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6

Monica is on the right track, but I'd push it more. If he's howling the name of his murdered wife in his grief, he's not aware of anything outside that grief. I would actually not show the husband being aware of the changes while they're happening. Maybe, possibly, flashes of light (which cast different shadows on her face), or he feels his ears pop, or ...


6

All mediums have their limitations. The medium of books is the written word. Despite the popular dictum of "show don't tell", you cannot address any senses directly through writing, you have to describe everything that your readers are then asked to imagine. Music is no different than any other aspect of reality, when it comes to writing about it. There is ...


4

Let me add a lengthy quote from "The Serpent Mage" by Greg Bear, narrating the entirety of Mahler's Tenth Symphony. This is to give you a clue how deep in detail one can get, how you can convey a whole concerto piece through a written text. The first movement of the Tenth was an elegiac adagio in F sharp major-minor. Michael fell into the music despite ...


4

I can't call specific examples to mind right now, but I've seen this sort of "wait, the world is not quite as it should be" situation handled by sharing the POV character's inner dialogue as he gradually notices peculiarities. Something like this: "Sharon, no!" he shouted to no one in particular as he cradled her in his arms. "Sharon!" He shuddered as ...


3

For this script at least, the numbers correspond to the scenes. Each number in the left margin appears at the beginning of a new location. At a guess, this could simply be to make writing easier for the screenwriter, or perhaps to correspond to clapperboard information. These possible uses are only guesses, however. As seen in @Reed's comments, this is ...


2

I won't try to describe it, but here's how I would go about it: Put myself deep inside Brave's viewpoint. Notice what details she is taking in through her senses (see, hear, smell, touch, taste). Especially focus on her opinions of those sensory details. Whatever she has an opinion about, write that. Stay with her senses and opinions.


2

There's no reason you can't do this, as long as it's the reader understands the information you're giving them. The clearer way to do something is nearly always preferred. Writers have formatted scenes as screenplays within a novel, but it's a rare, experimental device. It also evokes a cinematic feel, which may not be what you want. Long passages of ...


1

Number = Scene Screenplays are usually formatted in such a way that one page roughly equates to one minute, and, in a shooting script, the scenes are numbered. Notes on the length of The Battle of Algiers: A According to the French Wikipedia article, there is a French dubbed version of the movie that is 157 minutes long. Finding out when and why the ...


1

Normally they are minutes roughly 1 page equals about 1 minute of visual time. But it is not an exact science and here 146 pages translate to 120 minutes.. most likely this is caused by long descriptions which only take a short time time to show rather than tell. that 1 page= 1 minute is truest for talking and some action scenes, still as they are not ...


1

As has been said by others, it sort of depends on the perspective. This might be troubling to write in first person for the exact reason mentioned - the character is probably not paying attention. In that case, you might be better off having him revisit the experience in a flashback later. However, if we're dealing with any other perspective, I think it's ...



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