Split (1)

train · 10.4M rows

ngram listlengths 0 10.5k
[ "The problem is that I cannot find words to replace the two, and", "it extremely difficult and confusing to understand. Is there a way for me", "obvious. The problem is that I cannot find words to replace the two,", "too much, and it's really obvious. The problem is that I cannot find", "understand. Is there a way for me to stop using them so much?", "Is there a way for me to stop using them so much? Is", "there a way for me to stop using them so much? Is there", "for me to stop using them so much? Is there a way to", "cannot find words to replace the two, and when I do, it always", "portray, making it extremely difficult and confusing to understand. Is there a way", "I'm trying to portray, making it extremely difficult and confusing to understand. Is", "uses 'I' and 'I'm' way too much, and it's really obvious. The problem", "is that I cannot find words to replace the two, and when I", "to understand. Is there a way for me to stop using them so", "and when I do, it always changes and bends what I'm trying to", "to stop using them so much? Is there a way to make them", "'I' and 'I'm' way too much, and it's really obvious. The problem is", "extremely difficult and confusing to understand. Is there a way for me to", "much? Is there a way to make them less noticeable and less obvious?", "what I'm trying to portray, making it extremely difficult and confusing to understand.", "a way for me to stop using them so much? Is there a", "find words to replace the two, and when I do, it always changes", "story I'm writing uses 'I' and 'I'm' way too much, and it's really", "I cannot find words to replace the two, and when I do, it", "difficult and confusing to understand. Is there a way for me to stop", "me to stop using them so much? Is there a way to make", "them so much? Is there a way to make them less noticeable and", "using them so much? Is there a way to make them less noticeable", "trying to portray, making it extremely difficult and confusing to understand. Is there", "writing uses 'I' and 'I'm' way too much, and it's really obvious. The", "making it extremely difficult and confusing to understand. Is there a way for", "bends what I'm trying to portray, making it extremely difficult and confusing to", "and bends what I'm trying to portray, making it extremely difficult and confusing", "the two, and when I do, it always changes and bends what I'm", "and it's really obvious. The problem is that I cannot find words to", "that I cannot find words to replace the two, and when I do,", "'I'm' way too much, and it's really obvious. The problem is that I", "really obvious. The problem is that I cannot find words to replace the", "it always changes and bends what I'm trying to portray, making it extremely", "stop using them so much? Is there a way to make them less", "replace the two, and when I do, it always changes and bends what", "words to replace the two, and when I do, it always changes and", "always changes and bends what I'm trying to portray, making it extremely difficult", "to replace the two, and when I do, it always changes and bends", "so much? Is there a way to make them less noticeable and less", "do, it always changes and bends what I'm trying to portray, making it", "and 'I'm' way too much, and it's really obvious. The problem is that", "confusing to understand. Is there a way for me to stop using them", "problem is that I cannot find words to replace the two, and when", "way for me to stop using them so much? Is there a way", "The story I'm writing uses 'I' and 'I'm' way too much, and it's", "way too much, and it's really obvious. The problem is that I cannot", "two, and when I do, it always changes and bends what I'm trying", "I do, it always changes and bends what I'm trying to portray, making", "I'm writing uses 'I' and 'I'm' way too much, and it's really obvious.", "much, and it's really obvious. The problem is that I cannot find words", "when I do, it always changes and bends what I'm trying to portray,", "it's really obvious. The problem is that I cannot find words to replace", "and confusing to understand. Is there a way for me to stop using", "changes and bends what I'm trying to portray, making it extremely difficult and", "to portray, making it extremely difficult and confusing to understand. Is there a" ]
[ "now is ~10000 words and I want my vocabulary to be as big", "I want to have the ability to manipulate words. I mean SUPERIOR vocabulary.", "is ~10000 words and I want my vocabulary to be as big as", "I want my vocabulary to be as big as a professional writer, I", "to be as big as a professional writer, I want to have the", "words and I want my vocabulary to be as big as a professional", "as a professional writer, I want to have the ability to manipulate words.", "size right now is ~10000 words and I want my vocabulary to be", "vocabulary size right now is ~10000 words and I want my vocabulary to", "as big as a professional writer, I want to have the ability to", "my vocabulary to be as big as a professional writer, I want to", "want my vocabulary to be as big as a professional writer, I want", "right now is ~10000 words and I want my vocabulary to be as", "a professional writer, I want to have the ability to manipulate words. I", "writer, I want to have the ability to manipulate words. I mean SUPERIOR", "and I want my vocabulary to be as big as a professional writer,", "professional writer, I want to have the ability to manipulate words. I mean", "vocabulary to be as big as a professional writer, I want to have", "be as big as a professional writer, I want to have the ability", "~10000 words and I want my vocabulary to be as big as a", "My vocabulary size right now is ~10000 words and I want my vocabulary", "big as a professional writer, I want to have the ability to manipulate" ]
[ "My question, and confusion, is caused by the contradictions of the multiple definitions.", "two-dimensional character is character that shows a little, and not very complex, emotions", "arc. However, he also said that a flat character represents an idea, by", "being unchanging, almost like a force of nature. This feature however, only requires", "whilst also being three-dimensional, naturally. EDIT 2: I think I have to be", "requires their arc being flat. In fact, in stories where the flat arc", "necessarily two-dimensional. From [this Britannica definition](https://www.britannica.com/art/flat-character), who defines the term in the first", "that according to Britannica, E. M. Forster said a flat character is someone", "a force of nature. This feature however, only requires their arc being flat.", "after misuse, are now ambiguous? EDIT: I forgot to mention these further confuddling", "is used for a character that is both two-dimensional and has a flat", "I hear two-dimensional character explained flat character. Other times, I hear flat character", "The Britannica definition cites E. M. Forster. That means that according to Britannica,", "and/or traits. However, sometimes, I hear two-dimensional character explained flat character. Other times,", "This feature however, only requires their arc being flat. In fact, in stories", "character* explained as a character that has a flat arc, but one that's", "I have to be clearer. My question, and confusion, is caused by the", "understand it, the term flat character is used for a character that is", "flat character is used for a character that is both two-dimensional and has", "has a flat arc, but one that's not necessarily two-dimensional. From [this Britannica", "I understand it, the term flat character is used for a character that", "to be clearer. My question, and confusion, is caused by the contradictions of", "is different from the two featured in my question: which definition, if any,", "force of nature. This feature however, only requires their arc being flat. In", "further confuddling details. The Britannica definition cites E. M. Forster. That means that", "character that shows a little, and not very complex, emotions and/or traits. However,", "a flat arc, but one that's not necessarily two-dimensional. From [this Britannica definition](https://www.britannica.com/art/flat-character),", "who defines the term in the first way, I suspect that maybe this", "shows a little, and not very complex, emotions and/or traits. However, sometimes, I", "I think I have to be clearer. My question, and confusion, is caused", "it is different from the two featured in my question: which definition, if", "From [this Britannica definition](https://www.britannica.com/art/flat-character), who defines the term in the first way, I", "Forster said a flat character is someone who is both two-dimensional and has", "term flat character is used for a character that is both two-dimensional and", "However, sometimes, I hear two-dimensional character explained flat character. Other times, I hear", "a flat character represents an idea, by being unchanging, almost like a force", "that a flat character represents an idea, by being unchanging, almost like a", "the first way, I suspect that maybe this is a case of these", "the term in the first way, I suspect that maybe this is a", "character represents an idea, by being unchanging, almost like a force of nature.", "one that's not necessarily two-dimensional. From [this Britannica definition](https://www.britannica.com/art/flat-character), who defines the term", "being flat. In fact, in stories where the flat arc belongs the MC,", "suspect that maybe this is a case of these terms originally being well-defined,", "That means that according to Britannica, E. M. Forster said a flat character", "fact, in stories where the flat arc belongs the MC, they are often", "as a character that has a flat arc, but one that's not necessarily", "E. M. Forster said a flat character is someone who is both two-dimensional", "hear two-dimensional character explained flat character. Other times, I hear flat character explained", "belongs the MC, they are often representative of an idea, yet whilst also", "Britannica, E. M. Forster said a flat character is someone who is both", "is both two-dimensional and has a flat character arc. However, he also said", "any, is correct? What is the original definition? What definition is given by", "not very complex, emotions and/or traits. However, sometimes, I hear two-dimensional character explained", "I forgot to mention these further confuddling details. The Britannica definition cites E.", "defines the term in the first way, I suspect that maybe this is", "correct? What is the original definition? What definition is given by the most", "also being three-dimensional, naturally. EDIT 2: I think I have to be clearer.", "of the multiple definitions. @Phillip's answer provides another definition, but doesn't explain why", "flat. In fact, in stories where the flat arc belongs the MC, they", "by the contradictions of the multiple definitions. @Phillip's answer provides another definition, but", "the term flat character is used for a character that is both two-dimensional", "the two featured in my question: which definition, if any, is correct? What", "two-dimensional. From [this Britannica definition](https://www.britannica.com/art/flat-character), who defines the term in the first way,", "Other times, I hear flat character explained as a character that has a", "but one that's not necessarily two-dimensional. From [this Britannica definition](https://www.britannica.com/art/flat-character), who defines the", "two-dimensional and has a flat character arc. Here, a two-dimensional character is character", "first way, I suspect that maybe this is a case of these terms", "this is a case of these terms originally being well-defined, but after misuse,", "who is both two-dimensional and has a flat character arc. However, he also", "confusion, is caused by the contradictions of the multiple definitions. @Phillip's answer provides", "only requires their arc being flat. In fact, in stories where the flat", "according to Britannica, E. M. Forster said a flat character is someone who", "both two-dimensional and has a flat character arc. However, he also said that", "very complex, emotions and/or traits. However, sometimes, I hear two-dimensional character explained flat", "cites E. M. Forster. That means that according to Britannica, E. M. Forster", "he also said that a flat character represents an idea, by being unchanging,", "question: which definition, if any, is correct? What is the original definition? What", "flat character. Other times, I hear flat character* explained as a character that", "definition cites E. M. Forster. That means that according to Britannica, E. M.", "However, he also said that a flat character represents an idea, by being", "nature. This feature however, only requires their arc being flat. In fact, in", "that maybe this is a case of these terms originally being well-defined, but", "arc. Here, a two-dimensional character is character that shows a little, and not", "E. M. Forster. That means that according to Britannica, E. M. Forster said", "has a flat character arc. Here, a two-dimensional character is character that shows", "that shows a little, and not very complex, emotions and/or traits. However, sometimes,", "I hear flat character explained as a character that has a flat arc,", "is a case of these terms originally being well-defined, but after misuse, are", "are often representative of an idea, yet whilst also being three-dimensional, naturally. EDIT", "definitions. @Phillip's answer provides another definition, but doesn't explain why it is different", "are now ambiguous? EDIT:** I forgot to mention these further confuddling details. The", "a little, and not very complex, emotions and/or traits. However, sometimes, I hear", "is character that shows a little, and not very complex, emotions and/or traits.", "contradictions of the multiple definitions. @Phillip's answer provides another definition, but doesn't explain", "definition, but doesn't explain why it is different from the two featured in", "hear flat character explained as a character that has a flat arc, but", "used for a character that is both two-dimensional and has a flat character", "explain why it is different from the two featured in my question: which", "almost like a force of nature. This feature however, only requires their arc", "represents an idea, by being unchanging, almost like a force of nature. This", "character is someone who is both two-dimensional and has a flat character arc.", "however, only requires their arc being flat. In fact, in stories where the", "is the original definition? What definition is given by the most authoritative sources?", "an idea, by being unchanging, almost like a force of nature. This feature", "[this Britannica definition](https://www.britannica.com/art/flat-character), who defines the term in the first way, I suspect", "feature however, only requires their arc being flat. In fact, in stories where", "complex, emotions and/or traits. However, sometimes, I hear two-dimensional character explained flat character.", "that is both two-dimensional and has a flat character arc. Here, a two-dimensional", "idea, yet whilst also being three-dimensional, naturally. EDIT 2:* I think I have", "is caused by the contradictions of the multiple definitions. @Phillip's answer provides another", "little, and not very complex, emotions and/or traits. However, sometimes, I hear two-dimensional", "means that according to Britannica, E. M. Forster said a flat character is", "ambiguous? EDIT:* I forgot to mention these further confuddling details. The Britannica definition", "arc belongs the MC, they are often representative of an idea, yet whilst", "of these terms originally being well-defined, but after misuse, are now ambiguous? EDIT:", "M. Forster. That means that according to Britannica, E. M. Forster said a", "the multiple definitions. @Phillip's answer provides another definition, but doesn't explain why it", "someone who is both two-dimensional and has a flat character arc. However, he", "character* is used for a character that is both two-dimensional and has a", "by being unchanging, almost like a force of nature. This feature however, only", "MC, they are often representative of an idea, yet whilst also being three-dimensional,", "being well-defined, but after misuse, are now ambiguous? EDIT: I forgot to mention", "the MC, they are often representative of an idea, yet whilst also being", "arc, but one that's not necessarily two-dimensional. From [this Britannica definition](https://www.britannica.com/art/flat-character), who defines", "they are often representative of an idea, yet whilst also being three-dimensional, naturally.", "a case of these terms originally being well-defined, but after misuse, are now", "definition](https://www.britannica.com/art/flat-character), who defines the term in the first way, I suspect that maybe", "the contradictions of the multiple definitions. @Phillip's answer provides another definition, but doesn't", "like a force of nature. This feature however, only requires their arc being", "where the flat arc belongs the MC, they are often representative of an", "my question: which definition, if any, is correct? What is the original definition?", "these further confuddling details. The Britannica definition cites E. M. Forster. That means", "emotions and/or traits. However, sometimes, I hear two-dimensional character explained flat character. Other", "character arc. Here, a two-dimensional character is character that shows a little, and", "misuse, are now ambiguous? EDIT: I forgot to mention these further confuddling details.", "Forster. That means that according to Britannica, E. M. Forster said a flat", "flat arc, but one that's not necessarily two-dimensional. From [this Britannica definition](https://www.britannica.com/art/flat-character), who", "being three-dimensional, naturally. EDIT 2: I think I have to be clearer. My", "have to be clearer. My question, and confusion, is caused by the contradictions", "these terms originally being well-defined, but after misuse, are now ambiguous? EDIT: I", "said a flat character is someone who is both two-dimensional and has a", "their arc being flat. In fact, in stories where the flat arc belongs", "character* explained flat character. Other times, I hear flat character explained as a", "character. Other times, I hear flat character* explained as a character that has", "flat character arc. However, he also said that a flat character represents an", "In fact, in stories where the flat arc belongs the MC, they are", "two-dimensional and has a flat character arc. However, he also said that a", "way I understand it, the term flat character is used for a character", "question, and confusion, is caused by the contradictions of the multiple definitions. @Phillip's", "in the first way, I suspect that maybe this is a case of", "unchanging, almost like a force of nature. This feature however, only requires their", "originally being well-defined, but after misuse, are now ambiguous? EDIT: I forgot to", "think I have to be clearer. My question, and confusion, is caused by", "Britannica definition](https://www.britannica.com/art/flat-character), who defines the term in the first way, I suspect that", "different from the two featured in my question: which definition, if any, is", "times, I hear flat character explained as a character that has a flat", "flat character explained as a character that has a flat arc, but one", "but after misuse, are now ambiguous? EDIT: I forgot to mention these further", "it, the term flat character is used for a character that is both", "multiple definitions. @Phillip's answer provides another definition, but doesn't explain why it is", "featured in my question: which definition, if any, is correct? What is the", "2: I think I have to be clearer. My question, and confusion, is", "is someone who is both two-dimensional and has a flat character arc. However,", "flat character is someone who is both two-dimensional and has a flat character", "a character that is both two-dimensional and has a flat character arc. Here,", "in stories where the flat arc belongs the MC, they are often representative", "both** two-dimensional and has a flat character arc. Here, a two-dimensional character is", "Here, a two-dimensional character is character that shows a little, and not very", "arc being flat. In fact, in stories where the flat arc belongs the", "stories where the flat arc belongs the MC, they are often representative of", "from the two featured in my question: which definition, if any, is correct?", "way, I suspect that maybe this is a case of these terms originally", "to Britannica, E. M. Forster said a flat character is someone who is", "answer provides another definition, but doesn't explain why it is different from the", "not necessarily two-dimensional. From [this Britannica definition](https://www.britannica.com/art/flat-character), who defines the term in the", "representative of an idea, yet whilst also being three-dimensional, naturally. EDIT 2: I", "clearer. My question, and confusion, is caused by the contradictions of the multiple", "What is the original definition? What definition is given by the most authoritative", "M. Forster said a flat character is someone who is both two-dimensional and", "an idea, yet whilst also being three-dimensional, naturally. EDIT 2: I think I", "The way I understand it, the term flat character is used for a", "explained as a character that has a flat arc, but one that's not", "case of these terms originally being well-defined, but after misuse, are now ambiguous?", "two-dimensional character explained flat character. Other times, I hear flat character explained as", "three-dimensional, naturally. EDIT 2: I think I have to be clearer. My question,", "also said that a flat character represents an idea, by being unchanging, almost", "in my question: which definition, if any, is correct? What is the original", "yet whilst also being three-dimensional, naturally. EDIT 2: I think I have to", "character* is character that shows a little, and not very complex, emotions and/or", "term in the first way, I suspect that maybe this is a case", "details. The Britannica definition cites E. M. Forster. That means that according to", "a flat character arc. However, he also said that a flat character represents", "but doesn't explain why it is different from the two featured in my", "explained flat character. Other times, I hear flat character explained as a character", "provides another definition, but doesn't explain why it is different from the two", "traits. However, sometimes, I hear two-dimensional character explained flat character. Other times, I", "of nature. This feature however, only requires their arc being flat. In fact,", "a two-dimensional character is character that shows a little, and not very complex,", "forgot to mention these further confuddling details. The Britannica definition cites E. M.", "of an idea, yet whilst also being three-dimensional, naturally. EDIT 2: I think", "character that is both two-dimensional and has a flat character arc. Here, a", "now ambiguous? EDIT: I forgot to mention these further confuddling details. The Britannica", "which definition, if any, is correct? What is the original definition? What definition", "often representative of an idea, yet whilst also being three-dimensional, naturally. EDIT 2:", "a character that has a flat arc, but one that's not necessarily two-dimensional.", "that has a flat arc, but one that's not necessarily two-dimensional. From [this", "naturally. EDIT 2: I think I have to be clearer. My question, and", "why it is different from the two featured in my question: which definition,", "another definition, but doesn't explain why it is different from the two featured", "I suspect that maybe this is a case of these terms originally being", "character that has a flat arc, but one that's not necessarily two-dimensional. From", "mention these further confuddling details. The Britannica definition cites E. M. Forster. That", "the flat arc belongs the MC, they are often representative of an idea,", "if any, is correct? What is the original definition? What definition is given", "be clearer. My question, and confusion, is caused by the contradictions of the", "a flat character arc. Here, a two-dimensional character is character that shows a", "and has a flat character arc. However, he also said that a flat", "has a flat character arc. However, he also said that a flat character", "and has a flat character arc. Here, a two-dimensional character is character that", "to mention these further confuddling details. The Britannica definition cites E. M. Forster.", "said that a flat character represents an idea, by being unchanging, almost like", "and confusion, is caused by the contradictions of the multiple definitions. @Phillip's answer", "caused by the contradictions of the multiple definitions. @Phillip's answer provides another definition,", "and not very complex, emotions and/or traits. However, sometimes, I hear two-dimensional character", "definition, if any, is correct? What is the original definition? What definition is", "sometimes, I hear two-dimensional character explained flat character. Other times, I hear flat", "is both* two-dimensional and has a flat character arc. Here, a two-dimensional character", "idea, by being unchanging, almost like a force of nature. This feature however,", "well-defined, but after misuse, are now ambiguous? EDIT: I forgot to mention these", "for a character that is both two-dimensional and has a flat character arc.", "maybe this is a case of these terms originally being well-defined, but after", "flat character arc. Here, a two-dimensional character is character that shows a little,", "EDIT 2: I think I have to be clearer. My question, and confusion,", "doesn't explain why it is different from the two featured in my question:", "character arc. However, he also said that a flat character represents an idea,", "is correct? What is the original definition? What definition is given by the", "flat character represents an idea, by being unchanging, almost like a force of", "a flat character is someone who is both two-dimensional and has a flat", "confuddling details. The Britannica definition cites E. M. Forster. That means that according", "flat arc belongs the MC, they are often representative of an idea, yet", "terms originally being well-defined, but after misuse, are now ambiguous? EDIT: I forgot", "Britannica definition cites E. M. Forster. That means that according to Britannica, E.", "that's not necessarily two-dimensional. From [this Britannica definition](https://www.britannica.com/art/flat-character), who defines the term in", "EDIT: I forgot to mention these further confuddling details. The Britannica definition cites", "@Phillip's answer provides another definition, but doesn't explain why it is different from", "two featured in my question: which definition, if any, is correct? What is" ]
[ "could happen next. In many cases this is fun and a desirable outcome.", "goal of making it harder to anticipate what happens next. Although, since the", "create anxiety. That is to say, the corollary of Chechov's Gun is you", "principles like [Chechov's Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun). However, in my opinion at least, this would create", "blindside them. Question -------- Is it still considered professional to use a \"square/jigsaw\"", "more effective environment to create anxiety. That is to say, the corollary of", "the stories I've read, the plot development tends to follow a smooth curve.", "plot development tends to follow a smooth curve. This has obvious advantages given", "below: [![enter image description here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png) I would imagine this would accomplish my goal", "reader but totally blindside them. Question -------- Is it still considered professional to", "what happens next. Although, since the troughs would have substantial details -- many", "a smooth curve. This has obvious advantages given the reader can start to", "the corollary of Chechov's Gun is you have to show more of your", "given the reader can start to use his/her imagination more, anticipating/worrying about what", "may want to if you want not just to surprise the reader but", "I've read, the plot development tends to follow a smooth curve. This has", "tends to follow a smooth curve. This has obvious advantages given the reader", "details -- many without substantial implications -- this would be transgressing against certain", "is you have to show more of your hand than you may want", "-------- Is it still considered professional to use a \"square/jigsaw\" plot development cycle?", "substantial details -- many without substantial implications -- this would be transgressing against", "say, the corollary of Chechov's Gun is you have to show more of", "Although, since the troughs would have substantial details -- many without substantial implications", "Is it still considered professional to use a \"square/jigsaw\" plot development cycle? What", "That is to say, the corollary of Chechov's Gun is you have to", "\"square/jigsaw\" plot development cycle? What prominent pieces stand out among this category in", "plot development cycle? What prominent pieces stand out among this category in the", "you have to show more of your hand than you may want to", "to show more of your hand than you may want to if you", "[Chechov's Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun). However, in my opinion at least, this would create a more", "making it harder to anticipate what happens next. Although, since the troughs would", "read, the plot development tends to follow a smooth curve. This has obvious", "might it not be better to throw the reader into the fray with", "many without substantial implications -- this would be transgressing against certain principles like", "of the stories I've read, the plot development tends to follow a smooth", "use his/her imagination more, anticipating/worrying about what could happen next. In many cases", "here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png) I would imagine this would accomplish my goal of making it harder", "a \"square/jigsaw\" plot development cycle? What prominent pieces stand out among this category", "this would be transgressing against certain principles like [Chechov's Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun). However, in my", "show more of your hand than you may want to if you want", "a more effective environment to create anxiety. That is to say, the corollary", "the reader into the fray with a more jagged plot development curve. Take", "\"square\" series below: [![enter image description here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png) I would imagine this would accomplish", "in my opinion at least, this would create a more effective environment to", "this would accomplish my goal of making it harder to anticipate what happens", "be transgressing against certain principles like [Chechov's Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun). However, in my opinion at", "fray with a more jagged plot development curve. Take the \"square\" series below:", "However, in my opinion at least, this would create a more effective environment", "can start to use his/her imagination more, anticipating/worrying about what could happen next.", "effective environment to create anxiety. That is to say, the corollary of Chechov's", "I would imagine this would accomplish my goal of making it harder to", "to if you want not just to surprise the reader but totally blindside", "against certain principles like [Chechov's Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun). However, in my opinion at least, this", "to surprise the reader but totally blindside them. Question -------- Is it still", "fun and a desirable outcome. However, in some applications might it not be", "to create anxiety. That is to say, the corollary of Chechov's Gun is", "of making it harder to anticipate what happens next. Although, since the troughs", "would be transgressing against certain principles like [Chechov's Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun). However, in my opinion", "what could happen next. In many cases this is fun and a desirable", "obvious advantages given the reader can start to use his/her imagination more, anticipating/worrying", "imagine this would accomplish my goal of making it harder to anticipate what", "more jagged plot development curve. Take the \"square\" series below: [![enter image description", "his/her imagination more, anticipating/worrying about what could happen next. In many cases this", "follow a smooth curve. This has obvious advantages given the reader can start", "of Chechov's Gun is you have to show more of your hand than", "them. Question -------- Is it still considered professional to use a \"square/jigsaw\" plot", "create a more effective environment to create anxiety. That is to say, the", "substantial implications -- this would be transgressing against certain principles like [Chechov's Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun).", "the troughs would have substantial details -- many without substantial implications -- this", "if you want not just to surprise the reader but totally blindside them.", "better to throw the reader into the fray with a more jagged plot", "more, anticipating/worrying about what could happen next. In many cases this is fun", "outcome. However, in some applications might it not be better to throw the", "to anticipate what happens next. Although, since the troughs would have substantial details", "some applications might it not be better to throw the reader into the", "the plot development tends to follow a smooth curve. This has obvious advantages", "jagged plot development curve. Take the \"square\" series below: [![enter image description here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png)", "reader can start to use his/her imagination more, anticipating/worrying about what could happen", "many cases this is fun and a desirable outcome. However, in some applications", "next. Although, since the troughs would have substantial details -- many without substantial", "but totally blindside them. Question -------- Is it still considered professional to use", "you may want to if you want not just to surprise the reader", "most of the stories I've read, the plot development tends to follow a", "Gun is you have to show more of your hand than you may", "my goal of making it harder to anticipate what happens next. Although, since", "stories I've read, the plot development tends to follow a smooth curve. This", "it harder to anticipate what happens next. Although, since the troughs would have", "my opinion at least, this would create a more effective environment to create", "development cycle? What prominent pieces stand out among this category in the literature?", "has obvious advantages given the reader can start to use his/her imagination more,", "anticipating/worrying about what could happen next. In many cases this is fun and", "about what could happen next. In many cases this is fun and a", "is fun and a desirable outcome. However, in some applications might it not", "not just to surprise the reader but totally blindside them. Question -------- Is", "into the fray with a more jagged plot development curve. Take the \"square\"", "the \"square\" series below: [![enter image description here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png) I would imagine this would", "development tends to follow a smooth curve. This has obvious advantages given the", "accomplish my goal of making it harder to anticipate what happens next. Although,", "plot development curve. Take the \"square\" series below: [![enter image description here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png) I", "environment to create anxiety. That is to say, the corollary of Chechov's Gun", "it not be better to throw the reader into the fray with a", "your hand than you may want to if you want not just to", "Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun). However, in my opinion at least, this would create a more effective", "corollary of Chechov's Gun is you have to show more of your hand", "This has obvious advantages given the reader can start to use his/her imagination", "the reader can start to use his/her imagination more, anticipating/worrying about what could", "to use his/her imagination more, anticipating/worrying about what could happen next. In many", "considered professional to use a \"square/jigsaw\" plot development cycle? What prominent pieces stand", "totally blindside them. Question -------- Is it still considered professional to use a", "smooth curve. This has obvious advantages given the reader can start to use", "surprise the reader but totally blindside them. Question -------- Is it still considered", "advantages given the reader can start to use his/her imagination more, anticipating/worrying about", "However, in some applications might it not be better to throw the reader", "this is fun and a desirable outcome. However, in some applications might it", "just to surprise the reader but totally blindside them. Question -------- Is it", "still considered professional to use a \"square/jigsaw\" plot development cycle? What prominent pieces", "to use a \"square/jigsaw\" plot development cycle? What prominent pieces stand out among", "In many cases this is fun and a desirable outcome. However, in some", "to throw the reader into the fray with a more jagged plot development", "have substantial details -- many without substantial implications -- this would be transgressing", "since the troughs would have substantial details -- many without substantial implications --", "more of your hand than you may want to if you want not", "next. In many cases this is fun and a desirable outcome. However, in", "of your hand than you may want to if you want not just", "to follow a smooth curve. This has obvious advantages given the reader can", "Take the \"square\" series below: [![enter image description here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png) I would imagine this", "and a desirable outcome. However, in some applications might it not be better", "have to show more of your hand than you may want to if", "Question -------- Is it still considered professional to use a \"square/jigsaw\" plot development", "implications -- this would be transgressing against certain principles like [Chechov's Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun). However,", "curve. This has obvious advantages given the reader can start to use his/her", "cases this is fun and a desirable outcome. However, in some applications might", "a more jagged plot development curve. Take the \"square\" series below: [![enter image", "applications might it not be better to throw the reader into the fray", "-- this would be transgressing against certain principles like [Chechov's Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun). However, in", "in some applications might it not be better to throw the reader into", "imagination more, anticipating/worrying about what could happen next. In many cases this is", "be better to throw the reader into the fray with a more jagged", "certain principles like [Chechov's Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun). However, in my opinion at least, this would", "this would create a more effective environment to create anxiety. That is to", "a desirable outcome. However, in some applications might it not be better to", "least, this would create a more effective environment to create anxiety. That is", "professional to use a \"square/jigsaw\" plot development cycle? What prominent pieces stand out", "Chechov's Gun is you have to show more of your hand than you", "troughs would have substantial details -- many without substantial implications -- this would", "the reader but totally blindside them. Question -------- Is it still considered professional", "like [Chechov's Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun). However, in my opinion at least, this would create a", "development curve. Take the \"square\" series below: [![enter image description here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png) I would", "reader into the fray with a more jagged plot development curve. Take the", "curve. Take the \"square\" series below: [![enter image description here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png) I would imagine", "would have substantial details -- many without substantial implications -- this would be", "anticipate what happens next. Although, since the troughs would have substantial details --", "From most of the stories I've read, the plot development tends to follow", "the fray with a more jagged plot development curve. Take the \"square\" series", "-- many without substantial implications -- this would be transgressing against certain principles", "[![enter image description here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png) I would imagine this would accomplish my goal of", "want not just to surprise the reader but totally blindside them. Question --------", "with a more jagged plot development curve. Take the \"square\" series below: [![enter", "throw the reader into the fray with a more jagged plot development curve.", "anxiety. That is to say, the corollary of Chechov's Gun is you have", "without substantial implications -- this would be transgressing against certain principles like [Chechov's", "description here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png) I would imagine this would accomplish my goal of making it", "opinion at least, this would create a more effective environment to create anxiety.", "you want not just to surprise the reader but totally blindside them. Question", "it still considered professional to use a \"square/jigsaw\" plot development cycle? What prominent", "want to if you want not just to surprise the reader but totally", "would imagine this would accomplish my goal of making it harder to anticipate", "transgressing against certain principles like [Chechov's Gun](https://en.wikipedia.org/wiki/Chekhov%27s_gun). However, in my opinion at least,", "harder to anticipate what happens next. Although, since the troughs would have substantial", "not be better to throw the reader into the fray with a more", "would create a more effective environment to create anxiety. That is to say,", "at least, this would create a more effective environment to create anxiety. That", "than you may want to if you want not just to surprise the", "start to use his/her imagination more, anticipating/worrying about what could happen next. In", "is to say, the corollary of Chechov's Gun is you have to show", "use a \"square/jigsaw\" plot development cycle? What prominent pieces stand out among this", "hand than you may want to if you want not just to surprise", "series below: [![enter image description here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png) I would imagine this would accomplish my", "happen next. In many cases this is fun and a desirable outcome. However,", "desirable outcome. However, in some applications might it not be better to throw", "would accomplish my goal of making it harder to anticipate what happens next.", "to say, the corollary of Chechov's Gun is you have to show more", "image description here](https://i.stack.imgur.com/10MQ2.png)](https://i.stack.imgur.com/10MQ2.png) I would imagine this would accomplish my goal of making", "happens next. Although, since the troughs would have substantial details -- many without" ]
[ "function words (demonstratives/conjunctions). Is this a bad habit? It seems to cause lack", "song a lot of times I find it easier to sing if I", "words (demonstratives/conjunctions). Is this a bad habit? It seems to cause lack of", "also get tired of using the word 'and' so often. ``` Example: When", "(that) I guess I didn't have the time (but) that is how I", "I didn't have the time (but) that is how I almost died (and)", "'and' so often. ``` Example: When I went outside my home I had", "see it done a lot in poetry. I also get tired of using", "find it easier to sing if I leave out function words (demonstratives/conjunctions). Is", "verse for a song a lot of times I find it easier to", "seems to cause lack of clarity but I see it done a lot", "When I went outside my home I had a feeling, something wasn't right.", "right. (that) I guess I didn't have the time (but) that is how", "I also get tired of using the word 'and' so often. ``` Example:", "a bad habit? It seems to cause lack of clarity but I see", "a song a lot of times I find it easier to sing if", "habit? It seems to cause lack of clarity but I see it done", "for a song a lot of times I find it easier to sing", "easier to sing if I leave out function words (demonstratives/conjunctions). Is this a", "home I had a feeling, something wasn't right. (that) I guess I didn't", "writing a verse for a song a lot of times I find it", "of clarity but I see it done a lot in poetry. I also", "It seems to cause lack of clarity but I see it done a", "clarity but I see it done a lot in poetry. I also get", "Is this a bad habit? It seems to cause lack of clarity but", "so often. ``` Example: When I went outside my home I had a", "wasn't right. (that) I guess I didn't have the time (but) that is", "a feeling, something wasn't right. (that) I guess I didn't have the time", "a lot in poetry. I also get tired of using the word 'and'", "I went outside my home I had a feeling, something wasn't right. (that)", "something wasn't right. (that) I guess I didn't have the time (but) that", "to sing if I leave out function words (demonstratives/conjunctions). Is this a bad", "out function words (demonstratives/conjunctions). Is this a bad habit? It seems to cause", "I see it done a lot in poetry. I also get tired of", "times I find it easier to sing if I leave out function words", "went outside my home I had a feeling, something wasn't right. (that) I", "I find it easier to sing if I leave out function words (demonstratives/conjunctions).", "feeling, something wasn't right. (that) I guess I didn't have the time (but)", "lack of clarity but I see it done a lot in poetry. I", "outside my home I had a feeling, something wasn't right. (that) I guess", "but I see it done a lot in poetry. I also get tired", "get tired of using the word 'and' so often. ``` Example: When I", "tired of using the word 'and' so often. ``` Example: When I went", "my home I had a feeling, something wasn't right. (that) I guess I", "it easier to sing if I leave out function words (demonstratives/conjunctions). Is this", "of times I find it easier to sing if I leave out function", "When writing a verse for a song a lot of times I find", "``` Example: When I went outside my home I had a feeling, something", "it done a lot in poetry. I also get tired of using the", "(demonstratives/conjunctions). Is this a bad habit? It seems to cause lack of clarity", "to cause lack of clarity but I see it done a lot in", "sing if I leave out function words (demonstratives/conjunctions). Is this a bad habit?", "leave out function words (demonstratives/conjunctions). Is this a bad habit? It seems to", "the word 'and' so often. ``` Example: When I went outside my home", "I guess I didn't have the time (but) that is how I almost", "bad habit? It seems to cause lack of clarity but I see it", "in poetry. I also get tired of using the word 'and' so often.", "a lot of times I find it easier to sing if I leave", "word 'and' so often. ``` Example: When I went outside my home I", "I leave out function words (demonstratives/conjunctions). Is this a bad habit? It seems", "if I leave out function words (demonstratives/conjunctions). Is this a bad habit? It", "done a lot in poetry. I also get tired of using the word", "I had a feeling, something wasn't right. (that) I guess I didn't have", "didn't have the time (but) that is how I almost died (and) ```", "often. ``` Example: When I went outside my home I had a feeling,", "cause lack of clarity but I see it done a lot in poetry.", "poetry. I also get tired of using the word 'and' so often. ```", "using the word 'and' so often. ``` Example: When I went outside my", "Example: When I went outside my home I had a feeling, something wasn't", "lot of times I find it easier to sing if I leave out", "this a bad habit? It seems to cause lack of clarity but I", "of using the word 'and' so often. ``` Example: When I went outside", "a verse for a song a lot of times I find it easier", "had a feeling, something wasn't right. (that) I guess I didn't have the", "guess I didn't have the time (but) that is how I almost died", "lot in poetry. I also get tired of using the word 'and' so" ]
[ "situation is this: in the dialogue I’m writing, the characters speak primarily English", "nouns rather than just proper nouns like English does. So, would it be", "of a proper English equivalent. German capitalizes all nouns rather than just proper", "would it be confusing for to a reader if I intersperse German nouns", "word for lack of a proper English equivalent. German capitalizes all nouns rather", "does. So, would it be confusing for to a reader if I intersperse", "it be confusing for to a reader if I intersperse German nouns in", "My situation is this: in the dialogue I’m writing, the characters speak primarily", "English but occasionally use a German word for lack of a proper English", "just proper nouns like English does. So, would it be confusing for to", "German word for lack of a proper English equivalent. German capitalizes all nouns", "lack of a proper English equivalent. German capitalizes all nouns rather than just", "German capitalizes all nouns rather than just proper nouns like English does. So,", "capitalizes all nouns rather than just proper nouns like English does. So, would", "So, would it be confusing for to a reader if I intersperse German", "like English does. So, would it be confusing for to a reader if", "but occasionally use a German word for lack of a proper English equivalent.", "use a German word for lack of a proper English equivalent. German capitalizes", "a proper English equivalent. German capitalizes all nouns rather than just proper nouns", "the dialogue I’m writing, the characters speak primarily English but occasionally use a", "for to a reader if I intersperse German nouns in otherwise English dialogue?", "nouns like English does. So, would it be confusing for to a reader", "characters speak primarily English but occasionally use a German word for lack of", "equivalent. German capitalizes all nouns rather than just proper nouns like English does.", "occasionally use a German word for lack of a proper English equivalent. German", "writing, the characters speak primarily English but occasionally use a German word for", "this: in the dialogue I’m writing, the characters speak primarily English but occasionally", "for lack of a proper English equivalent. German capitalizes all nouns rather than", "I’m writing, the characters speak primarily English but occasionally use a German word", "a German word for lack of a proper English equivalent. German capitalizes all", "rather than just proper nouns like English does. So, would it be confusing", "in the dialogue I’m writing, the characters speak primarily English but occasionally use", "proper English equivalent. German capitalizes all nouns rather than just proper nouns like", "the characters speak primarily English but occasionally use a German word for lack", "is this: in the dialogue I’m writing, the characters speak primarily English but", "dialogue I’m writing, the characters speak primarily English but occasionally use a German", "be confusing for to a reader if I intersperse German nouns in otherwise", "English does. So, would it be confusing for to a reader if I", "proper nouns like English does. So, would it be confusing for to a", "speak primarily English but occasionally use a German word for lack of a", "than just proper nouns like English does. So, would it be confusing for", "English equivalent. German capitalizes all nouns rather than just proper nouns like English", "all nouns rather than just proper nouns like English does. So, would it", "primarily English but occasionally use a German word for lack of a proper", "confusing for to a reader if I intersperse German nouns in otherwise English" ]
[ "scene eg. plane crash in Final Destination, Makey's death in Scream etc. I", "good idea of what makes up a horror piece. But recently I've come", "But recently I've come across the term genre shift and wondered what exactly", "movie examples: Sci-Fi shift to Horror/Thriller * Hollowman (2000): starts of as a", "straight horror movies which open with a horror scene eg. plane crash in", "eg. plane crash in Final Destination, Makey's death in Scream etc. I would", "shift and wondered what exactly makes something not straight up horror but a", "(1960) is usually considered a horror movie even though it really starts as", "horror movies which open with a horror scene eg. plane crash in Final", "game with again only two characters left alive in the end What confuses", "to Horror** * Predator (1987): starts of as a pretty typical action/arnie flick,", "For example the classic Psycho (1960) is usually considered a horror movie even", "pretty typical action/arnie flick, then turns into a brutal cat and mouse game", "some time for the actual horror to really kick-off, compared to the majority", "mouse game with again only two characters left alive in the end What", "of what makes up a horror piece. But recently I've come across the", "what draws the line between a straight up horror and a genre shift?", "the majority of straight horror movies which open with a horror scene eg.", "quite a few horror like hints for a while but it takes some", "a pretty typical action/arnie flick, then turns into a brutal cat and mouse", "to Horror/Thriller** * Hollowman (2000): starts of as a scientist research project, then", "and a genre shift? For example the classic Psycho (1960) is usually considered", "into horror later. With Babysitter (2017) and Texas Chainsaw (1974) there are quite", "really kick-off, compared to the majority of straight horror movies which open with", "that genre shifts into horror? Some movie examples: Sci-Fi shift to Horror/Thriller ", "in the end What confuses me is exactly what draws the line between", "only two characters left alive in the end What confuses me is exactly", "piece that genre shifts into horror? Some movie examples: Sci-Fi shift to Horror/Thriller", "then turns into a slasher leaving only two characters in the end Action", "What confuses me is exactly what draws the line between a straight up", "which open with a horror scene eg. plane crash in Final Destination, Makey's", "end Action shift to Horror* * Predator (1987): starts of as a pretty", "starts of as a pretty typical action/arnie flick, then turns into a brutal", "* Predator (1987): starts of as a pretty typical action/arnie flick, then turns", "(1974) there are quite a few horror like hints for a while but", "few horror like hints for a while but it takes some time for", "flick, then turns into a brutal cat and mouse game with again only", "of as a scientist research project, then turns into a slasher leaving only", "Horror/Thriller** * Hollowman (2000): starts of as a scientist research project, then turns", "Horror** * Predator (1987): starts of as a pretty typical action/arnie flick, then", "horror later. With Babysitter (2017) and Texas Chainsaw (1974) there are quite a", "recently I've come across the term genre shift and wondered what exactly makes", "across the term genre shift and wondered what exactly makes something not straight", "scientist research project, then turns into a slasher leaving only two characters in", "examples: Sci-Fi shift to Horror/Thriller * Hollowman (2000): starts of as a scientist", "a heist movie and shifts into horror later. With Babysitter (2017) and Texas", "what makes up a horror piece. But recently I've come across the term", "then turns into a brutal cat and mouse game with again only two", "makes up a horror piece. But recently I've come across the term genre", "a horror piece. But recently I've come across the term genre shift and", "Some movie examples: Sci-Fi shift to Horror/Thriller * Hollowman (2000): starts of as", "action/arnie flick, then turns into a brutal cat and mouse game with again", "(1987): starts of as a pretty typical action/arnie flick, then turns into a", "not straight up horror but a piece that genre shifts into horror? Some", "an ok good idea of what makes up a horror piece. But recently", "project, then turns into a slasher leaving only two characters in the end", "but it takes some time for the actual horror to really kick-off, compared", "time for the actual horror to really kick-off, compared to the majority of", "alive in the end What confuses me is exactly what draws the line", "Action shift to Horror * Predator (1987): starts of as a pretty typical", "a horror scene eg. plane crash in Final Destination, Makey's death in Scream", "is exactly what draws the line between a straight up horror and a", "turns into a slasher leaving only two characters in the end Action shift", "I've come across the term genre shift and wondered what exactly makes something", "what exactly makes something not straight up horror but a piece that genre", "the actual horror to really kick-off, compared to the majority of straight horror", "actual horror to really kick-off, compared to the majority of straight horror movies", "horror and a genre shift? For example the classic Psycho (1960) is usually", "with again only two characters left alive in the end What confuses me", "starts as a heist movie and shifts into horror later. With Babysitter (2017)", "into a brutal cat and mouse game with again only two characters left", "while but it takes some time for the actual horror to really kick-off,", "up horror and a genre shift? For example the classic Psycho (1960) is", "shift to Horror/Thriller * Hollowman (2000): starts of as a scientist research project,", "again only two characters left alive in the end What confuses me is", "for a while but it takes some time for the actual horror to", "ok good idea of what makes up a horror piece. But recently I've", "Psycho (1960) is usually considered a horror movie even though it really starts", "as a scientist research project, then turns into a slasher leaving only two", "Sci-Fi shift to Horror/Thriller * Hollowman (2000): starts of as a scientist research", "horror like hints for a while but it takes some time for the", "genre shift? For example the classic Psycho (1960) is usually considered a horror", "left alive in the end What confuses me is exactly what draws the", "in Final Destination, Makey's death in Scream etc. I would love some thoughts", "horror scene eg. plane crash in Final Destination, Makey's death in Scream etc.", "only two characters in the end Action shift to Horror * Predator (1987):", "movies which open with a horror scene eg. plane crash in Final Destination,", "genre shift and wondered what exactly makes something not straight up horror but", "classic Psycho (1960) is usually considered a horror movie even though it really", "in the end Action shift to Horror * Predator (1987): starts of as", "genre shifts into horror? Some movie examples: Sci-Fi shift to Horror/Thriller * Hollowman", "characters in the end Action shift to Horror * Predator (1987): starts of", "to really kick-off, compared to the majority of straight horror movies which open", "straight up horror but a piece that genre shifts into horror? Some movie", "idea of what makes up a horror piece. But recently I've come across", "a genre shift? For example the classic Psycho (1960) is usually considered a", "movie and shifts into horror later. With Babysitter (2017) and Texas Chainsaw (1974)", "to the majority of straight horror movies which open with a horror scene", "starts of as a scientist research project, then turns into a slasher leaving", "open with a horror scene eg. plane crash in Final Destination, Makey's death", "leaving only two characters in the end Action shift to Horror * Predator", "exactly what draws the line between a straight up horror and a genre", "Chainsaw (1974) there are quite a few horror like hints for a while", "there are quite a few horror like hints for a while but it", "research project, then turns into a slasher leaving only two characters in the", "is usually considered a horror movie even though it really starts as a", "shifts into horror later. With Babysitter (2017) and Texas Chainsaw (1974) there are", "hints for a while but it takes some time for the actual horror", "crash in Final Destination, Makey's death in Scream etc. I would love some", "kick-off, compared to the majority of straight horror movies which open with a", "the term genre shift and wondered what exactly makes something not straight up", "turns into a brutal cat and mouse game with again only two characters", "Predator (1987): starts of as a pretty typical action/arnie flick, then turns into", "horror? Some movie examples: Sci-Fi shift to Horror/Thriller * Hollowman (2000): starts of", "a brutal cat and mouse game with again only two characters left alive", "I think I have an ok good idea of what makes up a", "up a horror piece. But recently I've come across the term genre shift", "though it really starts as a heist movie and shifts into horror later.", "Final Destination, Makey's death in Scream etc. I would love some thoughts on", "think I have an ok good idea of what makes up a horror", "Destination, Makey's death in Scream etc. I would love some thoughts on this.", "me is exactly what draws the line between a straight up horror and", "term genre shift and wondered what exactly makes something not straight up horror", "of as a pretty typical action/arnie flick, then turns into a brutal cat", "a few horror like hints for a while but it takes some time", "movie even though it really starts as a heist movie and shifts into", "come across the term genre shift and wondered what exactly makes something not", "the classic Psycho (1960) is usually considered a horror movie even though it", "takes some time for the actual horror to really kick-off, compared to the", "horror to really kick-off, compared to the majority of straight horror movies which", "a while but it takes some time for the actual horror to really", "and shifts into horror later. With Babysitter (2017) and Texas Chainsaw (1974) there", "Texas Chainsaw (1974) there are quite a few horror like hints for a", "the end What confuses me is exactly what draws the line between a", "later. With Babysitter (2017) and Texas Chainsaw (1974) there are quite a few", "exactly makes something not straight up horror but a piece that genre shifts", "wondered what exactly makes something not straight up horror but a piece that", "and wondered what exactly makes something not straight up horror but a piece", "line between a straight up horror and a genre shift? For example the", "really starts as a heist movie and shifts into horror later. With Babysitter", "a straight up horror and a genre shift? For example the classic Psycho", "something not straight up horror but a piece that genre shifts into horror?", "straight up horror and a genre shift? For example the classic Psycho (1960)", "(2000): starts of as a scientist research project, then turns into a slasher", "and Texas Chainsaw (1974) there are quite a few horror like hints for", "are quite a few horror like hints for a while but it takes", "draws the line between a straight up horror and a genre shift? For", "Hollowman (2000): starts of as a scientist research project, then turns into a", "as a pretty typical action/arnie flick, then turns into a brutal cat and", "up horror but a piece that genre shifts into horror? Some movie examples:", "two characters left alive in the end What confuses me is exactly what", "into horror? Some movie examples: Sci-Fi shift to Horror/Thriller * Hollowman (2000): starts", "considered a horror movie even though it really starts as a heist movie", "shift to Horror** * Predator (1987): starts of as a pretty typical action/arnie", "I have an ok good idea of what makes up a horror piece.", "confuses me is exactly what draws the line between a straight up horror", "Babysitter (2017) and Texas Chainsaw (1974) there are quite a few horror like", "brutal cat and mouse game with again only two characters left alive in", "example the classic Psycho (1960) is usually considered a horror movie even though", "two characters in the end Action shift to Horror * Predator (1987): starts", "it really starts as a heist movie and shifts into horror later. With", "plane crash in Final Destination, Makey's death in Scream etc. I would love", "characters left alive in the end What confuses me is exactly what draws", "but a piece that genre shifts into horror? Some movie examples: Sci-Fi shift", "the line between a straight up horror and a genre shift? For example", "with a horror scene eg. plane crash in Final Destination, Makey's death in", "piece. But recently I've come across the term genre shift and wondered what", "a scientist research project, then turns into a slasher leaving only two characters", "into a slasher leaving only two characters in the end Action shift to", "a piece that genre shifts into horror? Some movie examples: Sci-Fi shift to", "horror but a piece that genre shifts into horror? Some movie examples: Sci-Fi", "a horror movie even though it really starts as a heist movie and", "makes something not straight up horror but a piece that genre shifts into", "a slasher leaving only two characters in the end Action shift to Horror", "as a heist movie and shifts into horror later. With Babysitter (2017) and", "even though it really starts as a heist movie and shifts into horror", "usually considered a horror movie even though it really starts as a heist", "it takes some time for the actual horror to really kick-off, compared to", "shift? For example the classic Psycho (1960) is usually considered a horror movie", "majority of straight horror movies which open with a horror scene eg. plane", "typical action/arnie flick, then turns into a brutal cat and mouse game with", "compared to the majority of straight horror movies which open with a horror", "like hints for a while but it takes some time for the actual", "With Babysitter (2017) and Texas Chainsaw (1974) there are quite a few horror", "horror piece. But recently I've come across the term genre shift and wondered", "heist movie and shifts into horror later. With Babysitter (2017) and Texas Chainsaw", "slasher leaving only two characters in the end Action shift to Horror ", "for the actual horror to really kick-off, compared to the majority of straight", "cat and mouse game with again only two characters left alive in the", "have an ok good idea of what makes up a horror piece. But", "end What confuses me is exactly what draws the line between a straight", "shifts into horror? Some movie examples: Sci-Fi shift to Horror/Thriller* * Hollowman (2000):", "* Hollowman (2000): starts of as a scientist research project, then turns into", "between a straight up horror and a genre shift? For example the classic", "horror movie even though it really starts as a heist movie and shifts", "(2017) and Texas Chainsaw (1974) there are quite a few horror like hints", "of straight horror movies which open with a horror scene eg. plane crash", "and mouse game with again only two characters left alive in the end", "the end Action shift to Horror * Predator (1987): starts of as a" ]
[ "which the event takes place, but also the dates within which customers are", "but also the dates within which customers are allowed to visit the webpage", "explanation of the fields within the mouse hover tooltip for the fields, as", "and submit bookings for the event. Naturally, these dates if set, would precede", "absolutely cannot be misinterpreted as being the date range customers should choose within", "organisers setting up their events to understand the true nature of these extra", "a significant explanation of the fields within the mouse hover tooltip for the", "particular feature is helping event organisers setting up their events to understand the", "at present reads 'Dates to accept bookings' which is clearly somewhat ambiguous. We", "form when they encounter these fields, so why they feel we are asking", "customers should choose within for their visit. The heading over the date fields", "enable event organisers to control not only the date range over which the", "has started. D'oh! [![enter image description here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png) Somewhat annoyingly, the user has already", "these events can span multiple dates and so require that customers completing a", "that's another matter. Hopefully my explanation of the problem is clear enough. In", "kinds of events and activities. Some of these events can span multiple dates", "is clear enough. In a nutshell, what is a good brief term (two", "date range over which the event takes place, but also the dates within", "D'oh! [![enter image description here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png) Somewhat annoyingly, the user has already entered actual", "we invariably have event organisers setting the dates to match the actual dates", "perennial problem I have experienced with this particular feature is helping event organisers", "our user interface, since I cannot find a good concise term for these", "the webpage and submit bookings for the event. Naturally, these dates if set,", "actual event dates quite a bit further up the form when they encounter", "the booking platform, we enable event organisers to control not only the date", "for the event. Naturally, these dates if set, would precede or overlap with", "event, which ultimately results in their customers not actually being able to make", "range of dates within which a customer can visit the event booking webpage", "hover tooltip for the fields, as shown below, but despite this, we invariably", "interface, since I cannot find a good concise term for these that is", "asking for the same dates again has always puzzled me, but that's another", "the date range customers should choose within for their visit. The heading over", "annoyingly, the user has already entered actual event dates quite a bit further", "dates within which customers are allowed to visit the webpage and submit bookings", "precede or overlap with the actual event dates, but never extend beyond them,", "within which customers are allowed to visit the webpage and submit bookings for", "have experienced with this particular feature is helping event organisers setting up their", "encounter these fields, so why they feel we are asking for the same", "user interface, since I cannot find a good concise term for these that", "platform for all kinds of events and activities. Some of these events can", "\"the range of dates within which a customer can visit the event booking", "which a customer can visit the event booking webpage and create a new", "match the actual dates of their event, which ultimately results in their customers", "Some of these events can span multiple dates and so require that customers", "entered actual event dates quite a bit further up the form when they", "reasons. Now, a perennial problem I have experienced with this particular feature is", "feel we are asking for the same dates again has always puzzled me,", "these extra date fields within our user interface, since I cannot find a", "puzzled me, but that's another matter. Hopefully my explanation of the problem is", "customers are allowed to visit the webpage and submit bookings for the event.", "Naturally, these dates if set, would precede or overlap with the actual event", "the event has started. D'oh! [![enter image description here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png) Somewhat annoyingly, the user", "their visit. The heading over the date fields at present reads 'Dates to", "we enable event organisers to control not only the date range over which", "ultimately results in their customers not actually being able to make bookings until", "helping event organisers setting up their events to understand the true nature of", "[![enter image description here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png) Somewhat annoyingly, the user has already entered actual event", "experienced with this particular feature is helping event organisers setting up their events", "for the fields, as shown below, but despite this, we invariably have event", "dates within which a customer can visit the event booking webpage and create", "here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png) Somewhat annoyingly, the user has already entered actual event dates quite a", "In a nutshell, what is a good brief term (two or three words", "all kinds of events and activities. Some of these events can span multiple", "operate an online bookings platform for all kinds of events and activities. Some", "of their event, which ultimately results in their customers not actually being able", "actually being able to make bookings until the event has started. D'oh! [![enter", "as shown below, but despite this, we invariably have event organisers setting the", "problem I have experienced with this particular feature is helping event organisers setting", "dates, but never extend beyond them, for hopefully obvious reasons. Now, a perennial", "only the date range over which the event takes place, but also the", "again has always puzzled me, but that's another matter. Hopefully my explanation of", "platform, we enable event organisers to control not only the date range over", "to accept bookings' which is clearly somewhat ambiguous. We provide a significant explanation", "being able to make bookings until the event has started. D'oh! [![enter image", "date range customers should choose within for their visit. The heading over the", "user has already entered actual event dates quite a bit further up the", "the fields within the mouse hover tooltip for the fields, as shown below,", "not actually being able to make bookings until the event has started. D'oh!", "a booking must select the date they wish to attend the event. As", "of the booking platform, we enable event organisers to control not only the", "have event organisers setting the dates to match the actual dates of their", "ambiguous. We provide a significant explanation of the fields within the mouse hover", "event takes place, but also the dates within which customers are allowed to", "takes place, but also the dates within which customers are allowed to visit", "obvious reasons. Now, a perennial problem I have experienced with this particular feature", "a good concise term for these that is unambiguous and absolutely cannot be", "this particular feature is helping event organisers setting up their events to understand", "or three words ideally) to express \"the range of dates within which a", "being the date range customers should choose within for their visit. The heading", "a bit further up the form when they encounter these fields, so why", "a perennial problem I have experienced with this particular feature is helping event", "is clearly somewhat ambiguous. We provide a significant explanation of the fields within", "part of the booking platform, we enable event organisers to control not only", "heading over the date fields at present reads 'Dates to accept bookings' which", "the event takes place, but also the dates within which customers are allowed", "these fields, so why they feel we are asking for the same dates", "that customers completing a booking must select the date they wish to attend", "when they encounter these fields, so why they feel we are asking for", "must select the date they wish to attend the event. As part of", "the fields, as shown below, but despite this, we invariably have event organisers", "always puzzled me, but that's another matter. Hopefully my explanation of the problem", "which is clearly somewhat ambiguous. We provide a significant explanation of the fields", "control not only the date range over which the event takes place, but", "misinterpreted as being the date range customers should choose within for their visit.", "they feel we are asking for the same dates again has always puzzled", "I cannot find a good concise term for these that is unambiguous and", "good brief term (two or three words ideally) to express \"the range of", "them, for hopefully obvious reasons. Now, a perennial problem I have experienced with", "customers not actually being able to make bookings until the event has started.", "date they wish to attend the event. As part of the booking platform,", "actual event dates, but never extend beyond them, for hopefully obvious reasons. Now,", "nature of these extra date fields within our user interface, since I cannot", "shown below, but despite this, we invariably have event organisers setting the dates", "cannot find a good concise term for these that is unambiguous and absolutely", "despite this, we invariably have event organisers setting the dates to match the", "the dates within which customers are allowed to visit the webpage and submit", "fields at present reads 'Dates to accept bookings' which is clearly somewhat ambiguous.", "maintain and operate an online bookings platform for all kinds of events and", "As part of the booking platform, we enable event organisers to control not", "as being the date range customers should choose within for their visit. The", "express \"the range of dates within which a customer can visit the event", "a nutshell, what is a good brief term (two or three words ideally)", "to make bookings until the event has started. D'oh! [![enter image description here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png)", "events and activities. Some of these events can span multiple dates and so", "webpage and submit bookings for the event. Naturally, these dates if set, would", "up their events to understand the true nature of these extra date fields", "event organisers setting the dates to match the actual dates of their event,", "within the mouse hover tooltip for the fields, as shown below, but despite", "The heading over the date fields at present reads 'Dates to accept bookings'", "events to understand the true nature of these extra date fields within our", "fields within our user interface, since I cannot find a good concise term", "fields within the mouse hover tooltip for the fields, as shown below, but", "Hopefully my explanation of the problem is clear enough. In a nutshell, what", "results in their customers not actually being able to make bookings until the", "the event. Naturally, these dates if set, would precede or overlap with the", "explanation of the problem is clear enough. In a nutshell, what is a", "to express \"the range of dates within which a customer can visit the", "the event. As part of the booking platform, we enable event organisers to", "event. As part of the booking platform, we enable event organisers to control", "three words ideally) to express \"the range of dates within which a customer", "concise term for these that is unambiguous and absolutely cannot be misinterpreted as", "the user has already entered actual event dates quite a bit further up", "dates if set, would precede or overlap with the actual event dates, but", "a good brief term (two or three words ideally) to express \"the range", "over the date fields at present reads 'Dates to accept bookings' which is", "if set, would precede or overlap with the actual event dates, but never", "'Dates to accept bookings' which is clearly somewhat ambiguous. We provide a significant", "mouse hover tooltip for the fields, as shown below, but despite this, we", "which ultimately results in their customers not actually being able to make bookings", "(two or three words ideally) to express \"the range of dates within which", "is helping event organisers setting up their events to understand the true nature", "within which a customer can visit the event booking webpage and create a", "submit bookings for the event. Naturally, these dates if set, would precede or", "is unambiguous and absolutely cannot be misinterpreted as being the date range customers", "term for these that is unambiguous and absolutely cannot be misinterpreted as being", "choose within for their visit. The heading over the date fields at present", "Somewhat annoyingly, the user has already entered actual event dates quite a bit", "fields, so why they feel we are asking for the same dates again", "problem is clear enough. In a nutshell, what is a good brief term", "matter. Hopefully my explanation of the problem is clear enough. In a nutshell,", "online bookings platform for all kinds of events and activities. Some of these", "with this particular feature is helping event organisers setting up their events to", "bookings for the event. Naturally, these dates if set, would precede or overlap", "the date fields at present reads 'Dates to accept bookings' which is clearly", "a customer can visit the event booking webpage and create a new booking", "over which the event takes place, but also the dates within which customers", "attend the event. As part of the booking platform, we enable event organisers", "range over which the event takes place, but also the dates within which", "which customers are allowed to visit the webpage and submit bookings for the", "what is a good brief term (two or three words ideally) to express", "is a good brief term (two or three words ideally) to express \"the", "quite a bit further up the form when they encounter these fields, so", "description here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png) Somewhat annoyingly, the user has already entered actual event dates quite", "allowed to visit the webpage and submit bookings for the event. Naturally, these", "fields, as shown below, but despite this, we invariably have event organisers setting", "date fields within our user interface, since I cannot find a good concise", "hopefully obvious reasons. Now, a perennial problem I have experienced with this particular", "event organisers to control not only the date range over which the event", "and absolutely cannot be misinterpreted as being the date range customers should choose", "the actual dates of their event, which ultimately results in their customers not", "of events and activities. Some of these events can span multiple dates and", "term (two or three words ideally) to express \"the range of dates within", "dates quite a bit further up the form when they encounter these fields,", "bit further up the form when they encounter these fields, so why they", "clearly somewhat ambiguous. We provide a significant explanation of the fields within the", "we are asking for the same dates again has always puzzled me, but", "or overlap with the actual event dates, but never extend beyond them, for", "of these extra date fields within our user interface, since I cannot find", "are asking for the same dates again has always puzzled me, but that's", "and operate an online bookings platform for all kinds of events and activities.", "find a good concise term for these that is unambiguous and absolutely cannot", "able to make bookings until the event has started. D'oh! [![enter image description", "events can span multiple dates and so require that customers completing a booking", "We provide a significant explanation of the fields within the mouse hover tooltip", "actual dates of their event, which ultimately results in their customers not actually", "within for their visit. The heading over the date fields at present reads", "dates of their event, which ultimately results in their customers not actually being", "so require that customers completing a booking must select the date they wish", "of dates within which a customer can visit the event booking webpage and", "of the problem is clear enough. In a nutshell, what is a good", "understand the true nature of these extra date fields within our user interface,", "unambiguous and absolutely cannot be misinterpreted as being the date range customers should", "overlap with the actual event dates, but never extend beyond them, for hopefully", "image description here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png) Somewhat annoyingly, the user has already entered actual event dates", "event. Naturally, these dates if set, would precede or overlap with the actual", "that is unambiguous and absolutely cannot be misinterpreted as being the date range", "visit the webpage and submit bookings for the event. Naturally, these dates if", "require that customers completing a booking must select the date they wish to", "extra date fields within our user interface, since I cannot find a good", "present reads 'Dates to accept bookings' which is clearly somewhat ambiguous. We provide", "organisers to control not only the date range over which the event takes", "customer can visit the event booking webpage and create a new booking for", "until the event has started. D'oh! [![enter image description here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png) Somewhat annoyingly, the", "they encounter these fields, so why they feel we are asking for the", "place, but also the dates within which customers are allowed to visit the", "started. D'oh! [![enter image description here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png) Somewhat annoyingly, the user has already entered", "so why they feel we are asking for the same dates again has", "I maintain and operate an online bookings platform for all kinds of events", "reads 'Dates to accept bookings' which is clearly somewhat ambiguous. We provide a", "for all kinds of events and activities. Some of these events can span", "feature is helping event organisers setting up their events to understand the true", "the true nature of these extra date fields within our user interface, since", "visit. The heading over the date fields at present reads 'Dates to accept", "good concise term for these that is unambiguous and absolutely cannot be misinterpreted", "has always puzzled me, but that's another matter. Hopefully my explanation of the", "would precede or overlap with the actual event dates, but never extend beyond", "in their customers not actually being able to make bookings until the event", "to understand the true nature of these extra date fields within our user", "up the form when they encounter these fields, so why they feel we", "for their visit. The heading over the date fields at present reads 'Dates", "the form when they encounter these fields, so why they feel we are", "with the actual event dates, but never extend beyond them, for hopefully obvious", "for hopefully obvious reasons. Now, a perennial problem I have experienced with this", "bookings until the event has started. D'oh! [![enter image description here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png) Somewhat annoyingly,", "visit the event booking webpage and create a new booking for your event\"?", "also the dates within which customers are allowed to visit the webpage and", "to visit the webpage and submit bookings for the event. Naturally, these dates", "extend beyond them, for hopefully obvious reasons. Now, a perennial problem I have", "bookings' which is clearly somewhat ambiguous. We provide a significant explanation of the", "the problem is clear enough. In a nutshell, what is a good brief", "beyond them, for hopefully obvious reasons. Now, a perennial problem I have experienced", "can span multiple dates and so require that customers completing a booking must", "but despite this, we invariably have event organisers setting the dates to match", "same dates again has always puzzled me, but that's another matter. Hopefully my", "already entered actual event dates quite a bit further up the form when", "clear enough. In a nutshell, what is a good brief term (two or", "the actual event dates, but never extend beyond them, for hopefully obvious reasons.", "provide a significant explanation of the fields within the mouse hover tooltip for", "tooltip for the fields, as shown below, but despite this, we invariably have", "cannot be misinterpreted as being the date range customers should choose within for", "make bookings until the event has started. D'oh! [![enter image description here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png) Somewhat", "not only the date range over which the event takes place, but also", "never extend beyond them, for hopefully obvious reasons. Now, a perennial problem I", "dates again has always puzzled me, but that's another matter. Hopefully my explanation", "be misinterpreted as being the date range customers should choose within for their", "true nature of these extra date fields within our user interface, since I", "within our user interface, since I cannot find a good concise term for", "event organisers setting up their events to understand the true nature of these", "and so require that customers completing a booking must select the date they", "the same dates again has always puzzled me, but that's another matter. Hopefully", "date fields at present reads 'Dates to accept bookings' which is clearly somewhat", "of the fields within the mouse hover tooltip for the fields, as shown", "to match the actual dates of their event, which ultimately results in their", "range customers should choose within for their visit. The heading over the date", "setting up their events to understand the true nature of these extra date", "dates to match the actual dates of their event, which ultimately results in", "the date they wish to attend the event. As part of the booking", "can visit the event booking webpage and create a new booking for your", "I have experienced with this particular feature is helping event organisers setting up", "wish to attend the event. As part of the booking platform, we enable", "but that's another matter. Hopefully my explanation of the problem is clear enough.", "the date range over which the event takes place, but also the dates", "event dates, but never extend beyond them, for hopefully obvious reasons. Now, a", "booking must select the date they wish to attend the event. As part", "enough. In a nutshell, what is a good brief term (two or three", "set, would precede or overlap with the actual event dates, but never extend", "brief term (two or three words ideally) to express \"the range of dates", "span multiple dates and so require that customers completing a booking must select", "another matter. Hopefully my explanation of the problem is clear enough. In a", "ideally) to express \"the range of dates within which a customer can visit", "to attend the event. As part of the booking platform, we enable event", "since I cannot find a good concise term for these that is unambiguous", "these dates if set, would precede or overlap with the actual event dates,", "for these that is unambiguous and absolutely cannot be misinterpreted as being the", "words ideally) to express \"the range of dates within which a customer can", "to control not only the date range over which the event takes place,", "and activities. Some of these events can span multiple dates and so require", "nutshell, what is a good brief term (two or three words ideally) to", "their customers not actually being able to make bookings until the event has", "further up the form when they encounter these fields, so why they feel", "select the date they wish to attend the event. As part of the", "why they feel we are asking for the same dates again has always", "Now, a perennial problem I have experienced with this particular feature is helping", "the mouse hover tooltip for the fields, as shown below, but despite this,", "an online bookings platform for all kinds of events and activities. Some of", "significant explanation of the fields within the mouse hover tooltip for the fields,", "invariably have event organisers setting the dates to match the actual dates of", "this, we invariably have event organisers setting the dates to match the actual", "are allowed to visit the webpage and submit bookings for the event. Naturally,", "event has started. D'oh! [![enter image description here](https://i.stack.imgur.com/0bMF0.png)](https://i.stack.imgur.com/0bMF0.png) Somewhat annoyingly, the user has", "the dates to match the actual dates of their event, which ultimately results", "event dates quite a bit further up the form when they encounter these", "their event, which ultimately results in their customers not actually being able to", "me, but that's another matter. Hopefully my explanation of the problem is clear", "has already entered actual event dates quite a bit further up the form", "should choose within for their visit. The heading over the date fields at", "setting the dates to match the actual dates of their event, which ultimately", "multiple dates and so require that customers completing a booking must select the", "booking platform, we enable event organisers to control not only the date range", "of these events can span multiple dates and so require that customers completing", "bookings platform for all kinds of events and activities. Some of these events", "their events to understand the true nature of these extra date fields within", "organisers setting the dates to match the actual dates of their event, which", "below, but despite this, we invariably have event organisers setting the dates to", "completing a booking must select the date they wish to attend the event.", "they wish to attend the event. As part of the booking platform, we", "but never extend beyond them, for hopefully obvious reasons. Now, a perennial problem", "for the same dates again has always puzzled me, but that's another matter.", "customers completing a booking must select the date they wish to attend the", "accept bookings' which is clearly somewhat ambiguous. We provide a significant explanation of", "somewhat ambiguous. We provide a significant explanation of the fields within the mouse", "dates and so require that customers completing a booking must select the date", "activities. Some of these events can span multiple dates and so require that", "these that is unambiguous and absolutely cannot be misinterpreted as being the date", "my explanation of the problem is clear enough. In a nutshell, what is" ]
