On Seeing

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Doc Creed

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Nov 18, 2015
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In On Writing, King takes a moment to discuss the writer's burden of making a reader see what he wants them to see. He explains it as a type of telepathy or ESP. I'm paraphrasing but he asks the reader in On Writing to picture a table with a red cloth over it, and upon that table to picture a birdcage or bunny, and he begins to be more specific in his descriptions. His goal is to get every reader as close to seeing what he envisions. To use a recent example, I was talking to other members on how they imagined Wireman from Duma Key. We each named a different actor but we all know this about the character: he's tall, bulky but not fat, gregarious, dark-haired with gray on sides. That's the magic of how the same book can be a unique experience to each reader; we see the same thing, ultimately, but it's somehow different.

I'm currently reading Misery again and I'm down right intoxicated on King's details and descriptions: the calendar on the wall with the boy on a sled, the Arc de Triumphe picture, the blue wall paper and the Ws on the ceiling. When Paul
leaves his room for the first time we experience what he sees, too. The white hexagonal tiles in the bathroom, the rusty clawfoot tub, and the brilliant use of name brands like Scope and Avon cement us into Paul's world.
I could go on for days about this particular novel for many reasons, not the least of which being it was my first Stephen King book, but the greatest is his masterful use of details. (King's dialogue is genius, too).
I promise I'm not going to disparage books that I know many of you cherish but while I'm on the topic there are a few books where I think King falls short in this department. In my opinion these are Insomnia and Rose Madder. Don't misunderstand me, he aptly describes Derry in Insomnia and he gives us nice descriptions of Rose's world, but both books seem generic, I think. It's not exactly a marginalizing issue for me, nor is it simply a matter of it being Early King or Latter King but a matter of effectiveness. I know he is still capable of creating powerful imagery because I've noticed it in books like Duma Key, Bag of Bones, and Lisey's Story. He's still got it, without question.

So, what are your thoughts on this subject? What were his best offerings in the area of strongest imagery? Do you have your own commentary?

Gimme the details. :)
 

GNTLGNT

The idiot is IN
Jun 15, 2007
87,651
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Cambridge, Ohio
In On Writing, King takes a moment to discuss the writer's burden of making a reader see what he wants them to see. He explains it as a type of telepathy or ESP. I'm paraphrasing but he asks the reader in On Writing to picture a table with a red cloth over it, and upon that table to picture a birdcage or bunny, and he begins to be more specific in his descriptions. His goal is to get every reader as close to seeing what he envisions. To use a recent example, I was talking to other members on how they imagined Wireman from Duma Key. We each named a different actor but we all know this about the character: he's tall, bulky but not fat, gregarious, dark-haired with gray on sides. That's the magic of how the same book can be a unique experience to each reader; we see the same thing, ultimately, but it's somehow different.

I'm currently reading Misery again and I'm down right intoxicated on King's details and descriptions: the calendar on the wall with the boy on a sled, the Arc de Triumphe picture, the blue wall paper and the Ws on the ceiling. When Paul
leaves his room for the first time we experience what he sees, too. The white hexagonal tiles in the bathroom, the rusty clawfoot tub, and the brilliant use of name brands like Scope and Avon cement us into Paul's world.
I could go on for days about this particular novel for many reasons, not the least of which being it was my first Stephen King book, but the greatest is his masterful use of details. (King's dialogue is genius, too).
I promise I'm not going to disparage books that I know many of you cherish but while I'm on the topic there are a few books where I think King falls short in this department. In my opinion these are Insomnia and Rose Madder. Don't misunderstand me, he aptly describes Derry in Insomnia and he gives us nice descriptions of Rose's world, but both books seem generic, I think. It's not exactly a marginalizing issue for me, nor is it simply a matter of it being Early King or Latter King but a matter of effectiveness. I know he is still capable of creating powerful imagery because I've noticed it in books like Duma Key, Bag of Bones, and Lisey's Story. He's still got it, without question.

So, what are your thoughts on this subject? What were his best offerings in the area of strongest imagery? Do you have your own commentary?

Gimme the details. :)
...he really excelled in making me see the many "lands" of The Dark Tower.....
 

Doc Creed

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Nov 18, 2015
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"His hand was short, the fingers blunt, the grip strong." He had "tufted and half-gray" eyebrows.
"His eyes, caught in a fine net of wrinkles, were greener (than the green tea). His hair was black, streaking in white at the temples, and quite long indeed. When the wind lifted it I could see a scar at the top of his hairline on the right side, coin shaped but smaller...his legs were brown as his arms. He looked fit, but I thought he also looked tired."
Some of you artists could probably draw him by these descriptions. danie César Hernández-Meraz Lepplady
 

Doc Creed

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Nov 18, 2015
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Reading Salem's Lot, I did NOT want Susan and Mark to go inside the spooky Marsten House. My nerves were shot.
:clap::clap::clap:
I'm with you, Staro. Hey, I know Insomnia is one of your favorites...what do you think about it? If you put that book up against IT, for example, it doesn't have the same dreaminess; it's more bland. Thoughts?
 

not_nadine

Comfortably Roont
Nov 19, 2011
29,655
139,785
Behind you
'The Long Walk' My whole entire being hurt reading along.

'The Stand' I could smell NYC when Larry and Rita were trying to get out. Don't say scrambled eggs.



'The Shining' Felt Jack from the first sentence in the book. Best opening line ever in a book.

'Salem Lot Father Callahan weak. Felt him slipping away.


'Dark Tower' OY. Can't say more.

And yes, Ralph and Lois.
 

Doc Creed

Well-Known Member
Nov 18, 2015
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'The Stand' I could smell NYC when Larry and Rita were trying to get out. Don't say scrambled eggs.
Yep, me too. Mother Abigail's farmhouse, the endless corn and hot dusty roads.
Nick and Tom hiding in the barn during the tornado, the green apples. Stu escaping the CDC in Vermont, walking barefoot on hospital linoleum, lights blinking. Creepy.
Glenn painting by a stream, Kojak by his side.
Man, I need to get a copy and read this again. :a28:
 
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Grandpa

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Mar 2, 2014
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I'll be a little self-aggrandizing here, but there's a point to it. I wrote a short story, really for my colleagues, and one of my colleagues said, "I could smell it there." I hadn't described any smells. I was insanely complimented.

The Dead Zone, in the town assembly hall, after Johnny had waited it out all day. I could hear the creaks, I could see the people moving around. And doggone it, if couldn't smell the musty, dusty air.
 

GNTLGNT

The idiot is IN
Jun 15, 2007
87,651
358,754
62
Cambridge, Ohio
I'll be a little self-aggrandizing here, but there's a point to it. I wrote a short story, really for my colleagues, and one of my colleagues said, "I could smell it there." I hadn't described any smells. I was insanely complimented.

The Dead Zone, in the town assembly hall, after Johnny had waited it out all day. I could hear the creaks, I could see the people moving around. And doggone it, if couldn't smell the musty, dusty air.
...usually I can smell one of my colleagues....:livid:
 
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