Using Creative Colors in Fiction

Fiction means bringing characters to life with action, dialogue and also with description. Readers want to envision them physically, and so authors try to paint a picture of the main characters or of the setting with words.

One issue I’ve struggled with is finding ways to describe color. Dark brown eyes doesn’t capture the reader’s imagination as well as dark chocolate eyes or Cordovan eyes, which is one I recently used for a character. We describe skin tones, hair, eyes, and the look and hues of clothing. Settings can be enhanced with color descriptors as well.

Primary colors work for fine for the male POV. Unless a man is an artist or designer, blue is blue and occasionally a male character might relate the color to something familiar, such as: The same color as the lilac tree blossoms in the back yard. But women like to know which shade of blue. I recently went on-line to search for color charts that would provide me with the names of color. I found 24 shades of blue from light cyan to indigo. Now I can describe her eyes as cornflower blue or deep sky blue without struggling to find the color I want.

I was able to copy the chart to paper, so I have it near my desk. Visit this link and see the huge area of colors to use for description in your fiction
http://www.mywebsite.force9.co.uk/web-colors/color-guide.htm

While this color chart is limited on shades of brown. I found this chart very helpful. It’s where I found the color Cordovan
http://i58.photobucket.com/albums/g279/BestLeatherKits/1BestColorChart.jpg

These two color charts will become larger with one click of the cursor and color names are easy to read.
http://www.quiknumber.com/images/3M_color_chart.jpg

Bring your descriptions to life with hues that connect with readers’ imaginations.

Transitions in Fiction: From Place to Place

My last blog covered transitions within a single action—crying while time passes and then crying stops. I shared ways to use the transition to broaden characterization and generate emotion. Other types of transitions from one place to another can also provide new information and be a useful tool to add excitement to the setting.

Transitions from one location to another often happens during a new scene or new chapter. These transitions are usually understood by the reader. The key is to use the POV character’s name immediately so that the reader understands who has the POV.
Example: John stared out the window of his condo.

Two problems are solved. The reader knows the POV character and where he is. This is a simple transition when opening a new scene or chapter. Transitions within a scene is when it becomes more complicated.

First if the change of location is known by the reader—they’ve just discussed going to lunch at a small café nearby—then the transition can be as simple as: Once in the car, they pulled into the café parking lot in two minutes. This allows the reader to recognize the new location but what happens in that transition was insignificant. They may have discussed the weather or remained silent in their thoughts or even sang to the music on the radio. Nothing more needs to be done.

But sometimes these transitions can provide needed information. Let’s say the trip to the café goes through a bad part of town, and perhaps this part of town will be significant later in the novel. In this case, the author can broaden the scope of the trip by providing details that will have greater meaning later. For example: John grimaced as he crossed the railroad tracks. High rise buildings gave way to the stench of the ghetto. Men sat on apartment stoops, cigarettes hanging from their lips and giving the passing cars a scathing look. Boarded up buildings, some burned out from vandals, said all John needed to know about the area. A shiver rolled up his back, and he wished he’d chosen another street to travel.

Here you can see that the transition offers a dramatic look at the city and John’s emotional reaction. This could set the scene for something that will happen later to involve him in this part of the city. If the author only wants to create an image of the city without foreshadowing an event, the narrative could read something like this.
Example: Heat rose from the pavement as residence crowded on the stoop gasping for air from their stifling apartments. John kept his gaze forward, thankful for his air-conditioned condo.

In this case, foreshadowing is not evident in the passage, but readers receive a glimpse of John’s values and a sense of place as he travels through the urban area.

Use transitions also to introduce a new conflict. Example: John edged through the traffic, his eye drifting to the dashboard clock. The minutes flew faster than the inching car in front of him. He slapped his hand against the steering wheel. If there was one thing Jake hated was his being late for their meeting. He drew in a breath and released it in one blast. He was late already.

Obviously, the reader feels the inching traffic, John's tension building, and the ultimate conflict awaiting him.

While transitions are to get the characters from one place to another, they can be used to heighten information, create conflict, foreshadow events to come, and to expose emotions. Use them so they work for you in your novel.

Transitions and Pacing

Sometimes readers of this blog ask questions that are good ones to share with everyone. This blog reader ask a question related to pacing, which was how to create effective transitions. Transitions are connected with pacing because they are used to move the character from one situation to another, and when the change doesn't move the story forward or make an impact on the character's goal, then it can be short, providing the reader a sense of place or a new situation.
Here’s his comment:
Hi Gail, Thanks for your blog. What a blessing it is. On the subject of pacing, I'm questioning how you show the passage of time, fast or slow, without being boring. For example, I get tired using phrases like "after a while" or "in a few moments." Do you have any answers to these particular cliches. I've just written: "He rolled over, cradled his head in his arms, and sobbed, allowing the tears to flow. After a while, he raised his head and wiped his dirty face on his sleeve." but it doesn't feel right.

Mike’s concern regards the bolded phrase. The phrase drops into the paragraph to show time passing without capturing the flow of the writing. In this case, the transition can come in a variety of ways, but it is best when the author can retain the emotion that the character is feeling.

My response included these possibilities for the phrase: After a while.


After his tears subsided, he. . . This shows passing of time but with more detail of what is happening.

Drained dry, he. . . (Same as above.)
Wiping the last tears from his eyes, he . .. This includes time passage while offering character action.

Frustrated with his own weakness, he... This shows character emotion and broadens characterization.

Slamming his fist into the pillow, he wiped his dirty face on his sleeve, tired of his struggle. Action and emotion.

Struck by an idea, he. . . This reflects hope, brightening the emotion and broadens characterization. It also moves the story forward with the possibility of resolving a conflict or at least changing it. This transition also adds the possibility of conflict

When showing the passing of time from one action to another, use phrases the leads the reader to the next emotion and tells us something about the character. Is the character relieved he'd cried and rid himself of the emotional weight? Is he frustrated with himself, angry, thoughtful? Has he made a decision about what to do? This provides his crying with a double purpose -- to express his emotion and to lead the character forward with his purpose?

This is only one kind of transition, showing the passing of time during a single action. Next blog, I’ll talk about other kinds of transitions that helps move the story along, especially in moving characters from one place to another.