[ "have the ability to communicate the message, then you simply don't have the", "You may say if a work that is split into two elements, one", "work is in a kind interpretative mine field, where a lot of the", "a smaller work. These issues are most relevant to smaller pieces, as one", "I feel either go unnoticed, or are too ambiguous. Now sometimes, I like", "that other interpretations are had, I don't want anyone to miss that one", "of [this video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre) (b) [This poem](https://www.reddit.com/r/OCPoetry/comments/pvko8f/sun/) and it's subsequent explanation in a comment", "communicate the message, then you simply don't have the ability. You may say", "to say: if you don't have the ability to communicate the message, then", "often fine that other interpretations are had, I don't want anyone to miss", "which one is traditionally told the ideas shouldn't be explicitly shoved down someone's", "to be communicate (be it a poem or a piece of prose) through", "a kind interpretative mine field, where a lot of the other interpretations are", "bad with a work that is first read by an uninformed reader, before", "or be experienced as without deeper meaning. Then, the explicit explanation, available in", "work that is first read by an uninformed reader, before being retroactively understood", "a clear enough picture. Sometimes I don't. I think I've found out what", "reader can't understand the concept (although with very complex ideas, that too is", "like making ambiguous art. I like leaving interpretation up for the reader. However,", "(a), and where an explicit explanation was needed for the work to be", "convoluted novel, isn't enjoyable. And then to expect the casual reader to actually", "meaning in those different interpretations, and suspecting that there's more interpretations to be", "So, definitely respond to this question with general comments about fiction of any", "the fictive work tries to be communicate (be it a poem or a", "be quite fun. So, definitely respond to this question with general comments about", "likely to be understood. > 2. The way I try to convey it", "clear as possible. --- Sometimes I worry that the plot, characters and literary", "would be created by a convoluted novel, isn't enjoyable. And then to expect", "the reader can't understand the concept (although with very complex ideas, that too", "that is dismissing the possibility that there are ideas out there that cannot", "strongly with repetitions and looking at the idea/moral from many different angles). Furthermore,", "actually reread it shortly after the explanation is also unrealistic in my opinion.", "you may be tempted to say: if you don't have the ability to", "I'm looking at this from the perspective of someone writing a smaller work.", "confusion and uncertainty, as would be created by a convoluted novel, isn't enjoyable.", "(1), I'm not implying that the reader can't understand the concept (although with", "reread) via the explanation, giving the reader aha moments and letting them appreciate", "they can infer it from a bunch of metaphors and whatnot. I feel", "communicated through fiction, meaning no matter the author's ability, it would always require", "ability, it would always require an explicit explanation to be truly understood. And", "one explicit (the explanation), that's a bad short-cut. However, that is dismissing the", "before being retroactively understood (and potentially reread) via the explanation, giving the reader", "be made as clear as possible. --- Sometimes I worry that the plot,", "message. > > > As for (1), I'm not implying that the reader", "are ideas out there that cannot be \"safely\" communicated through fiction, meaning no", "without the explanation, but when enjoyed as such, it will likely be misunderstood,", "can drive the point home more strongly with repetitions and looking at the", "its metaphors, symbols, similes, plot, characters, etc. This idea can be a moral,", "found out what kind of properties make a work susceptible to this kind", "as the core message. > > > As for (1), I'm not implying", "ambiguous. Now sometimes, I like making ambiguous art. I like leaving interpretation up", "a concern). Thing is, just because the reader can understand the concept, doesn't", "also able to be communicated these ways, but it requires subtleties that I", "an interesting idea. I'm limiting this to fictive works, as these are the", "comment (see the long one made by OP in response to a commenter's", "quite fun. So, definitely respond to this question with general comments about fiction", "the ability to communicate the message, then you simply don't have the ability.", "in a kind interpretative mine field, where a lot of the other interpretations", "I'd like to encourage responses focused on shorter fiction, as I think that's", "poem](https://www.reddit.com/r/OCPoetry/comments/pvko8f/sun/) and it's subsequent explanation in a comment (see the long one made", "reader aha moments and letting them appreciate the ways of communication that the", "this to fictive works, as these are the works in which one is", "solution of using an extratextual element to explain a confusing piece, and try", "> > 1. The idea it tries to convey is quite complex, and", "explanation, giving the reader aha moments and letting them appreciate the ways of", "picture. Sometimes I don't. I think I've found out what kind of properties", "home more strongly with repetitions and looking at the idea/moral from many different", "plot, characters and literary techniques in a work of mine don't paint a", "I say core idea of a work of fiction. It is the concept", "question: is it okay to create work that is dependent on a separate,", "easier to get across, as one can drive the point home more strongly", "be truly understood. And what's so bad with a work that is first", "A confusing short story or poem however, can actually be quite fun. So,", "finding entertainment and meaning in those different interpretations, and suspecting that there's more", "the absence of explicit explanation? --- Here are some examples of where context", "made as clear as possible. --- Sometimes I worry that the plot, characters", "Thing is, just because the reader can understand the concept, doesn't mean they", "in isolation, but the work isn't truly experienced without the extratextual element. Some", "to say that I'm looking at this from the perspective of someone writing", "Now sometimes, I like making ambiguous art. I like leaving interpretation up for", "at this from the perspective of someone writing a smaller work. These issues", "after the explanation is also unrealistic in my opinion. A confusing short story", "to fictive works, as these are the works in which one is traditionally", "communicate (be it a poem or a piece of prose) through its metaphors,", "kind of concern: > > 1. The idea it tries to convey is", "I like leaving interpretation up for the reader. However, this is when I've", "as existing in a long state of confusion and uncertainty, as would be", "try to motivate the reader to reread, isn't likely to work with a", "isn't enjoyable. And then to expect the casual reader to actually reread it", "to communicate the idea (with a long novel, a complex idea is easier", "properly (a), and where an explicit explanation was needed for the work to", "my opinion. A confusing short story or poem however, can actually be quite", "want anyone to miss that one intended interpretation. Other times however, I recognize", "This idea can be a moral, or it could just be an interesting", "because the reader can understand the concept, doesn't mean they can infer it", "to explain a confusing piece, and try to motivate the reader to reread,", "extratextual element. Some of you may be tempted to say: if you don't", "works, it should be made as clear as possible. --- Sometimes I worry", "that may be mistaken as the core message. > > > As for", "like leaving interpretation up for the reader. However, this is when I've interpreted", "experienced properly (b). (a) 13.43 to 15.39 of [this video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre) (b) [This poem](https://www.reddit.com/r/OCPoetry/comments/pvko8f/sun/)", "mean they can infer it from a bunch of metaphors and whatnot. I", "read, and thus a new experience of the work is had. Basically, the", "Some of you may be tempted to say: if you don't have the", "you simply don't have the ability. You may say if a work that", "the possibility that there are ideas out there that cannot be \"safely\" communicated", "in a work of mine don't paint a clear enough picture. Sometimes I", "(b). (a) 13.43 to 15.39 of [this video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre) (b) [This poem](https://www.reddit.com/r/OCPoetry/comments/pvko8f/sun/) and it's", "However, that is dismissing the possibility that there are ideas out there that", "be a moral, or it could just be an interesting idea. I'm limiting", "through fiction, meaning no matter the author's ability, it would always require an", "factual works, it should be made as clear as possible. --- Sometimes I", "but when enjoyed as such, it will likely be misunderstood, or be experienced", "is dependent on a separate, explicit explanation? As in, it can be enjoyed", "the extratextual element. Some of you may be tempted to say: if you", "a very clear interpretation in mind, and although it's often fine that other", "a poem or a piece of prose) through its metaphors, symbols, similes, plot,", "the core message. > > > As for (1), I'm not implying that", "mistaken as the core message. > > > As for (1), I'm not", "it okay to create work that is dependent on a separate, explicit explanation?", "the concept (although with very complex ideas, that too is a concern). Thing", "First, I'll explain what I mean when I say core idea of a", "dependent on a separate, explicit explanation? As in, it can be enjoyed without", "novel, a complex idea is easier to get across, as one can drive", "of a work of fiction. It is the concept that the fictive work", "experienced as without deeper meaning. Then, the explicit explanation, available in some way", "I think most readers would stop reading, as existing in a long state", "short story or poem however, can actually be quite fun. So, definitely respond", "I think I've found out what kind of properties make a work susceptible", "down someone's throat, whereas in factual works, it should be made as clear", "other interpretations are not just unintended, but unwanted: this is what I mean", "to convey it happens to invoke other, unwanted ideas that may be mistaken", "[this video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre) (b) [This poem](https://www.reddit.com/r/OCPoetry/comments/pvko8f/sun/) and it's subsequent explanation in a comment (see", "are most relevant to smaller pieces, as one has less material to communicate", "the work displays, despite those communications being insufficient in the absence of explicit", "explanation is also unrealistic in my opinion. A confusing short story or poem", "the reader can understand the concept, doesn't mean they can infer it from", "characters, etc. This idea can be a moral, or it could just be", "feel like the simpler the concept, the easier it is to communicate clearly", "available in some way or another, is read, and thus a new experience", "a novel. I think most readers would stop reading, as existing in a", "whereas in factual works, it should be made as clear as possible. ---", "what kind of properties make a work susceptible to this kind of concern:", "when enjoyed as such, it will likely be misunderstood, or be experienced as", "15.39 of [this video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre) (b) [This poem](https://www.reddit.com/r/OCPoetry/comments/pvko8f/sun/) and it's subsequent explanation in a", "Basically, the work is acceptably enjoyable in isolation, but the work isn't truly", "poem however, can actually be quite fun. So, definitely respond to this question", "that's a bad short-cut. However, that is dismissing the possibility that there are", "as these are the works in which one is traditionally told the ideas", "> 2. The way I try to convey it happens to invoke other,", "can understand the concept, doesn't mean they can infer it from a bunch", "the reader. However, this is when I've interpreted my work in multiple ways,", "is split into two elements, one implicit (the story or poem), and one", "the reader aha moments and letting them appreciate the ways of communication that", "the ways of communication that the work displays, despite those communications being insufficient", "to a commenter's questions) EDIT: I want to say that I'm looking at", "be explicitly shoved down someone's throat, whereas in factual works, it should be", "of the other interpretations are not just unintended, but unwanted: this is what", "to be understood, and thus experienced properly (b). (a) 13.43 to 15.39 of", "the point home more strongly with repetitions and looking at the idea/moral from", "to create work that is dependent on a separate, explicit explanation? As in,", "(with a long novel, a complex idea is easier to get across, as", "I recognize that the work is in a kind interpretative mine field, where", "then to expect the casual reader to actually reread it shortly after the", "interesting idea. I'm limiting this to fictive works, as these are the works", "limiting this to fictive works, as these are the works in which one", "is traditionally told the ideas shouldn't be explicitly shoved down someone's throat, whereas", "no matter the author's ability, it would always require an explicit explanation to", "leaving interpretation up for the reader. However, this is when I've interpreted my", "fiction of any length, but I'd like to encourage responses focused on shorter", "this question with general comments about fiction of any length, but I'd like", "moments and letting them appreciate the ways of communication that the work displays,", "13.43 to 15.39 of [this video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre) (b) [This poem](https://www.reddit.com/r/OCPoetry/comments/pvko8f/sun/) and it's subsequent explanation", "different interpretations, and suspecting that there's more interpretations to be had. Sometimes however,", "one is traditionally told the ideas shouldn't be explicitly shoved down someone's throat,", "the proposed solution of using an extratextual element to explain a confusing piece,", "communicate the idea (with a long novel, a complex idea is easier to", "for the reader. However, this is when I've interpreted my work in multiple", "think most readers would stop reading, as existing in a long state of", "say if a work that is split into two elements, one implicit (the", "elements, one implicit (the story or poem), and one explicit (the explanation), that's", "of metaphors and whatnot. I feel like the simpler the concept, the easier", "that cannot be \"safely\" communicated through fiction, meaning no matter the author's ability,", "more strongly with repetitions and looking at the idea/moral from many different angles).", "making ambiguous art. I like leaving interpretation up for the reader. However, this", "of communication that the work displays, despite those communications being insufficient in the", "be understood, and thus experienced properly (b). (a) 13.43 to 15.39 of [this", "a work that is first read by an uninformed reader, before being retroactively", "however, I recognize that the work is in a kind interpretative mine field,", "unintended, but unwanted: this is what I mean by (2). So, here's my", "understand the concept (although with very complex ideas, that too is a concern).", "EDIT:** I want to say that I'm looking at this from the perspective", "or another, is read, and thus a new experience of the work is", "general comments about fiction of any length, but I'd like to encourage responses", "is also unrealistic in my opinion. A confusing short story or poem however,", "as clear as possible. --- Sometimes I worry that the plot, characters and", "metaphors, symbols, similes, plot, characters, etc. This idea can be a moral, or", "the simpler the concept, the easier it is to communicate clearly through literary", "proposed solution of using an extratextual element to explain a confusing piece, and", "the work is had. Basically, the work is acceptably enjoyable in isolation, but", "too is a concern). Thing is, just because the reader can understand the", "casual reader to actually reread it shortly after the explanation is also unrealistic", "respond to this question with general comments about fiction of any length, but", "reader can understand the concept, doesn't mean they can infer it from a", "concept, doesn't mean they can infer it from a bunch of metaphors and", "as would be created by a convoluted novel, isn't enjoyable. And then to", "to actually reread it shortly after the explanation is also unrealistic in my", "interpretations are had, I don't want anyone to miss that one intended interpretation.", "looking at the idea/moral from many different angles). Furthermore, the proposed solution of", "work that is dependent on a separate, explicit explanation? As in, it can", "that is split into two elements, one implicit (the story or poem), and", "However, the more complex concepts are also able to be communicated these ways,", "piece, and try to motivate the reader to reread, isn't likely to work", "a bad short-cut. However, that is dismissing the possibility that there are ideas", "(2). So, here's my question: is it okay to create work that is", "to 15.39 of [this video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre) (b) [This poem](https://www.reddit.com/r/OCPoetry/comments/pvko8f/sun/) and it's subsequent explanation in", "or poem), and one explicit (the explanation), that's a bad short-cut. However, that", "a new experience of the work is had. Basically, the work is acceptably", "Sometimes however, I have a very clear interpretation in mind, and although it's", "explicit explanation? --- Here are some examples of where context was needed for", "relevant to smaller pieces, as one has less material to communicate the idea", "concern). Thing is, just because the reader can understand the concept, doesn't mean", "this is when I've interpreted my work in multiple ways, finding entertainment and", "very clear interpretation in mind, and although it's often fine that other interpretations", "of any length, but I'd like to encourage responses focused on shorter fiction,", "any length, but I'd like to encourage responses focused on shorter fiction, as", "explicitly shoved down someone's throat, whereas in factual works, it should be made", "communicate clearly through literary techniques. However, the more complex concepts are also able", "those communications being insufficient in the absence of explicit explanation? --- Here are", "and although it's often fine that other interpretations are had, I don't want", "enjoyable in isolation, but the work isn't truly experienced without the extratextual element.", "in factual works, it should be made as clear as possible. --- Sometimes", "idea of a work of fiction. It is the concept that the fictive", "be misunderstood, or be experienced as without deeper meaning. Then, the explicit explanation,", "it requires subtleties that I feel either go unnoticed, or are too ambiguous.", "[This poem](https://www.reddit.com/r/OCPoetry/comments/pvko8f/sun/) and it's subsequent explanation in a comment (see the long one", "material to communicate the idea (with a long novel, a complex idea is", "in my opinion. A confusing short story or poem however, can actually be", "complex ideas, that too is a concern). Thing is, just because the reader", "These issues are most relevant to smaller pieces, as one has less material", "can be a moral, or it could just be an interesting idea. I'm", "reader to actually reread it shortly after the explanation is also unrealistic in", "a work susceptible to this kind of concern: > > 1. The idea", "explain what I mean when I say core idea of a work of", "clear interpretation in mind, and although it's often fine that other interpretations are", "to be experienced properly (a), and where an explicit explanation was needed for", "of concern: > > 1. The idea it tries to convey is quite", "of you may be tempted to say: if you don't have the ability", "the explanation is also unrealistic in my opinion. A confusing short story or", "so bad with a work that is first read by an uninformed reader,", "using an extratextual element to explain a confusing piece, and try to motivate", "definitely respond to this question with general comments about fiction of any length,", "where a lot of the other interpretations are not just unintended, but unwanted:", "this from the perspective of someone writing a smaller work. These issues are", "Sometimes I don't. I think I've found out what kind of properties make", "although it's often fine that other interpretations are had, I don't want anyone", "idea can be a moral, or it could just be an interesting idea.", "either go unnoticed, or are too ambiguous. Now sometimes, I like making ambiguous", "out what kind of properties make a work susceptible to this kind of", "properties make a work susceptible to this kind of concern: > > 1.", "is read, and thus a new experience of the work is had. Basically,", "you don't have the ability to communicate the message, then you simply don't", "it will likely be misunderstood, or be experienced as without deeper meaning. Then,", "quite complex, and thus less likely to be understood. > 2. The way", "concepts are also able to be communicated these ways, but it requires subtleties", "explanation in a comment (see the long one made by OP in response", "drive the point home more strongly with repetitions and looking at the idea/moral", "> 1. The idea it tries to convey is quite complex, and thus", "less likely to be understood. > 2. The way I try to convey", "explanation was needed for the work to be understood, and thus experienced properly", "I've found out what kind of properties make a work susceptible to this", "literary techniques. However, the more complex concepts are also able to be communicated", "there's more interpretations to be had. Sometimes however, I have a very clear", "that too is a concern). Thing is, just because the reader can understand", "that is dependent on a separate, explicit explanation? As in, it can be", "one made by OP in response to a commenter's questions) EDIT: I want", "these are the works in which one is traditionally told the ideas shouldn't", "truly understood. And what's so bad with a work that is first read", "and suspecting that there's more interpretations to be had. Sometimes however, I have", "uninformed reader, before being retroactively understood (and potentially reread) via the explanation, giving", "the explanation, but when enjoyed as such, it will likely be misunderstood, or", "isolation, but the work isn't truly experienced without the extratextual element. Some of", "enjoyed without the explanation, but when enjoyed as such, it will likely be", "create work that is dependent on a separate, explicit explanation? As in, it", "be experienced as without deeper meaning. Then, the explicit explanation, available in some", "be had. Sometimes however, I have a very clear interpretation in mind, and", "don't have the ability. You may say if a work that is split", "ideas out there that cannot be \"safely\" communicated through fiction, meaning no matter", "I try to convey it happens to invoke other, unwanted ideas that may", "also unrealistic in my opinion. A confusing short story or poem however, can", "retroactively understood (and potentially reread) via the explanation, giving the reader aha moments", "complex, and thus less likely to be understood. > 2. The way I", "meaning no matter the author's ability, it would always require an explicit explanation", "my question: is it okay to create work that is dependent on a", "work is had. Basically, the work is acceptably enjoyable in isolation, but the", "However, this is when I've interpreted my work in multiple ways, finding entertainment", "understood. And what's so bad with a work that is first read by", "long novel, a complex idea is easier to get across, as one can", "and whatnot. I feel like the simpler the concept, the easier it is", "to be truly understood. And what's so bad with a work that is", "as one has less material to communicate the idea (with a long novel,", "with repetitions and looking at the idea/moral from many different angles). Furthermore, the", "is quite complex, and thus less likely to be understood. > 2. The", "is the concept that the fictive work tries to be communicate (be it", "don't have the ability to communicate the message, then you simply don't have", "the concept, the easier it is to communicate clearly through literary techniques. However,", "explanation to be truly understood. And what's so bad with a work that", "complex idea is easier to get across, as one can drive the point", "and uncertainty, as would be created by a convoluted novel, isn't enjoyable. And", "tries to be communicate (be it a poem or a piece of prose)", "to motivate the reader to reread, isn't likely to work with a novel.", "to encourage responses focused on shorter fiction, as I think that's most relevant", "say core idea of a work of fiction. It is the concept that", "work is acceptably enjoyable in isolation, but the work isn't truly experienced without", "reread, isn't likely to work with a novel. I think most readers would", "one has less material to communicate the idea (with a long novel, a", "etc. This idea can be a moral, or it could just be an", "to invoke other, unwanted ideas that may be mistaken as the core message.", "is easier to get across, as one can drive the point home more", "it shortly after the explanation is also unrealistic in my opinion. A confusing", "a long novel, a complex idea is easier to get across, as one", "split into two elements, one implicit (the story or poem), and one explicit", "explanation, but when enjoyed as such, it will likely be misunderstood, or be", "confusing piece, and try to motivate the reader to reread, isn't likely to", "is to communicate clearly through literary techniques. However, the more complex concepts are", "it from a bunch of metaphors and whatnot. I feel like the simpler", "--- Here are some examples of where context was needed for the work", "Here are some examples of where context was needed for the work to", "reader, before being retroactively understood (and potentially reread) via the explanation, giving the", "where context was needed for the work to be experienced properly (a), and", "my work in multiple ways, finding entertainment and meaning in those different interpretations,", "be an interesting idea. I'm limiting this to fictive works, as these are", "the perspective of someone writing a smaller work. These issues are most relevant", "ambiguous art. I like leaving interpretation up for the reader. However, this is", "thus less likely to be understood. > 2. The way I try to", "explicit explanation to be truly understood. And what's so bad with a work", "of using an extratextual element to explain a confusing piece, and try to", "prose) through its metaphors, symbols, similes, plot, characters, etc. This idea can be", "work to be experienced properly (a), and where an explicit explanation was needed", "an explicit explanation to be truly understood. And what's so bad with a", "and try to motivate the reader to reread, isn't likely to work with", "field, where a lot of the other interpretations are not just unintended, but", "work isn't truly experienced without the extratextual element. Some of you may be", "fun. So, definitely respond to this question with general comments about fiction of", "lot of the other interpretations are not just unintended, but unwanted: this is", "idea it tries to convey is quite complex, and thus less likely to", "suspecting that there's more interpretations to be had. Sometimes however, I have a", "is first read by an uninformed reader, before being retroactively understood (and potentially", "was needed for the work to be understood, and thus experienced properly (b).", "of mine don't paint a clear enough picture. Sometimes I don't. I think", "misunderstood, or be experienced as without deeper meaning. Then, the explicit explanation, available", "entertainment and meaning in those different interpretations, and suspecting that there's more interpretations", "one implicit (the story or poem), and one explicit (the explanation), that's a", "and looking at the idea/moral from many different angles). Furthermore, the proposed solution", "issues are most relevant to smaller pieces, as one has less material to", "> > > As for (1), I'm not implying that the reader can't", "is dismissing the possibility that there are ideas out there that cannot be", "here's my question: is it okay to create work that is dependent on", "made by OP in response to a commenter's questions) EDIT: I want to", "created by a convoluted novel, isn't enjoyable. And then to expect the casual", "in a comment (see the long one made by OP in response to", "unwanted ideas that may be mistaken as the core message. > > >", "a work that is split into two elements, one implicit (the story or", "has less material to communicate the idea (with a long novel, a complex", "paint a clear enough picture. Sometimes I don't. I think I've found out", "by (2). So, here's my question: is it okay to create work that", "can infer it from a bunch of metaphors and whatnot. I feel like", "kind interpretative mine field, where a lot of the other interpretations are not", "I'm limiting this to fictive works, as these are the works in which", "new experience of the work is had. Basically, the work is acceptably enjoyable", "work displays, despite those communications being insufficient in the absence of explicit explanation?", "ideas that may be mistaken as the core message. > > > As", "ability to communicate the message, then you simply don't have the ability. You", "Then, the explicit explanation, available in some way or another, is read, and", "say that I'm looking at this from the perspective of someone writing a", "to smaller pieces, as one has less material to communicate the idea (with", "mine don't paint a clear enough picture. Sometimes I don't. I think I've", "it happens to invoke other, unwanted ideas that may be mistaken as the", "may say if a work that is split into two elements, one implicit", "(the explanation), that's a bad short-cut. However, that is dismissing the possibility that", "be mistaken as the core message. > > > As for (1), I'm", "being retroactively understood (and potentially reread) via the explanation, giving the reader aha", "likely to work with a novel. I think most readers would stop reading,", "to get across, as one can drive the point home more strongly with", "it's often fine that other interpretations are had, I don't want anyone to", "will likely be misunderstood, or be experienced as without deeper meaning. Then, the", "of the work is had. Basically, the work is acceptably enjoyable in isolation,", "at the idea/moral from many different angles). Furthermore, the proposed solution of using", "I've interpreted my work in multiple ways, finding entertainment and meaning in those", "is in a kind interpretative mine field, where a lot of the other", "long one made by OP in response to a commenter's questions) EDIT: I", "but the work isn't truly experienced without the extratextual element.** Some of you", "had. Sometimes however, I have a very clear interpretation in mind, and although", "reader to reread, isn't likely to work with a novel. I think most", "enough picture. Sometimes I don't. I think I've found out what kind of", "without deeper meaning. Then, the explicit explanation, available in some way or another,", "work. These issues are most relevant to smaller pieces, as one has less", "what I mean when I say core idea of a work of fiction.", "fictive works, as these are the works in which one is traditionally told", "to work with a novel. I think most readers would stop reading, as", "by an uninformed reader, before being retroactively understood (and potentially reread) via the", "techniques. However, the more complex concepts are also able to be communicated these", "are had, I don't want anyone to miss that one intended interpretation. Other", "novel, isn't enjoyable. And then to expect the casual reader to actually reread", "readers would stop reading, as existing in a long state of confusion and", "works, as these are the works in which one is traditionally told the", "As for (1), I'm not implying that the reader can't understand the concept", "metaphors and whatnot. I feel like the simpler the concept, the easier it", "if you don't have the ability to communicate the message, then you simply", "what's so bad with a work that is first read by an uninformed", "is it okay to create work that is dependent on a separate, explicit", "to miss that one intended interpretation. Other times however, I recognize that the", "it would always require an explicit explanation to be truly understood. And what's", "are some examples of where context was needed for the work to be", "most relevant to smaller pieces, as one has less material to communicate the", "anyone to miss that one intended interpretation. Other times however, I recognize that", "simply don't have the ability. You may say if a work that is", "enjoyable. And then to expect the casual reader to actually reread it shortly", "different angles). Furthermore, the proposed solution of using an extratextual element to explain", "explicit explanation was needed for the work to be understood, and thus experienced", "from many different angles). Furthermore, the proposed solution of using an extratextual element", "can't understand the concept (although with very complex ideas, that too is a", "interpreted my work in multiple ways, finding entertainment and meaning in those different", "be experienced properly (a), and where an explicit explanation was needed for the", "looking at this from the perspective of someone writing a smaller work. These", "is acceptably enjoyable in isolation, but the work isn't truly experienced without the", "understood (and potentially reread) via the explanation, giving the reader aha moments and", "thus a new experience of the work is had. 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I think I've found out what kind of properties make a", "don't. I think I've found out what kind of properties make a work", "may be mistaken as the core message. > > > As for (1),", "needed for the work to be understood, and thus experienced properly (b). (a)", "a commenter's questions) EDIT: I want to say that I'm looking at this", "some examples of where context was needed for the work to be experienced", "work of fiction. It is the concept that the fictive work tries to", "explanation, available in some way or another, is read, and thus a new", "when I've interpreted my work in multiple ways, finding entertainment and meaning in", "extratextual element to explain a confusing piece, and try to motivate the reader", "explain a confusing piece, and try to motivate the reader to reread, isn't", "communications being insufficient in the absence of explicit explanation? --- Here are some", "subsequent explanation in a comment (see the long one made by OP in", "commenter's questions) EDIT:* I want to say that I'm looking at this from", "idea/moral from many different angles). Furthermore, the proposed solution of using an extratextual", "work in multiple ways, finding entertainment and meaning in those different interpretations, and", "the work isn't truly experienced without the extratextual element. Some of you may", "I'm not implying that the reader can't understand the concept (although with very", "reader. However, this is when I've interpreted my work in multiple ways, finding", "communicated these ways, but it requires subtleties that I feel either go unnoticed,", "other interpretations are had, I don't want anyone to miss that one intended", "novel. I think most readers would stop reading, as existing in a long", "is a concern). Thing is, just because the reader can understand the concept,", "are also able to be communicated these ways, but it requires subtleties that", "throat, whereas in factual works, it should be made as clear as possible.", "is, just because the reader can understand the concept, doesn't mean they can", "tempted to say: if you don't have the ability to communicate the message,", "cannot be \"safely\" communicated through fiction, meaning no matter the author's ability, it", "a complex idea is easier to get across, as one can drive the", "infer it from a bunch of metaphors and whatnot. I feel like the", "work to be understood, and thus experienced properly (b). (a) 13.43 to 15.39", "the idea (with a long novel, a complex idea is easier to get", "that the fictive work tries to be communicate (be it a poem or", "miss that one intended interpretation. Other times however, I recognize that the work", "explanation? As in, it can be enjoyed without the explanation, but when enjoyed", "question with general comments about fiction of any length, but I'd like to", "it could just be an interesting idea. I'm limiting this to fictive works,", "communication that the work displays, despite those communications being insufficient in the absence", "these ways, but it requires subtleties that I feel either go unnoticed, or", "explanation? --- Here are some examples of where context was needed for the", "the work is in a kind interpretative mine field, where a lot of", "that one intended interpretation. Other times however, I recognize that the work is", "fictive work tries to be communicate (be it a poem or a piece", "implying that the reader can't understand the concept (although with very complex ideas,", "Sometimes I worry that the plot, characters and literary techniques in a work", "existing in a long state of confusion and uncertainty, as would be created", "And then to expect the casual reader to actually reread it shortly after", "techniques in a work of mine don't paint a clear enough picture. Sometimes", "interpretation up for the reader. However, this is when I've interpreted my work", "(the story or poem), and one explicit (the explanation), that's a bad short-cut.", "--- Sometimes I worry that the plot, characters and literary techniques in a", "one can drive the point home more strongly with repetitions and looking at", "and where an explicit explanation was needed for the work to be understood,", "from the perspective of someone writing a smaller work. These issues are most", "kind of properties make a work susceptible to this kind of concern: >", "someone writing a smaller work. These issues are most relevant to smaller pieces,", "if a work that is split into two elements, one implicit (the story", "and letting them appreciate the ways of communication that the work displays, despite", "interpretations, and suspecting that there's more interpretations to be had. Sometimes however, I", "simpler the concept, the easier it is to communicate clearly through literary techniques.", "interpretations to be had. Sometimes however, I have a very clear interpretation in", "don't want anyone to miss that one intended interpretation. Other times however, I", "> As for (1), I'm not implying that the reader can't understand the", "a convoluted novel, isn't enjoyable. And then to expect the casual reader to", "out there that cannot be \"safely\" communicated through fiction, meaning no matter the", "the work to be understood, and thus experienced properly (b). (a) 13.43 to", "the long one made by OP in response to a commenter's questions) EDIT:", "across, as one can drive the point home more strongly with repetitions and", "intended interpretation. Other times however, I recognize that the work is in a", "stop reading, as existing in a long state of confusion and uncertainty, as", "that there's more interpretations to be had. Sometimes however, I have a very", "a work of fiction. It is the concept that the fictive work tries", "I mean when I say core idea of a work of fiction. It", "are the works in which one is traditionally told the ideas shouldn't be", "there that cannot be \"safely\" communicated through fiction, meaning no matter the author's", "the explicit explanation, available in some way or another, is read, and thus", "experienced without the extratextual element.* Some of you may be tempted to say:", "like to encourage responses focused on shorter fiction, as I think that's most", "about fiction of any length, but I'd like to encourage responses focused on", "to convey is quite complex, and thus less likely to be understood. >", "traditionally told the ideas shouldn't be explicitly shoved down someone's throat, whereas in", "it is to communicate clearly through literary techniques. However, the more complex concepts", "to be communicated these ways, but it requires subtleties that I feel either", "that I feel either go unnoticed, or are too ambiguous. Now sometimes, I", "concern: > > 1. The idea it tries to convey is quite complex,", "literary techniques in a work of mine don't paint a clear enough picture.", "an explicit explanation was needed for the work to be understood, and thus", "implicit (the story or poem), and one explicit (the explanation), that's a bad", "for (1), I'm not implying that the reader can't understand the concept (although", "the ideas shouldn't be explicitly shoved down someone's throat, whereas in factual works,", "are too ambiguous. Now sometimes, I like making ambiguous art. I like leaving", "say: if you don't have the ability to communicate the message, then you", "able to be communicated these ways, but it requires subtleties that I feel", "very complex ideas, that too is a concern). Thing is, just because the", "be \"safely\" communicated through fiction, meaning no matter the author's ability, it would", "via the explanation, giving the reader aha moments and letting them appreciate the", "the other interpretations are not just unintended, but unwanted: this is what I", "opinion. A confusing short story or poem however, can actually be quite fun.", "it tries to convey is quite complex, and thus less likely to be", "mean by (2). So, here's my question: is it okay to create work", "that is first read by an uninformed reader, before being retroactively understood (and", "to expect the casual reader to actually reread it shortly after the explanation", "way I try to convey it happens to invoke other, unwanted ideas that", "explanation), that's a bad short-cut. However, that is dismissing the possibility that there", "work of mine don't paint a clear enough picture. Sometimes I don't. I", "comments about fiction of any length, but I'd like to encourage responses focused", "in some way or another, is read, and thus a new experience of", "ideas shouldn't be explicitly shoved down someone's throat, whereas in factual works, it", "not implying that the reader can't understand the concept (although with very complex", "I worry that the plot, characters and literary techniques in a work of", "had, I don't want anyone to miss that one intended interpretation. Other times", "make a work susceptible to this kind of concern: > > 1. The", "uncertainty, as would be created by a convoluted novel, isn't enjoyable. And then", "or a piece of prose) through its metaphors, symbols, similes, plot, characters, etc.", "as possible. --- Sometimes I worry that the plot, characters and literary techniques", "subtleties that I feel either go unnoticed, or are too ambiguous. Now sometimes,", "concept (although with very complex ideas, that too is a concern). Thing is,", "the explanation, giving the reader aha moments and letting them appreciate the ways", "shoved down someone's throat, whereas in factual works, it should be made as", "deeper meaning. Then, the explicit explanation, available in some way or another, is", "video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre) (b) [This poem](https://www.reddit.com/r/OCPoetry/comments/pvko8f/sun/) and it's subsequent explanation in a comment (see the", "(see the long one made by OP in response to a commenter's questions)", "be understood. > 2. The way I try to convey it happens to", "two elements, one implicit (the story or poem), and one explicit (the explanation),", "complex concepts are also able to be communicated these ways, but it requires", "moral, or it could just be an interesting idea. I'm limiting this to", "of properties make a work susceptible to this kind of concern: > >", "okay to create work that is dependent on a separate, explicit explanation? As", "think I've found out what kind of properties make a work susceptible to", "first read by an uninformed reader, before being retroactively understood (and potentially reread)", "another, is read, and thus a new experience of the work is had.", "the casual reader to actually reread it shortly after the explanation is also", "a piece of prose) through its metaphors, symbols, similes, plot, characters, etc. This", "most readers would stop reading, as existing in a long state of confusion", "convey is quite complex, and thus less likely to be understood. > 2.", "of prose) through its metaphors, symbols, similes, plot, characters, etc. This idea can", "interpretation. Other times however, I recognize that the work is in a kind", "understand the concept, doesn't mean they can infer it from a bunch of", "it should be made as clear as possible. --- Sometimes I worry that", "be enjoyed without the explanation, but when enjoyed as such, it will likely", "such, it will likely be misunderstood, or be experienced as without deeper meaning.", "whatnot. I feel like the simpler the concept, the easier it is to", "fiction. It is the concept that the fictive work tries to be communicate", "truly experienced without the extratextual element.* Some of you may be tempted to", "more interpretations to be had. Sometimes however, I have a very clear interpretation", "fine that other interpretations are had, I don't want anyone to miss that", "explicit explanation? As in, it can be enjoyed without the explanation, but when", "work that is split into two elements, one implicit (the story or poem),", "explicit (the explanation), that's a bad short-cut. However, that is dismissing the possibility", "always require an explicit explanation to be truly understood. And what's so bad", "with a novel. I think most readers would stop reading, as existing in", "ways of communication that the work displays, despite those communications being insufficient in", "writing a smaller work. These issues are most relevant to smaller pieces, as", "convey it happens to invoke other, unwanted ideas that may be mistaken as", "understood. > 2. The way I try to convey it happens to invoke", "bunch of metaphors and whatnot. I feel like the simpler the concept, the", "work tries to be communicate (be it a poem or a piece of", "unnoticed, or are too ambiguous. Now sometimes, I like making ambiguous art. I", "I like making ambiguous art. I like leaving interpretation up for the reader.", "works in which one is traditionally told the ideas shouldn't be explicitly shoved", "for the work to be experienced properly (a), and where an explicit explanation", "that the work is in a kind interpretative mine field, where a lot", "by OP in response to a commenter's questions) EDIT: I want to say", "reading, as existing in a long state of confusion and uncertainty, as would", "clearly through literary techniques. However, the more complex concepts are also able to", "the plot, characters and literary techniques in a work of mine don't paint", "where an explicit explanation was needed for the work to be understood, and", "plot, characters, etc. This idea can be a moral, or it could just", "be communicated these ways, but it requires subtleties that I feel either go", "this kind of concern: > > 1. The idea it tries to convey", "shouldn't be explicitly shoved down someone's throat, whereas in factual works, it should", "just be an interesting idea. I'm limiting this to fictive works, as these", "\"safely\" communicated through fiction, meaning no matter the author's ability, it would always", "less material to communicate the idea (with a long novel, a complex idea", "idea (with a long novel, a complex idea is easier to get across,", "that there are ideas out there that cannot be \"safely\" communicated through fiction,", "can be enjoyed without the explanation, but when enjoyed as such, it will", "easier it is to communicate clearly through literary techniques. However, the more complex", "by a convoluted novel, isn't enjoyable. And then to expect the casual reader", "be communicate (be it a poem or a piece of prose) through its", "them appreciate the ways of communication that the work displays, despite those communications", "but I'd like to encourage responses focused on shorter fiction, as I think", "unrealistic in my opinion. A confusing short story or poem however, can actually", "poem or a piece of prose) through its metaphors, symbols, similes, plot, characters,", "As in, it can be enjoyed without the explanation, but when enjoyed as", "length, but I'd like to encourage responses focused on shorter fiction, as I", "or it could just be an interesting idea. I'm limiting this to fictive", "sometimes, I like making ambiguous art. I like leaving interpretation up for the", "It is the concept that the fictive work tries to be communicate (be", "actually be quite fun. So, definitely respond to this question with general comments", "pieces, as one has less material to communicate the idea (with a long", "motivate the reader to reread, isn't likely to work with a novel. I", "a separate, explicit explanation? As in, it can be enjoyed without the explanation,", "multiple ways, finding entertainment and meaning in those different interpretations, and suspecting that", "it can be enjoyed without the explanation, but when enjoyed as such, it", "giving the reader aha moments and letting them appreciate the ways of communication", "questions) EDIT: I want to say that I'm looking at this from the", "could just be an interesting idea. I'm limiting this to fictive works, as", "mind, and although it's often fine that other interpretations are had, I don't", "the work is acceptably enjoyable in isolation, but the work isn't truly experienced", "element. Some of you may be tempted to say: if you don't have", "a moral, or it could just be an interesting idea. I'm limiting this", "other, unwanted ideas that may be mistaken as the core message. > >", "idea is easier to get across, as one can drive the point home", "enjoyed as such, it will likely be misunderstood, or be experienced as without", "a long state of confusion and uncertainty, as would be created by a", "message, then you simply don't have the ability. You may say if a", "however, can actually be quite fun. So, definitely respond to this question with", "core message. > > > As for (1), I'm not implying that the", "not just unintended, but unwanted: this is what I mean by (2). So,", "piece of prose) through its metaphors, symbols, similes, plot, characters, etc. This idea", "in those different interpretations, and suspecting that there's more interpretations to be had.", "interpretations are not just unintended, but unwanted: this is what I mean by", "just unintended, but unwanted: this is what I mean by (2). So, here's", "was needed for the work to be experienced properly (a), and where an", "meaning. Then, the explicit explanation, available in some way or another, is read,", "a lot of the other interpretations are not just unintended, but unwanted: this", "examples of where context was needed for the work to be experienced properly", "a work of mine don't paint a clear enough picture. Sometimes I don't.", "I'll explain what I mean when I say core idea of a work", "one* intended interpretation. Other times however, I recognize that the work is in", "unwanted: this is what I mean by (2). So, here's my question: is", "bad short-cut. However, that is dismissing the possibility that there are ideas out", "the reader to reread, isn't likely to work with a novel. I think", "in mind, and although it's often fine that other interpretations are had, I", "through its metaphors, symbols, similes, plot, characters, etc. This idea can be a", "or are too ambiguous. Now sometimes, I like making ambiguous art. I like", "core idea of a work of fiction. It is the concept that the", "interpretation in mind, and although it's often fine that other interpretations are had,", "times however, I recognize that the work is in a kind interpretative mine", "through literary techniques. However, the more complex concepts are also able to be", "the concept that the fictive work tries to be communicate (be it a", "state of confusion and uncertainty, as would be created by a convoluted novel,", "smaller work. These issues are most relevant to smaller pieces, as one has", "invoke other, unwanted ideas that may be mistaken as the core message. >", "So, here's my question: is it okay to create work that is dependent", "susceptible to this kind of concern: > > 1. The idea it tries", "or poem however, can actually be quite fun. So, definitely respond to this", "the author's ability, it would always require an explicit explanation to be truly", "I feel like the simpler the concept, the easier it is to communicate", "I have a very clear interpretation in mind, and although it's often fine", "of fiction. It is the concept that the fictive work tries to be", "angles). Furthermore, the proposed solution of using an extratextual element to explain a", "dismissing the possibility that there are ideas out there that cannot be \"safely\"", "to communicate clearly through literary techniques. However, the more complex concepts are also", "ability. You may say if a work that is split into two elements,", "long state of confusion and uncertainty, as would be created by a convoluted", "would always require an explicit explanation to be truly understood. And what's so", "many different angles). Furthermore, the proposed solution of using an extratextual element to", "on a separate, explicit explanation? As in, it can be enjoyed without the", "with a work that is first read by an uninformed reader, before being", "reread it shortly after the explanation is also unrealistic in my opinion. A", "an uninformed reader, before being retroactively understood (and potentially reread) via the explanation,", "isn't likely to work with a novel. I think most readers would stop", "recognize that the work is in a kind interpretative mine field, where a", "repetitions and looking at the idea/moral from many different angles). Furthermore, the proposed", "element to explain a confusing piece, and try to motivate the reader to", "1. The idea it tries to convey is quite complex, and thus less", "too ambiguous. Now sometimes, I like making ambiguous art. I like leaving interpretation", "appreciate the ways of communication that the work displays, despite those communications being", "to communicate the message, then you simply don't have the ability. You may", "needed for the work to be experienced properly (a), and where an explicit", "a confusing piece, and try to motivate the reader to reread, isn't likely", "just because the reader can understand the concept, doesn't mean they can infer", "way or another, is read, and thus a new experience of the work", "of someone writing a smaller work. These issues are most relevant to smaller", "I mean by (2). So, here's my question: is it okay to create", "and literary techniques in a work of mine don't paint a clear enough", "ideas, that too is a concern). Thing is, just because the reader can", "in the absence of explicit explanation? --- Here are some examples of where", "author's ability, it would always require an explicit explanation to be truly understood.", "insufficient in the absence of explicit explanation? --- Here are some examples of", "be created by a convoluted novel, isn't enjoyable. And then to expect the", "of where context was needed for the work to be experienced properly (a),", "told the ideas shouldn't be explicitly shoved down someone's throat, whereas in factual", "similes, plot, characters, etc. This idea can be a moral, or it could", "and thus less likely to be understood. > 2. The way I try", "worry that the plot, characters and literary techniques in a work of mine", "want to say that I'm looking at this from the perspective of someone", "is had. Basically, the work is acceptably enjoyable in isolation, but the work", "and thus a new experience of the work is had. Basically, the work", "characters and literary techniques in a work of mine don't paint a clear", "properly (b). (a) 13.43 to 15.39 of [this video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre) (b) [This poem](https://www.reddit.com/r/OCPoetry/comments/pvko8f/sun/) and", "requires subtleties that I feel either go unnoticed, or are too ambiguous. Now", "Furthermore, the proposed solution of using an extratextual element to explain a confusing", "point home more strongly with repetitions and looking at the idea/moral from many", "an extratextual element to explain a confusing piece, and try to motivate the", "the works in which one is traditionally told the ideas shouldn't be explicitly", "but unwanted: this is what I mean by (2). So, here's my question:", "would stop reading, as existing in a long state of confusion and uncertainty,", "displays, despite those communications being insufficient in the absence of explicit explanation? ---", "without the extratextual element.* Some of you may be tempted to say: if", "despite those communications being insufficient in the absence of explicit explanation? --- Here", "separate, explicit explanation? As in, it can be enjoyed without the explanation, but", "for the work to be understood, and thus experienced properly (b). (a) 13.43", "in, it can be enjoyed without the explanation, but when enjoyed as such,", "response to a commenter's questions) EDIT: I want to say that I'm looking", "to be understood. > 2. The way I try to convey it happens", "2. The way I try to convey it happens to invoke other, unwanted", "into two elements, one implicit (the story or poem), and one explicit (the", "have the ability. You may say if a work that is split into", "expect the casual reader to actually reread it shortly after the explanation is", "encourage responses focused on shorter fiction, as I think that's most relevant here.", "feel either go unnoticed, or are too ambiguous. Now sometimes, I like making", "the work to be experienced properly (a), and where an explicit explanation was", "work susceptible to this kind of concern: > > 1. The idea it", "clear enough picture. Sometimes I don't. I think I've found out what kind", "possibility that there are ideas out there that cannot be \"safely\" communicated through", "with general comments about fiction of any length, but I'd like to encourage", "shortly after the explanation is also unrealistic in my opinion. A confusing short", "to be had. Sometimes however, I have a very clear interpretation in mind,", "that the work displays, despite those communications being insufficient in the absence of", "it a poem or a piece of prose) through its metaphors, symbols, similes,", "absence of explicit explanation? --- Here are some examples of where context was", "tries to convey is quite complex, and thus less likely to be understood.", "and meaning in those different interpretations, and suspecting that there's more interpretations to", "being insufficient in the absence of explicit explanation? --- Here are some examples", "up for the reader. However, this is when I've interpreted my work in", "that I'm looking at this from the perspective of someone writing a smaller", "confusing short story or poem however, can actually be quite fun. So, definitely", "try to convey it happens to invoke other, unwanted ideas that may be", "(although with very complex ideas, that too is a concern). Thing is, just", "as such, it will likely be misunderstood, or be experienced as without deeper", "(be it a poem or a piece of prose) through its metaphors, symbols,", "some way or another, is read, and thus a new experience of the", "I want to say that I'm looking at this from the perspective of", "and it's subsequent explanation in a comment (see the long one made by", "concept, the easier it is to communicate clearly through literary techniques. However, the", "interpretative mine field, where a lot of the other interpretations are not just", "symbols, similes, plot, characters, etc. This idea can be a moral, or it", "concept that the fictive work tries to be communicate (be it a poem", "ways, finding entertainment and meaning in those different interpretations, and suspecting that there's", "The idea it tries to convey is quite complex, and thus less likely", "idea. I'm limiting this to fictive works, as these are the works in", "have a very clear interpretation in mind, and although it's often fine that", "ways, but it requires subtleties that I feel either go unnoticed, or are", "isn't truly experienced without the extratextual element. Some of you may be tempted", "thus experienced properly (b). (a) 13.43 to 15.39 of [this video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre) (b) [This", "The way I try to convey it happens to invoke other, unwanted ideas", "happens to invoke other, unwanted ideas that may be mistaken as the core", "I don't want anyone to miss that one intended interpretation. Other times however,", "aha moments and letting them appreciate the ways of communication that the work", "Other times however, I recognize that the work is in a kind interpretative", "may be tempted to say: if you don't have the ability to communicate", "should be made as clear as possible. --- Sometimes I worry that the", "the easier it is to communicate clearly through literary techniques. However, the more", "fiction, meaning no matter the author's ability, it would always require an explicit", "understood, and thus experienced properly (b). (a) 13.43 to 15.39 of [this video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre)", "the idea/moral from many different angles). Furthermore, the proposed solution of using an", "a bunch of metaphors and whatnot. I feel like the simpler the concept,", "experienced properly (a), and where an explicit explanation was needed for the work", "is what I mean by (2). So, here's my question: is it okay", "and one explicit (the explanation), that's a bad short-cut. However, that is dismissing", "art. I like leaving interpretation up for the reader. However, this is when", "the concept, doesn't mean they can infer it from a bunch of metaphors", "to this kind of concern: > > 1. The idea it tries to", "matter the author's ability, it would always require an explicit explanation to be", "the ability. You may say if a work that is split into two", "doesn't mean they can infer it from a bunch of metaphors and whatnot.", "short-cut. However, that is dismissing the possibility that there are ideas out there", "are not just unintended, but unwanted: this is what I mean by (2).", "And what's so bad with a work that is first read by an", "possible. --- Sometimes I worry that the plot, characters and literary techniques in", "like the simpler the concept, the easier it is to communicate clearly through", "this is what I mean by (2). So, here's my question: is it", "go unnoticed, or are too ambiguous. Now sometimes, I like making ambiguous art.", "there are ideas out there that cannot be \"safely\" communicated through fiction, meaning", "to this question with general comments about fiction of any length, but I'd", "acceptably enjoyable in isolation, but the work *isn't truly experienced without the extratextual", "don't paint a clear enough picture. Sometimes I don't. I think I've found", "from a bunch of metaphors and whatnot. I feel like the simpler the", "those different interpretations, and suspecting that there's more interpretations to be had. Sometimes", "require an explicit explanation to be truly understood. And what's so bad with", "story or poem however, can actually be quite fun. So, definitely respond to", "experience of the work is had. Basically, the work is acceptably enjoyable in", "mean when I say core idea of a work of fiction. It is", "what I mean by (2). So, here's my question: is it okay to", "(a) 13.43 to 15.39 of [this video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre) (b) [This poem](https://www.reddit.com/r/OCPoetry/comments/pvko8f/sun/) and it's subsequent", "> > As for (1), I'm not implying that the reader can't understand", "in a long state of confusion and uncertainty, as would be created by", "can actually be quite fun. So, definitely respond to this question with general", "and thus experienced properly (b). (a) 13.43 to 15.39 of [this video](https://www.youtube.com/watch?v=Bi4sJEE8wCs&ab_channel=LilyAlexandre) (b)", "more complex concepts are also able to be communicated these ways, but it", "(and potentially reread) via the explanation, giving the reader aha moments and letting", "potentially reread) via the explanation, giving the reader aha moments and letting them", "smaller pieces, as one has less material to communicate the idea (with a", "likely be misunderstood, or be experienced as without deeper meaning. Then, the explicit", "the message, then you simply don't have the ability. You may say if", "it's subsequent explanation in a comment (see the long one made by OP", "when I say core idea of a work of fiction*. It is the", "to reread, isn't likely to work with a novel. I think most readers", "get across, as one can drive the point home more strongly with repetitions", "be tempted to say: if you don't have the ability to communicate the", "the more complex concepts are also able to be communicated these ways, but", "poem), and one explicit (the explanation), that's a bad short-cut. However, that is", "that the plot, characters and literary techniques in a work of mine don't", "of confusion and uncertainty, as would be created by a convoluted novel, isn't", "perspective of someone writing a smaller work. These issues are most relevant to", "with very complex ideas, that too is a concern). Thing is, just because", "but it requires subtleties that I feel either go unnoticed, or are too", "mine field, where a lot of the other interpretations are not just unintended,", "of explicit explanation? --- Here are some examples of where context was needed", "someone's throat, whereas in factual works, it should be made as clear as", "as without deeper meaning. Then, the explicit explanation, available in some way or", "letting them appreciate the ways of communication that the work displays, despite those", "as one can drive the point home more strongly with repetitions and looking", "explicit explanation, available in some way or another, is read, and thus a", "read by an uninformed reader, before being retroactively understood (and potentially reread) via", "work with a novel. I think most readers would stop reading, as existing", "story or poem), and one explicit (the explanation), that's a bad short-cut. However,", "that the reader can't understand the concept (although with very complex ideas, that" ]
[ "ambiguity. I further do not want to change the word order of sentence", "ideas? :-) > > First, Section 2.1 describes how bugs can impair the", "to use \"their\" in the second sentence because it may be not clear", "change the word order of sentence two in a great way because I", "refers to. Any ideas? :-) > > First, Section 2.1 describes how bugs", "not clear to what \"their\" refers to. Any ideas? :-) > > First,", "further do not want to change the word order of sentence two in", "these two sentences end up with medical system? I do not want to", "system to avoid ambiguity. I further do not want to change the word", "use \"their\" in the second sentence because it may be not clear to", "I avoid that these two sentences end up with medical system? I do", "\"flow\" of reading. Further, I do not want to use \"their\" in the", "of sentence two in a great way because I think it hinders the", "impair the correct > functioning of a medical system. Then, Section 2.2 illustrates", "do not want to use a synonym for medical system to avoid ambiguity.", "to avoid ambiguity. I further do not want to change the word order", "\"their\" in the second sentence because it may be not clear to what", "do not want to change the word order of sentence two in a", "word order of sentence two in a great way because I think it", "functioning of a medical system. Then, Section 2.2 illustrates how > bugs can", "avoid that these two sentences end up with medical system? I do not", "end up with medical system? I do not want to use a synonym", "medical system. Then, Section 2.2 illustrates how > bugs can affect the evolution", "bugs can impair the correct > functioning of a medical system. Then, Section", "the correct > functioning of a medical system. Then, Section 2.2 illustrates how", "can affect the evolution of a medical system. > > > Thank you.", "the word order of sentence two in a great way because I think", "to use a synonym for medical system to avoid ambiguity. I further do", "I further do not want to change the word order of sentence two", "describes how bugs can impair the correct > functioning of a medical system.", "how > bugs can affect the evolution of a medical system. > >", "a great way because I think it hinders the \"flow\" of reading. Further,", "that these two sentences end up with medical system? I do not want", "great way because I think it hinders the \"flow\" of reading. Further, I", "Further, I do not want to use \"their\" in the second sentence because", "use a synonym for medical system to avoid ambiguity. I further do not", "want to use a synonym for medical system to avoid ambiguity. I further", "correct > functioning of a medical system. Then, Section 2.2 illustrates how >", "I think it hinders the \"flow\" of reading. Further, I do not want", "second sentence because it may be not clear to what \"their\" refers to.", "> bugs can affect the evolution of a medical system. > > >", "I do not want to use a synonym for medical system to avoid", "to what \"their\" refers to. Any ideas? :-) > > First, Section 2.1", "up with medical system? I do not want to use a synonym for", "the \"flow\" of reading. Further, I do not want to use \"their\" in", "of a medical system. Then, Section 2.2 illustrates how > bugs can affect", "it hinders the \"flow\" of reading. Further, I do not want to use", "because it may be not clear to what \"their\" refers to. Any ideas?", "hinders the \"flow\" of reading. Further, I do not want to use \"their\"", "sentence because it may be not clear to what \"their\" refers to. Any", "what \"their\" refers to. Any ideas? :-) > > First, Section 2.1 describes", "bugs can affect the evolution of a medical system. > > > Thank", "with medical system? I do not want to use a synonym for medical", "two sentences end up with medical system? I do not want to use", "a medical system. Then, Section 2.2 illustrates how > bugs can affect the", "medical system to avoid ambiguity. I further do not want to change the", "I do not want to use \"their\" in the second sentence because it", "the second sentence because it may be not clear to what \"their\" refers", "medical system? I do not want to use a synonym for medical system", "how bugs can impair the correct > functioning of a medical system. Then,", "in a great way because I think it hinders the \"flow\" of reading.", "sentences end up with medical system? I do not want to use a", "How can I avoid that these two sentences end up with medical system?", "First, Section 2.1 describes how bugs can impair the correct > functioning of", "want to change the word order of sentence two in a great way", "not want to change the word order of sentence two in a great", "of reading. Further, I do not want to use \"their\" in the second", "in the second sentence because it may be not clear to what \"their\"", "not want to use \"their\" in the second sentence because it may be", "> > First, Section 2.1 describes how bugs can impair the correct >", "to change the word order of sentence two in a great way because", "order of sentence two in a great way because I think it hinders", "sentence two in a great way because I think it hinders the \"flow\"", "Any ideas? :-) > > First, Section 2.1 describes how bugs can impair", "be not clear to what \"their\" refers to. Any ideas? :-) > >", "want to use \"their\" in the second sentence because it may be not", "2.1 describes how bugs can impair the correct > functioning of a medical", "2.2 illustrates how > bugs can affect the evolution of a medical system.", "not want to use a synonym for medical system to avoid ambiguity. I", "it may be not clear to what \"their\" refers to. Any ideas? :-)", "reading. Further, I do not want to use \"their\" in the second sentence", "a synonym for medical system to avoid ambiguity. I further do not want", "synonym for medical system to avoid ambiguity. I further do not want to", "do not want to use \"their\" in the second sentence because it may", "Then, Section 2.2 illustrates how > bugs can affect the evolution of a", "> functioning of a medical system. Then, Section 2.2 illustrates how > bugs", "system? I do not want to use a synonym for medical system to", "two in a great way because I think it hinders the \"flow\" of", ":-) > > First, Section 2.1 describes how bugs can impair the correct", "may be not clear to what \"their\" refers to. Any ideas? :-) >", "> First, Section 2.1 describes how bugs can impair the correct > functioning", "for medical system to avoid ambiguity. I further do not want to change", "can impair the correct > functioning of a medical system. Then, Section 2.2", "\"their\" refers to. Any ideas? :-) > > First, Section 2.1 describes how", "to. Any ideas? :-) > > First, Section 2.1 describes how bugs can", "way because I think it hinders the \"flow\" of reading. Further, I do", "system. Then, Section 2.2 illustrates how > bugs can affect the evolution of", "illustrates how > bugs can affect the evolution of a medical system. >", "because I think it hinders the \"flow\" of reading. Further, I do not", "clear to what \"their\" refers to. Any ideas? :-) > > First, Section", "Section 2.2 illustrates how > bugs can affect the evolution of a medical", "think it hinders the \"flow\" of reading. Further, I do not want to", "Section 2.1 describes how bugs can impair the correct > functioning of a", "can I avoid that these two sentences end up with medical system? I", "avoid ambiguity. I further do not want to change the word order of" ]
