Mask drabble:
"It's a mask."
"No, it's not. It's a bra."
"No way. It's a mask. See, there are cut-outs here for the headlights and the grill. It's like a mask over the car's face."
"See the curves and the clips and the elastic and the straps? It's a bra. The only people who call them masks are salesmen and the suckers who just bought them. Take it back and try to get a refund."
"It'll protect the paint job."
"No, it won't. A little dust and a little vibration and it'll strip the clearcoat underneath it."
"It looks cool."
"It's not. Trust me."
Drabble (though I'm not sure I like it...)
“You should quit. You don’t have to take that.”
Eyeliner, dark grey today. It goes on thick and heavy, but it’s bold, so you leave it be.
“It’s a good job, and I’m not quitting just because Harris can be a jerk.”
Eyeshadow next. You pick a bright one, but you know it’s wrong after it’s on. He looks at you in the mirror, angry at Harris but swinging at you.
“You look like you’re wearing a clown mask.”
A dark drip slides down your pale cheek. You wear a mask, but Harris isn’t who makes you put it on.
Whenever I write something that wanders away from what I sat down to say, I end up feeling like it's not as good, because it wasn't what I was trying to say....
This writing a book thing is going to be hard... you can wander a lot farther afield in 50,000 words.
you can wander a lot farther afield in 50,000 words.
Turns out there can be some very interesting things in those fields, though.
Nothing wrong with wandering, in my world. I can't imagine not wandering; hell, that's where the interesting shit lives.
I'm getting my rejection letters back. Just about all of them say the same thing, "great voice, unsure where this fits."
Which is frustrating, because I can't figure out how to fix that.
You have a next-book idea, right, Allyson? Worst-case scenario may be that that's the one that has to sell first.
That's the worst-case scenario, Jesse. I'll need to lick my ego-wounds for a bit, though, before I get started on a new outline.
