Susan, is she the type of character who would feel guilty or otherwise convicted of her lack of mourning--in the way one would mourn a much beloved spouse?

Also, the pallet in the room with Alex and Helen...I know I haven't read all of your story, but are Alex and Helen married? If so, would she suggest she keep watch over the children, and given them the privacy of her bed, no matter how cramped?

That's beautiful stuff, Beverly.

Also, the pallet in the room with Alex and Helen...I know I haven't read all of your story, but are Alex and Helen married? If so, would she suggest she keep watch over the children, and given them the privacy of her bed, no matter how cramped?

That's a good idea.

Susan, is she the type of character who would feel guilty or otherwise convicted of her lack of mourning--in the way one would mourn a much beloved spouse?

Hmm. I think she's too pragmatic for that. What she would feel, though, is guilt over putting herself in a position where she can't feel more mournful. She'd wish with even greater strength than before that she hadn't rushed into the marriage, she'd reflect back and wonder if there was anything she could've done differently to enable them to find some kind of harmony, etc. Does that make sense?

I think I might have managed to find something to help me tie Anna's feelings back to my own life, and it was hinted at in this week's drabble--how I felt in the immediate aftermath of 9/11. It wasn't that I wasn't upset, stunned, and grieved--it's just that the way I expressed it, and what I felt should be appropriate institutional responses, were so out of synch with what came to be the general consensus that I kept saying the wrong things which resulted in everything from strange looks to out-and-out accusations that I was a heartless, shallow person who didn't grasp the scope of the tragedy. (That last because I was indignant that people wanted to cancel the rest of the baseball season.) I still get upset just thinking about it. Anyway, maybe I can do something with that out-of-synch feeling, though Anna's circumstances are different in that she knows the rules of being a widow, while AFAICT the only thing that made my 9/11 reactions "wrong" was the fact they ended up being a minority response to unprecedented events.

Susan, I also had some minority reactions to 9/11 and got the stares. I'm sitting her nodding.

A word of caution, though: keep a very close eye on just how much introspection you have her delving into. If she doesn't do more of it during the book, it will stick out like a sore thumb, and appear to be the author writing the author, not the character being the character. Also, if she is going to show those introspective tendencies throughout the book, be very careful about how you write Jack. Two introspective characters will stand a good shot of getting you raised eyebrows, and also have the potential to bury a lot of the action in the story itself.

Susan, I also had some minority reactions to 9/11 and got the stares. I'm sitting her nodding.

Deb, was it you with the Pentagon/Cthulhu comment, and the last thing the hijacker seeing was a big tentacle coming out of the Pentagon? I laughed my ASS off at that.

I had stopped loving my father long before he died, but I did feel a complicated set of emotions when he died. I was relieved. I was sad about his lost potential. I was sad that I hadn't had a better father. I felt guilty that I was not as upset as people seemed to expect me to be, even though I'm a pretty pragmatic person. When someone dies, you can be sad that they weren't what you thought they should be. At the funeral, I just remember feeling numb and thanking a lot of people for coming. I think numbness is pretty common under those circumstances.

Someone please tell me I'm not crazy and using epithets ('the blond detective', 'the young anthropologist') instead of the characters' names in dialogue tags, etc. can be really, really annoying.

For some reason, the use of them sets my teeth on edge. If the scene is from the point of view of someone who doesn't know the characters in question, fine. Most places I see it, though, the reader already knows what the characters look like, etc. It tends to come across as adding variety because all the writing books tell you you have to add variety, if that makes any sense.

Sorry to rant, but I fear I'm about to get involved in a feedback wrangle and I want to make sure I won't sound like a total whackaloon.

Deb, was it you with the Pentagon/Cthulhu comment, and the last thing the hijacker seeing was a big tentacle coming out of the Pentagon? I laughed my ASS off at that.

Me too! That was one of the funniest things I've ever read.

It find that annoying, Anne. It's acceptable once, to establish that he's blond or tall or whatever, but after that it annoys me. My theory is that dialogue tags are just to move the story along and make it clear who's speaking, and that writers start being annoying when they start thinking "I've used 'said' too much. I've used 'John' too much. Maybe I should use 'exclaimed the young detective.'"

Anne, I will back you up on the overwhelming annoyingness of "the blond detective" being used on a guy who already has a name. That goes double when it is "the titian-haired heiress" or "the sultry rake".

so out of synch with what came to be the general consensus that I kept saying the wrong things

I stayed home (alone) all that week for this very reason. (I mean I did not say the wrong things; I just removed myself from any situation in which I might be invited to say the wrong things. Because I had a suitcase full of them.)

Yeah, I think that only works when somebody is coming in from outside. Like in one of my fics, I have Jimmy McNulty, coming in to Gee's shift for the first time, refer to Kellerman as an "Opie-looking detective,"