Writing Reality: What’s in a name?

21/04/2014 at 06:00 (Reviews, Writing, Writing Reality articles) (, , , , , , , , , , , , , , , , , )

As a writer, you have at some point probably spent an agonizing amount of time thumbing through every baby book and name-etymology website you could find, in search of that set of letters which would sum up the person you are creating – whether a child or an adult. The forename is our personal identity – if we choose to keep it – and the ways in which it can be used, added to, altered and spoken aloud, bring to light a lot of the subtle interactions which go on every day, as part of human life. It is our stamp of identity, distinguishable from the inherited family surname, and though it may be commonly used throughout particular cultures / age groups, it still has a unique relevancy to our personalities. It is, after all, one of the first identifiable set of phonemes we are likely to hear and respond to, when we are small. And unless circumstances dictate otherwise, such as a name-change by deed poll, your forename will be what is left of you after death, written in cards and letters, on gravestones, in the minds of others – along with all the relevant memories which are attached. It is these which make us human.

Connotation, Denotation

There is much to be said for the word “misnomer” in this context. Some people really do not “look like” their names. You have probably come across at least one person who didn’t seem to “fit” their name, whether through connotative imagery – the associations we make with words, through cultural / historical / social references – or through detonative meaning. My grandmother once told me of a friend called Grace, who was in the habit of breaking more china plates, and bones in her body than anybody else she knew.

This was, of course, not that poor woman’s fault. But it is interesting to note how a name can seem to influence our perspective – and expectations – of others, as well as ourselves. Living up to a surname or title is one thing, but to live up to a forename too? If it has been consciously passed on from one family member to another, or was given in honour of somebody admired, how might this affect our perception of the world, and ourselves?

This is worth paying attention to, when naming your characters and creating people. How might they choose to react to – or disregard – the associations which surround their fore/last names? What is expected of them by others, and how does this shape their relationships? Is there a running tradition of naming a child after a parent (father-son, mother-daughter etc), and if this is not observed, how might the narrative be suffused with conflict as a result? (I had a friend in school whose uncle took such offence at the boy’s father’s disinclination to observe family tradition, that he referred to my classmate only by his middle name – which happened to be his own, carried over by several generations.)

If you’re looking for balance between the projected image of a name, and the context/tone of your work, it might be best to avoid “loaded” names that carry heavy connotations – perhaps from a well-known fictional text (e.g. “Titania”/ “Romeo”, from Shakespeare’s “A Midsummer Night’s Dream” and “Romeo and Juliet”, respectively) or a period of history (“Hitler”, whether for a protagonist or an antagonist, is not advised.)

Then again, as a way of subtly influencing the audience’s perception of a character – or perhaps to give them a gentle nudge in the ribs – there is always the option of allusion. This is subjective to what the audience already knows, and how they might link this to your work (e.g. if you were writing a tragedy, the name Cassandra would be picked up on by those familiar with the daughter of Priam and Hecuba, of Greek mythology.) As ever, context is a key element.

Sound Effects

I am always a bit startled to hear my name in full, because it came to be associated with trouble, in childhood. My parents and teachers were in the habit of calling me “Rai” under normal circumstances, but at times of tension, the simple utterance of my full title would be reprimand enough to pull me up short, since it was used so rarely. Tone and volume of course played their part, but even now, I get an uneasy “uh oh” quirk of the mind to hear it; even when the cause is a simple call for attention in a more formal setting.

Be aware (and wary) when using alliteration in naming characters. On the one hand, this can create a useful mnemonic effect, especially when applied to a role that you want to make more identifiable from others (protagonist / antagonist) – but overuse of alliteration can dilute its effect, with names jumbling into one another if they have too-similar phonemes (e.g. protagonist called Katherine/Catherine, antagonist called Karrie/Carrie.)

Alliteration, and other sound-effects such as assonance and sibilance, can be used to emphasize the sound-symbolism of names. “Salazar Slytherin” will forever be a favourite of mine, with its sibilant hiss referencing the snake motif that is a recurrent theme of the Harry Potter series, which the founder of Slytherin house was associated with – as well as the spitfire language of snakes, Parseltongue. When combined with dialogue and/or narrative that “echoes” the sound-imagery of a name, the effect can be startling.

“‘It matters,’ said Hermione, speaking at last in a hushed voice, ‘because being able to talk to snakes was what Salazar Slytherin was famous for. That’s why the symbol of Slytherin house is a serpent.'”

“‘They called Slytherin himself Serpent-tongue.'” – pgs 146-9, Harry Potter and the Chamber of Secrets, J.K. Rowling.

The names which J.K Rowling chose for her four school houses seem to fit quite neatly with the general characteristics ascribed to each, through the respective ideals of each founder, and the symbolism of sound (e.g. Hufflepuff = predominance of “soft-friendly” phonemes vs. Slytherin = sibilance, “shifting/sinister”, as of snake movement.)

Do vocalise your own choice of names before applying them to characters. Take into consideration how they sound in your mind, how they feel when spoken, how they look when written out. Do they appear wonderfully exotic, but cause an ache in the mouth just trying to pronounce them? How easily will the audience recall their sound-associations; how can this work in your favour, when trying to promote a certain “image” of a character (more / less appealing) and how might this correspond with their personality / agenda over the course of the narrative? Will reading/speaking aloud the name of one character, be a more enjoyable experience than another – how can this be manipulated for maximum engagement?


As the word “honour” denotes, the use of an honorific is often a mark of respect. The Japanese suffixes -san -kun and -chan, for example, can instantly change the manner of expression between two people, and give an insight into their relationship: formal/informal, person/impersonal. Woe betide the employee who addresses his superior with -kun, which tends to be used between peers of an equal social standing.

In England, our most commonly recognized honorifics include Mr, Mrs, Ms, Dr, etc; these can be used in salutations, and dropped thereafter if appropriate (such as when an equal footing is found in conversation between strangers.) Where the honorific is maintained, the mark of respect/authority is made clear – in the House of Commons, John Bercow will be referred to as “Mr Speaker.” In my workplace, the leader of each team is known as the “sergeant” – an honorific which, depending on the level of familiarity between staff, can often be contracted to “Sarge”, which can itself become a type of honorific-nickname.

