which gets me thinking - fatal flaws
Cafe (the Paganish story) got shelved for plot problems.
So did my novel, The Dragon House - I had the interpersonal stuff worked out, but the global plot lines were a little over my head. (Though I'm sure I can work them out eventually, I just ran out of steam.)
I'm used to plot problems. I used to think that was one of my major challenges.
But the other two shorts in my creative que, Again and Fare, are basically functional stories. The problem with these isn't plot, it's mechanical - how to write the scenes so they convey what I want without dumbing down the writing.
I just realized - in both cases, the problems wouldn't be problems at all if I were writing screenplays instead of literature. Why? Because in film you can convey lots of information visually, through detail, without having to say a word. No exposition, no over-telling. That's what I want.
Guess it's too bad I'm not a screen writer. But I think this may be a key to a solution. Maybe a new way of thinking it on to the page. Hmmm.
So did my novel, The Dragon House - I had the interpersonal stuff worked out, but the global plot lines were a little over my head. (Though I'm sure I can work them out eventually, I just ran out of steam.)
I'm used to plot problems. I used to think that was one of my major challenges.
But the other two shorts in my creative que, Again and Fare, are basically functional stories. The problem with these isn't plot, it's mechanical - how to write the scenes so they convey what I want without dumbing down the writing.
I just realized - in both cases, the problems wouldn't be problems at all if I were writing screenplays instead of literature. Why? Because in film you can convey lots of information visually, through detail, without having to say a word. No exposition, no over-telling. That's what I want.
Guess it's too bad I'm not a screen writer. But I think this may be a key to a solution. Maybe a new way of thinking it on to the page. Hmmm.