jloonam wrote:I think depicting a character as at first sarcastic, clusmy, and awkward offers an ideal situation for a combined tragedy-comedy. But that would add a whole other dimension of complexity that wouldn't be easy to compose or might likely not appeal broadly. By way of example, Hemingway's The Old Man and The Sea.
wswingley wrote:On the comedy note, I have a different sort of problem. I tend to unconsciously inject sarcasm, wit, dry humor, etc. into everything I write. One story I went with it as a pure comedy piece, but sometimes I have trouble keeping a serious tone or balancing the tone.
The story I intended for Q4 (that I mentioned here before) had the problem that my main character is sarcastic, clumsy, and a bit neurotic, so the beginning is quite comedy leaning, but then when the story gets serious it loses that comedic tone. Is this OK or should the tone carry through the whole piece? I dunno...
You always see Comedy vs. Tragedy..... is it possible, or simply incredibly difficult, to combine both?
EmeryH wrote:lol soulmirror you always crack me up
soulmirror wrote:EmeryH wrote:lol soulmirror you always crack me up
If you mean 'crack up' as in haha then that's the mask on the left.
But if you meant 'crack up' like "There are alien radio broadcasts echoing in my head and so now I must stuff my hat with tin foil" ... then maybe it's the mask on the right.
Once bitten, twice shy, babe! The whole comedy/comedy thing has taught me not to assume I know what anyone's talking about from here on in!
Sarah wrote:Be careful with sarcasm. While a few people consider it an irresistible form of humor, many readers will misinterpret it as defensiveness, cynicism, or hostility--particular in prose, where it's stripped of all verbal intonation. It can be done well, but it's even more difficult than other forms of humor.
jloonam wrote:I know the names of drama's masks as Pathos and Bathos.
soulmirror wrote:jloonam wrote:I know the names of drama's masks as Pathos and Bathos.
Huh ... I thought that was the name of the little-known bi-polar Musketeer!
Ms. Wentworth has indicated a fondness for stories with tragically beautiful endings.
jloonam wrote:I'm just now recollecting that O. Henry's "Gift of the Magi" is both a tragedy and a comedy.
Plot spoiler alert. Della's noble sacrifice of selling her hair is a personal tragedy. More so, she can't wear the comb her husband Jim buys her with money he got from pawning his watch. Nor can he use the watch chain Della bought him with the money from selling her hair. Dueling noble sacrifices, but depicting the noble selflessness of their actions reveals them as a truly loving couple more concerned with each other's welfare than their own or their material possessions. Love triumphs. A comedy ending; a tragically beautiful ending. Pathos and Bathos. But then it's not a conventional conflict resolution story either. It's a revelation story as many of O. Henry's stories are.
izanobu wrote:what would you guys think of maybe entering a story that has a homosexual relationship at the core? (no onscreen sex or anything, I realize that would violate the rating rules). I really like the story, but am unsure if the untraditional element would kill it...
the winner was never even workshopped or critiqued, I sent it in cold!
Prisoner wrote: It's silly to have boy aliens and girl aliens. Their method of reproduction will bear no resemblance to our own
It can be shown mathematically to be an optimum for chromosome rearranging (which is why sexual reproduction is so successful - it lets species evolve faster). One sex is too few, three is more than you need to mix and match chromosomes. (If a species requiring three sexes did arise, it would be at a reproductive disadvantage compared with a species with two sexes.)
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