Writing About Art Visual Description The simplest visual description uses ordinary words to convey what the writer sees. First he or she must look at the subject — slowly, carefully, and repeatedly, if possible — to identify the parts that make the whole. These parts must be sorted into the more and the less important, since no description can include everything, and assumptions must be separated from actual observations. It is easy to confuse what we see with what we think we see, or what we know is there.
As craft, dialogue serves several functions in any scene. It plunges us into the moment. It moves the plot forward. As art, good dialogue has as much to do with the sound of music as the meaning of words.
Nor is it having characters conveniently dump background information into the story—with quote marks around the words. Like any craft, mastering good dialogue requires patience and practice, practice, practice.
Like any art, no one can teach you, but we can point you in the right direction. The illusion of speech The first thing to remember is that good dialogue is all illusion.
We want to suggest the way people speak, not mimic it. Out of fear or politeness, many people never say what they mean. Just as often, we may utter just about any remark to keep from looking dumb, discourteous, or disinterested.
Then again, some people say one thing, and mean another. Other times, words fail us or the wrong ones burble out.
As a writer, your job is to turn all this to your own purposes. By understanding how real speech works—with its half-spoken phrases, false starts, interruptions, and misdirection--you can begin to play dialogue like an instrument.
Sometimes your characters may speak without listening, with interesting possibilities for plot. Or maybe someone is enraged, her words saying one thing, but her tone revealing another. Or another character may barely know what he feels or means, and you might make him inarticulate on purpose.
The results can be either comic or tragic. Either way, let your dialogue reveal character and advance the plot.
Try to get a feel for the ebb and flow, the rhythm, the counterpoint of speech. There was a time I actually went around listening in on strangers in restaurants, on buses, and in other public places while I furiously and surreptitiously tried to scribble it down. In private, I reconstructed these bits as well as significant conversations from my own life, figuring out what to keep, what to leave out, and how to rearrange the lines for best effect.
I was also interested in how dialogue reveals emotion, but that's another discussion. In one interview, Eudora Welty described often using overheard dialogue in her novels and stories. You never ate goat?
Please don't say you served goat at this reunion. I wasn't told it was goat I was served," the other person replied.
It seems you can do a whole lot of things with overheard dialogue, too. Here's a hopelessly boring example: She laughed suddenly and sharply and went halfway through the door, then turned her head to say coolly: Or can I call you Phil?
Dialogue Tags Dialogue tags tell us who is speaking.Mayan writing consisted of a relatively elaborate set of glyphs, which were laboriously painted on ceramics, walls and bark-paper codices, carved in wood and stone, and molded in regardbouddhiste.com and molded glyphs were painted, but the paint has rarely survived.
Research the requirements needed to become an art writer. Learn about the career and educational requirements and explore the step-by-step process that can help you start a career in art writing. Find government information on education including primary, secondary, and higher education.
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The Art of Spiritual Writing: How to Craft Prose That Engages and Inspires Your Readers [Vinita Hampton Wright] on regardbouddhiste.com *FREE* shipping on qualifying offers. There’s a constant hunger in the world for books that explore the spiritual aspects of life, but writing about spirituality is far more complex than simply sharing personal reflections about God and the life of faith.
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