I think that's such an interesting question... I know I'm not George, but if I may join in with it...
I suppose 'change' would be my own take on this.
Change of scene, perspective, action, character, time, pace, mood, ...
So, I suppose where I feel a change, that's where I feel a new pulse.
I think that's such an interesting question... I know I'm not George, but if I may join in with it...
I suppose 'change' would be my own take on this.
Change of scene, perspective, action, character, time, pace, mood, ...
So, I suppose where I feel a change, that's where I feel a new pulse.
Like when you're pegging out the washing and the world darkens and your hands pause for a moment, and you become aware that the world had been made... different, somehow, as the sun slid behind a cloud. You feel a few more fears and a little less hope... then, you sit in that for a while, that new pulse.
If there's external change then usually there's internal change.
If there's internal change then there's usually external change.
If there's external change but no internal change, that also is meaningful.
If there's internal change but no external change, that also is meaningful.
I guess the writer's work is to create the shifting world for the reader... you'd perhaps think that often the effective way to do this is through action/dialogue/sensory details... external I guess you could say.
Not sure if this defines pulses so much, but it seems like it's in the mix somewhere
And as always, what in the "pulse" keeps the reader reading--is it in this first one that the narrator is clearly in danger, along with the dazzling language, and we want to know what is going to happen next . . .
I think that's such an interesting question... I know I'm not George, but if I may join in with it...
I suppose 'change' would be my own take on this.
Change of scene, perspective, action, character, time, pace, mood, ...
So, I suppose where I feel a change, that's where I feel a new pulse.
Like when you're pegging out the washing and the world darkens and your hands pause for a moment, and you become aware that the world had been made... different, somehow, as the sun slid behind a cloud. You feel a few more fears and a little less hope... then, you sit in that for a while, that new pulse.
So, for you, it's everything together, internal and external?
If there's external change then usually there's internal change.
If there's internal change then there's usually external change.
If there's external change but no internal change, that also is meaningful.
If there's internal change but no external change, that also is meaningful.
I guess the writer's work is to create the shifting world for the reader... you'd perhaps think that often the effective way to do this is through action/dialogue/sensory details... external I guess you could say.
Not sure if this defines pulses so much, but it seems like it's in the mix somewhere
And as always, what in the "pulse" keeps the reader reading--is it in this first one that the narrator is clearly in danger, along with the dazzling language, and we want to know what is going to happen next . . .