[ "new draft is bullet points for each chapter, referencing back to the original", "difficult to continue writing this idea I have been devoted to for so", "each chapter, referencing back to the original draft. It worked well for the", "somehow everything just came to a halt. It has gotten more and more", "it for months, maybe even years. If anybody has any suggestions to let", "just came to a halt. It has gotten more and more difficult to", "it has gotten chronic for me. I've had it for months, maybe even", "back, I finished my first draft and decided to make huge changes in", "months, maybe even years. If anybody has any suggestions to let my creativity", "week or so, but it has gotten chronic for me. I've had it", "I have been devoted to for so long. I have even tried just", "first few chapters until somehow everything just came to a halt. It has", "worked well for the first few chapters until somehow everything just came to", "chronic for me. I've had it for months, maybe even years. If anybody", "for months, maybe even years. If anybody has any suggestions to let my", "the first few chapters until somehow everything just came to a halt. It", "years. If anybody has any suggestions to let my creativity flow again, please", "planning part altogether and just immediately drafting, but that hasn't worked either. It's", "have been familiar with for two years. How I plan the plot before", "had it for months, maybe even years. If anybody has any suggestions to", "that hasn't worked either. It's normal to have writer's block for maybe a", "block for maybe a week or so, but it has gotten chronic for", "even years. If anybody has any suggestions to let my creativity flow again,", "been familiar with for two years. How I plan the plot before I", "idea I have been devoted to for so long. I have even tried", "story I have been familiar with for two years. How I plan the", "A while back, I finished my first draft and decided to make huge", "until somehow everything just came to a halt. It has gotten more and", "have even tried just skipping the planning part altogether and just immediately drafting,", "drafting, but that hasn't worked either. It's normal to have writer's block for", "so, but it has gotten chronic for me. I've had it for months,", "hasn't worked either. It's normal to have writer's block for maybe a week", "to continue writing this idea I have been devoted to for so long.", "chapters until somehow everything just came to a halt. It has gotten more", "the entire story I have been familiar with for two years. How I", "How I plan the plot before I start writing a new draft is", "and decided to make huge changes in the protagonist. I went back to", "and more difficult to continue writing this idea I have been devoted to", "just immediately drafting, but that hasn't worked either. It's normal to have writer's", "It has gotten more and more difficult to continue writing this idea I", "before I start writing a new draft is bullet points for each chapter,", "just skipping the planning part altogether and just immediately drafting, but that hasn't", "changes in the protagonist. I went back to replanning the entire story I", "normal to have writer's block for maybe a week or so, but it", "draft. It worked well for the first few chapters until somehow everything just", "a halt. It has gotten more and more difficult to continue writing this", "decided to make huge changes in the protagonist. I went back to replanning", "few chapters until somehow everything just came to a halt. It has gotten", "to make huge changes in the protagonist. I went back to replanning the", "the plot before I start writing a new draft is bullet points for", "been devoted to for so long. I have even tried just skipping the", "familiar with for two years. How I plan the plot before I start", "has gotten more and more difficult to continue writing this idea I have", "draft and decided to make huge changes in the protagonist. I went back", "has gotten chronic for me. I've had it for months, maybe even years.", "to have writer's block for maybe a week or so, but it has", "but it has gotten chronic for me. I've had it for months, maybe", "immediately drafting, but that hasn't worked either. It's normal to have writer's block", "It's normal to have writer's block for maybe a week or so, but", "continue writing this idea I have been devoted to for so long. I", "for so long. I have even tried just skipping the planning part altogether", "worked either. It's normal to have writer's block for maybe a week or", "even tried just skipping the planning part altogether and just immediately drafting, but", "to replanning the entire story I have been familiar with for two years.", "I have even tried just skipping the planning part altogether and just immediately", "bullet points for each chapter, referencing back to the original draft. It worked", "for maybe a week or so, but it has gotten chronic for me.", "finished my first draft and decided to make huge changes in the protagonist.", "first draft and decided to make huge changes in the protagonist. I went", "for the first few chapters until somehow everything just came to a halt.", "more difficult to continue writing this idea I have been devoted to for", "to for so long. I have even tried just skipping the planning part", "but that hasn't worked either. It's normal to have writer's block for maybe", "in the protagonist. I went back to replanning the entire story I have", "more and more difficult to continue writing this idea I have been devoted", "entire story I have been familiar with for two years. How I plan", "anybody has any suggestions to let my creativity flow again, please provide an", "gotten more and more difficult to continue writing this idea I have been", "went back to replanning the entire story I have been familiar with for", "plan the plot before I start writing a new draft is bullet points", "tried just skipping the planning part altogether and just immediately drafting, but that", "writer's block for maybe a week or so, but it has gotten chronic", "writing this idea I have been devoted to for so long. I have", "part altogether and just immediately drafting, but that hasn't worked either. It's normal", "halt. It has gotten more and more difficult to continue writing this idea", "maybe even years. If anybody has any suggestions to let my creativity flow", "huge changes in the protagonist. I went back to replanning the entire story", "well for the first few chapters until somehow everything just came to a", "maybe a week or so, but it has gotten chronic for me. I've", "a week or so, but it has gotten chronic for me. I've had", "the original draft. It worked well for the first few chapters until somehow", "writing a new draft is bullet points for each chapter, referencing back to", "years. How I plan the plot before I start writing a new draft", "I went back to replanning the entire story I have been familiar with", "everything just came to a halt. It has gotten more and more difficult", "has any suggestions to let my creativity flow again, please provide an answer.", "replanning the entire story I have been familiar with for two years. How", "devoted to for so long. I have even tried just skipping the planning", "for two years. How I plan the plot before I start writing a", "so long. I have even tried just skipping the planning part altogether and", "is bullet points for each chapter, referencing back to the original draft. It", "with for two years. How I plan the plot before I start writing", "or so, but it has gotten chronic for me. I've had it for", "for each chapter, referencing back to the original draft. It worked well for", "gotten chronic for me. I've had it for months, maybe even years. If", "I start writing a new draft is bullet points for each chapter, referencing", "long. I have even tried just skipping the planning part altogether and just", "the planning part altogether and just immediately drafting, but that hasn't worked either.", "two years. How I plan the plot before I start writing a new", "referencing back to the original draft. It worked well for the first few", "came to a halt. It has gotten more and more difficult to continue", "I finished my first draft and decided to make huge changes in the", "points for each chapter, referencing back to the original draft. It worked well", "my first draft and decided to make huge changes in the protagonist. I", "have been devoted to for so long. I have even tried just skipping", "I've had it for months, maybe even years. If anybody has any suggestions", "If anybody has any suggestions to let my creativity flow again, please provide", "skipping the planning part altogether and just immediately drafting, but that hasn't worked", "this idea I have been devoted to for so long. I have even", "the protagonist. I went back to replanning the entire story I have been", "to the original draft. It worked well for the first few chapters until", "for me. I've had it for months, maybe even years. If anybody has", "have writer's block for maybe a week or so, but it has gotten", "and just immediately drafting, but that hasn't worked either. It's normal to have", "me. I've had it for months, maybe even years. If anybody has any", "draft is bullet points for each chapter, referencing back to the original draft.", "a new draft is bullet points for each chapter, referencing back to the", "I have been familiar with for two years. How I plan the plot", "original draft. It worked well for the first few chapters until somehow everything", "protagonist. I went back to replanning the entire story I have been familiar", "while back, I finished my first draft and decided to make huge changes", "back to the original draft. It worked well for the first few chapters", "It worked well for the first few chapters until somehow everything just came", "to a halt. It has gotten more and more difficult to continue writing", "either. It's normal to have writer's block for maybe a week or so,", "back to replanning the entire story I have been familiar with for two", "plot before I start writing a new draft is bullet points for each", "chapter, referencing back to the original draft. It worked well for the first", "altogether and just immediately drafting, but that hasn't worked either. It's normal to", "start writing a new draft is bullet points for each chapter, referencing back", "I plan the plot before I start writing a new draft is bullet", "make huge changes in the protagonist. I went back to replanning the entire" ]
[ "growing up so maybe I picked it up from him. To be clear", "a character in my novel who describes a creature's talon as \"wicked sharp\".", "\"wicked smart\", or \"wicked fast\"... I would only use it as an adjective", "referring to something that also seems... Well, sort of malevolent, or wicked--like a", "when referring to something that also seems... Well, sort of malevolent, or wicked--like", "maybe I picked it up from him. To be clear though, I would", "smart\", or \"wicked fast\"... I would only use it as an adjective when", "New England (and my character isn't from there). I'm from Colorado and have", "would never say someone was \"wicked smart\", or \"wicked fast\"... I would only", "from Colorado and have used this adjective all my life... But I also", "there). I'm from Colorado and have used this adjective all my life... But", "I also read a ton of Spepfuj Kunw growing up so maybe I", "Spepfuj Kunw growing up so maybe I picked it up from him. To", "seems... Well, sort of malevolent, or wicked--like a creature's talon. But maybe I'm", "novel who describes a creature's talon as \"wicked sharp\". My wife says this", "read a ton of Spepfuj Kunw growing up so maybe I picked it", "say someone was \"wicked smart\", or \"wicked fast\"... I would only use it", "him. To be clear though, I would never say someone was \"wicked smart\",", "something she would only hear in New England (and my character isn't from", "it up from him. To be clear though, I would never say someone", "character in my novel who describes a creature's talon as \"wicked sharp\". My", "someone was \"wicked smart\", or \"wicked fast\"... I would only use it as", "adjective all my life... But I also read a ton of Spepfuj Kunw", "Well, sort of malevolent, or wicked--like a creature's talon. But maybe I'm just", "says this is something she would only hear in New England (and my", "describes a creature's talon as \"wicked sharp\". My wife says this is something", "my novel who describes a creature's talon as \"wicked sharp\". My wife says", "To be clear though, I would never say someone was \"wicked smart\", or", "who describes a creature's talon as \"wicked sharp\". My wife says this is", "wife says this is something she would only hear in New England (and", "sort of malevolent, or wicked--like a creature's talon. But maybe I'm just overloading", "But I also read a ton of Spepfuj Kunw growing up so maybe", "clear though, I would never say someone was \"wicked smart\", or \"wicked fast\"...", "I would never say someone was \"wicked smart\", or \"wicked fast\"... I would", "ton of Spepfuj Kunw growing up so maybe I picked it up from", "as \"wicked sharp\". My wife says this is something she would only hear", "a creature's talon as \"wicked sharp\". My wife says this is something she", "use it as an adjective when referring to something that also seems... Well,", "Kunw growing up so maybe I picked it up from him. To be", "be clear though, I would never say someone was \"wicked smart\", or \"wicked", "as an adjective when referring to something that also seems... Well, sort of", "would only use it as an adjective when referring to something that also", "character isn't from there). I'm from Colorado and have used this adjective all", "fast\"... I would only use it as an adjective when referring to something", "have a character in my novel who describes a creature's talon as \"wicked", "(and my character isn't from there). I'm from Colorado and have used this", "a ton of Spepfuj Kunw growing up so maybe I picked it up", "have used this adjective all my life... But I also read a ton", "or \"wicked fast\"... I would only use it as an adjective when referring", "never say someone was \"wicked smart\", or \"wicked fast\"... I would only use", "to something that also seems... Well, sort of malevolent, or wicked--like a creature's", "from him. To be clear though, I would never say someone was \"wicked", "hear in New England (and my character isn't from there). I'm from Colorado", "this adjective all my life... But I also read a ton of Spepfuj", "also read a ton of Spepfuj Kunw growing up so maybe I picked", "that also seems... Well, sort of malevolent, or wicked--like a creature's talon. But", "also seems... Well, sort of malevolent, or wicked--like a creature's talon. But maybe", "she would only hear in New England (and my character isn't from there).", "only use it as an adjective when referring to something that also seems...", "in New England (and my character isn't from there). I'm from Colorado and", "in my novel who describes a creature's talon as \"wicked sharp\". My wife", "my character isn't from there). I'm from Colorado and have used this adjective", "or wicked--like a creature's talon. But maybe I'm just overloading / misusing the", "I'm from Colorado and have used this adjective all my life... But I", "wicked--like a creature's talon. But maybe I'm just overloading / misusing the word?", "\"wicked fast\"... I would only use it as an adjective when referring to", "sharp\". My wife says this is something she would only hear in New", "isn't from there). I'm from Colorado and have used this adjective all my", "talon as \"wicked sharp\". My wife says this is something she would only", "only hear in New England (and my character isn't from there). I'm from", "and have used this adjective all my life... But I also read a", "would only hear in New England (and my character isn't from there). I'm", "\"wicked sharp\". My wife says this is something she would only hear in", "I picked it up from him. To be clear though, I would never", "adjective when referring to something that also seems... Well, sort of malevolent, or", "is something she would only hear in New England (and my character isn't", "an adjective when referring to something that also seems... Well, sort of malevolent,", "My wife says this is something she would only hear in New England", "my life... But I also read a ton of Spepfuj Kunw growing up", "picked it up from him. To be clear though, I would never say", "up so maybe I picked it up from him. To be clear though,", "though, I would never say someone was \"wicked smart\", or \"wicked fast\"... I", "I would only use it as an adjective when referring to something that", "up from him. To be clear though, I would never say someone was", "was \"wicked smart\", or \"wicked fast\"... I would only use it as an", "it as an adjective when referring to something that also seems... Well, sort", "creature's talon as \"wicked sharp\". My wife says this is something she would", "all my life... But I also read a ton of Spepfuj Kunw growing", "something that also seems... Well, sort of malevolent, or wicked--like a creature's talon.", "so maybe I picked it up from him. To be clear though, I", "of Spepfuj Kunw growing up so maybe I picked it up from him.", "Colorado and have used this adjective all my life... But I also read", "malevolent, or wicked--like a creature's talon. But maybe I'm just overloading / misusing", "this is something she would only hear in New England (and my character", "of malevolent, or wicked--like a creature's talon. But maybe I'm just overloading /", "used this adjective all my life... But I also read a ton of", "life... But I also read a ton of Spepfuj Kunw growing up so", "from there). I'm from Colorado and have used this adjective all my life...", "I have a character in my novel who describes a creature's talon as", "England (and my character isn't from there). I'm from Colorado and have used" ]
[ "all over the place. > > > .. > > > Somewhere in", "into your arm. > > > Pain from the heat and the blade", "> > > First the wind from the chainsaws blades, touches the hairs", "concerned that I might be being too graphic. Am I? (The book is", "severed by a chainsaw. > > > Like a Chainsaw, cutting through the", "hand being severed by a chainsaw. > > > Like a Chainsaw, cutting", "Chainsaw. > > > Then You hear it being pulled into motion, with", "> The feeling is like a hand being severed by a chainsaw. >", "> > > Somewhere in the background a phone start to ring. >", "> First the wind from the chainsaws blades, touches the hairs on your", "starter. > > > The Chainsaw is raped a little. > > >", "the MC having lost his mother and his magic: > > The feeling", "the blade on the chainsaw.... > > > Then the blood starts to", "arm. > > > .. > > > First the wind from the", "the readers' attention, but I'm concerned that I might be being too graphic.", "Then the blood starts to spray all over the place. > > >", "to capture the readers' attention, but I'm concerned that I might be being", "Chainsaw, cutting through the hand, Slowly and methodical. > > > First You", "spray all over the place. > > > .. > > > Somewhere", "Hijrp Potfeq-like DnD fantasy story, but for readers of ages 18+. I have", "to your arm. > > > .. > > > First the wind", "for readers of ages 18+. I have a description in my mind of", "> > I wake up and finds, that I still have both my", "and finds, that I still have both my hands. > > > This", "is like a hand being severed by a chainsaw. > > > Like", "your arm. > > > Pain from the heat and the blade on", "arm. > > > Then the first blade touches Your skin, and start", "feeling is like a hand being severed by a chainsaw. > > >", "> > The feeling is like a hand being severed by a chainsaw.", "a Hijrp Potfeq-like DnD fantasy story, but for readers of ages 18+. I", "18+. I have a description in my mind of the MC having lost", "> > This is the start of the book, to capture the readers'", "blood starts to spray all over the place. > > > .. >", "from the chainsaws blades, touches the hairs on your arm. > > >", "that I might be being too graphic. Am I? (The book is 99%", "little. > > > Then it move down to your arm. > >", "wake up and finds, that I still have both my hands. > >", "start to ring. > > > I wake up and finds, that I", "is raped a little. > > > Then it move down to your", "both my hands. > > > This is the start of the book,", "You hear it being pulled into motion, with the manual starter. > >", "is the start of the book, to capture the readers' attention, but I'm", "magic: > > The feeling is like a hand being severed by a", "my mind of the MC having lost his mother and his magic: >", "> > > First You see the Chainsaw. > > > Then You", "> > First the wind from the chainsaws blades, touches the hairs on", "Chainsaw is raped a little. > > > Then it move down to", "a hand being severed by a chainsaw. > > > Like a Chainsaw,", "the first blade touches Your skin, and start to cut into your arm.", "> > Somewhere in the background a phone start to ring. > >", "DnD fantasy story, but for readers of ages 18+. I have a description", "Then You hear it being pulled into motion, with the manual starter. >", "on your arm. > > > Then the first blade touches Your skin,", "> Somewhere in the background a phone start to ring. > > >", "> Like a Chainsaw, cutting through the hand, Slowly and methodical. > >", "> The Chainsaw is raped a little. > > > Then it move", "First You see the Chainsaw. > > > Then You hear it being", "to ring. > > > I wake up and finds, that I still", "Am I? (The book is 99% finished, so I just need a little", "down to your arm. > > > .. > > > First the", "the hand, Slowly and methodical. > > > First You see the Chainsaw.", "capture the readers' attention, but I'm concerned that I might be being too", "skin, and start to cut into your arm. > > > Pain from", "like a hand being severed by a chainsaw. > > > Like a", "a phone start to ring. > > > I wake up and finds,", "and start to cut into your arm. > > > Pain from the", "hear it being pulled into motion, with the manual starter. > > >", "> > Pain from the heat and the blade on the chainsaw.... >", "> > Like a Chainsaw, cutting through the hand, Slowly and methodical. >", "> > > Pain from the heat and the blade on the chainsaw....", "into motion, with the manual starter. > > > The Chainsaw is raped", "touches the hairs on your arm. > > > Then the first blade", "the chainsaws blades, touches the hairs on your arm. > > > Then", "blade on the chainsaw.... > > > Then the blood starts to spray", "> > > Then the blood starts to spray all over the place.", "graphic. Am I? (The book is 99% finished, so I just need a", "Like a Chainsaw, cutting through the hand, Slowly and methodical. > > >", "I am writing a Hijrp Potfeq-like DnD fantasy story, but for readers of", "that I still have both my hands. > > > This is the", "book, to capture the readers' attention, but I'm concerned that I might be", "> Then the blood starts to spray all over the place. > >", "motion, with the manual starter. > > > The Chainsaw is raped a", "writing a Hijrp Potfeq-like DnD fantasy story, but for readers of ages 18+.", "> > The Chainsaw is raped a little. > > > Then it", "> > > .. > > > Somewhere in the background a phone", "have a description in my mind of the MC having lost his mother", "First the wind from the chainsaws blades, touches the hairs on your arm.", "being pulled into motion, with the manual starter. > > > The Chainsaw", "with the manual starter. > > > The Chainsaw is raped a little.", "to spray all over the place. > > > .. > > >", "I? (The book is 99% finished, so I just need a little extra.)", "heat and the blade on the chainsaw.... > > > Then the blood", "> > .. > > > First the wind from the chainsaws blades,", "by a chainsaw. > > > Like a Chainsaw, cutting through the hand,", "hairs on your arm. > > > Then the first blade touches Your", "> Then it move down to your arm. > > > .. >", "> > Then it move down to your arm. > > > ..", "chainsaw. > > > Like a Chainsaw, cutting through the hand, Slowly and", "> > Then the first blade touches Your skin, and start to cut", "to cut into your arm. > > > Pain from the heat and", "blades, touches the hairs on your arm. > > > Then the first", "methodical. > > > First You see the Chainsaw. > > > Then", "Potfeq-like DnD fantasy story, but for readers of ages 18+. I have a", ".. > > > First the wind from the chainsaws blades, touches the", "MC having lost his mother and his magic: > > The feeling is", "> Pain from the heat and the blade on the chainsaw.... > >", "I'm concerned that I might be being too graphic. Am I? (The book", "having lost his mother and his magic: > > The feeling is like", "attention, but I'm concerned that I might be being too graphic. Am I?", "the blood starts to spray all over the place. > > > ..", "> > Then You hear it being pulled into motion, with the manual", "and the blade on the chainsaw.... > > > Then the blood starts", "> .. > > > Somewhere in the background a phone start to", "> > > This is the start of the book, to capture the", "raped a little. > > > Then it move down to your arm.", "the hairs on your arm. > > > Then the first blade touches", "Somewhere in the background a phone start to ring. > > > I", "the book, to capture the readers' attention, but I'm concerned that I might", "might be being too graphic. Am I? (The book is 99% finished, so", "too graphic. Am I? (The book is 99% finished, so I just need", "> Then the first blade touches Your skin, and start to cut into", "Then the first blade touches Your skin, and start to cut into your", "cut into your arm. > > > Pain from the heat and the", "hands. > > > This is the start of the book, to capture", "The feeling is like a hand being severed by a chainsaw. > >", "> > > .. > > > First the wind from the chainsaws", "in the background a phone start to ring. > > > I wake", "a little. > > > Then it move down to your arm. >", "> > First You see the Chainsaw. > > > Then You hear", "have both my hands. > > > This is the start of the", "your arm. > > > Then the first blade touches Your skin, and", "arm. > > > Pain from the heat and the blade on the", "mother and his magic: > > The feeling is like a hand being", "> > .. > > > Somewhere in the background a phone start", "pulled into motion, with the manual starter. > > > The Chainsaw is", "up and finds, that I still have both my hands. > > >", ".. > > > Somewhere in the background a phone start to ring.", "a chainsaw. > > > Like a Chainsaw, cutting through the hand, Slowly", "move down to your arm. > > > .. > > > First", "> > Then the blood starts to spray all over the place. >", "the wind from the chainsaws blades, touches the hairs on your arm. >", "> > > Like a Chainsaw, cutting through the hand, Slowly and methodical.", "Pain from the heat and the blade on the chainsaw.... > > >", "his magic: > > The feeling is like a hand being severed by", "wind from the chainsaws blades, touches the hairs on your arm. > >", "from the heat and the blade on the chainsaw.... > > > Then", "first blade touches Your skin, and start to cut into your arm. >", "fantasy story, but for readers of ages 18+. I have a description in", "touches Your skin, and start to cut into your arm. > > >", "am writing a Hijrp Potfeq-like DnD fantasy story, but for readers of ages", "the background a phone start to ring. > > > I wake up", "ring. > > > I wake up and finds, that I still have", "readers' attention, but I'm concerned that I might be being too graphic. Am", "background a phone start to ring. > > > I wake up and", "chainsaw.... > > > Then the blood starts to spray all over the", "I wake up and finds, that I still have both my hands. >", "starts to spray all over the place. > > > .. > >", "> .. > > > First the wind from the chainsaws blades, touches", "a description in my mind of the MC having lost his mother and", "readers of ages 18+. I have a description in my mind of the", "of the MC having lost his mother and his magic: > > The", "Slowly and methodical. > > > First You see the Chainsaw. > >", "hand, Slowly and methodical. > > > First You see the Chainsaw. >", "finds, that I still have both my hands. > > > This is", "of the book, to capture the readers' attention, but I'm concerned that I", "of ages 18+. I have a description in my mind of the MC", "chainsaws blades, touches the hairs on your arm. > > > Then the", "on the chainsaw.... > > > Then the blood starts to spray all", "it being pulled into motion, with the manual starter. > > > The", "but for readers of ages 18+. I have a description in my mind", "place. > > > .. > > > Somewhere in the background a", "> > > The Chainsaw is raped a little. > > > Then", "ages 18+. I have a description in my mind of the MC having", "it move down to your arm. > > > .. > > >", "> Then You hear it being pulled into motion, with the manual starter.", "being too graphic. Am I? (The book is 99% finished, so I just", "over the place. > > > .. > > > Somewhere in the", "my hands. > > > This is the start of the book, to", "> > > Then it move down to your arm. > > >", "the manual starter. > > > The Chainsaw is raped a little. >", "Your skin, and start to cut into your arm. > > > Pain", "lost his mother and his magic: > > The feeling is like a", "his mother and his magic: > > The feeling is like a hand", "see the Chainsaw. > > > Then You hear it being pulled into", "phone start to ring. > > > I wake up and finds, that", "the heat and the blade on the chainsaw.... > > > Then the", "in my mind of the MC having lost his mother and his magic:", "story, but for readers of ages 18+. I have a description in my", "and his magic: > > The feeling is like a hand being severed", "> I wake up and finds, that I still have both my hands.", "> This is the start of the book, to capture the readers' attention,", "the start of the book, to capture the readers' attention, but I'm concerned", "> > > I wake up and finds, that I still have both", "This is the start of the book, to capture the readers' attention, but", "start of the book, to capture the readers' attention, but I'm concerned that", "your arm. > > > .. > > > First the wind from", "a Chainsaw, cutting through the hand, Slowly and methodical. > > > First", "cutting through the hand, Slowly and methodical. > > > First You see", "be being too graphic. Am I? (The book is 99% finished, so I", "manual starter. > > > The Chainsaw is raped a little. > >", "Then it move down to your arm. > > > .. > >", "through the hand, Slowly and methodical. > > > First You see the", "I might be being too graphic. Am I? (The book is 99% finished,", "mind of the MC having lost his mother and his magic: > >", "You see the Chainsaw. > > > Then You hear it being pulled", "still have both my hands. > > > This is the start of", "blade touches Your skin, and start to cut into your arm. > >", "I still have both my hands. > > > This is the start", "description in my mind of the MC having lost his mother and his", "the place. > > > .. > > > Somewhere in the background", "but I'm concerned that I might be being too graphic. Am I? (The", "start to cut into your arm. > > > Pain from the heat", "The Chainsaw is raped a little. > > > Then it move down", "being severed by a chainsaw. > > > Like a Chainsaw, cutting through", "> > > Then You hear it being pulled into motion, with the", "I have a description in my mind of the MC having lost his", "the chainsaw.... > > > Then the blood starts to spray all over", "> First You see the Chainsaw. > > > Then You hear it", "and methodical. > > > First You see the Chainsaw. > > >", "the Chainsaw. > > > Then You hear it being pulled into motion,", "> > > Then the first blade touches Your skin, and start to" ]
[ "do I add something along the lines of \"I hear ambulance sirens \|\|", "lines of \"I hear ambulance sirens \|\| Back to silence\"? For those who", "I add something along the lines of \"I hear ambulance sirens \|\| Back", "got bit by a zombie, but it was pulled away quickly enough that", "he wakes up? Or do I add something along the lines of \"I", "with him confused as to what happened when he wakes up? Or do", "unconscious. How would I describe what he sees/feels? Do I just have a", "as to what happened when he wakes up? Or do I add something", "in my book, the narrator, is suddenly knocked unconscious. How would I describe", "the lines of \"I hear ambulance sirens \|\| Back to silence\"? For those", "he got bit by a zombie, but it was pulled away quickly enough", "a zombie, but it was pulled away quickly enough that he wasn't turned", "want to know, he got bit by a zombie, but it was pulled", "by a zombie, but it was pulled away quickly enough that he wasn't", "I just have a big timeskip, with him confused as to what happened", "just have a big timeskip, with him confused as to what happened when", "describe what he sees/feels? Do I just have a big timeskip, with him", "what he sees/feels? Do I just have a big timeskip, with him confused", "For those who want to know, he got bit by a zombie, but", "would I describe what he sees/feels? Do I just have a big timeskip,", "who want to know, he got bit by a zombie, but it was", "silence\"? For those who want to know, he got bit by a zombie,", "something along the lines of \"I hear ambulance sirens \|\| Back to silence\"?", "How would I describe what he sees/feels? Do I just have a big", "my book, the narrator, is suddenly knocked unconscious. How would I describe what", "One of the characters in my book, the narrator, is suddenly knocked unconscious.", "narrator, is suddenly knocked unconscious. How would I describe what he sees/feels? Do", "Or do I add something along the lines of \"I hear ambulance sirens", "the characters in my book, the narrator, is suddenly knocked unconscious. How would", "Do I just have a big timeskip, with him confused as to what", "suddenly knocked unconscious. How would I describe what he sees/feels? Do I just", "along the lines of \"I hear ambulance sirens \|\| Back to silence\"? For", "add something along the lines of \"I hear ambulance sirens \|\| Back to", "bit by a zombie, but it was pulled away quickly enough that he", "characters in my book, the narrator, is suddenly knocked unconscious. How would I", "a big timeskip, with him confused as to what happened when he wakes", "big timeskip, with him confused as to what happened when he wakes up?", "\"I hear ambulance sirens \|\| Back to silence\"? For those who want to", "hear ambulance sirens \|\| Back to silence\"? For those who want to know,", "zombie, but it was pulled away quickly enough that he wasn't turned into", "those who want to know, he got bit by a zombie, but it", "to what happened when he wakes up? Or do I add something along", "book, the narrator, is suddenly knocked unconscious. How would I describe what he", "up? Or do I add something along the lines of \"I hear ambulance", "sirens \|\| Back to silence\"? For those who want to know, he got", "he sees/feels? Do I just have a big timeskip, with him confused as", "when he wakes up? Or do I add something along the lines of", "ambulance sirens \|\| Back to silence\"? For those who want to know, he", "Back to silence\"? For those who want to know, he got bit by", "what happened when he wakes up? Or do I add something along the", "of the characters in my book, the narrator, is suddenly knocked unconscious. How", "have a big timeskip, with him confused as to what happened when he", "is suddenly knocked unconscious. How would I describe what he sees/feels? Do I", "to silence\"? For those who want to know, he got bit by a", "know, he got bit by a zombie, but it was pulled away quickly", "of \"I hear ambulance sirens \|\| Back to silence\"? For those who want", "happened when he wakes up? Or do I add something along the lines", "sees/feels? Do I just have a big timeskip, with him confused as to", "but it was pulled away quickly enough that he wasn't turned into one.", "him confused as to what happened when he wakes up? Or do I", "wakes up? Or do I add something along the lines of \"I hear", "confused as to what happened when he wakes up? Or do I add", "the narrator, is suddenly knocked unconscious. How would I describe what he sees/feels?", "\|\| Back to silence\"? For those who want to know, he got bit", "to know, he got bit by a zombie, but it was pulled away", "timeskip, with him confused as to what happened when he wakes up? Or", "I describe what he sees/feels? Do I just have a big timeskip, with", "knocked unconscious. How would I describe what he sees/feels? Do I just have" ]
[ "involved with this, whose decisions matter and are directly influenced by what happens.", "is not a constant display of the \"ground view of the changing world\",", "matter and are directly influenced by what happens. Then I've got this guy", "got some huge, solar system-spanning stuff going on, with huge stakes. I've got", "important element I forgot to mention originally, which was made clear to me", "forgot to mention originally, which was made clear to me in the comments", "It is not a constant display of the \"ground view of the changing", "fear that I may bore the reader with this POV, as his decisions", "guy that experiences that change from the ground. Of course, there's more to", "and his decisions don't matter that much. His stakes are limited to the", "is to show a different perspective of the changing world. We've got the", "which was made clear to me in the comments to Amadeus' answer: A", "the ground. Of course, there's more to his story than that. It is", "the \"ground view of the changing world\", but also a journey of his,", "distant and inconsequential POVs have been written well. So, my question is this:", "and are directly influenced by what happens. Then I've got this guy on", "his decisions don't matter that much. His stakes are limited to the livelihood", "of the changing world\", but also a journey of his, for the sake", "avoid when writing distant and inconsequential POVs? EDIT: A pretty important element I", "the changing world\", but also a journey of his, for the sake of", "that are actually changing the world, and then we've got the little guy", "solar system-spanning stuff going on, with huge stakes. I've got four POVs that", "relation to the bigger picture. However, there's been times when distant and inconsequential", "are limited to the livelihood of himself and his child. I fear that", "ground. Of course, there's more to his story than that. It is not", "Then I've got this guy on the side doing his own thing, and", "POVs that are directly involved with this, whose decisions matter and are directly", "guy on the side doing his own thing, and his decisions don't matter", "to me in the comments to Amadeus' answer: A part of why this", "my question is this: What to avoid when writing distant and inconsequential POVs?", "are directly involved with this, whose decisions matter and are directly influenced by", "got the characters' that are actually changing the world, and then we've got", "where we've got some huge, solar system-spanning stuff going on, with huge stakes.", "whose decisions matter and are directly influenced by what happens. Then I've got", "little guy that experiences that change from the ground. Of course, there's more", "this, whose decisions matter and are directly influenced by what happens. Then I've", "made clear to me in the comments to Amadeus' answer: A part of", "a constant display of the \"ground view of the changing world\", but also", "than that. It is not a constant display of the \"ground view of", "is this: What to avoid when writing distant and inconsequential POVs? EDIT: A", "element I forgot to mention originally, which was made clear to me in", "His stakes are limited to the livelihood of himself and his child. I", "POV, as his decisions don't matter that much in relation to the bigger", "the little guy that experiences that change from the ground. Of course, there's", "answer: A part of why this character is here, is to show a", "times when distant and inconsequential POVs have been written well. So, my question", "what happens. Then I've got this guy on the side doing his own", "himself and his child. I fear that I may bore the reader with", "got this guy on the side doing his own thing, and his decisions", "his decisions don't matter that much in relation to the bigger picture. However,", "been written well. So, my question is this: What to avoid when writing", "question is this: What to avoid when writing distant and inconsequential POVs? EDIT:", "then we've got the little guy that experiences that change from the ground.", "changing the world, and then we've got the little guy that experiences that", "on, with huge stakes. I've got four POVs that are directly involved with", "constant display of the \"ground view of the changing world\", but also a", "when distant and inconsequential POVs have been written well. So, my question is", "EDIT: A pretty important element I forgot to mention originally, which was made", "this guy on the side doing his own thing, and his decisions don't", "been times when distant and inconsequential POVs have been written well. So, my", "own thing, and his decisions don't matter that much. His stakes are limited", "distant and inconsequential POVs? EDIT: A pretty important element I forgot to mention", "comments to Amadeus' answer: A part of why this character is here, is", "and then we've got the little guy that experiences that change from the", "matter that much in relation to the bigger picture. However, there's been times", "directly involved with this, whose decisions matter and are directly influenced by what", "we've got the little guy that experiences that change from the ground. Of", "is here, is to show a different perspective of the changing world. We've", "here, is to show a different perspective of the changing world. We've got", "the comments to Amadeus' answer: A part of why this character is here,", "of the changing world. We've got the characters' that are actually changing the", "his own thing, and his decisions don't matter that much. His stakes are", "of the \"ground view of the changing world\", but also a journey of", "experiences that change from the ground. Of course, there's more to his story", "with this, whose decisions matter and are directly influenced by what happens. Then", "by what happens. Then I've got this guy on the side doing his", "novel, where we've got some huge, solar system-spanning stuff going on, with huge", "writing a sci-fi novel, where we've got some huge, solar system-spanning stuff going", "mention originally, which was made clear to me in the comments to Amadeus'", "world. We've got the characters' that are actually changing the world, and then", "child. I fear that I may bore the reader with this POV, as", "side doing his own thing, and his decisions don't matter that much. His", "decisions matter and are directly influenced by what happens. Then I've got this", "from the ground. Of course, there's more to his story than that. It", "course, there's more to his story than that. It is not a constant", "to the livelihood of himself and his child. I fear that I may", "view of the changing world\", but also a journey of his, for the", "there's more to his story than that. It is not a constant display", "inconsequential POVs have been written well. So, my question is this: What to", "changing world. We've got the characters' that are actually changing the world, and", "I've got this guy on the side doing his own thing, and his", "a different perspective of the changing world. We've got the characters' that are", "with huge stakes. I've got four POVs that are directly involved with this,", "thing, and his decisions don't matter that much. His stakes are limited to", "picture. However, there's been times when distant and inconsequential POVs have been written", "system-spanning stuff going on, with huge stakes. I've got four POVs that are", "happens. Then I've got this guy on the side doing his own thing,", "the characters' that are actually changing the world, and then we've got the", "\"ground view of the changing world\", but also a journey of his, for", "this character is here, is to show a different perspective of the changing", "me in the comments to Amadeus' answer: A part of why this character", "reader with this POV, as his decisions don't matter that much in relation", "that much in relation to the bigger picture. However, there's been times when", "story than that. It is not a constant display of the \"ground view", "part of why this character is here, is to show a different perspective", "and his child. I fear that I may bore the reader with this", "that are directly involved with this, whose decisions matter and are directly influenced", "A pretty important element I forgot to mention originally, which was made clear", "perspective of the changing world. We've got the characters' that are actually changing", "to the bigger picture. However, there's been times when distant and inconsequential POVs", "the changing world. We've got the characters' that are actually changing the world,", "actually changing the world, and then we've got the little guy that experiences", "to avoid when writing distant and inconsequential POVs? EDIT: A pretty important element", "that experiences that change from the ground. Of course, there's more to his", "influenced by what happens. Then I've got this guy on the side doing", "limited to the livelihood of himself and his child. I fear that I", "as his decisions don't matter that much in relation to the bigger picture.", "different perspective of the changing world. We've got the characters' that are actually", "world, and then we've got the little guy that experiences that change from", "huge, solar system-spanning stuff going on, with huge stakes. I've got four POVs", "his child. I fear that I may bore the reader with this POV,", "and inconsequential POVs? EDIT: A pretty important element I forgot to mention originally,", "I forgot to mention originally, which was made clear to me in the", "I may bore the reader with this POV, as his decisions don't matter", "A part of why this character is here, is to show a different", "got the little guy that experiences that change from the ground. Of course,", "huge stakes. I've got four POVs that are directly involved with this, whose", "stakes. I've got four POVs that are directly involved with this, whose decisions", "when writing distant and inconsequential POVs? EDIT: A pretty important element I forgot", "the reader with this POV, as his decisions don't matter that much in", "pretty important element I forgot to mention originally, which was made clear to", "originally, which was made clear to me in the comments to Amadeus' answer:", "that much. His stakes are limited to the livelihood of himself and his", "matter that much. His stakes are limited to the livelihood of himself and", "Of course, there's more to his story than that. It is not a", "Amadeus' answer: A part of why this character is here, is to show", "with this POV, as his decisions don't matter that much in relation to", "to mention originally, which was made clear to me in the comments to", "we've got some huge, solar system-spanning stuff going on, with huge stakes. I've", "the side doing his own thing, and his decisions don't matter that much.", "the world, and then we've got the little guy that experiences that change", "of why this character is here, is to show a different perspective of", "sci-fi novel, where we've got some huge, solar system-spanning stuff going on, with", "stakes are limited to the livelihood of himself and his child. I fear", "I've got four POVs that are directly involved with this, whose decisions matter", "are directly influenced by what happens. Then I've got this guy on the", "his story than that. It is not a constant display of the \"ground", "display of the \"ground view of the changing world\", but also a journey", "to show a different perspective of the changing world. We've got the characters'", "more to his story than that. It is not a constant display of", "We've got the characters' that are actually changing the world, and then we've", "directly influenced by what happens. Then I've got this guy on the side", "to Amadeus' answer: A part of why this character is here, is to", "changing world\", but also a journey of his, for the sake of telling", "was made clear to me in the comments to Amadeus' answer: A part", "livelihood of himself and his child. I fear that I may bore the", "clear to me in the comments to Amadeus' answer: A part of why", "but also a journey of his, for the sake of telling his story.", "What to avoid when writing distant and inconsequential POVs? EDIT: A pretty important", "change from the ground. Of course, there's more to his story than that.", "well. So, my question is this: What to avoid when writing distant and", "this: What to avoid when writing distant and inconsequential POVs? EDIT: A pretty", "decisions don't matter that much. His stakes are limited to the livelihood of", "in the comments to Amadeus' answer: A part of why this character is", "why this character is here, is to show a different perspective of the", "are actually changing the world, and then we've got the little guy that", "may bore the reader with this POV, as his decisions don't matter that", "in relation to the bigger picture. However, there's been times when distant and", "inconsequential POVs? EDIT: A pretty important element I forgot to mention originally, which", "on the side doing his own thing, and his decisions don't matter that", "show a different perspective of the changing world. We've got the characters' that", "don't matter that much in relation to the bigger picture. However, there's been", "characters' that are actually changing the world, and then we've got the little", "much in relation to the bigger picture. However, there's been times when distant", "that I may bore the reader with this POV, as his decisions don't", "of himself and his child. I fear that I may bore the reader", "a sci-fi novel, where we've got some huge, solar system-spanning stuff going on,", "However, there's been times when distant and inconsequential POVs have been written well.", "written well. So, my question is this: What to avoid when writing distant", "doing his own thing, and his decisions don't matter that much. His stakes", "there's been times when distant and inconsequential POVs have been written well. So,", "bore the reader with this POV, as his decisions don't matter that much", "currently writing a sci-fi novel, where we've got some huge, solar system-spanning stuff", "POVs have been written well. So, my question is this: What to avoid", "got four POVs that are directly involved with this, whose decisions matter and", "to his story than that. It is not a constant display of the", "POVs? EDIT: A pretty important element I forgot to mention originally, which was", "the livelihood of himself and his child. I fear that I may bore", "that. It is not a constant display of the \"ground view of the", "the bigger picture. However, there's been times when distant and inconsequential POVs have", "So, my question is this: What to avoid when writing distant and inconsequential", "not a constant display of the \"ground view of the changing world\", but", "writing distant and inconsequential POVs? EDIT: A pretty important element I forgot to", "going on, with huge stakes. I've got four POVs that are directly involved", "and inconsequential POVs have been written well. So, my question is this: What", "stuff going on, with huge stakes. I've got four POVs that are directly", "character is here, is to show a different perspective of the changing world.", "four POVs that are directly involved with this, whose decisions matter and are", "this POV, as his decisions don't matter that much in relation to the", "have been written well. So, my question is this: What to avoid when", "bigger picture. However, there's been times when distant and inconsequential POVs have been", "some huge, solar system-spanning stuff going on, with huge stakes. I've got four", "that change from the ground. Of course, there's more to his story than", "much. His stakes are limited to the livelihood of himself and his child.", "don't matter that much. His stakes are limited to the livelihood of himself", "world\", but also a journey of his, for the sake of telling his", "I'm currently writing a sci-fi novel, where we've got some huge, solar system-spanning", "decisions don't matter that much in relation to the bigger picture. However, there's", "I fear that I may bore the reader with this POV, as his" ]
[ "is being put in a prison cell and another > character slips them", "character is being put in a prison cell and another > character slips", "A character is being put in a prison cell and another > character", "Like in the movie Gladiator, when Maximus kneels before Commodus in > the", "on if not shown. For example: > > A character is being put", "all? Or would I just not describe that and then jump straight into", "the character \"fumbling to get the pin in the key hole while the", "\"fumbling to get the pin in the key hole while the guards are", "Or would I just not describe that and then jump straight into what", "when Maximus kneels before Commodus in > the Colosseum, he picks up a", "that and then jump straight into what happens next? Would I just jump", "does one describe a simple, subtle action/movement that would be unknown had it", "unknown had it not been focused on or shown at all? Or would", "and conceals it behind his hand and forearm. > > > How does", "I just jump right into the character \"fumbling to get the pin in", "behind his hand and forearm. > > > How does one describe a", "simple, subtle action/movement that would be unknown had it not been focused on", "if not shown. For example: > > A character is being put in", "it not been focused on or shown at all? Or would I just", "straight into what happens next? Would I just jump right into the character", "> > Like in the movie Gladiator, when Maximus kneels before Commodus in", "hand and forearm. > > > How does one describe a simple, subtle", "be picked up on if not shown. For example: > > A character", "figuring out a way to describe subtle movements in a scene that wouldn't", "shown at all? Or would I just not describe that and then jump", "not shown. For example: > > A character is being put in a", "had it not been focused on or shown at all? Or would I", "normally be picked up on if not shown. For example: > > A", "kneels before Commodus in > the Colosseum, he picks up a broken arrowhead", "on or shown at all? Or would I just not describe that and", "their back. > > > Or: > > Like in the movie Gladiator,", "would I just not describe that and then jump straight into what happens", "another > character slips them a key or a small pin behind their", "a small pin behind their back. > > > Or: > > Like", "arrowhead and conceals it behind his hand and forearm. > > > How", "to get the pin in the key hole while the guards are distracted\"?", "jump right into the character \"fumbling to get the pin in the key", "I just not describe that and then jump straight into what happens next?", "small pin behind their back. > > > Or: > > Like in", "picked up on if not shown. For example: > > A character is", "be unknown had it not been focused on or shown at all? Or", "> > A character is being put in a prison cell and another", "Maximus kneels before Commodus in > the Colosseum, he picks up a broken", "> Or: > > Like in the movie Gladiator, when Maximus kneels before", "in > the Colosseum, he picks up a broken arrowhead and conceals it", "conceals it behind his hand and forearm. > > > How does one", "it behind his hand and forearm. > > > How does one describe", "movie Gladiator, when Maximus kneels before Commodus in > the Colosseum, he picks", "describe subtle movements in a scene that wouldn't normally be picked up on", "a simple, subtle action/movement that would be unknown had it not been focused", "a broken arrowhead and conceals it behind his hand and forearm. > >", "character slips them a key or a small pin behind their back. >", "not been focused on or shown at all? Or would I just not", "them a key or a small pin behind their back. > > >", "> > > Or: > > Like in the movie Gladiator, when Maximus", "Colosseum, he picks up a broken arrowhead and conceals it behind his hand", "that would be unknown had it not been focused on or shown at", "and another > character slips them a key or a small pin behind", "the movie Gladiator, when Maximus kneels before Commodus in > the Colosseum, he", "in a prison cell and another > character slips them a key or", "struggling with figuring out a way to describe subtle movements in a scene", "Commodus in > the Colosseum, he picks up a broken arrowhead and conceals", "back. > > > Or: > > Like in the movie Gladiator, when", "into the character \"fumbling to get the pin in the key hole while", "> > Or: > > Like in the movie Gladiator, when Maximus kneels", "forearm. > > > How does one describe a simple, subtle action/movement that", "or a small pin behind their back. > > > Or: > >", "what happens next? Would I just jump right into the character \"fumbling to", "character \"fumbling to get the pin in the key hole while the guards", "with figuring out a way to describe subtle movements in a scene that", "I'm struggling with figuring out a way to describe subtle movements in a", "just jump right into the character \"fumbling to get the pin in the", "before Commodus in > the Colosseum, he picks up a broken arrowhead and", "> How does one describe a simple, subtle action/movement that would be unknown", "been focused on or shown at all? Or would I just not describe", "in the movie Gladiator, when Maximus kneels before Commodus in > the Colosseum,", "being put in a prison cell and another > character slips them a", "action/movement that would be unknown had it not been focused on or shown", "How does one describe a simple, subtle action/movement that would be unknown had", "Gladiator, when Maximus kneels before Commodus in > the Colosseum, he picks up", "key or a small pin behind their back. > > > Or: >", "up on if not shown. For example: > > A character is being", "then jump straight into what happens next? Would I just jump right into", "shown. For example: > > A character is being put in a prison", "next? Would I just jump right into the character \"fumbling to get the", "wouldn't normally be picked up on if not shown. For example: > >", "a scene that wouldn't normally be picked up on if not shown. For", "Or: > > Like in the movie Gladiator, when Maximus kneels before Commodus", "right into the character \"fumbling to get the pin in the key hole", "up a broken arrowhead and conceals it behind his hand and forearm. >", "and then jump straight into what happens next? Would I just jump right", "prison cell and another > character slips them a key or a small", "jump straight into what happens next? Would I just jump right into the", "just not describe that and then jump straight into what happens next? Would", "not describe that and then jump straight into what happens next? Would I", "broken arrowhead and conceals it behind his hand and forearm. > > >", "one describe a simple, subtle action/movement that would be unknown had it not", "he picks up a broken arrowhead and conceals it behind his hand and", "pin behind their back. > > > Or: > > Like in the", "happens next? Would I just jump right into the character \"fumbling to get", "at all? Or would I just not describe that and then jump straight", "example: > > A character is being put in a prison cell and", "that wouldn't normally be picked up on if not shown. For example: >", "subtle movements in a scene that wouldn't normally be picked up on if", "a way to describe subtle movements in a scene that wouldn't normally be", "way to describe subtle movements in a scene that wouldn't normally be picked", "a prison cell and another > character slips them a key or a", "> > How does one describe a simple, subtle action/movement that would be", "> Like in the movie Gladiator, when Maximus kneels before Commodus in >", "movements in a scene that wouldn't normally be picked up on if not", "> A character is being put in a prison cell and another >", "subtle action/movement that would be unknown had it not been focused on or", "For example: > > A character is being put in a prison cell", "a key or a small pin behind their back. > > > Or:", "to describe subtle movements in a scene that wouldn't normally be picked up", "> character slips them a key or a small pin behind their back.", "> > > How does one describe a simple, subtle action/movement that would", "or shown at all? Or would I just not describe that and then", "describe that and then jump straight into what happens next? Would I just", "slips them a key or a small pin behind their back. > >", "describe a simple, subtle action/movement that would be unknown had it not been", "and forearm. > > > How does one describe a simple, subtle action/movement", "focused on or shown at all? Or would I just not describe that", "would be unknown had it not been focused on or shown at all?", "into what happens next? Would I just jump right into the character \"fumbling", "his hand and forearm. > > > How does one describe a simple,", "put in a prison cell and another > character slips them a key", "cell and another > character slips them a key or a small pin", "the Colosseum, he picks up a broken arrowhead and conceals it behind his", "scene that wouldn't normally be picked up on if not shown. For example:", "out a way to describe subtle movements in a scene that wouldn't normally", "in a scene that wouldn't normally be picked up on if not shown.", "Would I just jump right into the character \"fumbling to get the pin", "picks up a broken arrowhead and conceals it behind his hand and forearm.", "behind their back. > > > Or: > > Like in the movie", "> the Colosseum, he picks up a broken arrowhead and conceals it behind" ]
[ "X says this in narration during the morning of the due date, not", "heard of the advise of sticking with a single tense throughout a story,", "is due today My story is written in past tense, but character X", "I've heard of the advise of sticking with a single tense throughout a", "the advise of sticking with a single tense throughout a story, so my", "morning of the due date, not after, thus giving me the feeling that", "due date, not after, thus giving me the feeling that it should be", "the morning of the due date, not after, thus giving me the feeling", "with a single tense throughout a story, so my mind is telling me", "today'. However, I've heard of the advise of sticking with a single tense", "a story, so my mind is telling me to type 'The homework was", "giving me the feeling that it should be 'the homework is due today'.", "which of the two sentences are correct: 1. The homework was due today", "homework is due today My story is written in past tense, but character", "narration during the morning of the due date, not after, thus giving me", "of the due date, not after, thus giving me the feeling that it", "the due date, not after, thus giving me the feeling that it should", "tense, but character X says this in narration during the morning of the", "homework was due today 2. The homework is due today My story is", "today 2. The homework is due today My story is written in past", "not after, thus giving me the feeling that it should be 'the homework", "thus giving me the feeling that it should be 'the homework is due", "was wondering which of the two sentences are correct: 1. The homework was", "but character X says this in narration during the morning of the due", "should be 'the homework is due today'. However, I've heard of the advise", "The homework was due today 2. The homework is due today My story", "wondering which of the two sentences are correct: 1. The homework was due", "be 'the homework is due today'. However, I've heard of the advise of", "is due today'. However, I've heard of the advise of sticking with a", "I was wondering which of the two sentences are correct: 1. The homework", "homework is due today'. However, I've heard of the advise of sticking with", "was due today 2. The homework is due today My story is written", "are correct: 1. The homework was due today 2. The homework is due", "today My story is written in past tense, but character X says this", "of sticking with a single tense throughout a story, so my mind is", "My story is written in past tense, but character X says this in", "throughout a story, so my mind is telling me to type 'The homework", "in narration during the morning of the due date, not after, thus giving", "due today My story is written in past tense, but character X says", "written in past tense, but character X says this in narration during the", "that it should be 'the homework is due today'. However, I've heard of", "the two sentences are correct: 1. The homework was due today 2. The", "so my mind is telling me to type 'The homework was due today'.", "advise of sticking with a single tense throughout a story, so my mind", "a single tense throughout a story, so my mind is telling me to", "single tense throughout a story, so my mind is telling me to type", "of the advise of sticking with a single tense throughout a story, so", "correct: 1. The homework was due today 2. The homework is due today", "story is written in past tense, but character X says this in narration", "sticking with a single tense throughout a story, so my mind is telling", "past tense, but character X says this in narration during the morning of", "of the two sentences are correct: 1. The homework was due today 2.", "'the homework is due today'. However, I've heard of the advise of sticking", "1. The homework was due today 2. The homework is due today My", "feeling that it should be 'the homework is due today'. However, I've heard", "me the feeling that it should be 'the homework is due today'. However,", "tense throughout a story, so my mind is telling me to type 'The", "this in narration during the morning of the due date, not after, thus", "it should be 'the homework is due today'. However, I've heard of the", "is written in past tense, but character X says this in narration during", "The homework is due today My story is written in past tense, but", "date, not after, thus giving me the feeling that it should be 'the", "two sentences are correct: 1. The homework was due today 2. The homework", "However, I've heard of the advise of sticking with a single tense throughout", "2. The homework is due today My story is written in past tense,", "due today'. However, I've heard of the advise of sticking with a single", "story, so my mind is telling me to type 'The homework was due", "sentences are correct: 1. The homework was due today 2. The homework is", "after, thus giving me the feeling that it should be 'the homework is", "character X says this in narration during the morning of the due date,", "in past tense, but character X says this in narration during the morning", "says this in narration during the morning of the due date, not after,", "due today 2. The homework is due today My story is written in", "during the morning of the due date, not after, thus giving me the", "the feeling that it should be 'the homework is due today'. However, I've" ]
[ "a certain way of doing it. For example, would I do it like", "falling asleep... Help. > > > Or, would it be better like this:", "I want to add sections within my novel where multiple characters are sending", "there's a certain way of doing it. For example, would I do it", "would be indented and formatted into looking like text message bubbles, without the", "his phone vibrated in his hand, the text was short: Uneventful. We’re falling", "way of doing it. For example, would I do it like this: >", "a message: How are things going on your end? He was looking out", "end? He was looking out his window when his phone vibrated in his", "characters are sending text messages to each other, but don't how to format", "is there a better way of doing it? I want to avoid using", "avoid using italics as I'm already using them for inner dialogue, thoughts and", "the bubbles, of course. Or is there a better way of doing it?", "where multiple characters are sending text messages to each other, but don't how", "Help. > > > The latter would be indented and formatted into looking", "sending text messages to each other, but don't how to format it or", "going on your end? > > > He was looking out his window", "this: > > He decided to distract himself by sending Amy a message:", "when his phone vibrated in his hand: > > > Uneventful. We’re falling", "out his window when his phone vibrated in his hand, the text was", "phone vibrated in his hand, the text was short: Uneventful. We’re falling asleep...", "We’re falling asleep… Help. > > > The latter would be indented and", "message bubbles, without the bubbles, of course. Or is there a better way", "novel where multiple characters are sending text messages to each other, but don't", "to format it or if there's a certain way of doing it. For", "bubbles, without the bubbles, of course. Or is there a better way of", "asleep… Help. > > > The latter would be indented and formatted into", "and formatted into looking like text message bubbles, without the bubbles, of course.", "> How are things going on your end? > > > He was", "using italics as I'm already using them for inner dialogue, thoughts and memories.", "each other, but don't how to format it or if there's a certain", "his window when his phone vibrated in his hand: > > > Uneventful.", "his phone vibrated in his hand: > > > Uneventful. We’re falling asleep…", "> He decided to distract himself by sending Amy a message: How are", "distract himself by sending Amy a message: How are things going on your", "vibrated in his hand: > > > Uneventful. We’re falling asleep… Help. >", "are things going on your end? > > > He was looking out", "his hand, the text was short: Uneventful. We’re falling asleep... Help. > >", "I do it like this: > > He decided to distract himself by", "add sections within my novel where multiple characters are sending text messages to", "> > How are things going on your end? > > > He", "are things going on your end? He was looking out his window when", "was looking out his window when his phone vibrated in his hand: >", "better way of doing it? I want to avoid using italics as I'm", "> > > He was looking out his window when his phone vibrated", "like text message bubbles, without the bubbles, of course. Or is there a", "course. Or is there a better way of doing it? I want to", "but don't how to format it or if there's a certain way of", "do it like this: > > He decided to distract himself by sending", "in his hand, the text was short: Uneventful. We’re falling asleep... Help. >", "on your end? He was looking out his window when his phone vibrated", "way of doing it? I want to avoid using italics as I'm already", "He was looking out his window when his phone vibrated in his hand,", "Or, would it be better like this: > > How are things going", "Uneventful. We’re falling asleep… Help. > > > The latter would be indented", "was short: Uneventful. We’re falling asleep... Help. > > > Or, would it", "> > Uneventful. We’re falling asleep… Help. > > > The latter would", "this: > > How are things going on your end? > > >", "format it or if there's a certain way of doing it. For example,", "For example, would I do it like this: > > He decided to", "> He was looking out his window when his phone vibrated in his", "> The latter would be indented and formatted into looking like text message", "by sending Amy a message: How are things going on your end? He", "asleep... Help. > > > Or, would it be better like this: >", "> Or, would it be better like this: > > How are things", "> > He was looking out his window when his phone vibrated in", "it. For example, would I do it like this: > > He decided", "his hand: > > > Uneventful. We’re falling asleep… Help. > > >", "hand, the text was short: Uneventful. We’re falling asleep... Help. > > >", "into looking like text message bubbles, without the bubbles, of course. Or is", "it like this: > > He decided to distract himself by sending Amy", "looking like text message bubbles, without the bubbles, of course. Or is there", "himself by sending Amy a message: How are things going on your end?", "want to add sections within my novel where multiple characters are sending text", "sending Amy a message: How are things going on your end? He was", "how to format it or if there's a certain way of doing it.", "are sending text messages to each other, but don't how to format it", "Amy a message: How are things going on your end? He was looking", "indented and formatted into looking like text message bubbles, without the bubbles, of", "out his window when his phone vibrated in his hand: > > >", "I want to avoid using italics as I'm already using them for inner", "in his hand: > > > Uneventful. We’re falling asleep… Help. > >", "was looking out his window when his phone vibrated in his hand, the", "formatted into looking like text message bubbles, without the bubbles, of course. Or", "to add sections within my novel where multiple characters are sending text messages", "going on your end? He was looking out his window when his phone", "doing it. For example, would I do it like this: > > He", "decided to distract himself by sending Amy a message: How are things going", "better like this: > > How are things going on your end? >", "vibrated in his hand, the text was short: Uneventful. We’re falling asleep... Help.", "He decided to distract himself by sending Amy a message: How are things", "window when his phone vibrated in his hand, the text was short: Uneventful.", "short: Uneventful. We’re falling asleep... Help. > > > Or, would it be", "We’re falling asleep... Help. > > > Or, would it be better like", "if there's a certain way of doing it. For example, would I do", "would it be better like this: > > How are things going on", "things going on your end? > > > He was looking out his", "example, would I do it like this: > > He decided to distract", "your end? > > > He was looking out his window when his", "looking out his window when his phone vibrated in his hand: > >", "text message bubbles, without the bubbles, of course. Or is there a better", "latter would be indented and formatted into looking like text message bubbles, without", "> > Or, would it be better like this: > > How are", "want to avoid using italics as I'm already using them for inner dialogue,", "text messages to each other, but don't how to format it or if", "his window when his phone vibrated in his hand, the text was short:", "to each other, but don't how to format it or if there's a", "your end? He was looking out his window when his phone vibrated in", "be better like this: > > How are things going on your end?", "sections within my novel where multiple characters are sending text messages to each", "without the bubbles, of course. Or is there a better way of doing", "to distract himself by sending Amy a message: How are things going on", "on your end? > > > He was looking out his window when", "of course. Or is there a better way of doing it? I want", "messages to each other, but don't how to format it or if there's", "the text was short: Uneventful. We’re falling asleep... Help. > > > Or,", "like this: > > He decided to distract himself by sending Amy a", "it be better like this: > > How are things going on your", "Uneventful. We’re falling asleep... Help. > > > Or, would it be better", "> Uneventful. We’re falling asleep… Help. > > > The latter would be", "phone vibrated in his hand: > > > Uneventful. We’re falling asleep… Help.", "hand: > > > Uneventful. We’re falling asleep… Help. > > > The", "> > > Or, would it be better like this: > > How", "How are things going on your end? He was looking out his window", "multiple characters are sending text messages to each other, but don't how to", "within my novel where multiple characters are sending text messages to each other,", "don't how to format it or if there's a certain way of doing", "would I do it like this: > > He decided to distract himself", "doing it? I want to avoid using italics as I'm already using them", "He was looking out his window when his phone vibrated in his hand:", "message: How are things going on your end? He was looking out his", "bubbles, of course. Or is there a better way of doing it? I", "it? I want to avoid using italics as I'm already using them for", "looking out his window when his phone vibrated in his hand, the text", "> > The latter would be indented and formatted into looking like text", "of doing it. For example, would I do it like this: > >", "How are things going on your end? > > > He was looking", "The latter would be indented and formatted into looking like text message bubbles,", "there a better way of doing it? I want to avoid using italics", "my novel where multiple characters are sending text messages to each other, but", "to avoid using italics as I'm already using them for inner dialogue, thoughts", "or if there's a certain way of doing it. For example, would I", "like this: > > How are things going on your end? > >", "when his phone vibrated in his hand, the text was short: Uneventful. We’re", "it or if there's a certain way of doing it. For example, would", "end? > > > He was looking out his window when his phone", "> > > The latter would be indented and formatted into looking like", "> > He decided to distract himself by sending Amy a message: How", "be indented and formatted into looking like text message bubbles, without the bubbles,", "things going on your end? He was looking out his window when his", "falling asleep… Help. > > > The latter would be indented and formatted", "Or is there a better way of doing it? I want to avoid", "certain way of doing it. For example, would I do it like this:", "window when his phone vibrated in his hand: > > > Uneventful. We’re", "text was short: Uneventful. We’re falling asleep... Help. > > > Or, would", "> > > Uneventful. We’re falling asleep… Help. > > > The latter", "Help. > > > Or, would it be better like this: > >", "of doing it? I want to avoid using italics as I'm already using", "a better way of doing it? I want to avoid using italics as", "other, but don't how to format it or if there's a certain way" ]
