Exams at 11+ and 13+ level always let you tell a story in the writing section, but they sometimes provide a picture and simply ask you to describe it or to ‘write about it in any way you like’. Writing a description is obviously different from writing a story, so it’s worthwhile pointing out the differences and the similarities.
When you write a story, the best way of doing it is probably to follow the five-step process that I outline in Story Mountains:
- Choose the title
- Brainstorm for ideas
- Plan your work
- Write it
- Check it
You can use a similar basic method for doing a description – except the planning stage obviously doesn’t involve creating a story mountain! – but what are the differences? Steps 1, 4 and 5 are pretty much the same, but you might want to have a look at these tips for the brainstorm and planning.
When you’re brainstorming for a story, you have to think about characters, genre, period, setting and plot, and you also have to make sure there’s a ‘problem’ to solve so that your idea fits into a story mountain. However, descriptions don’t necessarily have all of those things in them, so you have to think about it in a different way.
The simplest form of description would simply involve describing what’s in a picture (or imagining what’s there if you’re just given the title). That might result in some very imaginative creative writing and open up the possibility of using some great vocabulary and all the poetic devices you can think of, including similes and metaphors.
However, the very best descriptions have to have some kind of ‘hook’ to grab the reader’s attention, and that usually means a central character, situation or even a mini ‘plot’. You obviously need to describe exactly what’s in the picture, but what if you want to say more? What if the picture doesn’t have the things in it that you want.
That’s a bit tricky, but you can always ask questions or just ask the narrator to imagine things.
Hal Morey’s picture of New York’s Grand Central Station is a good example. The shot has lots of elements to it, including the architecture, the people and the beams of light from the windows, so you could easily spend your whole time going over the picture in great depth, picking out each detail and thinking up the best words and metaphors to describe it.
One way of doing that is to make sure your paragraphs are Mutually Exclusive and Collectively Exhaustive (or MECE). That just means the things you describe in each one have to be different (like trees and houses), but your whole description has to cover everything in the picture. That means being as observant and descriptive as you can, noting down the ‘male passengers in fedoras and grey, woollen overcoats’ in the station rather than just ‘people’.
Vocabulary is important here, so you might make a list of the words that you planned to use. One good way of organising this is to think about the five senses: sight, hearing, taste, smell and touch. It’s sometimes difficult to get beyond the visual when you’re analysing a picture, so this method just forces you to think of the other aspects of a scene. Try to make separate lists for each of the senses. The visual vocabulary might include the following:
- columns (not just walls)
- vaulting (not just roof)
- passengers (not just people)
- spotlights (not just light)
- cathedral (not just station)
- nave (not just hall)
- balustrade (not just railing)
It’s not enough to use words like ‘roof’ when more imaginative synonyms exist such as ‘vaulting’, so try to think of the very best words to use. After all, the examiner can’t tell that you know a word unless you use it! And the same goes for metaphors.
Where did the word ‘cathedral’ come from? Well, the shape of the hall and all the windows are similar to what you’d find in a cathedral or a large church, so why not use that in a kind of ‘extended metaphor’?
An extended metaphor takes a comparison and uses it more than once, so the main part of the hall might be the ‘nave’, the two large arched windows might be the ‘west windows’ and the people might be the ‘congregation’.
Even better would be to link the metaphor to the purpose of the other building by saying something like this: “The congregation bustled to find their seats in the pews as they made their daily act of worship to the god of commerce.”
Suddenly, you’ve gone from a bland description of what you can see for yourself to a new and imaginative way of looking at the world.
The other category of words on your checklist should be feelings. Why simply describe what people look like and not examine how they feel? As an example, use the context of Grand Central Station to imagine what’s going through the passengers’ minds? Are they bored, are they reluctant to go to work, or are they happy to be bunking off for a day at the beach?!
So what else can you do to take your writing to the next level?
The answer is to introduce a main character or some kind of situation or miniature plot. You’re hardly ever ‘banned’ from using a plot in this kind of question, so there’s no problem with introducing one, but let’s stick with the idea of doing a description rather than a story.
The Grand Central picture is again a good example. What would be the character or the situation or the plot here? Well, the obvious idea is to pick is a commuter who’s late for his train. You could introduce the description by focusing on one individual in the picture and explaining why he’s in a hurry.
You could then have a kind of countdown clock as you described all the people and objects he sees as he rushes to make his train:
Lionel Carey was in a hurry. He only had five minutes to make his train to get to the most important meeting of his life! He struggled along with his precious, old, leather briefcase, catching his fedora as it was blown off his head and cursing the long overcoat he had chosen to wear as it made him sweat uncomfortably and almost tripped him over. Now, what platform did he need?
Four minutes to go…
And so on. This gives the passage a clearer focus and a sense of tension, excitement and mystery. Will Lionel catch his train? Where is he going? What is the meeting about? It just adds another layer to the description – and ideally leads to higher marks!
Alternatively, you can talk about things that are not in the picture by doing one of the following:
- ask questions, eg if the picture was of the Colosseum in Rome, you could ask questions like Was this where the Roman gladiators stood before they made their way to their deaths in the arena?
- create a section in which the narrator imagines objects or events, eg It was here that the emperor would stand before giving the thumbs-up or thumbs-down sign that would signal the fate of the gladiators.
It’s fairly obvious how to plan for a story because it has to have a plot, but how do you plan for a description? Do you just describe what’s in the picture, starting perhaps on the left and working your way across? Or do you separate your work into five different paragraphs on each of the senses, with perhaps an extra one for the feelings of the travellers? Or can you introduce a timeline, charting the progress of an imaginary character – such as Lionel Carey, hurrying to catch his train?
Each one might work, but you’ll probably get the best marks for something that engages the reader, and the best way of doing that is to have a central character and a carefully selected situation to place him in:
Lionel Carey in a hurry – needs to catch train for meeting, looks for platform
Describe Lionel – importance of what’s in briefcase, mysterious ‘she’ he’s meeting
Describe station – architecture, light, people
Describe people he sees
Bumps into coffee cart
Argues with staff
Will he ever see ‘her’?
Describe trains – steam, smoke, whistle
Wrong platform – needs to run to Platform 16
Describe running, bumping into people, curses
Too late – but wait! Train is delayed. He can give daughter Xmas present after all!
Whatever the picture or title, try giving this method a try. If you brainstorm and plan correctly, focusing on all five senses and people’s feelings and using a central character to add excitement and mystery, I’m sure you’ll do a good job.