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I blame my new fascination with German musical theatre for re-kindling my interest in the Arthur-Guinevere-Lancelot love triangle, and as with all things that resonate with me, I binge on it and you, dear reader, get to hear about it. On the upside, it’s not been a full binge (like going back to re-read the Crystal Cave by Mary Stewart or any of the huge academic tomes on the subject) so I’ll keep it light.

It’s been awhile since I enjoyed Mary Stewart’s 5-Book Saga, so it has gone back on the re-read list. It was one of the more memorable fictionalizations of this myth, if not my hands-down favorite.

For this comparison, we have three movies (or rather, two movies and a play).

Let me start by disclosing that I absolutely loathe the Bechdel-Wallace Test. The fact that someone thought this was a concept we needed speaks more of their own neuroses than anything else, but it keeps coming up.

Basically, the Bechdel Test attempts to measure how women in fiction are portrayed. If a work features at least two (as opposed to one; smirk) [named] women talking to each other about “something” other than a man, then it passes.

I despise the identity politics behind it, but also the disregard of genre and the needs of the story. It seeks to impose a politically motivated, self-serving radical feminist agenda on Story. The Bechdel test has been incorporated into submission mechanisms and into screenwriting software. So, basically it’s not just some ivory-tower gender-warrior’s academic rants.

I first ran into the Bechdel test a few years back when I was on a writer’s critique site and one of the people giving me feedback suggested I revamp a major portion of my story in service to the Bechdel test, because otherwise “no women were going to read it.”

Was there a poll, I missed? I’d been reading for decades and NOT once did I think to myself, “Where is the checkbox that tells me whether or not, as a woman, I’m allowed to read this because it passes the Bechdel test.”

Therefore, I propose the Foster Test. A work passes the Foster Test if it features a woman who succeeds at whatever her goal is without weakening the man/men in the story or eliminating them from her life altogether.

Yesterday I got a message from an acquaintance asking me if I had any good exercises that I could suggest since he was getting back into writing after a two-year hiatus. I didn’t really have an answer for him, although I did point him to The Other Side of the Page.

But then, this morning, I ran across this video (don’t turn the volume on yet) and it makes a brilliant point but also sparks an interesting question: How do you put the music in your prose?

Sound muted: A report listing the details of the scene does not convey anything other than physical details. So imagine a paragraph or so from the imperial officer’s viewpoint, telling us where he is, i.e. describing the surroundings. And it makes for pretty dry, thin writing. I’d say a majority of new writers write like this (dry and thin). That’s what you’re seeing with the sound muted. Actually, to be fair, you’re seeing far more on the screen because the camera angle gives you his facial expression, but even that is ambiguous, as you’re about to find out by turning the sound on. In order to convey just how thin and dry a mere description would come across to a reader you’d have to change the camera angle by placing it behind the officer’s eyes, so we could only see what he sees. As readers we would not get his facial expression or any other body language at all, much less what he’s thinking. This is what I call “outside-in” writing because your prose is a movie camera.

Sound on: The melody suggests happy feelings. We kinda get that he’s about to meet someone, but not whom. The music makes a big difference. Then we are shown Darth Vader and we get a chuckle, because it doesn’t fit the music. Which was the point.

The Point: But now that you’ve had your chuckle, think about it as a writer. How do you convey the trepidation (rather than the happy feeling the music suggests) to your reader, when you have neither the happy song nor the original score to flavor the experience, nor a shot of the viewpoint character’s face? How do you SHOW rather than tell us that “Officer-so-and-so felt a great deal of trepidation as he approached Darth Vader’s shuttle?” Remember, your camera is behind the character’s eyes, not outside the character. You only have access to his thoughts on the matter. You cannot see what he does not see. Cannot know what he does not. This is what I call “inside-out” writing because your prose is entirely from the character’s viewpoint. No head-hops. No authorial intrusion.

Ready, set, write.

I just wanted to share this with everyone. Baen Books does this every year. It’s one of the many reasons they are my favorite publisher.