|Posted on February 6, 2019 at 5:05 PM|
They tell me dialogue is kinda important.
With Edge of Sundown*, I could hear my characters, see their body language, clear as day. For Yet Unnamed Manuscript #2, they're silent little shits tuned into their iPods.
HEY! I'm TALKING to you!
EoS was intended to be character-driven (it was) and YUM2** is plot-driven; this might be the reason for the issue? When I was a yute, my dialogue sucked so much, I dreaded ever having to make characters speak. I was focused on plot, and perhaps this is the disconnect.
Late last year I had a daring idea for what would amount to an erotic short, maybe a novella. With "Cellophane Sea"***, I had the feeling that the theme had never really left me once I hit 'submit'.
As I walked out the door today (misty Smarch mornings are good for thinking), I had a line for the protagonist tugging my sleeve. Then the plot of a new novel, however light on finer details, barreled into me. Told from dual POVs, I'd have the erotic novella (wife) interspersed with suspense (husband).
I bent over a storage thingy on the train platform to write all the bits down before they dissolved into brain juice. Details kept coming until I realized: this isn't a snippet for later. I'm working on two novels at once.
Perhaps between this latest character-driven attempt and the current plot-driven one, the two elements will learn to play nice.
*Who knows what the final title will be, but so far, that's what I'm calling it.
**This was not a well-thought-out acronym.
***Cellophane Sea appears in Dread Naught but Time.
~I don't know what this picture has to do with "two at once", Pexels, but I want both. Sharing is for the weak.