Post History
In the BBC Sherlock fandom there are many lively discussions about how a lot of the story takes place in subtext: Person C is a "mirror" for Protagonist A, water symbolizes emotions, drinking tea m...
#4: Attribution notice removed
by
System
·
2019-12-13T12:00:42Z (about 5 years ago)
Source: https://writers.stackexchange.com/q/26182 License name: CC BY-SA 3.0 License URL: https://creativecommons.org/licenses/by-sa/3.0/
#3: Attribution notice added
by
System
·
2019-12-08T05:58:08Z (about 5 years ago)
Source: https://writers.stackexchange.com/q/26182 License name: CC BY-SA 3.0 License URL: https://creativecommons.org/licenses/by-sa/3.0/
#2: Initial revision
In the BBC _Sherlock_ fandom there are many lively discussions about how a lot of the story takes place in _subtext_: Person C is a "mirror" for Protagonist A, water symbolizes emotions, drinking tea means X and drinking coffee means Y, the phone represents the heart, and so on. Writer William Goldman has a set of "writing commandments," one of them being "don't always write 'on the nose' — actions should have more than one meaning." So when writing a story, at what point do you plan for these items? Writing one plot with a few twists and subplots is already complicated. How do you insert mirrors, symbols, and subtext? Do you have a separate thread in your mindmap or outline alongside the main thread in the outline form? Write the whole thing and work in the subtext in the third draft? Is there a particular point in the process when it's easier?
#1: Imported from external source
by
System
·
2017-01-20T11:17:04Z (almost 8 years ago)
Original score: 9