tag:blogger.com,1999:blog-1755502616289652010.post5154101539291986598..comments2024-03-07T04:13:36.330-06:00Comments on The Storyteller's Inkpot: Writing DialogUnknownnoreply@blogger.comBlogger5125tag:blogger.com,1999:blog-1755502616289652010.post-53160544909379157012010-04-26T12:47:30.272-05:002010-04-26T12:47:30.272-05:00I'll withhold thoughts on back story. But I di...I'll withhold thoughts on back story. But I did find it useful to rethink when I wanted to put information in dialog. Often, perhaps not always, it works more effectively in exposition. <br /><br />My favorite is: a line that anyone could say is a line that any nobody should say.<br /><br />Actually- Fitch's wording was social dialog not real life conversation. The hi, how are you kind. Myself, I am a master at real life conversation loaded with conflict.Claire Rudolf Murphyhttps://www.blogger.com/profile/11520445613916601377noreply@blogger.comtag:blogger.com,1999:blog-1755502616289652010.post-48523360048089421972010-04-25T15:56:53.082-05:002010-04-25T15:56:53.082-05:00I'm glad to hear that Marsha Q. and Lisa disag...I'm glad to hear that Marsha Q. and Lisa disagreed with the "no back story" rule. I've seen it used quite effectively by lauded authors. Louis Sachar's book Holes, for instance. But I have noticed other authors who employ it as a device--then it stands out as a mere convenience and rings a false note.Danettehttps://www.blogger.com/profile/00267400410101887031noreply@blogger.comtag:blogger.com,1999:blog-1755502616289652010.post-77348081804404836392010-04-25T11:55:14.121-05:002010-04-25T11:55:14.121-05:00The great acting teacher Stanislavski taught actor...The great acting teacher Stanislavski taught actors to look at each line of dialogue and ask what does my character want, called the characters objective. (Each character has an objective, and obstacle, and a method to achieve their goal.) But the objective is the most interesting because the actor will look at each line of dialogue and think what is my character's objective for saying this line. For example: to flatter, to convince, to understand, etc. <br /><br />Sometimes when I get a bit stuck, it's sort of interesting to try this out with dialogue. I think this connects to what Lisa said about real like conversations sometimes wanting to create conflict. When we speak we subconsciously have an objective too.molly b. burnhamhttps://www.blogger.com/profile/03244578003834630167noreply@blogger.comtag:blogger.com,1999:blog-1755502616289652010.post-39692413021684190482010-04-25T10:22:29.501-05:002010-04-25T10:22:29.501-05:00Yes, interesting Claire. I'm jealous that you ...Yes, interesting Claire. I'm jealous that you have things like this to go to! There's nada down where I am.<br /><br />Like Marsha, I don't totally agree with the no back story in dialogue. It can work.<br /><br />The last one is true in that dialog in fiction must move the plot by revealing potential tension, but I sometimes think the purpose of real life conversations are to create conflict as well... (depending on who you're talking to, of course!)Lisa Jahn-Cloughhttps://www.blogger.com/profile/01167850118852016249noreply@blogger.comtag:blogger.com,1999:blog-1755502616289652010.post-61045790521058934572010-04-24T13:47:28.509-05:002010-04-24T13:47:28.509-05:00Interesting stuff. Thanks, Claire. I would say tha...Interesting stuff. Thanks, Claire. I would say that Fitch's "no back story" rule is arguable. Sure you don't want a big info drop, and sure it has to sound like real conversation, but I'd say dialog can definitely be used to share information.Marsha Qualeyhttps://www.blogger.com/profile/02506544531376399293noreply@blogger.com