The most remarkable part of Lena’s story as a demonstration of the power of dialogue is the last quarter, where four characters respond to a traumatic event. This section, beginning with the “No!” spoken by the narrator and continuing to the end, depends heavily on dialogue. It could almost be a play. Notice that, although the lines spoken by Sandy, Carrie, Mom, the narrator, and Mrs. Hall are often very short, we get a clear sense of how each character differs from the others and how they relate to each other as family, friends, and neighbors. This is accomplished through the narrative that accompanies the dialogue.
Teaching Writing
Juvenilia: an introduction via Jane Austen, the Brontës and others
Juvenilia is the name given to creative work produced by recognized authors and artists when they were children and young adults. The late eighteenth and early nineteenth century was a fruitful time for juvenilia, especially that of writers. Jane Austen, the Brontë family, and Dante Gabriel Rossetti, amongst others, among others, wrote extensively when they […]
A young author talks about getting published: Tara Prakash, 11
After we featured her self-published book, The Hunting Season, in our Saturday Newsletter, we asked its young author Tara Prakash to write something for us about the process she went though. From here, it’s over to Tara. The Hunting Season by Tara Prakash, age 11 I got inspired to write The Hunting Season when I […]
