How to write descriptively - Nalo Hopkinson

Translator: Nazarbek Nazarov Reviewer: Azizbek Nazarov

Biz badiiy adabiyotni ko'p sabablarga ko'ra o'qiymiz.

We read fiction for many reasons.

To be entertained,

Maroqlik uchun,

to find out who done it,

sababchini topish uchun,

yangi, g'alati dunyolarga sayohat qilish uchun,

to travel to strange, new planets,

qo'rquv uchun,

to be scared,

to laugh,

to cry,

kulish uchun,

yig'lash uchun,

to think,

o'ylash uchun,

to feel,

his qilish uchun,

to be so absorbed that for a while we forget where we are.

jarayonga shunday berilib ketamizki, ba'zan reallikni ham unutib qo'yamiz.

So, how about writing fiction?

Xo'sh, uni yozishga kelsak-chi?

How do you suck your readers into your stories?

O'quvchilaringizni hikoyalaringizga qanday jalb etasiz?

With an exciting plot? Maybe.

Juda qiziq syujetlar bilanmi? Balki.

Fascinating characters? Probably.

Jozibador obrazlar bilanmi? Ehtimol.

Beautiful language? Perhaps.

Chiroyli ta'riflar bilan? Bo'lishi mumkin.

"Billie's legs are noodles. The ends of her hair are poison needles.

"Billining oyoqlari lapshadek kabi, sochlarining uchi zaharli ignachadek edi.

Her tongue is a bristly sponge, and her eyes are bags of bleach."

Uning tili gubkaga, va ko'zlari esa ichi tozalovchi suyuqlik idishlaridek edi."

Did that description almost make you feel as queasy as Billie?

Bu ta'riflar sizga Billini aniqlikda tasavvur qilishingizga yordam bera oldimi?

We grasp that Billie's legs aren't actually noodles.

Biz aniq bilamizki Billining oyoqlari lapsha emas.

To Billie, they feel as limp as cooked noodles.

Billi uchun bu oyoqlar pishgan lapshadek ingichka edi.

It's an implied comparison, a metaphor.

Bu qiyosiy o'xshatish, metafora.

So, why not simply write it like this?

Xo'sh, nega biz shunday oddiy yozib qo'ya qolmaymiz?

"Billie feels nauseated and weak."

"Billi o'zini kuchsiz va yomon xis qilyapti"

Chances are the second description wasn't as vivid to you as the first.

Ikkinchi ta'rif birinchisidek jonli emasdek

The point of fiction is to cast a spell,

Badiiy adabiyotning asosiy maqsadi shuki,

a momentary illusion that you are living in the world of the story.

sizni bir zumga bo'lsa-da shu asarning olamidadek his qildirish.

Fiction engages the senses,

Badiiy adabiyot hissiyotlarimizga ta'sir qilib,

helps us create vivid mental simulacra

bizga ma'lum bir qahramonning

of the experiences the characters are having.

nima his qilayotganini tasavvur qilishga yordam beradi.

Stage and screen engage some of our senses directly.

Sahna va tasvir his- tuyg'ularimizni aniq ifoda etadi.

We see and hear the interactions of the characters and the setting.

Biz qahramonlarning o'zaro munosabatini va muhitni ko'ra olamiz va eshitamiz.

But with prose fiction,

Lekin prozada,

all you have is static symbols on a contrasting background.

biz ramziy timsollar haiqdagi tasavvurgagina ega bo'lamiz.

If you describe the story in matter of fact, non-tactile language,

Agar siz voqeani taktil bo'lmagan til bilan, ya'ni tasvirlashlarsiz yozsangiz,

the spell risks being a weak one.

hikoya kuchsiz bo'lib qolishi mumkin.

Your reader may not get much beyond interpreting the squiggles.

Bu holda o'quvchingiz asaringizdan ko'p narsa ola olmaydi.

She will understand what Billie feels like,

U Billi nimani xis qilayotganini tushunishi

but she won't feel what Billie feels.

mumkin, lekin Billining xissiyotlarini o'zida xis qila olmaydi.

She'll be reading, not immersed in the world of the story,

U bu holda asarni ichiga sho'ng'imasdan o'qishi mumkin,

discovering the truths of Billie's life at the same time that Billie herself does.

