This is perhaps an unconventional topic for a post, but figurative language is something I enjoy using a lot. Whether simile, metaphor, or basic imagery, figurative language can be incredibly fun for the poets among us. Or it can just be a pain in the neck.

Wherever you lie on the spectrum, figurative language is without a doubt one of the most useful techniques to boost the quality of your writing.

If you have no further objections, let’s continue.

Think like a poet.

One of the tricks to looking and sounding professional when using figurative language is to make your prose sound almost poetic. Of course, the poets in our midst will have the upper hand in this, but there are ways to get around figurative language even if you’re not a poet.

One of the best ways to start you off is reading poetry.

Yup, the work of poets. Because how better to learn figurative language than to learn from experts in the art?

I’m actually serious about this one. Reading poetry is great for getting you inspired to write good figurative language, like – “hey, I really like the way the poet described the light on the water. Maybe I could do the same, but in this other way instead.”

I’ve probably said this far too many times in my previous posts, but you have a unique mind. This means that the way you see the light dance on the water like a thousand sunbursts is different to the way someone else sees the glowing waves. So why take someone else’s line?

Granted, there are some pieces of figurative language that are cliche and are therefore kind of free-for-all, so to speak. But copying someone’s work just isn’t fair to the person. Plagiarism isn’t cool, folks.

So read poetry. Get inspired. Write beautiful prose.

Use good verbs.

I love good verb usage when I see it, and it works surprisingly well when you want to describe anything. Whoa, there. Don’t kill me just yet. Adjectives are powerful as well and definitely deserve some respect, but hear me out.

Verbs.

Going back to the light on water image, I could use adjectives and say that the warm light shone on the calm waves. Is that good? Sure, but you’ve probably noticed that the adjectives were fairly weak.

So instead of replacing the adjectives, I’ll only change the verb to prove my point. Rather than the above example, I’ll say that the warm light glided across the calm waves. Now rather than a static image of the light shining on water, I’m putting in a little more action. This creates a much stronger image and takes your prose to the next level.

It’s important for me to stress not to overdo this. Just like sugar, fancy verbs are only to be used in moderation. If you use too many overly complex verbs, you could risk:

• Purple prose, where your prose says a bunch of things without meaning much at all – in effect, it’s just there to sound pretty.
• A lack of cohesiveness, where your descriptions are simply too out of place and make it hard for the reader to focus.
• Distracting the reader from the actual plot (they’re here for the story, remember?)

This leads me to my third point:

Know when and when not to use figurative language.

This probably seems really obvious and unnecessary, but sometimes reading a helpful reminder on paper (or onscreen) can hammer a point in.

At the basis of this point is the mood of the scene and the protagonist.

If you’re writing a peaceful or reflective scene where the protagonist is free to contemplate everything and anything, it’s likely they’ll take note of their surroundings, like the stars in the sky or a hedgehog scuttling across the grass. You, as the writer, are free to take on any detail, major or minor, and show that to your readers in any way you desire.

However, if the protagonist has to fight off a bunch of raiders in the same setting, they’re not going to notice the pretty flower growing under the tree. No, here they’re going to focus on the action. They’re trying to figure out how to get out of this sticky situation alive. If you have to put in any figurative language at all in these kinds of scenes, make them focus on details that stand out to the protagonist.

The gleam on a silver blade.

The shrill scream coming from their best friend behind them.

The smell of smoke in the distance, near their campsite.

Even then, in action-type situations where the protagonist is distracted by an urgent task at hand, it’s best to keep sparkly figurative language to a minimum. Once in a while during an action scene can make a difference, but don’t scatter so much flowery language in that it distracts the reader from what the protagonist is trying to accomplish.

Don’t be afraid to experiment.

Finally, don’t hold yourself back from all the possibilities figurative language gives you. Writing is an art, so you’re totally free to explore the different ways you can take your prose to the next level.

Try different combinations. Maybe a simile may sound ridiculous, but a metaphor could be the best thing you’ve written all day.

And at the end, try to have fun. Try out strange, unconventional sounding similes that still make their point. Don’t beat yourself up if you think your prose is plain or too simple. Some people like it that way. I’ve seen reviews for books complaining about how the writing was too flowery for their taste. So although I might think it improves the quality of your writing, others may think different. It’s up to your style and personal taste.

For inspiration, try looking up some of Douglas Adam’s similes and metaphors. He has a talent for figurative language that sparks with his humor, yet drives his point home.

Now back at you!

How do you deal with figurative language? Do you use it a lot or prefer to be straight to the point in your writing? What are some of the best poetic, image-creating lines you’ve ever written?

Chat with me in the comments below!