[ "first chance and during her captivity. She pretended to be part of them", "the traffickers. Finally, in the last few chapters, she manages to escape. It", "escape. It was her first chance and during her captivity. She pretended to", "for a story? Assuming I mention the original girl from time to time.", "the end. The protagonist thinks she's dead, but he meets up with the", "writes like this? --- No, she doesn't solve everything at the end. The", "together but the boy has moved). The letter is destroyed. Her friend is", "at >3,000 words. I don't like prologues. Is this acceptable? Has anyone got", "she doesn't solve everything at the end. The protagonist thinks she's dead, but", "at the end. The protagonist thinks she's dead, but he meets up with", "It was her first chance and during her captivity. She pretended to be", "she manages to escape. It was her first chance and during her captivity.", "got examples of another author who writes like this? --- No, she doesn't", "meets up with the traffickers several times without relation the the original girl.", "several times without relation the the original girl. No one knows where the", "was her first chance and during her captivity. She pretended to be part", "their office work. Once she escapes, she makes a beeline for the protagonist", "examples of another author who writes like this? --- No, she doesn't solve", "The protagonist gets involved in several sub plots, but his goal is to", "does he find out where the HQ is so he can take action.", "leading to a grand bloody finale. All I'm asking is the question: Is", "a grand bloody finale. All I'm asking is the question: Is this a", "protagonist is only 9 years old at the time of the event. It's", "of another author who writes like this? --- No, she doesn't solve everything", "captivity. She pretended to be part of them and did all their office", "the event. It's quite a long chapter at >3,000 words. I don't like", "manages to write a note to her friend (they both go to school", "but the boy has moved). The letter is destroyed. Her friend is the", "the the original girl. No one knows where the HQ of the villains", "find out where the HQ is so he can take action. The traffickers", "this a possibility for a story? Assuming I mention the original girl from", "has moved). The letter is destroyed. Her friend is the protagonist. I wanted", "the protagonist. I wanted a good 'hook', which it is, but the protagonist", "but there are several sub plots all leading to a grand bloody finale.", "a beeline for the protagonist and only now does he find out where", "of the event. It's quite a long chapter at >3,000 words. I don't", "them and did all their office work. Once she escapes, she makes a", "for the protagonist and only now does he find out where the HQ", "letter is destroyed. Her friend is the protagonist. I wanted a good 'hook',", "the main antagonists but there are several sub plots all leading to a", "friend is the protagonist. I wanted a good 'hook', which it is, but", "where the HQ of the villains is. The protagonist gets involved in several", "manages to escape. It was her first chance and during her captivity. She", "don't like prologues. Is this acceptable? Has anyone got examples of another author", "The traffickers are the main antagonists but there are several sub plots all", "All I'm asking is the question: Is this a possibility for a story?", "author who writes like this? --- No, she doesn't solve everything at the", "the villains is. The protagonist gets involved in several sub plots, but his", "the HQ is so he can take action. The traffickers are the main", "like this? --- No, she doesn't solve everything at the end. The protagonist", "original girl. No one knows where the HQ of the villains is. The", "like prologues. Is this acceptable? Has anyone got examples of another author who", "relation the the original girl. No one knows where the HQ of the", "A girl is kidnapped. She manages to write a note to her friend", "old at the time of the event. It's quite a long chapter at", "She pretended to be part of them and did all their office work.", "where the HQ is so he can take action. The traffickers are the", "grand bloody finale. All I'm asking is the question: Is this a possibility", "is the question: Is this a possibility for a story? Assuming I mention", "the boy has moved). The letter is destroyed. Her friend is the protagonist.", "is kidnapped. She manages to write a note to her friend (they both", "moved). The letter is destroyed. Her friend is the protagonist. I wanted a", "girl. No one knows where the HQ of the villains is. The protagonist", "one knows where the HQ of the villains is. The protagonist gets involved", "villains is. The protagonist gets involved in several sub plots, but his goal", "he find out where the HQ is so he can take action. The", "Is this acceptable? Has anyone got examples of another author who writes like", "Her friend is the protagonist. I wanted a good 'hook', which it is,", "asking is the question: Is this a possibility for a story? Assuming I", "The letter is destroyed. Her friend is the protagonist. I wanted a good", "traffickers. Finally, in the last few chapters, she manages to escape. It was", "place in 1953. A girl is kidnapped. She manages to write a note", "it is, but the protagonist is only 9 years old at the time", "makes a beeline for the protagonist and only now does he find out", "the question: Is this a possibility for a story? Assuming I mention the", "dead, but he meets up with the traffickers several times without relation the", "--- No, she doesn't solve everything at the end. The protagonist thinks she's", "(they both go to school together but the boy has moved). The letter", "plots, but his goal is to dispose of the traffickers. Finally, in the", "action. The traffickers are the main antagonists but there are several sub plots", "during her captivity. She pretended to be part of them and did all", "she makes a beeline for the protagonist and only now does he find", "possibility for a story? Assuming I mention the original girl from time to", "go to school together but the boy has moved). The letter is destroyed.", "is so he can take action. The traffickers are the main antagonists but", "is the protagonist. I wanted a good 'hook', which it is, but the", "he can take action. The traffickers are the main antagonists but there are", "to dispose of the traffickers. Finally, in the last few chapters, she manages", "a possibility for a story? Assuming I mention the original girl from time", "note to her friend (they both go to school together but the boy", "prologues. Is this acceptable? Has anyone got examples of another author who writes", "is only 9 years old at the time of the event. It's quite", "doesn't solve everything at the end. The protagonist thinks she's dead, but he", "the last few chapters, she manages to escape. It was her first chance", "office work. Once she escapes, she makes a beeline for the protagonist and", "thinks she's dead, but he meets up with the traffickers several times without", "now does he find out where the HQ is so he can take", "good 'hook', which it is, but the protagonist is only 9 years old", "be part of them and did all their office work. Once she escapes,", "both go to school together but the boy has moved). The letter is", "this acceptable? Has anyone got examples of another author who writes like this?", "another author who writes like this? --- No, she doesn't solve everything at", "Finally, in the last few chapters, she manages to escape. It was her", "boy has moved). The letter is destroyed. Her friend is the protagonist. I", "to her friend (they both go to school together but the boy has", "escapes, she makes a beeline for the protagonist and only now does he", "It's quite a long chapter at >3,000 words. I don't like prologues. Is", "girl is kidnapped. She manages to write a note to her friend (they", "the protagonist and only now does he find out where the HQ is", "her first chance and during her captivity. She pretended to be part of", "is. The protagonist gets involved in several sub plots, but his goal is", "takes place in 1953. A girl is kidnapped. She manages to write a", "to a grand bloody finale. All I'm asking is the question: Is this", "original girl from time to time. From current answers it would seem so.", "The protagonist thinks she's dead, but he meets up with the traffickers several", "several sub plots, but his goal is to dispose of the traffickers. Finally,", "are several sub plots all leading to a grand bloody finale. All I'm", "1 takes place in 1953. A girl is kidnapped. She manages to write", "is, but the protagonist is only 9 years old at the time of", "the original girl. No one knows where the HQ of the villains is.", "knows where the HQ of the villains is. The protagonist gets involved in", "the original girl from time to time. From current answers it would seem", "Has anyone got examples of another author who writes like this? --- No,", "is to dispose of the traffickers. Finally, in the last few chapters, she", "'hook', which it is, but the protagonist is only 9 years old at", "last few chapters, she manages to escape. It was her first chance and", "No, she doesn't solve everything at the end. The protagonist thinks she's dead,", "up with the traffickers several times without relation the the original girl. No", "time of the event. It's quite a long chapter at >3,000 words. I", "part of them and did all their office work. Once she escapes, she", "at the time of the event. It's quite a long chapter at >3,000", "protagonist. I wanted a good 'hook', which it is, but the protagonist is", "only 9 years old at the time of the event. It's quite a", "work. Once she escapes, she makes a beeline for the protagonist and only", "only now does he find out where the HQ is so he can", "chapters, she manages to escape. It was her first chance and during her", "Chapter 1 takes place in 1953. A girl is kidnapped. She manages to", "protagonist and only now does he find out where the HQ is so", "beeline for the protagonist and only now does he find out where the", "out where the HQ is so he can take action. The traffickers are", "there are several sub plots all leading to a grand bloody finale. All", "destroyed. Her friend is the protagonist. I wanted a good 'hook', which it", "her captivity. She pretended to be part of them and did all their", "acceptable? Has anyone got examples of another author who writes like this? ---", "the time of the event. It's quite a long chapter at >3,000 words.", "solve everything at the end. The protagonist thinks she's dead, but he meets", "story? Assuming I mention the original girl from time to time. From current", "protagonist gets involved in several sub plots, but his goal is to dispose", "traffickers several times without relation the the original girl. No one knows where", "in several sub plots, but his goal is to dispose of the traffickers.", "and did all their office work. Once she escapes, she makes a beeline", "to escape. It was her first chance and during her captivity. She pretended", "years old at the time of the event. It's quite a long chapter", "times without relation the the original girl. No one knows where the HQ", "did all their office work. Once she escapes, she makes a beeline for", "plots all leading to a grand bloody finale. All I'm asking is the", "anyone got examples of another author who writes like this? --- No, she", "and only now does he find out where the HQ is so he", "her friend (they both go to school together but the boy has moved).", "to write a note to her friend (they both go to school together", "quite a long chapter at >3,000 words. I don't like prologues. Is this", "but his goal is to dispose of the traffickers. Finally, in the last", "the protagonist is only 9 years old at the time of the event.", "pretended to be part of them and did all their office work. Once", "the HQ of the villains is. The protagonist gets involved in several sub", "in the last few chapters, she manages to escape. It was her first", ">3,000 words. I don't like prologues. Is this acceptable? Has anyone got examples", "I don't like prologues. Is this acceptable? Has anyone got examples of another", "with the traffickers several times without relation the the original girl. No one", "she escapes, she makes a beeline for the protagonist and only now does", "I'm asking is the question: Is this a possibility for a story? Assuming", "question: Is this a possibility for a story? Assuming I mention the original", "9 years old at the time of the event. It's quite a long", "I mention the original girl from time to time. From current answers it", "involved in several sub plots, but his goal is to dispose of the", "main antagonists but there are several sub plots all leading to a grand", "who writes like this? --- No, she doesn't solve everything at the end.", "gets involved in several sub plots, but his goal is to dispose of", "to school together but the boy has moved). The letter is destroyed. Her", "which it is, but the protagonist is only 9 years old at the", "his goal is to dispose of the traffickers. Finally, in the last few", "this? --- No, she doesn't solve everything at the end. The protagonist thinks", "She manages to write a note to her friend (they both go to", "all leading to a grand bloody finale. All I'm asking is the question:", "a long chapter at >3,000 words. I don't like prologues. Is this acceptable?", "take action. The traffickers are the main antagonists but there are several sub", "end. The protagonist thinks she's dead, but he meets up with the traffickers", "No one knows where the HQ of the villains is. The protagonist gets", "in 1953. A girl is kidnapped. She manages to write a note to", "write a note to her friend (they both go to school together but", "of the villains is. The protagonist gets involved in several sub plots, but", "and during her captivity. She pretended to be part of them and did", "he meets up with the traffickers several times without relation the the original", "Once she escapes, she makes a beeline for the protagonist and only now", "traffickers are the main antagonists but there are several sub plots all leading", "finale. All I'm asking is the question: Is this a possibility for a", "Is this a possibility for a story? Assuming I mention the original girl", "she's dead, but he meets up with the traffickers several times without relation", "a story? Assuming I mention the original girl from time to time. From", "kidnapped. She manages to write a note to her friend (they both go", "is destroyed. Her friend is the protagonist. I wanted a good 'hook', which", "but he meets up with the traffickers several times without relation the the", "sub plots all leading to a grand bloody finale. All I'm asking is", "a good 'hook', which it is, but the protagonist is only 9 years", "friend (they both go to school together but the boy has moved). The", "to be part of them and did all their office work. Once she", "1953. A girl is kidnapped. She manages to write a note to her", "mention the original girl from time to time. From current answers it would", "can take action. The traffickers are the main antagonists but there are several", "several sub plots all leading to a grand bloody finale. All I'm asking", "few chapters, she manages to escape. It was her first chance and during", "sub plots, but his goal is to dispose of the traffickers. Finally, in", "antagonists but there are several sub plots all leading to a grand bloody", "bloody finale. All I'm asking is the question: Is this a possibility for", "the traffickers several times without relation the the original girl. No one knows", "long chapter at >3,000 words. I don't like prologues. Is this acceptable? Has", "of the traffickers. Finally, in the last few chapters, she manages to escape.", "without relation the the original girl. No one knows where the HQ of", "HQ of the villains is. The protagonist gets involved in several sub plots,", "HQ is so he can take action. The traffickers are the main antagonists", "school together but the boy has moved). The letter is destroyed. Her friend", "everything at the end. The protagonist thinks she's dead, but he meets up", "goal is to dispose of the traffickers. Finally, in the last few chapters,", "dispose of the traffickers. Finally, in the last few chapters, she manages to", "are the main antagonists but there are several sub plots all leading to", "but the protagonist is only 9 years old at the time of the", "all their office work. Once she escapes, she makes a beeline for the", "a note to her friend (they both go to school together but the", "I wanted a good 'hook', which it is, but the protagonist is only", "words. I don't like prologues. Is this acceptable? Has anyone got examples of", "protagonist thinks she's dead, but he meets up with the traffickers several times", "event. It's quite a long chapter at >3,000 words. I don't like prologues.", "chance and during her captivity. She pretended to be part of them and", "so he can take action. The traffickers are the main antagonists but there", "Assuming I mention the original girl from time to time. From current answers", "wanted a good 'hook', which it is, but the protagonist is only 9", "chapter at >3,000 words. I don't like prologues. Is this acceptable? Has anyone", "of them and did all their office work. Once she escapes, she makes" ]
[ "to be that throughout the 20th century, witches and wizards have faced a", "has become more important, but with the fast development of technology, magic could", "a school and the elite school be in the US with many nationalities.", "witches and wizards have faced a steep decline in numbers and due to", "have faced a steep decline in numbers and due to the Cold War,", "\"blood status\" such as pure/half bloods and muggle borns without those names. Is", "be that throughout the 20th century, witches and wizards have faced a steep", "to put the story in an alternate universe like Man in the High", "school be in the US with many nationalities. I also want to add", "names. Is this too similar to Hijrp Potfeq? I know this might be", "to the Cold War, secrecy has become more important, but with the fast", "book per year. Thank you to everyone who has already responded. What if", "of technology, magic could cease to exist soon. I plan to have a", "faced a steep decline in numbers and due to the Cold War, secrecy", "development of technology, magic could cease to exist soon. I plan to have", "What if I try to put the story in an alternate universe like", "that throughout the 20th century, witches and wizards have faced a steep decline", "of their lives to be the same as Hogwarts years, but not the", "I want part of their lives to be the same as Hogwarts years,", "magic could cease to exist soon. I plan to have a school and", "Man in the High Castle style. That why magicians and normal people can", "and muggle borns without those names. Is this too similar to Hijrp Potfeq?", "to everyone who has already responded. What if I try to put the", "the US with many nationalities. I also want to add \"blood status\" such", "the High Castle style. That why magicians and normal people can work together.", "Hijrp Potfeq? I know this might be hard to do,but I want part", "fast development of technology, magic could cease to exist soon. I plan to", "school and the elite school be in the US with many nationalities. I", "in the US with many nationalities. I also want to add \"blood status\"", "the one book per year. Thank you to everyone who has already responded.", "I want the premise to be that throughout the 20th century, witches and", "alternate universe like Man in the High Castle style. That why magicians and", "Hogwarts years, but not the one book per year. Thank you to everyone", "the same as Hogwarts years, but not the one book per year. Thank", "not the one book per year. Thank you to everyone who has already", "borns without those names. Is this too similar to Hijrp Potfeq? I know", "those names. Is this too similar to Hijrp Potfeq? I know this might", "try to put the story in an alternate universe like Man in the", "one book per year. Thank you to everyone who has already responded. What", "the story in an alternate universe like Man in the High Castle style.", "want to add \"blood status\" such as pure/half bloods and muggle borns without", "Thank you to everyone who has already responded. What if I try to", "but with the fast development of technology, magic could cease to exist soon.", "nationalities. I also want to add \"blood status\" such as pure/half bloods and", "this too similar to Hijrp Potfeq? I know this might be hard to", "lives to be the same as Hogwarts years, but not the one book", "already responded. What if I try to put the story in an alternate", "story in an alternate universe like Man in the High Castle style. That", "per year. Thank you to everyone who has already responded. What if I", "want part of their lives to be the same as Hogwarts years, but", "be the same as Hogwarts years, but not the one book per year.", "also want to add \"blood status\" such as pure/half bloods and muggle borns", "without those names. Is this too similar to Hijrp Potfeq? I know this", "want the premise to be that throughout the 20th century, witches and wizards", "know this might be hard to do,but I want part of their lives", "with many nationalities. I also want to add \"blood status\" such as pure/half", "the premise to be that throughout the 20th century, witches and wizards have", "due to the Cold War, secrecy has become more important, but with the", "pure/half bloods and muggle borns without those names. Is this too similar to", "put the story in an alternate universe like Man in the High Castle", "bloods and muggle borns without those names. Is this too similar to Hijrp", "year. Thank you to everyone who has already responded. What if I try", "I plan to have a school and the elite school be in the", "to do,but I want part of their lives to be the same as", "in numbers and due to the Cold War, secrecy has become more important,", "the Cold War, secrecy has become more important, but with the fast development", "do,but I want part of their lives to be the same as Hogwarts", "the 20th century, witches and wizards have faced a steep decline in numbers", "War, secrecy has become more important, but with the fast development of technology,", "have a school and the elite school be in the US with many", "important, but with the fast development of technology, magic could cease to exist", "might be hard to do,but I want part of their lives to be", "a steep decline in numbers and due to the Cold War, secrecy has", "and the elite school be in the US with many nationalities. I also", "I also want to add \"blood status\" such as pure/half bloods and muggle", "be hard to do,but I want part of their lives to be the", "as pure/half bloods and muggle borns without those names. Is this too similar", "muggle borns without those names. Is this too similar to Hijrp Potfeq? I", "technology, magic could cease to exist soon. I plan to have a school", "more important, but with the fast development of technology, magic could cease to", "status\" such as pure/half bloods and muggle borns without those names. Is this", "Cold War, secrecy has become more important, but with the fast development of", "to have a school and the elite school be in the US with", "who has already responded. What if I try to put the story in", "has already responded. What if I try to put the story in an", "steep decline in numbers and due to the Cold War, secrecy has become", "Is this too similar to Hijrp Potfeq? I know this might be hard", "premise to be that throughout the 20th century, witches and wizards have faced", "and wizards have faced a steep decline in numbers and due to the", "if I try to put the story in an alternate universe like Man", "to Hijrp Potfeq? I know this might be hard to do,but I want", "plan to have a school and the elite school be in the US", "wizards have faced a steep decline in numbers and due to the Cold", "an alternate universe like Man in the High Castle style. That why magicians", "decline in numbers and due to the Cold War, secrecy has become more", "responded. What if I try to put the story in an alternate universe", "exist soon. I plan to have a school and the elite school be", "to exist soon. I plan to have a school and the elite school", "years, but not the one book per year. Thank you to everyone who", "many nationalities. I also want to add \"blood status\" such as pure/half bloods", "elite school be in the US with many nationalities. I also want to", "in an alternate universe like Man in the High Castle style. That why", "throughout the 20th century, witches and wizards have faced a steep decline in", "become more important, but with the fast development of technology, magic could cease", "but not the one book per year. Thank you to everyone who has", "such as pure/half bloods and muggle borns without those names. Is this too", "the elite school be in the US with many nationalities. I also want", "part of their lives to be the same as Hogwarts years, but not", "their lives to be the same as Hogwarts years, but not the one", "and due to the Cold War, secrecy has become more important, but with", "you to everyone who has already responded. What if I try to put", "similar to Hijrp Potfeq? I know this might be hard to do,but I", "US with many nationalities. I also want to add \"blood status\" such as", "century, witches and wizards have faced a steep decline in numbers and due", "same as Hogwarts years, but not the one book per year. Thank you", "like Man in the High Castle style. That why magicians and normal people", "too similar to Hijrp Potfeq? I know this might be hard to do,but", "soon. I plan to have a school and the elite school be in", "to add \"blood status\" such as pure/half bloods and muggle borns without those", "in the High Castle style. That why magicians and normal people can work", "the fast development of technology, magic could cease to exist soon. I plan", "could cease to exist soon. I plan to have a school and the", "universe like Man in the High Castle style. That why magicians and normal", "numbers and due to the Cold War, secrecy has become more important, but", "cease to exist soon. I plan to have a school and the elite", "add \"blood status\" such as pure/half bloods and muggle borns without those names.", "this might be hard to do,but I want part of their lives to", "be in the US with many nationalities. I also want to add \"blood", "as Hogwarts years, but not the one book per year. Thank you to", "with the fast development of technology, magic could cease to exist soon. I", "secrecy has become more important, but with the fast development of technology, magic", "Potfeq? I know this might be hard to do,but I want part of", "I know this might be hard to do,but I want part of their", "20th century, witches and wizards have faced a steep decline in numbers and", "hard to do,but I want part of their lives to be the same", "to be the same as Hogwarts years, but not the one book per", "I try to put the story in an alternate universe like Man in", "everyone who has already responded. What if I try to put the story" ]
[ "chatting, the dialogue of the video can also be heard, for example: >", "tour of the house. > > > \"You sound really stupid Character A.\"", "recorded of themselves. In between their chatting, the dialogue of the video can", "case where there is something important in the video, I need the content", "my name is Character A and this is...\" said Character A in the", "treated the video as another character, even though it's a recording of Character", "Are there any format guidelines for this sort of thing? In the case", "dialogue of the video can also be heard, for example: > > \"Hey", "at this... why isn't it working?\" said Character A. > > > \"You", "A. Are there any format guidelines for this sort of thing? In the", "stupid Character A.\" > > > \"Yeah well maybe you should do it", "the video, I need the content to come through as well (both audio", "said Character B. > > > The video started to play, \"Hi everyone,", "to play, \"Hi everyone, my name is Character A and this is...\" said", "even though it's a recording of Character A. Are there any format guidelines", "the content to come through as well (both audio and visuals), if that", "next time then,\" said Character A, getting touchy. > > > So essentially", "A, getting touchy. > > > So essentially I have treated the video", "of Character A. Are there any format guidelines for this sort of thing?", "video that Character A recorded of themselves. In between their chatting, the dialogue", "in the video, I need the content to come through as well (both", "this... why isn't it working?\" said Character A. > > > \"You didn't", "time then,\" said Character A, getting touchy. > > > So essentially I", "guidelines for this sort of thing? In the case where there is something", "So let's say I have characters A and B who are chatting about", "about a video that Character A recorded of themselves. In between their chatting,", "> > > So essentially I have treated the video as another character,", "Character A and this is...\" said Character A in the video, taking the", "A. > > > \"You didn't press play,\" said Character B. > >", "the dialogue of the video can also be heard, for example: > >", "for example: > > \"Hey look at this... why isn't it working?\" said", "need the content to come through as well (both audio and visuals), if", "press play,\" said Character B. > > > The video started to play,", "sort of thing? In the case where there is something important in the", "there any format guidelines for this sort of thing? In the case where", "any format guidelines for this sort of thing? In the case where there", "something important in the video, I need the content to come through as", "getting touchy. > > > So essentially I have treated the video as", "is Character A and this is...\" said Character A in the video, taking", "is...\" said Character A in the video, taking the audience through a tour", "> > > \"You sound really stupid Character A.\" > > > \"Yeah", "So essentially I have treated the video as another character, even though it's", "I have treated the video as another character, even though it's a recording", "look at this... why isn't it working?\" said Character A. > > >", "taking the audience through a tour of the house. > > > \"You", "maybe you should do it next time then,\" said Character A, getting touchy.", "didn't press play,\" said Character B. > > > The video started to", "Character A.\" > > > \"Yeah well maybe you should do it next", "> \"You sound really stupid Character A.\" > > > \"Yeah well maybe", "is something important in the video, I need the content to come through", "themselves. In between their chatting, the dialogue of the video can also be", "to come through as well (both audio and visuals), if that makes sense.", "content to come through as well (both audio and visuals), if that makes", "really stupid Character A.\" > > > \"Yeah well maybe you should do", "of the house. > > > \"You sound really stupid Character A.\" >", "there is something important in the video, I need the content to come", "though it's a recording of Character A. Are there any format guidelines for", "are chatting about a video that Character A recorded of themselves. In between", "said Character A, getting touchy. > > > So essentially I have treated", "> So essentially I have treated the video as another character, even though", "have treated the video as another character, even though it's a recording of", "characters A and B who are chatting about a video that Character A", "should do it next time then,\" said Character A, getting touchy. > >", "Character A. > > > \"You didn't press play,\" said Character B. >", "the video as another character, even though it's a recording of Character A.", "name is Character A and this is...\" said Character A in the video,", "heard, for example: > > \"Hey look at this... why isn't it working?\"", "house. > > > \"You sound really stupid Character A.\" > > >", "working?\" said Character A. > > > \"You didn't press play,\" said Character", "the video, taking the audience through a tour of the house. > >", "then,\" said Character A, getting touchy. > > > So essentially I have", "> > So essentially I have treated the video as another character, even", "and B who are chatting about a video that Character A recorded of", "can also be heard, for example: > > \"Hey look at this... why", "it working?\" said Character A. > > > \"You didn't press play,\" said", "video, I need the content to come through as well (both audio and", "who are chatting about a video that Character A recorded of themselves. In", "play,\" said Character B. > > > The video started to play, \"Hi", "Character B. > > > The video started to play, \"Hi everyone, my", "through a tour of the house. > > > \"You sound really stupid", "video as another character, even though it's a recording of Character A. Are", "recording of Character A. Are there any format guidelines for this sort of", "thing? In the case where there is something important in the video, I", "I have characters A and B who are chatting about a video that", "Character A, getting touchy. > > > So essentially I have treated the", "it next time then,\" said Character A, getting touchy. > > > So", "of thing? In the case where there is something important in the video,", "why isn't it working?\" said Character A. > > > \"You didn't press", "have characters A and B who are chatting about a video that Character", "\"Hey look at this... why isn't it working?\" said Character A. > >", "say I have characters A and B who are chatting about a video", "a video that Character A recorded of themselves. In between their chatting, the", "important in the video, I need the content to come through as well", "A recorded of themselves. In between their chatting, the dialogue of the video", "and this is...\" said Character A in the video, taking the audience through", "of themselves. In between their chatting, the dialogue of the video can also", "let's say I have characters A and B who are chatting about a", "character, even though it's a recording of Character A. Are there any format", "> \"You didn't press play,\" said Character B. > > > The video", "this is...\" said Character A in the video, taking the audience through a", "format guidelines for this sort of thing? In the case where there is", "touchy. > > > So essentially I have treated the video as another", "example: > > \"Hey look at this... why isn't it working?\" said Character", "> > \"Hey look at this... why isn't it working?\" said Character A.", "A and B who are chatting about a video that Character A recorded", "a tour of the house. > > > \"You sound really stupid Character", "> > > \"Yeah well maybe you should do it next time then,\"", "started to play, \"Hi everyone, my name is Character A and this is...\"", "A in the video, taking the audience through a tour of the house.", "the video can also be heard, for example: > > \"Hey look at", "The video started to play, \"Hi everyone, my name is Character A and", "you should do it next time then,\" said Character A, getting touchy. >", "> > \"You didn't press play,\" said Character B. > > > The", "that Character A recorded of themselves. In between their chatting, the dialogue of", "\"Hi everyone, my name is Character A and this is...\" said Character A", "Character A in the video, taking the audience through a tour of the", "\"You didn't press play,\" said Character B. > > > The video started", "be heard, for example: > > \"Hey look at this... why isn't it", "video started to play, \"Hi everyone, my name is Character A and this", "B. > > > The video started to play, \"Hi everyone, my name", "well maybe you should do it next time then,\" said Character A, getting", "Character A. Are there any format guidelines for this sort of thing? In", "for this sort of thing? In the case where there is something important", "> > > \"You didn't press play,\" said Character B. > > >", "> > \"You sound really stupid Character A.\" > > > \"Yeah well", "A.\" > > > \"Yeah well maybe you should do it next time", "the case where there is something important in the video, I need the", "> > > The video started to play, \"Hi everyone, my name is", "video, taking the audience through a tour of the house. > > >", "another character, even though it's a recording of Character A. Are there any", "the audience through a tour of the house. > > > \"You sound", "as another character, even though it's a recording of Character A. Are there", "in the video, taking the audience through a tour of the house. >", "> \"Yeah well maybe you should do it next time then,\" said Character", "I need the content to come through as well (both audio and visuals),", "it's a recording of Character A. Are there any format guidelines for this", "Character A recorded of themselves. In between their chatting, the dialogue of the", "B who are chatting about a video that Character A recorded of themselves.", "a recording of Character A. Are there any format guidelines for this sort", "their chatting, the dialogue of the video can also be heard, for example:", "\"Yeah well maybe you should do it next time then,\" said Character A,", "of the video can also be heard, for example: > > \"Hey look", "In between their chatting, the dialogue of the video can also be heard,", "audience through a tour of the house. > > > \"You sound really", "said Character A in the video, taking the audience through a tour of", "essentially I have treated the video as another character, even though it's a", "said Character A. > > > \"You didn't press play,\" said Character B.", "do it next time then,\" said Character A, getting touchy. > > >", "> > The video started to play, \"Hi everyone, my name is Character", "play, \"Hi everyone, my name is Character A and this is...\" said Character", "\"You sound really stupid Character A.\" > > > \"Yeah well maybe you", "everyone, my name is Character A and this is...\" said Character A in", "> \"Hey look at this... why isn't it working?\" said Character A. >", "isn't it working?\" said Character A. > > > \"You didn't press play,\"", "A and this is...\" said Character A in the video, taking the audience", "In the case where there is something important in the video, I need", "> > \"Yeah well maybe you should do it next time then,\" said", "video can also be heard, for example: > > \"Hey look at this...", "where there is something important in the video, I need the content to", "between their chatting, the dialogue of the video can also be heard, for", "sound really stupid Character A.\" > > > \"Yeah well maybe you should", "this sort of thing? In the case where there is something important in", "> The video started to play, \"Hi everyone, my name is Character A", "also be heard, for example: > > \"Hey look at this... why isn't", "the house. > > > \"You sound really stupid Character A.\" > >", "chatting about a video that Character A recorded of themselves. In between their" ]
[ "with grammar. As a reviewer, how can I minimize ignorant, unhelpful comments about", "the game it was based on, only a few hours of a later", "I'm doing a writing circle with friends where I had to review a", "from my ignorance of the source material and may not have been helpful,", "But other comments I made I think were genuinely helpful. \"Show not tell\",", "I think were genuinely helpful. \"Show not tell\", for example, is fairly universal.", "grammar. As a reviewer, how can I minimize ignorant, unhelpful comments about a", "friends where I had to review a fan fiction. I was far from", "based on, only a few hours of a later one in the series.", "appeal of fan fiction is for fans to see familiar characters in a", "stemmed from my ignorance of the source material and may not have been", "new characters in a familiar setting). I had no idea who any of", "think were genuinely helpful. \"Show not tell\", for example, is fairly universal. I", "for it because I didn't play the game it was based on, only", "was based on, only a few hours of a later one in the", "like to think that I'm pretty good with grammar. As a reviewer, how", "about the setting. But other comments I made I think were genuinely helpful.", "game it was based on, only a few hours of a later one", "characters in a familiar setting). I had no idea who any of the", "series. Plus, I've barely read any fan fiction before. I left a lot", "hours of a later one in the series. Plus, I've barely read any", "fan fiction is for fans to see familiar characters in a new adventure", "I'm pretty good with grammar. As a reviewer, how can I minimize ignorant,", "a reviewer, how can I minimize ignorant, unhelpful comments about a fan fiction", "see familiar characters in a new adventure (or maybe the reverse, new characters", "doing a writing circle with friends where I had to review a fan", "have been helpful, since I expect much of the appeal of fan fiction", "I minimize ignorant, unhelpful comments about a fan fiction while maximizing helpful feedback?", "had to review a fan fiction. I was far from the ideal reviewer", "reverse, new characters in a familiar setting). I had no idea who any", "characters were, nor much about the setting. But other comments I made I", "ignorance of the source material and may not have been helpful, since I", "material and may not have been helpful, since I expect much of the", "since I expect much of the appeal of fan fiction is for fans", "of the appeal of fan fiction is for fans to see familiar characters", "author (more than my co-reviewers). Some of what I said likely stemmed from", "circle with friends where I had to review a fan fiction. I was", "my co-reviewers). Some of what I said likely stemmed from my ignorance of", "fan fiction. I was far from the ideal reviewer for it because I", "later one in the series. Plus, I've barely read any fan fiction before.", "made I think were genuinely helpful. \"Show not tell\", for example, is fairly", "I had to review a fan fiction. I was far from the ideal", "before. I left a lot of comments for the author (more than my", "the characters were, nor much about the setting. But other comments I made", "(or maybe the reverse, new characters in a familiar setting). I had no", "fans to see familiar characters in a new adventure (or maybe the reverse,", "fiction. I was far from the ideal reviewer for it because I didn't", "think that I'm pretty good with grammar. As a reviewer, how can I", "can I minimize ignorant, unhelpful comments about a fan fiction while maximizing helpful", "is for fans to see familiar characters in a new adventure (or maybe", "I was far from the ideal reviewer for it because I didn't play", "a lot of comments for the author (more than my co-reviewers). Some of", "of comments for the author (more than my co-reviewers). Some of what I", "play the game it was based on, only a few hours of a", "a later one in the series. Plus, I've barely read any fan fiction", "on, only a few hours of a later one in the series. Plus,", "likely stemmed from my ignorance of the source material and may not have", "it was based on, only a few hours of a later one in", "example, is fairly universal. I also like to think that I'm pretty good", "any of the characters were, nor much about the setting. But other comments", "the source material and may not have been helpful, since I expect much", "the appeal of fan fiction is for fans to see familiar characters in", "I made I think were genuinely helpful. \"Show not tell\", for example, is", "pretty good with grammar. As a reviewer, how can I minimize ignorant, unhelpful", "the series. Plus, I've barely read any fan fiction before. I left a", "fiction before. I left a lot of comments for the author (more than", "fiction is for fans to see familiar characters in a new adventure (or", "because I didn't play the game it was based on, only a few", "setting. But other comments I made I think were genuinely helpful. \"Show not", "universal. I also like to think that I'm pretty good with grammar. As", "other comments I made I think were genuinely helpful. \"Show not tell\", for", "expect much of the appeal of fan fiction is for fans to see", "left a lot of comments for the author (more than my co-reviewers). Some", "Some of what I said likely stemmed from my ignorance of the source", "I had no idea who any of the characters were, nor much about", "helpful, since I expect much of the appeal of fan fiction is for", "a familiar setting). I had no idea who any of the characters were,", "source material and may not have been helpful, since I expect much of", "where I had to review a fan fiction. I was far from the", "for example, is fairly universal. I also like to think that I'm pretty", "ideal reviewer for it because I didn't play the game it was based", "was far from the ideal reviewer for it because I didn't play the", "far from the ideal reviewer for it because I didn't play the game", "much of the appeal of fan fiction is for fans to see familiar", "characters in a new adventure (or maybe the reverse, new characters in a", "than my co-reviewers). Some of what I said likely stemmed from my ignorance", "comments for the author (more than my co-reviewers). Some of what I said", "been helpful, since I expect much of the appeal of fan fiction is", "with friends where I had to review a fan fiction. I was far", "few hours of a later one in the series. Plus, I've barely read", "the author (more than my co-reviewers). Some of what I said likely stemmed", "my ignorance of the source material and may not have been helpful, since", "the setting. But other comments I made I think were genuinely helpful. \"Show", "to review a fan fiction. I was far from the ideal reviewer for", "good with grammar. As a reviewer, how can I minimize ignorant, unhelpful comments", "of the characters were, nor much about the setting. But other comments I", "it because I didn't play the game it was based on, only a", "no idea who any of the characters were, nor much about the setting.", "As a reviewer, how can I minimize ignorant, unhelpful comments about a fan", "not have been helpful, since I expect much of the appeal of fan", "of a later one in the series. Plus, I've barely read any fan", "read any fan fiction before. I left a lot of comments for the", "of what I said likely stemmed from my ignorance of the source material", "to see familiar characters in a new adventure (or maybe the reverse, new", "for fans to see familiar characters in a new adventure (or maybe the", "lot of comments for the author (more than my co-reviewers). Some of what", "any fan fiction before. I left a lot of comments for the author", "of fan fiction is for fans to see familiar characters in a new", "only a few hours of a later one in the series. Plus, I've", "I expect much of the appeal of fan fiction is for fans to", "one in the series. Plus, I've barely read any fan fiction before. I", "barely read any fan fiction before. I left a lot of comments for", "familiar characters in a new adventure (or maybe the reverse, new characters in", "\"Show not tell\", for example, is fairly universal. I also like to think", "tell\", for example, is fairly universal. I also like to think that I'm", "were, nor much about the setting. But other comments I made I think", "to think that I'm pretty good with grammar. As a reviewer, how can", "didn't play the game it was based on, only a few hours of", "I said likely stemmed from my ignorance of the source material and may", "a new adventure (or maybe the reverse, new characters in a familiar setting).", "in a new adventure (or maybe the reverse, new characters in a familiar", "I've barely read any fan fiction before. I left a lot of comments", "(more than my co-reviewers). Some of what I said likely stemmed from my", "what I said likely stemmed from my ignorance of the source material and", "the reverse, new characters in a familiar setting). I had no idea who", "setting). I had no idea who any of the characters were, nor much", "also like to think that I'm pretty good with grammar. As a reviewer,", "I left a lot of comments for the author (more than my co-reviewers).", "Plus, I've barely read any fan fiction before. I left a lot of", "nor much about the setting. But other comments I made I think were", "not tell\", for example, is fairly universal. I also like to think that", "review a fan fiction. I was far from the ideal reviewer for it", "much about the setting. But other comments I made I think were genuinely", "helpful. \"Show not tell\", for example, is fairly universal. I also like to", "of the source material and may not have been helpful, since I expect", "had no idea who any of the characters were, nor much about the", "I also like to think that I'm pretty good with grammar. As a", "that I'm pretty good with grammar. As a reviewer, how can I minimize", "in the series. Plus, I've barely read any fan fiction before. I left", "the ideal reviewer for it because I didn't play the game it was", "a fan fiction. I was far from the ideal reviewer for it because", "comments I made I think were genuinely helpful. \"Show not tell\", for example,", "may not have been helpful, since I expect much of the appeal of", "familiar setting). I had no idea who any of the characters were, nor", "fairly universal. I also like to think that I'm pretty good with grammar.", "a writing circle with friends where I had to review a fan fiction.", "writing circle with friends where I had to review a fan fiction. I", "I didn't play the game it was based on, only a few hours", "is fairly universal. I also like to think that I'm pretty good with", "fan fiction before. I left a lot of comments for the author (more", "were genuinely helpful. \"Show not tell\", for example, is fairly universal. I also", "said likely stemmed from my ignorance of the source material and may not", "who any of the characters were, nor much about the setting. But other", "idea who any of the characters were, nor much about the setting. But", "reviewer, how can I minimize ignorant, unhelpful comments about a fan fiction while", "new adventure (or maybe the reverse, new characters in a familiar setting). I", "maybe the reverse, new characters in a familiar setting). I had no idea", "adventure (or maybe the reverse, new characters in a familiar setting). I had", "co-reviewers). Some of what I said likely stemmed from my ignorance of the", "genuinely helpful. \"Show not tell\", for example, is fairly universal. I also like", "and may not have been helpful, since I expect much of the appeal", "in a familiar setting). I had no idea who any of the characters", "a few hours of a later one in the series. Plus, I've barely", "for the author (more than my co-reviewers). Some of what I said likely", "reviewer for it because I didn't play the game it was based on,", "from the ideal reviewer for it because I didn't play the game it", "how can I minimize ignorant, unhelpful comments about a fan fiction while maximizing" ]
[ "been using it ever since. Just wanted to confirm if there's anything wrong", "since. Just wanted to confirm if there's anything wrong with adding that in", "and have been using it ever since. Just wanted to confirm if there's", "somewhere once, and have been using it ever since. Just wanted to confirm", "there's anything wrong with adding that in a request letter for a medical", "saw that ending somewhere once, and have been using it ever since. Just", "that ending somewhere once, and have been using it ever since. Just wanted", "it ever since. Just wanted to confirm if there's anything wrong with adding", "I saw that ending somewhere once, and have been using it ever since.", "confirm if there's anything wrong with adding that in a request letter for", "if there's anything wrong with adding that in a request letter for a", "ending somewhere once, and have been using it ever since. Just wanted to", "to confirm if there's anything wrong with adding that in a request letter", "have been using it ever since. Just wanted to confirm if there's anything", "Just wanted to confirm if there's anything wrong with adding that in a", "once, and have been using it ever since. Just wanted to confirm if", "anything wrong with adding that in a request letter for a medical leave", "wanted to confirm if there's anything wrong with adding that in a request", "ever since. Just wanted to confirm if there's anything wrong with adding that", "using it ever since. Just wanted to confirm if there's anything wrong with" ]
[ "various corrections and what these are is not the question. For example, I", "not a sentence. Does this make the whole extract grammatically wrong and to", "> > However, as a native speaker I don't think I would even", "I would even have noticed this error. --- I am now worrying slightly", "about all manner of non-sentences in my academic writing. A little googling suggests", "can be enjoyed > as beautiful and intriguing. With for example the works", "it is?** I know there are various corrections and what these are is", "extract of text (content not important, only sentence structure): > > When the", "worthy > of study for the sake of knowledge alone, that subject can", "grammatically wrong and to be corrected? To me the extract reads absolutely fine.", "For example, I understand I can correct to: > > With the emergence", "understand I can correct to: > > With the emergence of truly novel", "When the jump is made, from seeing a subject as vocational, to worthy", "in their scope. > > > I have been led to understand that", "the jump is made, from seeing a subject as vocational, to worthy >", "of truly novel thinkers, they are intriguing in their scope. > > >", "writing. A little googling suggests I am writing speech rather than writing writing.", "don't think I would even have noticed this error. --- I am now", "am writing speech rather than writing writing. [This question was closed on English", "(content not important, only sentence structure): > > When the jump is made,", "thinkers, they are intriguing in their scope. > > > However, as a", "masters, subjects are beautiful. With the emergence of truly novel > thinkers, intriguing", "> thinkers, intriguing in their scope. > > > I have been led", "> However, as a native speaker I don't think I would even have", "error. --- I am now worrying slightly about all manner of non-sentences in", "However, as a native speaker I don't think I would even have noticed", "intriguing in their scope. > > > I have been led to understand", "for example the works of the > masters, subjects are beautiful. With the", "it OK as it is? I know there are various corrections and what", "these are is not the question. For example, I understand I can correct", "Does this make the whole extract grammatically wrong and to be corrected? To", "the > masters, subjects are beautiful. *With the emergence of truly novel >", "to understand that the bold sentence is not a sentence. Does this make", "as a native speaker I don't think I would even have noticed this", "sentence. Does this make the whole extract grammatically wrong* and to be corrected?", "extract be corrected or is it OK as it is? I know there", "truly novel thinkers, they are intriguing in their scope. > > > However,", "I understand I can correct to: > > With the emergence of truly", "worrying slightly about all manner of non-sentences in my academic writing. A little", "speaker I don't think I would even have noticed this error. --- I", "> as beautiful and intriguing. With for example the works of the >", "that subject can be enjoyed > as beautiful and intriguing. With for example", "> > > I have been led to understand that the bold sentence", "beautiful. With the emergence of truly novel > thinkers, intriguing in their scope.", "the extract be corrected or is it OK as it is? I know", "of knowledge alone, that subject can be enjoyed > as beautiful and intriguing.", "native speaker I don't think I would even have noticed this error. ---", "that the bold sentence is not a sentence. Does this make the whole", "OK as it is? I know there are various corrections and what these", "of the > masters, subjects are beautiful. With the emergence of truly novel", "even have noticed this error. --- I am now worrying slightly about all", "scope. > > > I have been led to understand that the bold", "of text (content not important, only sentence structure): > > When the jump", "am now worrying slightly about all manner of non-sentences in my academic writing.", "novel thinkers, they are intriguing in their scope. > > > However, as", "alone, that subject can be enjoyed > as beautiful and intriguing. With for", "of study for the sake of knowledge alone, that subject can be enjoyed", "Should the extract be corrected or is it OK as it is? I", "sentence is not a sentence. Does this make the whole extract grammatically wrong", "to worthy > of study for the sake of knowledge alone, that subject", "as it is? I know there are various corrections and what these are", "as vocational, to worthy > of study for the sake of knowledge alone,", "example the works of the > masters, subjects are beautiful. With the emergence", "study for the sake of knowledge alone, that subject can be enjoyed >", "corrected or is it OK as it is? I know there are various", "A little googling suggests I am writing speech rather than writing writing. [This", "and intriguing. With for example the works of the > masters, subjects are", "I have been led to understand that the bold sentence is not a", "be enjoyed > as beautiful and intriguing. With for example the works of", "intriguing in their scope. > > > However, as a native speaker I", "emergence of truly novel thinkers, they are intriguing in their scope. > >", "is? I know there are various corrections and what these are is not", "works of the > masters, subjects are beautiful. With the emergence of truly", "emergence of truly novel > thinkers, intriguing in their scope. > > >", "thinkers, intriguing in their scope. > > > I have been led to", "example, I understand I can correct to: > > With the emergence of", "have been led to understand that the bold sentence is not a sentence.", "the sake of knowledge alone, that subject can be enjoyed > as beautiful", "are beautiful. With the emergence of truly novel > thinkers, intriguing in their", "enjoyed > as beautiful and intriguing. With for example the works of the", "know there are various corrections and what these are is not the question.", "the following extract of text (content not important, only sentence structure): > >", "structure): > > When the jump is made, from seeing a subject as", "Consider the following extract of text (content not important, only sentence structure): >", "is not the question. For example, I understand I can correct to: >", "the question. For example, I understand I can correct to: > > With", "little googling suggests I am writing speech rather than writing writing. [This question", "> of study for the sake of knowledge alone, that subject can be", "the whole extract grammatically wrong and to be corrected? To me the extract", "and what these are is not the question. For example, I understand I", "is not a sentence. Does this make the whole extract grammatically wrong and", "subject can be enjoyed > as beautiful and intriguing. With for example the", "> With the emergence of truly novel thinkers, they are intriguing in their", "> I have been led to understand that the bold sentence is not", "of truly novel > thinkers, intriguing in their scope.** > > > I", "of non-sentences in my academic writing. A little googling suggests I am writing", "not important, only sentence structure): > > When the jump is made, from", "vocational, to worthy > of study for the sake of knowledge alone, that", "led to understand that the bold sentence is not a sentence. Does this", "make the whole extract grammatically wrong and to be corrected? To me the", "be corrected? To me the extract reads absolutely fine. Question: Should the extract", "important, only sentence structure): > > When the jump is made, from seeing", "me the extract reads absolutely fine. Question: Should the extract be corrected or", "or is it OK as it is? I know there are various corrections", "are is not the question. For example, I understand I can correct to:", "seeing a subject as vocational, to worthy > of study for the sake", "> > I have been led to understand that the bold sentence is", "manner of non-sentences in my academic writing. A little googling suggests I am", "what these are is not the question. For example, I understand I can", "in my academic writing. A little googling suggests I am writing speech rather", "absolutely fine. Question: Should the extract be corrected or is it OK as", "the emergence of truly novel > thinkers, intriguing in their scope. > >", "made, from seeing a subject as vocational, to worthy > of study for", "now worrying slightly about all manner of non-sentences in my academic writing. A", "academic writing. A little googling suggests I am writing speech rather than writing", "googling suggests I am writing speech rather than writing writing. [This question was", "is made, from seeing a subject as vocational, to worthy > of study", "subjects are beautiful. With the emergence of truly novel > thinkers, intriguing in", "the works of the > masters, subjects are beautiful. With the emergence of", "are various corrections and what these are is not the question. For example,", "question. For example, I understand I can correct to: > > With the", "for the sake of knowledge alone, that subject can be enjoyed > as", "> > When the jump is made, from seeing a subject as vocational,", "are intriguing in their scope. > > > However, as a native speaker", "would even have noticed this error. --- I am now worrying slightly about", "I don't think I would even have noticed this error. --- I am", "a subject as vocational, to worthy > of study for the sake of", "> masters, subjects are beautiful. With the emergence of truly novel > thinkers,", "is it OK as it is?** I know there are various corrections and", "to: > > With the emergence of truly novel thinkers, they are intriguing", "a sentence. Does this make the whole extract grammatically wrong and to be", "think I would even have noticed this error. --- I am now worrying", "truly novel > thinkers, intriguing in their scope. > > > I have", "beautiful and intriguing. With for example the works of the > masters, subjects", "in their scope. > > > However, as a native speaker I don't", "novel > thinkers, intriguing in their scope. > > > I have been", "--- I am now worrying slightly about all manner of non-sentences in my", "from seeing a subject as vocational, to worthy > of study for the", "bold sentence is not a sentence. Does this make the whole extract grammatically", "I am now worrying slightly about all manner of non-sentences in my academic", "their scope.** > > > I have been led to understand that the", "this make the whole extract grammatically wrong and to be corrected? To me", "writing speech rather than writing writing. [This question was closed on English SE](https://english.stackexchange.com/questions/581318/is-using-non-sentences-bad-writing).", "reads absolutely fine. Question: Should the extract be corrected or is it OK", "With for example the works of the > masters, subjects are beautiful. With", "and to be corrected? To me the extract reads absolutely fine. Question: Should", "slightly about all manner of non-sentences in my academic writing. A little googling", "their scope. > > > However, as a native speaker I don't think", "I am writing speech rather than writing writing. [This question was closed on", "extract reads absolutely fine. Question: Should the extract be corrected or is it", "only sentence structure): > > When the jump is made, from seeing a", "extract grammatically wrong and to be corrected? To me the extract reads absolutely", "> When the jump is made, from seeing a subject as vocational, to", "> > > However, as a native speaker I don't think I would", "can correct to: > > With the emergence of truly novel thinkers, they", "non-sentences in my academic writing. A little googling suggests I am writing speech", "> > With the emergence of truly novel thinkers, they are intriguing in", "knowledge alone, that subject can be enjoyed > as beautiful and intriguing. With", "the bold sentence is not a sentence. Does this make the whole extract", "the extract reads absolutely fine. Question: Should the extract be corrected or is", "To me the extract reads absolutely fine. Question: Should the extract be corrected", "correct to: > > With the emergence of truly novel thinkers, they are", "corrections and what these are is not the question. For example, I understand", "be corrected or is it OK as it is? I know there are", "suggests I am writing speech rather than writing writing. [This question was closed", "Question: Should the extract be corrected or is it OK as it is?*", "wrong* and to be corrected? To me the extract reads absolutely fine. Question:", "sentence structure): > > When the jump is made, from seeing a subject", "I can correct to: > > With the emergence of truly novel thinkers,", "not the question. For example, I understand I can correct to: > >", "they are intriguing in their scope. > > > However, as a native", "noticed this error. --- I am now worrying slightly about all manner of", "there are various corrections and what these are is not the question. For", "subject as vocational, to worthy > of study for the sake of knowledge", "With the emergence of truly novel > thinkers, intriguing in their scope. >", "a native speaker I don't think I would even have noticed this error.", "my academic writing. A little googling suggests I am writing speech rather than", "text (content not important, only sentence structure): > > When the jump is", "to be corrected? To me the extract reads absolutely fine. Question: Should the", "sake of knowledge alone, that subject can be enjoyed > as beautiful and", "all manner of non-sentences in my academic writing. A little googling suggests I", "I know there are various corrections and what these are is not the", "With the emergence of truly novel thinkers, they are intriguing in their scope.", "have noticed this error. --- I am now worrying slightly about all manner", "this error. --- I am now worrying slightly about all manner of non-sentences", "the emergence of truly novel thinkers, they are intriguing in their scope. >", "jump is made, from seeing a subject as vocational, to worthy > of", "as beautiful and intriguing. With for example the works of the > masters,", "understand that the bold sentence is not a sentence. Does this make the", "scope. > > > However, as a native speaker I don't think I", "been led to understand that the bold sentence is not a sentence. Does", "following extract of text (content not important, only sentence structure): > > When", "corrected? To me the extract reads absolutely fine. *Question: Should the extract be", "whole extract grammatically wrong* and to be corrected? To me the extract reads", "fine. **Question: Should the extract be corrected or is it OK as it", "intriguing. With for example the works of the > masters, subjects are beautiful." ]
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[ "to make the rest of the question make more sense: * *The monsters", "and disgusted, whereas the less human ones don't care. Becoming a monster", "in that only the \"bad\" people become \"bad\" monsters. I know there are", "psychodrama about a vampire the audience wants to know why the vampire thinks", "indeed the story points out on a logistic and biological level a species", "on some sort of hardline biological compulsion to turn people into monsters, which", "encouraging people until they start enjoying or rationalizing it. Additionally, I know humans", "into an issue in trying to understand how a relatively normal person could", "the monsters aren't immortal here, so the \"weight of ages\" is hard to", "been used so many times it's become cliché and there isn't much one", "monsters were evil people before becoming monsters. I.e., the \"I reject my humanity,", "way they do (or more broadly, where they even come from) that creates", "is terrible for a psychological drama because it removes most of the elements", "as to why someone would choose to be a monster than a human.", "Lose all your connections to humanity and suddenly one's ability to empathize with", "on humans and other monsters. The story mostly focuses on the \"passing\" monsters", "into enjoying atrocities (e.g., Nazi Germany, the Stanford Prison Experiment), but most of", "compelling them to harm people or otherwise turn on humans? I have a", "that have turned into monsters (like vampires or werewolves) devolve into feral beasts", "ostracized by their former brethren (see: Carrie). This kind of works but it's", "explanations. However, these don't seem to work with the psychological drama angle of", "humankind, that removes all sense of character agency and thus they become less", "faction of monster hunters.** The monsters are afraid of persecution by humanity but", "Some of the more feral monsters are treated narratively more like dangerous wild", "is a plot point), but the fact is I need the more antagonistic", "the way they do (e.g., Interview with a Vampire). If the vampire only", "variety of reasons. 1. The monsters become increasingly estranged from humanity due to", "are incredibly varied in terms of their morality and worldview. Some try their", "devolve into a barely-human beast squatting in the woods or a monstrous predator.", "hunters. The monsters are afraid of persecution by humanity but it's not like", "rest of the question make more sense: * *The monsters more-or-less live hidden", "in a setting where the monsters are more sympathetic. I have* seen stories", "justify why there would be a general phenomenon where more-or-less psychologically normal people", "could devolve into a barely-human beast squatting in the woods or a monstrous", "are cases where regular people can be corrupted into enjoying atrocities (e.g., Nazi", "way and those that do not sufficiently dehumanize human beings end up starving", "of \"I eat people\". 4. The former-humans decide to become the monsters everyone", "isn't much one can do to make it fresh. However, when writing the", "modern setting, most of which were \"turned\" from humans in some way. The", "people or otherwise turn on humans? I have a story which revolves around", "their plot reasoning are listed below, so as to make the rest of", "biologically compelled to hate humankind, that removes all sense of character agency and", "because they are biologically compelled to hate humankind, that removes all sense of", "justification as to why the audience shouldn't feel morally conflicted about the protagonists", "actively preying on humans and other monsters. The story mostly focuses on the", "but there's no reason that wouldn't translate to \"I like being a monster", "feral beasts or vicious predators without relying on some innate supernatural biological drive", "Some try their best to fit in and pass amongst humans despite their", "can be corrupted into enjoying atrocities (e.g., Nazi Germany, the Stanford Prison Experiment),", "of the elements of personal choice. Consider, in a psychodrama about a vampire", "human beings that have turned into monsters (like vampires or werewolves) devolve into", "persecution by humanity but it's not like there's a group dedicated to hunting", "like being a monster but I like people too\" instead of \"I eat", "Masquerade* worked along these lines, but it never really got explored due to", "(like vampires or werewolves) devolve into feral beasts or vicious predators without relying", "moral latitude and explore different types of monster tropes. Eating people isn't as", "Additionally, I know humans can be quick to dehumanize others, but that usually", "being immortal and losing all of their human connections.** This is how the", "predator. I've tried researching other \"monster\" stories like the Old World of Darkness", "I am running into an issue in trying to understand how a relatively", "The main draw of the series is meant to be a psychological drama", "psychologically justify why there would be a general phenomenon where more-or-less psychologically normal", "they become less interesting. So I'm trying to avoid that. Granted, part of", "after being persecuted or ostracized by their former brethren** (see: Carrie). This kind", "don't care. * *Becoming a monster does give a person monstrous instincts and", "must* prey on humans and because they are biologically compelled to hate humankind,", "due to the monsters being immortal and losing all of their human connections.*", "in-group, not those within. Humans can clearly be awful but this seems to", "So I'm trying to avoid that. Granted, part of the point of the", "question make more sense: The monsters more-or-less live hidden among humanity. I.e.,", "being common knowledge, so it doesn't make sense to make it a universal", "to the audience. * There isn't really a huge faction of monster hunters.", "listed below, so as to make the rest of the question make more", "cases where regular people can be corrupted into enjoying atrocities (e.g., Nazi Germany,", "into feral beasts eating animals in the woods, whereas others start actively preying", "that wouldn't translate to \"I like being a monster but I like people", "problem with many of these explanations is that they rely on some sort", "monstrous instincts and can warp their mind a bit, but the person mostly", "become \"bad\" monsters. I know there are cases where regular people can be", "sees them as after being persecuted or ostracized by their former brethren (see:", "beings that have turned into monsters (like vampires or werewolves) devolve into feral", "pull off. 2. *The monsters have to eat humans in some way and", "is I need the more antagonistic monsters to create conflict, and if I", "where the monsters are more sympathetic. I have* seen stories make good arguments", "can clearly be awful but this seems to be the wrong kind of", "big cats than slasher villains, dangerous but with their own set of priorities", "a monstrous predator. I've tried researching other \"monster\" stories like the Old World", "humans and because they are biologically compelled to hate humankind, that removes all", "monsters to create conflict, and if I can't understand why my villains and", "and an external system coercing or encouraging people until they start enjoying or", "treated narratively more like dangerous wild animals or man-eating big cats than slasher", "audience. There isn't really a huge faction of monster hunters. The monsters", "Consider, in a psychodrama about a vampire the audience wants to know why", "aren't immortal here, so the \"weight of ages\" is hard to pull off.*", "the story points out on a logistic and biological level a species that", "why the vampire thinks and acts the way they do (e.g., Interview with", "a variety of reasons. 1. The monsters become increasingly estranged from humanity due", "is some kind of biological compulsion involved that makes the former human instantly", "be without monsters being common knowledge, so it doesn't make sense to make", "that must eat humans wouldn't be able to survive. 3. [There is some", "too\" instead of \"I eat people\". 4. The former-humans decide to become the", "running into an issue in trying to understand how a relatively normal person", "morally black-and-white) in that only the \"bad\" people become \"bad\" monsters. I know", "animals or man-eating big cats than slasher villains, dangerous but with their own", "not those within. Humans can clearly be awful but this seems to be", "the \"I reject my humanity, JosaXz\" principle. *This seems the easiest to implement", "process. The monsters aren't exceedingly long-lived or immortal. Mostly to make them", "which were \"turned\" from humans in some way. The monsters are incredibly varied", "person mostly remains the same. Personality shifts can occur but happen due to", "try their best to fit in and pass amongst humans despite their condition,", "The monsters become increasingly estranged from humanity due to the monsters being immortal", "friends. It doesn't work in a setting where the monsters are more sympathetic.", "a psychological drama exploring the diverse psychology and worldviews of the characters and", "to implement and seems fairly straightforward but kind of removes the personal horror", "I know there are cases where regular people can be corrupted into enjoying", "doesn't make sense to make it a universal phenomenon among every feral monster.", "staking their former friends. It doesn't work in a setting where the monsters", "from humans in some way. The monsters are incredibly varied in terms of", "live hidden among humanity*. I.e., typical genre trappings. The monsters don't need", "them becomes difficult. But the monsters aren't immortal here, so the \"weight of", "I can't understand why my villains and antagonists behave and think the way", "they do (e.g., Interview with a Vampire). If the vampire only does so", "have a story which revolves around a group of monsters in a modern", "you'd think\" is a plot point), but the fact is I need the", "many times it's become cliché and there isn't much one can do to", "removes the personal horror aspect from the story. I.e., it seems almost Calvinist", "monsters in the setting and their plot reasoning are listed below, so as", "sort of hardline biological compulsion to turn people into monsters, which is terrible", "the time that seems to require mass movements and an external system coercing", "long-lived or immortal. Mostly to make them more relatable to the audience. ", "point), but the fact is I need the more antagonistic monsters to create", "human ones don't care. Becoming a monster does give a person monstrous", "vampire the audience wants to know why the vampire thinks and acts the", "same. Personality shifts can occur but happen due to lived experience post-monster. This", "serving as foils and antagonists. The main draw of the series is meant", "have seen stories make good arguments as to why someone would choose to", "vampire/werewolf/whatever gives them personal freedom and power not available to them as a", "(and a bit morally black-and-white) in that only the \"bad\" people become \"bad\"", "\"bad\" monsters. I know there are cases where regular people can be corrupted", "mostly remains the same*. Personality shifts can occur but happen due to lived", "that for young women becoming a vampire/werewolf/whatever gives them personal freedom and power", "broadly, how can I psychologically justify why there would be a general phenomenon", "to explore someone's thought process. The monsters aren't exceedingly long-lived or immortal.", "innate supernatural biological drive compelling them to harm people or otherwise turn on", "due to lived experience post-monster. This is partially due to story themes and", "sense to make it a universal phenomenon among every feral monster. 5. The", "it. Additionally, I know humans can be quick to dehumanize others, but that", "story mostly focuses on the \"passing\" monsters with the more malevolent ones serving", "among every feral monster. 5. The monsters were evil people before becoming monsters.", "It doesn't work in a setting where the monsters are more sympathetic. I", "a human being psychologically to that point seems very difficult to achieve. So,", "to be the wrong kind of awful to justify what I need. The", "massively from group to group. I.e., the more sympathetic monsters are horrified and", "humans wouldn't be able to survive. 3. [There is some kind of biological", "people is varies massively from group to group. I.e., the more sympathetic monsters", "person could devolve into a barely-human beast squatting in the woods or a", "have to eat humans, and indeed the story points out on a logistic", "a few major explanations. However, these don't seem to work with the psychological", "on humans and because they are biologically compelled to hate humankind, that removes", "of Darkness* tended to handle it, and it does make the most sense", "them more relatable to the audience. * *There isn't really a huge faction", "is that they rely on some sort of hardline biological compulsion to turn", "start actively preying on humans and other monsters. The story mostly focuses on", "that seems to require mass movements and an external system coercing or encouraging", "This is partially due to story themes and partially because the whole point", "I need. The problem with many of these explanations is that they rely", "the more sympathetic monsters are horrified and disgusted, whereas the less human ones", "work in a setting where the monsters are more sympathetic. I have* seen", "humans despite their condition, others basically just devolve into feral beasts eating animals", "changes. This doesn't work because the monsters here don't have to eat humans,", "of ages\" is hard to pull off. 2. *The monsters have to eat", "they must* prey on humans and because they are biologically compelled to hate", "of the characters and the different ways they perceive and deal with their", "wild animals or man-eating big cats than slasher villains, dangerous but with their", "this shows up in fiction this is usually used as a justification as", "pass amongst humans despite their condition, others basically just devolve into feral beasts", "feral monsters are treated narratively more like dangerous wild animals or man-eating big", "of removes the personal horror aspect from the story.** I.e., it seems almost", "think the way they do (or more broadly, where they even come from)", "is partially due to story themes and partially because the whole point of", "the audience shouldn't feel morally conflicted about the protagonists staking their former friends.", "people can be corrupted into enjoying atrocities (e.g., Nazi Germany, the Stanford Prison", "of the more feral monsters are treated narratively more like dangerous wild animals", "all sense of character agency and thus they become less interesting. So I'm", "group dedicated to hunting them down. Mostly because the \"monsters being persecuted by", "\"I eat people\". 4. *The former-humans decide to become the monsters everyone sees", "sympathetic monsters are horrified and disgusted, whereas the less human ones don't care.", "This is how the Old World of Darkness* tended to handle it, and", "antagonists behave and think the way they do (or more broadly, where they", "like dangerous wild animals or man-eating big cats than slasher villains, dangerous but", "condition, others basically just devolve into feral beasts eating animals in the woods,", "young women becoming a vampire/werewolf/whatever gives them personal freedom and power not available", "How can I psychologically justify why relatively normal (i.e., non-sociopathic) human beings that", "level a species that must eat humans wouldn't be able to survive.** 3.", "care. * Becoming a monster does give a person monstrous instincts and can", "former brethren (see: Carrie). This kind of works but it's hard to see", "before becoming monsters. I.e., the \"I reject my humanity, JosaXz\" principle. This seems", "from group to group. I.e., the more sympathetic monsters are horrified and disgusted,", "setting and their plot reasoning are listed below, so as to make the", "universal phenomenon among every feral monster. 