Into the Fire

I didn't attend college for long. One year and one quarter, separated by a year of working and a trip to Europe. My favorite class was my playwriting class in which I pulled an A. Hallelujah!

My teacher/professor assigned the writing of a play and then we had to read them out loud with members of the class taking different parts. Those were the rude awakening moments when we realized all of our mistakes.

My first play was sheer melodrama and to my dismay the ultra-serious portrayal turned out to be laughable. Talk about embarrassing. I regrouped on the next one and the next one. Much improved over the first effort, the melodrama sufficiently reduced.

Here is one definition of melodrama:

A dramatic presentation characterized by heavy use of suspense, sensational episodes, romantic sentiment, and a conventionally happy ending

By definition alone, there's nothing wrong with melodrama. However, within that definition we can see the possibilities for potential exaggeration. This same tendency to overemphasize certain dramatic tendencies can also apply to novel writing. Melodrama has gained a negative connotation over the years, but it need not be so in its proper dosage. As with all dramatic content, the key is to frame it with the right emotional impact depending on the circumstances and the personalities of the characters. There's nothing simple about the actuality of getting it right, but as writers, we keep after it until we reach the balance that satisfies us and hopefully those who read our work.

Father, we're always desperate for you, for your direction, guidance, and peace. Help us to get our life right. In the Name of Jesus, Amen.