I sometimes do brief guided imagery work in plot workshops to relax writers before they begin plotting their stories (for most highly creative writers, the work I ask of them is very stressful and counter-intuitive and can involve quite a bit of resistance on the part of the writer. all writers are anxious about their writing in a group setting), and I use my voice. Guiding an imagery tour on a blog is awkward because you close your eyes. You also need the directions… You figure it out.
Oh, and if, at anytime during the exercise, you are so moved to leap to your feet and write, by all means… do it.
Find an hour of undisturbed time (nice if you do this in bed before you arise in the morning or at night before falling asleep).
Make yourself comfortable sitting or lying down.
Close your eyes.
Take a deep breath.
Let the breath out slowly and mindfully (in other words, concentrate on the air of the breath itself as it passes through your nostrils and how it feels against your upper lip and…)
Arrange the first scene of your story in your mind.
Take another breath.
Let it out.
Settle into the scene. Wait for the fuzziness of the image of the character in the setting clear.
Like a film reel, let each scene play out moment-by-moment to the end of the story. Instead of seeing the words of your story on the computer screen, see the actual action take place behind your eyelids with your imagination.
Benefits:
1. Transitions are often determined by character motivation. When the reader understands what motivates the character to transition between two scenes (locations, time periods), the story flows. In order to image your story, you move between scenes. Without the character motivation, the movement becomes episodic. Character motivation provides a sense of cause and effect, and the movement of the story flows. If the character motivation isn’t in your scenes as written, it likely will pop up now. Watch for transitions and keep character motivation in mind to incorporate in your story.
3. Thematic tie-ins hover over the story as you imagine it. Watch for them and take note.
I like this idea so much. In mid-afternoons when the summer heat has zapped all my energy, I've been lying down on a daybed, conveniently placed in my study where my MUSE hangs over the desk, and doing what you've suggested here. I can see the images vividly, making it much easier to transcribe onto the page when I get up. I'm hoping to use this technique as I listen and watch what they're going to do next, because honestly at this point, I don't have a clue!
Now, wait a minute, Denise. You have at least one clue. You know where you are in the overall structure of your story and where you are headed — the next major turning point.
Sure, the gap between where your characters are now and where they will end up is blank. Depending on where you are in your story, the Beginning, Middle and End each have specific parameters that offer other clues…
Sufficiently stung by a dragonfly! ;o) Thanks!
Dragonflies don't sting. They flutter and whisper sweet plot support…
Point well taken, Ken.
You're highly visual but not all of us finds access to our imaginations visually.
I like this:
"Transitions are often determined by character motivation. When the reader understands what motivates the character to transition between two scenes (locations, time periods), the story flows."
What a great compass for a writer to bridge their scentes together: Motivation!!
Oops.
I meant "scenes together".
Thanks Martha for this "aha"!
Its been a while that I havent popped onto your blog.
Nice to see you here again, Livvy!
Livy, I have been waiting for you. It is really good to see you back. This post is so interesting that is why I open it. It is worth reading for.