Learning to distinguish between "pivotal moment" and "intriguing moment" is an important step in assessing one's work. It's like when someone says, "what's the theme?" and the response is, "a girl goes into the city and she meets these people and then this car almost runs her over..." That's not theme; that's plot. The point of an eyecatch (to use an anime phrase) in fiction isn't to demonstrate a strong moment for a character so much as to pick something that leaves out just enough information that the reader is left going, "hm, I wonder what happens next."
But then, perhaps I've also gotten used to picking out sentences like that because of archiving, too. Rather than using summaries for the stories, I select (or the authors select) teaser statements, short quotes from the story. Try looking at your work that way, the odd little sentences...the way I approach it is to look at a sentence or two and think, "would my ears perk up if I heard someone say that behind me in line at the grocery store?" If the answer's yes, it's a good teaser-line. I guess when I look at the line in that sense - as something to whet people's appetites - then it's easier to pick a favorite.
no subject
Date: 5 Nov 2004 03:51 pm (UTC)But then, perhaps I've also gotten used to picking out sentences like that because of archiving, too. Rather than using summaries for the stories, I select (or the authors select) teaser statements, short quotes from the story. Try looking at your work that way, the odd little sentences...the way I approach it is to look at a sentence or two and think, "would my ears perk up if I heard someone say that behind me in line at the grocery store?" If the answer's yes, it's a good teaser-line. I guess when I look at the line in that sense - as something to whet people's appetites - then it's easier to pick a favorite.
Uh. Or something. Time for dinner.