussion of general and oral history interviews, I noted that it is good to impress your subject positively.  Doing so includes: projecting a pleasing appearance and voice; demonstrating the level of your commitment, as shown by your research and organization of pertinent questions; and, your sensitivity to their physical, mental, and emotional circumstances.

That last issue is one that is often neglected by professional, as well as novice, interviewers.  Too often a sense of righteousness on the part of the interviewer as truth teller can prevent development of a significant rapport with the interviewee.  While it is important to maintain a professional relationship, the lack of a rapport with your subject may lead to a diminished level of trust and desire to reveal themselves fully.

Your Parting Words
As you prepare to depart from an interview, you will want to leave the door between you and your subject open to further communication.  After all, they’ve trusted you with a part of themselves and they want to know that you’ll value what they have shared with you. Even if you have not established a warm relationship, you will want to facilitate future communication and assure them that they will have an opportunity to view a transcript of the interview.

This does not mean you are relinquishing your role as the interviewer, nor does it imply you are going to change revealing the realities of your conversation. However, if errors are found by either of you, there should be a means for adding explanatory notes. This is especially useful in clarifying names, relationships, numbers, dates, and sequences, which may have been transposed or mistakenly described.   

Editorial Procedures
During the transcription and editorial process, you may need to communicate with your interviewee to gain clarity on numerous points. To maintain accurate records, it is good to receive replies to your questions by email or other written documentation

This is especially useful if there are conflicts regarding the meaning of a passage. After all, the interviewee is relaying answers to your questions through the lens of their point of view.  While you  may never agree with their explanation, the transcript and your notes will allow future readers and/or listeners to experience a close approximation of the event and draw their own conclusions.  This is why clear records of all your communication and notes are so important.

The method[s] of annotation you choose for your transcript can take several forms. This is where your creativity comes into play.   Personally, I try to avoid footnotes.  Instead, I employ bracketed statements for minor clarification and section endnotes for issues dealing with proper nouns and other facts that may stimulate a future reader to pursue answers to their own questions.

Although the interviewer should not remove actual dialogue, you can provide clarification of key points by including a glossary of foreign and specialized vocabulary, as well as an index. Some authors dislike the use of indices if they plan to publish via a downloadable vehicle that may render pagination inaccurate and irrelevant. However, readers of a work published on the Internet may be able to utilize a find/search tool to locate terms they wish to revisit and readers of a hardcopy edition will be pleased with the inclusion of an easy reference tool at the back of the work. 

Another means for heightening the usefulness of your final product is separating your transcript into sections. If the interview was conducted during multiple sessions, utilization of chapter breaks is quite logical. Even when the conversation was held on a single occasion, separating sequenced questions and answers provides natural breaks.

Such a layout should facilitate communication between you and your subject[s] as you review the nearly finished project. Once you have completed editing and annotating your transcript, you can proceed to shaping a final format to meet any requirements for publication. [See my previous blog, Interviews & Oral Histories #3, for the closing  discussion of interview publication.]

Future Interviews with The Subject
The potential for scheduling future interviews may depend on issues beyond a mutual desire to do so. For example, if the interview is part of a larger project controlled by someone else, you may be limited in continuing your relationship with your subject.  And, although the current publisher may express an interest in further interviews, shifts within their organization may preclude future publishing through them. Even when you are working on a wholly freelance basis, your ability to publish may depend on your finding a new source willing to take on the project. And if you decide to expand the initial work into a series of articles or even a book, the task may become even more challenging.

As I’ve noted before, planning, executing, and publishing an interview is a unique experience. Even without the permanency of the Cloud, an interview lives far beyond the event itself! The effort you put into researching your subject’s life and work may prove of interest to people far beyond your targeted readership.  The dialectical elements of the conversation, introductory remarks, annotations, and other explanations will serve not only to illuminate your subject, but also your own life’s work.

In my next blog about interviews, I will discuss the renewal and publication of oral history interviews I conducted more than 25 years ago with a dear Hawaiian auntie whose family history is very interesting…The title is, Conversations with Caroline Kuliaikanu`ukapu Wilcox DeLima Farias.

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

To learn more about Prospect for Murder,  Conversations with Caroline Kuliaikanu`ukapu Wilcox Delima Farias, and other writing projects, please visit my author’s website at JeanneBurrows-Johnson.com.  And for more ideas to strengthen your Wordpower© and branding, please visit my website, ImaginingsWordpower.com.  

