Grasping Reality on TypePad, by Brad DeLong

Jo Walton (2004): The Dyer of Lorbanery (Spearpoint Theory) http://www.jowaltonbooks.com/23rd-february-2004-the-dyer-of-lorbanery-spearpoint-theory/: ‘There comes a point in writing, and it’s a spear-point, it’s very small and sharp but because it’s backed by the length and weight of a whole spear and a whole strong person pushing it, it’s a point that goes in a long way. Spearpoints need all that behind them, or they don’t pack their punch in the same way. Examples are difficult to give because spear-points by their nature require their context, and spoilers. They tend to be moments of poignancy and realization. When Duncan picks the branches when passing through trees, he’s just getting a disguise, but we the audience suddenly understand how Birnam Wood shall come to Dunsinane.... You certainly need to do a lot of set-up, carefully, towards what you want to do later, and the reason for that is so that when you actually get to doing it, it can stand alone at that point, be that point, because the spear needs to be behind it, and a spear-point supported right there with scaffolding doesn’t have any impact at all. It needs to be moving when it hits you, and it needs to have the spear already there, whether you and the reader built the spear together along the course of the book or whether the reader came into the room with it. And if you’re building the spear, you have to come by it honestly, even though you’re doing set-up, it all has to fit with what’s there it all has to work in its own context or you won’t end up with anything but a pile of splinters. And sometimes you don’t have room and it isn’t going to be fully there until afterwards, and I think it’s better to suck that up and trust the reader to think, to come back and re-read, to get the impact then, than to try to hammer the spear-point in when there hasn’t been time to build the spear…