I loved what you had to say about writing. I want the writer to "show," more than "tell." I understand the need to describe the surroundings, but as I explained to former students, dialogue can be inside of the characters head as well as coming out of the characters' mouths. Now I have to go back and read "Longbourn Quarantine" again.
JB...Thank you for your insightful comment here. The biggest challenge is to create the environment through which the characters move while striking a balance between the scenic and the sensation. I am still divided over the whole "head-hopping" bugaboo. I understand that it can become confusing if not handled well. Yet if that is the best way to articulate the characters' and the story's truth...then presenting multiple points-of-view is appropriate.
We could observe in the omnipotent third person Darcy and Elizabeth playing chess. Elizabeth's eyes could be on the board as we see Darcy torn between his attraction to her (an occupation of a lifetime) and his competitve side (his underlying character). She sees none of this. We see it all. Then she bites her lower lip in concentration. Darcy is focused on the board trying to escape the trap. If we do not do omnipotent third, we end up not knowing what went on in Elizabeth's head as she bit her lip. We also do not know what is going through Darcy's mind.
As you note, we can have a dialoge in the form of individual monologs rising from each person's thoughts.
I am now using my writing to experiment with techniques designed to break boundaries of traditional JAFF by going to the Austenesque mode.
I love your writing and enjoy your philosophical musings. This excerpt reminds me to read "Longbourn Quarantine" again. Thanks for sharing intriguing thoughts.
Thank you so much for your kind comment. I have been doing my own backlist reading (not of my own books!) recently. Maria Grace's pre-dragon work is particularly toothsome.
I loved what you had to say about writing. I want the writer to "show," more than "tell." I understand the need to describe the surroundings, but as I explained to former students, dialogue can be inside of the characters head as well as coming out of the characters' mouths. Now I have to go back and read "Longbourn Quarantine" again.
JB...Thank you for your insightful comment here. The biggest challenge is to create the environment through which the characters move while striking a balance between the scenic and the sensation. I am still divided over the whole "head-hopping" bugaboo. I understand that it can become confusing if not handled well. Yet if that is the best way to articulate the characters' and the story's truth...then presenting multiple points-of-view is appropriate.
We could observe in the omnipotent third person Darcy and Elizabeth playing chess. Elizabeth's eyes could be on the board as we see Darcy torn between his attraction to her (an occupation of a lifetime) and his competitve side (his underlying character). She sees none of this. We see it all. Then she bites her lower lip in concentration. Darcy is focused on the board trying to escape the trap. If we do not do omnipotent third, we end up not knowing what went on in Elizabeth's head as she bit her lip. We also do not know what is going through Darcy's mind.
As you note, we can have a dialoge in the form of individual monologs rising from each person's thoughts.
I am now using my writing to experiment with techniques designed to break boundaries of traditional JAFF by going to the Austenesque mode.
I love your writing and enjoy your philosophical musings. This excerpt reminds me to read "Longbourn Quarantine" again. Thanks for sharing intriguing thoughts.
Thank you so much for your kind comment. I have been doing my own backlist reading (not of my own books!) recently. Maria Grace's pre-dragon work is particularly toothsome.