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

 

Media Relations For Authors: #2, Media Releases

Strategic Media Relations Dos and Don’ts

As a professional wordsmith, your practice of the art and science of writing is only part of the equation in achieving the goals and objectives you set for your career.  Successful advertising and branding for an author rests on myriad authoring strategies, including positive relations with members of the media.  Like most aspects of your work, you will need to invest time, effort, and occasional infusions of money into researching, establishing, and maintaining good relations with the media.  As you think about preparing your outreach to the media, remember that you are moving into the realm of commercial writing, which requires you to employ concise verbiage that directly addresses the needs and interests of a specific audience.

Get to Know Your Media Outlets
A key element in any branding program is determining which media outlets [ranging across print, broadcast, and On-line platforms] are appropriate for shining a spotlight on the current project.  Once you’ve completed compiling notes of interest about each—including the demographics of their patrons—you will need to establish relationships with their journalists and perhaps one or more of their department heads.  Regardless of whether you’re going to contact staff or management, a personal salutation is always good.  After all, looking to the future, there’s no telling what a person’s next job may be…or how you might reconnect with them to your mutual benefit.
Expanding Your Media Relations
Networking with Media Contacts
With your background work complete, you’re ready to launch regular rounds of communication with media contacts.  Despite interaction you may have had in the past, you will need to follow up on any leads you’ve just uncovered.  Is there a department or individual journalist for whom your current or future work will be of particular interest? Is there a community event for which your work fits well?  Can you make a donation…or otherwise interact with a newsworthy non-profit or organization which may be participating in the event?  Can you send out a tasteful PSA focusing on the group while increasing your public visibility?

As an author, it’s easy to rely heavily on your effective writing rather than speaking skills when examining how to broaden your community involvement.  But when an opportunity arises to visit with a media specialist personally, you can broaden your talent in the genteel art of verbal communication.  Through such contact, you should be able to affirm the media’s awareness of you and glean new facts about their individual needs and desires.

Even if you haven’t had an opportunity to meet media representatives you plan to contact, you can begin sending out press releases highlighting your noteworthy work.  What constitutes a newsworthy announcement?  Chiefly, the topic you address must be appropriate to the specific media outlet and their concrete as well as virtual community.  For example, you wouldn’t send a notice about a program for elementary school children to a magazine for Seniors—unless that demographic is notably involved in the activity. 

Generating Timely Media Releases
If there is an element of time involved (such as a holiday event), it’s more likely the media outlet will grant you attention IF you’ve contacted them with sufficient lead time.  There are two simple ways to determine each media outlet’s deadlines:  Pay for a subscription to a detailed media list; or, build your own record for each of your preferred media outlets.  Even if you have an annual subscription to one or more media contact data bases, the information can quickly become outdated, so unless the provider of a list sends out updates, you’ll have to check with each media organization periodically. 

If you’re creating a media list yourself, you’ll need to gather the following information:  The names of each organization and their key personnel; a street address for drop-offs; a mailing address if it differs from the physical address; phone and fax numbers and email addresses for pertinent departments.  As you become acquainted with individuals within each organization, they may provide you with additional contact information. 

The creative process an author uses to facilitate communication with their audience must be dynamic.  Consider the following scenarios that can motivate you to communicate with local, regional, national, Internet, and even international media outlets:

Win a Contest, Award, or Scholarship?
Media outlets are always interested in stories of success, especially if they address a segment of their niche market.  Make sure you indicate the importance of the organization recognizing you with an award.

Participating in a Special Event?
Even if the organizers of an event are sending out media releases, you can submit your own in a distinctive format that highlights your particular contribution.
political campaigns
Awarded a Noteworthy Position, Contract, or Commission?
Send out a media release, including copy that demonstrates the stature of the individual, business or organization granting it to you.  You can also provide periodic releases reporting on significant stages of progress in your work Be sure to mention newsworthy persons who may have become involved in the project.  This could include a high profile woman or man whose image will be associated with your final product, be slated to read your text in an audio publication, or perform as the MC at an event you are managing personally.  By the way, this includes political, religious or volunteer activities in which you may be involved.

