A Quote by Adriana Trigiani
And so, when I was a young writer I always worked hard on imagery, and I knew that the roots of imagery were the senses - and that if my readers could feel, taste and see what I was talking about, I would be able to tell them a story.
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Imagery is powerful. Imagery is provocative - satellite imagery much more so because it is from space, and it allows us to get this perspective that we don't have to have otherwise.
I've always wanted to do a project with space imagery because I've always loved these amazing sci-fi electro book covers. I've always loved science fiction. I feel like space imagery has no boundaries.
The really great gallerists have always been interested in imagery that is not that imagery.
It's also reflective of a young person's religion or faith in that it's highly charged with sacramental imagery and with country imagery, because I was in the seminary for so many years in the country.
The synagogues of late antiquity and the early medieval period were built around imagery: imagery of remembering the Temple, but also of the celestial zodiac, too.
So if there was a way that I knew something about my character's desires or the things that they were resisting because I was saving it for some grand epiphany moment for my readers, I just feel like that's when you can feel the machine at work in a story. That's when you can feel the writer pulling the strings of the puppet.
Documentary is a little like horror movies, putting a face on fear and transforming threat into fantasy, into imagery. One can handle imagery by leaving it behind. (It is them, not us.)
Don't worry about how pretty (the story) sounds, how lilting it is, and the imagery, and the metaphor, all that. Most readers don't care. It's the people in your book that matter.
I try to write about complex issues--young people in an adult world-- full of irony and contradiction in a narrative style that relies heavily on suspense with a texture rich in emotion and imagery. I take a great deal of satisfaction in using popular forms-- the adventure, the mystery, the thriller-- so as to hold my reader with the sheer pleasure of a good story. At the same time I try to resolve my books with an ambiguity that compels engagement. In short, I want my readers to feel, to think, sometimes to laugh. But most of all I want them to enjoy a good read.
What's so important with fashion imagery and with imagery in general is that it ultimately evokes an emotion.
Being an artist, you soak up imagery, and you put it back out in whatever form you do your own imagery.
One of the most fun things for me, as a writer, is when readers ask questions like, 'Oh, I noticed that you have a lot of water and baptism imagery in your book. Did you do that on purpose?'
As a writer, I always try as hard as possible to get out of the way of the story, so maybe that's the most important thing my readers should know - I'm all about the story, not about the ego.
My main strength as a young writer was that I had no fear of making mistakes. I knew I would and I knew I could and would learn from them.
Literature taught me that I wasn't alone, that I could become a writer if I worked at it, that my story mattered. Whether a young reader becomes a writer or not, they deserve to know that their story, whatever it may be, is important.
The only technology that can 'see' beneath the ground is radar imagery. But satellite imagery also allows scientists to map short- and long-term changes to the Earth's surface. Buried archaeological remains affect the overlying vegetation, soils and even water in different ways, depending on the landscapes you're examining.
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