Depending on your characters and their interactions with one another, consider the following:

* Who is dependant on who? Is an honorific used as part of a plot device and/or characterization, to emphasise the need of one character for the aid of another (sucking up, fawning for favour, flattery – bestowing an honorific which might not be factually applicable.)

* Conversely, is the relationship an antagonistic one, in which a character bestows an honorific to be insulting – either by exaggeration (“his Nibs / her Ladyship” for an overbearing and demanding person) or by diminishing their status in life (the Japanese suffix -chan, applied to a peer with whom one is not overly familiar, would be troublesome; applied to a figure of higher authority, it could spell disaster.)

* Who possesses the higher authority? Do they require an honorific, and if so, how does this bear upon the relationship with others of your cast; can it be dropped in favour of the first name (personal, a warmer approach) or is it required at all times, to instil a continuum of respect? (e.g. the Japanese sensei is often used in favour of a first name altogether, as students would refer to the highest authority figure in a school as “headmaster”.)

* How important are hierarchies in your plot; who adheres to what in the narrative? How sensitive are your characters to social mores, to class status, to the often-unvoiced but very much prevalent plays of power in the workplace? All of these can be conveyed to the audience through the simple act of bestowing an honorific to a certain character … and the choice of another character to ignore this rule (e.g. a student addressing a headmaster by his first name/surname, without due consideration for the latter’s higher authority – unless permission was first given to do so), may provide a nuanced insight to the relationships that form part of the plot.

Nicknames / terms of endearment

Opinions differ when it comes to the giving / receiving of nicknames, and terms of endearment. My aunt is forever reminding people that her youngest daughter was baptised “Jennifer”, thereby cancelling out all diminutive forms such as Jen/Jenny. I have no argument with that, since it is a lovely name. But nicknames and contracted forms of a forename, can serve their purpose in the right setting – such as a fast-moving game of football or basketball. I speak from the experience of having a team mate back in school, who insisted on being referred to only as “Sebastian”, and refused to acknowledge all variations. Words can tumble about when you’re trying to run and yell at the same time. We opted for hand signals in his direction, not all of them polite, depending on how he was playing.

Friends and family often use diminutive forms of a given name, to strengthen the bond between them (Jim = James, Gabby = Gabrielle.) This can vary between social circles – online, I’m more commonly known by my Twitter handle, Raishimi; this wouldn’t be applicable offline, at the Nick for example, where I’m known as Rach. But to family, who have of course known me the longest, I will always be Rai (pronounced Ray), which was apparently how I referred to myself as a baby.

Keep in mind how a name can be used as the smallest citation of an emotion – the equivalent of a hand’s compression on the shoulder, or a long look. The less people there are who hold the meaning behind a nickname, the longer its secret emotional attachment may be preserved.

Shared life experiences and circumstances can form an attachment that is best summed up by the link of a nickname. A gang member may refer to his/her companions only by their street names when in that setting, to preserve the mentality – should they wish to avoid drawing attention to activities, they may automatically slip back into the names which their families are familiar with, when at home. This forms a contract of code, with the names becoming symbolic of another lifestyle.

Having grown up in an environment where it was quite common to be known as anything from “sweetpea” to “darling” – that’s before we get onto the nicknames, which we won’t – this now translates over into how I interpret / convey levels of familiarity in social interactions.

“Liebling” (German, “darling”) is one frequently used when talking with friends on Twitter – though it is generally reserved for those who understand what it means, in terms of language-translation and the symbolism behind it. German tends to sneak into my speech when the setting is casual (on Twitter, or when speaking with family), but in a professional capacity or when speaking with those of higher authority, it makes less of an appearance. For me, the second language – in particular, the use of its endearments – has become symbolic of familiarity and affection. I still refer to my ex as “Liebs” – a contraction of “Liebling” – which became something of a nickname while we were together, and has now stuck. It is equivalent to calling someone “hon/hun”, a contraction of “honey.”

“Liebe” – Love – is the strongest sign of affection I can give, and is used rarely. It holds the same symbolic power as the use of a first name, which generally happens when I wish to make a point, either in written text or in dialogue. This can be a useful angle when there is the presence of subtext, either in an implied emotion or message.
Repetition of a name can enforce the presence of personality; it can ascribe all the nuances of life to something that might otherwise be viewed as an inanimate object / subhuman being:

“Catherine is my daughter’s name. Please, show us your strength,” Senator Martin said in closing, “release Catherine
“Boy, is that smart,” Starling said. She was trembling like a terrier. “Jesus, that’s smart.” …
“Why did she keep saying ‘Catherine,’ why the name all the time?”
“She’s trying to make Buffalo Bill see Catherine as a person. They’re thinking he’ll have to depersonalize her, he’ll have to see her as an object before he can tear her up. Serial murderers talk about that in prison interviews, some of them. They say it’s like working on a doll.”
– Thomas Harris, The Silence of the Lambs

With regards to how your characters address one another, keep the following in mind:

* Levels of authority, hierarchies of power – when is it permissible to relax these boundaries, to allow for such terms of endearment in social / personal / professional interactions?

* How might contracted versions of an endearment / honorific become nicknames (e.g. a uniformed sergeant being referred to as “Sarge”, or sometimes “Skipper/Skip” (as in the nautical “captain.”)

* How can the use of endearments/nicknames convey intimacy in a relationship – or conversely, how might their omission display an emotional reserve, as with professional/impersonal boundaries? If two characters who were once friends then fall out, how might this be reflected in their manner of addressing one another? (honorific-surname brought back to replace a term of endearment / first name / nickname = cold civility. “Mr — was just leaving”, in lieu of former warmth found in the use of a forename.)

* When does it become permissible, in the development of your narrative/plot, for the use of first names in social interactions between characters, if such an observance of etiquette must be made?

