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Because of how much time traveling it does, the narration of Margaret Atwood’s The Handmaid’s Tale offers a bunch of useful examples of how to use control and contain your flashbacks.
Although I have yet to finish it, Dhalgren has already left some kind of mark on me. After reading Delany’s About Writing, I decided to give it a go, to take a look at the experiment he was attempting, quite intentionally, to write a character’s experience of the world on a finite moment-to-moment level. I’ve decided to call it “Sensory Action” and that’s what we’re going to look at today.
Writing dialogue is one of those elements of fiction that is harder than it seems at first. But when you come across well-done conversations in fiction, they immediately pop off the page, like the long section of dialogue in Michael Wehunt’s Story in The Dark, “Birds of Lancaster, Lairimore, Lovejoy.”
