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Old 11-03-2009
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Default "You Can Run" - MorganAdams

Because it's Mia, and I love her! And because I had to focus on something else besides grading my students' papers.

So here is my commentary on "You Can Run": http://psychfic.com/viewstory.php?sid=1994

Please feel free to ask questions - I can't guarantee that I'll have an answer!
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Old 11-03-2009
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Because it's Mia, and I love her! And because I had to focus on something else besides grading my students' papers.

So here is my commentary on "You Can Run": http://psychfic.com/viewstory.php?sid=1994

Please feel free to ask questions - I can't guarantee that I'll have an answer!
Mo, did I mention I love you? Gah. Gold you give me. GOLD! I have about a million comments to make, but I'm kind of falling asleep (don't tell anyone!) so I'll do it tomorrow. =)
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Old 11-04-2009
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Okay... at the very beginning of your commentary you say:

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I love to write Gus worried about Shawn. We only see glimpses in the show, and I like to explore what he thinks when Shawn is hurting. It’s a creative exercise.
A creative exercise how? Would you care to just expound a little on what you mean by that?

*is intrigued*
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Old 11-04-2009
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A creative exercise how? Would you care to just expound a little on what you mean by that?

*is intrigued*
Ah, yes, my creative exercises! I tend to use PF stories for this a lot. When I was younger and my father was encouraging me to write, he would ask for little snippets - physical description of a character, a scene, and then, later, an emotion. It is something I have continued to do in an attempt to hone my skills.

So, here, I ask a question. How would Gus react if Shawn was in emotional pain? This leads to another question. Have we had any hints on the show? The answer is very brief glimpses. So, first, I figure out what those are. Then, do I agree with the representation? Strange, I know, but, honestly, sometimes they don't give us enough of a look at serious emotions - especially with Gus. Thus, we have to make our own decisions about reactions, etc., extrapolated from what we know of the characters.

So...creative exercise...little scenes that explore an emotion or a reaction and test my writing ability. This brief scene with Gus would be one of them!
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Old 11-04-2009
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Ah, yes, my creative exercises! I tend to use PF stories for this a lot. When I was younger and my father was encouraging me to write, he would ask for little snippets - physical description of a character, a scene, and then, later, an emotion. It is something I have continued to do in an attempt to hone my skills.

So, here, I ask a question. How would Gus react if Shawn was in emotional pain? This leads to another question. Have we had any hints on the show? The answer is very brief glimpses. So, first, I figure out what those are. Then, do I agree with the representation? Strange, I know, but, honestly, sometimes they don't give us enough of a look at serious emotions - especially with Gus. Thus, we have to make our own decisions about reactions, etc., extrapolated from what we know of the characters.

So...creative exercise...little scenes that explore an emotion or a reaction and test my writing ability. This brief scene with Gus would be one of them!
This? right here? is why you're a genius.

*makes notes*

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I think, once Gus comes around to the idea of Juliet and Shawn together, he will see the reasons they complement each other. Also, Shawn doesn’t have many real friends, and I think Gus appreciates others who see what he does in Shawn.
AGREED!

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It’s no secret that I love description, and, really, paragraphs like this are selfish for me. I like to imagine a scene and see if I can paint it on the page the way it appears in my mind.
Okay. More questions. (What? I have a chance to pick your brain, did you honestly think I wouldn't?)

Is there any particular way you go about "painting a scene" like this? I mean, I try sometimes, but I often find that my focus stays on the dialogue to keep the story moving forward.

I guess what I want to know is how to do you do these descriptions in a way that doesn't stop the flow of the story? Because I try, but then I feel like it just doesn't fit to go back into the dialogue, especially if there's a conversation going or something.

Basically I WANT more description, but it ends up being internal dialogue kind of thing or emotions, because I feel like, for me, stopping to do description of surroundings etc make the story stop a little, too.

Okay, that got rambly, but hopefully you know my ramblings well enough by now to be able to get what I'm saying
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Old 11-04-2009
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Originally Posted by MorganAdams View Post
Ah, yes, my creative exercises! I tend to use PF stories for this a lot. When I was younger and my father was encouraging me to write, he would ask for little snippets - physical description of a character, a scene, and then, later, an emotion. It is something I have continued to do in an attempt to hone my skills.

So, here, I ask a question. How would Gus react if Shawn was in emotional pain? This leads to another question. Have we had any hints on the show? The answer is very brief glimpses. So, first, I figure out what those are. Then, do I agree with the representation? Strange, I know, but, honestly, sometimes they don't give us enough of a look at serious emotions - especially with Gus. Thus, we have to make our own decisions about reactions, etc., extrapolated from what we know of the characters.

So...creative exercise...little scenes that explore an emotion or a reaction and test my writing ability. This brief scene with Gus would be one of them!

