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Hi

I think I missed it. Or am I being stupid?

Leigh

The point made about how in THE WIRE, when the characters stop swearing, when they're silent, they mean business is very apt.

However, there is a scene in the first season of THE WIRE, where Detectives McNulty and Bunk solve a homicide in five minutes as they recreate the events at the scene of a crime and find crucial evidence, and during this sequence, all they say is "Fuck". Over and over again, varying it slightly, "Fucker", "Mother fucker" and on and on, but nothing else is ever said in the scene.

And it's hysterical. I assume this would be an example of how one can over-use a faulty trait (as in the case of arid language) of dialogue for comedy as this dialogue is also character-neutral and repetitive. Which leads me to wonder how comedic dialogue differs from dramatic, since repetition is such a common trick comedians use.

It would be good if these lessons were clearly numbered. I've just joined Storylogue and would like to catch-up on the lessons in the order they were first presented. I find the way they are listed at the moment confusing. Many thanks.

  Good Afternoon:

  I would expect the same traits as explained to apply to a narrator even it the narrator isn't a character in the story.  Are there any additional traits that apply to such a narrator?
  Other than perhaps experts or interviewees I suppose, do these dialogue traits otherwise apply to documentaries?
  Best Regards,
  KM Tracy

I would really love to see a discussion of software aids for writers such as Final Draft and Sol Stein's products such as Write Pro. I'd like to hear from writers, experienced and beginner, as to how well software helps the learning curve.