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  #471  
Old 08-08-2014, 04:21 PM
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Quite a few show-business figures have wandered into fiction writing. One such author is Bruce Boxleitner, who starred in "Babylon Five." And the same leap can be made by those in any form of live theater.

From my days as "Archbishop Copperfox," I'll always remember a Colorado Renaissance Festival character called Professor Loquacious. The actor who plays Loquacious is an _actual_ university professor named Rob Rice, who in real life is a believer in Jesus. While I was still on the Colorado RenFest cast myself, I began reading fiction written by Rob. He really is "sui generis," Latin for "in a class by himself." Try to imagine a blend of the Perelandra Trilogy, Frankenstein, and The X-Files, and you'll have a _slight_ notion of Rob's marvellous world of creativity.

For his latest novel, Rob transferred his character-name "Loquacious" to a _centaur!_ In "The Chronicles of Loquacious," he makes mythical beings _realistic;_ for instance, one chapter centers (no pun intended) on Loquacious trying to buy horseshoes that fit his hooves. To learn more, look up The Esterhazy Press:

http://www.robricebooks.com
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  #472  
Old 10-28-2014, 01:05 PM
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My non-fiction book, Preaching the Protein, is now available to buy on Amazon!



http://www.amazon.com/s/ref=nb_sb_no...an+meditations
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  #473  
Old 03-14-2015, 04:07 AM
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This post will remind you of the existence of the Marketplace, while introducing you to the work of a Narnia lover who never joined The Dancing Lawn.

My friend's name in real life is Rob Rice -- just Rob, like Rob Roy. But in the Colorado Renaissance Festival, he is the sixteenth-century scholar Professor Loquacious. Rob was one of my VERY FEW fellow Christians on cast when I was there, and he was not considered to be as expendable as I was. Also like me, he is a writer of both fiction and nonfiction. His works can be shopped for online at this website:


http://www.robricebooks.com

I myself have bought three of his novels. But the following sample of Rob's humor comes for free. It is a parody song lyric. The tune is from the old country-pop song "The Night They Drove Old Dixie Down;" the subject matter is the viewpoint of Bard the Bowman in The Hobbit when he had slain Smaug.

" The Night I Shot Old Smaugy Down "



Bard the Bowman is my name, / And one night I saw a gout of flame.
Then Smaug the Golden came, / And laid waste to our town, again…
Once the dwarves had come and gone, / We had our hopes, but we carried on…
Then we looked and our spirits fell, / It was a ravaging we'll all remember well…

The night I shot old Smaugy down…And golden bells were ringing…
The night I shot old Smaugy down…And all the Elves were singing,
They sang… Tra! Tra la-la, la-la…La la la, la la la…


He came diving, and I saw that he / Had a gap in his armored hide I could see…
Took my black arrow hurriedly, / Let fly… and it hit him in the M-O-T…
Now when your town is made of wood, / And a dragon makes it burn real good,
You dive from the flames, and you swim like fun!
But you lose it all, even though you really won…


The night I shot old Smaugy down…
And golden bells were ringing…
The night I shot old Smaugy down…
And all the Elves were singing,
They sang… Tra! Tra la-la, la-la…
La la la, la la la…


Now my son will come after me; / He'll build up Dale
In the Mountain’s lee; / And they’ll tell the tale.
I was scared as hell, though they call me brave,
When that lizard fell he made our town his grave…
I swear by the crown they’ve put on my head
I hope if another drake comes I’ll be long dead…


The night I shot old Smaugy down…
And golden bells were ringing…
The night I shot old Smaugy down…
And all the Elves were singing,
They sang… Tra! Tra la-la, la-la…
La la la, la la la…

Last edited by Copperfox; 02-03-2017 at 07:37 PM.
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  #474  
Old 09-11-2015, 12:20 AM
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As of the time I write this, our own World Wanderer has begun a new story-thread called "Kingdom Hearts -- Journey of Discovery." Within the first page of that thread, this bit of narrative appears:

>> Netokan is a thriving metropolis. If you were to see it you would think of a futuristic combination of New York City, Tokyo, and London.

In writing this, W.W. has addressed his readers directly, as if they were sitting beside him. Now, there is no law against a fiction writer showing that he is aware of the existence of his readers; but an author should be consistent. Either act like you're aware of the readers all the time, or don't ever show direct awareness of them. Either way is okay, but make your choice and stay with it.

