Something I'm hoping happens this week away from phones and the net--a week out of time, sort of--is some intensive reading. I'm taking two notebooks, two legal pads (and the laptop), and a whole bagful of books. Not one "how to write" book. Lots of poetry, because I've gotten out of the habit of thinking in poetry. But, as well, some good fiction. And some bad but fun fiction. I plan to go swimming in words, possibly out beyond my depth.

And then we'll see what happens.

Hey Ms. H.; Thanks for your comments.

And the guy she bought the girl from - he thought he was cheated, but didn't try to stop her? Just seems odd, unless our narrator was imposing/dangerous/something.

Here, the implication was supposed to be that his protests were for form's sake more than anything, and that she's been a trader long enough to know the value of the trade. I'll have to look at that. There are some things I *know* so may not have included that I thought were there.

As for the narration, I'm not comfortable changing that. I have a feeling you know far more about what you write than I do, that you're more careful, but, for me, story happens, and that's how it happened. I'll be thinking about it though. I may be able to incorporate what you said into the way I write in the future.

First law of crits: you don't have to do what your critter tells you. :)

Here, the implication was supposed to be that his protests were for form's sake more than anything, and that she's been a trader long enough to know the value of the trade.

Perfectly valid implication. I just didn't have much ground to deduce it from - don't recall it being mentioned anywhere that she knew the girl wasn't worth the asking price (has she dealt in slaves before, aside from being one?), or that accusations of cheating weren't taken seriously in that place/time.

It's the place/time. Or, more specifically, that particular place. I'm going to mull and see what I can do to make that clearer without making it look like I scribbled on calligraphy with a sharpie. I tend to be panicky/heavy-handed with edits.

Well, I gave in and put it up. I have the right to take it down again at any time, so I may as well. And Internet? Fast.

The Best Lack All Conviction: the "Infante's Inferno" Columns and Other Writings

Victor, the page is in favorites and the price is in the budget. I won't be your first purchaser, but I will purchase it.

I just wrote my first-ever explicit sex scene. I think it's more R than NC17, but still. It wasn't really difficult to write, but I have a sneaking suspicion it sucks and I'm the only person in the world who'd think it's sexy.

In a few days I might post it here and/or plead for volunteers to take a look at it. But I think I need to let it, and my brain, rest for a bit first.

I'd be willing, Susan.

I have a sneaking suspicion it sucks

It's porn , girl, it's supposed... oh, wait. :)

I left that one in on purpose after editing out a few accidental single entendres. :)

A very good writerly friend once told me "There are no new stories. Love. Quest. Revenge. Variations thereof. Pick one. "

I personally agree with this concept. The themes are old as hominds and emotion, it's the rest of the stage that changes.

When you say you can't find hte story, what precisely do you mean? Your erudite characters just find themselves together? Is "story" something different from "plot"? I rarely worry about a theme, but I can always find a reason for a character to get from point A to point B, the most melodramatic reason possible, hopefully. I can create an entire back story just from seeing two people glaring at each in the supermarket. Two or three, actually, ranging from "How dare he buy that brand of cat food again, he knows it gives little Froo-Froo gas" to "I know she's been fooling around with my brother, I just know it."

The people in my head are ever so much more interesting than the real ones.