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PostPosted: Thu Sep 21, 2017 2:39 pm 
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razorborne wrote:
downtime is important in longer narratives. the dramatic curve doesn't just go up or the reader gets bored of the constant ramping. what I'd recommend is seeing if you can find a way to tie the more relaxed parts and the action bits together. maybe some foreshadowing in the conversations? maybe she needs something from them for the other bits?

Rhythm is certainly something I should work on. Thing is, now my instinct is to try and add action/drama in order to justify the downtimes :blush:

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PostPosted: Sat Sep 23, 2017 3:07 am 
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Barinellos wrote:
But I would prefer artifacts with actual cards. It gives me more an opportunity to anchor things

Ah! I have a couple favorite artifacts in that case: Vexing Arcanix (mostly thanks to the Ice Age art making it look like the Golden Pelydryn due to context and me loving those books way to much at that time), Ventifact Bottle/Elkin Bottle (Two very different artifacts with the same basic form, hmm...), Bosium Strip, or for ‼Fun‼ times, Cursed Totem
Memory Jar?

Didn't mean to make it seemnI was ignoring you both, just haven't had time to parse the possible angles on all these yet.

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PostPosted: Sun Sep 24, 2017 11:16 pm 
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Rhythm is certainly something I should work on. Thing is, now my instinct is to try and add action/drama in order to justify the downtimes

My personal experience is that I can't force pacing -- at least not in the first draft. The story sort of has to go how it wants to go -- it breathes in, and it breathes out, and I don't know a way to regulate that which stops short of strangulation. :takei: So, when I'm just trying to get something on paper, I've learned that I have to let it spool out at its own pace, or else it's not going to happen at all.

The second draft -- and many subsequent drafts, besides -- are sort of where I get to have my say about pacing. And, 99.44 percent of the time, what that amounts to is cutting. I can't recall ever having tried to add to a story in order to ratchet things up, and I think the number of times I've expanded a scene I can probably count on one hand. What can and does happen though is that I'll notice which parts of the story seem like, maybe, they drag a little bit, and, if it doesn't feel like the good sort of dragging -- which, by the way, I firmly believe exists -- then really the only thing I know how to do is to start taking a hatchet to things until they get a little less draggy. And that happens in stages, usually. The first attempt is usually trimming around the margins -- partly for experimentation, and partly just to get through the mental barrier of proving that I can take things out, and I won't miss them. If that doesn't get the job done, then the second swing of the hatchet tends to be the one that cuts deep -- that's when whole grafs start to go, instead of just a sentence or two here and there. And, basically, all I can do is keep swinging until the story feels right and tight.

Anyhow, that's my experience, and, as ever, your mileage may vary. :)

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PostPosted: Mon Sep 25, 2017 2:47 am 
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I'll focus on writing a complete first draft first, then. Thanks for the pointer!

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