Comments on: Learning to Write XXVIII http://johnbakersblog.co.uk/learning-to-write-xxviii/ Reflections of a working writer and reader Mon, 15 Mar 2010 10:23:07 +0000 http://wordpress.org/?v=2.9.1 hourly 1 By: Rebecca James http://johnbakersblog.co.uk/learning-to-write-xxviii/comment-page-1/#comment-75701 Rebecca James Sun, 06 May 2007 12:20:25 +0000 http://johnbakersblog.co.uk/learning-to-write-xxviii/#comment-75701 very MUCH looking forward to the continuation of this post! <strong>jb says:</strong> It's coming, Rebecca. Reminds me of an old writing adage, usually attributed to the neglected 19th century British writer, Charles Reade: <em>Make em laugh; make em cry; make em wait. . . .</em> very MUCH looking forward to the continuation of this post!

jb says: It’s coming, Rebecca. Reminds me of an old writing adage, usually attributed to the neglected 19th century British writer, Charles Reade: Make em laugh; make em cry; make em wait. . . .

]]> By: jerry prager http://johnbakersblog.co.uk/learning-to-write-xxviii/comment-page-1/#comment-74354 jerry prager Fri, 04 May 2007 00:27:00 +0000 http://johnbakersblog.co.uk/learning-to-write-xxviii/#comment-74354 Some years back my playwriting efforts forced me to come up with a theory of dialogue that I called Dialect and Dialectic, Dialect being the tones of individuals in time and space, the shades of localism, regionalism etc that make each voice distinct, the turns of phrases, idiosyncratic word uses, common pleasantries and customary responses, biases and varying degrees of open mindedness, while the Dialectic dealt with the content of the dialogue, the word structures of character interactions, the way that what matters to an individual is sequentially produced in the context of the story's situations and circumstances against those of other characters and the dynamic that occurs as the ideas develop. As Coleridge might have understood it, you can distinguish the differences and similarities between dialect and dialectic, but you cannot divide them. Once I figured that out all I had to was practice it for a few decades and presto, I write dialogue real goodly now. <strong>jb says</strong>: Thanks, Jerry. It enhances the series enormously when people bring their own experiences along to the party. Some years back my playwriting efforts forced me to come up with a theory of dialogue that I called Dialect and Dialectic, Dialect being the tones of individuals in time and space, the shades of localism, regionalism etc that make each voice distinct, the turns of phrases, idiosyncratic word uses, common pleasantries and customary responses, biases and varying degrees of open mindedness, while the Dialectic dealt with the content of the dialogue, the word structures of character interactions, the way that what matters to an individual is sequentially produced in the context of the story’s situations and circumstances against those of other characters and the dynamic that occurs as the ideas develop.
As Coleridge might have understood it, you can distinguish the differences and similarities between dialect and dialectic, but you cannot divide them.
Once I figured that out all I had to was practice it for a few decades and presto, I write dialogue real goodly now.

jb says: Thanks, Jerry. It enhances the series enormously when people bring their own experiences along to the party.

]]> By: trevor johnson http://johnbakersblog.co.uk/learning-to-write-xxviii/comment-page-1/#comment-74216 trevor johnson Thu, 03 May 2007 17:36:05 +0000 http://johnbakersblog.co.uk/learning-to-write-xxviii/#comment-74216 John, are you going to touch on stream of consciousness? That's the most troubling part for me. I understand how it works, and consistently come across both great and dull (mainstream) examples of it, but it's not something I consciously attempt when writing. I feel pretentious when I force it in, and tell myself that I can make the theme apparent without it. Truthfully, I know it could do wonders in reinforcing my themes, but it's such a struggle that I simply avoid it. <strong>jb says</strong>: I don't know, Trevor. It's not something I thought about. Some time last year I did a few posts on <em>Modernism</em>, and I suppose it should have gone in there, but if I remember correctly it didn't. Still, you've got me thinking about it now. John, are you going to touch on stream of consciousness? That’s the most troubling part for me. I understand how it works, and consistently come across both great and dull (mainstream) examples of it, but it’s not something I consciously attempt when writing. I feel pretentious when I force it in, and tell myself that I can make the theme apparent without it. Truthfully, I know it could do wonders in reinforcing my themes, but it’s such a struggle that I simply avoid it.

jb says: I don’t know, Trevor. It’s not something I thought about. Some time last year I did a few posts on Modernism, and I suppose it should have gone in there, but if I remember correctly it didn’t. Still, you’ve got me thinking about it now.

]]> By: Shawn http://johnbakersblog.co.uk/learning-to-write-xxviii/comment-page-1/#comment-73061 Shawn Wed, 02 May 2007 03:56:50 +0000 http://johnbakersblog.co.uk/learning-to-write-xxviii/#comment-73061 A good start to one of the most difficult (for me) aspects of fiction writing. Looking forward to the next installment. <strong>jb says</strong>: Coming shortly, Shawn. A good start to one of the most difficult (for me) aspects of fiction writing. Looking forward to the next installment.

jb says: Coming shortly, Shawn.

]]> By: Paul http://johnbakersblog.co.uk/learning-to-write-xxviii/comment-page-1/#comment-72499 Paul Tue, 01 May 2007 07:25:11 +0000 http://johnbakersblog.co.uk/learning-to-write-xxviii/#comment-72499 "but with identifying pace and mood, the ambulatory or static nature and personal timing in the use of language of those who are overheard" - Good style John. You've hooked us, making us wait for the next episode. I've come in for a certain amount of criticism over the years for, "finding the conversation at the next table, more interesting than the one I'm sitting at." It isn't that of course, i've just started building a story in my mind around the people I've overheard. The downside (apart from being rude to the people I'm with - usually family) is that I forget to notice the nuances of speech that first drew me in, as I get lost in the unfolding story. What you seem to be suggesting is a more structured listening, but I suppose I'll just have to wait for the next lesson? <strong>jb says</strong>: I'm not going to jump the gun here, Paul. I'll do it soon. “but with identifying pace and mood, the ambulatory or static nature and personal timing in the use of language of those who are overheard”
- Good style John. You’ve hooked us, making us wait for the next episode.
I’ve come in for a certain amount of criticism over the years for, “finding the conversation at the next table, more interesting than the one I’m sitting at.” It isn’t that of course, i’ve just started building a story in my mind around the people I’ve overheard.
The downside (apart from being rude to the people I’m with – usually family) is that I forget to notice the nuances of speech that first drew me in, as I get lost in the unfolding story.
What you seem to be suggesting is a more structured listening, but I suppose I’ll just have to wait for the next lesson?

jb says: I’m not going to jump the gun here, Paul. I’ll do it soon.

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