We’ve dealt with our spaces and places, as they relate to story-time, now we need to deal with our time. This should be a lot simpler. Imagine a big invisible clock, hovering in the sky of our flat empty space. It’s not an ordinary clock, showing the hours of the day. It’s a countdown, and […]
Let’s spend a moment examining what story-time means for one particular genre: horror. (Some generalisations follow. Not all horror novels may conform, I realise.) The story-time of a horror novel depends upon a specific form of suspense, namely dread. Horror novels are dread-ful. But we can subdivide them in terms of microgenres, in terms of […]
BUT THAT JUST WOULDN’T HAPPEN – IT’S NOT AT ALL REALISTIC Oh dear. It’s like Mr But has taken over the section titles. He’s making a bid for total power. Mr But has more to say. I’m going to let him speak for as long as he wants: You’re taking examples from Hollywood movies – […]
WHAT IS A SCENE? Or, more usefully – WHEN IS A SCENE? Going back to our Winning dialogue, in which two people are both trying to win the argument, and so win the scene – there are only a very few ways this can play out. Underdog defeats Top Dog and becomes Top Dog (Change) […]
Pushing further away from expositional dialogue, we come to what I call ‘hip’ dialogue. Hip-speech is a version of slang, similar to criminal slang – it is a way of communicating without fear of being overheard and understood. The jazz musician Lester Young came up with or popularized a lot of hip language – language […]
Writers are usually much better at spotting, and mocking, exposition in the work of other writers. In their own work, sections of disguised address to the reader (a.k.a. info-dump) are simply jobs that have to be done, one way or the other. It is a truth of writing that sometimes the ugly way is the […]
Now that you’ve had a go at the three models of dialogue, you may be thinking I have horribly oversimplified the complexity of how people talk to one another. Good. Now it’s time to think about how to do better. Mr But: And you said you were going to mention other possible models of dialogue. […]
ALL BY YOURSELF One of the biggest faults in stories by less experienced writers is that they are about extremely isolated people – people who start off by being isolated and don’t end up making much contact with others. This is not, in itself, a bad idea. There have been many wonderful stories about people […]
SYMPATHETIC CHARACTERS The following bit is really only for you if you want to write popular fiction – although, if you are aiming for something that sells less well you might be interested in discovering something about the dark arts. I will have to flip over to discussing characters, because the phrase everyone uses is […]
Most of the examples I have given so far have been quite straightforward, unsubtle. The idea of the runaway bride, although something you might be happy to gossip about, may be the kind of on-the-surface, twisty story that you would never allow yourself to write. But I think that the idea of Story-Time, and of […]