Acknowledgement, Possession

A name can be altered with personal choice, by deed poll; it can be adapted to suit the mutual agreement of intimacy between friends and lovers. But the act of taking away a name – of denying its use to the original bearer – can create a striking message of possession and adversity.

In the Studio Ghibli film “Spirited Away“, the heroine Chihiro Ogino comes up against the witch Yubaba, who controls a bathhouse for the spirit world, in which the latter may come to refresh themselves. When Chihiro approaches Yubaba to ask for a job – as part of the rescue mission of her parents, who have eaten food meant for the spirits and have subsequently been turned into pigs – the latter agrees, with a highly symbolic condition: she claims for her own, with magic, some of the characters (kanji) which make up Chihiro’s name.


Thus does Chihiro become Sen; her true identity belongs to Yubaba, for as long as the witch holds onto what makes up her name. The kanji becomes a written representation of the girl’s identity, which in turn is bound up in the existence of her name – both of which she must strive to remember, if she is to escape and succeed in rescuing her parents.

The simple act of acknowledging a name in conversation can be a gift of subtle intimacy – particularly with its repetition – or it may serve as a marked point of reference when drawing someone’s attention to a thought / idea. In creating characters, you leave their thoughts, memories and ideals behind the identifying stamp of a name, for the audience to find and latch onto. You are taking someone who was a work of fiction, and turning them into a reality.

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Writing Reality: Author Voice vs. Narrative Voice

07/04/2014 at 06:00 (Reviews, Writing, Writing Reality articles) (, , , , , , , , , , , , , , , , , , , )

You will probably have encountered the conundrum of defining your own Writer’s Voice at some point. This is the distinct signature of an author, stamped upon every written page, and can be viewed as being parallel to the auteur theory of the cinematic world, wherein a director (and quite often an actor or actress, too) will leave their indelible mark upon each film, regardless of genre. The Writer’s Voice is not to be confused with the Narrative Voice. The latter is the perspective through which the audience views a story / text.

If the plot is a road, then the narrative can be viewed as the person(s) walking down it, and it is through their sensory perceptions that the audience will “feel out” the way. Based upon the author’s cast and/or choices of narrative mode (first person/personal, third person/omnipresent, etc) the perspective may shift between chapters or even between paragraphs. This should be noticeable in the opinions given, the elements of life which are prioritized vs. what is overlooked; what is revealed to the audience vs. what is concealed, or is apparently unknown.

For example: I have been (at least) two people in this lifetime – the Anorexic Me, and the Healthy Me. The former, being in a constant state of starvation due to malnutrition and low bodyweight, was wound up in a constant state of nerves and adrenalin, with a distinct fear of losing control of any situation I happened to be in. What this translated to, was an avoidance of any scenario where food / restriction of movement might be involved – say, a crowded room at a party. Paradoxically, every sense would be on high alert, with sustenance the main focus, since the human body is fine-tuned for survival.

I would walk into that room and immediately zero in on any scrap of food / drink, with senses sight and smell in particular having a heightened stimulus effect on concentration. While distracted by this sensory overload, I would be unable to focus on anything else occurring in the room. I would pay little attention to, say, art on the walls, or my host’s choice of furnishings. The language of those around me, vocal and physical, would seem at once cloying and intimidating, even if they paid no attention to me whatsoever – their very presence in the room would be overwhelming, when all my body would be focused on was how to get at the food made available, while my mind (the anorexic part) sought to take me as far away from the situation as possible. Thus runs the paradox of sensory overload / self-denial and control. In this state, I would be unable to appreciate what could be important information passed around, and entertaining company. Since setting, dialogue, subtext etc, make up vital elements of the reading / writing experience, a narrative perspective seen through that Anorexic self would be something like tunnel vision.

Nowadays, in a more healthy state, I am able to notice and appreciate the wider scope of the world, and am constantly in awe of it; finding symbolism and figurative language in nature, listening between the lines of what is said around me in society. Essentially, walking out of the tunnel.

A term that seems to crop up a lot on social media, is “reader’s hangover”: a story creates such an impression on the audience, that to finish it and be forced to find other books to read, is some kind of mental torture. Nothing else will suffice. It’s the itch between the ears when a song becomes so addictive that it must be listened to on repeat, until the damn thing has finally lost its appeal. In childhood, I would simply go back to the beginning of a book, getting a little less pleasure the second or even third time around – because of course, the words (for all their appeal) were still too fresh in the mind. Peeling myself away, I’d let time pass so that the words might collect dust for a bit and blur in the memory, before the book could be pulled down off the shelf again.

Nowadays, I don’t order books according to alphabetical arrangement, but in terms of what their Author’s Voice means to me. The genre of each text might be very different from the ones either side of it, but the written style of the authors are remarkably similar. Whenever a case of “reader’s hangover” crops up, I tend to sift between the culprit’s “compatriots”, to stave off the itch. It’s also a refreshing way to deal with writer’s block.

Who are your Influences?

Alice Hoffman. Truman Capote. F. Scott Fitzgerald. Joanne Harris. Jeffrey Eugenides. Peter S Beagle. These are authors I will return to again and again. They are usually often found lumped together in book-stores and online, in the genre known as General Fiction.

Me, I prefer to know them as the “synaesthetic” authors. Their diction and syntax, have the knack of creating quite vibrant and refreshing colours/patterns in my mind. They are the writers with distinctive Voices, often using symbolism / a cross-over of sense-imagery in their diction, to illustrate a point.

– “Bony birds struggled across the sky, screeling ‘Helpme helpme helpme!’, and small black shapes bobbled at the lightless windows of King Haggard’s castle. A wet, slow smell found the unicorn. ‘Where is the Bull?’ she asked. ‘Where does Haggard keep the Bull?’ – pg 69, “The Last Unicorn.”

Syntax tends towards a simplistic construct – and I do not mean this in a pejorative sense, but in the free-flow of reading, found in an uncluttered sentence / clause. There are few stumbling blocks; you get the sense that each word has been carefully measured out and chosen for its unique ability to convey as much meaning when stood alone, as when strung alongside others.