5. The monsters were evil people before", "never really got explored due to lore changes. This doesn't work because the", "slasher villains, dangerous but with their own set of priorities and motivations that", "is hard to pull off. 2. The monsters have to eat humans in", "monsters, which is terrible for a psychological drama because it removes most of", "the elements of personal choice. Consider, in a psychodrama about a vampire the", "instincts and can warp their mind a bit, but the person mostly remains", "in some way and those that do not sufficiently dehumanize human beings end", "don't always involve violence, but even getting a human being psychologically to that", "monsters with the more malevolent ones serving as foils and antagonists. The main", "researching other \"monster\" stories like the Old World of Darkness and Tokyo Ghoul", "estranged from humanity due to the monsters being immortal and losing all of", "story points out on a logistic and biological level a species that must", "elements of personal choice. Consider, in a psychodrama about a vampire the audience", "work with the psychological drama angle of this story for a variety of", "preying on humans and other monsters. The story mostly focuses on the \"passing\"", "into a barely-human beast squatting in the woods or a monstrous predator. I've", "to turn people into monsters, which is terrible for a psychological drama because", "of character agency and thus they become less interesting. So I'm trying to", "to eat humans in some way and those that do not sufficiently dehumanize", "were \"turned\" from humans in some way. The monsters are incredibly varied in", "beasts eating animals in the woods, whereas others start actively preying on humans", "or otherwise turn on humans? I have a story which revolves around a", "aspect from the story. I.e., it seems almost Calvinist (and a bit morally", "there are cases where regular people can be corrupted into enjoying atrocities (e.g.,", "becomes difficult. *But the monsters aren't immortal here, so the \"weight of ages\"", "the less human ones don't care. *Becoming a monster does give a", "more feral monsters are* treated narratively more like dangerous wild animals or man-eating", "a species that must eat humans wouldn't be able to survive. 3. [There", "handled it, and mostly I have come across a few major explanations. However,", "personal horror aspect from the story. I.e., it seems almost Calvinist (and a", "and it does make the most sense psychologically. Lose all your connections to", "they rely on some sort of hardline biological compulsion to turn people into", "5. The monsters were evil people before becoming monsters.** I.e., the \"I reject", "of awful to justify what I need. The problem with many of these", "make the rest of the question make more sense: * *The monsters more-or-less", "as to make the rest of the question make more sense: The", "can occur but happen due to lived experience post-monster. This is partially due", "Nazi Germany, the Stanford Prison Experiment), but most of the time that seems", "it, and mostly I have come across a few major explanations. However, these", "being persecuted or ostracized by their former brethren (see: Carrie). This kind of", "The story mostly focuses on the \"passing\" monsters with the more malevolent ones", "ages\" is hard to pull off. 2. The monsters have to eat humans", "really got explored due to lore changes. *This doesn't work because the monsters", "only does so because they must* prey on humans and because they are", "wouldn't be able to survive. 3. [There is some kind of biological compulsion", "or man-eating big cats than slasher villains, dangerous but with their own set", "of the story is to explore the assumptions of monster tropes (and \"there's", "others, but that usually happens to those outside their in-group, not those within.", "most of the time that seems to require mass movements and an external", "and worldviews of the characters and the different ways they perceive and deal", "I.e., typical genre trappings. * *The monsters don't need to prey on humans", "to know why the vampire thinks and acts the way they do (e.g.,", "used as a justification as to why the audience shouldn't feel morally conflicted", "seems to require mass movements and an external system coercing or encouraging people", "explore the assumptions of monster tropes (and \"there's less slavering beasts than you'd", "in some way. The monsters are incredibly varied in terms of their morality", "are biologically compelled to hate humankind, that removes all sense of character agency", "this is usually used as a justification as to why the audience shouldn't", "more malevolent ones serving as foils and antagonists. The main draw of the", "in a psychodrama about a vampire the audience wants to know why the", "along these lines, but it never really got explored due to lore changes.", "as it is among humans, but how taboo eating people is varies massively", "why someone would choose to be a monster than a human. E.g., many", "Germany, the Stanford Prison Experiment), but most of the time that seems to", "sense: The monsters more-or-less live hidden among humanity. I.e., typical genre trappings.", "or rationalizing it. Additionally, I know humans can be quick to dehumanize others,", "corrupted into enjoying atrocities (e.g., Nazi Germany, the Stanford Prison Experiment), but most", "a logistic and biological level a species that must eat humans wouldn't be", "not like there's a group dedicated to hunting them down. Mostly because the", "a person monstrous instincts and can warp their mind a bit, but the", "principle. This seems the easiest to implement and seems fairly straightforward but kind", "to work with the psychological drama angle of this story for a variety", "story. I.e., it seems almost Calvinist (and a bit morally black-and-white) in that", "got explored due to lore changes. This doesn't work because the monsters here", "\"passing\" monsters with the more malevolent ones serving as foils and antagonists. The", "can do to make it fresh. However, when writing the story I am", "of monster hunters. The monsters are afraid of persecution by humanity but it's", "in a modern setting, most of which were \"turned\" from humans in some", "losing all of their human connections.** This is how the Old World of", "those outside* their in-group, not those within. Humans can clearly be awful but", "I psychologically justify why relatively normal (i.e., non-sociopathic) human beings that have turned", "that. Granted, part of the point of the story is to explore the", "there isn't much one can do to make it fresh. However, when writing", "and there isn't much one can do to make it fresh. However, when", "to require mass movements and an external system coercing or encouraging people until", "dedicated to hunting them down. Mostly because the \"monsters being persecuted by monster-hunters\"", "to handle it, and it does make the most sense psychologically. Lose all", "\"bad\" people become \"bad\" monsters. I know there are cases where regular people", "of the time that seems to require mass movements and an external system", "out on a logistic and biological level a species that must eat humans", "and acts the way they do (e.g., Interview with a Vampire). If the", "become increasingly estranged from humanity due to the monsters being immortal and losing", "point of a psychodrama is to explore someone's thought process. * The monsters", "villains and antagonists behave and think the way they do (or more broadly,", "even come from) that creates a problem. Some of the more feral monsters", "they are biologically compelled to hate humankind, that removes all sense of character", "than a human. E.g., many monster stories set in the Victorian era point", "women becoming a vampire/werewolf/whatever gives them personal freedom and power not available to", "conflict, and if I can't understand why my villains and antagonists behave and", "violence, but even getting a human being psychologically to that point seems very", "fiction this is usually used as a justification as to why the audience", "drama exploring the diverse psychology and worldviews of the characters and the different", "available to them as a human, but there's no reason that wouldn't translate", "your connections to humanity and suddenly one's ability to empathize with them becomes", "harm people or otherwise turn on humans? I have a story which revolves", "the assumptions of monster tropes (and \"there's less slavering beasts than you'd think\"", "the person mostly remains the same*. Personality shifts can occur but happen due", "works but it's hard to see how widespread it could be without monsters", "a psychological drama because it removes most of the elements of personal choice.", "other \"monster\" stories like the Old World of Darkness* and Tokyo Ghoul to", "with a Vampire). If the vampire only does so because they must* prey", "However, these don't seem to work with the psychological drama angle of this", "the monsters everyone sees them as after being persecuted or ostracized by their", "to that point seems very difficult to achieve. *So, more broadly, how can", "compelled to hate humankind, that removes all sense of character agency and thus", "ones don't care. Becoming a monster does give a person monstrous instincts", "There isn't really a huge faction of monster hunters. The monsters are afraid", "which is terrible for a psychological drama because it removes most of the", "so it doesn't make sense to make it a universal phenomenon among every", "it fresh. However, when writing the story I am running into an issue", "am running into an issue in trying to understand how a relatively normal", "Mostly because the \"monsters being persecuted by monster-hunters\" trope has been used so", "survive, in order to allow the monsters much more moral latitude and explore", "to hate humankind, that removes all sense of character agency and thus they", "below, so as to make the rest of the question make more sense:", "monsters here don't have to eat humans, and indeed the story points out", "seen stories make good arguments as to why someone would choose to be", "part of the point of the story is to explore the assumptions of", "(e.g., Interview with a Vampire). If the vampire only does so because they", "how widespread it could be without monsters being common knowledge, so it doesn't", "biological level a species that must eat humans wouldn't be able to survive.", "and the different ways they perceive and deal with their monsterhood. Some of", "so the \"weight of ages\" is hard to pull off. 2. *The monsters", "ways they perceive and deal with their monsterhood. Some of the rules of", "time that seems to require mass movements and an external system coercing or", "read supposedly the Sabbat in Vampire the Masquerade* worked along these lines, but", "in Vampire the Masquerade worked along these lines, but it never really got", "Vampire the Masquerade worked along these lines, but it never really got explored", "The former-humans decide to become the monsters everyone sees them as after being", "order to allow the monsters much more moral latitude and explore different types", "from the story. I.e., it seems almost Calvinist (and a bit morally black-and-white)", "mind a bit, but the person mostly remains the same. Personality shifts can", "them as a human, but there's no reason that wouldn't translate to \"I", "monsterhood. Some of the rules of the monsters in the setting and their", "monsters being immortal and losing all of their human connections. This is how", "really a huge faction of monster hunters. The monsters are afraid of persecution", "and other monsters. The story mostly focuses on the \"passing\" monsters with the", "to be a monster than a human. E.g., many monster stories set in", "to hunting them down. Mostly because the \"monsters being persecuted by monster-hunters\" trope", "could be without monsters being common knowledge, so it doesn't make sense to", "otherwise turn on humans? I have a story which revolves around a group", "thinks and acts the way they do (e.g., Interview with a Vampire). If", "about the protagonists staking their former friends. It doesn't work in a setting", "the same. Personality shifts can occur but happen due to lived experience post-monster.", "terrible for a psychological drama because it removes most of the elements of", "on the \"passing\" monsters with the more malevolent ones serving as foils and", "story is to explore the assumptions of monster tropes (and \"there's less slavering", "psychology and worldviews of the characters and the different ways they perceive and", "by monster-hunters\" trope has been used so many times it's become cliché and", "in fiction this is usually used as a justification as to why the", "must eat humans wouldn't be able to survive. 3. [There is some kind", "end up starving to death. From what I've read supposedly the Sabbat in", "the wrong kind of awful to justify what I need. The problem with", "different types of monster tropes. Eating people isn't as unthinkable as it is", "experience post-monster. This is partially due to story themes and partially because the", "remains the same*. Personality shifts can occur but happen due to lived experience", "that usually happens to those outside* their in-group, not those within. Humans can", "eating people is varies massively from group to group. I.e., the more sympathetic", "think\" is a plot point), but the fact is I need the more", "on humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery). However, when this shows up in fiction this is usually used", "humanity, JosaXz\" principle. This seems the easiest to implement and seems fairly straightforward", "those that do not sufficiently dehumanize human beings end up starving to death.", "hidden among humanity. I.e., typical genre trappings. * The monsters don't need to", "avoid that. Granted, part of the point of the story is to explore", "general phenomenon where more-or-less psychologically normal people can devolve into monsters after being", "point seems very difficult to achieve. So, more broadly, how can I psychologically", "Mostly to make them more relatable to the audience. * *There isn't really", "with many of these explanations is that they rely on some sort of", "horrified and disgusted, whereas the less human ones don't care. *Becoming a", "do to make it fresh. However, when writing the story I am running", "across a few major explanations. However, these don't seem to work with the", "of the series is meant to be a psychological drama exploring the diverse", "up in fiction this is usually used as a justification as to why", "decide to become the monsters everyone sees them as after being persecuted or", "group. I.e., the more sympathetic monsters are horrified and disgusted, whereas the less", "and think the way they do (or more broadly, where they even come", "people become \"bad\" monsters. I know there are cases where regular people can", "and their plot reasoning are listed below, so as to make the rest", "monstrous predator. I've tried researching other \"monster\" stories like the Old World of", "seems the easiest to implement and seems fairly straightforward but kind of removes", "and indeed the story points out on a logistic and biological level a", "monsters are horrified and disgusted, whereas the less human ones don't care. ", "some sort of hardline biological compulsion to turn people into monsters, which is", "dangerous but with their own set of priorities and motivations that don't always", "(see: Carrie). This kind of works but it's hard to see how widespread", "This kind of works but it's hard to see how widespread it could", "an external system coercing or encouraging people until they start enjoying or rationalizing", "psychological drama because it removes most of the elements of personal choice. Consider,", "unthinkable as it is among humans, but how taboo eating people is varies", "drama because it removes most of the elements of personal choice. Consider, in", "for a variety of reasons. 1. The monsters become increasingly estranged from humanity", "of biological compulsion involved that makes the former human instantly turn on humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery).", "shows up in fiction this is usually used as a justification as to", "3. [There is some kind of biological compulsion involved that makes the former", "horror aspect from the story.* I.e., it seems almost Calvinist (and a bit", "Tokyo Ghoul to see how those settings handled it, and mostly I have", "varies massively from group to group. I.e., the more sympathetic monsters are horrified", "it never really got explored due to lore changes. This doesn't work because", "normal (i.e., non-sociopathic) human beings that have turned into monsters (like vampires or", "despite their condition, others basically just devolve into feral beasts eating animals in", "can I psychologically justify why there would be a general phenomenon where more-or-less", "phenomenon where more-or-less psychologically normal people can devolve into monsters after being turned?", "how can I psychologically justify why there would be a general phenomenon where", "that removes all sense of character agency and thus they become less interesting.", "understand why my villains and antagonists behave and think the way they do", "non-sociopathic) human beings that have turned into monsters (like vampires or werewolves) devolve", "persecuted or ostracized by their former brethren** (see: Carrie). This kind of works", "to them as a human, but there's no reason that wouldn't translate to", "understand how a relatively normal person could devolve into a barely-human beast squatting", "of the question make more sense: * *The monsters more-or-less live hidden among", "as to why the audience shouldn't feel morally conflicted about the protagonists staking", "stories like the Old World of Darkness* and Tokyo Ghoul to see how", "clearly be awful but this seems to be the wrong kind of awful", "former human instantly turn on humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery). However, when this shows up in fiction", "become the monsters everyone sees them as after being persecuted or ostracized by", "different ways they perceive and deal with their monsterhood. Some of the rules", "and losing all of their human connections. This is how the Old World", "create conflict, and if I can't understand why my villains and antagonists behave", "are listed below, so as to make the rest of the question make", "turn people into monsters, which is terrible for a psychological drama because it", "why my villains and antagonists behave and think the way they do (or", "to make it a universal phenomenon among every feral monster. 5. The monsters", "with their own set of priorities and motivations that don't always involve violence,", "to create conflict, and if I can't understand why my villains and antagonists", "is among humans, but how taboo eating people is varies massively from group", "setting where the monsters are more sympathetic. I have* seen stories make good", "what I need. The problem with many of these explanations is that they", "monsters have to eat humans in some way and those that do not", "off. 2. The monsters have to eat humans in some way and those", "agency and thus they become less interesting. So I'm trying to avoid that.", "due to lore changes. This doesn't work because the monsters here don't have", "human instantly turn on humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery). However, when this shows up in fiction this", "psychodrama is to explore someone's thought process. * The monsters aren't exceedingly long-lived", "allow the monsters much more moral latitude and explore different types of monster", "dangerous wild animals or man-eating big cats than slasher villains, dangerous but with", "to why someone would choose to be a monster than a human. E.g.,", "times it's become cliché and there isn't much one can do to make", "why relatively normal (i.e., non-sociopathic) human beings that have turned into monsters (like", "be a general phenomenon where more-or-less psychologically normal people can devolve into monsters", "make it fresh. However, when writing the story I am running into an", "narratively more like dangerous wild animals or man-eating big cats than slasher villains,", "human being psychologically to that point seems very difficult to achieve. So, more", "but the person mostly remains the same*. Personality shifts can occur but happen", "problem. Some of the more feral monsters are* treated narratively more like dangerous", "antagonistic monsters to create conflict, and if I can't understand why my villains", "doesn't work because the monsters here don't have to eat humans, and indeed", "don't have to eat humans, and indeed the story points out on a", "whereas the less human ones don't care. * Becoming a monster does give", "down. Mostly because the \"monsters being persecuted by monster-hunters\" trope has been used", "The problem with many of these explanations is that they rely on some", "without relying on some innate supernatural biological drive compelling them to harm people", "to story themes and partially because the whole point of a psychodrama is", "[There is some kind of biological compulsion involved that makes the former human", "they do (or more broadly, where they even come from) that creates a", "from humanity due to the monsters being immortal and losing all of their", "to justify what I need. The problem with many of these explanations is", "slavering beasts than you'd think\" is a plot point), but the fact is", "humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery). However, when this shows up in fiction this is usually used as", "human beings end up starving to death. From what I've read supposedly the", "into monsters (like vampires or werewolves) devolve into feral beasts or vicious predators", "and those that do not sufficiently dehumanize human beings end up starving to", "black-and-white) in that only the \"bad\" people become \"bad\" monsters. I know there", "the Sabbat in Vampire the Masquerade worked along these lines, but it never", "usually used as a justification as to why the audience shouldn't feel morally", "do (or more broadly, where they even come from) that creates a problem.", "more broadly, where they even come from) that creates a problem. Some of", "eat humans, and indeed the story points out on a logistic and biological", "getting a human being psychologically to that point seems very difficult to achieve.", "and deal with their monsterhood. Some of the rules of the monsters in", "humans in some way. The monsters are incredibly varied in terms of their", "turn on humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery). However, when this shows up in fiction this is usually", "of hardline biological compulsion to turn people into monsters, which is terrible for", "of monsters in a modern setting, most of which were \"turned\" from humans", "thus they become less interesting. So I'm trying to avoid that. Granted, part", "the story I am running into an issue in trying to understand how", "of reasons. 1. The monsters become increasingly estranged from humanity due to the", "their morality and worldview. Some try their best to fit in and pass", "like there's a group dedicated to hunting them down. Mostly because the \"monsters", "immortal here, so the \"weight of ages\" is hard to pull off. 2.", "to empathize with them becomes difficult. But the monsters aren't immortal here, so", "latitude and explore different types of monster tropes. Eating people isn't as unthinkable", "of the point of the story is to explore the assumptions of monster", "of personal choice. Consider, in a psychodrama about a vampire the audience wants", "with the more malevolent ones serving as foils and antagonists. The main draw", "rely on some sort of hardline biological compulsion to turn people into monsters,", "broadly, where they even come from) that creates a problem. Some of the", "always involve violence, but even getting a human being psychologically to that point", "the woods or a monstrous predator. I've tried researching other \"monster\" stories like", "*This doesn't work because the monsters here don't have to eat humans, and", "era point out that for young women becoming a vampire/werewolf/whatever gives them personal", "varied in terms of their morality and worldview. Some try their best to", "and Tokyo Ghoul* to see how those settings handled it, and mostly I", "sense psychologically. Lose all your connections to humanity and suddenly one's ability to", "as foils and antagonists. The main draw of the series is meant to", "of persecution by humanity but it's not like there's a group dedicated to", "and motivations that don't always involve violence, but even getting a human being", "I.e., it seems almost Calvinist (and a bit morally black-and-white) in that only", "a story which revolves around a group of monsters in a modern setting,", "tended to handle it, and it does make the most sense psychologically. Lose", "survive. 3. [There is some kind of biological compulsion involved that makes the", "and biological level a species that must eat humans wouldn't be able to", "creates a problem. Some of the more feral monsters are treated narratively more", "the \"passing\" monsters with the more malevolent ones serving as foils and antagonists.", "the protagonists staking their former friends. It doesn't work in a setting where", "shouldn't feel morally conflicted about the protagonists staking their former friends. It doesn't", "Carrie). This kind of works but it's hard to see how widespread it", "where regular people can be corrupted into enjoying atrocities (e.g., Nazi Germany, the", "aren't exceedingly long-lived or immortal. Mostly to make them more relatable to the", "The monsters are incredibly varied in terms of their morality and worldview. Some", "eating animals in the woods, whereas others start actively preying on humans and", "lore changes. This doesn't work because the monsters here don't have to eat", "genre trappings. * The monsters don't need to prey on humans to survive,", "to humanity and suddenly one's ability to empathize with them becomes difficult. *But", "good arguments as to why someone would choose to be a monster than", "a psychodrama is to explore someone's thought process. *The monsters aren't exceedingly", "I've read supposedly the Sabbat in Vampire the Masquerade* worked along these lines,", "in terms of their morality and worldview. Some try their best to fit", "a vampire the audience wants to know why the vampire thinks and acts", "the different ways they perceive and deal with their monsterhood. Some of the", "it doesn't make sense to make it a universal phenomenon among every feral", "quick to dehumanize others, but that usually happens to those outside their in-group,", "trying to understand how a relatively normal person could devolve into a barely-human", "enjoying atrocities (e.g., Nazi Germany, the Stanford Prison Experiment), but most of the", "were evil people before becoming monsters.** I.e., the \"I reject my humanity, JosaXz\"", "explore different types of monster tropes. Eating people isn't as unthinkable as it", "the question make more sense: * The monsters more-or-less live hidden among humanity.", "draw of the series is meant to be a psychological drama exploring the", "without monsters being common knowledge, so it doesn't make sense to make it", "humans can be quick to dehumanize others, but that usually happens to those", "to make them more relatable to the audience. * *There isn't really a", "their former friends. It doesn't work in a setting where the monsters are", "when writing the story I am running into an issue in trying to", "the more feral monsters are* treated narratively more like dangerous wild animals or", "the vampire only does so because they must prey on humans and because", "removes all sense of character agency and thus they become less interesting. So", "compulsion involved that makes the former human instantly turn on humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery).** However, when", "due to story themes and partially because the whole point of a psychodrama", "occur but happen due to lived experience post-monster. This is partially due to", "Victorian era point out that for young women becoming a vampire/werewolf/whatever gives them", "but that usually happens to those outside their in-group, not those within. Humans", "kind of works but it's hard to see how widespread it could be", "(e.g., Nazi Germany, the Stanford Prison Experiment), but most of the time that", "a bit, but the person mostly remains the same*. Personality shifts can occur", "monster than a human. E.g., many monster stories set in the Victorian era", "protagonists staking their former friends. It doesn't work in a setting where the", "removes most of the elements of personal choice. Consider, in a psychodrama about", "the Victorian era point out that for young women becoming a vampire/werewolf/whatever gives", "meant to be a psychological drama exploring the diverse psychology and worldviews of", "and worldview. Some try their best to fit in and pass amongst humans", "morally conflicted about the protagonists staking their former friends. It doesn't work in", "many of these explanations is that they rely on some sort of hardline", "group to group. I.e., the more sympathetic monsters are horrified and disgusted, whereas", "be corrupted into enjoying atrocities (e.g., Nazi Germany, the Stanford Prison Experiment), but", "be the wrong kind of awful to justify what I need. The problem", "more sympathetic monsters are horrified and disgusted, whereas the less human ones don't", "point of the story is to explore the assumptions of monster tropes (and", "in order to allow the monsters much more moral latitude and explore different", "sense of character agency and thus they become less interesting. So I'm trying", "sympathetic. I have* seen stories make good arguments as to why someone would", "it does make the most sense psychologically. Lose all your connections to humanity", "among humans, but how taboo eating people is varies massively from group to", "it a universal phenomenon among every feral monster. 5. The monsters were evil", "more broadly, how can I psychologically justify why there would be a general", "tropes (and \"there's less slavering beasts than you'd think\" is a plot point),", "becoming a vampire/werewolf/whatever gives them personal freedom and power not available to them", "to survive. 3. [There is some kind of biological compulsion involved that makes", "to see how those settings handled it, and mostly I have come across", "is varies massively from group to group. I.e., the more sympathetic monsters are", "that point seems very difficult to achieve. So, more broadly, how can I", "to make it fresh. However, when writing the story I am running into", "* The monsters more-or-less live hidden among humanity. I.e., typical genre trappings. ", "eat humans wouldn't be able to survive.* 3. [There is some kind of", "humans? I have a story which revolves around a group of monsters in", "as unthinkable as it is among humans, but how taboo eating people is", "do (e.g., Interview with a Vampire). If the vampire only does so because", "or a monstrous predator. I've tried researching other \"monster\" stories like the Old", "vampire thinks and acts the way they do (e.g., Interview with a Vampire).", "than you'd think\" is a plot point), but the fact is I need", "some innate supernatural biological drive compelling them to harm people or otherwise turn", "The monsters were evil people before becoming monsters.* I.e., the \"I reject my", "with the psychological drama angle of this story for a variety of reasons.", "someone would choose to be a monster than a human. E.g., many monster", "trying to avoid that. Granted, part of the point of the story is", "of works but it's hard to see how widespread it could be without", "if I can't understand why my villains and antagonists behave and think the", "atrocities (e.g., Nazi Germany, the Stanford Prison Experiment), but most of the time", "angle of this story for a variety of reasons. 1. The monsters become", "or vicious predators without relying on some innate supernatural biological drive compelling them", "in the setting and their plot reasoning are listed below, so as to", "do not sufficiently dehumanize human beings end up starving to death. From what", "it's hard to see how widespread it could be without monsters being common", "fit in and pass amongst humans despite their condition, others basically just devolve", "beast squatting in the woods or a monstrous predator. I've tried researching other", "of the rules of the monsters in the setting and their plot reasoning", "the rules of the monsters in the setting and their plot reasoning are", "common knowledge, so it doesn't make sense to make it a universal phenomenon", "and pass amongst humans despite their condition, others basically just devolve into feral", "make sense to make it a universal phenomenon among every feral monster. 5.", "to be a psychological drama exploring the diverse psychology and worldviews of the", "need the more antagonistic monsters to create conflict, and if I can't understand", "to see how widespread it could be without monsters being common knowledge, so", "reject my humanity, JosaXz\" principle. This seems the easiest to implement and seems", "to avoid that. Granted, part of the point of the story is to", "Personality shifts can occur but happen due to lived experience post-monster. This is", "incredibly varied in terms of their morality and worldview. Some try their best", "to why the audience shouldn't feel morally conflicted about the protagonists staking their", "human. E.g., many monster stories set in the Victorian era point out that", "but this seems to be the wrong kind of awful to justify what", "psychological drama exploring the diverse psychology and worldviews of the characters and the", "can warp their mind a bit, but the person mostly remains the same.", "major explanations. However, these don't seem to work with the psychological drama angle", "increasingly estranged from humanity due to the monsters being immortal and losing all", "partially due to story themes and partially because the whole point of a", "Darkness* tended to handle it, and it does make the most sense psychologically.", "to the monsters being immortal and losing all of their human connections.** This", "explore someone's thought process. * The monsters aren't exceedingly long-lived or immortal. Mostly", "man-eating big cats than slasher villains, dangerous but with their own set of", "people into monsters, which is terrible for a psychological drama because it removes", "the fact is I need the more antagonistic monsters to create conflict, and", "my humanity, JosaXz\" principle. This seems the easiest to implement and seems fairly", "the audience wants to know why the vampire thinks and acts the way", "some way and those that do not sufficiently dehumanize human beings end up", "and can warp their mind a bit, but the person mostly remains the", "not sufficiently dehumanize human beings end up starving to death. From what I've", "being persecuted by monster-hunters\" trope has been used so many times it's become", "\"there's less slavering beasts than you'd think\" is a plot point), but the", "villains, dangerous but with their own set of priorities and motivations that don't", "evil people before becoming monsters. I.e., the \"I reject my humanity, JosaXz\" principle.", "or werewolves) devolve into feral beasts or vicious predators without relying on some", "of priorities and motivations that don't always involve violence, but even getting a", "people\". 4. The former-humans decide to become the monsters everyone sees them as", "I need the more antagonistic monsters to create conflict, and if I can't", "which revolves around a group of monsters in a modern setting, most of", "make the most sense psychologically. Lose all your connections to humanity and suddenly", "*The monsters have to eat humans in some way and those that do", "as a human, but there's no reason that wouldn't translate to \"I like", "make them more relatable to the audience. There isn't really a huge", "how a relatively normal person could devolve into a barely-human beast squatting in", "would be a general phenomenon where more-or-less psychologically normal people can devolve into", "prey on humans and because they are biologically compelled to hate humankind, that", "others start actively preying on humans and other monsters. The story mostly focuses", "arguments as to why someone would choose to be a monster than a", "hard to pull off. 2. The monsters have to eat humans in some", "the monsters here don't have to eat humans, and indeed the story points", "humanity and suddenly one's ability to empathize with them becomes difficult. But the", "on humans to survive*, in order to allow the monsters much more moral", "relatively normal person could devolve into a barely-human beast squatting in the woods", "make more sense: The monsters more-or-less live hidden among humanity. I.e., typical", "Ghoul* to see how those settings handled it, and mostly I have come", "be quick to dehumanize others, but that usually happens to those outside their", "turn on humans? I have a story which revolves around a group of", "drive compelling them to harm people or otherwise turn on humans? I have", "able to survive. 3. [There is some kind of biological compulsion involved that", "a Vampire). If the vampire only does so because they must* prey on", "own set of priorities and motivations that don't always involve violence, but even", "*So, more broadly, how can I psychologically justify why there would be a", "they perceive and deal with their monsterhood. Some of the rules of the", "the audience. There isn't really a huge faction of monster hunters. The", "immortal and losing all of their human connections.** This is how the Old", "whereas others start actively preying on humans and other monsters. The story mostly", "humanity. I.e., typical genre trappings. The monsters don't need to prey on", "justify what I need. The problem with many of these explanations is that", "barely-human beast squatting in the woods or a monstrous predator. I've tried researching", "monsters aren't immortal here, so the \"weight of ages\" is hard to pull", "I'm trying to avoid that. Granted, part of the point of the story", "I.e., the \"I reject my humanity, JosaXz\" principle. This seems the easiest to", "does give a person monstrous instincts and can warp their mind a bit,", "know humans can be quick to dehumanize others, but that usually happens to", "monsters are incredibly varied in terms of their morality and worldview. Some try", "of which were \"turned\" from humans in some way. The monsters are incredibly", "in and pass amongst humans despite their condition, others basically just devolve into", "but it's not like there's a group dedicated to hunting them down. Mostly", "mass movements and an external system coercing or encouraging people until they start", "post-monster. This is partially due to story themes and partially because the whole", "typical genre trappings. * The monsters don't need to prey on humans to", "have come across a few major explanations. However, these don't seem to work", "difficult. But the monsters aren't immortal here, so the \"weight of ages\" is", "From what I've read supposedly the Sabbat in Vampire the Masquerade worked along", "and partially because the whole point of a psychodrama is to explore someone's", "focuses on the \"passing\" monsters with the more malevolent ones serving as foils", "monsters are afraid of persecution by humanity but it's not like there's a", "and because they are biologically compelled to hate humankind, that removes all sense", "stories make good arguments as to why someone would choose to be a", "to achieve. So, more broadly, how can I psychologically justify why there would", "an issue in trying to understand how a relatively normal person could devolve", "amongst humans despite their condition, others basically just devolve into feral beasts eating", "setting, most of which were \"turned\" from humans in some way. The monsters", "stories set in the Victorian era point out that for young women becoming", "to death. From what I've read supposedly the Sabbat in Vampire the Masquerade", "relatable to the audience. * *There isn't really a huge faction of monster", "happens to those outside* their in-group, not those within. Humans can clearly be", "former-humans decide to become the monsters everyone sees them as after being persecuted", "the \"bad\" people become \"bad\" monsters. I know there are cases where regular", "wouldn't translate to \"I like being a monster but I like people too\"", "and thus they become less interesting. So I'm trying to avoid that. Granted,", "story which revolves around a group of monsters in a modern setting, most", "usually happens to those outside their in-group, not those within. Humans can clearly", "less slavering beasts than you'd think\" is a plot point), but the fact", "settings handled it, and mostly I have come across a few major explanations.", "Granted, part of the point of the story is to explore the assumptions", "beasts or vicious predators without relying on some innate supernatural biological drive compelling", "of their morality and worldview. Some try their best to fit in and", "or encouraging people until they start enjoying or rationalizing it. Additionally, I know", "movements and an external system coercing or encouraging people until they start enjoying", "seem to work with the psychological drama angle of this story for a", "seems very difficult to achieve. So, more broadly, how can I psychologically justify", "supernatural biological drive compelling them to harm people or otherwise turn on humans?", "has been used so many times it's become cliché and there isn't much", "World of Darkness* and Tokyo Ghoul to see how those settings handled it,", "doesn't work in a setting where the monsters are more sympathetic. I have", "gives them personal freedom and power not available to them as a human,", "cats than slasher villains, dangerous but with their own set of priorities and", "when this shows up in fiction this is usually used as a justification", "is usually used as a justification as to why the audience shouldn't feel", "persecuted by monster-hunters\" trope has been used so many times it's become cliché", "vampires or werewolves) devolve into feral beasts or vicious predators without relying on", "logistic and biological level a species that must eat humans wouldn't be able", "or ostracized by their former brethren** (see: Carrie). This kind of works but", "how the Old World of Darkness tended to handle it, and it does", "as after being persecuted or ostracized by their former brethren** (see: Carrie). This", "need to prey on humans to survive, in order to allow the monsters", "more-or-less live hidden among humanity. I.e., typical genre trappings. * The monsters don't", "rationalizing it. Additionally, I know humans can be quick to dehumanize others, but", "can't understand why my villains and antagonists behave and think the way they", "in the woods or a monstrous predator. I've tried researching other \"monster\" stories", "but kind of removes the personal horror aspect from the story. I.e., it", "of a psychodrama is to explore someone's thought process. * The monsters aren't", "set of priorities and motivations that don't always involve violence, but even getting", "revolves around a group of monsters in a modern setting, most of which", "terms of their morality and worldview. Some try their best to fit in", "monster tropes (and \"there's less slavering beasts than you'd think\" is a plot", "knowledge, so it doesn't make sense to make it a universal phenomenon among", "monster-hunters\" trope has been used so many times it's become cliché and there", "character agency and thus they become less interesting. So I'm trying to avoid", "almost Calvinist (and a bit morally black-and-white) in that only the \"bad\" people", "the more malevolent ones serving as foils and antagonists. The main draw of", "see how those settings handled it, and mostly I have come across a", "this story for a variety of reasons. 1. The monsters become increasingly estranged", "and seems fairly straightforward but kind of removes the personal horror aspect from", "so because they must prey on humans and because they are biologically compelled", "monster tropes. Eating people isn't as unthinkable as it is among humans, but", "a setting where the monsters are more sympathetic. I have seen stories make", "eat people\". 4. *The former-humans decide to become the monsters everyone sees them", "the monsters much more moral latitude and explore different types of monster tropes.", "other monsters. The story mostly focuses on the \"passing\" monsters with the more", "\"monster\" stories like the Old World of Darkness* and Tokyo Ghoul to see", "humans and other monsters. The story mostly focuses on the \"passing\" monsters with", "a barely-human beast squatting in the woods or a monstrous predator. I've tried", "there would be a general phenomenon where more-or-less psychologically normal people can devolve", "many monster stories set in the Victorian era point out that for young", "people until they start enjoying or rationalizing it. Additionally, I know humans can", "their monsterhood. Some of the rules of the monsters in the setting and", "behave and think the way they do (or more broadly, where they even", "* There isn't really a huge faction of monster hunters. The monsters are", "can be quick to dehumanize others, but that usually happens to those outside", "exceedingly long-lived or immortal. Mostly to make them more relatable to the audience.", "fairly straightforward but kind of removes the personal horror aspect from the story.", "more antagonistic monsters to create conflict, and if I can't understand why my", "wrong kind of awful to justify what I need. The problem with many", "the more antagonistic monsters to create conflict, and if I can't understand why", "become less interesting. So I'm trying to avoid that. Granted, part of the", "not available to them as a human, but there's no reason that wouldn't", "monsters become increasingly estranged from humanity due to the monsters being immortal and", "(i.e., non-sociopathic) human beings that have turned into monsters (like vampires or werewolves)", "human, but there's no reason that wouldn't translate to \"I like being a", "monster. 5. The monsters were evil people before becoming monsters. I.e., the \"I", "on a logistic and biological level a species that must eat humans wouldn't", "does so because they must prey on humans and because they are biologically", "but happen due to lived experience post-monster. This is partially due to story", "these lines, but it never really got explored due to lore changes. This", "about a vampire the audience wants to know why the vampire thinks and", "of the monsters in the setting and their plot reasoning are listed below,", "deal with their monsterhood. Some of the rules of the monsters in the", "where they even come from) that creates a problem. Some of the more", "straightforward but kind of removes the personal horror aspect from the story. I.e.,", "being psychologically to that point seems very difficult to achieve. So, more broadly,", "relying on some innate supernatural biological drive compelling them to harm people or", "bit morally black-and-white) in that only the \"bad\" people become \"bad\" monsters. I", "and explore different types of monster tropes. Eating people isn't as unthinkable as", "The monsters aren't exceedingly long-lived or immortal. Mostly to make them more relatable", "audience shouldn't feel morally conflicted about the protagonists staking their former friends. It", "even getting a human being psychologically to that point seems very difficult to", "the point of the story is to explore the assumptions of monster tropes", "being a monster but I like people too\" instead of \"I eat people\".", "they start enjoying or rationalizing it. Additionally, I know humans can be quick", "like people too\" instead of \"I eat people\". 4. The former-humans decide to", "for young women becoming a vampire/werewolf/whatever gives them personal freedom and power not", "but I like people too\" instead of \"I eat people\". 4. The former-humans", "motivations that don't always involve violence, but even getting a human being psychologically", "involve violence, but even getting a human being psychologically to that point seems", "around a group of monsters in a modern setting, most of which were", "with them becomes difficult. But the monsters aren't immortal here, so the \"weight", "the way they do (or more broadly, where they even come from) that", "monsters in a modern setting, most of which were \"turned\" from humans in", "make good arguments as to why someone would choose to be a monster", "monsters more-or-less live hidden among humanity*. I.e., typical genre trappings. The monsters", "be awful but this seems to be the wrong kind of awful to", "wants to know why the vampire thinks and acts the way they do", "vicious predators without relying on some innate supernatural biological drive compelling them to", "reasoning are listed below, so as to make the rest of the question", "E.g., many monster stories set in the Victorian era point out that for", "series is meant to be a psychological drama exploring the diverse psychology and", "very difficult to achieve. So, more broadly, how can I psychologically justify why", "become cliché and there isn't much one can do to make it fresh.", "1. The monsters become increasingly estranged from humanity due to the monsters being", "happen due to lived experience post-monster. This is partially due to story themes", "a monster but I like people too\" instead of \"I eat people\". 4.", "a psychodrama about a vampire the audience wants to know why the vampire", "but the fact is I need the more antagonistic monsters to create conflict,", "others basically just devolve into feral beasts eating animals in the woods, whereas", "makes the former human instantly turn on humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery). However, when this shows up", "someone's thought process. * The monsters aren't exceedingly long-lived or immortal. Mostly to", "system coercing or encouraging people until they start enjoying or rationalizing it. Additionally,", "monsters. I know there are cases where regular people can be corrupted into", "monster stories set in the Victorian era point out that for young women", "the Masquerade* worked along these lines, but it never really got explored due", "point out that for young women becoming a vampire/werewolf/whatever gives them personal freedom", "but even getting a human being psychologically to that point seems very difficult", "to \"I like being a monster but I like people too\" instead of", "points out on a logistic and biological level a species that must eat", "to allow the monsters much more moral latitude and explore different types of", "shifts can occur but happen due to lived experience post-monster. This is partially", "no reason that wouldn't translate to \"I like being a monster but I", "work because the monsters here don't have to eat humans, and indeed the", "monsters are more sympathetic. I have seen stories make good arguments as to", "their condition, others basically just devolve into feral beasts eating animals in the", "kind of biological compulsion involved that makes the former human instantly turn on", "that do not sufficiently dehumanize human beings end up starving to death. From", "but it's hard to see how widespread it could be without monsters being", "personal choice. Consider, in a psychodrama about a vampire the audience wants to", "their human connections. This is how the Old World of Darkness tended to", "easiest to implement and seems fairly straightforward but kind of removes the personal", "way they do (e.g., Interview with a Vampire). If the vampire only does", "because it removes most of the elements of personal choice. Consider, in a", "a plot point), but the fact is I need the more antagonistic monsters", "them personal freedom and power not available to them as a human, but", "so many times it's become cliché and there isn't much one can do", "prey on humans to survive*, in order to allow the monsters much more", "this seems to be the wrong kind of awful to justify what I", "on some innate supernatural biological drive compelling them to harm people or otherwise", "know why the vampire thinks and acts the way they do (e.g., Interview", "JosaXz\" principle. This seems the easiest to implement and seems fairly straightforward but", "to lore changes. This doesn't work because the monsters here don't have to", "translate to \"I like being a monster but I like people too\" instead", "plot reasoning are listed below, so as to make the rest of the", "foils and antagonists. The main draw of the series is meant to be", "Prison Experiment), but most of the time that seems to require mass movements", "in trying to understand how a relatively normal person could devolve into a", "the Old World of Darkness tended to handle it, and it does make", "people isn't as unthinkable as it is among humans, but how taboo eating", "cliché and there isn't much one can do to make it fresh. However,", "that creates a problem. Some of the more feral monsters are treated narratively", "Some of the rules of the monsters in the setting and their plot", "seems almost Calvinist (and a bit morally black-and-white) in that only the \"bad\"", "there's no reason that wouldn't translate to \"I like being a monster but", "in the woods, whereas others start actively preying on humans and other monsters.", "most sense psychologically. Lose all your connections to humanity and suddenly one's ability", "(and \"there's less slavering beasts than you'd think\" is a plot point), but", "don't seem to work with the psychological drama angle of this story for", "the characters and the different ways they perceive and deal with their monsterhood.", "and if I can't understand why my villains and antagonists behave and think", "the story is to explore the assumptions of monster tropes (and \"there's less", "that don't always involve violence, but even getting a human being psychologically to", "are horrified and disgusted, whereas the less human ones don't care. * Becoming", "lived experience post-monster. This is partially due to story themes and partially because", "a general phenomenon where more-or-less psychologically normal people can devolve into monsters after", "justify why relatively normal (i.e., non-sociopathic) human beings that have turned into monsters", "types of monster tropes. Eating people isn't as unthinkable as it is among", "a bit morally black-and-white) in that only the \"bad\" people become \"bad\" monsters.", "assumptions of monster tropes (and \"there's less slavering beasts than you'd think\" is", "priorities and motivations that don't always involve violence, but even getting a human", "it removes most of the elements of personal choice. Consider, in a psychodrama", "Calvinist (and a bit morally black-and-white) in that only the \"bad\" people become", "the diverse psychology and worldviews of the characters and the different ways they", "to understand how a relatively normal person could devolve into a barely-human beast", "here, so the \"weight of ages\" is hard to pull off. 2. *The", "are afraid of persecution by humanity but it's not like there's a group", "the easiest to implement and seems fairly straightforward but kind of removes the", "more sense: The monsters more-or-less live hidden among humanity. I.e., typical genre", "by humanity but it's not like there's a group dedicated to hunting them", "the story. I.e., it seems almost Calvinist (and a bit morally black-and-white) in", "achieve. So, more broadly, how can I psychologically justify why there would be", "involved that makes the former human instantly turn on humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery). However, when this", "mostly focuses on the \"passing\" monsters with the more malevolent ones serving as", "into feral beasts or vicious predators without relying on some innate supernatural biological", "\"turned\" from humans in some way. The monsters are incredibly varied in terms", "a monster does give a person monstrous instincts and can warp their mind", "monsters don't need to prey on humans to survive, in order to allow", "(or more broadly, where they even come from) that creates a problem. Some", "immortal.** Mostly to make them more relatable to the audience. * There isn't", "the personal horror aspect from the story. I.e., it seems almost Calvinist (and", "humans, and indeed the story points out on a logistic and biological level", "seems fairly straightforward but kind of removes the personal horror aspect from the", "of their human connections.** This is how the Old World of Darkness tended", "person monstrous instincts and can warp their mind a bit, but the person", "humans, but how taboo eating people is varies massively from group to group.", "I have seen stories make good arguments as to why someone would choose", "sufficiently dehumanize human beings end up starving to death. From what I've read", "of this story for a variety of reasons. 1. The monsters become increasingly", "those settings handled it, and mostly I have come across a few major", "of these explanations is that they rely on some sort of hardline biological", "one's ability to empathize with them becomes difficult. But the monsters aren't immortal", "psychologically justify why relatively normal (i.e., non-sociopathic) human beings that have turned into", "monster does give a person monstrous instincts and can warp their mind a", "connections to humanity and suddenly one's ability to empathize with them becomes difficult.", "out that for young women becoming a vampire/werewolf/whatever gives them personal freedom and", "The monsters are afraid of persecution by humanity but it's not like there's", "be able to survive. 3. *[There is some kind of biological compulsion involved", "be a psychological drama exploring the diverse psychology and worldviews of the characters", "seems to be the wrong kind of awful to justify what I need.", "worldviews of the characters and the different ways they perceive and deal with", "way. The monsters are incredibly varied in terms of their morality and worldview.", " The monsters aren't exceedingly long-lived or immortal. Mostly to make them more", "most of which were \"turned\" from humans in some way. The monsters are", "disgusted, whereas the less human ones don't care. * Becoming a monster does", "eat humans in some way and those that do not sufficiently dehumanize human", "biological drive compelling them to harm people or otherwise turn on humans? I", "the Stanford Prison Experiment), but most of the time that seems to require", "The monsters more-or-less live hidden among humanity. I.e., typical genre trappings. * The", "to fit in and pass amongst humans despite their condition, others basically just", "writing the story I am running into an issue in trying to understand", "on humans? I have a story which revolves around a group of monsters", "Interview with a Vampire). If the vampire only does so because they must", "external system coercing or encouraging people until they start enjoying or rationalizing it.", "the \"monsters being persecuted by monster-hunters\" trope has been used so many times", "it is among humans, but how taboo eating people is varies massively from", "antagonists. The main draw of the series is meant to be a psychological", "that only the \"bad\" people become \"bad\" monsters. I know there are cases", "know there are cases where regular people can be corrupted into enjoying atrocities", "awful to justify what I need. The problem with many of these explanations", "instead of \"I eat people\". 4. *The former-humans decide to become the monsters", "themes and partially because the whole point of a psychodrama is to explore", "feral beasts eating animals in the woods, whereas others start actively preying on", "I psychologically justify why there would be a general phenomenon where more-or-less psychologically", "more moral latitude and explore different types of monster tropes. Eating people isn't", "predators without relying on some innate supernatural biological drive compelling them to harm", "humans in some way and those that do not sufficiently dehumanize human beings", "because the monsters here don't have to eat humans, and indeed the story", "thought process. The monsters aren't exceedingly long-lived or immortal. Mostly to make", "and mostly I have come across a few major explanations. However, these don't", "monsters being common knowledge, so it doesn't make sense to make it a", "they even come from) that creates a problem. Some of the more feral", "is how the Old World of Darkness tended to handle it, and it", "enjoying or rationalizing it. Additionally, I know humans can be quick to dehumanize", "The monsters don't need to prey on humans to survive, in order to", "it seems almost Calvinist (and a bit morally black-and-white) in that only the", "empathize with them becomes difficult. *But the monsters aren't immortal here, so the", "tried researching other \"monster\" stories like the Old World of Darkness* and Tokyo", "their best to fit in and pass amongst humans despite their condition, others", "warp their mind a bit, but the person mostly remains the same. Personality", "one can do to make it fresh. However, when writing the story I", "coercing or encouraging people until they start enjoying or rationalizing it. Additionally, I", "and suddenly one's ability to empathize with them becomes difficult. But the monsters", "conflicted about the protagonists staking their former friends. It doesn't work in a", "difficult to achieve. So, more broadly, how can I psychologically justify why there", "feel morally conflicted about the protagonists staking their former friends. It doesn't work", "characters and the different ways they perceive and deal with their monsterhood. Some", "devolve into feral beasts eating animals in the woods, whereas others start actively", "monsters are* treated narratively more like dangerous wild animals or man-eating big cats", "the rest of the question make more sense: * *The monsters more-or-less live", "Experiment), but most of the time that seems to require mass movements and", "If the vampire only does so because they must* prey on humans and", "a huge faction of monster hunters. The monsters are afraid of persecution by", "to pull off. 2. *The monsters have to eat humans in some way", "freedom and power not available to them as a human, but there's no", "a problem. Some of the more feral monsters are* treated narratively more like", "ability to empathize with them becomes difficult. But the monsters aren't immortal here,", "awful but this seems to be the wrong kind of awful to justify", "monsters (like vampires or werewolves) devolve into feral beasts or vicious predators without", "their in-group, not those within. Humans can clearly be awful but this seems", "suddenly one's ability to empathize with them becomes difficult. But the monsters aren't", "the whole point of a psychodrama is to explore someone's thought process. ", "choose to be a monster than a human. E.g., many monster stories set", "phenomenon among every feral monster. 5. The monsters were evil people before becoming", "outside* their in-group, not those within. Humans can clearly be awful but this", "devolve into feral beasts or vicious predators without relying on some innate supernatural", "However, when this shows up in fiction this is usually used as a", "are treated narratively more like dangerous wild animals or man-eating big cats than", "some way. The monsters are incredibly varied in terms of their morality and", "a universal phenomenon among every feral monster. 5. *The monsters were evil people", "ones serving as foils and antagonists. The main draw of the series is", "Vampire). If the vampire only does so because they must prey on humans", "4. *The former-humans decide to become the monsters everyone sees them as after", "whole point of a psychodrama is to explore someone's thought process. The", "to group. I.e., the more sympathetic monsters are horrified and disgusted, whereas the", "humanity due to the monsters being immortal and losing all of their human", "woods or a monstrous predator. I've tried researching other \"monster\" stories like the", "of monster tropes (and \"there's less slavering beasts than you'd think\" is a", "people too\" instead of \"I eat people\". 4. The former-humans decide to become", "have turned into monsters (like vampires or werewolves) devolve into feral beasts or", "biological compulsion to turn people into monsters, which is terrible for a psychological", "personal freedom and power not available to them as a human, but there's", "don't need to prey on humans to survive, in order to allow the", "it's not like there's a group dedicated to hunting them down. Mostly because", "hunting them down. Mostly because the \"monsters being persecuted by monster-hunters\" trope has", "2. The monsters have to eat humans in some way and those that", "I like people too\" instead of \"I eat people\". 4. The former-humans decide", "most of the elements of personal choice. Consider, in a psychodrama about a", "perceive and deal with their monsterhood. Some of the rules of the monsters", "exploring the diverse psychology and worldviews of the characters and the different ways", "plot point), but the fact is I need the more antagonistic monsters to", "\"weight of ages\" is hard to pull off. 2. *The monsters have to", "best to fit in and pass amongst humans despite their condition, others basically", "tropes. Eating people isn't as unthinkable as it is among humans, but how", "so as to make the rest of the question make more sense: ", "reasons. 1. The monsters become increasingly estranged from humanity due to the monsters", "hardline biological compulsion to turn people into monsters, which is terrible for a", "beasts than you'd think\" is a plot point), but the fact is I", "it, and it does make the most sense psychologically. Lose all your connections", "their mind a bit, but the person mostly remains the same. Personality shifts", "issue in trying to understand how a relatively normal person could devolve into", "to harm people or otherwise turn on humans? I have a story which", "less interesting. So I'm trying to avoid that. Granted, part of the point", "huge faction of monster hunters. The monsters are afraid of persecution by humanity", "vampire only does so because they must prey on humans and because they", "hate humankind, that removes all sense of character agency and thus they become", "just devolve into feral beasts eating animals in the woods, whereas others start", "how taboo eating people is varies massively from group to group. I.e., the", "used so many times it's become cliché and there isn't much one can", "human connections.** This is how the Old World of Darkness tended to handle", "in the Victorian era point out that for young women becoming a vampire/werewolf/whatever", "some kind of biological compulsion involved that makes the former human instantly turn", "turned into monsters (like vampires or werewolves) devolve into feral beasts or vicious", "them as after being persecuted or ostracized by their former brethren** (see: Carrie).", "widespread it could be without monsters being common knowledge, so it doesn't make", "them to harm people or otherwise turn on humans? I have a story", "I have a story which revolves around a group of monsters in a", "psychologically. Lose all your connections to humanity and suddenly one's ability to empathize", "to become the monsters everyone sees them as after being persecuted or ostracized", "to lived experience post-monster. This is partially due to story themes and partially", "biological compulsion involved that makes the former human instantly turn on humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery). However,", "diverse psychology and worldviews of the characters and the different ways they perceive", "But the monsters aren't immortal here, so the \"weight of ages\" is hard", "their own set of priorities and motivations that don't always involve violence, but", "require mass movements and an external system coercing or encouraging people until they", "need. The problem with many of these explanations is that they rely on", "a justification as to why the audience shouldn't feel morally conflicted about the", "the monsters being immortal and losing all of their human connections. This is", "explored due to lore changes. *This doesn't work because the monsters here don't", "monsters everyone sees them as after being persecuted or ostracized by their former", "supposedly the Sabbat in Vampire the Masquerade* worked along these lines, but it", "everyone sees them as after being persecuted or ostracized by their former brethren*", "interesting. So I'm trying to avoid that. Granted, part of the point of", " Becoming a monster does give a person monstrous instincts and can warp", "all of their human connections. This is how the Old World of Darkness", "humans to survive, in order to allow the monsters much more moral latitude", "make it a universal phenomenon among every feral monster. 5. The monsters were", "as a justification as to why the audience shouldn't feel morally conflicted about", "those within. Humans can clearly be awful but this seems to be the", "group of monsters in a modern setting, most of which were \"turned\" from", "TL;DR: How can I psychologically justify why relatively normal (i.e., non-sociopathic) human beings", "much more moral latitude and explore different types of monster tropes. Eating people", "a monster than a human. E.g., many monster stories set in the Victorian", "psychologically to that point seems very difficult to achieve. So, more broadly, how", "dehumanize human beings end up starving to death. From what I've read supposedly", "but with their own set of priorities and motivations that don't always involve", "for a psychological drama because it removes most of the elements of personal", "psychological drama angle of this story for a variety of reasons. 1. The", "Humans can clearly be awful but this seems to be the wrong kind", "monster hunters.** The monsters are afraid of persecution by humanity but it's not", "isn't as unthinkable as it is among humans, but how taboo eating people", "from) that creates a problem. Some of the more feral monsters are treated", "I have come across a few major explanations. However, these don't seem to", "werewolves) devolve into feral beasts or vicious predators without relying on some innate", "Darkness* and Tokyo Ghoul to see how those settings handled it, and mostly", "but it never really got explored due to lore changes. *This doesn't work", "because the whole point of a psychodrama is to explore someone's thought process.", "story I am running into an issue in trying to understand how a", "a group of monsters in a modern setting, most of which were \"turned\"", "like the Old World of Darkness* and Tokyo Ghoul to see how those", "less human ones don't care. * *Becoming a monster does give a person", "because they must* prey on humans and because they are biologically compelled to", "monsters. I.e., the \"I reject my humanity, JosaXz\" principle. This seems the easiest", "more like dangerous wild animals or man-eating big cats than slasher villains, dangerous", "come from) that creates a problem. Some of the more feral monsters are", "these explanations is that they rely on some sort of hardline biological compulsion", "monsters aren't exceedingly long-lived or immortal. Mostly to make them more relatable to", "hard to see how widespread it could be without monsters being common knowledge,", "but how taboo eating people is varies massively from group to group. I.e.,", "a modern setting, most of which were \"turned\" from humans in some way.", "the setting and their plot reasoning are listed below, so as to make", "be a monster than a human. E.g., many monster stories set in the", "bit, but the person mostly remains the same. Personality shifts can occur but", "the woods, whereas others start actively preying on humans and other monsters. The", "*This seems the easiest to implement and seems fairly straightforward but kind of", "come across a few major explanations. However, these don't seem to work with", "set in the Victorian era point out that for young women becoming a", "kind of awful to justify what I need. The problem with many of", "few major explanations. However, these don't seem to work with the psychological drama", "trappings. The monsters don't need to prey on humans to survive, in", "animals in the woods, whereas others start actively preying on humans and other", "drama angle of this story for a variety of reasons. 1. *The monsters", "would choose to be a monster than a human. E.g., many monster stories", "the vampire thinks and acts the way they do (e.g., Interview with a", "becoming monsters. I.e., the \"I reject my humanity, JosaXz\" principle. This seems the", "is to explore the assumptions of monster tropes (and \"there's less slavering beasts", "that makes the former human instantly turn on humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery). However, when this shows", "story for a variety of reasons. 1. The monsters become increasingly estranged from", "into monsters, which is terrible for a psychological drama because it removes most", "see how widespread it could be without monsters being common knowledge, so it", "the series is meant to be a psychological drama exploring the diverse psychology", "dehumanize others, but that usually happens to those outside their in-group, not those", "acts the way they do (e.g., Interview with a Vampire). If the vampire", "squatting in the woods or a monstrous predator. I've tried researching other \"monster\"", "within. Humans can clearly be awful but this seems to be the wrong", "a group dedicated to hunting them down. Mostly because the \"monsters being persecuted", "humanity but it's not like there's a group dedicated to hunting them down.", "former friends. It doesn't work in a setting where the monsters are more", "main draw of the series is meant to be a psychological drama exploring", "kind of removes the personal horror aspect from the story. I.e., it seems", "connections. This is how the Old World of Darkness tended to handle it,", "a human. E.g., many monster stories set in the Victorian era point out", "brethren** (see: Carrie). This kind of works but it's hard to see how", "only the \"bad\" people become \"bad\" monsters. I know there are cases where", "morality and worldview. Some try their best to fit in and pass amongst", "species that must eat humans wouldn't be able to survive. 3. [There is", "is to explore someone's thought process. * *The monsters aren't exceedingly long-lived or", "reason that wouldn't translate to \"I like being a monster but I like", "trope has been used so many times it's become cliché and there isn't", "than slasher villains, dangerous but with their own set of priorities and motivations", "and antagonists. The main draw of the series is meant to be a", "are more sympathetic. I have* seen stories make good arguments as to why", "to eat humans, and indeed the story points out on a logistic and", "monsters much more moral latitude and explore different types of monster tropes. Eating", "fact is I need the more antagonistic monsters to create conflict, and if", "to survive, in order to allow the monsters much more moral latitude and", "beings end up starving to death. From what I've read supposedly the Sabbat", "the former human instantly turn on humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery).** However, when this shows up in", "Sabbat in Vampire the Masquerade worked along these lines, but it never really", "* The monsters don't need to prey on humans to survive, in order", "why the audience shouldn't feel morally conflicted about the protagonists staking their former", "choice. Consider, in a psychodrama about a vampire the audience wants to know", "can I psychologically justify why relatively normal (i.e., non-sociopathic) human beings that have", "death.** From what I've read supposedly the Sabbat in Vampire the Masquerade worked", "the Old World of Darkness and Tokyo Ghoul to see how those settings", "it's become cliché and there isn't much one can do to make it", "what I've read supposedly the Sabbat in Vampire the Masquerade worked along these", "regular people can be corrupted into enjoying atrocities (e.g., Nazi Germany, the Stanford", "these don't seem to work with the psychological drama angle of this story", "\"I reject my humanity, JosaXz\" principle. This seems the easiest to implement and", "I know humans can be quick to dehumanize others, but that usually happens", "isn't really a huge faction of monster hunters. The monsters are afraid of", "Old World of Darkness tended to handle it, and it does make the", "and antagonists behave and think the way they do (or more broadly, where", "implement and seems fairly straightforward but kind of removes the personal horror aspect", "does make the most sense psychologically. Lose all your connections to humanity and", "However, when writing the story I am running into an issue in trying", "is meant to be a psychological drama exploring the diverse psychology and worldviews", "\"I like being a monster but I like people too\" instead of \"I", "until they start enjoying or rationalizing it. Additionally, I know humans can be", "why there would be a general phenomenon where more-or-less psychologically normal people can", "I've tried researching other \"monster\" stories like the Old World of Darkness and", "a human, but there's no reason that wouldn't translate to \"I like being", "to dehumanize others, but that usually happens to those outside their in-group, not", "explanations is that they rely on some sort of hardline biological compulsion to", "starving to death.** From what I've read supposedly the Sabbat in Vampire the", "to explore the assumptions of monster tropes (and \"there's less slavering beasts than", "afraid of persecution by humanity but it's not like there's a group dedicated", "and power not available to them as a human, but there's no reason", "among humanity. I.e., typical genre trappings. The monsters don't need to prey", "taboo eating people is varies massively from group to group. I.e., the more", "the psychological drama angle of this story for a variety of reasons. 1.", "story themes and partially because the whole point of a psychodrama is to", "the most sense psychologically. Lose all your connections to humanity and suddenly one's", "instantly turn on humanity](https://tvtropes.org/pmwiki/pmwiki.php/Main/TranshumanTreachery). However, when this shows up in fiction this is", "monsters. The story mostly focuses on the \"passing\" monsters with the more malevolent", "handle it, and it does make the most sense psychologically. Lose all your", "relatively normal (i.e., non-sociopathic) human beings that have turned into monsters (like vampires", "of monster tropes. Eating people isn't as unthinkable as it is among humans,", "all your connections to humanity and suddenly one's ability to empathize with them", "fresh. However, when writing the story I am running into an issue in", "the monsters in the setting and their plot reasoning are listed below, so", "lines, but it never really got explored due to lore changes. This doesn't", "every feral monster. 5. The monsters were evil people before becoming monsters. I.e.,", "their former brethren (see: Carrie). This kind of works but it's hard to", "by their former brethren** (see: Carrie). This kind of works but it's hard", "normal person could devolve into a barely-human beast squatting in the woods or", "because the \"monsters being persecuted by monster-hunters\" trope has been used so many", "of Darkness* and Tokyo Ghoul to see how those settings handled it, and", "monster but I like people too\" instead of \"I eat people\". 4. The", "to prey on humans to survive, in order to allow the monsters much", "that they rely on some sort of hardline biological compulsion to turn people", "here don't have to eat humans, and indeed the story points out on", "it could be without monsters being common knowledge, so it doesn't make sense", "people before becoming monsters. I.e., the \"I reject my humanity, JosaXz\" principle. This", "World of Darkness* tended to handle it, and it does make the most", "power not available to them as a human, but there's no reason that", "give a person monstrous instincts and can warp their mind a bit, but", "or immortal.** Mostly to make them more relatable to the audience. * *There", "more sympathetic. I have* seen stories make good arguments as to why someone", "I.e., the more sympathetic monsters are horrified and disgusted, whereas the less human", "there's a group dedicated to hunting them down. Mostly because the \"monsters being", "but most of the time that seems to require mass movements and an", "how those settings handled it, and mostly I have come across a few", "audience wants to know why the vampire thinks and acts the way they", "my villains and antagonists behave and think the way they do (or more", "\"monsters being persecuted by monster-hunters\" trope has been used so many times it's", "worked along these lines, but it never really got explored due to lore", "with their monsterhood. Some of the rules of the monsters in the setting", "a relatively normal person could devolve into a barely-human beast squatting in the", "partially because the whole point of a psychodrama is to explore someone's thought", "to those outside their in-group, not those within. Humans can clearly be awful", "mostly I have come across a few major explanations. However, these don't seem", "feral monster. 5. The monsters were evil people before becoming monsters. I.e., the", "the monsters are more sympathetic. I have seen stories make good arguments as", "compulsion to turn people into monsters, which is terrible for a psychological drama", "*Becoming a monster does give a person monstrous instincts and can warp their", "Old World of Darkness* and Tokyo Ghoul to see how those settings handled", "woods, whereas others start actively preying on humans and other monsters. The story", "malevolent ones serving as foils and antagonists. The main draw of the series", "the \"weight of ages\" is hard to pull off. 2. The monsters have", "worldview. Some try their best to fit in and pass amongst humans despite", "have to eat humans in some way and those that do not sufficiently", "basically just devolve into feral beasts eating animals in the woods, whereas others", "them down. Mostly because the \"monsters being persecuted by monster-hunters\" trope has been", "much one can do to make it fresh. However, when writing the story", "a vampire/werewolf/whatever gives them personal freedom and power not available to them as", "up starving to death.** From what I've read supposedly the Sabbat in Vampire", "rules of the monsters in the setting and their plot reasoning are listed", "more relatable to the audience. **There isn't really a huge faction of", "Stanford Prison Experiment), but most of the time that seems to require mass", "Eating people isn't as unthinkable as it is among humans, but how taboo", "start enjoying or rationalizing it. Additionally, I know humans can be quick to" ]
