Wrote prose today. Started reading The Rehearsal by Ellie Catton (2008, VUP), thanks Liz for lending it to me! Perhaps (-> perchance? -> to fall(accidentally)?) there is residual inspiration left from Pip's story that I mentioned yesterday too. I was feeling a wee bit blue about line breaks, so maybe I need this?
The Rehearsal as of page 19 is intriguing. Liz told me she loved the use of language, but thought the story was so so. Which is more important I wonder? James and I were talking about this last night at the Katipo. I said there didn't seem to be any solutions for the problem of narrative. As in, how can we write a story that seems less 'story like' and more 'life like' but still remain entertaining. He talked a bit about the spiral method as is the story tightens in ever decreasing circles, perhaps crossing of the same points in time until we get to something in the middle. The crux? The truth? I don't know if this is really that much of a depature from the classic three act thing. Just mixed up a bit. I guess the question is, how do you elicit and emotional reponse from an audience? How do you play them and does there have to be chorus? I reckon there must be other ways out there, probably incredibly simple and yet undiscovered.