This is interesting, Mo. It explains why your style developed the way it did. Sadly, I had no one to give me prompts. I began my writing "career" writing skits that I would perform at family devotions (yes, I was THAT kid). I have always listened to the way people talk and the focus of my writing has always been on characters and dialogue, getting to the heart of who they are by what they say. I love the flow of conversation and language. I progressed to writing skits and plays for church, and from there....well, who knows. But it's interesting that my young experineces focused on dialogue, and now that's my strength, whereas yours focused on other aspects.
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Is there any particular way you go about "painting a scene" like this? I mean, I try sometimes, but I often find that my focus stays on the dialogue to keep the story moving forward.

I guess what I want to know is how to do you do these descriptions in a way that doesn't stop the flow of the story? Because I try, but then I feel like it just doesn't fit to go back into the dialogue, especially if there's a conversation going or something.

Basically I WANT more description, but it ends up being internal dialogue kind of thing or emotions, because I feel like, for me, stopping to do description of surroundings etc make the story stop a little, too.

Okay, that got rambly, but hopefully you know my ramblings well enough by now to be able to get what I'm saying
Hmmm...well, I think there are a number of ways I go about it.

1) I try to be ask myself continually if it is disrupting the flow of the story (for instance, my Vampire fic - is a sudden description of their costumes distracting?). I guess, in other words, I try to stay aware of it which is half the battle for me.
2) The description should be a natural part of the scene. Thus, there should be a reason for it. For example, is Shawn examining a scene? What does he see? What does he NEED to see? Is there something unusual going on that captures a character's - and, thus, our - attention?
3) Dialogue is very secondary for me. I don't see it as driving a scene (LOL - I probably should!). Often, I have it be something directly opposite to what is going on in a character's head. This could again be my fascination with opposites. The inner reality vs. the surface mask. That sort of thing. I don't seem to be able to get at any truth about characters in my dialogue, which is a failing of mine, but just a reality of my style.
4) Description of scenes - this can be tricky, as it can slow a story down - but I find it necessary to my style. It sets up characters in spacial relationship to each other and their environment - and can dictate their actions. Plus, I like to evoke moods, so I do it frequently through setting.

Those are my thoughts of the moment as I wait for another student to appear for a writing conference!
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Old 11-04-2009
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Hmmm...well, I think there are a number of ways I go about it.

1) I try to be ask myself continually if it is disrupting the flow of the story (for instance, my Vampire fic - is a sudden description of their costumes distracting?). I guess, in other words, I try to stay aware of it which is half the battle for me.
2) The description should be a natural part of the scene. Thus, there should be a reason for it. For example, is Shawn examining a scene? What does he see? What does he NEED to see? Is there something unusual going on that captures a character's - and, thus, our - attention?
3) Dialogue is very secondary for me. I don't see it as driving a scene (LOL - I probably should!). Often, I have it be something directly opposite to what is going on in a character's head. This could again be my fascination with opposites. The inner reality vs. the surface mask. That sort of thing. I don't seem to be able to get at any truth about characters in my dialogue, which is a failing of mine, but just a reality of my style.
4) Description of scenes - this can be tricky, as it can slow a story down - but I find it necessary to my style. It sets up characters in spacial relationship to each other and their environment - and can dictate their actions. Plus, I like to evoke moods, so I do it frequently through setting.

Those are my thoughts of the moment as I wait for another student to appear for a writing conference!
Thank you, Professor Mo. You pretty much answered my questions in an ekwgkwgj amazing way. Thank youuu.

I should totally have been in your class. I've said that all along.
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Old 11-04-2009
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This is interesting, Mo. It explains why your style developed the way it did. Sadly, I had no one to give me prompts. I began my writing "career" writing skits that I would perform at family devotions (yes, I was THAT kid). I have always listened to the way people talk and the focus of my writing has always been on characters and dialogue, getting to the heart of who they are by what they say. I love the flow of conversation and language. I progressed to writing skits and plays for church, and from there....well, who knows. But it's interesting that my young experineces focused on dialogue, and now that's my strength, whereas yours focused on other aspects.
To be honest, I was trained to kind of ignore dialogue in general and read between the lines, which probably explains a lot! I also tend to gravitate towards reading/literature with less dialogue in it. And, as a medievalist, of course, I don't tend to work with dialogue in the modern sense of the term! So, yeah, there are many factors in my background that contribute. Add in the fact that I tend not to prefer television shows (heresy, I know!), which is dialogue-driven.
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To be honest, I was trained to kind of ignore dialogue in general and read between the lines.
Oh, Mo. Knife to the heart! Seriously. Ouch. Ouch. Dialouge is my life! I will just write conversations with no action, no description, just back and forth. I pretty much trained myself to paint scenes with as few words as possible. Again, this wasn't due to any training, just the way I taught myself. My schooling certainly didn't equip me beyond giving me a cursory knowledge of grammar. Anything I know about writing I've learned by reading or through trial and error, just figuring out what works and what sounds good. Fortunately, I've learned to essentially trust myself that if I like it, it's probably okay. As long as I have a reason and it's the way I want it to be, I'm happy.

But seriously, Mo. HOW do we write together? IGNORE dialogue? Mo. Mo. Mo. Your knife will be in my back whenever you want it back. :-P

P.S. you know i love you
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