Dancing Word Writers Workshop

with Brandilyn Collins

March 2, 2001

Hosted by: Anne McDonald

Dancing Word Publisher/Editor

*This chat has been edited for clarity

Anne McDonald: Lord, thank You for Your love and Your blessings. Thanks for getting us all here tonight. Bless Brandilyn as she fields our many questions. Guide our conversations. In Jesus' name, Amen

I'd like to introduce writer extraordinaire, Brandilyn Collins. Brandilyn, the floor is now yours.

Brandilyn Collins: Thanks. I'd like to start with an update from last time. If you were here or read the transcript about inner rhythm, I'd like to know if you've tried to put the concept to use. And if anyone has a comment of how that went or a question.

SiberianSuz: I used it for a scene where a woman finds her friend's dead body--worked GREAT.

Brandilyn Collins: Okay.

SiberianSuz: My dh thought I was nuts. But a great way to get into the character’s head

Brandilyn Collins: Before I ask you more about that, Suz, I need to define inner rhythm for those who weren't here. Arlette, did you have a question first?

Arlette: Is there a place I can read the transcript?

Brandilyn Collins: Is the transcript still up, Annie?

Anne McDonald: Yes. (see workshop transcripts)

Brandilyn Collins: Thanks.

Arlette: thanks

Brandilyn Collins: Those of you who haven't read this transcript, please do so later. It'll fill in blanks. In the meantime, I'll give you a quick scoop.

Inner rhythm applies to the "beat" of emotion within a character. Sometimes this "beat" is very different from the surrounding environs of the scene. A scene can be quiet outside, with a character raging on the inside. Inner rhythm is a way to get at the inside of your character -- much more deeply than you have before.

We used different methods to do this. One was to literally "beat" out the rhythm of the character's varying emotions on our desks. Sounds crazy, but it works. The other way was to play psychiatrist, asking the character questions so you can determine his every move and emotion, then translate them to the scene.

Now, Suz, tell us what you did -- which method used -- and how it worked for you.

SiberianSuz: Well, I wanted a fresh tone to the scene. I'd rewritten it a number of times, so I found the "beating" method to really help give me a fresh perspective. I found her natural beat, then applied the "new beat" and come up with some feelings I didn't know she had until that point.

Brandilyn Collins: Terrific! Just the way it's supposed to work. How about actions? Did she do some things that surprised you as a result of her emotions?

SiberianSuz: Instead of doing something logical like sit there and cry, she did some natural things to sort of get a grasp on reality. It’s hard to explain, but she is struggling to keep sane.

Brandilyn Collins: Aren't we all.

SiberianSuz: So she does some things that I didn’t expect her to. I found that when I interviewed her so to speak, she answered the way I would answer; but when I did her beat, she was herself. Does that makes any sense?

Brandilyn Collins: Hm. interesting. Shows us that one method may work one time, one may work another. Thanks, Suz. You've given an example of why inner rhythm is so terrific a concept.

SiberianSuz: you can explain it better than me!

Brandilyn Collins: It leads your character to do fresh actions -- nothing stereotyped. Again, if you haven't read the transcript on this, I urge you to do so. This concept is well known to method actors, but not to writers. And it's not been "adapted" for the novelist's use before.

Ruth: Does getting into the beat mean the same thing as trying to get into the mind of the character?

Read the rest of the transcript

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