Note that if you decide you will show your awareness of the readers, this doesn't mean you have to address them personally on every page.
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  #475  
Old 09-11-2015, 03:45 PM
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Interesting. I didn't know that. I'll have to keep that in mind.
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  #476  
Old 09-11-2015, 06:30 PM
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Have you ever gone to a live-stage play? In ancient times, and right up through the days of Shakespeare, it was the regular thing for at least one actor in any play to speak directly to the audience. In more modern times, it has become very common for actors on the stage to pretend that they don't know the audience is looking at them. This is one of those creative questions for which there IS NOT only one right answer; it all depends on what effect you want to create.
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Old 09-12-2015, 02:37 PM
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Never been to a live stage play. I have read some of Shakespeare's plays though
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  #478  
Old 10-27-2016, 02:46 PM
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The previous discussion flows naturally into a broader truth about fiction. If a made-up story is intended to be taken seriously, it must have ITS OWN INTERNAL CONSISTENCY. Events must happen for reasons WHICH ARISE FROM CAUSES which are organic to the story-reality.

Unfortunately, many plotline decisions are made entirely because of some consideration which only exists OUTSIDE the story, and these decisions may go head-on AGAINST what should logically ensue from conditions INSIDE the story.

For instance, in the "Hercules" and "Xena" television shows, there was every reason, INTERNALLY speaking, for Hercules and Xena to experience true love with each other. But the writers negated this, purely from "outside" reasons:

1) If Hercules and Xena got married and stayed together, there could no longer be TWO shows for which to sell advertising slots.

2) Fanatical girl-power feminists wanted Xena to stay in an all-girl universe.

For these reasons, and not for ANY reason inherent to the characters, Hercules and Xena were kept apart. More recently, then, another "external" decision prevented a romance which could have been great. I refer to Captain America and Black Widow in the "Winter Soldier" movie.

When Cap and Natasha went on the run, they had a serious conversation about secrets and honesty. Suddenly, Natasha looked at Cap and said, "Who do you want me to be?" At that instant, I knew that all her attempts to set him up with other women had only been a way to keep herself from realizing that she was attracted to him herself.

Her words to Cap were an unmistakable invitation. By internal story-logic, there WAS NO WAY that he could have been unaware of the invitation. But... if Cap had taken her up on it, and if they had become lovers, this would have interfered with plans for future movies that would keep them separate. Just like Hercules and Xena. So for THAT reason, and not because Cap and Natasha would not have made a fabulous couple, the writers had Cap ignore the invitation and keep Natasha in the friend zone.

Fooey.
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  #479  
Old 02-03-2017, 07:41 PM
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When you put inside jokes into a narrative, you need to consider whether the characters existing INSIDE the story could recognize the joke.

For instance, if you set a novel on the planet Sildaforik, twenty galaxies away from us, it COULD happen by mere phonetic chance that a person on Sildaforik is named Arbahem Limkon, and no one else on that planet would think it strange. But if you write a "here and now" story and you name a character Arbahem Limkon, your unfortunate character WILL be forced to cope with legions of people asking why he didn't spell Abraham Lincoln right.
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  #480  
Old 11-18-2017, 06:35 PM
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Food can be nutritious, but at the same time be hard to swallow. Likewise, writing can offer good information, but be terribly dry reading.

Teachers and editors who want to SEEM smart, but who don’t think about the results of their advice, will chant an all-purpose mantra: “Short and simple, short and simple, short and simple, short and simple, short and simple, short and simple, short and simple!” But simplicity itself can cause writing to be SIMPLY BORING.

Here’s an example of simple writing:

“She parked her car in front of Bill’s house. She walked to the door. She rang the doorbell, but no one answered. She unlocked the door. She went inside. She turned on a light. She looked around. She saw no one inside. She went upstairs. She went into the garage. She looked in the back yard. She finally left a note for Bill. She went back to her car. She drove away.”

All of those sentences meet the requirement of being short and simple; but the unrelieved sameness of them all makes reading the paragraph horribly tedious. Now, here is a paragraph which communicates the same information, but which the reader’s figurative throat can swallow more easily:

“Parking in front of Bill’s house, she walked to the door and rang the bell. When no one answered, she unlocked the door and stepped in. Turning on a light, she searched the house, including the upstairs, the garage, and the backyard, but found no one. Finally, she left a note for Bill, returned to her car and drove away.”

Run-on sentences are a problem in their own right; but the sentences in my second version are long ENOUGH to enable a more fluid kind of writing, without growing to a run-on length. Perhaps the main feature to note is that sentences don’t always have to begin with their subject.





"You know how the seasons arrive and depart;
Each one leaves a bit more old age in my heart.
But rise from your bed, and we'll dance all the same;
The tree of remembrance will tell me your name."
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