– “I am always drawn back to places where I have lived, the houses and their neighbourhoods. For instance, there is a brownstone in the East Seventies where, during the early years of the war, I had my first New York apartment. It was one room crowded with attic furniture, a sofa and fat chairs upholstered in that itchy, particular red velvet that one associates with hot days on a train.” – pg 1, Breakfast at Tiffany’s, Truman Capote

– “Royal’s house was like a house of flowers; wistaria sheltered the roof, a curtain of vines shaded the windows, lilies bloomed at the door. From the windows one could see far, faint winkings of the sea, as the house was high up a hill; here the sun burned hot but the shadows were cold. Inside, the house was always dark and cool, and the walls rustled with pasted pink and green newspapers. There was only one room; it contained a stove, a teetering mirror on top of a marble table, and a brass bed big enough for three fat men.” – pg 9, House of Flowers, Truman Capote

These authors write about the nuances of life, picking out the seemingly mundane and turning it into a work of art: brown silt and river water, transmuted to gold by the evening sun. In cinematic terms, this would translate to a keen eye for subtext around dialogue, symbolism in misc-en-scene, body language of actors/actresses, the cinematographic choices of camera angles and filters, etc.

– “She held my hand impersonally, as a promise that she’d take care of me in a minute, and gave ear to two girls in twin yellow dresses who stopped at the foot of the steps.
‘Hello!’ they cried together. ‘Sorry you didn’t win.’
That was for the golf tournament. She had lost in the finals the week before.
‘You don’t know who we are,’ said one of the girls in yellow, ‘but we met you here about a month ago.’
‘You’ve dyed your hair since then,’ remarked Jordan, and I started but the girls had moved casually on and her remark was addressed to the premature moon, produced like the supper, no doubt, out of a caterer’s basket.” – pg 51, The Great Gatsby, F. Scott Fitzgerald

Complex and technical language are kept to a minimum, with the thesaurus apparently thrown aside – something I am training myself to do when searching for that one perfect word, which was actually stuck between my ears the whole time but had been dismissed, due to my belief that it was far too simple a choice. But why hamper the audience with a stumbling block? Why not string together a perfectly reasonable set of words, to create an image that is still original, still glowing with beautiful colours and pathos?

– “Elv had begun to whisper Arnelle stories to her sisters during the bad summer when she was eleven. It was hot that August; the grass had turned brown… all she’d wanted was to lock herself away with her sisters. They hid in their mother’s garden, beneath the trailing pea vines. The tomato plants were veiled by a glinting canopy of bottle-green leaves. The younger girls were eight and ten. They didn’t know there were demons on earth, and Elv didn’t have the heart to tell them. She brushed the leaves out of her sister’s hair. She would never let anyone hurt them. The worst had already happened, and she was still alive.” – pg 7, The Story Sisters, Alice Hoffman

These synaesthetic writers are at once easy to read, and rather mysterious; equivalent to the portrait of a woman with beautiful, regular features … and the smallest hint of a dark smile.

After years of battling with my Voice – trying on various guises, as is necessary to discover whose shoes you are most comfortable walking in – I know that it is alongside these “synaesthetic” authors I would prefer to be shelved, should I have the luck of being published. It is through their respective Voices – each one unique, and somehow familiar as candlelight – that I have stitched together the components of my own.

They are the mainstay influences, but this is not to say I would ever restrict my reading / writing habits to only their work. Going with the analogy of shoes, I would say that while the synaesthetic authors are the hiking boots and Converse, authors such as Dr. Hunter S Thompson, Chuck Palahniuk and John Wyndham are the kitten heels. I love their work, but couldn’t begin to emulate their styles. My feet just won’t fit, and the walking is precarious.

When writing became more than a hobby, it was an essential exercise in discovering Voice to write through as many authors as possible – the more distinctive, the better. It’s just as vital to write across a range of forms, to develop audience awareness and an eye for self-editing.

Writing across this “vocal range”, is not plagiarism. It’s not copy ‘n paste. It is simply defining who you wish to sit alongside, who you would deem your contemporaries and influences to be – taking snippets from their respective styles, and stitching them together to form your own. This doesn’t just aid your prospective target audience, when they seek out authors of a similar “flavour” and whose work they can’t help but return to again and again. It can also help a potential agent to find where you might fit into the literary market.

If a Voice does not sit comfortably, and you find your nerves are frayed from trying too hard to be someone you’re not, then the writing experience will be a tedious one indeed. The forced Voice may waver between works-in-progress, as of a mask slipping. I’ve walked away from stories, believing them to be impenetrable, and blaming my own ineffectiveness to get down the vital message; only to return some months later, when a particularly influential / distinctive author I had been reading at the time, was finally out of my head. Their style was pressing in on mine, and though enjoyable to read, it was not something I could hope to replicate as a writer.

In blog entries, there is more chance of achieving an authentic Voice. You’re not trying to keep in character, and are not fretting about plot / narrative. Emotions and ideas are allowed to free-fall. Think back to the blog entries you may have rattled off – the sticky details of childhood life, the golden-hue moments of nostalgia, covered in dust motes, or tears. How easily did these outpourings come, when you were perhaps half-cut at 3am and coming off the rush of a night out or the viewing of a film which had touched your mind; the attached feelings you then just couldn’t keep to yourself, and were forced to offload in a blog entry before you forgot what it all meant?

Think about how that writing experience was, how every image seemed to slot into place – how when, reading it back to yourself in the early afternoon (waking to a faceful of old makeup, wine-stained lips and a head like Vesuvius) you’d felt the strange tang of seeing yourself outside yourself, and wondered where on earth had all this came from? How could it be that this was so easy, when (if you’re anything like me) trying to drag out fictional work can be akin to being prepared for the canopic jars in Ancient Egypt?

