In today’s snippet from Rand Hart, we pick up where we left off last week in Hart’s conversation with von Osler. Hart is speaking.
“And why would I need to be creative?”
“You might not have the need. Then again…” Von Osler shrugged. “Luck. She is not always the lady, no?”
“True enough. So you’re telling me I might need to get a little creative in getting this box to the ‘certain person’.”
“Maybe. Maybe not. I would say the odds are in your favor the mission will be quite routine.”
To be continued!
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I started reading a book called The Expats and it has sections of dialogue without context. The sections of dialogue are bookended by a description of where and what the characters are doing. This worked well because I was picturing where and what the characters were doing, but then could concentrate on what was being said during the dialogue exchange. I think these type of style choices are for the edit stage when one has the larger picture in hand.
Perhaps a significant physical action rarely used would make the reader go – Ooh, I need to pay attention when this author points out a specific action because it is obviously an important part of the story-. And with a story involving gamblers this could be more significant since -a tell- could enhance the overall plot.
You’re keeping the attention high with the dialogue, but personally, I’d give a little more context, like body language, and maybe a hint of what is happening around and the two characters’ reaction to it.
As it is, it sounds a bil ‘talking heads’ 😉