Noooo! I haven't seen that one yet!

Stop tempting me. I must edit these documents.

Chicago's Most Wanted.

Heh. It really is that good.

Jilli, whatever you do, don't check Bonibaru's site.

www.bonibaru.com

So, I've a question for the writers (and the readers, should they have an opinion) out there: when you are writing, how much backstory/setting/etc. is in your head that never makes it to paper? I mean, I know I have a bunch of things--smells, sensations, sounds, that I experience when I'm writing that don't make it to text (okay, and yes, I mean things in the story, which is jarring as fuck). Fay called it "the wealth of background detail that's only just hinted at in your stories.", though I'm not sure if there really is a wealth of it. I know I will go in and take things out because I feel that it's too much, that I'm telling more than showing.

What about the rest of you?

Me, generally, I get only the sketchiest details about the scene. If a nice detail occurs to me, and a nice way to phrase it, it works its way into the story (unless there's no room, in which case I pout and stomp).

then there was the "It's the End of the World as We Know it" one

Oh, wasn't it great? I was grinning like a loon, because it was so clever-- and then-- see, 'cause I'd never seen The Gift, only read its script -- I started crying. Honestly. Christ, that's moving when you first see it. (And secondly see it. And thirdly see it. And I need to write that person feedback.)

when you are writing, how much backstory/setting/etc. is in your head that never makes it to paper? I mean, I know I have a bunch of things--smells, sensations, sounds, that I experience when I'm writing that don't make it to text

It depends on the story for me. Physical descriptions haven't been my strong suit so they tend to get left out of fuzzed over. I know once or twice during beta-ing it's been pointed out that I'm not being clear and I haven't realized it. I thought I was being clear but because I understand the character's motivations and have moved the text around and changed my mind a thousand times it makes sense to me.

Also it varies depending on if the story played out like a movie in my head or it was just told to me by the character. The X/S story was definitly played out in my head but I had a hard time capturing like I wanted to...I know the ending I had in mind was too visual and too much for television. The way I saw it originally in my head Xander was talking in the shadows either leaning on a building or just standing on the sidewalk and Spike was standing closer to the street in the halo of the street light. But I couldn't figure out how to bring that out at the time.

Other times, like with most of the Smallville stories, or Wes stalking Fred through the Hyperion, those were just voices in my head. Maybe an image or two all kind of dark and faded out so I can't really see what's going on.

I don't write a lot of plot and my stories are short so I don't think I give myself room to really develop a setting like I want to.

when you are writing, how much backstory/setting/etc. is in your head that never makes it to paper? I mean, I know I have a bunch of things--smells, sensations, sounds, that I experience when I'm writing that don't make it to text

In most cases, not enough. As you probably have seen, PMM, when I write the first thing I want to get down is the sounds, because I'm a very audio-orientated writer, but in my head I have all the other details as well, and I just don't get them down. Especially when, because I'm lazy, I use script format.

While watching Harry Potter 2 last night, all I could think was "I *must* read LOP!!!!"

Just wanted to mention that. Plan to read it soon.

Yes, you absolutely positively must read Lust Over Pendle , Teppy. For it is a jolly good thing.

Dana = evil.

Evil, evil, evil.

But the site is bookmarked, so next week when I'm the only person in the office, I can view things.

Evil, I tell you. Eeeeeeevil. Clovis would be proud.