Feo Takahari
Auror
We're typically told that each new speaker requires a new paragraph. Thus, long conversations between two characters fall into point-counterpoint with a new paragraph for each, creating an enjoyable rhythm that resembles a tennis match. This is typically maintained with three or more speakers, ex.
However, there are some cases when maintaining the point-counterpoint feel seems to require two speakers in the same paragraph, ex.
I'm doing this entirely by feel, but it seems like splitting it--putting "It's a memory" on one line, and "It's my past" on another--would throw the rhythm off a bit. What say you?
“What’s a dream-ward?” a small voice asked. Not far up the slope, a muddy-faced little girl in a sackcloth dress peered down at them.
“How in the world did you sneak up so quietly?” Keith asked.
A few seconds later, Tabitha added, “Hiya, little gal. They call me Tabitha, and this is my big bro Keith. What’s your name?”
However, there are some cases when maintaining the point-counterpoint feel seems to require two speakers in the same paragraph, ex.
“It feels great, doesn’t it, standing in the future of industry?” a man's voice boomed. “Millions of man-hours of physical labor, eliminated forever by machines. All we need to do is set them and fix them. The only missing link is that they’re still being controlled by [expletive] like you.”
“What is--” Price began.
“It’s a memory,” Melody said, at the same time that Wolf said,“It’s my past.”
I'm doing this entirely by feel, but it seems like splitting it--putting "It's a memory" on one line, and "It's my past" on another--would throw the rhythm off a bit. What say you?