BRINGING CARDBOARD SCENES TO LIFE
MORGAN ST. JAMES
There is nothing more boring to read than a scene with no oomph. Can you feel the surroundings, does your heartbeat skip right along with that of the victim or the woman in love? Or have you created a set of paper dolls in a cardboard house?
Still, the cover is what communicates the wonders that are sandwiched between the front and back. Providing a concise synopsis and some physical descriptions help the artist to communicate with the reader.
The cover is a big help in setting the scene. For example, if it’ s a funny book, does the cover say funny, or does it portray something entirely different? Although big name authors’ books will sell on the strength of their name alone, a compelling cover is invaluable for mid and small list authors.
THINK OF IT AS“ FRAMING” A MENTAL PICTURE
IF YOU CAN’ T FEEL THE SCENE, IT’ S A SURE BET THAT YOUR READERS CAN’ T.
SO, WHAT TO DO?
Start with thinking about the cover. Authors don’ t have a lot of control over this aspect of a published book, because it’ s in the hands of the publisher and / or art director.
It certainly doesn’ t stop at the cover. When creating scenes, frame a mental picture that includes surroundings, how the person sees it from their own point of view, mental reactions, weather, clothing … anything that helps flesh out the scene as though you are the production designer for a movie. That doesn’ t mean to describe everything in minute detail, but put yourself in that person’ s head. Picture being in those surroundings before writing.
IF THE SCENE IS MEANT TO EVOKE TRUE EMOTION, DOES IT?
Cardboard scenes almost read like technical manuals in a way. In other words they are generally incapable of touching the reader’ s emotions. On the other hand, scenes that spring to life can trigger laughter, tears, excitement … whatever the scene was designed to do.
When I was writing some scenes in my book“ Betrayed” even though I knew the story, I found tears trickling down my cheeks as I wrote some of the intense scenes. I could feel my surrounding as surely as if I actually was the protagonist in Chicago in 1956. My publisher at the time also referred to tearfully reading parts of the manuscript.
BEYOND SURROUNDINGS THAT CAN BE FELT, MAKE SURE DIMENSIONAL PEOPLE POPULATE YOUR WORLD OF FICTION.
When I was an interior designer working with model homes, I created fictional families to live in these homes, so I could design to their demographics. They had the attributes of the profile buyer the developer described and targeted, but they had also had their own quirks, desires, preferences and style. Maybe the husband was an avid golfer and the wife participated in charity work. The son I
WRITERS’ TRICKS OF THE TRADE
PAGE 25
WINTER 2018