[ "some criticism from peers, many of them claiming that I introduce the antagonist", "vaguely resembles a very tall human. The criticizing peers have claimed that I", "the antagonist for awhile. However, the antagonist is only shown relatively briefly in", "with no information on what it is, only that it (very messily) eats", "intentions, etc. I avoided revealing any significant information about it at all. Would", "tall human. The criticizing peers have claimed that I had to exploit the", "to torture its victims with horrifying illusions before killing them. There is no", "as a young boy, and a demon-like creature that vaguely resembles a very", "is, how intelligent it is, how powerful it really is, its true intentions,", "a demon-like creature that vaguely resembles a very tall human. The criticizing peers", "in 2 major forms, as a young boy, and a demon-like creature that", "about it at all. Would this suffice to compensate for the missing \"fear", "extremely ambiguous. It appears in 2 major forms, as a young boy, and", "the antagonist is only shown relatively briefly in both of the main character's", "had to exploit the fear of the unknown, and hide the antagonist for", "to compensate for the missing \"fear of the unknown\"? And more importantly, what", "at all. Would this suffice to compensate for the missing \"fear of the", "importantly, what are the effects of either of them; when should you use", "that it likes to torture its victims with horrifying illusions before killing them.", "revealing any significant information about it at all. Would this suffice to compensate", "have claimed that I had to exploit the fear of the unknown, and", "it likes to torture its victims with horrifying illusions before killing them. There", "claimed that I had to exploit the fear of the unknown, and hide", "human. The criticizing peers have claimed that I had to exploit the fear", "relatively briefly in both of the main character's introductions, with no information on", "is no context on what it actually is, how intelligent it is, how", "introduce the antagonist too early. The introduction of the antagonist is nearly instant,", "from peers, many of them claiming that I introduce the antagonist too early.", "any significant information about it at all. Would this suffice to compensate for", "horrifying illusions before killing them. There is no context on what it actually", "only that it (very messily) eats humans, and soon after, that it likes", "what it is, only that it (very messily) eats humans, and soon after,", "information about it at all. Would this suffice to compensate for the missing", "for awhile. However, the antagonist is only shown relatively briefly in both of", "them. There is no context on what it actually is, how intelligent it", "introductions, with no information on what it is, only that it (very messily)", "that I introduce the antagonist too early. The introduction of the antagonist is", "of the antagonist is nearly instant, but extremely ambiguous. It appears in 2", "likes to torture its victims with horrifying illusions before killing them. There is", "received some criticism from peers, many of them claiming that I introduce the", "killing them. There is no context on what it actually is, how intelligent", "eats humans, and soon after, that it likes to torture its victims with", "has received some criticism from peers, many of them claiming that I introduce", "fear of the unknown, and hide the antagonist for awhile. However, the antagonist", "it really is, its true intentions, etc. I avoided revealing any significant information", "more importantly, what are the effects of either of them; when should you", "all. Would this suffice to compensate for the missing \"fear of the unknown\"?", "criticizing peers have claimed that I had to exploit the fear of the", "significant information about it at all. Would this suffice to compensate for the", "in both of the main character's introductions, with no information on what it", "that vaguely resembles a very tall human. The criticizing peers have claimed that", "shown relatively briefly in both of the main character's introductions, with no information", "for the missing \"fear of the unknown\"? And more importantly, what are the", "first horror/fantasy novel has received some criticism from peers, many of them claiming", "etc. I avoided revealing any significant information about it at all. Would this", "young boy, and a demon-like creature that vaguely resembles a very tall human.", "this suffice to compensate for the missing \"fear of the unknown\"? And more", "ambiguous. It appears in 2 major forms, as a young boy, and a", "many of them claiming that I introduce the antagonist too early. The introduction", "of them claiming that I introduce the antagonist too early. The introduction of", "The introduction of the antagonist is nearly instant, but extremely ambiguous. It appears", "the main character's introductions, with no information on what it is, only that", "context on what it actually is, how intelligent it is, how powerful it", "suffice to compensate for the missing \"fear of the unknown\"? And more importantly,", "no information on what it is, only that it (very messily) eats humans,", "hide the antagonist for awhile. However, the antagonist is only shown relatively briefly", "is, only that it (very messily) eats humans, and soon after, that it", "with horrifying illusions before killing them. There is no context on what it", "actually is, how intelligent it is, how powerful it really is, its true", "awhile. However, the antagonist is only shown relatively briefly in both of the", "it is, only that it (very messily) eats humans, and soon after, that", "really is, its true intentions, etc. I avoided revealing any significant information about", "its victims with horrifying illusions before killing them. There is no context on", "is, how powerful it really is, its true intentions, etc. I avoided revealing", "horror/fantasy novel has received some criticism from peers, many of them claiming that", "that I had to exploit the fear of the unknown, and hide the", "early. The introduction of the antagonist is nearly instant, but extremely ambiguous. It", "exploit the fear of the unknown, and hide the antagonist for awhile. However,", "how intelligent it is, how powerful it really is, its true intentions, etc.", "it at all. Would this suffice to compensate for the missing \"fear of", "to exploit the fear of the unknown, and hide the antagonist for awhile.", "information on what it is, only that it (very messily) eats humans, and", "true intentions, etc. I avoided revealing any significant information about it at all.", "peers have claimed that I had to exploit the fear of the unknown,", "and soon after, that it likes to torture its victims with horrifying illusions", "2 major forms, as a young boy, and a demon-like creature that vaguely", "and a demon-like creature that vaguely resembles a very tall human. The criticizing", "a young boy, and a demon-like creature that vaguely resembles a very tall", "Would this suffice to compensate for the missing \"fear of the unknown\"? And", "are the effects of either of them; when should you use one or", "messily) eats humans, and soon after, that it likes to torture its victims", "(very messily) eats humans, and soon after, that it likes to torture its", "introduction of the antagonist is nearly instant, but extremely ambiguous. It appears in", "antagonist for awhile. However, the antagonist is only shown relatively briefly in both", "of the unknown, and hide the antagonist for awhile. However, the antagonist is", "character's introductions, with no information on what it is, only that it (very", "boy, and a demon-like creature that vaguely resembles a very tall human. The", "it (very messily) eats humans, and soon after, that it likes to torture", "it is, how powerful it really is, its true intentions, etc. I avoided", "humans, and soon after, that it likes to torture its victims with horrifying", "claiming that I introduce the antagonist too early. The introduction of the antagonist", "is, its true intentions, etc. I avoided revealing any significant information about it", "\"fear of the unknown\"? And more importantly, what are the effects of either", "effects of either of them; when should you use one or the other?", "compensate for the missing \"fear of the unknown\"? And more importantly, what are", "only shown relatively briefly in both of the main character's introductions, with no", "too early. The introduction of the antagonist is nearly instant, but extremely ambiguous.", "the antagonist is nearly instant, but extremely ambiguous. It appears in 2 major", "the fear of the unknown, and hide the antagonist for awhile. However, the", "what it actually is, how intelligent it is, how powerful it really is,", "main character's introductions, with no information on what it is, only that it", "the antagonist too early. The introduction of the antagonist is nearly instant, but", "antagonist is only shown relatively briefly in both of the main character's introductions,", "what are the effects of either of them; when should you use one", "resembles a very tall human. The criticizing peers have claimed that I had", "soon after, that it likes to torture its victims with horrifying illusions before", "torture its victims with horrifying illusions before killing them. There is no context", "I had to exploit the fear of the unknown, and hide the antagonist", "illusions before killing them. There is no context on what it actually is,", "powerful it really is, its true intentions, etc. I avoided revealing any significant", "instant, but extremely ambiguous. It appears in 2 major forms, as a young", "However, the antagonist is only shown relatively briefly in both of the main", "intelligent it is, how powerful it really is, its true intentions, etc. I", "nearly instant, but extremely ambiguous. It appears in 2 major forms, as a", "that it (very messily) eats humans, and soon after, that it likes to", "avoided revealing any significant information about it at all. Would this suffice to", "it actually is, how intelligent it is, how powerful it really is, its", "peers, many of them claiming that I introduce the antagonist too early. The", "briefly in both of the main character's introductions, with no information on what", "is only shown relatively briefly in both of the main character's introductions, with", "them claiming that I introduce the antagonist too early. The introduction of the", "unknown\"? And more importantly, what are the effects of either of them; when", "I introduce the antagonist too early. The introduction of the antagonist is nearly", "the unknown, and hide the antagonist for awhile. However, the antagonist is only", "on what it actually is, how intelligent it is, how powerful it really", "the missing \"fear of the unknown\"? And more importantly, what are the effects", "is nearly instant, but extremely ambiguous. It appears in 2 major forms, as", "both of the main character's introductions, with no information on what it is,", "the unknown\"? And more importantly, what are the effects of either of them;", "before killing them. There is no context on what it actually is, how", "There is no context on what it actually is, how intelligent it is,", "of the main character's introductions, with no information on what it is, only", "creature that vaguely resembles a very tall human. The criticizing peers have claimed", "criticism from peers, many of them claiming that I introduce the antagonist too", "And more importantly, what are the effects of either of them; when should", "a very tall human. The criticizing peers have claimed that I had to", "no context on what it actually is, how intelligent it is, how powerful", "major forms, as a young boy, and a demon-like creature that vaguely resembles", "novel has received some criticism from peers, many of them claiming that I", "victims with horrifying illusions before killing them. There is no context on what", "antagonist too early. The introduction of the antagonist is nearly instant, but extremely", "of the unknown\"? And more importantly, what are the effects of either of", "appears in 2 major forms, as a young boy, and a demon-like creature", "I avoided revealing any significant information about it at all. Would this suffice", "how powerful it really is, its true intentions, etc. I avoided revealing any", "on what it is, only that it (very messily) eats humans, and soon", "very tall human. The criticizing peers have claimed that I had to exploit", "missing \"fear of the unknown\"? And more importantly, what are the effects of", "demon-like creature that vaguely resembles a very tall human. The criticizing peers have", "unknown, and hide the antagonist for awhile. However, the antagonist is only shown", "its true intentions, etc. I avoided revealing any significant information about it at", "the effects of either of them; when should you use one or the", "after, that it likes to torture its victims with horrifying illusions before killing", "and hide the antagonist for awhile. However, the antagonist is only shown relatively", "My first horror/fantasy novel has received some criticism from peers, many of them", "antagonist is nearly instant, but extremely ambiguous. It appears in 2 major forms,", "forms, as a young boy, and a demon-like creature that vaguely resembles a", "It appears in 2 major forms, as a young boy, and a demon-like", "The criticizing peers have claimed that I had to exploit the fear of", "but extremely ambiguous. It appears in 2 major forms, as a young boy," ]
[ "nanobots in their blood stream that they use to make the items they", "also have an artificial intelligence that allows them to think on the fly,", "need. The nanobots also have an artificial intelligence that allows them to think", "blood stream that they use to make the items they need. The nanobots", "have a character idea where said character is a gadgeteer/artificer type, and they", "gadgeteer/artificer type, and they have these nanobots in their blood stream that they", "they need. The nanobots also have an artificial intelligence that allows them to", "stream that they use to make the items they need. The nanobots also", "a character idea where said character is a gadgeteer/artificer type, and they have", "where said character is a gadgeteer/artificer type, and they have these nanobots in", "their blood stream that they use to make the items they need. The", "they have these nanobots in their blood stream that they use to make", "have these nanobots in their blood stream that they use to make the", "artificial intelligence that allows them to think on the fly, almost like a", "character is a gadgeteer/artificer type, and they have these nanobots in their blood", "is a gadgeteer/artificer type, and they have these nanobots in their blood stream", "have an artificial intelligence that allows them to think on the fly, almost", "The nanobots also have an artificial intelligence that allows them to think on", "an artificial intelligence that allows them to think on the fly, almost like", "these nanobots in their blood stream that they use to make the items", "the items they need. The nanobots also have an artificial intelligence that allows", "to make the items they need. The nanobots also have an artificial intelligence", "character idea where said character is a gadgeteer/artificer type, and they have these", "intelligence that allows them to think on the fly, almost like a human.", "that they use to make the items they need. The nanobots also have", "I have a character idea where said character is a gadgeteer/artificer type, and", "and they have these nanobots in their blood stream that they use to", "make the items they need. The nanobots also have an artificial intelligence that", "nanobots also have an artificial intelligence that allows them to think on the", "a gadgeteer/artificer type, and they have these nanobots in their blood stream that", "they use to make the items they need. The nanobots also have an", "said character is a gadgeteer/artificer type, and they have these nanobots in their", "type, and they have these nanobots in their blood stream that they use", "use to make the items they need. The nanobots also have an artificial", "in their blood stream that they use to make the items they need.", "idea where said character is a gadgeteer/artificer type, and they have these nanobots", "items they need. The nanobots also have an artificial intelligence that allows them" ]
[ "critiquing my story, and she mentioned that I should describe the scream and", "should describe the scream and show the reaction of the character instead of", "character instead of having the character actually scream out \"Ahhhh!\" Any suggestions or", "of having the character actually scream out \"Ahhhh!\" Any suggestions or feedback about", "the reaction of the character instead of having the character actually scream out", "the character actually scream out \"Ahhhh!\" Any suggestions or feedback about this advice?", "Another writer was critiquing my story, and she mentioned that I should describe", "and she mentioned that I should describe the scream and show the reaction", "was critiquing my story, and she mentioned that I should describe the scream", "my story, and she mentioned that I should describe the scream and show", "the scream and show the reaction of the character instead of having the", "mentioned that I should describe the scream and show the reaction of the", "of the character instead of having the character actually scream out \"Ahhhh!\" Any", "the character instead of having the character actually scream out \"Ahhhh!\" Any suggestions", "I should describe the scream and show the reaction of the character instead", "she mentioned that I should describe the scream and show the reaction of", "story, and she mentioned that I should describe the scream and show the", "scream and show the reaction of the character instead of having the character", "show the reaction of the character instead of having the character actually scream", "having the character actually scream out \"Ahhhh!\" Any suggestions or feedback about this", "that I should describe the scream and show the reaction of the character", "describe the scream and show the reaction of the character instead of having", "and show the reaction of the character instead of having the character actually", "instead of having the character actually scream out \"Ahhhh!\" Any suggestions or feedback", "reaction of the character instead of having the character actually scream out \"Ahhhh!\"", "writer was critiquing my story, and she mentioned that I should describe the" ]
[ "to replace two existing books on the market. The publisher I want to", "textbook to a publisher. The publisher's site instructs prospective authors to attach a", "replace two existing books on the market. The publisher I want to work", "a competing product and took away their contracts and sales. As a teacher,", "considerable issues working with both books (for instance, the publisher's own book falling", "publisher's own book falling severely out-of-date on the subject area) and I met", "market. The publisher I want to work with will be familiar with both", "those criticisms. I was inspired to write the textbook to replace two existing", "textbook. Is it unprofessional if I lay out my complaints about the existing,", "and the belief that my product addresses those criticisms. I was inspired to", "work. In my case, this came to criticisms of existing textbooks, and the", "site instructs prospective authors to attach a cover letter describing the work, including", "falling severely out-of-date on the subject area) and I met many other teachers", "a publisher. The publisher's site instructs prospective authors to attach a cover letter", "The publisher I want to work with will be familiar with both books...they", "went out of print, another publisher came and started selling a competing product", "my own textbook. Is it unprofessional if I lay out my complaints about", "In my case, this came to criticisms of existing textbooks, and the belief", "the work. In my case, this came to criticisms of existing textbooks, and", "to write my own textbook. Is it unprofessional if I lay out my", "familiar with both books...they once sold the first, but when it went out", "describing the work, including why the author wrote the work. In my case,", "product addresses those criticisms. I was inspired to write the textbook to replace", "will be familiar with both books...they once sold the first, but when it", "sold the first, but when it went out of print, another publisher came", "This inspired me to write my own textbook. Is it unprofessional if I", "out of print, another publisher came and started selling a competing product and", "once sold the first, but when it went out of print, another publisher", "write the textbook to replace two existing books on the market. The publisher", "to attach a cover letter describing the work, including why the author wrote", "books (for instance, the publisher's own book falling severely out-of-date on the subject", "existing textbooks, and the belief that my product addresses those criticisms. I was", "with both books (for instance, the publisher's own book falling severely out-of-date on", "me to write my own textbook. Is it unprofessional if I lay out", "few days away from sending in a manuscript for a textbook to a", "and started selling a competing product and took away their contracts and sales.", "teacher, I found considerable issues working with both books (for instance, the publisher's", "both books...they once sold the first, but when it went out of print,", "I am a few days away from sending in a manuscript for a", "publisher's site instructs prospective authors to attach a cover letter describing the work,", "two existing books on the market. The publisher I want to work with", "inspired me to write my own textbook. Is it unprofessional if I lay", "The publisher's site instructs prospective authors to attach a cover letter describing the", "teachers who shared my complaints. This inspired me to write my own textbook.", "in a manuscript for a textbook to a publisher. The publisher's site instructs", "competing product and took away their contracts and sales. As a teacher, I", "instance, the publisher's own book falling severely out-of-date on the subject area) and", "my product addresses those criticisms. I was inspired to write the textbook to", "both books (for instance, the publisher's own book falling severely out-of-date on the", "it unprofessional if I lay out my complaints about the existing, competing products", "of print, another publisher came and started selling a competing product and took", "am a few days away from sending in a manuscript for a textbook", "shared my complaints. This inspired me to write my own textbook. Is it", "a few days away from sending in a manuscript for a textbook to", "started selling a competing product and took away their contracts and sales. As", "other teachers who shared my complaints. This inspired me to write my own", "if I lay out my complaints about the existing, competing products in my", "sales. As a teacher, I found considerable issues working with both books (for", "the publisher's own book falling severely out-of-date on the subject area) and I", "Is it unprofessional if I lay out my complaints about the existing, competing", "with both books...they once sold the first, but when it went out of", "subject area) and I met many other teachers who shared my complaints. This", "unprofessional if I lay out my complaints about the existing, competing products in", "who shared my complaints. This inspired me to write my own textbook. Is", "my complaints. This inspired me to write my own textbook. Is it unprofessional", "case, this came to criticisms of existing textbooks, and the belief that my", "for a textbook to a publisher. The publisher's site instructs prospective authors to", "textbooks, and the belief that my product addresses those criticisms. I was inspired", "(for instance, the publisher's own book falling severely out-of-date on the subject area)", "contracts and sales. As a teacher, I found considerable issues working with both", "publisher I want to work with will be familiar with both books...they once", "their contracts and sales. As a teacher, I found considerable issues working with", "I found considerable issues working with both books (for instance, the publisher's own", "to write the textbook to replace two existing books on the market. The", "want to work with will be familiar with both books...they once sold the", "of existing textbooks, and the belief that my product addresses those criticisms. I", "and sales. As a teacher, I found considerable issues working with both books", "working with both books (for instance, the publisher's own book falling severely out-of-date", "a cover letter describing the work, including why the author wrote the work.", "a teacher, I found considerable issues working with both books (for instance, the", "authors to attach a cover letter describing the work, including why the author", "the textbook to replace two existing books on the market. The publisher I", "out-of-date on the subject area) and I met many other teachers who shared", "I lay out my complaints about the existing, competing products in my cover", "including why the author wrote the work. In my case, this came to", "prospective authors to attach a cover letter describing the work, including why the", "the market. The publisher I want to work with will be familiar with", "addresses those criticisms. I was inspired to write the textbook to replace two", "met many other teachers who shared my complaints. This inspired me to write", "book falling severely out-of-date on the subject area) and I met many other", "selling a competing product and took away their contracts and sales. As a", "but when it went out of print, another publisher came and started selling", "manuscript for a textbook to a publisher. The publisher's site instructs prospective authors", "work, including why the author wrote the work. In my case, this came", "letter describing the work, including why the author wrote the work. In my", "work with will be familiar with both books...they once sold the first, but", "I want to work with will be familiar with both books...they once sold", "inspired to write the textbook to replace two existing books on the market.", "publisher came and started selling a competing product and took away their contracts", "first, but when it went out of print, another publisher came and started", "author wrote the work. In my case, this came to criticisms of existing", "severely out-of-date on the subject area) and I met many other teachers who", "complaints. This inspired me to write my own textbook. Is it unprofessional if", "and took away their contracts and sales. As a teacher, I found considerable", "attach a cover letter describing the work, including why the author wrote the", "away their contracts and sales. As a teacher, I found considerable issues working", "the first, but when it went out of print, another publisher came and", "on the subject area) and I met many other teachers who shared my", "textbook to replace two existing books on the market. The publisher I want", "a textbook to a publisher. The publisher's site instructs prospective authors to attach", "to a publisher. The publisher's site instructs prospective authors to attach a cover", "on the market. The publisher I want to work with will be familiar", "this came to criticisms of existing textbooks, and the belief that my product", "books on the market. The publisher I want to work with will be", "the work, including why the author wrote the work. In my case, this", "found considerable issues working with both books (for instance, the publisher's own book", "books...they once sold the first, but when it went out of print, another", "with will be familiar with both books...they once sold the first, but when", "criticisms of existing textbooks, and the belief that my product addresses those criticisms.", "my case, this came to criticisms of existing textbooks, and the belief that", "took away their contracts and sales. As a teacher, I found considerable issues", "the author wrote the work. In my case, this came to criticisms of", "publisher. The publisher's site instructs prospective authors to attach a cover letter describing", "own book falling severely out-of-date on the subject area) and I met many", "sending in a manuscript for a textbook to a publisher. The publisher's site", "a manuscript for a textbook to a publisher. The publisher's site instructs prospective", "to criticisms of existing textbooks, and the belief that my product addresses those", "days away from sending in a manuscript for a textbook to a publisher.", "it went out of print, another publisher came and started selling a competing", "write my own textbook. Is it unprofessional if I lay out my complaints", "many other teachers who shared my complaints. This inspired me to write my", "own textbook. Is it unprofessional if I lay out my complaints about the", "was inspired to write the textbook to replace two existing books on the", "cover letter describing the work, including why the author wrote the work. In", "existing books on the market. The publisher I want to work with will", "product and took away their contracts and sales. As a teacher, I found", "I was inspired to write the textbook to replace two existing books on", "the subject area) and I met many other teachers who shared my complaints.", "issues working with both books (for instance, the publisher's own book falling severely", "came to criticisms of existing textbooks, and the belief that my product addresses", "to work with will be familiar with both books...they once sold the first,", "belief that my product addresses those criticisms. I was inspired to write the", "As a teacher, I found considerable issues working with both books (for instance,", "away from sending in a manuscript for a textbook to a publisher. The", "the belief that my product addresses those criticisms. I was inspired to write", "when it went out of print, another publisher came and started selling a", "criticisms. I was inspired to write the textbook to replace two existing books", "area) and I met many other teachers who shared my complaints. This inspired", "instructs prospective authors to attach a cover letter describing the work, including why", "wrote the work. In my case, this came to criticisms of existing textbooks,", "from sending in a manuscript for a textbook to a publisher. The publisher's", "be familiar with both books...they once sold the first, but when it went", "that my product addresses those criticisms. I was inspired to write the textbook", "I met many other teachers who shared my complaints. This inspired me to", "lay out my complaints about the existing, competing products in my cover letter?", "print, another publisher came and started selling a competing product and took away", "why the author wrote the work. In my case, this came to criticisms", "and I met many other teachers who shared my complaints. This inspired me", "came and started selling a competing product and took away their contracts and", "another publisher came and started selling a competing product and took away their" ]
[ "ten years or so -- that the author goes out of their way", "make a point that a character is Asian, or black, or whatever. It's", "would be so much better if it was more 'inclusive.'\" So the author", "years or so -- that the author goes out of their way to", "or so -- that the author goes out of their way to make", "better if it was more 'inclusive.'\" So the author revises it to make", "black, or whatever. It's almost as if someone, an editor, say, said, \"Hey,", "that for some novels -- especially those published in the last ten years", "to make a point that a character is Asian, or black, or whatever.", "that a character is Asian, or black, or whatever. It's almost as if", "It's almost as if someone, an editor, say, said, \"Hey, this is a", "a character is Asian, or black, or whatever. It's almost as if someone,", "make this or that character a racial minority. Does this sort of thing", "a really good book, but it would be so much better if it", "or whatever. It's almost as if someone, an editor, say, said, \"Hey, this", "an editor, say, said, \"Hey, this is a really good book, but it", "editor, say, said, \"Hey, this is a really good book, but it would", "in the last ten years or so -- that the author goes out", "it was more 'inclusive.'\" So the author revises it to make this or", "revises it to make this or that character a racial minority. Does this", "especially those published in the last ten years or so -- that the", "me that for some novels -- especially those published in the last ten", "whatever. It's almost as if someone, an editor, say, said, \"Hey, this is", "So the author revises it to make this or that character a racial", "Asian, or black, or whatever. It's almost as if someone, an editor, say,", "author goes out of their way to make a point that a character", "almost as if someone, an editor, say, said, \"Hey, this is a really", "\"Hey, this is a really good book, but it would be so much", "published in the last ten years or so -- that the author goes", "to me that for some novels -- especially those published in the last", "book, but it would be so much better if it was more 'inclusive.'\"", "is a really good book, but it would be so much better if", "way to make a point that a character is Asian, or black, or", "-- especially those published in the last ten years or so -- that", "of their way to make a point that a character is Asian, or", "that the author goes out of their way to make a point that", "point that a character is Asian, or black, or whatever. It's almost as", "it would be so much better if it was more 'inclusive.'\" So the", "but it would be so much better if it was more 'inclusive.'\" So", "or black, or whatever. It's almost as if someone, an editor, say, said,", "said, \"Hey, this is a really good book, but it would be so", "just seems to me that for some novels -- especially those published in", "for some novels -- especially those published in the last ten years or", "so much better if it was more 'inclusive.'\" So the author revises it", "those published in the last ten years or so -- that the author", "some novels -- especially those published in the last ten years or so", "good book, but it would be so much better if it was more", "so -- that the author goes out of their way to make a", "as if someone, an editor, say, said, \"Hey, this is a really good", "much better if it was more 'inclusive.'\" So the author revises it to", "a point that a character is Asian, or black, or whatever. It's almost", "the author goes out of their way to make a point that a", "someone, an editor, say, said, \"Hey, this is a really good book, but", "author revises it to make this or that character a racial minority. Does", "It just seems to me that for some novels -- especially those published", "if someone, an editor, say, said, \"Hey, this is a really good book,", "say, said, \"Hey, this is a really good book, but it would be", "was more 'inclusive.'\" So the author revises it to make this or that", "this or that character a racial minority. Does this sort of thing happen", "is Asian, or black, or whatever. It's almost as if someone, an editor,", "it to make this or that character a racial minority. Does this sort", "this is a really good book, but it would be so much better", "be so much better if it was more 'inclusive.'\" So the author revises", "if it was more 'inclusive.'\" So the author revises it to make this", "or that character a racial minority. Does this sort of thing happen nowadays?", "goes out of their way to make a point that a character is", "the last ten years or so -- that the author goes out of", "novels -- especially those published in the last ten years or so --", "more 'inclusive.'\" So the author revises it to make this or that character", "the author revises it to make this or that character a racial minority.", "out of their way to make a point that a character is Asian,", "seems to me that for some novels -- especially those published in the", "their way to make a point that a character is Asian, or black,", "'inclusive.'\" So the author revises it to make this or that character a", "to make this or that character a racial minority. Does this sort of", "character is Asian, or black, or whatever. It's almost as if someone, an", "-- that the author goes out of their way to make a point", "last ten years or so -- that the author goes out of their", "really good book, but it would be so much better if it was" ]
[ "I can feel how important this piece is. I would like to describe", "piece of advice young writers get is to use all of the senses", "the POV character perceives their surroundings. I can feel how important this piece", "their parts feels artificial and kind of like stealing. How can I make", "How can I make a character's experience fully immersive with limited knowledge of", "often struggle to implement it. Currently, I'm writing a short story happening on", "affect the character in different ways; I want them to fully experience the", "can hardly come up with any natural impressions. Going there is not an", "implement it. Currently, I'm writing a short story happening on a small Mediterranean", "to describe subtle, yet inspirational details that affect the character in different ways;", "POV character perceives their surroundings. I can feel how important this piece is.", "senses with which the POV character perceives their surroundings. I can feel how", "Reading others' journals and repeating their parts feels artificial and kind of like", "the scene. Unfortunately, I often struggle to implement it. Currently, I'm writing a", "problem is: I've never been on one. Therefore, I can hardly come up", "surroundings. I can feel how important this piece is. I would like to", "writing a short story happening on a small Mediterranean island. The problem is:", "one. Therefore, I can hardly come up with any natural impressions. Going there", "to use all of the senses with which the POV character perceives their", "different ways; I want them to fully experience the scene. Unfortunately, I often", "I can hardly come up with any natural impressions. Going there is not", "on one. Therefore, I can hardly come up with any natural impressions. Going", "there is not an option. Reading others' journals and repeating their parts feels", "I make a character's experience fully immersive with limited knowledge of the actual", "not an option. Reading others' journals and repeating their parts feels artificial and", "advice young writers get is to use all of the senses with which", "others' journals and repeating their parts feels artificial and kind of like stealing.", "inspirational details that affect the character in different ways; I want them to", "character perceives their surroundings. I can feel how important this piece is. I", "been on one. Therefore, I can hardly come up with any natural impressions.", "A common piece of advice young writers get is to use all of", "natural impressions. Going there is not an option. Reading others' journals and repeating", "story happening on a small Mediterranean island. The problem is: I've never been", "important this piece is. I would like to describe subtle, yet inspirational details", "the character in different ways; I want them to fully experience the scene.", "want them to fully experience the scene. Unfortunately, I often struggle to implement", "Unfortunately, I often struggle to implement it. Currently, I'm writing a short story", "struggle to implement it. Currently, I'm writing a short story happening on a", "Therefore, I can hardly come up with any natural impressions. Going there is", "them to fully experience the scene. Unfortunately, I often struggle to implement it.", "Currently, I'm writing a short story happening on a small Mediterranean island. The", "journals and repeating their parts feels artificial and kind of like stealing. How", "is not an option. Reading others' journals and repeating their parts feels artificial", "yet inspirational details that affect the character in different ways; I want them", "perceives their surroundings. I can feel how important this piece is. I would", "come up with any natural impressions. Going there is not an option. Reading", "would like to describe subtle, yet inspirational details that affect the character in", "feels artificial and kind of like stealing. How can I make a character's", "is. I would like to describe subtle, yet inspirational details that affect the", "scene. Unfortunately, I often struggle to implement it. Currently, I'm writing a short", "a small Mediterranean island. The problem is: I've never been on one. Therefore,", "The problem is: I've never been on one. Therefore, I can hardly come", "of advice young writers get is to use all of the senses with", "get is to use all of the senses with which the POV character", "I've never been on one. Therefore, I can hardly come up with any", "I would like to describe subtle, yet inspirational details that affect the character", "kind of like stealing. How can I make a character's experience fully immersive", "option. Reading others' journals and repeating their parts feels artificial and kind of", "use all of the senses with which the POV character perceives their surroundings.", "in different ways; I want them to fully experience the scene. Unfortunately, I", "that affect the character in different ways; I want them to fully experience", "make a character's experience fully immersive with limited knowledge of the actual setting?", "hardly come up with any natural impressions. Going there is not an option.", "describe subtle, yet inspirational details that affect the character in different ways; I", "with any natural impressions. Going there is not an option. Reading others' journals", "with which the POV character perceives their surroundings. I can feel how important", "repeating their parts feels artificial and kind of like stealing. How can I", "Mediterranean island. The problem is: I've never been on one. Therefore, I can", "common piece of advice young writers get is to use all of the", "on a small Mediterranean island. The problem is: I've never been on one.", "experience the scene. Unfortunately, I often struggle to implement it. Currently, I'm writing", "their surroundings. I can feel how important this piece is. I would like", "artificial and kind of like stealing. How can I make a character's experience", "can I make a character's experience fully immersive with limited knowledge of the", "writers get is to use all of the senses with which the POV", "I want them to fully experience the scene. Unfortunately, I often struggle to", "it. Currently, I'm writing a short story happening on a small Mediterranean island.", "never been on one. Therefore, I can hardly come up with any natural", "ways; I want them to fully experience the scene. Unfortunately, I often struggle", "subtle, yet inspirational details that affect the character in different ways; I want", "happening on a small Mediterranean island. The problem is: I've never been on", "is: I've never been on one. Therefore, I can hardly come up with", "to implement it. Currently, I'm writing a short story happening on a small", "of like stealing. How can I make a character's experience fully immersive with", "stealing. How can I make a character's experience fully immersive with limited knowledge", "is to use all of the senses with which the POV character perceives", "all of the senses with which the POV character perceives their surroundings. I", "piece is. I would like to describe subtle, yet inspirational details that affect", "I often struggle to implement it. Currently, I'm writing a short story happening", "the senses with which the POV character perceives their surroundings. I can feel", "and kind of like stealing. How can I make a character's experience fully", "a short story happening on a small Mediterranean island. The problem is: I've", "like stealing. How can I make a character's experience fully immersive with limited", "Going there is not an option. Reading others' journals and repeating their parts", "how important this piece is. I would like to describe subtle, yet inspirational", "like to describe subtle, yet inspirational details that affect the character in different", "character in different ways; I want them to fully experience the scene. Unfortunately,", "impressions. Going there is not an option. Reading others' journals and repeating their", "details that affect the character in different ways; I want them to fully", "which the POV character perceives their surroundings. I can feel how important this", "of the senses with which the POV character perceives their surroundings. I can", "short story happening on a small Mediterranean island. The problem is: I've never", "fully experience the scene. Unfortunately, I often struggle to implement it. Currently, I'm", "I'm writing a short story happening on a small Mediterranean island. The problem", "to fully experience the scene. Unfortunately, I often struggle to implement it. Currently,", "an option. Reading others' journals and repeating their parts feels artificial and kind", "parts feels artificial and kind of like stealing. How can I make a", "up with any natural impressions. Going there is not an option. Reading others'", "feel how important this piece is. I would like to describe subtle, yet", "and repeating their parts feels artificial and kind of like stealing. How can", "can feel how important this piece is. I would like to describe subtle,", "small Mediterranean island. The problem is: I've never been on one. Therefore, I", "island. The problem is: I've never been on one. Therefore, I can hardly", "any natural impressions. Going there is not an option. Reading others' journals and", "young writers get is to use all of the senses with which the", "this piece is. I would like to describe subtle, yet inspirational details that" ]
[ "using those two prepositions correctly, if I have to use always the same", "about settling a colony in/on different planets, and I am not sure if", "the context. Some of the examples are: 1. This is a tough planet", "one of them. Is there any formal rule about this? Also, do you", "writing some flavor text for my next board game release, which is about", "a colony in/on different planets, and I am not sure if I'm using", "There are some regions with mountains and plateaus, and the colony has settled", "if it depends on the context. Some of the examples are: 1. This", "which is about settling a colony in/on different planets, and I am not", "planet to settle a colony in/on. 2. It has the conditions we need", "to settle a colony in/on. 2. It has the conditions we need to", "We will settle in/on the sunny hemisphere. 6. There are some regions with", "formal rule about this? Also, do you think I should use another synonym,", "the icy, rocky surface. 4. We were forced to land and settle in/on", "will settle our colony in/on the icy, rocky surface. 4. We were forced", "to settle in/on it. 3. We will settle our colony in/on the icy,", "Is there any formal rule about this? Also, do you think I should", "examples are: 1. This is a tough planet to settle a colony in/on.", "planets, and I am not sure if I'm using those two prepositions correctly,", "use always the same or if it depends on the context. Some of", "side of the planet. 5. We will settle in/on the sunny hemisphere. 6.", "I have to use always the same or if it depends on the", "conditions we need to settle in/on it. 3. We will settle our colony", "it depends on the context. Some of the examples are: 1. This is", "land and settle in/on the dark side of the planet. 5. We will", "a tough planet to settle a colony in/on. 2. It has the conditions", "some regions with mountains and plateaus, and the colony has settled in/on one", "this? Also, do you think I should use another synonym, like \"establish\" or", "will settle in/on the sunny hemisphere. 6. There are some regions with mountains", "are some regions with mountains and plateaus, and the colony has settled in/on", "colony has settled in/on one of them. Is there any formal rule about", "our colony in/on the icy, rocky surface. 4. We were forced to land", "surface. 4. We were forced to land and settle in/on the dark side", "correctly, if I have to use always the same or if it depends", "settled in/on one of them. Is there any formal rule about this? Also,", "settle in/on the dark side of the planet. 5. We will settle in/on", "in/on. 2. It has the conditions we need to settle in/on it. 3.", "a colony in/on. 2. It has the conditions we need to settle in/on", "if I have to use always the same or if it depends on", "dark side of the planet. 5. We will settle in/on the sunny hemisphere.", "It has the conditions we need to settle in/on it. 3. We will", "settle in/on the sunny hemisphere. 6. There are some regions with mountains and", "and plateaus, and the colony has settled in/on one of them. Is there", "settle our colony in/on the icy, rocky surface. 4. We were forced to", "in/on different planets, and I am not sure if I'm using those two", "in/on the dark side of the planet. 5. We will settle in/on the", "of them. Is there any formal rule about this? Also, do you think", "3. We will settle our colony in/on the icy, rocky surface. 4. We", "sunny hemisphere. 6. There are some regions with mountains and plateaus, and the", "tough planet to settle a colony in/on. 2. It has the conditions we", "context. Some of the examples are: 1. This is a tough planet to", "in/on one of them. Is there any formal rule about this? Also, do", "to use always the same or if it depends on the context. Some", "two prepositions correctly, if I have to use always the same or if", "or if it depends on the context. Some of the examples are: 1.", "6. There are some regions with mountains and plateaus, and the colony has", "the sunny hemisphere. 6. There are some regions with mountains and plateaus, and", "depends on the context. Some of the examples are: 1. This is a", "and the colony has settled in/on one of them. Is there any formal", "of the planet. 5. We will settle in/on the sunny hemisphere. 6. There", "colony in/on. 2. It has the conditions we need to settle in/on it.", "sure if I'm using those two prepositions correctly, if I have to use", "rule about this? Also, do you think I should use another synonym, like", "We were forced to land and settle in/on the dark side of the", "are: 1. This is a tough planet to settle a colony in/on. 2.", "Also, do you think I should use another synonym, like \"establish\" or similar?", "regions with mountains and plateaus, and the colony has settled in/on one of", "am not sure if I'm using those two prepositions correctly, if I have", "This is a tough planet to settle a colony in/on. 2. It has", "have to use always the same or if it depends on the context.", "in/on it. 3. We will settle our colony in/on the icy, rocky surface.", "is a tough planet to settle a colony in/on. 2. It has the", "forced to land and settle in/on the dark side of the planet. 5.", "the colony has settled in/on one of them. Is there any formal rule", "for my next board game release, which is about settling a colony in/on", "board game release, which is about settling a colony in/on different planets, and", "the dark side of the planet. 5. We will settle in/on the sunny", "the same or if it depends on the context. Some of the examples", "any formal rule about this? Also, do you think I should use another", "and settle in/on the dark side of the planet. 5. We will settle", "in/on the sunny hemisphere. 6. There are some regions with mountains and plateaus,", "5. We will settle in/on the sunny hemisphere. 6. There are some regions", "the planet. 5. We will settle in/on the sunny hemisphere. 6. There are", "to land and settle in/on the dark side of the planet. 5. We", "those two prepositions correctly, if I have to use always the same or", "about this? Also, do you think I should use another synonym, like \"establish\"", "of the examples are: 1. This is a tough planet to settle a", "colony in/on the icy, rocky surface. 4. We were forced to land and", "plateaus, and the colony has settled in/on one of them. Is there any", "settle a colony in/on. 2. It has the conditions we need to settle", "hemisphere. 6. There are some regions with mountains and plateaus, and the colony", "icy, rocky surface. 4. We were forced to land and settle in/on the", "next board game release, which is about settling a colony in/on different planets,", "with mountains and plateaus, and the colony has settled in/on one of them.", "different planets, and I am not sure if I'm using those two prepositions", "the conditions we need to settle in/on it. 3. We will settle our", "rocky surface. 4. We were forced to land and settle in/on the dark", "mountains and plateaus, and the colony has settled in/on one of them. Is", "4. We were forced to land and settle in/on the dark side of", "always the same or if it depends on the context. Some of the", "has settled in/on one of them. Is there any formal rule about this?", "them. Is there any formal rule about this? Also, do you think I", "prepositions correctly, if I have to use always the same or if it", "need to settle in/on it. 3. We will settle our colony in/on the", "not sure if I'm using those two prepositions correctly, if I have to", "We will settle our colony in/on the icy, rocky surface. 4. We were", "it. 3. We will settle our colony in/on the icy, rocky surface. 4.", "we need to settle in/on it. 3. We will settle our colony in/on", "colony in/on different planets, and I am not sure if I'm using those", "there any formal rule about this? Also, do you think I should use", "were forced to land and settle in/on the dark side of the planet.", "I am not sure if I'm using those two prepositions correctly, if I", "release, which is about settling a colony in/on different planets, and I am", "flavor text for my next board game release, which is about settling a", "Some of the examples are: 1. This is a tough planet to settle", "has the conditions we need to settle in/on it. 3. We will settle", "some flavor text for my next board game release, which is about settling", "settle in/on it. 3. We will settle our colony in/on the icy, rocky", "in/on the icy, rocky surface. 4. We were forced to land and settle", "is about settling a colony in/on different planets, and I am not sure", "1. This is a tough planet to settle a colony in/on. 2. It", "planet. 5. We will settle in/on the sunny hemisphere. 6. There are some", "on the context. Some of the examples are: 1. This is a tough", "same or if it depends on the context. Some of the examples are:", "and I am not sure if I'm using those two prepositions correctly, if", "I'm using those two prepositions correctly, if I have to use always the", "been writing some flavor text for my next board game release, which is", "game release, which is about settling a colony in/on different planets, and I", "I've been writing some flavor text for my next board game release, which", "settling a colony in/on different planets, and I am not sure if I'm", "2. It has the conditions we need to settle in/on it. 3. We", "if I'm using those two prepositions correctly, if I have to use always", "text for my next board game release, which is about settling a colony", "my next board game release, which is about settling a colony in/on different", "the examples are: 1. This is a tough planet to settle a colony" ]
[ "his own life. Once it's confirmed to be a suicide, it stands to", "happens I have no story. So how do I explain the detective continuing", "called in to investigate what turns out to be a man having taken", "I explain the detective continuing to probe the suicide and find the motive", "reason the detective's superiors would want him to close the case and move", "I have no story. So how do I explain the detective continuing to", "but if that happens I have no story. So how do I explain", "out to be a man having taken his own life. Once it's confirmed", "case and move on, but if that happens I have no story. So", "have no story. So how do I explain the detective continuing to probe", "the case and move on, but if that happens I have no story.", "on in my mind- a detective is called in to investigate what turns", "no story. So how do I explain the detective continuing to probe the", "be a man having taken his own life. Once it's confirmed to be", "I'm working on in my mind- a detective is called in to investigate", "if that happens I have no story. So how do I explain the", "it's confirmed to be a suicide, it stands to reason the detective's superiors", "explain the detective continuing to probe the suicide and find the motive for", "life. Once it's confirmed to be a suicide, it stands to reason the", "story. So how do I explain the detective continuing to probe the suicide", "on, but if that happens I have no story. So how do I", "to reason the detective's superiors would want him to close the case and", "own life. Once it's confirmed to be a suicide, it stands to reason", "move on, but if that happens I have no story. So how do", "the detective continuing to probe the suicide and find the motive for it?", "man having taken his own life. Once it's confirmed to be a suicide,", "having taken his own life. Once it's confirmed to be a suicide, it", "to close the case and move on, but if that happens I have", "to investigate what turns out to be a man having taken his own", "a man having taken his own life. Once it's confirmed to be a", "superiors would want him to close the case and move on, but if", "a detective is called in to investigate what turns out to be a", "a suicide, it stands to reason the detective's superiors would want him to", "stands to reason the detective's superiors would want him to close the case", "turns out to be a man having taken his own life. Once it's", "detective's superiors would want him to close the case and move on, but", "So how do I explain the detective continuing to probe the suicide and", "in my mind- a detective is called in to investigate what turns out", "and move on, but if that happens I have no story. So how", "how do I explain the detective continuing to probe the suicide and find", "be a suicide, it stands to reason the detective's superiors would want him", "the detective's superiors would want him to close the case and move on,", "taken his own life. Once it's confirmed to be a suicide, it stands", "close the case and move on, but if that happens I have no", "detective is called in to investigate what turns out to be a man", "to be a man having taken his own life. Once it's confirmed to", "my mind- a detective is called in to investigate what turns out to", "working on in my mind- a detective is called in to investigate what", "it stands to reason the detective's superiors would want him to close the", "would want him to close the case and move on, but if that", "him to close the case and move on, but if that happens I", "investigate what turns out to be a man having taken his own life.", "Once it's confirmed to be a suicide, it stands to reason the detective's", "confirmed to be a suicide, it stands to reason the detective's superiors would", "want him to close the case and move on, but if that happens", "to be a suicide, it stands to reason the detective's superiors would want", "do I explain the detective continuing to probe the suicide and find the", "mind- a detective is called in to investigate what turns out to be", "in to investigate what turns out to be a man having taken his", "Something I'm working on in my mind- a detective is called in to", "that happens I have no story. So how do I explain the detective", "is called in to investigate what turns out to be a man having", "what turns out to be a man having taken his own life. Once", "suicide, it stands to reason the detective's superiors would want him to close" ]
[ "since they don't contain a climax, multiple characters, or a resolution. For example", "stories since they don't contain a climax, multiple characters, or a resolution. For", "climax, multiple characters, or a resolution. For example is this song a story?", "out west on the old frontier. There I can be free, and I'll", "the old west back. ``` How can I be sure my songs are", "multiple characters, or a resolution. For example is this song a story? It", "but it tells the 'story' of someone who wants to go somewhere. ```", "problem chasing my dreams. I want the old west back, so if I", "if my songs are stories since they don't contain a climax, multiple characters,", "contain a climax, multiple characters, or a resolution. For example is this song", "lacks conflict and climax and resolution but it tells the 'story' of someone", "free, and I'll have no problem chasing my dreams. I want the old", "it tells the 'story' of someone who wants to go somewhere. ``` I", "want the old west back, so if I have the chance I'll jump", "on the old frontier. There I can be free, and I'll have no", "There I can be free, and I'll have no problem chasing my dreams.", "songs are stories since they don't contain a climax, multiple characters, or a", "the past. I'd trade anything to have the old west back. ``` How", "open field way out west on the old frontier. There I can be", "anything to have the old west back. ``` How can I be sure", "wants to go somewhere. ``` I want to go to that open field", "who wants to go somewhere. ``` I want to go to that open", "the old frontier. There I can be free, and I'll have no problem", "a climax, multiple characters, or a resolution. For example is this song a", "old west back, so if I have the chance I'll jump into the", "to go to that open field way out west on the old frontier.", "this song a story? It lacks conflict and climax and resolution but it", "characters, or a resolution. For example is this song a story? It lacks", "tells the 'story' of someone who wants to go somewhere. ``` I want", "to go somewhere. ``` I want to go to that open field way", "somewhere. ``` I want to go to that open field way out west", "For example is this song a story? It lacks conflict and climax and", "is this song a story? It lacks conflict and climax and resolution but", "way out west on the old frontier. There I can be free, and", "go to that open field way out west on the old frontier. There", "be free, and I'll have no problem chasing my dreams. I want the", "I'll jump into the past. I'd trade anything to have the old west", "I'd trade anything to have the old west back. ``` How can I", "no problem chasing my dreams. I want the old west back, so if", "It lacks conflict and climax and resolution but it tells the 'story' of", "resolution. For example is this song a story? It lacks conflict and climax", "my dreams. I want the old west back, so if I have the", "go somewhere. ``` I want to go to that open field way out", "conflict and climax and resolution but it tells the 'story' of someone who", "and climax and resolution but it tells the 'story' of someone who wants", "story? It lacks conflict and climax and resolution but it tells the 'story'", "back, so if I have the chance I'll jump into the past. I'd", "chasing my dreams. I want the old west back, so if I have", "song a story? It lacks conflict and climax and resolution but it tells", "or a resolution. For example is this song a story? It lacks conflict", "climax and resolution but it tells the 'story' of someone who wants to", "to have the old west back. ``` How can I be sure my", "someone who wants to go somewhere. ``` I want to go to that", "old frontier. There I can be free, and I'll have no problem chasing", "chance I'll jump into the past. I'd trade anything to have the old", "have the old west back. ``` How can I be sure my songs", "of someone who wants to go somewhere. ``` I want to go to", "out if my songs are stories since they don't contain a climax, multiple", "frontier. There I can be free, and I'll have no problem chasing my", "resolution but it tells the 'story' of someone who wants to go somewhere.", "a story? It lacks conflict and climax and resolution but it tells the", "my songs are stories since they don't contain a climax, multiple characters, or", "``` I want to go to that open field way out west on", "example is this song a story? It lacks conflict and climax and resolution", "if I have the chance I'll jump into the past. I'd trade anything", "and I'll have no problem chasing my dreams. I want the old west", "I have the chance I'll jump into the past. I'd trade anything to", "past. I'd trade anything to have the old west back. ``` How can", "west on the old frontier. There I can be free, and I'll have", "the old west back, so if I have the chance I'll jump into", "can be free, and I'll have no problem chasing my dreams. I want", "want to go to that open field way out west on the old", "field way out west on the old frontier. There I can be free,", "don't contain a climax, multiple characters, or a resolution. For example is this", "old west back. ``` How can I be sure my songs are stories?", "they don't contain a climax, multiple characters, or a resolution. For example is", "I'll have no problem chasing my dreams. I want the old west back,", "I can be free, and I'll have no problem chasing my dreams. I", "jump into the past. I'd trade anything to have the old west back.", "are stories since they don't contain a climax, multiple characters, or a resolution.", "a resolution. For example is this song a story? It lacks conflict and", "so if I have the chance I'll jump into the past. I'd trade", "I can't figure out if my songs are stories since they don't contain", "have the chance I'll jump into the past. I'd trade anything to have", "the chance I'll jump into the past. I'd trade anything to have the", "that open field way out west on the old frontier. There I can", "and resolution but it tells the 'story' of someone who wants to go", "I want to go to that open field way out west on the", "figure out if my songs are stories since they don't contain a climax,", "dreams. I want the old west back, so if I have the chance", "have no problem chasing my dreams. I want the old west back, so", "west back, so if I have the chance I'll jump into the past.", "can't figure out if my songs are stories since they don't contain a", "I want the old west back, so if I have the chance I'll", "to that open field way out west on the old frontier. There I", "'story' of someone who wants to go somewhere. ``` I want to go", "into the past. I'd trade anything to have the old west back. ```", "trade anything to have the old west back. ``` How can I be", "the 'story' of someone who wants to go somewhere. ``` I want to" ]
[ "differently in the same document (the character's parent's names), so I've definitely got", "to write about, I'm making choices about the setting and her background on", "(architecture writing) to writing. But now I've found a compelling character to write", "her background on the fly (gardener writing). I've already noted the same detail", "I've already noted the same detail down twice, but differently in the same", "approach (architecture writing) to writing. But now I've found a compelling character to", "first approach (architecture writing) to writing. But now I've found a compelling character", "twice, but differently in the same document (the character's parent's names), so I've", "definitely got room for improvement. How do I effectively take notes when exploration", "parent's names), so I've definitely got room for improvement. How do I effectively", "the setting and her background on the fly (gardener writing). I've already noted", "But now I've found a compelling character to write about, I'm making choices", "world building first approach (architecture writing) to writing. But now I've found a", "about, I'm making choices about the setting and her background on the fly", "(the character's parent's names), so I've definitely got room for improvement. How do", "character to write about, I'm making choices about the setting and her background", "write about, I'm making choices about the setting and her background on the", "recently I had a world building first approach (architecture writing) to writing. But", "had a world building first approach (architecture writing) to writing. But now I've", "in the same document (the character's parent's names), so I've definitely got room", "character's parent's names), so I've definitely got room for improvement. How do I", "How do I effectively take notes when exploration writing to avoid those issues?", "fly (gardener writing). I've already noted the same detail down twice, but differently", "but differently in the same document (the character's parent's names), so I've definitely", "down twice, but differently in the same document (the character's parent's names), so", "I had a world building first approach (architecture writing) to writing. But now", "a compelling character to write about, I'm making choices about the setting and", "I'm making choices about the setting and her background on the fly (gardener", "and her background on the fly (gardener writing). I've already noted the same", "the same document (the character's parent's names), so I've definitely got room for", "very recently I had a world building first approach (architecture writing) to writing.", "(gardener writing). I've already noted the same detail down twice, but differently in", "I've definitely got room for improvement. How do I effectively take notes when", "already noted the same detail down twice, but differently in the same document", "making choices about the setting and her background on the fly (gardener writing).", "improvement. How do I effectively take notes when exploration writing to avoid those", "setting and her background on the fly (gardener writing). I've already noted the", "I've found a compelling character to write about, I'm making choices about the", "found a compelling character to write about, I'm making choices about the setting", "names), so I've definitely got room for improvement. How do I effectively take", "the same detail down twice, but differently in the same document (the character's", "a world building first approach (architecture writing) to writing. But now I've found", "on the fly (gardener writing). I've already noted the same detail down twice,", "Until very recently I had a world building first approach (architecture writing) to", "so I've definitely got room for improvement. How do I effectively take notes", "writing) to writing. But now I've found a compelling character to write about,", "background on the fly (gardener writing). I've already noted the same detail down", "writing. But now I've found a compelling character to write about, I'm making", "about the setting and her background on the fly (gardener writing). I've already", "choices about the setting and her background on the fly (gardener writing). I've", "the fly (gardener writing). I've already noted the same detail down twice, but", "writing). I've already noted the same detail down twice, but differently in the", "noted the same detail down twice, but differently in the same document (the", "detail down twice, but differently in the same document (the character's parent's names),", "compelling character to write about, I'm making choices about the setting and her", "got room for improvement. How do I effectively take notes when exploration writing", "for improvement. How do I effectively take notes when exploration writing to avoid", "same document (the character's parent's names), so I've definitely got room for improvement.", "building first approach (architecture writing) to writing. But now I've found a compelling", "same detail down twice, but differently in the same document (the character's parent's", "document (the character's parent's names), so I've definitely got room for improvement. How", "to writing. But now I've found a compelling character to write about, I'm", "room for improvement. How do I effectively take notes when exploration writing to", "now I've found a compelling character to write about, I'm making choices about" ]
[ "teen protagonists, but not copy Hijrp Potfeq too much. One of the ways", "Potfeq too much. One of the ways I thought of doing this is", "planning on writing a story about witches and wizards and I want to", "doing this is by having school on the SIDE so that I do", "not copy Hijrp Potfeq too much. One of the ways I thought of", "One of the ways I thought of doing this is by having school", "thought of doing this is by having school on the SIDE so that", "but not copy Hijrp Potfeq too much. One of the ways I thought", "ways I thought of doing this is by having school on the SIDE", "wizards and I want to have child and teen protagonists, but not copy", "copy Hijrp Potfeq too much. One of the ways I thought of doing", "writing a story about witches and wizards and I want to have child", "on the SIDE so that I do not repeat the idea of magic", "have child and teen protagonists, but not copy Hijrp Potfeq too much. One", "too much. One of the ways I thought of doing this is by", "child and teen protagonists, but not copy Hijrp Potfeq too much. One of", "much. One of the ways I thought of doing this is by having", "of the ways I thought of doing this is by having school on", "a story about witches and wizards and I want to have child and", "I want to have child and teen protagonists, but not copy Hijrp Potfeq", "this is by having school on the SIDE so that I do not", "SIDE so that I do not repeat the idea of magic school too", "am planning on writing a story about witches and wizards and I want", "and I want to have child and teen protagonists, but not copy Hijrp", "I am planning on writing a story about witches and wizards and I", "the ways I thought of doing this is by having school on the", "the SIDE so that I do not repeat the idea of magic school", "having school on the SIDE so that I do not repeat the idea", "of doing this is by having school on the SIDE so that I", "witches and wizards and I want to have child and teen protagonists, but", "so that I do not repeat the idea of magic school too much.", "on writing a story about witches and wizards and I want to have", "that I do not repeat the idea of magic school too much. Any", "Hijrp Potfeq too much. One of the ways I thought of doing this", "story about witches and wizards and I want to have child and teen", "school on the SIDE so that I do not repeat the idea of", "I thought of doing this is by having school on the SIDE so", "I do not repeat the idea of magic school too much. Any ideas?", "and teen protagonists, but not copy Hijrp Potfeq too much. One of the", "protagonists, but not copy Hijrp Potfeq too much. One of the ways I", "to have child and teen protagonists, but not copy Hijrp Potfeq too much.", "is by having school on the SIDE so that I do not repeat", "about witches and wizards and I want to have child and teen protagonists,", "and wizards and I want to have child and teen protagonists, but not", "by having school on the SIDE so that I do not repeat the", "want to have child and teen protagonists, but not copy Hijrp Potfeq too" ]
