View single post by Edd
 Posted: Fri Jan 16th, 2009 10:21 am
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Joined: Sat Jun 10th, 2006
Location: Denver, Colorado USA
Posts: 1646

Write just the one side and hear the other side in your head.  This will force you to make this end of the conversation clear.  Then polish the hell out of it.  If you do it well, the actor and the audience will know exactly what is being said on the other end. 

If you want an example, go to my website and then go to nearly the end of Act One of "Flowers out of Season."  There is a longish and crucial telephone conversation.  The character has a conversation with several others on the other end who get on the phone at different times.   This sort of thing, to keep it fluid, requires little to no overly-obvious exposition.

Something else just occurred to me.  It's not required, but it is helpful if some of the references, or allusions, used on this end of the conversation were set-up earlier in the text, as in the "Flower's" conversation---it lets the audience "in on it."