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Winding Oak's Bookology Magazine

Just Another Roadside Abstraction

For this week’s writ­ing road trip, I offer you tex­ture.

I aim for an abstract ele­ment of a real­is­tic sub­ject and use tex­ture to add inter­est and sug­gest depth.

—a quote that to the best of my research abil­i­ties I find attrib­ut­able to artist Mar­garet Rose­man.

I liked the way the above quote spoke to how tex­ture can be used in visu­al art. But what role does tex­ture play in writ­ing? How can your stu­dents use tex­ture to add inter­est and sug­gest depth in their writ­ten work?

As writ­ers we talk about mul­ti­ple lay­ers of mean­ing. That’s a kind of tex­ture. Ask your stu­dents, “How many dif­fer­ent ways do you hope your piece speaks to an audi­ence? How many lay­ers deep have you gone down into mul­ti­ple mean­ings?”

Words them­selves have tex­ture for me, espe­cial­ly when read out loud. Remind your stu­dents not to over­look the sim­ple trick of speak­ing out their writ­ing. For instance, does describ­ing a character’s voice as “grav­el­ly” rather than “harsh” add more tex­ture when you say them both out loud? Or is it just a dif­fer­ent kind of tex­ture? What does your ear hear?

Words of var­i­ous lengths, sen­tences of var­i­ous lengths, all the way up through para­graphs or stan­zas of vary­ing lengths—when effec­tive­ly piec­ing togeth­er the threads at hand, a writer becomes a fab­ric artist, weav­ing togeth­er strands that have differ­ent heft and weight to cre­ate a unique tex­ture that is suit­ed to the piece, to the writer, and to the read­er. Encour­age your stu­dents to play with syn­onyms, to differ their sen­tence length to see how doing so cre­ates dif­fer­ent effects for their read­ers.

Remem­ber, we often expe­ri­ence tex­ture through our fingertips—the same part of our anato­my that pounds out words on a key­board.

For today, that’s my take on “just anoth­er road­side abstrac­tion.”

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