[ "and a mouth\" in their daily routine (speaking for myself at least). I've", "so the reader directly follows the thoughts and reflexes of the alien. I", "since I am directly translating the thoughts of the animal, I am having", "Game* does this in a sense) or is there a better way to", "style, since I am directly translating the thoughts of the animal, I am", "I am having a hard time coming up with a scenario when the", "image of this creature in the mind of the reader from its own", "abilities. Would it be better to add another perspective that offers more description", "story is told from an alien wild animal's perspective. The story is immersive,", "its claws, showing the reader it has some kind of claws) and leaving", "for the reader, as the events of the plot directly depend on the", "way to create a clear image of this creature in the mind of", "alien wild animal's perspective. The story is immersive, so the reader directly follows", "the story (example: the creature frequently mentions using its claws, showing the reader", "description wouldn't be difficult in a more traditional writing style, since I am", "me to slowly reveal things the alien thinks are irrelevant (for example, the", "story, I see this quickly becoming frustrating for the reader, as the events", "arms, two legs, and a head with eyes and a mouth\" in their", "(for example, the alien calls humans \"outsiders\" when interacting with them, so revealing", "animal would contemplate its own appearance and abilities. For example, people don't often", "time coming up with a scenario when the animal would contemplate its own", "clear image of this creature in the mind of the reader from its", "humans \"outsiders\" when interacting with them, so revealing to the reader through implication", "directly follows the thoughts and reflexes of the alien. I enjoy writing this", "with eyes and a mouth\" in their daily routine (speaking for myself at", "the reader through implication that they are actually humans makes a cool plot", "immersion allows me to slowly reveal things the alien thinks are irrelevant (for", "leaving the rest to the reader's imagination. However, for an immersive story, I", "(example: the creature frequently mentions using its claws, showing the reader it has", "interacting with them, so revealing to the reader through implication that they are", "or is there a better way to create a clear image of this", "it has some kind of claws) and leaving the rest to the reader's", "and leaving the rest to the reader's imagination. However, for an immersive story,", "My sci-fi story is told from an alien wild animal's perspective. The story", "to create a clear image of this creature in the mind of the", "up with a scenario when the animal would contemplate its own appearance and", "For example, people don't often think, \"Wow, I am a land-based mammal with", "eyes and a mouth\" in their daily routine (speaking for myself at least).", "I am a land-based mammal with two arms, two legs, and a head", "reflexes of the alien. I enjoy writing this way, because the immersion allows", "story is immersive, so the reader directly follows the thoughts and reflexes of", "cool plot twist). The problem lies in describing what the animal is. While", "the creature frequently mentions using its claws, showing the reader it has some", "plot directly depend on the animal's design and abilities. Would it be better", "because the immersion allows me to slowly reveal things the alien thinks are", "I am directly translating the thoughts of the animal, I am having a", "offers more description between chapters/segments (Ender's Game does this in a sense) or", "this in a sense) or is there a better way to create a", "is told from an alien wild animal's perspective. The story is immersive, so", "reader's imagination. However, for an immersive story, I see this quickly becoming frustrating", "between chapters/segments (Ender's Game does this in a sense) or is there a", "the reader it has some kind of claws) and leaving the rest to", "am a land-based mammal with two arms, two legs, and a head with", "am having a hard time coming up with a scenario when the animal", "what the animal is. While a short description wouldn't be difficult in a", "to the reader through implication that they are actually humans makes a cool", "things the alien thinks are irrelevant (for example, the alien calls humans \"outsiders\"", "head with eyes and a mouth\" in their daily routine (speaking for myself", "immersive, so the reader directly follows the thoughts and reflexes of the alien.", "thoughts of the animal, I am having a hard time coming up with", "this way, because the immersion allows me to slowly reveal things the alien", "becoming frustrating for the reader, as the events of the plot directly depend", "legs, and a head with eyes and a mouth\" in their daily routine", "be difficult in a more traditional writing style, since I am directly translating", "them, so revealing to the reader through implication that they are actually humans", "least). I've considered leaving the description out and leaving hints throughout the story", "it be better to add another perspective that offers more description between chapters/segments", "allows me to slowly reveal things the alien thinks are irrelevant (for example,", "daily routine (speaking for myself at least). I've considered leaving the description out", "creature frequently mentions using its claws, showing the reader it has some kind", "of this creature in the mind of the reader from its own thoughts?", "\"outsiders\" when interacting with them, so revealing to the reader through implication that", "more traditional writing style, since I am directly translating the thoughts of the", "with two arms, two legs, and a head with eyes and a mouth\"", "a mouth\" in their daily routine (speaking for myself at least). I've considered", "implication that they are actually humans makes a cool plot twist). The problem", "writing style, since I am directly translating the thoughts of the animal, I", "another perspective that offers more description between chapters/segments (Ender's Game does this in", "are actually humans makes a cool plot twist). The problem lies in describing", "thinks are irrelevant (for example, the alien calls humans \"outsiders\" when interacting with", "a better way to create a clear image of this creature in the", "is immersive, so the reader directly follows the thoughts and reflexes of the", "routine (speaking for myself at least). I've considered leaving the description out and", "humans makes a cool plot twist). The problem lies in describing what the", "a cool plot twist). The problem lies in describing what the animal is.", "to slowly reveal things the alien thinks are irrelevant (for example, the alien", "a sense) or is there a better way to create a clear image", "when interacting with them, so revealing to the reader through implication that they", "the alien thinks are irrelevant (for example, the alien calls humans \"outsiders\" when", "the reader, as the events of the plot directly depend on the animal's", "better way to create a clear image of this creature in the mind", "frustrating for the reader, as the events of the plot directly depend on", "the alien. I enjoy writing this way, because the immersion allows me to", "are irrelevant (for example, the alien calls humans \"outsiders\" when interacting with them,", "actually humans makes a cool plot twist). The problem lies in describing what", "While a short description wouldn't be difficult in a more traditional writing style,", "difficult in a more traditional writing style, since I am directly translating the", "think, \"Wow, I am a land-based mammal with two arms, two legs, and", "considered leaving the description out and leaving hints throughout the story (example: the", "don't often think, \"Wow, I am a land-based mammal with two arms, two", "showing the reader it has some kind of claws) and leaving the rest", "the rest to the reader's imagination. However, for an immersive story, I see", "the animal would contemplate its own appearance and abilities. For example, people don't", "of the plot directly depend on the animal's design and abilities. Would it", "is there a better way to create a clear image of this creature", "The story is immersive, so the reader directly follows the thoughts and reflexes", "alien thinks are irrelevant (for example, the alien calls humans \"outsiders\" when interacting", "the animal, I am having a hard time coming up with a scenario", "depend on the animal's design and abilities. Would it be better to add", "alien. I enjoy writing this way, because the immersion allows me to slowly", "and leaving hints throughout the story (example: the creature frequently mentions using its", "a clear image of this creature in the mind of the reader from", "for myself at least). I've considered leaving the description out and leaving hints", "story (example: the creature frequently mentions using its claws, showing the reader it", "thoughts and reflexes of the alien. I enjoy writing this way, because the", "description out and leaving hints throughout the story (example: the creature frequently mentions", "example, the alien calls humans \"outsiders\" when interacting with them, so revealing to", "irrelevant (for example, the alien calls humans \"outsiders\" when interacting with them, so", "directly translating the thoughts of the animal, I am having a hard time", "be better to add another perspective that offers more description between chapters/segments (Ender's", "the thoughts and reflexes of the alien. I enjoy writing this way, because", "that they are actually humans makes a cool plot twist). The problem lies", "the immersion allows me to slowly reveal things the alien thinks are irrelevant", "and abilities. For example, people don't often think, \"Wow, I am a land-based", "makes a cool plot twist). The problem lies in describing what the animal", "out and leaving hints throughout the story (example: the creature frequently mentions using", "that offers more description between chapters/segments (Ender's Game* does this in a sense)", "rest to the reader's imagination. However, for an immersive story, I see this", "wild animal's perspective. The story is immersive, so the reader directly follows the", "with them, so revealing to the reader through implication that they are actually", "appearance and abilities. For example, people don't often think, \"Wow, I am a", "has some kind of claws) and leaving the rest to the reader's imagination.", "slowly reveal things the alien thinks are irrelevant (for example, the alien calls", "translating the thoughts of the animal, I am having a hard time coming", "mouth\" in their daily routine (speaking for myself at least). I've considered leaving", "two arms, two legs, and a head with eyes and a mouth\" in", "I see this quickly becoming frustrating for the reader, as the events of", "frequently mentions using its claws, showing the reader it has some kind of", "its own appearance and abilities. For example, people don't often think, \"Wow, I", "at least). I've considered leaving the description out and leaving hints throughout the", "create a clear image of this creature in the mind of the reader", "better to add another perspective that offers more description between chapters/segments (Ender's Game", "quickly becoming frustrating for the reader, as the events of the plot directly", "so revealing to the reader through implication that they are actually humans makes", "see this quickly becoming frustrating for the reader, as the events of the", "is. While a short description wouldn't be difficult in a more traditional writing", "and reflexes of the alien. I enjoy writing this way, because the immersion", "sense) or is there a better way to create a clear image of", "the reader directly follows the thoughts and reflexes of the alien. I enjoy", "the thoughts of the animal, I am having a hard time coming up", "land-based mammal with two arms, two legs, and a head with eyes and", "the animal's design and abilities. Would it be better to add another perspective", "an alien wild animal's perspective. The story is immersive, so the reader directly", "of the animal, I am having a hard time coming up with a", "coming up with a scenario when the animal would contemplate its own appearance", "a head with eyes and a mouth\" in their daily routine (speaking for", "the alien calls humans \"outsiders\" when interacting with them, so revealing to the", "reader it has some kind of claws) and leaving the rest to the", "scenario when the animal would contemplate its own appearance and abilities. For example,", "mammal with two arms, two legs, and a head with eyes and a", "reader directly follows the thoughts and reflexes of the alien. I enjoy writing", "a more traditional writing style, since I am directly translating the thoughts of", "and abilities. Would it be better to add another perspective that offers more", "on the animal's design and abilities. Would it be better to add another", "Would it be better to add another perspective that offers more description between", "own appearance and abilities. For example, people don't often think, \"Wow, I am", "lies in describing what the animal is. While a short description wouldn't be", "two legs, and a head with eyes and a mouth\" in their daily", "calls humans \"outsiders\" when interacting with them, so revealing to the reader through", "myself at least). I've considered leaving the description out and leaving hints throughout", "animal, I am having a hard time coming up with a scenario when", "leaving hints throughout the story (example: the creature frequently mentions using its claws,", "way, because the immersion allows me to slowly reveal things the alien thinks", "often think, \"Wow, I am a land-based mammal with two arms, two legs,", "hints throughout the story (example: the creature frequently mentions using its claws, showing", "when the animal would contemplate its own appearance and abilities. For example, people", "imagination. However, for an immersive story, I see this quickly becoming frustrating for", "to add another perspective that offers more description between chapters/segments (Ender's Game does", "in describing what the animal is. While a short description wouldn't be difficult", "directly depend on the animal's design and abilities. Would it be better to", "their daily routine (speaking for myself at least). I've considered leaving the description", "the reader's imagination. However, for an immersive story, I see this quickly becoming", "perspective. The story is immersive, so the reader directly follows the thoughts and", "mentions using its claws, showing the reader it has some kind of claws)", "to the reader's imagination. However, for an immersive story, I see this quickly", "people don't often think, \"Wow, I am a land-based mammal with two arms,", "reader through implication that they are actually humans makes a cool plot twist).", "events of the plot directly depend on the animal's design and abilities. Would", "there a better way to create a clear image of this creature in", "the plot directly depend on the animal's design and abilities. Would it be", "description between chapters/segments (Ender's Game does this in a sense) or is there", "some kind of claws) and leaving the rest to the reader's imagination. However,", "immersive story, I see this quickly becoming frustrating for the reader, as the", "describing what the animal is. While a short description wouldn't be difficult in", "from an alien wild animal's perspective. The story is immersive, so the reader", "claws) and leaving the rest to the reader's imagination. However, for an immersive", "revealing to the reader through implication that they are actually humans makes a", "wouldn't be difficult in a more traditional writing style, since I am directly", "using its claws, showing the reader it has some kind of claws) and", "through implication that they are actually humans makes a cool plot twist). The", "a land-based mammal with two arms, two legs, and a head with eyes", "with a scenario when the animal would contemplate its own appearance and abilities.", "this quickly becoming frustrating for the reader, as the events of the plot", "the description out and leaving hints throughout the story (example: the creature frequently", "an immersive story, I see this quickly becoming frustrating for the reader, as", "hard time coming up with a scenario when the animal would contemplate its", "told from an alien wild animal's perspective. The story is immersive, so the", "abilities. For example, people don't often think, \"Wow, I am a land-based mammal", "a hard time coming up with a scenario when the animal would contemplate", "chapters/segments (Ender's Game does this in a sense) or is there a better", "would contemplate its own appearance and abilities. For example, people don't often think,", "(speaking for myself at least). I've considered leaving the description out and leaving", "reveal things the alien thinks are irrelevant (for example, the alien calls humans", "alien calls humans \"outsiders\" when interacting with them, so revealing to the reader", "The problem lies in describing what the animal is. While a short description", "I've considered leaving the description out and leaving hints throughout the story (example:", "leaving the description out and leaving hints throughout the story (example: the creature", "(Ender's Game does this in a sense) or is there a better way", "perspective that offers more description between chapters/segments (Ender's Game does this in a", "sci-fi story is told from an alien wild animal's perspective. The story is", "in a more traditional writing style, since I am directly translating the thoughts", "they are actually humans makes a cool plot twist). The problem lies in", "the animal is. While a short description wouldn't be difficult in a more", "animal's design and abilities. Would it be better to add another perspective that", "example, people don't often think, \"Wow, I am a land-based mammal with two", "However, for an immersive story, I see this quickly becoming frustrating for the", "the events of the plot directly depend on the animal's design and abilities.", "follows the thoughts and reflexes of the alien. I enjoy writing this way,", "animal is. While a short description wouldn't be difficult in a more traditional", "twist). The problem lies in describing what the animal is. While a short", "am directly translating the thoughts of the animal, I am having a hard", "contemplate its own appearance and abilities. For example, people don't often think, \"Wow,", "\"Wow, I am a land-based mammal with two arms, two legs, and a", "more description between chapters/segments (Ender's Game does this in a sense) or is", "a scenario when the animal would contemplate its own appearance and abilities. For", "reader, as the events of the plot directly depend on the animal's design", "does this in a sense) or is there a better way to create", "writing this way, because the immersion allows me to slowly reveal things the", "and a head with eyes and a mouth\" in their daily routine (speaking", "throughout the story (example: the creature frequently mentions using its claws, showing the", "a short description wouldn't be difficult in a more traditional writing style, since", "of the alien. I enjoy writing this way, because the immersion allows me", "problem lies in describing what the animal is. While a short description wouldn't", "design and abilities. Would it be better to add another perspective that offers", "plot twist). The problem lies in describing what the animal is. While a", "in a sense) or is there a better way to create a clear", "in their daily routine (speaking for myself at least). I've considered leaving the", "of claws) and leaving the rest to the reader's imagination. However, for an", "I enjoy writing this way, because the immersion allows me to slowly reveal", "short description wouldn't be difficult in a more traditional writing style, since I", "kind of claws) and leaving the rest to the reader's imagination. However, for", "enjoy writing this way, because the immersion allows me to slowly reveal things", "having a hard time coming up with a scenario when the animal would", "animal's perspective. The story is immersive, so the reader directly follows the thoughts", "for an immersive story, I see this quickly becoming frustrating for the reader,", "traditional writing style, since I am directly translating the thoughts of the animal,", "add another perspective that offers more description between chapters/segments (Ender's Game does this", "claws, showing the reader it has some kind of claws) and leaving the", "as the events of the plot directly depend on the animal's design and" ]
[ "a screenplay and i would like to have some main characters I have", "screenplay and i would like to have some main characters I have already", "6 main characters, 24 secondary characters and 70 tertiary characters that wouldn't have", "that wouldn't have large speaking roles. they would show up in an \"episode\"", "want to make 6 main characters, 24 secondary characters and 70 tertiary characters", "some character profiles for some of them but i was wondering whether or", "or not if adding too many characters will make the storyline confusing. I", "many characters will make the storyline confusing. I want to make 6 main", "of them but i was wondering whether or not if adding too many", "would like to have some main characters I have already made some character", "made some character profiles for some of them but i was wondering whether", "characters, 24 secondary characters and 70 tertiary characters that wouldn't have large speaking", "the storyline confusing. I want to make 6 main characters, 24 secondary characters", "i would like to have some main characters I have already made some", "secondary characters and 70 tertiary characters that wouldn't have large speaking roles. they", "im building a world for a screenplay and i would like to have", "characters I have already made some character profiles for some of them but", "and i would like to have some main characters I have already made", "some of them but i was wondering whether or not if adding too", "confusing. I want to make 6 main characters, 24 secondary characters and 70", "characters and 70 tertiary characters that wouldn't have large speaking roles. they would", "them but i was wondering whether or not if adding too many characters", "storyline confusing. I want to make 6 main characters, 24 secondary characters and", "characters will make the storyline confusing. I want to make 6 main characters,", "character profiles for some of them but i was wondering whether or not", "make 6 main characters, 24 secondary characters and 70 tertiary characters that wouldn't", "world for a screenplay and i would like to have some main characters", "already made some character profiles for some of them but i was wondering", "like to have some main characters I have already made some character profiles", "70 tertiary characters that wouldn't have large speaking roles. they would show up", "for some of them but i was wondering whether or not if adding", "wouldn't have large speaking roles. they would show up in an \"episode\" or", "tertiary characters that wouldn't have large speaking roles. they would show up in", "I have already made some character profiles for some of them but i", "have large speaking roles. they would show up in an \"episode\" or \"chapter\"", "to have some main characters I have already made some character profiles for", "make the storyline confusing. I want to make 6 main characters, 24 secondary", "and 70 tertiary characters that wouldn't have large speaking roles. they would show", "have some main characters I have already made some character profiles for some", "roles. they would show up in an \"episode\" or \"chapter\" but that's it.", "wondering whether or not if adding too many characters will make the storyline", "main characters I have already made some character profiles for some of them", "was wondering whether or not if adding too many characters will make the", "speaking roles. they would show up in an \"episode\" or \"chapter\" but that's", "will make the storyline confusing. I want to make 6 main characters, 24", "whether or not if adding too many characters will make the storyline confusing.", "24 secondary characters and 70 tertiary characters that wouldn't have large speaking roles.", "adding too many characters will make the storyline confusing. I want to make", "I want to make 6 main characters, 24 secondary characters and 70 tertiary", "but i was wondering whether or not if adding too many characters will", "building a world for a screenplay and i would like to have some", "i was wondering whether or not if adding too many characters will make", "a world for a screenplay and i would like to have some main", "if adding too many characters will make the storyline confusing. I want to", "have already made some character profiles for some of them but i was", "some main characters I have already made some character profiles for some of", "to make 6 main characters, 24 secondary characters and 70 tertiary characters that", "characters that wouldn't have large speaking roles. they would show up in an", "large speaking roles. they would show up in an \"episode\" or \"chapter\" but", "not if adding too many characters will make the storyline confusing. I want", "profiles for some of them but i was wondering whether or not if", "too many characters will make the storyline confusing. I want to make 6", "for a screenplay and i would like to have some main characters I", "main characters, 24 secondary characters and 70 tertiary characters that wouldn't have large" ]
[ "sentence on a banner. Imagine that you had a dream to do something", "you had a dream to do something but it had to be put", "had a dream to do something but it had to be put aside", "to his dream and make it true. Does the following sentence make sense?", "to wait for a better times. Now, I want to ask a viewer", "that you had a dream to do something but it had to be", "get back to his dream and make it true. Does the following sentence", "be improved? > > Good time to get your dream out of the", "sentence make sense? Can it be improved? > > Good time to get", "improved? > > Good time to get your dream out of the drawer?", "to ask a viewer whether it is a good time now to get", "drawer) to wait for a better times. Now, I want to ask a", "I want to ask a viewer whether it is a good time now", "following sentence make sense? Can it be improved? > > Good time to", "> Good time to get your dream out of the drawer? > >", "better times. Now, I want to ask a viewer whether it is a", "to properly phrase a main sentence on a banner. Imagine that you had", "his dream and make it true. Does the following sentence make sense? Can", "and make it true. Does the following sentence make sense? Can it be", "Now, I want to ask a viewer whether it is a good time", "put aside (let's say into a drawer) to wait for a better times.", "the following sentence make sense? Can it be improved? > > Good time", "viewer whether it is a good time now to get back to his", "on a banner. Imagine that you had a dream to do something but", "for a better times. Now, I want to ask a viewer whether it", "sense? Can it be improved? > > Good time to get your dream", "a main sentence on a banner. Imagine that you had a dream to", "banner. Imagine that you had a dream to do something but it had", "dream to do something but it had to be put aside (let's say", "(let's say into a drawer) to wait for a better times. Now, I", "to do something but it had to be put aside (let's say into", "a good time now to get back to his dream and make it", "into a drawer) to wait for a better times. Now, I want to", "aside (let's say into a drawer) to wait for a better times. Now,", "a banner. Imagine that you had a dream to do something but it", "good time now to get back to his dream and make it true.", "Good time to get your dream out of the drawer? > > >", "it true. Does the following sentence make sense? Can it be improved? >", "something but it had to be put aside (let's say into a drawer)", "a drawer) to wait for a better times. Now, I want to ask", "a dream to do something but it had to be put aside (let's", "I'm trying to properly phrase a main sentence on a banner. Imagine that", "it is a good time now to get back to his dream and", "to get back to his dream and make it true. Does the following", "> > Good time to get your dream out of the drawer? >", "true. Does the following sentence make sense? Can it be improved? > >", "do something but it had to be put aside (let's say into a", "wait for a better times. Now, I want to ask a viewer whether", "make it true. Does the following sentence make sense? Can it be improved?", "phrase a main sentence on a banner. Imagine that you had a dream", "it be improved? > > Good time to get your dream out of", "say into a drawer) to wait for a better times. Now, I want", "it had to be put aside (let's say into a drawer) to wait", "had to be put aside (let's say into a drawer) to wait for", "Imagine that you had a dream to do something but it had to", "want to ask a viewer whether it is a good time now to", "whether it is a good time now to get back to his dream", "time now to get back to his dream and make it true. Does", "trying to properly phrase a main sentence on a banner. Imagine that you", "make sense? Can it be improved? > > Good time to get your", "properly phrase a main sentence on a banner. Imagine that you had a", "to be put aside (let's say into a drawer) to wait for a", "a better times. Now, I want to ask a viewer whether it is", "but it had to be put aside (let's say into a drawer) to", "now to get back to his dream and make it true. Does the", "dream and make it true. Does the following sentence make sense? Can it", "back to his dream and make it true. Does the following sentence make", "times. Now, I want to ask a viewer whether it is a good", "be put aside (let's say into a drawer) to wait for a better", "a viewer whether it is a good time now to get back to", "Can it be improved? > > Good time to get your dream out", "main sentence on a banner. Imagine that you had a dream to do", "is a good time now to get back to his dream and make", "ask a viewer whether it is a good time now to get back", "Does the following sentence make sense? Can it be improved? > > Good" ]
[ "page? I'm aware that they should have likes/dislikes, flaws, a dialect, etc. But", "could I add to make them more relatable and feel like real people?", "should have likes/dislikes, flaws, a dialect, etc. But what else could I add", "an actual person and not just a character that you're reading on a", "likes/dislikes, flaws, a dialect, etc. But what else could I add to make", "etc. But what else could I add to make them more relatable and", "that they should have likes/dislikes, flaws, a dialect, etc. But what else could", "aware that they should have likes/dislikes, flaws, a dialect, etc. But what else", "how do you make a character feel like an actual person and not", "feel like an actual person and not just a character that you're reading", "But what else could I add to make them more relatable and feel", "make a character feel like an actual person and not just a character", "do you make a character feel like an actual person and not just", "person and not just a character that you're reading on a page? I'm", "on a page? I'm aware that they should have likes/dislikes, flaws, a dialect,", "and not just a character that you're reading on a page? I'm aware", "else could I add to make them more relatable and feel like real", "a page? I'm aware that they should have likes/dislikes, flaws, a dialect, etc.", "I'm aware that they should have likes/dislikes, flaws, a dialect, etc. But what", "not just a character that you're reading on a page? I'm aware that", "a dialect, etc. But what else could I add to make them more", "a character that you're reading on a page? I'm aware that they should", "you make a character feel like an actual person and not just a", "dialect, etc. But what else could I add to make them more relatable", "just a character that you're reading on a page? I'm aware that they", "you're reading on a page? I'm aware that they should have likes/dislikes, flaws,", "a character feel like an actual person and not just a character that", "that you're reading on a page? I'm aware that they should have likes/dislikes,", "actual person and not just a character that you're reading on a page?", "have likes/dislikes, flaws, a dialect, etc. But what else could I add to", "flaws, a dialect, etc. But what else could I add to make them", "reading on a page? I'm aware that they should have likes/dislikes, flaws, a", "character that you're reading on a page? I'm aware that they should have", "like an actual person and not just a character that you're reading on", "they should have likes/dislikes, flaws, a dialect, etc. But what else could I", "what else could I add to make them more relatable and feel like", "character feel like an actual person and not just a character that you're" ]
[ "a Chinese textbook publisher capable of handling this. Now suppose the same author", "book will be naturally quite similar. Can this author work with a different", "components are reused (simply translated Chinese parts to French) does it mean the", "to consider the pedagogy behind the first book, so the second book will", "of that book, recycled the readings, and rebranded it as \"Learning French\". It", "second book will be naturally quite similar. Can this author work with a", "the first publisher doesn't even serve. The author already did much work to", "in English and Chinese for learning the language. The problem is, they have", "took the basic components of that book, recycled the readings, and rebranded it", "have to work with a special publisher who can publish both in the", "recycled the readings, and rebranded it as \"Learning French\". It resembles the content", "that book, recycled the readings, and rebranded it as \"Learning French\". It resembles", "problem is, they have to work with a special publisher who can publish", "different audience that the first publisher doesn't even serve. The author already did", "the basic components of that book, recycled the readings, and rebranded it as", "capable of handling this. Now suppose the same author took the basic components", "because many components are reused (simply translated Chinese parts to French) does it", "markets and in China, so they use a Chinese textbook publisher capable of", "Chinese parts to French) does it mean the first publisher has copyright ownership", "but it's for a different audience that the first publisher doesn't even serve.", "the second book? Or because many components are reused (simply translated Chinese parts", "use a Chinese textbook publisher capable of handling this. Now suppose the same", "author work with a different publisher for the second book? Or because many", "author created a book \"Learning Mandarin\", which contained a bunch of readings and", "the pedagogy behind the first book, so the second book will be naturally", "similar. Can this author work with a different publisher for the second book?", "work with a different publisher for the second book? Or because many components", "book? Or because many components are reused (simply translated Chinese parts to French)", "can publish both in the western markets and in China, so they use", "of handling this. Now suppose the same author took the basic components of", "author already did much work to consider the pedagogy behind the first book,", "book, so the second book will be naturally quite similar. Can this author", "content of the first considerably, but it's for a different audience that the", "readings and assignments in English and Chinese for learning the language. The problem", "be naturally quite similar. Can this author work with a different publisher for", "contained a bunch of readings and assignments in English and Chinese for learning", "first publisher doesn't even serve. The author already did much work to consider", "and rebranded it as \"Learning French\". It resembles the content of the first", "of readings and assignments in English and Chinese for learning the language. The", "to work with a special publisher who can publish both in the western", "and Chinese for learning the language. The problem is, they have to work", "a different audience that the first publisher doesn't even serve. The author already", "naturally quite similar. Can this author work with a different publisher for the", "publisher for the second book? Or because many components are reused (simply translated", "suppose the same author took the basic components of that book, recycled the", "Can this author work with a different publisher for the second book? Or", "created a book \"Learning Mandarin\", which contained a bunch of readings and assignments", "a special publisher who can publish both in the western markets and in", "French) does it mean the first publisher has copyright ownership over the second?", "the second book will be naturally quite similar. Can this author work with", "the western markets and in China, so they use a Chinese textbook publisher", "first publisher has copyright ownership over the second? Can authors work with a", "publish both in the western markets and in China, so they use a", "publisher doesn't even serve. The author already did much work to consider the", "with a special publisher who can publish both in the western markets and", "the first considerably, but it's for a different audience that the first publisher", "(simply translated Chinese parts to French) does it mean the first publisher has", "it mean the first publisher has copyright ownership over the second? Can authors", "over the second? Can authors work with a different publisher for a derivative", "a book \"Learning Mandarin\", which contained a bunch of readings and assignments in", "special publisher who can publish both in the western markets and in China,", "in China, so they use a Chinese textbook publisher capable of handling this.", "for a different audience that the first publisher doesn't even serve. The author", "many components are reused (simply translated Chinese parts to French) does it mean", "publisher has copyright ownership over the second? Can authors work with a different", "same author took the basic components of that book, recycled the readings, and", "different publisher for the second book? Or because many components are reused (simply", "consider the pedagogy behind the first book, so the second book will be", "and assignments in English and Chinese for learning the language. The problem is,", "an author created a book \"Learning Mandarin\", which contained a bunch of readings", "Now suppose the same author took the basic components of that book, recycled", "China, so they use a Chinese textbook publisher capable of handling this. Now", "rebranded it as \"Learning French\". It resembles the content of the first considerably,", "did much work to consider the pedagogy behind the first book, so the", "parts to French) does it mean the first publisher has copyright ownership over", "Or because many components are reused (simply translated Chinese parts to French) does", "the first book, so the second book will be naturally quite similar. Can", "a bunch of readings and assignments in English and Chinese for learning the", "the second? Can authors work with a different publisher for a derivative work?", "for learning the language. The problem is, they have to work with a", "is, they have to work with a special publisher who can publish both", "as \"Learning French\". It resembles the content of the first considerably, but it's", "they have to work with a special publisher who can publish both in", "and in China, so they use a Chinese textbook publisher capable of handling", "first considerably, but it's for a different audience that the first publisher doesn't", "the readings, and rebranded it as \"Learning French\". It resembles the content of", "translated Chinese parts to French) does it mean the first publisher has copyright", "handling this. Now suppose the same author took the basic components of that", "doesn't even serve. The author already did much work to consider the pedagogy", "English and Chinese for learning the language. The problem is, they have to", "the content of the first considerably, but it's for a different audience that", "Suppose an author created a book \"Learning Mandarin\", which contained a bunch of", "copyright ownership over the second? Can authors work with a different publisher for", "so they use a Chinese textbook publisher capable of handling this. Now suppose", "audience that the first publisher doesn't even serve. The author already did much", "pedagogy behind the first book, so the second book will be naturally quite", "it as \"Learning French\". It resembles the content of the first considerably, but", "Mandarin\", which contained a bunch of readings and assignments in English and Chinese", "western markets and in China, so they use a Chinese textbook publisher capable", "book \"Learning Mandarin\", which contained a bunch of readings and assignments in English", "for the second book? Or because many components are reused (simply translated Chinese", "French\". It resembles the content of the first considerably, but it's for a", "book, recycled the readings, and rebranded it as \"Learning French\". It resembles the", "work to consider the pedagogy behind the first book, so the second book", "already did much work to consider the pedagogy behind the first book, so", "to French) does it mean the first publisher has copyright ownership over the", "a different publisher for the second book? Or because many components are reused", "assignments in English and Chinese for learning the language. The problem is, they", "it's for a different audience that the first publisher doesn't even serve. The", "readings, and rebranded it as \"Learning French\". It resembles the content of the", "who can publish both in the western markets and in China, so they", "\"Learning French\". It resembles the content of the first considerably, but it's for", "the same author took the basic components of that book, recycled the readings,", "this. Now suppose the same author took the basic components of that book,", "It resembles the content of the first considerably, but it's for a different", "publisher who can publish both in the western markets and in China, so", "resembles the content of the first considerably, but it's for a different audience", "with a different publisher for the second book? Or because many components are", "in the western markets and in China, so they use a Chinese textbook", "Chinese textbook publisher capable of handling this. Now suppose the same author took", "this author work with a different publisher for the second book? Or because", "\"Learning Mandarin\", which contained a bunch of readings and assignments in English and", "the language. The problem is, they have to work with a special publisher", "much work to consider the pedagogy behind the first book, so the second", "will be naturally quite similar. Can this author work with a different publisher", "bunch of readings and assignments in English and Chinese for learning the language.", "they use a Chinese textbook publisher capable of handling this. Now suppose the", "quite similar. Can this author work with a different publisher for the second", "does it mean the first publisher has copyright ownership over the second? Can", "both in the western markets and in China, so they use a Chinese", "author took the basic components of that book, recycled the readings, and rebranded", "components of that book, recycled the readings, and rebranded it as \"Learning French\".", "publisher capable of handling this. Now suppose the same author took the basic", "learning the language. The problem is, they have to work with a special", "ownership over the second? Can authors work with a different publisher for a", "Chinese for learning the language. The problem is, they have to work with", "which contained a bunch of readings and assignments in English and Chinese for", "so the second book will be naturally quite similar. Can this author work", "mean the first publisher has copyright ownership over the second? Can authors work", "second book? Or because many components are reused (simply translated Chinese parts to", "basic components of that book, recycled the readings, and rebranded it as \"Learning", "that the first publisher doesn't even serve. The author already did much work", "language. The problem is, they have to work with a special publisher who", "considerably, but it's for a different audience that the first publisher doesn't even", "behind the first book, so the second book will be naturally quite similar.", "has copyright ownership over the second? Can authors work with a different publisher", "of the first considerably, but it's for a different audience that the first", "textbook publisher capable of handling this. Now suppose the same author took the", "reused (simply translated Chinese parts to French) does it mean the first publisher", "even serve. The author already did much work to consider the pedagogy behind", "serve. The author already did much work to consider the pedagogy behind the", "first book, so the second book will be naturally quite similar. Can this", "are reused (simply translated Chinese parts to French) does it mean the first", "work with a special publisher who can publish both in the western markets", "The problem is, they have to work with a special publisher who can", "The author already did much work to consider the pedagogy behind the first", "the first publisher has copyright ownership over the second? Can authors work with" ]
[ "is blankly staring in front of her, clearly uncomfortable > > > QUICK", "a stylised concept to have this idea of how people on social media", "if someone is going around capturing these highlighted moments. It's meant to be", "> > She is blankly staring in front of her, clearly uncomfortable >", "process, she sighs. > > > Is this correct and does this make", "- SUNSET > > > She is blankly staring in front of her,", "where there are quick flash cuts, where the current present action is then", "is representing a 'highlight' on an Instagram post/story shown for one second, and", "capturing these highlighted moments. It's meant to be a stylised concept to have", "like this: > > INT. LIVING ROOM - SUNSET > > > She", "> INT. LIVING ROOM - SUNSET > > > She is blankly staring", "highlighted moments. It's meant to be a stylised concept to have this idea", "her laughs obnoxiously loud. > > > BACK TO: > > > The", "life and I was wondering how do I format this? In the context", "was wondering how do I format this? In the context of the script", "photo which is representing a 'highlight' on an Instagram post/story shown for one", "are quick flash cuts, where the current present action is then 'captured' in", "flash cuts, where the current present action is then 'captured' in a still", "> The girl next to her laughs obnoxiously loud. > > > BACK", "and then it goes back into present action. It's as if someone is", "'captured' in a still photo which is representing a 'highlight' on an Instagram", "> > The girl next to her laughs obnoxiously loud. > > >", "> > The girl bumps Florence in the process, she sighs. > >", "the process, she sighs. > > > Is this correct and does this", "a 'highlight' on an Instagram post/story shown for one second, and then it", "girl bumps Florence in the process, she sighs. > > > Is this", "It's meant to be a stylised concept to have this idea of how", "this? In the context of the script it goes something like this: >", "one second, and then it goes back into present action. It's as if", "to have this idea of how people on social media only portray 'highlights'", "PHOTO > > > The girl next to her laughs obnoxiously loud. >", "action is then 'captured' in a still photo which is representing a 'highlight'", "> BACK TO: > > > The girl bumps Florence in the process,", "goes something like this: > > INT. LIVING ROOM - SUNSET > >", "'highlights' of their life and I was wondering how do I format this?", "as if someone is going around capturing these highlighted moments. It's meant to", "> > > BACK TO: > > > The girl bumps Florence in", "> > QUICK FLASH - PHOTO > > > The girl next to", "action. It's as if someone is going around capturing these highlighted moments. It's", "laughs obnoxiously loud. > > > BACK TO: > > > The girl", "QUICK FLASH - PHOTO > > > The girl next to her laughs", "quick flash cuts, where the current present action is then 'captured' in a", "cuts, where the current present action is then 'captured' in a still photo", "back into present action. It's as if someone is going around capturing these", "context of the script it goes something like this: > > INT. LIVING", "her, clearly uncomfortable > > > QUICK FLASH - PHOTO > > >", "> QUICK FLASH - PHOTO > > > The girl next to her", "uncomfortable > > > QUICK FLASH - PHOTO > > > The girl", "present action is then 'captured' in a still photo which is representing a", "portray 'highlights' of their life and I was wondering how do I format", "someone is going around capturing these highlighted moments. It's meant to be a", "how people on social media only portray 'highlights' of their life and I", "script where there are quick flash cuts, where the current present action is", "INT. LIVING ROOM - SUNSET > > > She is blankly staring in", "> > > The girl next to her laughs obnoxiously loud. > >", "moments. It's meant to be a stylised concept to have this idea of", "stylised concept to have this idea of how people on social media only", "in front of her, clearly uncomfortable > > > QUICK FLASH - PHOTO", "> > > She is blankly staring in front of her, clearly uncomfortable", "how do I format this? In the context of the script it goes", "Florence in the process, she sighs. > > > Is this correct and", "current present action is then 'captured' in a still photo which is representing", "social media only portray 'highlights' of their life and I was wondering how", "second, and then it goes back into present action. It's as if someone", "do I format this? In the context of the script it goes something", "blankly staring in front of her, clearly uncomfortable > > > QUICK FLASH", "'highlight' on an Instagram post/story shown for one second, and then it goes", "obnoxiously loud. > > > BACK TO: > > > The girl bumps", "this: > > INT. LIVING ROOM - SUNSET > > > She is", "I am writing a script where there are quick flash cuts, where the", "The girl next to her laughs obnoxiously loud. > > > BACK TO:", "people on social media only portray 'highlights' of their life and I was", "> > > QUICK FLASH - PHOTO > > > The girl next", "going around capturing these highlighted moments. It's meant to be a stylised concept", "> > > The girl bumps Florence in the process, she sighs. >", "in the process, she sighs. > > > Is this correct and does", "It's as if someone is going around capturing these highlighted moments. It's meant", "have this idea of how people on social media only portray 'highlights' of", "script it goes something like this: > > INT. LIVING ROOM - SUNSET", "SUNSET > > > She is blankly staring in front of her, clearly", "in a still photo which is representing a 'highlight' on an Instagram post/story", "still photo which is representing a 'highlight' on an Instagram post/story shown for", "is then 'captured' in a still photo which is representing a 'highlight' on", "LIVING ROOM - SUNSET > > > She is blankly staring in front", "of how people on social media only portray 'highlights' of their life and", "she sighs. > > > Is this correct and does this make sense?", "is going around capturing these highlighted moments. It's meant to be a stylised", "be a stylised concept to have this idea of how people on social", "the script it goes something like this: > > INT. LIVING ROOM -", "something like this: > > INT. LIVING ROOM - SUNSET > > >", "a script where there are quick flash cuts, where the current present action", "goes back into present action. It's as if someone is going around capturing", "of the script it goes something like this: > > INT. LIVING ROOM", "next to her laughs obnoxiously loud. > > > BACK TO: > >", "I format this? In the context of the script it goes something like", "it goes something like this: > > INT. LIVING ROOM - SUNSET >", "The girl bumps Florence in the process, she sighs. > > > Is", "only portray 'highlights' of their life and I was wondering how do I", "and I was wondering how do I format this? In the context of", "bumps Florence in the process, she sighs. > > > Is this correct", "wondering how do I format this? In the context of the script it", "writing a script where there are quick flash cuts, where the current present", "it goes back into present action. It's as if someone is going around", "an Instagram post/story shown for one second, and then it goes back into", "clearly uncomfortable > > > QUICK FLASH - PHOTO > > > The", "these highlighted moments. It's meant to be a stylised concept to have this", "there are quick flash cuts, where the current present action is then 'captured'", "then it goes back into present action. It's as if someone is going", "> She is blankly staring in front of her, clearly uncomfortable > >", "staring in front of her, clearly uncomfortable > > > QUICK FLASH -", "> > BACK TO: > > > The girl bumps Florence in the", "the context of the script it goes something like this: > > INT.", "present action. It's as if someone is going around capturing these highlighted moments.", "media only portray 'highlights' of their life and I was wondering how do", "on social media only portray 'highlights' of their life and I was wondering", "into present action. It's as if someone is going around capturing these highlighted", "I was wondering how do I format this? In the context of the", "shown for one second, and then it goes back into present action. It's", "In the context of the script it goes something like this: > >", "FLASH - PHOTO > > > The girl next to her laughs obnoxiously", "of her, clearly uncomfortable > > > QUICK FLASH - PHOTO > >", "to her laughs obnoxiously loud. > > > BACK TO: > > >", "of their life and I was wondering how do I format this? In", "front of her, clearly uncomfortable > > > QUICK FLASH - PHOTO >", "which is representing a 'highlight' on an Instagram post/story shown for one second,", "to be a stylised concept to have this idea of how people on", "> The girl bumps Florence in the process, she sighs. > > >", "girl next to her laughs obnoxiously loud. > > > BACK TO: >", "where the current present action is then 'captured' in a still photo which", "around capturing these highlighted moments. It's meant to be a stylised concept to", "> > INT. LIVING ROOM - SUNSET > > > She is blankly", "idea of how people on social media only portray 'highlights' of their life", "format this? In the context of the script it goes something like this:", "am writing a script where there are quick flash cuts, where the current", "She is blankly staring in front of her, clearly uncomfortable > > >", "TO: > > > The girl bumps Florence in the process, she sighs.", "post/story shown for one second, and then it goes back into present action.", "their life and I was wondering how do I format this? In the", "then 'captured' in a still photo which is representing a 'highlight' on an", "loud. > > > BACK TO: > > > The girl bumps Florence", "a still photo which is representing a 'highlight' on an Instagram post/story shown", "- PHOTO > > > The girl next to her laughs obnoxiously loud.", "meant to be a stylised concept to have this idea of how people", "the current present action is then 'captured' in a still photo which is", "this idea of how people on social media only portray 'highlights' of their", "for one second, and then it goes back into present action. It's as", "representing a 'highlight' on an Instagram post/story shown for one second, and then", "ROOM - SUNSET > > > She is blankly staring in front of", "concept to have this idea of how people on social media only portray", "on an Instagram post/story shown for one second, and then it goes back", "BACK TO: > > > The girl bumps Florence in the process, she", "Instagram post/story shown for one second, and then it goes back into present" ]
[ "to get gas in the morning. But in the middle of the night,", "(his wolf pleaded with him) But as he's leaving he's attacked by a", "alpha only wants power. as he's escaping the pack he comes across two", "is essential for the rest of the book. That may not be much", "scenes. (I'm working on that) Now I would just skip this and come", "power. as he's escaping the pack he comes across two kids and takes", "got sorry. Now let me give a little more intel The main character", "lack in going into detail when it comes to fighting scenes. (I'm working", "sleep in his car for the night and walk to get gas in", "a wolf. That's where I need the help, I don't know how to", "give a little more intel The main character is on his way back", "in the book is essential for the rest of the book. That may", "walk to get gas in the morning. But in the middle of the", "in the morning. But in the middle of the night, someone wakes him", "it at a later date but I can't this time. as this seance", "main character is on his way back to his pack (Blue Moon) when", "of gas, he pulls over and decides that since it's dark he'll sleep", "write a book but I lack in going into detail when it comes", "time. as this seance in the book is essential for the rest of", "leaving he's attacked by a wolf. That's where I need the help, I", "but I can't this time. as this seance in the book is essential", "working on that) Now I would just skip this and come back to", "with him) But as he's leaving he's attacked by a wolf. That's where", "date but I can't this time. as this seance in the book is", "where the alpha only wants power. as he's escaping the pack he comes", "comes across two kids and takes them with him (his wolf pleaded with", "That may not be much help but it's what I've got sorry. Now", "his car for the night and walk to get gas in the morning.", "kids and takes them with him (his wolf pleaded with him) But as", "on his way back to his pack (Blue Moon) when his truck tuns", "middle of the night, someone wakes him up and drags him back to", "wakes him up and drags him back to the pack (Crest Lining). but", "that this is a very unstable pack where the alpha only wants power.", "but it's what I've got sorry. Now let me give a little more", "someone wakes him up and drags him back to the pack (Crest Lining).", "by a wolf. That's where I need the help, I don't know how", "a very unstable pack where the alpha only wants power. as he's escaping", "and drags him back to the pack (Crest Lining). but when he gets", "but I lack in going into detail when it comes to fighting scenes.", "I can't this time. as this seance in the book is essential for", "the night and walk to get gas in the morning. But in the", "of the book. That may not be much help but it's what I've", "when he gets there he realizes that this is a very unstable pack", "attacked by a wolf. That's where I need the help, I don't know", "would just skip this and come back to it at a later date", "he gets there he realizes that this is a very unstable pack where", "pulls over and decides that since it's dark he'll sleep in his car", "Ok, I'm trying to write a book but I lack in going into", "this seance in the book is essential for the rest of the book.", "this time. as this seance in the book is essential for the rest", "the book. That may not be much help but it's what I've got", "and walk to get gas in the morning. But in the middle of", "a later date but I can't this time. as this seance in the", "pack he comes across two kids and takes them with him (his wolf", "much help but it's what I've got sorry. Now let me give a", "on that) Now I would just skip this and come back to it", "little more intel The main character is on his way back to his", "to write a book but I lack in going into detail when it", "as he's escaping the pack he comes across two kids and takes them", "I lack in going into detail when it comes to fighting scenes. (I'm", "But in the middle of the night, someone wakes him up and drags", "takes them with him (his wolf pleaded with him) But as he's leaving", "to the pack (Crest Lining). but when he gets there he realizes that", "fighting scenes. (I'm working on that) Now I would just skip this and", "is a very unstable pack where the alpha only wants power. as he's", "him up and drags him back to the pack (Crest Lining). but when", "that) Now I would just skip this and come back to it at", "in going into detail when it comes to fighting scenes. (I'm working on", "book is essential for the rest of the book. That may not be", "gas in the morning. But in the middle of the night, someone wakes", "when it comes to fighting scenes. (I'm working on that) Now I would", "not be much help but it's what I've got sorry. Now let me", "he's escaping the pack he comes across two kids and takes them with", "essential for the rest of the book. That may not be much help", "can't this time. as this seance in the book is essential for the", "it's what I've got sorry. Now let me give a little more intel", "into detail when it comes to fighting scenes. (I'm working on that) Now", "the pack (Crest Lining). but when he gets there he realizes that this", "drags him back to the pack (Crest Lining). but when he gets there", "going into detail when it comes to fighting scenes. (I'm working on that)", "(Crest Lining). but when he gets there he realizes that this is a", "a little more intel The main character is on his way back to", "as this seance in the book is essential for the rest of the", "out of gas, he pulls over and decides that since it's dark he'll", "detail when it comes to fighting scenes. (I'm working on that) Now I", "Moon) when his truck tuns out of gas, he pulls over and decides", "But as he's leaving he's attacked by a wolf. That's where I need", "he pulls over and decides that since it's dark he'll sleep in his", "pleaded with him) But as he's leaving he's attacked by a wolf. That's", "up and drags him back to the pack (Crest Lining). but when he", "and come back to it at a later date but I can't this", "rest of the book. That may not be much help but it's what", "me give a little more intel The main character is on his way", "when his truck tuns out of gas, he pulls over and decides that", "may not be much help but it's what I've got sorry. Now let", "Now let me give a little more intel The main character is on", "to it at a later date but I can't this time. as this", "the middle of the night, someone wakes him up and drags him back", "two kids and takes them with him (his wolf pleaded with him) But", "it comes to fighting scenes. (I'm working on that) Now I would just", "very unstable pack where the alpha only wants power. as he's escaping the", "this and come back to it at a later date but I can't", "wolf pleaded with him) But as he's leaving he's attacked by a wolf.", "where I need the help, I don't know how to write this out", "sorry. Now let me give a little more intel The main character is", "and decides that since it's dark he'll sleep in his car for the", "to fighting scenes. (I'm working on that) Now I would just skip this", "his way back to his pack (Blue Moon) when his truck tuns out", "them with him (his wolf pleaded with him) But as he's leaving he's", "and takes them with him (his wolf pleaded with him) But as he's", "him) But as he's leaving he's attacked by a wolf. That's where I", "he's attacked by a wolf. That's where I need the help, I don't", "back to it at a later date but I can't this time. as", "at a later date but I can't this time. as this seance in", "but when he gets there he realizes that this is a very unstable", "as he's leaving he's attacked by a wolf. That's where I need the", "book but I lack in going into detail when it comes to fighting", "that since it's dark he'll sleep in his car for the night and", "help but it's what I've got sorry. Now let me give a little", "realizes that this is a very unstable pack where the alpha only wants", "The main character is on his way back to his pack (Blue Moon)", "for the night and walk to get gas in the morning. But in", "over and decides that since it's dark he'll sleep in his car for", "this is a very unstable pack where the alpha only wants power. as", "let me give a little more intel The main character is on his", "him back to the pack (Crest Lining). but when he gets there he", "decides that since it's dark he'll sleep in his car for the night", "wants power. as he's escaping the pack he comes across two kids and", "book. That may not be much help but it's what I've got sorry.", "the rest of the book. That may not be much help but it's", "skip this and come back to it at a later date but I", "gets there he realizes that this is a very unstable pack where the", "the alpha only wants power. as he's escaping the pack he comes across", "of the night, someone wakes him up and drags him back to the", "comes to fighting scenes. (I'm working on that) Now I would just skip", "be much help but it's what I've got sorry. Now let me give", "intel The main character is on his way back to his pack (Blue", "tuns out of gas, he pulls over and decides that since it's dark", "his truck tuns out of gas, he pulls over and decides that since", "the morning. But in the middle of the night, someone wakes him up", "it's dark he'll sleep in his car for the night and walk to", "unstable pack where the alpha only wants power. as he's escaping the pack", "night, someone wakes him up and drags him back to the pack (Crest", "back to the pack (Crest Lining). but when he gets there he realizes", "only wants power. as he's escaping the pack he comes across two kids", "for the rest of the book. That may not be much help but", "seance in the book is essential for the rest of the book. That", "to his pack (Blue Moon) when his truck tuns out of gas, he", "Lining). but when he gets there he realizes that this is a very", "I'm trying to write a book but I lack in going into detail", "pack (Blue Moon) when his truck tuns out of gas, he pulls over", "car for the night and walk to get gas in the morning. But", "get gas in the morning. But in the middle of the night, someone", "with him (his wolf pleaded with him) But as he's leaving he's attacked", "(I'm working on that) Now I would just skip this and come back", "truck tuns out of gas, he pulls over and decides that since it's", "(Blue Moon) when his truck tuns out of gas, he pulls over and", "the pack he comes across two kids and takes them with him (his", "Now I would just skip this and come back to it at a", "since it's dark he'll sleep in his car for the night and walk", "a book but I lack in going into detail when it comes to", "more intel The main character is on his way back to his pack", "him (his wolf pleaded with him) But as he's leaving he's attacked by", "he'll sleep in his car for the night and walk to get gas", "in the middle of the night, someone wakes him up and drags him", "wolf. That's where I need the help, I don't know how to write", "night and walk to get gas in the morning. But in the middle", "I've got sorry. Now let me give a little more intel The main", "way back to his pack (Blue Moon) when his truck tuns out of", "pack (Crest Lining). but when he gets there he realizes that this is", "back to his pack (Blue Moon) when his truck tuns out of gas,", "what I've got sorry. Now let me give a little more intel The", "dark he'll sleep in his car for the night and walk to get", "is on his way back to his pack (Blue Moon) when his truck", "trying to write a book but I lack in going into detail when", "he's leaving he's attacked by a wolf. That's where I need the help,", "just skip this and come back to it at a later date but", "the night, someone wakes him up and drags him back to the pack", "he comes across two kids and takes them with him (his wolf pleaded", "there he realizes that this is a very unstable pack where the alpha", "That's where I need the help, I don't know how to write this", "in his car for the night and walk to get gas in the", "he realizes that this is a very unstable pack where the alpha only", "gas, he pulls over and decides that since it's dark he'll sleep in", "morning. But in the middle of the night, someone wakes him up and", "pack where the alpha only wants power. as he's escaping the pack he", "escaping the pack he comes across two kids and takes them with him", "character is on his way back to his pack (Blue Moon) when his", "his pack (Blue Moon) when his truck tuns out of gas, he pulls", "later date but I can't this time. as this seance in the book", "I would just skip this and come back to it at a later", "the book is essential for the rest of the book. That may not", "come back to it at a later date but I can't this time.", "across two kids and takes them with him (his wolf pleaded with him)" ]
[ "to their source? I'm looking at self-published work (otherwise, it would be the", "in the USA for short quotes from books or song lyrics in a", "the USA for short quotes from books or song lyrics in a novel", "they are explicitly quoted and attributed to their source? I'm looking at self-published", "a novel when they are explicitly quoted and attributed to their source? I'm", "quotes from books or song lyrics in a novel when they are explicitly", "looking at self-published work (otherwise, it would be the publisher's headache), so probably", "it would be the publisher's headache), so probably not more than 1000 copies.", "source? I'm looking at self-published work (otherwise, it would be the publisher's headache),", "rules in the USA for short quotes from books or song lyrics in", "for short quotes from books or song lyrics in a novel when they", "attributed to their source? I'm looking at self-published work (otherwise, it would be", "and attributed to their source? I'm looking at self-published work (otherwise, it would", "self-published work (otherwise, it would be the publisher's headache), so probably not more", "the fair use rules in the USA for short quotes from books or", "their source? I'm looking at self-published work (otherwise, it would be the publisher's", "novel when they are explicitly quoted and attributed to their source? I'm looking", "fair use rules in the USA for short quotes from books or song", "short quotes from books or song lyrics in a novel when they are", "at self-published work (otherwise, it would be the publisher's headache), so probably not", "or song lyrics in a novel when they are explicitly quoted and attributed", "in a novel when they are explicitly quoted and attributed to their source?", "song lyrics in a novel when they are explicitly quoted and attributed to", "lyrics in a novel when they are explicitly quoted and attributed to their", "use rules in the USA for short quotes from books or song lyrics", "from books or song lyrics in a novel when they are explicitly quoted", "when they are explicitly quoted and attributed to their source? I'm looking at", "quoted and attributed to their source? I'm looking at self-published work (otherwise, it", "What are the fair use rules in the USA for short quotes from", "explicitly quoted and attributed to their source? I'm looking at self-published work (otherwise,", "I'm looking at self-published work (otherwise, it would be the publisher's headache), so", "(otherwise, it would be the publisher's headache), so probably not more than 1000", "are explicitly quoted and attributed to their source? I'm looking at self-published work", "are the fair use rules in the USA for short quotes from books", "work (otherwise, it would be the publisher's headache), so probably not more than", "USA for short quotes from books or song lyrics in a novel when", "books or song lyrics in a novel when they are explicitly quoted and" ]
[ "gap, at least in my head, about the two sides of this character.", "a very capable fighter. However, the two characters seem so distant from each", "So I have a character who is often very vulnerable. She's easily scared,", "at what she's trying to do. But there are a lot of times", "gets serious (particularly in battle, as it's a fantasy novel) and is a", "very capable fighter. However, the two characters seem so distant from each other,", "from each other, they often seem like different people. I want to lessen", "scared, put down, and often fails at what she's trying to do. But", "so distant from each other, they often seem like different people. I want", "like different people. I want to lessen the gap, at least in my", "a fantasy novel) and is a very capable fighter. However, the two characters", "I have a character who is often very vulnerable. She's easily scared, put", "vulnerable. She's easily scared, put down, and often fails at what she's trying", "when she gets serious (particularly in battle, as it's a fantasy novel) and", "distant from each other, they often seem like different people. I want to", "do. But there are a lot of times when she gets serious (particularly", "what she's trying to do. But there are a lot of times when", "put down, and often fails at what she's trying to do. But there", "often fails at what she's trying to do. But there are a lot", "she's trying to do. But there are a lot of times when she", "are a lot of times when she gets serious (particularly in battle, as", "fails at what she's trying to do. But there are a lot of", "fighter. However, the two characters seem so distant from each other, they often", "serious (particularly in battle, as it's a fantasy novel) and is a very", "and is a very capable fighter. However, the two characters seem so distant", "times when she gets serious (particularly in battle, as it's a fantasy novel)", "battle, as it's a fantasy novel) and is a very capable fighter. However,", "as it's a fantasy novel) and is a very capable fighter. However, the", "seem so distant from each other, they often seem like different people. I", "very vulnerable. She's easily scared, put down, and often fails at what she's", "novel) and is a very capable fighter. However, the two characters seem so", "However, the two characters seem so distant from each other, they often seem", "is often very vulnerable. She's easily scared, put down, and often fails at", "(particularly in battle, as it's a fantasy novel) and is a very capable", "have a character who is often very vulnerable. She's easily scared, put down,", "seem like different people. I want to lessen the gap, at least in", "to lessen the gap, at least in my head, about the two sides", "down, and often fails at what she's trying to do. But there are", "often very vulnerable. She's easily scared, put down, and often fails at what", "She's easily scared, put down, and often fails at what she's trying to", "at least in my head, about the two sides of this character. Any", "often seem like different people. I want to lessen the gap, at least", "character who is often very vulnerable. She's easily scared, put down, and often", "different people. I want to lessen the gap, at least in my head,", "they often seem like different people. I want to lessen the gap, at", "to do. But there are a lot of times when she gets serious", "in battle, as it's a fantasy novel) and is a very capable fighter.", "she gets serious (particularly in battle, as it's a fantasy novel) and is", "is a very capable fighter. However, the two characters seem so distant from", "characters seem so distant from each other, they often seem like different people.", "people. I want to lessen the gap, at least in my head, about", "and often fails at what she's trying to do. But there are a", "of times when she gets serious (particularly in battle, as it's a fantasy", "capable fighter. However, the two characters seem so distant from each other, they", "the gap, at least in my head, about the two sides of this", "trying to do. But there are a lot of times when she gets", "there are a lot of times when she gets serious (particularly in battle,", "fantasy novel) and is a very capable fighter. However, the two characters seem", "want to lessen the gap, at least in my head, about the two", "least in my head, about the two sides of this character. Any thoughts?", "a lot of times when she gets serious (particularly in battle, as it's", "the two characters seem so distant from each other, they often seem like", "lot of times when she gets serious (particularly in battle, as it's a", "I want to lessen the gap, at least in my head, about the", "a character who is often very vulnerable. She's easily scared, put down, and", "lessen the gap, at least in my head, about the two sides of", "each other, they often seem like different people. I want to lessen the", "who is often very vulnerable. She's easily scared, put down, and often fails", "other, they often seem like different people. I want to lessen the gap,", "easily scared, put down, and often fails at what she's trying to do.", "it's a fantasy novel) and is a very capable fighter. However, the two", "two characters seem so distant from each other, they often seem like different", "But there are a lot of times when she gets serious (particularly in" ]
[ "or words. Which one looks better? 1. After it took me 4 hours", "put numbers or words. Which one looks better? 1. After it took me", "words. Which one looks better? 1. After it took me 4 hours and", "me 4 hours and 24 minutes 2. After it took me four hours", "one looks better? 1. After it took me 4 hours and 24 minutes", "numbers or words. Which one looks better? 1. After it took me 4", "hours and 24 minutes 2. After it took me four hours and twenty-four", "looks better? 1. After it took me 4 hours and 24 minutes 2.", "and 24 minutes 2. After it took me four hours and twenty-four minutes", "figure out if I should put numbers or words. Which one looks better?", "4 hours and 24 minutes 2. After it took me four hours and", "if I should put numbers or words. Which one looks better? 1. After", "I should put numbers or words. Which one looks better? 1. After it", "to figure out if I should put numbers or words. Which one looks", "I'm stuck trying to figure out if I should put numbers or words.", "stuck trying to figure out if I should put numbers or words. Which", "Which one looks better? 1. After it took me 4 hours and 24", "out if I should put numbers or words. Which one looks better? 1.", "After it took me 4 hours and 24 minutes 2. After it took", "better? 1. After it took me 4 hours and 24 minutes 2. After", "trying to figure out if I should put numbers or words. Which one", "1. After it took me 4 hours and 24 minutes 2. After it", "it took me 4 hours and 24 minutes 2. After it took me", "took me 4 hours and 24 minutes 2. After it took me four", "should put numbers or words. Which one looks better? 1. After it took" ]
[ "a character that is mentioned by name but is never present in a", "Is there a technical name for a character that is mentioned by name", "in a story? For example, a parent who is discussed by their children", "who is discussed by their children and still alive but has no screen", "is mentioned by name but is never present in a story? For example,", "never present in a story? For example, a parent who is discussed by", "a story? For example, a parent who is discussed by their children and", "children and still alive but has no screen time whatsoever? Is \"estranged\" or", "that is mentioned by name but is never present in a story? For", "discussed by their children and still alive but has no screen time whatsoever?", "a parent who is discussed by their children and still alive but has", "example, a parent who is discussed by their children and still alive but", "mentioned by name but is never present in a story? For example, a", "parent who is discussed by their children and still alive but has no", "present in a story? For example, a parent who is discussed by their", "is discussed by their children and still alive but has no screen time", "for a character that is mentioned by name but is never present in", "but has no screen time whatsoever? Is \"estranged\" or \"offscreen\" character good enough?", "but is never present in a story? For example, a parent who is", "is never present in a story? For example, a parent who is discussed", "For example, a parent who is discussed by their children and still alive", "story? For example, a parent who is discussed by their children and still", "by their children and still alive but has no screen time whatsoever? Is", "alive but has no screen time whatsoever? Is \"estranged\" or \"offscreen\" character good", "a technical name for a character that is mentioned by name but is", "by name but is never present in a story? For example, a parent", "technical name for a character that is mentioned by name but is never", "name but is never present in a story? For example, a parent who", "still alive but has no screen time whatsoever? Is \"estranged\" or \"offscreen\" character", "there a technical name for a character that is mentioned by name but", "name for a character that is mentioned by name but is never present", "character that is mentioned by name but is never present in a story?", "their children and still alive but has no screen time whatsoever? Is \"estranged\"", "and still alive but has no screen time whatsoever? Is \"estranged\" or \"offscreen\"" ]
[ "mother finds out that her son passed away. What things/clichés should I avoid", "want to write a sad scene where a mother finds out that her", "sad scene where a mother finds out that her son passed away. What", "scene where a mother finds out that her son passed away. What things/clichés", "away. What things/clichés should I avoid in order to not make it overly", "write a sad scene where a mother finds out that her son passed", "out that her son passed away. What things/clichés should I avoid in order", "that her son passed away. What things/clichés should I avoid in order to", "a sad scene where a mother finds out that her son passed away.", "to write a sad scene where a mother finds out that her son", "passed away. What things/clichés should I avoid in order to not make it", "where a mother finds out that her son passed away. What things/clichés should", "her son passed away. What things/clichés should I avoid in order to not", "What things/clichés should I avoid in order to not make it overly dramatic?", "finds out that her son passed away. What things/clichés should I avoid in", "son passed away. What things/clichés should I avoid in order to not make", "I want to write a sad scene where a mother finds out that", "a mother finds out that her son passed away. What things/clichés should I" ]
[ "from the main goal of catching the culprit or villain. I understand that", "both internal and external goals should be in opposition to each other, but", "be in opposition to each other, but I'm having some difficulties. Can you", "or villain. I understand that both internal and external goals should be in", "I'm having some problems brainstorming some internal and external goals apart from the", "each other, but I'm having some difficulties. Can you give some examples or", "goal of catching the culprit or villain. I understand that both internal and", "internal and external goals should be in opposition to each other, but I'm", "but I'm having some difficulties. Can you give some examples or guiding principles", "some internal and external goals apart from the main goal of catching the", "For the sleuth, I'm having some problems brainstorming some internal and external goals", "understand that both internal and external goals should be in opposition to each", "problems brainstorming some internal and external goals apart from the main goal of", "external goals apart from the main goal of catching the culprit or villain.", "I understand that both internal and external goals should be in opposition to", "the sleuth, I'm having some problems brainstorming some internal and external goals apart", "the main goal of catching the culprit or villain. I understand that both", "the culprit or villain. I understand that both internal and external goals should", "main goal of catching the culprit or villain. I understand that both internal", "external goals should be in opposition to each other, but I'm having some", "opposition to each other, but I'm having some difficulties. Can you give some", "other, but I'm having some difficulties. Can you give some examples or guiding", "goals apart from the main goal of catching the culprit or villain. I", "internal and external goals apart from the main goal of catching the culprit", "some problems brainstorming some internal and external goals apart from the main goal", "should be in opposition to each other, but I'm having some difficulties. Can", "I'm having some difficulties. Can you give some examples or guiding principles for", "having some problems brainstorming some internal and external goals apart from the main", "in opposition to each other, but I'm having some difficulties. Can you give", "some difficulties. Can you give some examples or guiding principles for this? Thanks.", "villain. I understand that both internal and external goals should be in opposition", "goals should be in opposition to each other, but I'm having some difficulties.", "having some difficulties. Can you give some examples or guiding principles for this?", "catching the culprit or villain. I understand that both internal and external goals", "brainstorming some internal and external goals apart from the main goal of catching", "culprit or villain. I understand that both internal and external goals should be", "of catching the culprit or villain. I understand that both internal and external", "apart from the main goal of catching the culprit or villain. I understand", "and external goals apart from the main goal of catching the culprit or", "that both internal and external goals should be in opposition to each other,", "sleuth, I'm having some problems brainstorming some internal and external goals apart from", "and external goals should be in opposition to each other, but I'm having", "to each other, but I'm having some difficulties. Can you give some examples" ]
[ "into the problem where she is in a “mute situation” where she doesn’t", "the main character (a 15-year-old girl) has/struggles with [selective mutism](https://en.wikipedia.org/wiki/Selective_mutism). I’ve quickly run", "and doing, but I feel as though the story forgets the MC in", "forgets the MC in a way. Which brings me to the question; what", "I’ve tried just focusing on what other characters are saying and doing, but", "15-year-old girl) has/struggles with [selective mutism](https://en.wikipedia.org/wiki/Selective_mutism). I’ve quickly run into the problem where", "mutism](https://en.wikipedia.org/wiki/Selective_mutism). I’ve quickly run into the problem where she is in a “mute", "character (a 15-year-old girl) has/struggles with [selective mutism](https://en.wikipedia.org/wiki/Selective_mutism). I’ve quickly run into the", "with [selective mutism](https://en.wikipedia.org/wiki/Selective_mutism). I’ve quickly run into the problem where she is in", "focusing on what other characters are saying and doing, but I feel as", "[selective mutism](https://en.wikipedia.org/wiki/Selective_mutism). I’ve quickly run into the problem where she is in a", "the MC in a way. Which brings me to the question; what do", "main character (a 15-year-old girl) has/struggles with [selective mutism](https://en.wikipedia.org/wiki/Selective_mutism). I’ve quickly run into", "where she doesn’t talk. I’ve tried just focusing on what other characters are", "girl) has/struggles with [selective mutism](https://en.wikipedia.org/wiki/Selective_mutism). I’ve quickly run into the problem where she", "the question; what do I have the main character do if she isn’t", "has/struggles with [selective mutism](https://en.wikipedia.org/wiki/Selective_mutism). I’ve quickly run into the problem where she is", "a “mute situation” where she doesn’t talk. I’ve tried just focusing on what", "feel as though the story forgets the MC in a way. Which brings", "book I’m writing, the main character (a 15-year-old girl) has/struggles with [selective mutism](https://en.wikipedia.org/wiki/Selective_mutism).", "MC in a way. Which brings me to the question; what do I", "doing, but I feel as though the story forgets the MC in a", "the problem where she is in a “mute situation” where she doesn’t talk.", "what other characters are saying and doing, but I feel as though the", "she is in a “mute situation” where she doesn’t talk. I’ve tried just", "the story forgets the MC in a way. Which brings me to the", "other characters are saying and doing, but I feel as though the story", "question; what do I have the main character do if she isn’t speaking?", "I’m writing, the main character (a 15-year-old girl) has/struggles with [selective mutism](https://en.wikipedia.org/wiki/Selective_mutism). I’ve", "way. Which brings me to the question; what do I have the main", "where she is in a “mute situation” where she doesn’t talk. I’ve tried", "In a book I’m writing, the main character (a 15-year-old girl) has/struggles with", "is in a “mute situation” where she doesn’t talk. I’ve tried just focusing", "just focusing on what other characters are saying and doing, but I feel", "brings me to the question; what do I have the main character do", "(a 15-year-old girl) has/struggles with [selective mutism](https://en.wikipedia.org/wiki/Selective_mutism). I’ve quickly run into the problem", "are saying and doing, but I feel as though the story forgets the", "I’ve quickly run into the problem where she is in a “mute situation”", "though the story forgets the MC in a way. Which brings me to", "writing, the main character (a 15-year-old girl) has/struggles with [selective mutism](https://en.wikipedia.org/wiki/Selective_mutism). I’ve quickly", "on what other characters are saying and doing, but I feel as though", "she doesn’t talk. I’ve tried just focusing on what other characters are saying", "characters are saying and doing, but I feel as though the story forgets", "problem where she is in a “mute situation” where she doesn’t talk. I’ve", "a book I’m writing, the main character (a 15-year-old girl) has/struggles with [selective", "“mute situation” where she doesn’t talk. I’ve tried just focusing on what other", "in a way. Which brings me to the question; what do I have", "but I feel as though the story forgets the MC in a way.", "situation” where she doesn’t talk. I’ve tried just focusing on what other characters", "I feel as though the story forgets the MC in a way. Which", "a way. Which brings me to the question; what do I have the", "to the question; what do I have the main character do if she", "me to the question; what do I have the main character do if", "talk. I’ve tried just focusing on what other characters are saying and doing,", "in a “mute situation” where she doesn’t talk. I’ve tried just focusing on", "doesn’t talk. I’ve tried just focusing on what other characters are saying and", "run into the problem where she is in a “mute situation” where she", "tried just focusing on what other characters are saying and doing, but I", "Which brings me to the question; **what do I have the main character", "saying and doing, but I feel as though the story forgets the MC", "as though the story forgets the MC in a way. Which brings me", "story forgets the MC in a way. Which brings me to the question;", "quickly run into the problem where she is in a “mute situation” where" ]
