warm-up writing exercises
Apr. 18th, 2006 02:54 pmThis goes back to writing exercises I did here (on objective and subjective pov) and here (on show, tell and characterisation).
I want to write an experimental fic wherein I alternate between say, three, modes. I'm not sure what the modes will be yet; this is why I am starting with this warming-up exercise to narrow down the options. The plot bunny premise is: 'Rodney McKay overhearing the sounds of sodomy in the room next-door'.
Modes I'm thinking of incorporating:
1. subjective effect, single subjective pov
2. subjective effect, omniscient author, multiple pov
3. objective effect, nobody's pov
4. diegesis in the Aristotelian sense: all tell and no show
5. mimesis in the Aristotelian sense: dialogue
6. all show and no tell (in the Jamesian sense, I guess)
7. objective effect using description of setting and props; not using much characterisation
8. lots of characterisation, but not subjective and internal: external description
9. the run-on sentence
10. the avoidance of secondary clauses
11. metaphor: bodily imagery
12. metaphor: setting (I call this 'clicking' on requisite bits of the environment)
13. the adverbial; the adjectival; the baroque (related to the run-on sentence)
14. the nominal; the blunt; the sparse (related to the avoidance of secondary clauses)
Ack. Too many choices! In this warm-up exercise, I'm just going to take 7 out of the 14 above and write 7 short paragraphs. And because I'm anal, I just wrote down the numbers 1 to 14 on bits of torn-up paper and am going to shake them up in the proverbial hat and choose.
But because I have to go into town now I will upload this for later reference and come back to it anon!
I want to write an experimental fic wherein I alternate between say, three, modes. I'm not sure what the modes will be yet; this is why I am starting with this warming-up exercise to narrow down the options. The plot bunny premise is: 'Rodney McKay overhearing the sounds of sodomy in the room next-door'.
Modes I'm thinking of incorporating:
1. subjective effect, single subjective pov
2. subjective effect, omniscient author, multiple pov
3. objective effect, nobody's pov
4. diegesis in the Aristotelian sense: all tell and no show
5. mimesis in the Aristotelian sense: dialogue
6. all show and no tell (in the Jamesian sense, I guess)
7. objective effect using description of setting and props; not using much characterisation
8. lots of characterisation, but not subjective and internal: external description
9. the run-on sentence
10. the avoidance of secondary clauses
11. metaphor: bodily imagery
12. metaphor: setting (I call this 'clicking' on requisite bits of the environment)
13. the adverbial; the adjectival; the baroque (related to the run-on sentence)
14. the nominal; the blunt; the sparse (related to the avoidance of secondary clauses)
Ack. Too many choices! In this warm-up exercise, I'm just going to take 7 out of the 14 above and write 7 short paragraphs. And because I'm anal, I just wrote down the numbers 1 to 14 on bits of torn-up paper and am going to shake them up in the proverbial hat and choose.
But because I have to go into town now I will upload this for later reference and come back to it anon!
(no subject)
Date: 2006-04-18 03:07 pm (UTC)*grins*
Whoa, this is going to be educating. Seriously, POV and the "show, not tell" are always issues for me. You plan to alternate between various modes? That will be interesting, too. I'm very much looking forward to these experiments!
(no subject)
Date: 2006-04-18 09:45 pm (UTC)Also: innocent!Orli icon!!!!!!!!
note to self
Date: 2006-04-18 09:43 pm (UTC)6 All show and not tell
12 Metaphor: setting (the 'clicking' on mode)
1 subjective effect, single subjective pov
7 objective effect, using description; not using much characterisation
2 subjective effect, omniscient author, multiple pov
8 lots of characterisation but not subjective; external description
14 the nominal; the blunt; the sparse