May. 29th, 2011 10:14 pm
opera142: (Default)
A great simile came to me today, and that should be cause for celebration, right? Except that it's a simile I've been futzing with for a couple of weeks. Always auditioning words and concepts, never liking any of them. Until today's great one.

Why does my brain work like this? Why have a let weeks-long pondering become a habit? Why am I so precious? And why does always work out in the end, so that my brain has incentive to keep its m.o? ERGH.
opera142: (crayons)
Plural of Jack-in-a-box?

Jacks-in-the-box sounds like many Jacks in one box; Jack-in-the-boxes sounds like one Jack, many boxes. Jacks-in-the-boxes, I dunno.
opera142: (whee)
While fiddling with couple of paragraphs that weren't working AT ALL, I corrected a seemingly minor line of dialogue, and CLICK, the whole scene just snapped into place. Almost freaky how suddenly what lines worked and which needed to go were so obvious. I like when writing does this.


Oct. 22nd, 2009 11:36 pm
opera142: (this shit is bananas)
Still struggling with The Ending That Won't Magically Pop Out Of My Brain Fully Edited And Awesome. My usual work-around, Pick At The Rest of the Story Until My Self Esteem Bleeds, feels unsatisfying for some unknowable reason.

The trouble is, I'm frustrated with all my sentences. Stunted, grotesque abominations! My phrases, they dangle as tackily as over-sized novelty earings on a bingo hall matron. I blame the pride I took earlier when I thought hey, I'm thinking at sentence-level, instead of word by word.

I wish to break free from the bonds of S-V-O. I want rhythm. I want melody. I want music, and all I gots is THUD.
opera142: (this shit is bananas)
Word's spelling and grammar check is giving me the green squiggle of OOPs beneath "kneel" in this sentence: [he]shifted from a kneel to a crouch.

Word is satisifed by a change to "kneeling", but doesn't "kneeling" create parallel structure issues (kneeling is a verb, crouch (in this instance) is a noun)? Which is correct?
opera142: (this shit is bananas)
I realized today that the timespan between me thinking OMG, I have an awesome idea! and then compiling mental lists of why the idea sucks/is unwritable/is beyond any skills I'll ever have is about 10 minutes.
opera142: (this shit is bananas)
I'm writing Regal!fic, and so far, grrrr. I can't catch his voice at all. I'm trying to go for the way he speaks rather than just ripping-off the accent.

Word choices are giving me no end of wangsty, srz griefs. When I try for a Brit-y word, it comes of as "Look at me using a Brit word. Telly! Loo! Lift!Cheerio!"

I know I'll catch the rhythm soon enough (thank you Youtube), but I'm super-early in the first draft, and that's always PANIC time for me. it'sgonnasuck, omgIcan'twritethis, maybeIshouldwritesomethingelse, ahhhh!
opera142: (crayons)
The way I remember being taught dialogue was that whenever someone new speaks, it requires a new line. I double-checked The Well-Tempered Sentence, and that's the advice it gave.

However, I've been seeing mashed dialogue in books lately. The sort of exchanges that go: "Do you want to come with me to the store?" I asked, gathering my purse and cloth bags. He scowled, not even bothering to look away from the television. "Hell no!"

I would split that into two paragraphs, either between "bags" and "he" or at "Hell no!"

Have I been seeing bad editing, or is there an exception to the dialogue rule that I'm unaware of?


May. 17th, 2009 09:16 pm
opera142: (crayons)
Okay, so in a fic being told from Punk's POV, I use the word "buzzkill". Given his straight-edginess, is this going to fly? I feel like it's such a common slang word that he'd use it. Then again, straight edge & drug references aren't exactly peanut butter & jelly. Opinions?


opera142: (Default)

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