Those blog entries hold the Voice that is yours alone, when you weren’t trying to be someone you’re not; you were too excited and pissed to think about anything but getting the message across to your audience. YOUR perspective, YOUR experiences, YOUR views – all of which can be tweaked and filtered according to characterization and narrative perspective, and indeed, the same holds true for anyone in your reality who might have struck an influential spark, and deserves a place in your narrative.

Look at your voice on social media. This is you, taking part in written discourse in what may be a near-immediate environment. How do you instinctively respond to people when they speak to you? What language do you use to pitch ideas and thoughts? Are you pretty stark in delivery, or prone to using imaginative subtext? When I’m writing a blog entry, that Voice is pretty much what you’d get in real life. That’s my choice of delivery. The trick is to keep the trend going, when it comes to writing fiction – admittedly, something of a task, particularly when a multiple-member cast gets involved.

Finding your Voice is putting that stamp on your work. It is defining who you are, where you stand among other writers, how you might relate to them or indeed, be set apart. Crucially, it allows any audience member who might read your work, to come to know what to expect from you in the future.

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Writing Reality: Using Synaesthetic Imagery

10/02/2014 at 05:50 (Method Writing, Poetry, Reviews, Synaesthesia, Writing, Writing Reality articles) (, , , , , , , , , , , , , , , , )

There’s nothing I love more than to watch for the signs in life. Subtext, subtweet, crossed-wires, imagery, symbolism. In particular, the metaphor can create a beautiful path of words, drawing comparison between one image and another, so that the audience might walk to find themselves at a new truth, a fresh abstract landscape, rather than the tired old concrete definition of some reality.

Synaesthesia – “the transfer of information from one sensory modality to another”, or mingling of the senses – is often used to enhance imagery in writing. We find examples of this every day – “a bitter wind,” “a blue sound”, “a black funk.” As sense-imagery can be a vital part of drawing the audience into a scene, allowing them to experience what the narrative POV does (directly or by proxy), it stands to reason that the use of synaesthesia – the mingling of senses, or connecting a sense to something it is not regularly used for – creates an even more memorable effect.

As a synaesthete myself (sound — > colour/shapes [chromesthesia] and mood —> colour) I find a heightened reaction to words layered with this type of literary device, and will often speak aloud certain words to strengthen their colour/texture:

“There are perfumes fresh like the skin of infants
Sweet like oboes, green like prairies,
—And others corrupted, rich and triumphant” – “Correspondences”, Charles Baudelaire

I already “see” the sound of the oboe in shades of green, even without the additional pleasure of sense Taste (with positive connotations in “sweet”) being connected to the instrument’s sound, and to the smell of perfume.

When using synaesthesia to enhance your own writing, consider the connotations involved.
“The wind was a thin blanket pulled over the city” – a metaphor, which can stand in place of telling the audience that the wind is insubstantial / cold, depending on the context in which it is framed. For a more synaesthetic viewpoint, you might show the audience that the wind is cold by using colour:
“A blue wind slid over the city.”

This relies upon the acceptance of the audience that the colour blue holds connotations of cold, to be chilled, though it may also be interpreted as sadness if that is the context in which you’re writing – the mood you are trying to set.
I chose to swap the verb “pulled” for “slid”, since the former belongs with the image of a blanket being tugged over someone/thing, while the latter fits more neatly with the image of water or something slippery – again, associated with the colour blue, the feeling of (being) cold.
Since the wind cannot be seen (except through whatever it touches/moves) but can be felt and heard, it is the synaesthetic transference to sense Sight which helps the metaphor to work, with the afore-mentioned connotations carrying the message over.

When it comes to depicting a character through synaesthetic imagery, one of my favourite examples is by the US author Peter S Beagle, in his novel “The Last Unicorn.” It’s to this book that I owe most of my writing influences. Having first seen the film at age five, and being marked by its dark magic (I mean that in the sense of the wild world, the quiet woodland, the pathos/comedy of heroism), I tracked down the book to some desolate second-hand store, where the pages of the stacked volumes were old and yellow as the light filtered through papered-up windows.
My copy still smells of old leaves; the very best kind.

It’s through this colour that Beagle chose to sum up the jaded life of the character Molly Grue, a woman brought down to the level of a drudge by harsh circumstances. When confronted with the sight of the last unicorn in the world, her reaction is poignant to say the least.

“But Molly pushed him aside and went up to the unicorn, scolding her as though she were a strayed milk cow. “‘Where have you been?”‘
Before the whiteness and the shining horn, Molly shrank to a shrilling beetle, but this time it was the unicorn’s old dark eyes that looked down.
“‘I am here now,'” she said at last.
Molly laughed with her lips flat. “‘And what good is to me that you’re here now? Where were you twenty years ago, ten years ago? How dare you, how dare you come to me now, when I am this?”‘ With a flap of her hand she summed herself up: barren face, desert eyes, and yellowing heart. “‘I wish you had never come, why do you come now?”‘ – pg 63, “The Last Unicorn,” Peter S Beagle.

I have yet to find a passage in any text that can move me more than this one. The image is stark, the pathos (particularly when read in the context of the novel) is raw; here then is the image of a yellowed woman, standing before the shining white immortality of a unicorn so much older than she, but untouched by time or care. As Molly says later in the book, “The sky spins and drags everything along with it … but you stand still. You never see anything just once. I wish you could be a princess for a little while, or a flower, or a duck. Something that can’t wait.”

We can look upon the sky, but it is left up to weather to provide us with contact through the other senses – we hear when the storm charges a sound through the static-tumble of thunder, feel our neck hairs prickle with the electricity of lightning’s rise. But to taste the wind?
“So they journeyed together, following the fleeing darkness into a wind that tasted like nails.” – pg 68, “The Last Unicorn.”

Beagle creates an alternative image of something stronger, more memorable, as of a cat flehming to gauge a strange scent on its territory, via the mouth (taste-smelling the air.) You’ve probably come across this phenomenon yourself from time to time, when a smell tingled on your tongue and palate, or a taste filled up your nose.

