Entry tags:
Fill: Challenge #95 (DW AU)
This is a slight switch on the actual ask. This is a third character watching the interactions between the first two and trying to read their signals.
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romanajo1232022-08-22 07:12 pmEntry tags:
Fill- Challenge 95 ( orig)
Mandy watched him press a few buttons on the video game. He seemed near-engrossed with the thing.
"So what did you want to tell me?" Jason asked, though Mandy caught him barely looking up.
"I was, hoping if you weren't busy this weekend" Mandy began, a bit nervous. "The new Hulk movie is playing and we could go together."
" That sounds great." He sounded bored, like it was the worst thing ever to go with her to a movie.
"You think so?" Mandy asked, wanting to check if he actually meant it or was giving her a brush off, "Because I meant together as in, just us. "
She saw him briefly look up. "Yeah it's great."
Still unsure, Mandy simply said, "So, great. I will see you Friday?"
But he was back in his video game.
Challenge #95
Another Jerry Jenkins novel-writing sin! Today's is "Head-hopping" - that's switching the point of view between the characters in the scene. It's really tempting to do this when you want the reader to know what everyone is thinking, but it's like whiplash to the reader, jumping from head to head all around the room.
He writes: "The rule? One point-of-view character per scene. And it should be the character with the most at stake in the scene."
What this is means is, choose one character whose thoughts you can communicate to the reader directly. For the other characters, the POV character can only observe what they say/do and infer what they're thinking. (And the POV character may very well draw the wrong conclusions, which often is what makes the story interesting!)
The challenge today: Write a few paragraphs of two characters in a conversation, where the POV character is interested in the other and is trying to figure out if the feeling is mutual. Bonus points if you can make it obvious to the reader what the second character's interest level is but the POV character draws the wrong conclusion.
He writes: "The rule? One point-of-view character per scene. And it should be the character with the most at stake in the scene."
What this is means is, choose one character whose thoughts you can communicate to the reader directly. For the other characters, the POV character can only observe what they say/do and infer what they're thinking. (And the POV character may very well draw the wrong conclusions, which often is what makes the story interesting!)
The challenge today: Write a few paragraphs of two characters in a conversation, where the POV character is interested in the other and is trying to figure out if the feeling is mutual. Bonus points if you can make it obvious to the reader what the second character's interest level is but the POV character draws the wrong conclusion.