Billini yetarlicha tasavvur qila olmasligi mumkin.

Fiction plays with our senses:

Badiiy adabiyot bizning his tuyg'ularimiz bilan o'ynaydi:

taste,

ta'm,

smell,

hid bilish,

touch,

tegish,

hearing,

eshitish,

sight,

ko'rish,

and the sense of motion.

va harakat tuyg'usi.

It also plays with our ability to abstract and make complex associations.

U shuningdek bizning abstrakt va murakkab fikrlay olishimiz bilan ham o'ynaydi.

Look at the following sentence.

Quyidagi gaplarga e'tibor qiling.

"The world was ghost-quiet,

"Olamda sharpa-jimjitlik hukmron edi.

except for the crack of sails and the burbling of water against hull."

Yelkandagi va sathdagi suvning shitirlagan tovushini aytmaganda."

The words, "quiet," "crack," and "burbling,"

"Jimjitlik" va "shitirlagan" so'zlari

engage the sense of hearing.

eshitish qobiliyatimizni uyg'otadi.

Notice that Buckell doesn't use the generic word sound.

E'tibor qiling, Bakell oddiy so'zlarni ishlatmayapti.

Each word he chooses evokes a particular quality of sound.

U tanlagan har bir so'z tovushlarning sifatini ifodalab kelmoqda.

Then, like an artist laying on washes of color

Yana u rassom kabi

to give the sense of texture to a painting,

har bir so'zga bo'yoq berib,

he adds anoter layer, motion, "the crack of sails,"

shu orqali ta'sirni kuchaytirmoqda:

and touch, "the burbling of water against hull."

"kema korpusiga urilayotgan shitirlagan suv tovushi".

Finally, he gives us an abstract connection

Bizga "sharpa" va "jimjitlik" so'zlari orqali

by linking the word quiet with the word ghost.

mavhum bog'lanishni keltirib bermoqda.

Not "quiet as a ghost,"

"Sharpadek tovushsiz" emas,

which would put a distancing layer of simile

bu o'quvchi bilan voqelik o'rtasida

between the reader and the experience.

qandaydir qatlam hosil qilishi mumkin edi.

Instead, Buckell creates the metaphor "ghost-quiet"

Bakell nimani nazarda tutayotganini aniq izohlash uchun

for an implied, rather than overt, comparison.

"sharpa-jimjitlik" metaforasini o'ylab topadi.

Writers are always told to avoid cliches

Yozuvchilar doim bir xillikdan qochishga,

because there's very little engagement for the reader in an overused image,

ko'p ishlatiladigan tasviriy bo'yoqlardan foydalanmaslikka

such as "red as a rose."

harakat qilishadi.

But give them,

Lekin

"Love...began on a beach.

"Sevgi... sohilda boshlangan edi.

It began that day when Jacob saw Anette in her stewed-cherry dress,"

U Jeykob Annetni olcharangli libosda ko'rgan kuni boshlangan edi"

and their brains engage in the absorbing task

kabi qatorlarni o'qigach, o'quvchi

of figuring out what a stewed-cherry dress is like.

olcharangli libosni tasavvur qilishga tushadi.

Suddenly, they're on a beach about to fall in love.

Kutilmaganda, ular sohil bo'yida sevishib qolishadi.

They're experiencing the story at both a visceral and a conceptual level,

Ular voqeani tasavvurlarni ishga solgan holda boshdan kechirishni,

meeting the writer halfway in the imaginative play

orada muallifni ham xayolga keltirgan holda,

of creating a dynamic world of the senses.

tuyg'ular olamiga sho'ng'ishni boshlashadi.

So when you write, use well-chosen words

Shuning uchun yozayotganingizda yaxshi so'zlar tanlang, uning

to engage sound, sight, taste, touch, smell, and movement.

eshitilishi, ko'rinishi, ta'mi, hidi va bildirayotgan harakatiga e'tibor qarating.

Then create unexpected connotations among your story elements,

Keyin voqelikdagi elementlar orasida konnotatsiyalar yarating,

and set your readers' brushfire imaginations alight.

o'quvchilaringizni tasavvurini yondiring.