You may be wondering if there’s any way of ensuring your media release will receive positive attention and be acted upon as you desire.  The simple answer is no.  Admittedly, it helps to get your information released if you’re prominent in your field.  Your main concern should be avoiding being perceived as wasting a media professional’s time.  If your material and its content doesn’t appear relevant, not only will it minimize the possibility of coverage of your current plea for attention, but it also decreases the likelihood that your next outreach will be greeted with joy.

When selecting between two or more potential news items to promote, you should remember that the most popular topics for garnering media attention are connected to children, elders, or non-profit organizations That’s why it is beneficial to team up with such groups within your community on appropriate projects.   Not only will such associations gain media attention, but they will bring loyal followers to your future projects.… And word of mouth promotion is the most beneficial form of advertising!

Making a Good First Impression
Regardless of how important you view your message, you must consider how a media outlet will judge its potential value to their customers.  As a promotional consultant, I’ve often worked with writers and artists who view their work as being of the utmost significance.  They begin nearly every communication by speaking of themselves and their status.  This is in direct conflict with the media’s need to serve their patrons Rather than opening your plea for coverage with “I” (or even your name if the piece is written in the third person), begin with something that will appeal to your reader and encourage their interest in learning more about you.

Shaping a Strong Media Release 
Most of the media releases I see are one or two pages of single-spaced paragraphs headed, “For immediate release.”  These releases have no sectioning, no titling, and no use of bold or underscored text.  And if the opening of a long document is not auspicious, the recipient probably won’t finish reading it.

If you bore the recipient, how have you benefited from the effort…and cost, if you’ve mailed hardcopy?  Even if the release is read, there’s no guarantee that the recipient will act upon the information.  If you’re lucky the bare bones of your information will be published.  However, unless there’s a very slow news day (with a large “ news hole),” the full text of a long release is unlikely to be included.  If only part of your text is published, there’s no assurance that the details you deem pertinent will be included in the news piece.  

One way to short-circuit these problems is the use of the classic inverted pyramid for news writing. This means that the most important facts must be placed at the beginning of the release. With each succeeding paragraph, the importance and relevance of the information contained decreases.  Many editors are grateful to receive material they can merely drop into their layout.

 Sending Out Media Releases
You must, of course, follow the instructions a media outlet provides for sending press releases.  However, some organizations allow some flexibility in their instructions.  To increase the number of people who see my releases, I place a note at the end of emails stating that a FAX or even hardcopy will follow Since so few people bother with anything but emails today, there’s a good chance several people will read your copy when its sent in more than one form.  Of course, you cannot control how the media will respond.  Even if they decide to publish your message, you can’t be certain of how they will treat your copy, so keep in mind that providing less text gives an editor less to delete or re-sequence If they’re interested in learning more they’ll contact you.

And don’t forget to send out another media release when you’ve completed your current project.  Highlight the event’s outcome, mentioning any noteworthy person or historical context which will distinguish the activity as being of general interest in your community.  You can even send out subsequent releases to announce the results or consequences of your work.

The Benefits of Polishing Your Media Writing Skills
With careful research and repeated practice in writing media releases, you’ll enhance your ability to work efficiently with the media A successful program of media blitzing rests on gathering facts and then presenting them in a way that builds interest in your topic.  Many times your challenge is in establishing a rhythm to the words you use to present the facts you have carefully laid out. 

As __________’s youth face another summer seeking entertainment …
The enclosed image shows reality television personality _____ donating her time at…
Jane Smith, winner of the 2015 _____ award has been named presiding judge in the forthcoming spelling bee for elementary school children in the _____ School District. 

Remember that if you are involved in an event benefiting your community, you might be the ideal guest for an early morning drive time radio talk show—one of the best ways of getting a large number of people to become aware of via free media coverage.

Despite your best efforts to enhance your connectivity with the media, at some point you may be forced to invest in advertising.  To maximize the results, your branded message must be positively memorable.  From the words you use to the colors and shapes that accompany and frame them, you must strike an accord with your target market.  In today’s tough marketplace, you will need to look beyond traditional ads and commercials.  Appropriate saturation of social media outlets, YouTube videos, and even infomercials have all been used effectively by authors seeking improved community relations.  As you contemplate your options, you will have to evaluate whether you have the skill set to design and implement a branding program without the assistance of advertising professionals.

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

For examples of concise print and broadcast media releases, please visit:  https://www.imaginingswordpower.com/media/media_release_samples.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 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

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