Drama, Melodrama, Betrayal, Humiliation

Where is the line between drama and melodrama?  More specifically, can my characters be melodramatic without their actions and attitudes affecting the voice of my writing?  Can I write melodrama without melodrama?  Its a pair of interesting questions—ones I’m trying to suss out in my rewrite of Chapter Three.

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About a Loser

Growth requires a process of change.  A seed is nothing but stored potential until the forces of water, earth and heat conspire to penetrate its hard shell and force a germination.  Through these external forces the germ has no choice but to swell, slowly devouring its kernel until it breaks through the tough exterior of its skin and pushes up through the soil toward the sun.  It grows—cells multiplying and roots expanding—until the seed itself is nothing but a distant memory and a glorious flower resides in its place.  Its the best kind of story—one of potential realized.

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A Place to Begin

There may be no greater struggle in the life of a writer than choosing the first words of something—anything!  How do you ensure you’re making the correct first impression?  The right words are immortal:

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