Writing with Stardust: The Ultimate Descriptive Guide for students, parents, teachers and writers (5 page)

               DICTION AND IMAGERY

We are all shackled by the limits of our imagination, and therefore, by definition, our
language
. This is a phrase I use constantly in the classroom. In simpler terms, when it comes to writing, we are what we think. In order for students to express themselves fully, they need a store of words to draw from. That is why the book has so many word banks which share a theme. When a student needs to access a word from one of the banks, it makes it easier that they are structured and compartmentalised in their minds. Even if it is a mixed ability class, there will always be a simple word to draw from or a new word to challenge them.

That is why
diction
, their
choice of words
, is so important. English as a language is as fluid, ever-changing and adaptable as a child’s mind is. It is constantly being challenged by new words and phrases, just as an English student should be. Examples of modern words seeping into the lexicon are:
squillions, kidult and glamazonian
. They are included in the book as there is no reason not to. They all add to the richness of the fabric of English, although they may not be in the dictionary. If they can convey a character trait or idea that another word can’t, they have every right to be included in the language. In this book, there are two words that I had to invent in order to recreate the sound of a waterfall and the fast, silvery ripple of a dragonfly’s wings. That’s because I didn’t feel the words available in the dictionary did them justice. I chose
whirruping
for the former and
a-glirr
for the latter. In the context of a child’s writing, the ethos is the same. Reward creativity and a child who uses imaginative metaphors and unique diction, even if it doesn’t fit a conventional style.

Using
imagery
in a passage
of writing follows the
same guidelines. An image is the building block of English. Without imagery, there can’t be any connection between a writer and a reader. Teaching a child how to use imagery has to be nurtured. This is where the analogy of a painting comes in. Ask them to visualise a forest, as was done in the ‘Narrative Style’ section. This time ask them to fill in the details
below
the trees. The weaker children will struggle, perhaps concentrating on people, animals and flowers. Those who are more advanced will include a wider variety of images. It could be a river with a kingfisher flying over it or more exotic images such as a unicorn. That is because they can create better images in their
‘mind’s eye’,
their imagination. Sometimes it is a natural ability, but it is usually because of background factors such as access to books, parental encouragement or an inspiring teacher. The same rule applies as it did to the use of diction. Children need a base, a bank of information, to draw from. Otherwise, they will forever be shackled by the limits of their imagination.

                          THE BEACH

                                                       COLOUR

LEVEL 1         LEVEL 2         LEVEL 3         LEVEL 4         LEVEL 5         OTHERS

1. The
sand
shone like butter-gold.

2. The
seashore
was moon glint-gold.

3. The
shoreline
lit up with a sunset-gold glow.

4. The
coastline
was bathed in a mother lode-gold aura.

5. The
strand
was immersed in an earthshine-gold corona.

                                                          
SOUND

1
.
Stems
of light drizzled the sleepy sea.

2.
Sinews
of light showered the dreamy sea.

3.
Rods
of golden light rebounded off the sluggish sea.

4.
Tendrils
of slanted light arrowed onto the supine sea.

5.
Wands
of magical light caressed the languorous sea.

                                                           
SHAPE

1. An arc of beach lay under a
vast
sky
.

2. A hook of beach sat under an
infinite sky
.

3. The beach was shaped like a sickle under the
endless sky
.

4. The
limitless sky
gazed down upon the dome of beach.

5. The
boundless sky
surveyed the crescent of golden beach.

                                  
METAPHORS WITH THICK LIGHT

1. Lanterns of light
flooded
the sea with their glow.

2. Sheets of light
drowned
the sea with their brilliance.

3. Waves of light
submerged
the beach in a golden glow.

4. The sea was
saturated
by streams of heaven-leaking light.

5. The rippling sea was
immersed
by columns of heaven-spilling light.

                                                            
TANS

1. People
strolled
by
with nut-brown tans.

2. Tourists
ambled
past
with conker-brown faces.

3. Beachgoers
lazed
along
with sun-stained bodies.

4. Sun worshippers nonchalantly
idled
by
with after-glows.

5. Sun seekers
meandered lazily past
me with their perma-tans.

                                   KNITTING TERMS FOR A SEA SKY

1. The
blanket
of sky was edged with silver.

2. The
cloak
of paradise-blue sky was knitted with clouds.

3. The unending
veil
of sea sky was fringed with tuft-clouds.

4. The measureless
drape
of polestar-blue was laced with puffball-white.

5. The unfathomable
mantle
of lodestar-blue sky was embroidered with silver at the horizon.

                                               
OTHER IMAGES

1. Kites were flapping next to the
peaceful
sea.

2. Horses were whinnying next to the
placid
sea.

3. The seagulls were squabbling together over the
tranquil
sea.

4. Sleek yachts were lolling and dipping in the
docile
sea.

5. The waves were creasing and causing swirls in the
serene
sea.

                                                 
SENSATION

1. The midday sun baked our bodies.

2. The afternoon sun grilled us slowly.

3. The sun’s glare charred our bodies to a crispy gold.

                                                 
SMELL

1. The air smelled salty.

2. The sea air smelled oily.

3. The saline air had a brackish tang to it.

                                                
TASTE