So our latest prompt for a short story focuses on dialogue; a conversation between you and someone you know well, that you can hear the voice of, over a place you know well, that you know the exact details of.
I had a swarm of a millions ideas, so I decided to jot some things down. It all turned into a jumble of fictional characters, four real people, and a bunch of places I couldn't quite decide on.
And three of those real people were the Top Gear boys, the other my best friend Anna.
So I asked the tutor if the people had to be real, at the same time Bree asked if the place had to be, and she was pretty much like 'write whatever you want love, creative writing is all about lying'.
And I was like 'sweeeeet'. That made things like a thousand times easier, there were no strict rules.
So now I've decided it's either going to be me and Lestrade at the Top Gear track. Or me and Anna in 221b.
Don't ask why it's all Sherlock-y, it just happened like that.
I was going to do Gallifrey. Or Bilbo's hobbit hole. But then, you know, I didn't.
I've decided to do myself and Lestrade at the Top Gear track, but I don't know what the conversation should be.
This is ridiculous. Why is it so hard? I thought this was going to be easy, like the other two stories!
I need to come up with a conversation, this being all about dialogue. And I mean, I could talk about cars, about 911s and Mustangs and that adorable baby Aston Martin and Oliver the Opal Kadett. I could bang on about Top Gear for hours, and I mean hours.
But I need good dialogue, something that makes an interesting story. I need to come up with a story that be told pretty much only through dialogue, that ties in with the Top Gear track.
Then again, I could do the conversation in 221b. It doesn't have to be realistic, it's Fiction Writing. I could have a case for Sherlock.
Then again (again), I could be on the track for a lap in the Reasonably Priced Car. That could make a good story. Me driving a bloody car, on the track, trying to go fast without crashing, driving a bloody manual. Ha!
Maybe I should just stick with giving Sherlock a new case.
I've come up with plenty of cases for him.
That can be the dialogue.
"Yo, Sherly. Got a properly amazing case for you. A dude died. A television dude, no less. His name is James May." I couldn't even pretend to kill of Hammond, it hurts my soul.
Even though I've killed off Lestrade once. And John.
Anyhoo, no I'm not gonna kill off Captain Sense of Direction. I will use one of my old cases.
Ooh, maybe like one of the really nasty ones! All blood and guts and split skulls.
Then again, I already killed the unborn baby. My tutor already thinks I'm a nut-job.
Screw it. KILL ALL THE PEOPLE.
Yes, I'm a nut-job. No, I don't give a damn. Yes, I am secretly Moffat.
No, wait, I came up with a much better idea! Me and Lestrade at the Top Gear Test Track and I'm all full of nervous excitement because it's something I've always wanted to do but I can't drive stick to save my life. But I get in and have my practise laps anyway. Well, on the last one, I hit the tire wall- and I'm like going flat out, and have this really bad crash and slip into a coma or something. Maybe not a coma. But I'm in hospital, unconscious, and Greg is wishing he hadn't pushed me to try and drive stick and then SHE DEAD.
And the first part will be in italics, because it's a flashback. It's Greg remembering what happened. But it won't be in his P.O.V, it will be third person.
And then the bit in hospital is Greg's P.O.V.
Yes, good, I like this. All the feels! And it's not what the tutor will be expecting, which is always good.
So, this is actually turning out kinda hard.
Like I have a plot of sorts, above, but it's hard to write and I can't figure out why.
Maybe it's because I suck at plotting. Like when I write, it just kind of comes out like word vomit- in a good way. And I only think about the plot like after I write. I dunno, I'm strange. Everyone knows that.
But anyway, I'm thinking of writing about taking the Doctor to my favourite beach from a my childhood. It has black sand and it's just lovely. That will be easier.
So I ended up writing two stories last night, me and Greg at the Track, and me and the Doctor at the beach.
I seem to write better at night, not sure why. I suppose it's because it's dark and quiet and calm, and I can actually think. I can write during the day, obviously, but I have to be in my room with my music blocking out any other noises. If I'm upstairs in the lounge, it's just baaad. People try and talk to me. Like no, eff off, I'm writing.
And they do it when I'm reading too! Like, hello, can you not see the book in my hands?! I'm trying to read. I can block out the radio easy, but I can't block out your constant jabbering. Morons.
But back to my main point.
I wrote two stories, but I have no idea which to hand in.
The one with me and Greg gave me so many feels.
The one with me and the Doctor was sweet and makes me wish I could go to the beach.
Many decisions, such conflict, very life struggles, wow.