Young Woman in Blue,
DeWitt Wallace Collection.
Though I still make copious notes-to-self, sometimes in legible script and sometimes in undecipherable glyphs, in my writing I have progressed from blowing paint on cave walls to composing on my computer.
I am so pleased with myself.
But yesterday, after finishing a scene that contained a fair amount of dialogue, I realized I could not judge, by scrolling back and forth, whether the overall proportions of dialogue, action and description meshed appropriately or were out of kilter. If, indeed, the verbal jeans made my ass look big.
My mental sense of narrative correlation, of visual balance, has not adjusted to the screen medium.
I will have to print out the passage to determine if my dialogue goes on too long, to decide if the scene needs insertions/deletions to keep it from sitting there like a snore of snails.
I will have to see the scene as it might appear on physical pages.
Balance/proportion of component parts is likely another reason why writing gurus advise printing out a manuscript at some stage in the revision process.
Not only words, but also whole passages look different in page form. And that form is -- we hope -- how the reader will see them.
Some Superior Words with Industry Application:
manque: adj., short of or frustrated in the fulfillment of one's aspirations, a synonym for an unpublished writer.
recusants: n. those who refuses to accept established forms or authority, ie. unpublished writers ( see above) who occupy, they say, a large portion of industry mail ( see below) by their persistence in sending non-fiction agents their hand-written fantasy masterpieces, with glitter, and with grandious references to a New York newspaper -- and who then follow their rejections with nasty notes.
rejectamenta: n. another word for slush pile.