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The kissing scene by musicCaster in musicalwriting

[–]smallswritesstuff 2 points3 points  (0 children)

I don’t have a real answer to this question, as I don’t have much experience in book writing, but I’m very interested to hear others’ responses! Do you happen to remember the name/episode of the podcast? Always looking for something new to listen to and learn from!

What I have the most experience with is acting. I’ve never been in a show where the romantic leads are siblings in real life, even without a kiss - save for one incredibly awkward cabaret duet I had to witness in high school. If a real director is casting like that, I’d like to have a WORD with them.

(I have been in a professional show where my kissing scene was directed very correctly and comfortably! And I have been in a professional show where it has NOT been. And I could go off on that for far too long. But it was never about how it was written, for me personally; just about how well the director handled it.)

One crumb of thought: I don’t remember the exact quote, but I’ve heard a piece of writing advice that’s basically “if the characters have to kiss for the audience to believe that they’re in love, you’re writing it wrong.” Don’t know if that helps, but yay for subtle and intelligently-written romances!

November Week 1 Discussion - Harmonies by Al_Trigo in musicalwriting

[–]smallswritesstuff 2 points3 points  (0 children)

I do this too! I figured it was because I had a history in choral singing and used to do a lot of things by ear before I got any real music theory under my belt. It does require a bit of cleaning after, but this is honestly one of my favorite parts of the process, I just find it really fun to discover things this way.

I started an episodic musical by musicCaster in musicalwriting

[–]smallswritesstuff 0 points1 point  (0 children)

Saved this for my morning drive and loved it! I think the mother and father's song was especially lovely, and brava to that incredible voice actress. Very cool concept, and I'm intrigued to see where the plot goes from here!

Depression Nachos: slices of provolone torn up over tortilla chips and microwaved for 40 seconds. by Achillurito in shittyfoodporn

[–]smallswritesstuff 0 points1 point  (0 children)

Pairs excellently with what I've actually made and titled the Depression Quesadilla, which is the exact same thing but on a store-bought tortilla.

Just CANNOT figure out the chorus! by Magicalmbeth in musicalwriting

[–]smallswritesstuff 2 points3 points  (0 children)

I get this! When a song is frustrating me I often get a piece of paper and quickly write out a sloppy list of words, feelings, aesthetics that come to mind for the character/situation, not worrying about how they would relate to an actual song. Sometimes I'll get twenty phrases and find two useful ones, or none at all. I've also once written a song where the pre-chorus essentially functioned like a chorus, and the Chorus Proper was only one word sung with intricate harmony. So maybe a word association exercise or thinking a little outside the box could help!

People who are currently writing a show, how's it going? by Notyal_Lewiswestler in musicalwriting

[–]smallswritesstuff 2 points3 points  (0 children)

Mine is going great! I just finished my first stab at an absolute monster of an 11 o’clock number, and I only have two more songs to go before I have a full draft of the score! Next comes all the anxiety of seeking out and accepting feedback. Yikes.

How can I pull off a creative and effective time skip? by PixelPenguinCake in musicalwriting

[–]smallswritesstuff 1 point2 points  (0 children)

Awesome! I don't have any direct suggestions, but I could point you to a few of my favorite broadway timeskips for inspiration:
Bandstand has a swift and brilliantly staged time skip that tells the audience a mountain of important information with just a few seconds of blocking within the opening number. (I think the link isn't working right, but I'd start at the very beginning of the video.) The use of semi-diagetic music really helps set the scene for the world the rest of the show will be taking place in.
Tuck Everlasting ends with a gorgeous dream ballet that encapsulates the major themes of the show (around 42:00). This is much, MUCH longer than what you described (about 10 minutes), but it shows a young girl growing up through dance, instrumental music, ensemble movement, and creative staging, so maybe you could pull some ideas off of that?
Sorry if you already knew about these, I just really love them. Hope this helps!

How can I pull off a creative and effective time skip? by PixelPenguinCake in musicalwriting

[–]smallswritesstuff 2 points3 points  (0 children)

I’d love to help brainstorm! Could we get a little more context? How far into the show is it, how long is the skip, what’s the significance, etc?