« Last post by Rigsby on Today at 10:38:47 AM »
Having read your explanation of your year long workshop, with poets choosing words and novelists who are really slow readers, I have to be convinced that anything produced that way would be worth reading. Where is the spontaneity? Where is the emotion, the exclamations, the everyday speech? I can imagine everyone in your novels talking as though they were in a Shakespearean play and using words nobody would ever use in speech.
That's a concern I had never considered. before, and I suppose it could happen, depending on the makeup of the group. Like with your process, it comes down to whether you can tell there's a difference or not upon reading a few chapters. When it comes to dialogue, the feedback we give and receive focuses more on whether a particular character would sound a certain way, and would even say certain things. As an example, the story I'm working on now revolves around two 12-year-olds in 1949, and there are times my dialogue makes them sound ten years older than that which I am tone-deaf toward. We have several seventy-year-olds in our group, too, and they help with period-specific slang. :-)
You do make a good point. I was going to raise Tolkien's LOTR as an example of a book that was more or less workshopped (as I understand it, don't flame me) and took a long time to produce--but he did have that problem with the Shakespearean language toward the end, with Aragorn, especially, often using "thee" and "thou" in his speech, IIRC.
But let me turn that around--do you spend any extra time tinkering with your dialogue, or do you tend to leave it as is, based on the way you initially heard it in your head?