Links to descriptive writing sites for creative writing

Here is a collection of sites where you can find descriptive language to talk about the sea, the sky, the storm, the thunder, ...and about anything you would like to describe in your stories:

https://descriptivewriting.wordpress.com/tag/describing-the-sea/

https://www.descriptionari.com/q/sky/

The Treasures of the Sea – descriptive writing

https://www.vocabulary.com/dictionary/stormy

https://www.englishbix.com/words-to-describe-thunder-and-lightning/

https://descriptivewriting.wordpress.com/tag/describing-battle-scenes/

Single image digital story: an example

Single image digital story: an example

Follow the link to watch an example of a single image digital story about the children of the Holocaust.

https://digitalstorytelling.coe.uh.edu/view_story.cfm?vid=397&categoryid=22&d_title=Single-Image%20Digital%20Stories

Write two ways in which it complies with the descriptors in the rubrics posted on the wall.

And here is another post about the children of the Holocaust.

Read through it and write two things the post and the digital story share in terms of the information presented.

"In the late 1930s-1940s, Michael Bond, author of Paddington Bear, saw Jewish refugee children (Kindertransport children) walking through London's Reading Station, arriving in Britain escaping from the Nazi horrors of Europe.

Mr. Bond, touched by what he saw, recalled those memories 20 years later when he began his story of Paddington Bear. One morning in 1958, he was searching for writing inspiration and simply wrote the words: “Mr. and Mrs. Brown first met Paddington on a railway platform…”
“They all had a label round their neck with their name and address on and a little case or package containing all their treasured possessions,” Bond said in an interview with The Telegraph before his death in 2017. “So Paddington, in a sense, was a refugee, and I do think that there’s no sadder sight than refugees.”
Paddington Bear - known for his blue overcoat, bright red hat, and wearing a simple hand-written tag that says “Please look after this bear. Thank you,” Paddington embodies the appearance of many refugee children. His suitcase is an emblem of his own refugee status.
“We took in some Jewish children who often sat in front of the fire every evening, quietly crying because they had no idea what had happened to their parents, and neither did we at the time. It’s the reason why Paddington arrived with the label around his neck”.
Michael Bond died in 2017 aged 91. The epitaph on his gravestone reads "Please look after this bear. Thank you."
Shared from @DavidLundin

Tips: Reading a painting and telling a story

Look closely and explore the painting. Look at the

  • Top
  • Bottom
  • Foreground/closest thing to you
  • Background/what is far away
  • The people/objects

What is your immediate reaction to what you see? What do you notice first? What are your feelings and thoughts when you first look at the painting? Is there a protagonist in the painting? Does your immediate reaction lead you to form the Major Dramatic Question?

What are the connections with things you know? Are there any symbols? How does the painting (theme, colour, tone) relate to what you know, to your experience and the feelings it creates? If you have already formed the MDQ, use these connections to create the plot and define the setting. If you haven’t formed the MDQ yet, can these connections lead you to form the Major Dramatic Question?

Make inferences, for example, “What do you think is the period of time depicted in the painting”. Give reasons for your inference with reference to what you see in the painting. If you have already formed the MDQ, use these inferences to enrich the plot and the setting. If you haven’t formed the MDQ yet, can these inference lead you to form the Major Dramatic Question?

Make hypotheses, for example, “What if this person is a hero or a villain”. How might your hypotheses affect the plot? If you have already formed the MDQ, use these hypotheses to enrich the plot. If you haven’t formed the MDQ yet, use these hypotheses to form the Major Dramatic Question.

Empathise with the characters. How do they feel? What are their thoughts?

Which characters (other than the protagonists), objects and details of the painting will you use in your story? How are they related to the MDQ?

Reading about the painting and the story behind the painting may help you write your own story. But be careful! This may also prevent you from developing your own creativity and line of thought.

Adapted from:

https://www.nationalgallery.org.uk/learning/teachers-and-schools/teaching-english-and-drama/paintings-for-storytelling

https://www.nationalgallery.org.uk/learning/teachers-and-schools/teaching-english-and-drama/how-to-read-a-painting?viewPage=2

The Major Dramatic Question

The dramatic question centers around the protagonists’ central conflict. Here are a few examples of dramatic questions:

  • Is Odysseus going to make it home from Troy?
  • Will Romeo and Juliet ever be together?
  • Is the old man, Santiago, ever going to catch a fish again?
  • Will Michael Corleone save his family?
  • Is Captain John Yossarian ever going to be able to go home from WWII?

The writer’s job is to pose the dramatic question, to make the reader want to answer “yes” to the question, and then to create suspense by posing obstacles to the question.

For example, “Is Odysseus going to make it home from Troy?”

  1. No, because there’s a cyclops in the way.
  2. Odysseus and his men escaped the cyclops but now the cannibals are after them.
  3. They avoided the cannibals but the Sirens are calling to them.

And so on.

 

Copied from https://thewritepractice.com/the-dramatic-question-and-suspense-in-fiction/ .