Re: The mountain has moved

On Tue, 11 Oct 2005 08:42:25 +0000 (UTC), "Nicola Browne"
<nicky.matthews@xxxxxxxxxxxxxx> seems to have said:

>"R. L." <see-sig@xxxxxxxxxxxxx> wrote in message
>news:b8rmk1dtdbmpr6l2s3et84e1ee4tilmjoo@xxxxxxx
>
>> On Tue, 11 Oct 2005 07:37:09 +0000 (UTC), "Nicola Browne"
>> <nicky.matthews@xxxxxxxxxxxxxx> wrote:
>> /snip/
>>
>> > Once you have the story
>> >POV you have to pitch the intimacy/detail level and the kind of focus -
>> >you can get that wrong for any POV.
>>
>>
>> What would too much distance be like in tight third?
>When the viewpoint character starts rambling about something
>irrelevant and uninteresting or disappears into memory or anything
>which takes the reader from the drama of the current story moment.
>Distance is not just about how close the writer is to the
>viewpoint character but how close he/she is to the crux of the story.
> It is surprisingly easy to lose the plot in tight third.


Especially if one of the main thrusts of the story is unfolding the
world the characters are having a plot in. What's relevant? What's
not? It can be a real dead weight, the world, in those cases, which
you have to chip away at to reveal the living sculpture within, and
then, to extend the stupid metaphor too far, to leave just enough so
the sculpture is mobile and can move the plot.

Putting it that way, I can see exactly why it is so hard to write
_Afterwar_.

Lucy Kemnitzer, still
chapter 13 is up:
http://www.baymoon.com/~ritaxis/donor/donorweb/donorindex
also, see Frank's hurricane relief mail:
http://www.livejournal.com/users/franksmail/
.

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