Quote:
Originally Posted by jaxx6166
I also love the rule of three. It's just enough to stir the imagination without being heavy handed and Jordanesque. The Rule of Three is my friend. You don't need to engage all five senses all the time to tell a convincing story.
Some of the best things are left unsaid.
Speaking of which, I should be writing. I've wasted entirely too much time slacking off today.
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Even though my book isn't a mystery, and I do present many motives and actions explicitly. I think it works simply because the main character is narrating in the past tense, so he can both foreshadow, and speak as to what was going through his mind.
The dialog moving the story along works a lot better with the two main characters because they're both those types that read heavily into non-verbal communication. Helps when writing because given their high intelligence and attentive comprehension, it saves the back and forth of 'What?' and 'Why?s' They have a pretty good idea what the other person is and isn't saying.
I do leave many elements unsaid. There are a lot of implications that get validated later on slowly as the story progresses. But I leave a lot unsaid, ambiguous, and make sure the reader knows I left some loose ends. It also strangely works in the romantic development of the main characters, since withholding inconsequential facts from a partner teases their curiosity considerably.
My favorite so far as been some really dreadful accusations befall on the male character. The type that as a reader I would really want to know if they're true or not. Most stories there is a moment of heavy soul crushing confessions to dispel rumors. The character eventually addresses each one, but at a moment of his choosing. Only telling his partner when contextually she has a first hand insight into his rational.