Bonus: Reach and Grasp June 27, 2018sheldoncarter Listen: http://media.blubrry.com/warwithart/content.blubrry.com/warwithart/War_With_Art_-_Bonus_Reach_and_Grasp.mp3 If the regular podcasts is a war, this is a smaller battle. A quick 10 minutes from Sheldon. Share this:TwitterFacebookLike this:Like Loading... Related
I wanted to thank you guys. I don’t really have any of my friends going fighting their own artistic battles, so getting to hear you guys struggle and deal with your battles really helps me keep going, keep fighting my own and not get utterly lost in the undertaking. Because, honestly, if you don’t have someone saying “Oh, I’m going through the same shit” it can get a lot more overwhelming and susceptible to doubt.
So, from the bottom of my heart: thank you so much for having created this podcast, and for sharing your stories and struggles.
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On the subject of grasp and reach… I’ve had issues with dialogue. I felt very uncertain in my skills in writing it that for the first 3 drafts of the book there was no dialogue at all, none.
But as I kept churning out new drafts I started adding a line here, an exchange of words there, and now my characters can talk to each other, at last. But i don’t recommend this method of building your way towards the change you need/want by means of many drafts. It takes a lot of time, too much damn time.
Thanks for the comments!
1. Glad it is helping.
2. Yeah – iteration definitely helps dialogue. Two things I try to keep in mind but never quite internalize enough to get right in first couple drafts:
a/ Try to generate conflict in dialogue as much as possible. Cant remember where I read that, but its a cool technique. Basically make people answer things indirectly or vaguely.
b/ (think this is from Mammet) Never have two characters discuss a character that isn’t there.
Thank you for the tip/s.
I have been trying to be a bit vague in the dialogues, even more so with the villainous characters. But I can’t really adhere at all to the rule of never having two characters talk about a character that is not there. Some characters are dead during the timeline of the book, while others are meant to be in different places.
I kinda worked my way into this corner because I wanted to keep the number of characters small, and of that small number have 1 to 3 in most scenes.
But, I’ll keep that in mind going forward.
PS: How do you keep track of everything and everyone? Meaning, do you ever find yourself searching and searching through your work trying to remember where you left that item or character? (we don’t want to unwittingly change a horse’s sex like some that one author famously did)