Placed in the context of the scene – walking through a sullen, grey land – the negative connotations are ramped up with this sense- image of the wind and air “tasting” metallic, bitter.
Similarly, the smell of the main foe, the Red Bull of King Haggard, is described in a unique and quite unpleasant way:

“Bony birds struggled across the sky, screeling ‘Helpme helpme helpme!’, and small black shapes bobbled at the lightless windows of King Haggard’s castle. A wet, slow smell found the unicorn.
‘Where is the Bull?’ she asked. ‘Where does Haggard keep the Bull?’ – pg 69, “The Last Unicorn.”

The image created is something fetid and dark, slippery as rotting fish. Something best left unknown, hidden in the depths of the world beneath Haggard’s castle, surrounded by the sea.

It’s worth mentioning here that context can influence a lot of what you are trying to say to the audience. Pay attention to the connotations surrounding the sense you wish to draw upon, before forming the image. To describe the moon as having a “soft glow” (Touch —> Sight) creates a pleasant setting, as of a balmy summer night:
“Tis moonlight, summer moonlight,
All soft and still and fair;
The silent time of midnight
Shines sweetly everywhere” – Emily Bronte, “Moonlight, summer moonlight.”

Whereas in the setting of a hunter’s time, that same moonlight may become a finger of bone, or a sliver-blade come to slide through the heart of the midnight woods:

“Black Minnaloushe stared at the moon,
For, wander and wail as he would,
The pure cold light in the sky
Troubled his animal blood.” – W. B. Yeats, “The Cat and the Moon”

The sense Touch is mingled with Sight, creating a bonelight glow synonymous with hunting, the clarity of a cat’s movements; the chill message of death. I find real pleasure in these lines, and know that feeling well – to wander with the night burning the blood – though it’s difficult to understand its origins. Through synaesthetic imagery, Yeats has created a more primitive time, in which the audience can perhaps see themselves reflected – that wilder side, so often lost in the light of day.

When describing a mood, I tend to fall back on how they appear to me – as colours, usually in cloud-form and with no definite shape. A feral mood – all itchy feet and hot blood, a restless spirit – is a beetle’s back, because this is how it actually appears in my mind, all glossy and purple-black. It’s handy for describing this particular mood when writing metaphorical imagery; but I am reliant on the connotations of mystery surrounding these colours, to get my point across.

Similarly, a “pale mood/mind”, can be used to describe weariness. This is because my mind will actually turn pale, like a negative inversion of the black “fadeout” seen in films. It will get to the point where I find it difficult to think (see) clearly. The extreme of this is a “whiteout” (again, associated with and derived from the cinematic fadeout), wherein shock / fear will stimulate a neurological reaction – my mind literally turns white, blinding and stark.

This form of synaesthesia has been known to occur as a self-preservation technique. Take into consideration how you might describe the mood of a scene, through an overlap of the senses – how might fear be conveyed without describing the feeling of cold sweat, goosebumps? Could another sense be employed, such as seeing blinding-bright sparks (of fear), or having an acrid taste (of fear) in the mouth?

Whether synaesthetic or not, I believe that a writer can engage with their audience on entirely new levels of perception when using the syndrome in conjunction with imagery. Particularly if it is to mnemonic effect; I know of several synaesthetes who use their “type”, of colours associated with dates/days of the week, like a highlighter pen on a calendar.

For me, grapheme/phoneme colours of certain passages in a text, can trigger a reaction that leaves a “bookmark” impression. I can then return to these influential snippets as and when needed. F. Scott Fitzgerald and Truman Capote are favourites for this, as are Nabokov and Alice Hoffman, all of whom are “colour-associative” authors.

Whatever sensory-crossover you choose when using synaesthetic imagery, keep in mind the associative connotations; how these will impact upon the context of events in a scene, the portrayal of a character, the mood surrounding a narrative POV / dialogue.
Using the adjectives “juicy” and/or “red” to taste/sight-describe a cemetery’s creepy atmosphere, will more than likely evoke the wrong image.

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Writing Reality: Synonyms and Antonyms

06/01/2014 at 05:50 (Personal) (, , , , , , , , , , , , , , , , , , , )

Our language is wonderfully diverse. For every one word or phrase assigned to something – whether in description, as a preposition, to denote an action – there are countless others with the same or similar meanings, but different graphemic / phonetic constructs, waiting to be used. As any writer will tell you, it’s often the most agonizing part of the whole process … trying to find that one word which will encapsulate the message you wish to convey, in a sentence.

Collectively, these words/phrases are known as synonyms. Their function, broadly speaking, is to add flavour to communication in speech and writing. If we were all to use the same words in our vocabulary then conversation would soon become strained; in text, all prose/verse would seem repetitive and lacking depths of meaning. We would know what to expect from others, with little chance of gratification from being surprised/charmed by a turn of phrase not our own. Synonyms step in to alleviate this wearing-out of language.

When a word or phrase is described as being synonymous with another word or phrase of the same language, its meaning can be taken as the same or suggestive of it:

“His name became synonymous with that of the Devil” (suggestive of evil in a character, through deeds)

Beautiful is an adjective. All well and good when used in the simple sentence, “She was beautiful.” Now imagine it being repeated across a more complex sentence structure, with additional features thrown in: “She was beautiful, with a beautiful nose and beautiful eyes.” By this point, beautiful is starting to look a bit strained around the eyes itself. To liven things up, it can be substituted after its first appearance with “a cute nose and lovely eyes.” Even these words are on the generic side, and don’t really add much in terms of describing the features mentioned – but they are synonyms of beautiful nonetheless, in the denotative sense of being attractive, and in their positive connotations.

Context is a pivotal factor when choosing to replace one word with another. Fine and pleasing are synonyms of beautiful, but they might not make as much of an impact when describing someone’s features or personality. Substituting it for foxy when describing the appeal of an ancient church, wouldn’t quite make the right impression; likewise, bewitching has connotative links to magic and enchantment, which would seem unsuitable in the religious context.

