and then...tell

tell, don't tell, don't have to tell, you can tell, shouldn't wouldn't tell. Okay, linguistic differences. 

You have your mood, your purpose, and your character. 

today, i rode equus. but

 the other day I found a conundrum that gave me some examples of linguistic differences; those are the differences that happen when you find more than one way of saying the same thing for the same purpose. What characterizes masculine and feminine linguistics? Examples are best, especially because I have pioneered this study. If you have any recommended sources to help me learn more about this, please let me know. 

Masculine linguistics have less context. They may sound a bit less natural and use fewer words. When you are writing drama, however, it is important to become familiar with masculine linguistics in your writng. Masculine linguistics make use of statements and orders more often than questions. They are so concise that a sensitive comment can end up sounding cruel. This is great for adding friction to a romance!

Feminine linguistics make excellent use of context. Statements are presented as questions. In languages like French, this is common. Feminine linguistics make use of options, and are more natural and communicative. If you are trying to achieve lifelike dialogue witha  multitude of characters, feminine linguistics are useful. They make use of appealing to the subject, and can be more effective for the speaker if they are using their speech to get something they want. 

Examples:

Masculine:

As order: "Bring me that book please."

As statement: "I want you to bring me that book."

Feminine: 

As question: "Will you please bring me that book?

As statement: "I would love it if you brought me that book on the table, there."

In my case, I had two male characters. One is a feminine archetype and the other masculine. The feminine archetype is treading around some sensitive information in their conversation. The masculine archetype wants to hear this sensitive information, but doesn't want to be insensitive to the consequences of his demand. The feminine archetype is having a hard time confessing his secret, and my linguistic possibilities for the masculine archetype's response were thus:

Masculine version: "Don't tell me if you're going to panic."

Feminine version: "You don't have to tell me."

I thought the first option would be the obvious choice, because he is a masculine archetype. But as the scene is carried entirely by kinetics and dialogue, and the character is so young, I wanted to double check. I reworked my options based on preserving diction (word choice) and sentence structure:

Masculine version: "Don't tell me if you're going to panic."

Feminine version: "Don't tell me if it's going to make you panic."

All the options are incited by sensitivity, but not all of them express that. Since the masculine options were both the same, I wanted to keep it. However, knowing how much the character wanted this information, I decided that the first feminine option would be the best for him. It is the only one which doesn't explicitly say "don't tell me."

Aw, so technical. What's gotten into her? Wellwellywellywellywellwell, she hasn't taught for awhile. And don't we miss the listening! (and the dough).       I know

a boy who is a good cook and a bad eater, this love bleeds black. so he thinks, so. beck, so, alone! It's just me and him and him and him and him, and him, and him, and him........there is breath! 

and then...drips

I think of kinetics. Kinetics in sound, in view and picture. Narrative movement. How to let a work of fiction move through time without relying on cuts. 

I don't like chapters in my final works. They take up too much room. You can cut something short with chapters, but within each chapter there must be some sphere of unity, some sense of fresh conflict and fresh resolution. It ends up taking more time. I only use chapters in drafting. If I use them at all. 

There's visual space. Stars and the like. J.K. Rowling managed it, right? Alright. But there's got to be other ways. Items outside of "After a moment" or "An awkward silence happened." I mean come on. Make movement. 

I don't mean a clock ticking. I mean a faucet dripping. A head throbbing. What about larger alternatives? Forget the "month later." How many times has he vomited in the meanwhile? Beck, I'm tired. Writing is a solitary enterprise. I find glowing leaves under fuzzing proteins. I lie awake while he lies, awake. He takes off a jacket and another jacket and another and another unzip unzip and there's always a new one growing underneath. 

I'm refining a new portfolio called Trachea. I could think about it proper if I weren't so busy with Cope Syndrome. It has no value over the novel, though. It will get me where I need to be to eat. Hunger is key, and meanwhile I have found an external whose mind is just as beautiful as his body. Hello, are you reading? I doubt it. Focus on distance and kinetics, and I may get back to body. I have seen much of that lately. Top knots and top lines and odd skulls and long backs and veins seeking a place to live. These healthy boys of the outside. What makes your hair flutter glistening? You are. 

Good night balcony bones, don't crumble now. Take care of boys leaning. 

and then...camera

Shining and dark. 

Shots are not the only thing governed by genre and theme. For instance, how can one write about both romantic and dramatic archetypes in a story that is, itself, just a drama? Or a story which fluctuates between both genres but requires both archetypes in any given point?

If you have a man smoking on his porch, say, and you have a shot of his hand holding the cigarette, this is a dramatic shot. (You are exaggerating a simple, symbolic element of that moment). A long shot of the man's silhouette against a sunset, however, is a romantic shot. It relates him to nature, it connects him to a larger area. (I am talking solely of visuals. They are, after all, the crux of a proper story). 

So. You have a romantic scene in a dramatic story, or vice versa. How can you achieve such focus whilst maintaining cohesion? You apply the romantic/dramatic principle to an element which normally does not have technique attached to it within the context of your story.

An element like blocking (the character's movement):

Example: You are writing a Drama. But your romantic archetype is outside and you want him in a romantic long shot. Go ahead and do it; but ensure that the blocking is dramatic. He stood up. He went inside the house. (This is what I call one beat one beat structure. It is dramatic. A beat is one subject and up to one object). 

Opposite: You are writing a Romance. But your dramatic archetype is outside and you want a dramatic shot of his cigarette. This time, do it and ensure that the blocking is romantic. He stood up in one fluid motion and entered his home. (I call this structure dual beat because it connects two actions/possible objects to the same subject stated once. It is also made romantic by the implications that words like fluid and his home bring into the statement; I am asking the reader to accept those implications if I am writing Romance).

In Drama there are NO implications other than what the METAPHORS put there, and the metaphors must be direct and concrete, like the cigarette. You can still have a personalized perspective in Drama; but you must take the subjective elements of that POV and MAKE them objective; whatever is true for that POV is true, period. 

Examples:

Romantic: He felt sickness creeping into him; he had a headache. 

Dramatic: He pressed sweaty knuckles against his head. He was sick.

You may also notice that I switched the order of statement/description for the dramatic version. That's a Randian thing; it's not necessary but it adds some punch. It's a lesson for another time. 

I refer to Romance and Drama because they go well together even though they are different, and they can often cross over. I have just outlined one of countless ways to approach tone in writing. There is no wrong or right way, but there is correct and incorrect. Make your writing correct.