The reasons for this blog: 1. To provide basic author information for students, teachers, librarians, etc. (Please see sidebar) 2. I think out loud a lot as I work through writing projects, and I'm trying to dump most of those thoughts here rather than on my friends.

Sunday, November 8, 2009

Been thinking about the last section, the one that doesn't match the rest in format or tone. Right now it's mostly in dialog because it's still in raw form from when the ms was a GN. These last scenes tend to be long flowing stretches of conversation, whereas the rest of the book is made up of concise bits with one main idea per page. I always figured I'd eventually divide the last section into smaller ideas to make it match the rest of the ms.

But the other day when I was going over it, there was this one particularly long stretch of dialog, maybe a page and a half or two pages of just talking, no tags or anything, and I thought, there's no way to cut this up because it's all one idea. Then I thought, maybe that means I should delete it completely, just get rid of it. It doesn't fit, it doesn't belong.

But now I'm rethinking. Maybe the long dialog stretch wants to be that way (long and flowing). Every time I rewrite it, it stays like that. Every time, I forget that it's not supposed to be like that and get lost in what I'm doing. This also happens with other dialogs in this last section--in fact, with most of the scenes with Paris/Alexandros and Helen. I haven't had this problem with any of the other sections of the book--not even the Menelaus section that also started out as GN. The Menelaus section went easily into the cut-up concise form. And I'm drawn to the thought of writing these last dialog pieces out as fully fleshed scenes.

Would it really be so bad if that part of the story starts looking more like a normal book? Doesn't that parallel what's actually going on in the story? That's what I'm thinking now. My gut is urging me toward it. I know the thought of writing that way feels like a relief. It'll be a relief to not have to be so constricted and careful and mindful and tight. That's how the MC feels, too at that point in the story--her state of mind matches the format. And now I'm wondering if the reader would feel relieved, too. It might feel good to suddenly be able to read a normal page with normal margins and ideas that slop over onto the next page.

It's not that simple, though. Right now the last section has only scenes with Paris/Alexandros and Helen--but other kinds of scenes still have to be written. I've got to finish up several threads that center on other characters. I know those won't feel right in regular prose. I can't even think about them that way.'s thought, while walking Tyson...what if only the scenes with Helen and P/A are regular scenes, while other threads remain tight and constricted? Will that be too disruptive to the reader? Will have to think some more.

Blog Archive