Certainly not crap. Should we spend some time inventing horrible fictional torments for him?

Lordy. You people are writing some powerful stuff.

Damn, Sassy. And damn, Ginger. And DAMN, Kristin.

Could I get a clarification on something, though?

A drabble - as defined - is 100 words exactly. So, are we expanding the definition of drabble? Because the poems are sensational, and they should not, repeat NOT, be fiddled with, but they're nowhere near 100 words.

Are we redefining drabble, as a term? - (edit: or can we just use Teppy's themes, and play with them, which would also make me damned happy, and which is what I suspect we're doing?)

I wasn't drabbling, I was just getting stuff off my chest, and decided this was the best place to share. I probably should have clarified. While I think that the word limit in a drabble is necessary, this was the kind of thing i just needed to write without thinking about it too much.

No, no, Sassy - I totally got that. It was perfect, and powerful.

I meant, specifically, the poetry; is it OK with Teppy if we use the weekly theme for things other than precise 100-word drabbles?

A question for those who write in other time settings:

What is the most efficient/effective way of establishing location, both physical and temporal? With "Nessuno" I kept redoing the beginning, because I know not everyone is going to get the clues of Borgia Popes and the French invasion of Rome and go "Ah, Italian Renaissance." I was tempted to just put "1498" at the top of the story, which I've seen used a great deal, but that always strikes me as a little lazy somehow (but I've done it myself without a quibble). But it's unfair to the reader who lacks my background in history who might be getting more and more confused.

Also, how much description is necessary to establish that folks aren't wearing jeans and t-shirts, and how much is just self-indulgence in pretty clothes?

"Florence, twenty years after the reign of Lorenzo the Magnificent ended in turmoil...."

"London, sombre under an ash-grey sky, still bore the scars of the Great Plague..."

"The news was now official: the small island in the middle of the Seine would soon become to a great Cathedral, named for the Holy Mother..."

Events and landmarks, if you want to get it down early. But really, just paint a portrait of the place, and people it with characters that are true the time in which you're writing. If the thought patterns, societal mores and physical surroundings match, the reader will walk into it.

And truly? I have no trouble with listing the date, especially if the dates in the book are changing. The prologue to Famous Flower isn't historical - it's a three-page incident involving a homeless man in London in 1979 - but the rest of the book is in the right-now. I began the prologue with:

On a raw January night in 1979, a homeless man and a small dog wandered into a nameless alley off Bouverie Street in the City, and prepared to set up sleeping quarters.

It was brutally cold. Europe was seeing one of its worst winter seasons in half a century, and Londoners were currently miserable, dealing with iced-over streets and an incessant windy downpour of sleet that needled the skin and made safe walking an impossibility. Few people willingly came outdoors in this weather, but the homeless man, a beggar of many years standing, had no choice in the matter.

First paragraph gives you the date, the scenario and the character; the second fills in some background.

A drabble - as defined - is 100 words exactly. So, are we expanding the definition of drabble? Because the poems are sensational, and they should not, repeat NOT, be fiddled with, but they're nowhere near 100 words.

Oh, my misunderstanding--I thought a drabble was under 100 words.

(grinning at Kristin in total exhaustion)

Nope - the whole reason they're such a great self-discipline tool is because they have a precise word count. The discipline comes in the "107 words! SHIT! What do I cut?" aspect.

That's why I think it would mess up some perfect poetry, trying to trim or add.

Events and landmarks, if you want to get it down early. But really, just paint a portrait of the place, and people it with characters that are true the time in which you're writing. If the thought patterns, societal mores and physical surroundings match, the reader will walk into it.

So you don't think the completely unsuspecting reader would feel adrift? Of course, most readers won't start reading something without having some clue of what's going on, be it from a summary on a web page or the blurb on the book. I don't know why I'm obsessed by the idea of a reader coming to the text completely cold and how to pull them into the story.

This, I think, is part of the phenomenon of a writer being aware of techniques that are subliminal to a reader.