Laurie Childree ~ Live 12 pm EDT
12/02/2013 at 13:05 #1213
Sorry I got here late, I had difficulty logging in for some reason. I was wondering if your muse talks to you, and if your characters talk to one another?12/02/2013 at 13:10 #1214
By the way, that’s a serious question, when I write dialogue I can hear the dialects, inflections in voice, and stress levels of the characters. Do you have the same kind of reaction when writing poetry?12/02/2013 at 13:10 #1215
Hi Ray! No problem, I was once known for being late to everything!
Yes, my muse talks to me, it only creates a problem when I talk back to it, outloud… in public. Sometimes the characters talk to each other, although I do attempt to keep from joining the conversation and try to merely observe them as the scenes play out in my head.12/02/2013 at 13:13 #1216
When I write poetry I can hear the lines in my head, hopefully in an accent other than my own Southern drawl that refuses to enunciate some of the words without being forced. Ideally the lines of poetry I hear flow into one another and create a feeling that continues until the poem is complete.12/02/2013 at 13:14 #1217
Oh, it’s nice to know that happens to other writers too. My characters even argue with each other, the muse isn’t much of a referee…haha….Do you ever argue with the muse? Question her wisdom?12/02/2013 at 13:17 #1218
I grew up with a lot of fractured English (mostly European-Canadians) and hear those, too when writing characters. Do you ever relate any specific people to dialects you hear, or character types?12/02/2013 at 13:18 #1219
Yes, it is nice to know it happens to others, although my admitting that living down here is dangerous, I can see the straight jacket coming for me. I would constantly question her wisdom. I think it’s my inner control freak that thinks she can too bossy at times, especially when I change her direction.12/02/2013 at 13:22 #1220
Specific dialects? The majority of those I hear are Southern, old farmers raised during the depression era, hard working with calloused hands that learned more from life than a text book ever told anyone. Usually rural dialects, with names for objects only instantly recognized by those that are part of the inner circle. The words are missing entire sounds as they are spoken.
It’s the dialect that easiest to listen to, and to write. No worries if the enunciation is correctly inflected onto the pages. I prefer rugged characters, at least in men where you can picture the muscles, although the intellect is a plus as well.
Is that what you meant?12/02/2013 at 13:23 #1221
Hm….I guess it depends on the immediate society you are exposed to. I don’t question the muse at all, I’m guessing that causes time-jumps and continuity at times too. Have you ever tried straight-line free-stream writing, unedited, line of thought? FOW includes some passages written like that, I called it ‘experimental fiction’….have you ever tried that?12/02/2013 at 13:27 #1222
Yes, I’ve tried the unedited lines of thought. I manage to have the work takeover and guide itself everytime. When it’s done I have to let it sit for days before I can go read it again and see how it reads as opposed to how I think it reads. The two are rarely the same.
Left to its own devices my mind wanders continually which means that the story writes itself, but finding the story line itself takes a bit more time.
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