My big take away from last Wednesday's session was if in doubt do something, anything. So long as you have trust in your fellow players and they have trust in you the very next thing you say or do will be perfect.
I think what is needed is both to think and to do and to think-and-do at the same time.
A model I have when I am writing well is a tri-partate one.
One part is actively doing the writing, the pen to paper bit, but also the crafting of each indivual sentenance, stanza, paragraph or line. (This part live I think in my stomach)
The second part is running the bigger picture. What does this scene have to do? How would my charater respond? Where am I in the narratice arc? This part is tapped into the written down plan. (It lives in my head)
The third part is the focusing lens. It directs my attention between each of the two aspects, the individual word and the piece as a whole. When I am writing well I find I can have a clear image of both and magnify the one that needs most attention right now without losing the clarity of the vision of the other.
It feels like a wakeful trance at time.
I think something like this probably exists for improv. An awareness of how the next line or action has to come out, how your character should be portrayed and interact with other characters - the surface detail and also an awareness of the underpinning structure and quality, the meta-scene. I've yet to become good at this but I'm sure it's there.
no subject
I think what is needed is both to think and to do and to think-and-do at the same time.
A model I have when I am writing well is a tri-partate one.
One part is actively doing the writing, the pen to paper bit, but also the crafting of each indivual sentenance, stanza, paragraph or line. (This part live I think in my stomach)
The second part is running the bigger picture. What does this scene have to do? How would my charater respond? Where am I in the narratice arc? This part is tapped into the written down plan. (It lives in my head)
The third part is the focusing lens. It directs my attention between each of the two aspects, the individual word and the piece as a whole. When I am writing well I find I can have a clear image of both and magnify the one that needs most attention right now without losing the clarity of the vision of the other.
It feels like a wakeful trance at time.
I think something like this probably exists for improv. An awareness of how the next line or action has to come out, how your character should be portrayed and interact with other characters - the surface detail and also an awareness of the underpinning structure and quality, the meta-scene. I've yet to become good at this but I'm sure it's there.