The sun seemed to pass through her as if she were transparent, and she was strangely light, almost weightless, and mildly dizzy too. “The blazing sun, the cessation of the short-lived breeze, and the return of perfect silence to the cemetery made her uneasy. In this case, the protagonist is open and full of energy (no doubt, adrenalin), whereas the protectee has pulled himself inward. The way that characters move through a scene illuminates their qualities and emotions. His lips quivered and he was whimpering like a child.” – David Ambrose, The Discrete Charm of Charlie Monk … The senator cowered away in the opposite direction, terrified of any movement near him. He came to a stop on one knee, poised and ready to spring in any direction. He rolled again, still firing, and saw them both fall. Two more terrorists had entered the room, their guns blazing. “On the periphery of his vision he sensed fresh movement. Winter’s world in the Butcher’s Dresden series is full of treachery and deceit.
It adds life, richness, and contributes to mood, in this case-fear. I couldn’t tell you why, but my instincts told me that would be dangerous, and I listened to them.” – Jim Butcher, Cold DaysĬolor is a great tool to use for sight. My eyes wanted to follow the lights, but I didn’t let them.
Flickers of light danced through the depths of the ice like lazy fireflies of violet and crimson and cold blue sky. “As we emerged into the capital of Winter, the corridors changed from what looked more or less like smooth, poured concrete to crystalline ice in every hue of glacial blue and green, the bands of color merging, intertwining. When using sight in writing, our characters are often guided by what they see. People are unique in that most use sight as their dominant sense, which may be why the sense of sight is so often used in describing scenes and characters. When I began this series on sensory writing, I hadn’t planned to include the power of vision in writing. Muck And Fuss Restaurant and Bar, New Braunfels, Texas
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