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About This Author
My name is Joy, and I love to write.
Why poetry, here? Because poetry uplifts its writer, and if she is lucky enough, her readers, too. Around us, so many objects abound to write about. Once a poet starts with a smallest, most trivial object, he shall discover that his pen will spill out what is most delicate or most majestic hidden inside him. Since the classics sometimes dealt with lofty subjects with a lofty language, a person with poetry in his soul may incline to emulate that. That is understandable. Poetry does that to a person: it enlarges the soul and gives it wings. Yet, to really soar, a poet needs to take off from the ground.
 
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Off the Cuff / My Other Journal #752095 added May 1, 2012 at 3:59pm
Restrictions: None
Sharing an advice
Gotham Writers’ Workshop asked Robert McKee, a noted screenwriter, of:
"What is the most valuable advice you received as a young writer?
A: The best advice my writing professor gave to me I pass along to you:"Convert exposition to ammunition". Your characters know their world, their history, the other characters and themselves. When writing dialogue, let them use what they know as ammunition in their struggle to get what they want. Don't write "Mary, how long have we known each other now? Must be over twenty years, right? Ever since we were in school together? Girl, that's a long time. On the nose dialogue like that always feels phoney and stops a scene dead. Instead, insert conflict and convert those facts to ammunition: "Mary, for God's sake blow your nose and stop crying. Girl, you are the same weepy child you were twenty years ago in school. Time to grow up." The audience's eye will jump across the screen to catch Mary's reaction while it indirectly learns the character history it needs to know...and the scene flows."
I loved the example that explains the meaning in the rule, which we already know and parrot out to each other.  
Happy writing!
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