Lovely read, thanks. Lots to think on. I largely agree, though I am still new to writing and have been battling with figuring out how best to work with being subtle vs not-so-subtle, as well as seeding information and plot points. A lot probably just comes from works I've read and enjoyed and analysed why I've enjoyed. Thanks for the stimulating article and links/mentions of other things to read along these lines.
I recently wrote a trilogy of little stories for a friend. They began packed with inside jokes and ending packing an emotional punch. The parts I'm proudest of are the parts where I make no attempt to hide the emotional core of the story.
For example:
"The play was brilliant and Kandi loved it. Reading it felt like unwrapping an exquisitely packaged gift. It was as though Dylan had distilled and condensed the heart of their friendship, creating a piece of art by turns playful and gorgeous, melancholy and filled with hope, secretive and winking and somehow universal.
It was beautiful and perfect and the thought of performing it in front of an audience terrified her.
The play itself didn't feel fragile, but each time she imagined performing it, she envisioned herself cracking her ribs open and pulling out her still-beating heart for an audience to look at in a clinical and critical fashion.
But she guessed that was pretty much what art was."
I decided emotion is what I'm best at so obviously I need to write romance.
Lovely read, thanks. Lots to think on. I largely agree, though I am still new to writing and have been battling with figuring out how best to work with being subtle vs not-so-subtle, as well as seeding information and plot points. A lot probably just comes from works I've read and enjoyed and analysed why I've enjoyed. Thanks for the stimulating article and links/mentions of other things to read along these lines.
Sara Gran! <3 She's *so* good. Thanks for this lovely post, very tinely, since I'm going into a first edit of a new romance novel quite soon...
I recently wrote a trilogy of little stories for a friend. They began packed with inside jokes and ending packing an emotional punch. The parts I'm proudest of are the parts where I make no attempt to hide the emotional core of the story.
For example:
"The play was brilliant and Kandi loved it. Reading it felt like unwrapping an exquisitely packaged gift. It was as though Dylan had distilled and condensed the heart of their friendship, creating a piece of art by turns playful and gorgeous, melancholy and filled with hope, secretive and winking and somehow universal.
It was beautiful and perfect and the thought of performing it in front of an audience terrified her.
The play itself didn't feel fragile, but each time she imagined performing it, she envisioned herself cracking her ribs open and pulling out her still-beating heart for an audience to look at in a clinical and critical fashion.
But she guessed that was pretty much what art was."
I decided emotion is what I'm best at so obviously I need to write romance.