By describing relationship, I mostly meant the inner feelings of a person towards characters which might not be obvious, or by using their...
Hello, I find that I have a hard time balancing dialogue with narrative. My current story is quite character-interaction intensive, in that my...
Hello, I was wondering how people deal with descriptive/narrative passages in their writing. I have found I prefer writing dialogue by far, but...
Paid, or at least some form of recognition for their (non-academic) writing. Not that I know of many academics who also have written...
Swain's use of terminology is quite idiosyncratic. For me, I think it helps me to not wander off on a tangent too much, but the academic writer in...
Yes, it applies to every scene essentially. I should clarify: I feel that this little section where the author summarises the character's past...
I find an approach between the two to be quite useful: I try to organise my scenes so they have a tight motivation-reaction structure, but I also...
In this context Motivation-Reaction is basically synonymous with cause and effect applied to scene structure. I agree that the 'deeper' or...
I have recently re-read Dwight Swain's 'Techniques of the Selling Writer'. Using his idea of motivation-reaction units, I decided to see if a book...
Thanks for the replies. To clarify, the two main characters have more or less separate stories for the first half and do not interact. They are...
If you don't want religion to become a main focus and just need something to justify this plot twist, you could always have the Turkish character...
Hello, In my half-formed idea for a story, I have two sets of characters who more or less play an equal role. However, these two sets do not...
Separate names with a comma.