Bright is an adjective, and can be replaced with glittering, shining, aflame, vivid, argent, etc. However, as argent is associative with the colours silver and white (from the noun Argentum, chem., the metal silver) it may not be the best synonym to use in lieu of bright, when describing a pair of eyes. It would however fit the context of a night sky, and a full moon.

When writing, take into consideration the environmental / lifestyle factors that could affect someone’s personality, appearance and decisions, which in turn will influence your word choices. If the context was to be the description of a feral hunter or mercenary warrior on the campaign trail, chances are you could be looking for words that will reflect a life of guerilla movements, outdoor living conditions and tight rationing. In terms of appearance, you could describe them as being strong, but it doesn’t convey much in terms of imagery.

“He was sinewy with muscle” vs. “He was brawny with muscle.” Though both denote strength and a compact, toughened physical form, the word brawny is more closely associated with the image of size and muscle mass. For swiftness of movement and tenacity in battle, the character is more likely to need / to have built up a lean muscle mass that resembles steel rope, braided and sinewy, as opposed to large blocks of muscle that might actually slow them down and make them more conspicuous in battle. This is only a personal observation, of course; but I choose sinewy over brawny to suggest a lean style of living, reflected in the physical form of the warrior / hunter.

Synonyms can be used to denote authority: “It is the first time British police are being issued with the “non-lethal weapon“‘ – as opposed to, ‘…are being given the “non-lethal weapon.”‘ This report refers to police Personal Protective Equipment, or PPE. To issue is a verb – synonyms include to give or to dole out, but neither fit the professional context of the action and the impersonal tone of the text. There is technically nothing wrong with using the word “give”, as it is a verb and concerns supplying someone with something. But it doesn’t have the same authoritative ring of issue and to give is more closely associated with gifts and presents, or acts of charity.

In obituaries and epitaphs, words synonymous with death can be used as part of a euphemism, to deliver a softened approach to a subject that is taboo for some (where open discussion is concerned), and raw for those in mourning. As the concept of death can be surrounded by negative feelings (grief, anger, loss) and the word itself holds connotations of fear and the unknown, it is useful to have words synonymous with it (when placed in context), which deliver a message that isn’t quite so direct. These synonyms often have restful and positive meanings, or humour intended to take away the sting of loss; they might also reflect the religious beliefs of the one who has died / their family.

passing away
(courtesy of http://kaionegal.typepad.com/)

In contrast to synonyms, we have antonyms. These are words that stand in oppositional meaning to others:

love hate

The word itself is an antonym of synonym, and is just as reliant on context. Hot is a word that can be made relevant to the weather when placed in a meteorological context – say, the comparison of two countries’ climates. But it can also be used to describe someone’s physical attractiveness or success, in a colloquial sense.
When seeking the antonym of a word, be aware of unintentional connotations becoming linked to your desired message.

There are three types of antonym.

Graded antonyms could visually resemble railway lines on a map, with the starting point at one end and the destination at the other. In between lie calling points to be stopped at first. Between Love and Hate, there is Like. In the context of a dimmer switch on a light, there is an Increase – Decrease of illumination, before On / Off occurs.

Relational antonyms cannot exist without one another.
You may greet someone with Hello, and bid them Goodbye
A door may be Opened and then Closed (or Shut, if you want a synonym.)

In weight-training, Flexion is the bending of a joint, bringing the bones that create it closer together. Its counter (or antonym) is Extension – straightening the joint out. Likewise, there is Elevation and Depression (raising / lowering.)

Complimentary antonyms have only one outcome – words meet and greet without gradients of meaning between them.

You can either be Alive or Dead.
Something can be True or False
A light can be flicked On or Off

If you are one, you cannot be the other; these are ‘absolute’ opposites.” – Kristin Denham and Anne Lobeck, Linguistics for Everyone: An Introduction, 2nd ed. Wadsworth, 2013

Be careful when using your Thesaurus. Overdoing it on the fancy variations doesn’t make a text look more professional, and may actually harm the rhythm of your words. As ever, consider context – what message are you trying to convey? what connotations are linked to the word/words you wish to substitute? – and read aloud what you have written. Sometimes, the word we’re trying to avoid is the most likely candidate, with the truest message, after all.

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Writing Reality: Personification of Autumn

09/12/2013 at 05:45 (Reviews, Synaesthesia, Writing, Writing Reality articles) (, , , , , , , , , , , , , , , , )

There’s a familiar wind back in the city this week. It wears a blue cape and likes to hurl itself up and down the cobbles, whistling through its teeth. The trees, once decked out in their finest gold, now shiver and quake in the sight of its cold eye. I turn my collar up, walking to and from work through crisp black shadows, and that wind waits on my doorstep, ready to leap out and slap me upside the head with quick cold fingers.

Autumn is my favourite time of year, for its colours and its medley of imagery. Beginning with a faint song of melancholy in the brassy light and the changing west wind, it ends with high wreaths of silver in the trees, white mornings like diamonds strewn by a passing queen. The forests turn quiet with the cold, ready and waiting for midwinter freeze; they buckle on armour and lower their heads to the stiffening winds. The sun is a capricious fellow, at times grumpy and sullen as he winds his grey scarf about his throat, while on other days he will grin with a hard, shining mouth. Leaves skirl and dance; they twine gold necklaces about the roots of their erstwhile fathers, where some flicker-flames still cling on for dear life with numb little twigs, in the face of that wind … But all become mulch in the soil, at the end.

These are all examples of word imagery. The wind does not wear a cape or have a mouth full of teeth, though it is a concrete noun. It has no thoughts or emotions, and is governed by nature, which in turn is no more caring or hateful towards mankind than we are able to completely control it.

When writing, it often pays to give human sentience / characteristics to non-human beings and concepts. This can help the audience to understand and appreciate the latter more, through emotional context and relativity.

