The first in an occasional series of posts reflecting on bits and pieces I’ve learned teaching Creative Writing both previously at UEA and St Mary’s University, Twickenham, and now, at City, University of London, where I run the MA/MFA Creative Writing, which is now recruiting for September 2021 entry.
I teach how to write of prose fiction, as that’s what I write. I’ve never written for the screen, and don’t watch that much film or television. All the same, there are some instances in my teaching where I lean on cinema, rather than novels or stories, for examples and instruction.
One of these is to do with plotting and plot arcs. I’ll write about that another time. The other is to do with writing scenes between characters, and specifically to do with handling dialogue.
The fact I’ve already used the word scenes suggests that I’m thinking in visual terms. After all, in our ordinary life we don’t consider the stuff we do, and our interactions with other people, as scenes all. We’re too much in them to think of them like that. But, even with a first person narrator, it’s useful to think of interactions between characters in a written narrative as scenes – discrete elements, with a start and a finish, and a reason for being.
The two ways that I think of film as a useful guide to writing prose scenes is firstly in terms of dialogue, and then in terms of pacing. Some creative writing students dislike dialogue, and can write whole scenes with none of it at all. For others it’s the best way into drafting. You imagine your characters talking to each other, and that helps you drive towards your planned plot development. It’s easier, in a way, to make a character say something than do something. There’s less at stake.Continue reading