![]() My original effort to write a blog post that explained some basic rules of musical writing got a little out of hand. Yet it won’t teach us how to apply rules of music to writing, or what any of these musical qualities mean to a writer. It is good advice to listen to opera and musical theatre, watch and read good, musical texts, and read out aloud everything that we write. Although Sorkin (and the title of these posts) talks about dialogue, musical thinking can and should be used with any sort of writing. To help me understand and try out some ideas, I did a bunch of research of musical thinking as applied to writing and turned it into a series of lessons. It was inspiring but not particularly technical. Sorkin, who writes amazing dialogue, described how he hears it as music and gave a general overview of how he approached this idea. The starting point for this series of posts was a lesson in the Aaron Sorkin Screenplay Masterclass. What simple ideas can we use to make our writing musical? So, in this series of 5 posts I explain how some of the basic concepts of music apply and show them in some new writing. Which is odd, because musicians get taught this stuff all the time. We are, occasionally, assured that these rules can’t be taught. To do this, the mystical “rules of music” must be applied. Qualities like cadence and cacophony pitch, rhythm, dynamic pace, tempo and metre, can improve what we write. Clever people tell us that good writing is musical. ![]()
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