Among the takeaways from Brandon Sanderson’s writing course are five components of dialogue. People talk, it’s a vital part of human communication. But writing good dialogue in fiction isn’t easy. Just watch ten minutes of Rings of Power.
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Controversial opinion coming up: bridging scenes don’t exist. The notion of a ‘bridging scene’ came from a comment on a previous topic on scene structure:
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As the link between individual sentences and whole chapters, you have to know how to structure a scene. Because scenes in fiction are micro-stories of their own.
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With a prequel novella in the works for my fantasy series, I’m finding more troubles with prequels.
Prequels naturally take place before a story that’s already written. This could be two centuries (House of the Dragon), or a few days (Rogue One). The core problem with prequels is the ‘before-ness’ of the story.
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Lisa Cron guested on a podcast last year discussing internality and backstory, where story lives and breathes.
Listening back to Joanna Penn’s interview from 2021, writer and coach Lisa Cron asked ‘why does story matter in every book we write, no matter the genre?’
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Here is the difference between passive and active characters; decision-making and agency.
Passive characters meander through a story while stuff happens to them and all they do is react. Proactive characters take decisions and make stuff happen for themselves.
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Crafting Distinct Voices sets nine questions designed to tease out a distinctive voice for individual characters. Given the sparse dialogue I’m writing in my fantasy series, any prompts are worth considering.
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I worked out the central premise of Amazon’s Rings of Power: Galadriel’s Study in Psychopathy.
I resisted talking about this because it’s become mired in gender politics almost as toxic as Republicans versus Democrats. Let’s ignore the politics and call it what it is: bad writing.
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According to the late teacher and script doctor Peter Russell, the character’s core wound powers the story. Writing and speaking extensively on TV and film scripts, Russell advocates a character-first approach to storytelling.
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Mister Rabbit resulted from a set writing prompt: a children’s story for 5-8 year-olds, no more than 500 words, containing rabbit, ice cream, river; third person, past tense, containing both description and narrative. …