Another COYA/BFM post regarding writing approach and narrative stuff.
Once again, I didn't think of it that way.
Why do I keep squishing dialogue into places where it doesn't fit the narrative?
It is (perhaps) a hang-over from the Choose Your Own Adventure plot/stage/set-up where Fraser and cars was narratively sensible and I was so fixated on getting my really interesting ideas into somewhere the narrative doesn't need it. What the narrative needs is Fraser's explanation for visiting the Consulate before going to the Crime Scene. Ray is not at home with this idea. He's not thinking about this being a team thing [Welsh describing Turnbull as "your pet idiot" probably didn't help] and Turnbull has a hell of a lot to contribute [he has "leet skills"] and is trying to embarrass Fraser [a "nice boy from Tuk"] to death by turning everything into a conversation about sex.
In other news: I need to make a research masterpost, but it would be so tedious it hurts.
Why do I keep squishing dialogue into places where it doesn't fit the narrative?
It is (perhaps) a hang-over from the Choose Your Own Adventure plot/stage/set-up where Fraser and cars was narratively sensible and I was so fixated on getting my really interesting ideas into somewhere the narrative doesn't need it. What the narrative needs is Fraser's explanation for visiting the Consulate before going to the Crime Scene. Ray is not at home with this idea. He's not thinking about this being a team thing [Welsh describing Turnbull as "your pet idiot" probably didn't help] and Turnbull has a hell of a lot to contribute [he has "leet skills"] and is trying to embarrass Fraser [a "nice boy from Tuk"] to death by turning everything into a conversation about sex.
In other news: I need to make a research masterpost, but it would be so tedious it hurts.