To say that the wind is fierce in its intensity, is to lend it a recognizable emotion – we’ve all felt fierce at some point, when our eyes burned and our mouths ran dry; when we felt ready to tear ourselves apart over a situation.
Likewise, we know what teeth are capable of doing – they tear, rend, cause bitter pain, chew food, click together with irritation. To say that this north wind, back in my home city once more (and likely to be a lodger for the next four months) has sharp teeth that he likes to use on my skin, is just a more interesting way of saying, “The wind is bloody cold.”

To give something emotional resonance is to engage with it, whether on a positive or negative level – I know I’ve cursed that wind many a time for daring to fling pellets of rain in my face, but really, what is the point of getting cross at something that neither bears me ill will, nor laughs at my numb fingers? Still, it makes me feel better to swear at it.

Personification is everywhere; we hear it all the time, lending personal features to otherwise abstract concepts. Father Christmas, Grandfather Time; Cupid as the embodiment of Love; and in Richard Adams’ Watership Down, the Black Rabbit of Inle is the personification of fear, death and inevitability:

black rabbit

“‘Now as you all know, the Black Rabbit of Inle is fear and everlasting darkness. He is a rabbit, but he is that cold, bad dream from which we can only entreat Lord Frith to save us today and tomorrow. When the snare is set in the gap, the Black Rabbit knows where the peg is driven; and when the weasel dances, the Black Rabbit is not far off… We come into the world and we have to go: but we do not go merely to serve the turn of one enemy or another…We go by the will of the Black Rabbit of Inle, and only by his will.” – pg 276, Watership Down, Richard Adams

By the same token, the rabbits of this novel are subject to anthropomorphism. This is similar to personification, and while both give emotional and physical attributes to non-humans / inanimate objects and concepts, I find that anthropomorphism seems better suited to the creatures, while personification appeals more to the abstracts. For example, Bigwig is made an officer of the Efrafan Owsla – he is an anthropomorphic example of rabbit leadership and governing, with the contextual rationality and intelligence involved that is not usually attributed to their natural way of life:

“‘What can you do?”
‘I can run and fight and spoil a story telling it. I’ve been an officer in an Owsla.’
‘Fight, can you? Could you fight him?’ said Woundwort, looking at Campion.
‘Certainly, if you wish.’ The stranger reared up and aimed a heavy cuff at Campion, who leapt back just in time.” – pg 317

He can also be seen as the embodiment of that military spirit of “do-or-die” attitude.

In this way, the rabbits are allowed to develop behavioural patterns, mannerisms and dialogue similar to that of humans; this allows the audience to engage with and respond to them on a deeper level. Their instinctive reactions are somewhat quelled, to allow personalities to develop and the narrative to progress, rather than each rabbit scattering aimlessly and without thought. Much of the novel hinges upon planning, strategies and tactics which would not be applicable in reality.

A Simile is a figure of speech used when comparing one thing to another that is otherwise unlike it, by way of adding the words “like” and “as”, to create an image that will enhance writing:

“He ran through the field; it was as though his feet had wings.”
“She was young and fair, and looked like a lily, clad all in white.”

Said images rely on the audience having some contextual knowledge of what makes up the target comparative element; they must have an awareness of the lily being white and smooth, and of wings being capable of flight, thus lending connotations of speed to the feet. A simile won’t work when the target falls short of what the image intends (though this can sometimes be used for comic / sarcastic effect):

“That’s as clear as mud.”

“The hailstones leaped from the pavement, just like maggots when you fry them in hot grease.”

But when it does work, a simile can drive home a memorable message with emotional resonance:

“I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I’ve watched C-beams glitter in the dark near the Tannhauser Gate. All those moments will be lost in time, like tears in rain.” – Rutger Hauer as Roy Batty, Blade Runner, 1982

Only take care that the two elements you use for comparison are equal in part to what they convey when standing alone, in order for them to work in a combined context. A lily flower is different to a young woman in that it is a plant, and does not possess sentience; but it does hold connotations of grace, beauty and pale smoothness, which can be positively aligned with her appearance in a simile. Put into another context with a different setting, this can also be used in a negative sense to convey her paleness and sorrow, perhaps after illness or a death, as the latter has connotative links with the flower.

A Metaphor is when “a word or phrase is applied to an object or action to which it is not literally applicable”; this is in keeping with Simile, but in a more subtle way than actively telling the audience something is like or as another. With a metaphor, these words are omitted, and the audience is left with the bare bones of the image.

“He walked with a stony step and an icy gaze; none dared get in his way.”

A stone is not a man, nor can ice actually stay in the eye. But the qualities of both (hardness, cold) and the subsequent connotations (determination, implacability; unfriendliness, lacking emotion) are useful when conveying an image of someone powerful and difficult to approach or sway from their path. But one way to upset the balance would be to throw too many comparisons in at once – especially when they conflict with the overall image:

Ice lived in his heart. He smouldered with the flames of his anger; it was eating him alive.”

The symbolism of fire = anger, doesn’t sit well with the image of a “cold-hearted” man. Fire would extinguish itself in the cold, ice would melt. Although we’re not dealing with literal meanings here, it’s still worth paying attention to what connotative messages you are sending out with metaphors / similes used.
On the other hand, this can be useful when applied to another character to create a large-scale metaphor of conflict, perhaps in a relationship:

“The flames of her temper often thawed his heart. He couldn’t help but laugh, in spite of himself.”

Try wherever possible to create your own imagery. There are many tired metaphors and similes out there, which have been strung up as clichés – they work at a pinch, but can often lead to a trite tone in a piece of writing. Look around; take in as much of the world as possible. I make a note of every image that strikes me while out and about – the sky strewn with cumulus clouds like pebbles on the beach (simile); the full blue cape of night, thrown about the shoulders of the world (metaphor / personification).

Always be prepared to record more, and hoard them like treasure, because if you’re anything like me, the hard work will really begin once you’re sat down to write. As obvious as this sounds, you can make life a bit easier (and save time) by having a stockpile of key words / phrases to use in imagery. It beats staring at the screen or paper, rummaging through your memory for something you knew you wanted to say.

Unless you’re referring to the inside of your head as a blank sheet, of course.

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