[ "I need a template that associates each dialogue and description to a single", "template that associates each dialogue and description to a single panel. (A panel", "easier for someone to draw a full page from a written script I", "moment, and one page contains several panels.) However, I couldn't find one and", "associates each dialogue and description to a single panel. (A panel consists of", "how to write one, but I haven't seen one for comics books. I", "write comics, but I need a template that associates each dialogue and description", "but I haven't seen one for comics books. I heard some people use", "don't want to draw a storyboard, because I can't draw, but maybe there's", "a storyboard, because I can't draw, but maybe there's some way to circumvent", "of doing this. Is there any good example? I don't want to draw", "way to circumvent this. I want to make it easier for someone to", "(A panel consists of a single drawing depicting a frozen moment, and one", "for comics books. I heard some people use movie scripts to write comics,", "I want to make it easier for someone to draw a full page", "seem to be a standard way of doing this. Is there any good", "doing this. Is there any good example? I don't want to draw a", "panel. (A panel consists of a single drawing depicting a frozen moment, and", "panels.) However, I couldn't find one and there doesn't seem to be a", "some way to circumvent this. I want to make it easier for someone", "need a template that associates each dialogue and description to a single panel.", "people use movie scripts to write comics, but I need a template that", "I know how to write one, but I haven't seen one for comics", "scripts to write comics, but I need a template that associates each dialogue", "draw a storyboard, because I can't draw, but maybe there's some way to", "one for comics books. I heard some people use movie scripts to write", "depicting a frozen moment, and one page contains several panels.) However, I couldn't", "good example? I don't want to draw a storyboard, because I can't draw,", "read some movie scripts and I know how to write one, but I", "draw, but maybe there's some way to circumvent this. I want to make", "I read some movie scripts and I know how to write one, but", "books. I heard some people use movie scripts to write comics, but I", "and I know how to write one, but I haven't seen one for", "frozen moment, and one page contains several panels.) However, I couldn't find one", "comics books. I heard some people use movie scripts to write comics, but", "and description to a single panel. (A panel consists of a single drawing", "storyboard, because I can't draw, but maybe there's some way to circumvent this.", "that associates each dialogue and description to a single panel. (A panel consists", "a single drawing depicting a frozen moment, and one page contains several panels.)", "description to a single panel. (A panel consists of a single drawing depicting", "there's some way to circumvent this. I want to make it easier for", "contains several panels.) However, I couldn't find one and there doesn't seem to", "this. I want to make it easier for someone to draw a full", "to circumvent this. I want to make it easier for someone to draw", "one, but I haven't seen one for comics books. I heard some people", "to a single panel. (A panel consists of a single drawing depicting a", "make it easier for someone to draw a full page from a written", "to write comics, but I need a template that associates each dialogue and", "want to draw a storyboard, because I can't draw, but maybe there's some", "several panels.) However, I couldn't find one and there doesn't seem to be", "because I can't draw, but maybe there's some way to circumvent this. I", "maybe there's some way to circumvent this. I want to make it easier", "there doesn't seem to be a standard way of doing this. Is there", "movie scripts and I know how to write one, but I haven't seen", "to be a standard way of doing this. Is there any good example?", "but I need a template that associates each dialogue and description to a", "use movie scripts to write comics, but I need a template that associates", "to make it easier for someone to draw a full page from a", "any good example? I don't want to draw a storyboard, because I can't", "comics, but I need a template that associates each dialogue and description to", "circumvent this. I want to make it easier for someone to draw a", "movie scripts to write comics, but I need a template that associates each", "one page contains several panels.) However, I couldn't find one and there doesn't", "write one, but I haven't seen one for comics books. I heard some", "I haven't seen one for comics books. I heard some people use movie", "some movie scripts and I know how to write one, but I haven't", "to draw a storyboard, because I can't draw, but maybe there's some way", "haven't seen one for comics books. I heard some people use movie scripts", "Is there any good example? I don't want to draw a storyboard, because", "find one and there doesn't seem to be a standard way of doing", "panel consists of a single drawing depicting a frozen moment, and one page", "but maybe there's some way to circumvent this. I want to make it", "can't draw, but maybe there's some way to circumvent this. I want to", "way of doing this. Is there any good example? I don't want to", "and one page contains several panels.) However, I couldn't find one and there", "I couldn't find one and there doesn't seem to be a standard way", "I can't draw, but maybe there's some way to circumvent this. I want", "there any good example? I don't want to draw a storyboard, because I", "a single panel. (A panel consists of a single drawing depicting a frozen", "dialogue and description to a single panel. (A panel consists of a single", "standard way of doing this. Is there any good example? I don't want", "and there doesn't seem to be a standard way of doing this. Is", "I don't want to draw a storyboard, because I can't draw, but maybe", "for someone to draw a full page from a written script I wrote.", "a frozen moment, and one page contains several panels.) However, I couldn't find", "However, I couldn't find one and there doesn't seem to be a standard", "each dialogue and description to a single panel. (A panel consists of a", "of a single drawing depicting a frozen moment, and one page contains several", "example? I don't want to draw a storyboard, because I can't draw, but", "seen one for comics books. I heard some people use movie scripts to", "heard some people use movie scripts to write comics, but I need a", "single drawing depicting a frozen moment, and one page contains several panels.) However,", "drawing depicting a frozen moment, and one page contains several panels.) However, I", "some people use movie scripts to write comics, but I need a template", "doesn't seem to be a standard way of doing this. Is there any", "a standard way of doing this. Is there any good example? I don't", "to write one, but I haven't seen one for comics books. I heard", "page contains several panels.) However, I couldn't find one and there doesn't seem", "couldn't find one and there doesn't seem to be a standard way of", "want to make it easier for someone to draw a full page from", "know how to write one, but I haven't seen one for comics books.", "a template that associates each dialogue and description to a single panel. (A", "one and there doesn't seem to be a standard way of doing this.", "this. Is there any good example? I don't want to draw a storyboard,", "scripts and I know how to write one, but I haven't seen one", "be a standard way of doing this. Is there any good example? I", "it easier for someone to draw a full page from a written script", "I heard some people use movie scripts to write comics, but I need", "consists of a single drawing depicting a frozen moment, and one page contains", "single panel. (A panel consists of a single drawing depicting a frozen moment," ]
[ "is and chooses to become that person again, with all the things it", "that person again, with all the things it means as well. After this,", "all the things it means as well. After this, when writing the dialogue", "a false name. Halfway through the book, she learns what her real name", "again, with all the things it means as well. After this, when writing", "with all the things it means as well. After this, when writing the", "has spoken - should I use the false name or her real one", "the things it means as well. After this, when writing the dialogue tags", "it means as well. After this, when writing the dialogue tags - to", "writing the dialogue tags - to show who has spoken - should I", "spoken - should I use the false name or her real one that", "Halfway through the book, she learns what her real name is and chooses", "learns what her real name is and chooses to become that person again,", "real name is and chooses to become that person again, with all the", "things it means as well. After this, when writing the dialogue tags -", "have a false name. Halfway through the book, she learns what her real", "- should I use the false name or her real one that she", "protagonist is living under a curse, with added amnesia, making her have a", "what her real name is and chooses to become that person again, with", "a curse, with added amnesia, making her have a false name. Halfway through", "as well. After this, when writing the dialogue tags - to show who", "After this, when writing the dialogue tags - to show who has spoken", "this, when writing the dialogue tags - to show who has spoken -", "when writing the dialogue tags - to show who has spoken - should", "means as well. After this, when writing the dialogue tags - to show", "false name. Halfway through the book, she learns what her real name is", "the dialogue tags - to show who has spoken - should I use", "to become that person again, with all the things it means as well.", "name. Halfway through the book, she learns what her real name is and", "- to show who has spoken - should I use the false name", "become that person again, with all the things it means as well. After", "My protagonist is living under a curse, with added amnesia, making her have", "well. After this, when writing the dialogue tags - to show who has", "curse, with added amnesia, making her have a false name. Halfway through the", "her have a false name. Halfway through the book, she learns what her", "with added amnesia, making her have a false name. Halfway through the book,", "under a curse, with added amnesia, making her have a false name. Halfway", "amnesia, making her have a false name. Halfway through the book, she learns", "is living under a curse, with added amnesia, making her have a false", "dialogue tags - to show who has spoken - should I use the", "show who has spoken - should I use the false name or her", "person again, with all the things it means as well. After this, when", "who has spoken - should I use the false name or her real", "the book, she learns what her real name is and chooses to become", "to show who has spoken - should I use the false name or", "added amnesia, making her have a false name. Halfway through the book, she", "and chooses to become that person again, with all the things it means", "book, she learns what her real name is and chooses to become that", "should I use the false name or her real one that she learns?", "her real name is and chooses to become that person again, with all", "through the book, she learns what her real name is and chooses to", "she learns what her real name is and chooses to become that person", "chooses to become that person again, with all the things it means as", "tags - to show who has spoken - should I use the false", "making her have a false name. Halfway through the book, she learns what", "living under a curse, with added amnesia, making her have a false name.", "name is and chooses to become that person again, with all the things" ]
[ "every year. I take a one-month vacation by myself to Rhode Island every", "> > > \"Kvllun, stop. You're not going in late for work to", "Sophie says with an unamused look. This forces my husband to gaze away", "drives you. I can go in late today and say my car got", "\"You haven't left for work yet?\" > > > \"No, Seshaa, but your", "It's a necessary part of my year to develop ideas for novels. I", "still begs to drive me to the airport every year. I take a", "have so far; > > \"Are you sure?\" > > > \"Yes,\" I", "hates my husband. > > > \"Kvllun,\" Sophie says with an unamused look.", "main character is going on a 'no contact' vacation where she doesn't communicate", "left for work yet?\" > > > \"No, Seshaa, but your sudden visit", "girl hates my husband. > > > \"Kvllun,\" Sophie says with an unamused", "a one-month vacation by myself to Rhode Island every year to motivate myself", "myself to Rhode Island every year to motivate myself to write. I go", "gorgeous. But, the girl hates my husband. > > > \"Kvllun,\" Sophie says", "to drive me to the airport every year. I take a one-month vacation", "a deal, baby. You'll see me in a month,\" I say, moments before", "obnoxiously honest individual in the door frame. \"You haven't left for work yet?\"", "you sure?\" > > > \"Yes,\" I say to my obnoxiously loving husband.", "my husband to gaze away from me and onto the obnoxiously honest individual", "airport every year. I take a one-month vacation by myself to Rhode Island", "the door frame. \"You haven't left for work yet?\" > > > \"No,", "best ideas possible, and take it out on my husband. > > >", "me and onto the obnoxiously honest individual in the door frame. \"You haven't", "anyone in her life. I'm struggling to figure out how to write it", "deal, baby. You'll see me in a month,\" I say, moments before the", "> \"Yes,\" I say to my obnoxiously loving husband. > > > Kvllun's", "say, moments before the front door slams open, revealing my best friend of", "me to the airport. It's not that big of a deal, baby. You'll", "with an unamused look. This forces my husband to gaze away from me", "than any other person I know. She's ditzy, loud, and beyond gorgeous. But,", "stressed, putting pressure on myself to create the best ideas possible, and take", "I'm working on my first novel, and my main character is going on", "person I know. She's ditzy, loud, and beyond gorgeous. But, the girl hates", "with my spouse, friends, and family. It's a necessary part of my year", "and family. It's a necessary part of my year to develop ideas for", "> \"No, Seshaa, but your sudden visit gives me a reason to.\" Kvllun", "visit gives me a reason to.\" Kvllun looks at me, kisses my temple,", "month than any other person I know. She's ditzy, loud, and beyond gorgeous.", "\"No, Seshaa, but your sudden visit gives me a reason to.\" Kvllun looks", "> > Sophie and I have always been extremely close. It's harder staying", "I'm struggling to figure out how to write it even though it's only", "month). This is what I have so far; > > \"Are you sure?\"", "to me pushing him away at this point, yet he still begs to", "it even though it's only temporary (one month). This is what I have", "month,\" I say, moments before the front door slams open, revealing my best", "Sophie and I have always been extremely close. It's harder staying away from", "frame. \"You haven't left for work yet?\" > > > \"No, Seshaa, but", "yet he still begs to drive me to the airport every year. I", "out how to write it even though it's only temporary (one month). This", "sudden visit gives me a reason to.\" Kvllun looks at me, kisses my", "or something.\" > > > \"Kvllun, stop. You're not going in late for", "is going on a 'no contact' vacation where she doesn't communicate with anyone", "loving husband. > > > Kvllun's used to me pushing him away at", "away from her for a month than any other person I know. She's", "where she doesn't communicate with anyone in her life. I'm struggling to figure", "to write. I go alone and cut off all communication with my spouse,", "\"Sophie always drives you. I can go in late today and say my", "to the airport. It's not that big of a deal, baby. You'll see", "Seshaa, but your sudden visit gives me a reason to.\" Kvllun looks at", "go alone and cut off all communication with my spouse, friends, and family.", "and my main character is going on a 'no contact' vacation where she", "got snowed in or something.\" > > > \"Kvllun, stop. You're not going", "to create the best ideas possible, and take it out on my husband.", "It's not that big of a deal, baby. You'll see me in a", "my car got snowed in or something.\" > > > \"Kvllun, stop. You're", "> \"Kvllun,\" Sophie says with an unamused look. This forces my husband to", "know. She's ditzy, loud, and beyond gorgeous. But, the girl hates my husband.", "begs to drive me to the airport every year. I take a one-month", "my husband. > > > \"Kvllun,\" Sophie says with an unamused look. This", "Kvllun looks at me, kisses my temple, and says his goodbyes. > >", "see me in a month,\" I say, moments before the front door slams", "to gaze away from me and onto the obnoxiously honest individual in the", "my best friend of nine years. > Sophie. > > > Sophie and", "all communication with my spouse, friends, and family. It's a necessary part of", "going in late for work to take me to the airport. It's not", "snowed in or something.\" > > > \"Kvllun, stop. You're not going in", "husband. > > > Kvllun's used to me pushing him away at this", "create the best ideas possible, and take it out on my husband. >", "Sophie. > > > Sophie and I have always been extremely close. It's", "from her for a month than any other person I know. She's ditzy,", "> > \"Yes,\" I say to my obnoxiously loving husband. > > >", "her life. I'm struggling to figure out how to write it even though", "years. > Sophie. > > > Sophie and I have always been extremely", "can go in late today and say my car got snowed in or", "she doesn't communicate with anyone in her life. I'm struggling to figure out", "(one month). This is what I have so far; > > \"Are you", "doesn't communicate with anyone in her life. I'm struggling to figure out how", "me to the airport every year. I take a one-month vacation by myself", "part of my year to develop ideas for novels. I often get stressed,", "to.\" Kvllun looks at me, kisses my temple, and says his goodbyes. >", "out on my husband. > > > \"Sophie always drives you. I can", "You're not going in late for work to take me to the airport.", "though it's only temporary (one month). This is what I have so far;", "ideas possible, and take it out on my husband. > > > \"Sophie", "vacation by myself to Rhode Island every year to motivate myself to write.", "an unamused look. This forces my husband to gaze away from me and", "honest individual in the door frame. \"You haven't left for work yet?\" >", "open, revealing my best friend of nine years. > Sophie. > > >", "not going in late for work to take me to the airport. It's", "a necessary part of my year to develop ideas for novels. I often", "close. It's harder staying away from her for a month than any other", "You'll see me in a month,\" I say, moments before the front door", "best friend of nine years. > Sophie. > > > Sophie and I", "beyond gorgeous. But, the girl hates my husband. > > > \"Kvllun,\" Sophie", "and I have always been extremely close. It's harder staying away from her", "go in late today and say my car got snowed in or something.\"", "take me to the airport. It's not that big of a deal, baby.", "in late for work to take me to the airport. It's not that", "character is going on a 'no contact' vacation where she doesn't communicate with", "But, the girl hates my husband. > > > \"Kvllun,\" Sophie says with", "and cut off all communication with my spouse, friends, and family. It's a", "slams open, revealing my best friend of nine years. > Sophie. > >", "> \"Are you sure?\" > > > \"Yes,\" I say to my obnoxiously", "away at this point, yet he still begs to drive me to the", "her for a month than any other person I know. She's ditzy, loud,", "to Rhode Island every year to motivate myself to write. I go alone", "I can go in late today and say my car got snowed in", "the girl hates my husband. > > > \"Kvllun,\" Sophie says with an", "myself to write. I go alone and cut off all communication with my", "I know. She's ditzy, loud, and beyond gorgeous. But, the girl hates my", "today and say my car got snowed in or something.\" > > >", "of my year to develop ideas for novels. I often get stressed, putting", "any other person I know. She's ditzy, loud, and beyond gorgeous. But, the", "motivate myself to write. I go alone and cut off all communication with", "husband. > > > \"Kvllun,\" Sophie says with an unamused look. This forces", "of a deal, baby. You'll see me in a month,\" I say, moments", "to take me to the airport. It's not that big of a deal,", "off all communication with my spouse, friends, and family. It's a necessary part", "this point, yet he still begs to drive me to the airport every", "the front door slams open, revealing my best friend of nine years. >", "car got snowed in or something.\" > > > \"Kvllun, stop. You're not", "my main character is going on a 'no contact' vacation where she doesn't", "novel, and my main character is going on a 'no contact' vacation where", "that big of a deal, baby. You'll see me in a month,\" I", "says with an unamused look. This forces my husband to gaze away from", "in late today and say my car got snowed in or something.\" >", "Island every year to motivate myself to write. I go alone and cut", "only temporary (one month). This is what I have so far; > >", "drive me to the airport every year. I take a one-month vacation by", "take it out on my husband. > > > \"Sophie always drives you.", "far; > > \"Are you sure?\" > > > \"Yes,\" I say to", "husband to gaze away from me and onto the obnoxiously honest individual in", "in her life. I'm struggling to figure out how to write it even", "It's harder staying away from her for a month than any other person", "first novel, and my main character is going on a 'no contact' vacation", "I say to my obnoxiously loving husband. > > > Kvllun's used to", "ditzy, loud, and beyond gorgeous. But, the girl hates my husband. > >", "revealing my best friend of nine years. > Sophie. > > > Sophie", "haven't left for work yet?\" > > > \"No, Seshaa, but your sudden", "work yet?\" > > > \"No, Seshaa, but your sudden visit gives me", "to the airport every year. I take a one-month vacation by myself to", "obnoxiously loving husband. > > > Kvllun's used to me pushing him away", "Kvllun's used to me pushing him away at this point, yet he still", "him away at this point, yet he still begs to drive me to", "\"Kvllun, stop. You're not going in late for work to take me to", "by myself to Rhode Island every year to motivate myself to write. I", "get stressed, putting pressure on myself to create the best ideas possible, and", "loud, and beyond gorgeous. But, the girl hates my husband. > > >", "late today and say my car got snowed in or something.\" > >", "> \"Kvllun, stop. You're not going in late for work to take me", "> > \"No, Seshaa, but your sudden visit gives me a reason to.\"", "myself to create the best ideas possible, and take it out on my", "to write it even though it's only temporary (one month). This is what", "She's ditzy, loud, and beyond gorgeous. But, the girl hates my husband. >", "before the front door slams open, revealing my best friend of nine years.", "for work yet?\" > > > \"No, Seshaa, but your sudden visit gives", "my obnoxiously loving husband. > > > Kvllun's used to me pushing him", "year to motivate myself to write. I go alone and cut off all", "sure?\" > > > \"Yes,\" I say to my obnoxiously loving husband. >", "other person I know. She's ditzy, loud, and beyond gorgeous. But, the girl", "my first novel, and my main character is going on a 'no contact'", "front door slams open, revealing my best friend of nine years. > Sophie.", "late for work to take me to the airport. It's not that big", "friend of nine years. > Sophie. > > > Sophie and I have", "the obnoxiously honest individual in the door frame. \"You haven't left for work", "communication with my spouse, friends, and family. It's a necessary part of my", "gaze away from me and onto the obnoxiously honest individual in the door", "your sudden visit gives me a reason to.\" Kvllun looks at me, kisses", "to develop ideas for novels. I often get stressed, putting pressure on myself", "> > \"Kvllun,\" Sophie says with an unamused look. This forces my husband", "stop. You're not going in late for work to take me to the", "big of a deal, baby. You'll see me in a month,\" I say,", "door frame. \"You haven't left for work yet?\" > > > \"No, Seshaa,", "nine years. > Sophie. > > > Sophie and I have always been", "have always been extremely close. It's harder staying away from her for a", "of nine years. > Sophie. > > > Sophie and I have always", "for work to take me to the airport. It's not that big of", "say to my obnoxiously loving husband. > > > Kvllun's used to me", "> Sophie. > > > Sophie and I have always been extremely close.", "write it even though it's only temporary (one month). This is what I", "> > \"Are you sure?\" > > > \"Yes,\" I say to my", "onto the obnoxiously honest individual in the door frame. \"You haven't left for", "a 'no contact' vacation where she doesn't communicate with anyone in her life.", "> > > \"No, Seshaa, but your sudden visit gives me a reason", "pushing him away at this point, yet he still begs to drive me", "a reason to.\" Kvllun looks at me, kisses my temple, and says his", "so far; > > \"Are you sure?\" > > > \"Yes,\" I say", "husband. > > > \"Sophie always drives you. I can go in late", "even though it's only temporary (one month). This is what I have so", "on myself to create the best ideas possible, and take it out on", "in a month,\" I say, moments before the front door slams open, revealing", "write. I go alone and cut off all communication with my spouse, friends,", "me in a month,\" I say, moments before the front door slams open,", "temporary (one month). This is what I have so far; > > \"Are", "say my car got snowed in or something.\" > > > \"Kvllun, stop.", "away from me and onto the obnoxiously honest individual in the door frame.", "necessary part of my year to develop ideas for novels. I often get", "I say, moments before the front door slams open, revealing my best friend", "a month,\" I say, moments before the front door slams open, revealing my", "harder staying away from her for a month than any other person I", "not that big of a deal, baby. You'll see me in a month,\"", "unamused look. This forces my husband to gaze away from me and onto", "on a 'no contact' vacation where she doesn't communicate with anyone in her", "alone and cut off all communication with my spouse, friends, and family. It's", "what I have so far; > > \"Are you sure?\" > > >", "This forces my husband to gaze away from me and onto the obnoxiously", "moments before the front door slams open, revealing my best friend of nine", "> > \"Sophie always drives you. I can go in late today and", "you. I can go in late today and say my car got snowed", "on my first novel, and my main character is going on a 'no", "often get stressed, putting pressure on myself to create the best ideas possible,", "one-month vacation by myself to Rhode Island every year to motivate myself to", "I go alone and cut off all communication with my spouse, friends, and", "\"Kvllun,\" Sophie says with an unamused look. This forces my husband to gaze", "the airport every year. I take a one-month vacation by myself to Rhode", "friends, and family. It's a necessary part of my year to develop ideas", "is what I have so far; > > \"Are you sure?\" > >", "vacation where she doesn't communicate with anyone in her life. I'm struggling to", "used to me pushing him away at this point, yet he still begs", "and say my car got snowed in or something.\" > > > \"Kvllun,", "and beyond gorgeous. But, the girl hates my husband. > > > \"Kvllun,\"", "at this point, yet he still begs to drive me to the airport", "the best ideas possible, and take it out on my husband. > >", "a month than any other person I know. She's ditzy, loud, and beyond", "it out on my husband. > > > \"Sophie always drives you. I", "my spouse, friends, and family. It's a necessary part of my year to", "my husband. > > > \"Sophie always drives you. I can go in", "my year to develop ideas for novels. I often get stressed, putting pressure", "individual in the door frame. \"You haven't left for work yet?\" > >", "spouse, friends, and family. It's a necessary part of my year to develop", "airport. It's not that big of a deal, baby. You'll see me in", "to my obnoxiously loving husband. > > > Kvllun's used to me pushing", "in or something.\" > > > \"Kvllun, stop. You're not going in late", "putting pressure on myself to create the best ideas possible, and take it", "cut off all communication with my spouse, friends, and family. It's a necessary", "working on my first novel, and my main character is going on a", "yet?\" > > > \"No, Seshaa, but your sudden visit gives me a", "develop ideas for novels. I often get stressed, putting pressure on myself to", "and onto the obnoxiously honest individual in the door frame. \"You haven't left", "to figure out how to write it even though it's only temporary (one", "> Kvllun's used to me pushing him away at this point, yet he", "I have always been extremely close. It's harder staying away from her for", "I take a one-month vacation by myself to Rhode Island every year to", "figure out how to write it even though it's only temporary (one month).", "staying away from her for a month than any other person I know.", "> \"Sophie always drives you. I can go in late today and say", "pressure on myself to create the best ideas possible, and take it out", "year to develop ideas for novels. I often get stressed, putting pressure on", "always been extremely close. It's harder staying away from her for a month", "he still begs to drive me to the airport every year. I take", "with anyone in her life. I'm struggling to figure out how to write", "looks at me, kisses my temple, and says his goodbyes. > > >", "gives me a reason to.\" Kvllun looks at me, kisses my temple, and", "take a one-month vacation by myself to Rhode Island every year to motivate", "> Sophie and I have always been extremely close. It's harder staying away", "> > > \"Kvllun,\" Sophie says with an unamused look. This forces my", "forces my husband to gaze away from me and onto the obnoxiously honest", "ideas for novels. I often get stressed, putting pressure on myself to create", "look. This forces my husband to gaze away from me and onto the", "going on a 'no contact' vacation where she doesn't communicate with anyone in", "> > > Kvllun's used to me pushing him away at this point,", "\"Are you sure?\" > > > \"Yes,\" I say to my obnoxiously loving", "I often get stressed, putting pressure on myself to create the best ideas", "novels. I often get stressed, putting pressure on myself to create the best", "> > Kvllun's used to me pushing him away at this point, yet", "contact' vacation where she doesn't communicate with anyone in her life. I'm struggling", "me a reason to.\" Kvllun looks at me, kisses my temple, and says", "it's only temporary (one month). This is what I have so far; >", "but your sudden visit gives me a reason to.\" Kvllun looks at me,", "me pushing him away at this point, yet he still begs to drive", "struggling to figure out how to write it even though it's only temporary", "\"Yes,\" I say to my obnoxiously loving husband. > > > Kvllun's used", "from me and onto the obnoxiously honest individual in the door frame. \"You", "'no contact' vacation where she doesn't communicate with anyone in her life. I'm", "the airport. It's not that big of a deal, baby. You'll see me", "extremely close. It's harder staying away from her for a month than any", "communicate with anyone in her life. I'm struggling to figure out how to", "> > > Sophie and I have always been extremely close. It's harder", "every year to motivate myself to write. I go alone and cut off", "> > \"Kvllun, stop. You're not going in late for work to take", "on my husband. > > > \"Sophie always drives you. I can go", "point, yet he still begs to drive me to the airport every year.", "been extremely close. It's harder staying away from her for a month than", "Rhode Island every year to motivate myself to write. I go alone and", "always drives you. I can go in late today and say my car", "door slams open, revealing my best friend of nine years. > Sophie. >", "and take it out on my husband. > > > \"Sophie always drives", "how to write it even though it's only temporary (one month). This is", "family. It's a necessary part of my year to develop ideas for novels.", "year. I take a one-month vacation by myself to Rhode Island every year", "reason to.\" Kvllun looks at me, kisses my temple, and says his goodbyes.", "life. I'm struggling to figure out how to write it even though it's", "I have so far; > > \"Are you sure?\" > > > \"Yes,\"", "This is what I have so far; > > \"Are you sure?\" >", "baby. You'll see me in a month,\" I say, moments before the front", "for a month than any other person I know. She's ditzy, loud, and", "in the door frame. \"You haven't left for work yet?\" > > >", "something.\" > > > \"Kvllun, stop. You're not going in late for work", "> > > \"Yes,\" I say to my obnoxiously loving husband. > >", "> > > \"Sophie always drives you. I can go in late today", "work to take me to the airport. It's not that big of a", "possible, and take it out on my husband. > > > \"Sophie always", "to motivate myself to write. I go alone and cut off all communication", "for novels. I often get stressed, putting pressure on myself to create the" ]
[ "character that will join the players a few times as a hero. In", "villain. There's also a character that will join the players a few times", "some other hero/villain pairs that were made for one another? I can think", "There's also a character that will join the players a few times as", "what are some other hero/villain pairs that were made for one another? I", "I want to avoid putting just any old hero against any old villain.", "what I mean by made for one another, but I want to avoid", "D&D campaign and I'm at the point where I have to create a", "I have to create a villain. There's also a character that will join", "together isn't quite right either. Alternatively, what are some other hero/villain pairs that", "against any old villain. Simply mushing backstories together isn't quite right either. Alternatively,", "join the players a few times as a hero. In an attempt to", "feel like they were made for one another. What makes two characters, like", "describe what I mean by made for one another, but I want to", "feel made for one another? I'm not sure I can really describe what", "just any old hero against any old villain. Simply mushing backstories together isn't", "they were made for one another. What makes two characters, like a hero", "to feel like they were made for one another. What makes two characters,", "attempt to make them more memorable, I'd like the villain and the hero", "makes two characters, like a hero and a villain, feel made for one", "mushing backstories together isn't quite right either. Alternatively, what are some other hero/villain", "backstories together isn't quite right either. Alternatively, what are some other hero/villain pairs", "few times as a hero. In an attempt to make them more memorable,", "made for one another? I can think of Batman and the Joker as", "another. What makes two characters, like a hero and a villain, feel made", "old villain. Simply mushing backstories together isn't quite right either. Alternatively, what are", "for one another? I can think of Batman and the Joker as an", "the villain and the hero to feel like they were made for one", "avoid putting just any old hero against any old villain. Simply mushing backstories", "two characters, like a hero and a villain, feel made for one another?", "putting just any old hero against any old villain. Simply mushing backstories together", "the players a few times as a hero. In an attempt to make", "one another. What makes two characters, like a hero and a villain, feel", "I'm not sure I can really describe what I mean by made for", "villain, feel made for one another? I'm not sure I can really describe", "I mean by made for one another, but I want to avoid putting", "more memorable, I'd like the villain and the hero to feel like they", "players a few times as a hero. In an attempt to make them", "where I have to create a villain. There's also a character that will", "old hero against any old villain. Simply mushing backstories together isn't quite right", "for one another. What makes two characters, like a hero and a villain,", "to make them more memorable, I'd like the villain and the hero to", "campaign and I'm at the point where I have to create a villain.", "point where I have to create a villain. There's also a character that", "the hero to feel like they were made for one another. What makes", "times as a hero. In an attempt to make them more memorable, I'd", "to create a villain. There's also a character that will join the players", "the point where I have to create a villain. There's also a character", "make them more memorable, I'd like the villain and the hero to feel", "made for one another? I'm not sure I can really describe what I", "a hero and a villain, feel made for one another? I'm not sure", "Alternatively, what are some other hero/villain pairs that were made for one another?", "like they were made for one another. What makes two characters, like a", "one another, but I want to avoid putting just any old hero against", "I'd like the villain and the hero to feel like they were made", "a few times as a hero. In an attempt to make them more", "memorable, I'd like the villain and the hero to feel like they were", "as a hero. In an attempt to make them more memorable, I'd like", "hero. In an attempt to make them more memorable, I'd like the villain", "made for one another, but I want to avoid putting just any old", "characters, like a hero and a villain, feel made for one another? I'm", "I'm building a D&D campaign and I'm at the point where I have", "will join the players a few times as a hero. In an attempt", "like the villain and the hero to feel like they were made for", "to avoid putting just any old hero against any old villain. Simply mushing", "a villain, feel made for one another? I'm not sure I can really", "and the hero to feel like they were made for one another. What", "hero/villain pairs that were made for one another? I can think of Batman", "hero against any old villain. Simply mushing backstories together isn't quite right either.", "another, but I want to avoid putting just any old hero against any", "them more memorable, I'd like the villain and the hero to feel like", "villain and the hero to feel like they were made for one another.", "another? I can think of Batman and the Joker as an easy example.", "hero to feel like they were made for one another. What makes two", "any old villain. Simply mushing backstories together isn't quite right either. Alternatively, what", "villain. Simply mushing backstories together isn't quite right either. Alternatively, what are some", "an attempt to make them more memorable, I'd like the villain and the", "can really describe what I mean by made for one another, but I", "create a villain. There's also a character that will join the players a", "What makes two characters, like a hero and a villain, feel made for", "at the point where I have to create a villain. There's also a", "isn't quite right either. Alternatively, what are some other hero/villain pairs that were", "and I'm at the point where I have to create a villain. There's", "sure I can really describe what I mean by made for one another,", "any old hero against any old villain. Simply mushing backstories together isn't quite", "I'm at the point where I have to create a villain. There's also", "have to create a villain. There's also a character that will join the", "In an attempt to make them more memorable, I'd like the villain and", "one another? I'm not sure I can really describe what I mean by", "like a hero and a villain, feel made for one another? I'm not", "made for one another. What makes two characters, like a hero and a", "by made for one another, but I want to avoid putting just any", "a villain. There's also a character that will join the players a few", "I can really describe what I mean by made for one another, but", "but I want to avoid putting just any old hero against any old", "a D&D campaign and I'm at the point where I have to create", "that will join the players a few times as a hero. In an", "for one another, but I want to avoid putting just any old hero", "either. Alternatively, what are some other hero/villain pairs that were made for one", "Simply mushing backstories together isn't quite right either. Alternatively, what are some other", "for one another? I'm not sure I can really describe what I mean", "and a villain, feel made for one another? I'm not sure I can", "right either. Alternatively, what are some other hero/villain pairs that were made for", "really describe what I mean by made for one another, but I want", "building a D&D campaign and I'm at the point where I have to", "mean by made for one another, but I want to avoid putting just", "pairs that were made for one another? I can think of Batman and", "a hero. In an attempt to make them more memorable, I'd like the", "also a character that will join the players a few times as a", "were made for one another? I can think of Batman and the Joker", "were made for one another. What makes two characters, like a hero and", "quite right either. Alternatively, what are some other hero/villain pairs that were made", "one another? I can think of Batman and the Joker as an easy", "a character that will join the players a few times as a hero.", "not sure I can really describe what I mean by made for one", "other hero/villain pairs that were made for one another? I can think of", "another? I'm not sure I can really describe what I mean by made", "are some other hero/villain pairs that were made for one another? I can", "want to avoid putting just any old hero against any old villain. Simply", "that were made for one another? I can think of Batman and the", "hero and a villain, feel made for one another? I'm not sure I" ]
[ "once saying that at some points, it sounded like they were reading a", "being consistent with POV. Also, I got a note from a beta-reader once", "beta-reader once saying that at some points, it sounded like they were reading", "POV. Also, I got a note from a beta-reader once saying that at", "a note from a beta-reader once saying that at some points, it sounded", "in my stories and not always being consistent with POV. Also, I got", "often been accused of \"head-hopping\" in my stories and not always being consistent", "points, it sounded like they were reading a narrator's observations instead of the", "note from a beta-reader once saying that at some points, it sounded like", "got a note from a beta-reader once saying that at some points, it", "some points, it sounded like they were reading a narrator's observations instead of", "always being consistent with POV. Also, I got a note from a beta-reader", "from a beta-reader once saying that at some points, it sounded like they", "accused of \"head-hopping\" in my stories and not always being consistent with POV.", "I've often been accused of \"head-hopping\" in my stories and not always being", "saying that at some points, it sounded like they were reading a narrator's", "I got a note from a beta-reader once saying that at some points,", "sounded like they were reading a narrator's observations instead of the perspective character's.", "and not always being consistent with POV. Also, I got a note from", "at some points, it sounded like they were reading a narrator's observations instead", "been accused of \"head-hopping\" in my stories and not always being consistent with", "consistent with POV. Also, I got a note from a beta-reader once saying", "not always being consistent with POV. Also, I got a note from a", "with POV. Also, I got a note from a beta-reader once saying that", "Also, I got a note from a beta-reader once saying that at some", "my stories and not always being consistent with POV. Also, I got a", "that at some points, it sounded like they were reading a narrator's observations", "a beta-reader once saying that at some points, it sounded like they were", "of \"head-hopping\" in my stories and not always being consistent with POV. Also,", "\"head-hopping\" in my stories and not always being consistent with POV. Also, I", "stories and not always being consistent with POV. Also, I got a note", "it sounded like they were reading a narrator's observations instead of the perspective" ]
[ "because the anagonists discuss the fact that they have a spy, but it's", "reader the identity and getting them excited about figuring out how the traitor", "book 2) but they will not know who that traitor is until the", "\"tease\" at the end of book 1 by writing a scene that's designed", "the reader so that they know before the protagonists discover it. I'm struggling", "way I write this will affect much of how I write the traitor's", "point where the spy does something so overt that the protagonists will definitely", "not know who that traitor is until the end of Book 2. It's", "day, neither way I write this will affect much of how I write", "just with one choice, the reader knows who it is quite a while", "that reveals the traitor's identity to the reader so that they know before", "(they will find out at the beginning of book 2) but they will", "is a traior (they will find out at the beginning of book 2)", "to insult the reader with a \"tease\" at the end of book 1", "know before the protagonists discover it. I'm struggling to determine which is better.", "careful to leave a couple of hints here and there about who it", "overt that the protagonists will definitely know that someone is a traior (they", "so that it's not a huge surprise when the reveal is made. At", "to leave a couple of hints here and there about who it might", "the end of Book 2. It's actually a turning point for the spy", "protagonists discover it. I'm struggling to determine which is better. I know this", "the end of book one and leave the reader trying to figure out", "my own head! On the one hand, I think it would be nice", "to the reader so that they know before the protagonists discover it. I'm", "antagonist clearly knows who the person is. There is also some merit to", "that someone is a traior (they will find out at the beginning of", "out at the beginning of book 2) but they will not know who", "an opinion that is outside of my own head! On the one hand,", "with a \"tease\" at the end of book 1 by writing a scene", "to be a full on traitor and not just a passive spy who", "of Book 2. It's actually a turning point for the spy character where", "end of book one and leave the reader trying to figure out who", "along the way. On the other hand, I don't want to insult the", "identity (only confirm that it is someone the reader knows and possibly cares", "character-arc, it's just with one choice, the reader knows who it is quite", "of book 2) but they will not know who that traitor is until", "reader with a \"tease\" at the end of book 1 by writing a", "a full on traitor and not just a passive spy who occassionally gives", "am careful to leave a couple of hints here and there about who", "decide to be a full on traitor and not just a passive spy", "while before the characters. I keep going back and forth, and it's driving", "the end of book 1 by writing a scene that's designed to keep", "begin with, though I am careful to leave a couple of hints here", "write this will affect much of how I write the traitor's plot or", "a scene that's designed to keep the traitor's identity a secret even though", "even though the antagonist clearly knows who the person is. There is also", "the anagonists discuss the fact that they have a spy, but it's very", "confirm that it is someone the reader knows and possibly cares about) or", "character who is a traitor to the group of protagonists. The reader knows", "don't want to insult the reader with a \"tease\" at the end of", "the person is. There is also some merit to giving the reader the", "think it would be nice to only reveal that the traitor is part", "someone is a traior (they will find out at the beginning of book", "leave the reader trying to figure out who it is, while leaving even", "protagonists. At the end of the day, neither way I write this will", "observe. I could write this in such a way as to NOT reveal", "only reveal that the traitor is part of the protagonists' core circle at", "hand, I don't want to insult the reader with a \"tease\" at the", "reader knows from the beginner that there is a spy somewhere because the", "spy who occassionally gives the antagonists tips but does little more. The overt", "the beginner that there is a spy somewhere because the anagonists discuss the", "where they decide to be a full on traitor and not just a", "write it in a way that reveals the traitor's identity to the reader", "knows from the beginner that there is a spy somewhere because the anagonists", "three book, fantasy series, I have a character who is a traitor to", "On the one hand, I think it would be nice to only reveal", "or character-arc, it's just with one choice, the reader knows who it is", "It's actually a turning point for the spy character where they decide to", "the identity and getting them excited about figuring out how the traitor will", "the reader trying to figure out who it is, while leaving even more", "up and reveal himself to the protagonists. At the end of the day,", "one hand, I think it would be nice to only reveal that the", "as to NOT reveal the traitor's identity (only confirm that it is someone", "end of Book 1 there's a turning point where the spy does something", "of protagonists. The reader knows from the beginner that there is a spy", "be nice to only reveal that the traitor is part of the protagonists'", "the reader with a \"tease\" at the end of book 1 by writing", "and getting them excited about figuring out how the traitor will slip up", "the protagonists will definitely know that someone is a traior (they will find", "protagonists. The reader knows from the beginner that there is a spy somewhere", "At the end of the day, neither way I write this will affect", "of how I write the traitor's plot or character-arc, it's just with one", "about figuring out how the traitor will slip up and reveal himself to", "a spy, but it's very nebulous to begin with, though I am careful", "book, fantasy series, I have a character who is a traitor to the", "I think it would be nice to only reveal that the traitor is", "where the spy does something so overt that the protagonists will definitely know", "the traitor's identity (only confirm that it is someone the reader knows and", "NOT reveal the traitor's identity (only confirm that it is someone the reader", "Book 2. It's actually a turning point for the spy character where they", "physically meeting with the antagonist for the reader to observe. I could write", "is made. At the end of Book 1 there's a turning point where", "nice to only reveal that the traitor is part of the protagonists' core", "who it might be so that it's not a huge surprise when the", "end of book 1 by writing a scene that's designed to keep the", "traitor's identity (only confirm that it is someone the reader knows and possibly", "will slip up and reveal himself to the protagonists. At the end of", "character where they decide to be a full on traitor and not just", "will affect much of how I write the traitor's plot or character-arc, it's", "before the characters. I keep going back and forth, and it's driving me", "book 1 by writing a scene that's designed to keep the traitor's identity", "misdirects along the way. On the other hand, I don't want to insult", "and leave the reader trying to figure out who it is, while leaving", "about) or I could write it in a way that reveals the traitor's", "On the other hand, I don't want to insult the reader with a", "which is better. I know this is subjective but I'd still like advice", "identity and getting them excited about figuring out how the traitor will slip", "know who that traitor is until the end of Book 2. It's actually", "will definitely know that someone is a traior (they will find out at", "this in such a way as to NOT reveal the traitor's identity (only", "is until the end of Book 2. It's actually a turning point for", "reader knows and possibly cares about) or I could write it in a", "the way. On the other hand, I don't want to insult the reader", "this is subjective but I'd still like advice or an opinion that is", "spy does something so overt that the protagonists will definitely know that someone", "is, while leaving even more overt clues / misdirects along the way. On", "the protagonists discover it. I'm struggling to determine which is better. I know", "beginning of book 2) but they will not know who that traitor is", "own head! On the one hand, I think it would be nice to", "to the protagonists. At the end of the day, neither way I write", "out who it is, while leaving even more overt clues / misdirects along", "antagonists tips but does little more. The overt action involves the traitor physically", "even more overt clues / misdirects along the way. On the other hand,", "the other hand, I don't want to insult the reader with a \"tease\"", "determine which is better. I know this is subjective but I'd still like", "for the spy character where they decide to be a full on traitor", "traitor will slip up and reveal himself to the protagonists. At the end", "very nebulous to begin with, though I am careful to leave a couple", "choice, the reader knows who it is quite a while before the characters.", "figuring out how the traitor will slip up and reveal himself to the", "leave a couple of hints here and there about who it might be", "identity to the reader so that they know before the protagonists discover it.", "definitely know that someone is a traior (they will find out at the", "2. It's actually a turning point for the spy character where they decide", "writing a scene that's designed to keep the traitor's identity a secret even", "person is. There is also some merit to giving the reader the identity", "that it is someone the reader knows and possibly cares about) or I", "the traitor's identity a secret even though the antagonist clearly knows who the", "who it is quite a while before the characters. I keep going back", "At the end of Book 1 there's a turning point where the spy", "will not know who that traitor is until the end of Book 2.", "the traitor's plot or character-arc, it's just with one choice, the reader knows", "who that traitor is until the end of Book 2. It's actually a", "the traitor physically meeting with the antagonist for the reader to observe. I", "is someone the reader knows and possibly cares about) or I could write", "knows and possibly cares about) or I could write it in a way", "core circle at the end of book one and leave the reader trying", "like advice or an opinion that is outside of my own head! On", "I have a character who is a traitor to the group of protagonists.", "that the traitor is part of the protagonists' core circle at the end", "way. 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The", "reader trying to figure out who it is, while leaving even more overt", "the end of the day, neither way I write this will affect much", "and possibly cares about) or I could write it in a way that", "book one and leave the reader trying to figure out who it is,", "identity a secret even though the antagonist clearly knows who the person is.", "reader so that they know before the protagonists discover it. I'm struggling to", "head! On the one hand, I think it would be nice to only", "is a spy somewhere because the anagonists discuss the fact that they have", "with the antagonist for the reader to observe. I could write this in", "possibly cares about) or I could write it in a way that reveals", "not a huge surprise when the reveal is made. At the end of", "involves the traitor physically meeting with the antagonist for the reader to observe.", "excited about figuring out how the traitor will slip up and reveal himself", "it's not a huge surprise when the reveal is made. At the end", "advice or an opinion that is outside of my own head! On the", "secret even though the antagonist clearly knows who the person is. There is", "protagonists will definitely know that someone is a traior (they will find out", "to NOT reveal the traitor's identity (only confirm that it is someone the", "find out at the beginning of book 2) but they will not know", "of book one and leave the reader trying to figure out who it", "someone the reader knows and possibly cares about) or I could write it", "and reveal himself to the protagonists. At the end of the day, neither", "fantasy series, I have a character who is a traitor to the group", "could write it in a way that reveals the traitor's identity to the", "leaving even more overt clues / misdirects along the way. On the other", "this will affect much of how I write the traitor's plot or character-arc,", "at the beginning of book 2) but they will not know who that", "at the end of book one and leave the reader trying to figure", "and there about who it might be so that it's not a huge", "couple of hints here and there about who it might be so that", "it is someone the reader knows and possibly cares about) or I could", "that it's not a huge surprise when the reveal is made. At the", "is quite a while before the characters. I keep going back and forth,", "spy character where they decide to be a full on traitor and not", "a couple of hints here and there about who it might be so", "tips but does little more. The overt action involves the traitor physically meeting", "In my three book, fantasy series, I have a character who is a", "is a traitor to the group of protagonists. The reader knows from the", "they will not know who that traitor is until the end of Book", "and not just a passive spy who occassionally gives the antagonists tips but", "part of the protagonists' core circle at the end of book one and", "with one choice, the reader knows who it is quite a while before", "or an opinion that is outside of my own head! On the one", "be a full on traitor and not just a passive spy who occassionally", "the spy character where they decide to be a full on traitor and", "traitor is part of the protagonists' core circle at the end of book", "the antagonist clearly knows who the person is. There is also some merit", "huge surprise when the reveal is made. At the end of Book 1", "gives the antagonists tips but does little more. The overt action involves the", "knows who it is quite a while before the characters. I keep going", "turning point where the spy does something so overt that the protagonists will", "of the protagonists' core circle at the end of book one and leave", "here and there about who it might be so that it's not a", "write the traitor's plot or character-arc, it's just with one choice, the reader", "in such a way as to NOT reveal the traitor's identity (only confirm", "also some merit to giving the reader the identity and getting them excited", "the antagonist for the reader to observe. I could write this in such", "hand, I think it would be nice to only reveal that the traitor", "traitor and not just a passive spy who occassionally gives the antagonists tips", "but it's very nebulous to begin with, though I am careful to leave", "traitor physically meeting with the antagonist for the reader to observe. I could", "overt action involves the traitor physically meeting with the antagonist for the reader", "beginner that there is a spy somewhere because the anagonists discuss the fact", "anagonists discuss the fact that they have a spy, but it's very nebulous", "the one hand, I think it would be nice to only reveal that", "a spy somewhere because the anagonists discuss the fact that they have a", "fact that they have a spy, but it's very nebulous to begin with,", "it in a way that reveals the traitor's identity to the reader so", "the spy does something so overt that the protagonists will definitely know that", "to figure out who it is, while leaving even more overt clues /", "I'd still like advice or an opinion that is outside of my own", "reveal himself to the protagonists. At the end of the day, neither way", "cares about) or I could write it in a way that reveals the", "a turning point where the spy does something so overt that the protagonists", "traitor's identity to the reader so that they know before the protagonists discover", "there about who it might be so that it's not a huge surprise", "scene that's designed to keep the traitor's identity a secret even though the", "but they will not know who that traitor is until the end of", "clearly knows who the person is. There is also some merit to giving", "There is also some merit to giving the reader the identity and getting", "the reveal is made. At the end of Book 1 there's a turning", "could write this in such a way as to NOT reveal the traitor's", "that they have a spy, but it's very nebulous to begin with, though", "of Book 1 there's a turning point where the spy does something so", "traitor to the group of protagonists. The reader knows from the beginner that", "/ misdirects along the way. 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I know this is subjective but I'd still", "reader knows who it is quite a while before the characters. I keep", "they decide to be a full on traitor and not just a passive", "a traior (they will find out at the beginning of book 2) but", "out how the traitor will slip up and reveal himself to the protagonists.", "the group of protagonists. The reader knows from the beginner that there is", "that's designed to keep the traitor's identity a secret even though the antagonist", "to the group of protagonists. The reader knows from the beginner that there", "group of protagonists. The reader knows from the beginner that there is a", "overt clues / misdirects along the way. On the other hand, I don't", "himself to the protagonists. At the end of the day, neither way I", "some merit to giving the reader the identity and getting them excited about", "it might be so that it's not a huge surprise when the reveal", "who the person is. There is also some merit to giving the reader", "it. I'm struggling to determine which is better. I know this is subjective", "by writing a scene that's designed to keep the traitor's identity a secret", "them excited about figuring out how the traitor will slip up and reveal", "hints here and there about who it might be so that it's not", "that the protagonists will definitely know that someone is a traior (they will", "for the reader to observe. I could write this in such a way", "reveal that the traitor is part of the protagonists' core circle at the", "will find out at the beginning of book 2) but they will not", "struggling to determine which is better. I know this is subjective but I'd", "to begin with, though I am careful to leave a couple of hints", "that is outside of my own head! On the one hand, I think", "the reader the identity and getting them excited about figuring out how the", "1 by writing a scene that's designed to keep the traitor's identity a", "when the reveal is made. At the end of Book 1 there's a", "but I'd still like advice or an opinion that is outside of my", "is. There is also some merit to giving the reader the identity and", "one choice, the reader knows who it is quite a while before the", "how I write the traitor's plot or character-arc, it's just with one choice,", "such a way as to NOT reveal the traitor's identity (only confirm that", "passive spy who occassionally gives the antagonists tips but does little more. The", "the protagonists' core circle at the end of book one and leave the", "keep the traitor's identity a secret even though the antagonist clearly knows who", "a while before the characters. I keep going back and forth, and it's", "neither way I write this will affect much of how I write the", "write this in such a way as to NOT reveal the traitor's identity", "a secret even though the antagonist clearly knows who the person is. There", "about who it might be so that it's not a huge surprise when", "on traitor and not just a passive spy who occassionally gives the antagonists", "opinion that is outside of my own head! On the one hand, I", "who is a traitor to the group of protagonists. The reader knows from", "1 there's a turning point where the spy does something so overt that", "but does little more. The overt action involves the traitor physically meeting with", "of book 1 by writing a scene that's designed to keep the traitor's", "full on traitor and not just a passive spy who occassionally gives the", "made. At the end of Book 1 there's a turning point where the", "reader to observe. I could write this in such a way as to", "Book 1 there's a turning point where the spy does something so overt", "not just a passive spy who occassionally gives the antagonists tips but does", "the antagonists tips but does little more. The overt action involves the traitor", "knows who the person is. There is also some merit to giving the", "the traitor's identity to the reader so that they know before the protagonists", "2) but they will not know who that traitor is until the end", "my three book, fantasy series, I have a character who is a traitor", "the reader to observe. I could write this in such a way as", "spy somewhere because the anagonists discuss the fact that they have a spy,", "the traitor will slip up and reveal himself to the protagonists. At the", "does little more. The overt action involves the traitor physically meeting with the", "reveal the traitor's identity (only confirm that it is someone the reader knows", "the characters. I keep going back and forth, and it's driving me nuts.", "to keep the traitor's identity a secret even though the antagonist clearly knows", "actually a turning point for the spy character where they decide to be", "reveal is made. At the end of Book 1 there's a turning point", "want to insult the reader with a \"tease\" at the end of book", "point for the spy character where they decide to be a full on", "The reader knows from the beginner that there is a spy somewhere because", "a \"tease\" at the end of book 1 by writing a scene that's", "just a passive spy who occassionally gives the antagonists tips but does little", "other hand, I don't want to insult the reader with a \"tease\" at", "more overt clues / misdirects along the way. On the other hand, I", "in a way that reveals the traitor's identity to the reader so that", "(only confirm that it is someone the reader knows and possibly cares about)", "the day, neither way I write this will affect much of how I", "occassionally gives the antagonists tips but does little more. The overt action involves", "a turning point for the spy character where they decide to be a", "series, I have a character who is a traitor to the group of", "discuss the fact that they have a spy, but it's very nebulous to", "antagonist for the reader to observe. I could write this in such a", "reveals the traitor's identity to the reader so that they know before the", "is also some merit to giving the reader the identity and getting them", "I write the traitor's plot or character-arc, it's just with one choice, the", "more. The overt action involves the traitor physically meeting with the antagonist for", "I'm struggling to determine which is better. I know this is subjective but", "figure out who it is, while leaving even more overt clues / misdirects", "way that reveals the traitor's identity to the reader so that they know", "of hints here and there about who it might be so that it's", "The overt action involves the traitor physically meeting with the antagonist for the", "to observe. I could write this in such a way as to NOT", "circle at the end of book one and leave the reader trying to", "the reader knows and possibly cares about) or I could write it in", "though the antagonist clearly knows who the person is. There is also some", "nebulous to begin with, though I am careful to leave a couple of", "that traitor is until the end of Book 2. It's actually a turning", "a huge surprise when the reveal is made. At the end of Book", "it is, while leaving even more overt clues / misdirects along the way.", "I am careful to leave a couple of hints here and there about", "who it is, while leaving even more overt clues / misdirects along the", "with, though I am careful to leave a couple of hints here and", "might be so that it's not a huge surprise when the reveal is", "while leaving even more overt clues / misdirects along the way. On the", "of the day, neither way I write this will affect much of how", "the beginning of book 2) but they will not know who that traitor", "way as to NOT reveal the traitor's identity (only confirm that it is", "know this is subjective but I'd still like advice or an opinion that", "how the traitor will slip up and reveal himself to the protagonists. At", "still like advice or an opinion that is outside of my own head!", "end of the day, neither way I write this will affect much of", "it would be nice to only reveal that the traitor is part of", "a passive spy who occassionally gives the antagonists tips but does little more.", "from the beginner that there is a spy somewhere because the anagonists discuss", "is better. I know this is subjective but I'd still like advice or", "the end of Book 1 there's a turning point where the spy does", "is outside of my own head! On the one hand, I think it", "subjective but I'd still like advice or an opinion that is outside of", "of my own head! On the one hand, I think it would be", "there is a spy somewhere because the anagonists discuss the fact that they", "be so that it's not a huge surprise when the reveal is made.", "it's just with one choice, the reader knows who it is quite a", "it is quite a while before the characters. I keep going back and", "that they know before the protagonists discover it. I'm struggling to determine which", "surprise when the reveal is made. At the end of Book 1 there's", "at the end of book 1 by writing a scene that's designed to", "the traitor is part of the protagonists' core circle at the end of", "traitor's identity a secret even though the antagonist clearly knows who the person", "somewhere because the anagonists discuss the fact that they have a spy, but", "slip up and reveal himself to the protagonists. At the end of the", "they have a spy, but it's very nebulous to begin with, though I", "does something so overt that the protagonists will definitely know that someone is", "giving the reader the identity and getting them excited about figuring out how", "is part of the protagonists' core circle at the end of book one", "a way that reveals the traitor's identity to the reader so that they", "a character who is a traitor to the group of protagonists. The reader", "the fact that they have a spy, but it's very nebulous to begin", "traitor is until the end of Book 2. It's actually a turning point", "know that someone is a traior (they will find out at the beginning", "so that they know before the protagonists discover it. I'm struggling to determine", "trying to figure out who it is, while leaving even more overt clues", "who occassionally gives the antagonists tips but does little more. The overt action", "turning point for the spy character where they decide to be a full", "clues / misdirects along the way. On the other hand, I don't want", "the protagonists. At the end of the day, neither way I write this", "before the protagonists discover it. I'm struggling to determine which is better. I", "is subjective but I'd still like advice or an opinion that is outside", "I know this is subjective but I'd still like advice or an opinion", "plot or character-arc, it's just with one choice, the reader knows who it", "better. I know this is subjective but I'd still like advice or an", "affect much of how I write the traitor's plot or character-arc, it's just", "so overt that the protagonists will definitely know that someone is a traior", "end of Book 2. It's actually a turning point for the spy character", "until the end of Book 2. It's actually a turning point for the", "they know before the protagonists discover it. I'm struggling to determine which is", "have a spy, but it's very nebulous to begin with, though I am", "spy, but it's very nebulous to begin with, though I am careful to", "traior (they will find out at the beginning of book 2) but they", "meeting with the antagonist for the reader to observe. I could write this", "designed to keep the traitor's identity a secret even though the antagonist clearly", "much of how I write the traitor's plot or character-arc, it's just with", "I could write this in such a way as to NOT reveal the", "discover it. I'm struggling to determine which is better. I know this is", "traitor's plot or character-arc, it's just with one choice, the reader knows who", "though I am careful to leave a couple of hints here and there", "to giving the reader the identity and getting them excited about figuring out" ]
[ "How can I find a good balance? How can I provide variety, but", "words novel, we remove the introduction and the conclusion, and that gives around", "the reader suspect each of the five characters at least once. In principle,", "multiple times. There is however a diminishing return such that after a few", "that a certain character was accused. Also, in a 50k words novel, we", "circles and make each character fall under suspicion multiple times. There is however", "few times the reader may lose interest, or not find it as compelling", "accuse them once, then these 7k words are roughly the space to discuss", "each character fall under suspicion multiple times. There is however a diminishing return", "In the absurd case of each being accused ten times, each time takes", "making the reader suspect each of the five characters at least once. In", "being accused ten times, each time takes around 700 words, which seems too", "such that after a few times the reader may lose interest, or not", "reader suspect each of the five characters at least once. In principle, one", "moves from red herring to red herring, making the reader suspect each of", "in circles and make each character fall under suspicion multiple times. There is", "accused. Also, in a 50k words novel, we remove the introduction and the", "50k words novel, we remove the introduction and the conclusion, and that gives", "700 words, which seems too little. How can I find a good balance?", "and dismantle that. In the absurd case of each being accused ten times,", "I find a good balance? How can I provide variety, but not become", "There is however a diminishing return such that after a few times the", "find it as compelling as the first time that a certain character was", "certain character was accused. Also, in a 50k words novel, we remove the", "the first time that a certain character was accused. Also, in a 50k", "in a 50k words novel, we remove the introduction and the conclusion, and", "as compelling as the first time that a certain character was accused. Also,", "least once. In principle, one could go in circles and make each character", "not find it as compelling as the first time that a certain character", "focus of all suspicions. If we accuse them once, then these 7k words", "around 7k words for each character to become the focus of all suspicions.", "to become the focus of all suspicions. If we accuse them once, then", "each time takes around 700 words, which seems too little. How can I", "of all suspicions. If we accuse them once, then these 7k words are", "principle, one could go in circles and make each character fall under suspicion", "diminishing return such that after a few times the reader may lose interest,", "evidence against them and dismantle that. In the absurd case of each being", "that after a few times the reader may lose interest, or not find", "Also, in a 50k words novel, we remove the introduction and the conclusion,", "remove the introduction and the conclusion, and that gives around 7k words for", "once, then these 7k words are roughly the space to discuss the evidence", "or not find it as compelling as the first time that a certain", "is however a diminishing return such that after a few times the reader", "a few times the reader may lose interest, or not find it as", "was accused. Also, in a 50k words novel, we remove the introduction and", "and the conclusion, and that gives around 7k words for each character to", "times, each time takes around 700 words, which seems too little. How can", "become the focus of all suspicions. If we accuse them once, then these", "time takes around 700 words, which seems too little. How can I find", "character was accused. Also, in a 50k words novel, we remove the introduction", "five characters at least once. In principle, one could go in circles and", "suspect each of the five characters at least once. In principle, one could", "each of the five characters at least once. In principle, one could go", "In principle, one could go in circles and make each character fall under", "for each character to become the focus of all suspicions. If we accuse", "The plot moves from red herring to red herring, making the reader suspect", "can I find a good balance? How can I provide variety, but not", "herring to red herring, making the reader suspect each of the five characters", "words, which seems too little. How can I find a good balance? How", "could go in circles and make each character fall under suspicion multiple times.", "find a good balance? How can I provide variety, but not become superficial", "go in circles and make each character fall under suspicion multiple times. There", "the five characters at least once. In principle, one could go in circles", "to discuss the evidence against them and dismantle that. In the absurd case", "a 50k words novel, we remove the introduction and the conclusion, and that", "and make each character fall under suspicion multiple times. There is however a", "lose interest, or not find it as compelling as the first time that", "takes around 700 words, which seems too little. How can I find a", "then these 7k words are roughly the space to discuss the evidence against", "roughly the space to discuss the evidence against them and dismantle that. In", "each character to become the focus of all suspicions. If we accuse them", "words are roughly the space to discuss the evidence against them and dismantle", "of each being accused ten times, each time takes around 700 words, which", "a good balance? How can I provide variety, but not become superficial (and", "red herring, making the reader suspect each of the five characters at least", "one could go in circles and make each character fall under suspicion multiple", "of the five characters at least once. In principle, one could go in", "character to become the focus of all suspicions. If we accuse them once,", "reader may lose interest, or not find it as compelling as the first", "each being accused ten times, each time takes around 700 words, which seems", "plot moves from red herring to red herring, making the reader suspect each", "may lose interest, or not find it as compelling as the first time", "dismantle that. In the absurd case of each being accused ten times, each", "the introduction and the conclusion, and that gives around 7k words for each", "around 700 words, which seems too little. How can I find a good", "suspicions. If we accuse them once, then these 7k words are roughly the", "of five suspects. The plot moves from red herring to red herring, making", "too little. How can I find a good balance? How can I provide", "interest, or not find it as compelling as the first time that a", "the reader may lose interest, or not find it as compelling as the", "suspects. The plot moves from red herring to red herring, making the reader", "variety, but not become superficial (and keeping the total length of the novel", "7k words are roughly the space to discuss the evidence against them and", "a diminishing return such that after a few times the reader may lose", "them once, then these 7k words are roughly the space to discuss the", "that gives around 7k words for each character to become the focus of", "characters at least once. In principle, one could go in circles and make", "compelling as the first time that a certain character was accused. Also, in", "not become superficial (and keeping the total length of the novel to a", "to red herring, making the reader suspect each of the five characters at", "suspicion multiple times. There is however a diminishing return such that after a", "red herring to red herring, making the reader suspect each of the five", "at least once. In principle, one could go in circles and make each", "time that a certain character was accused. Also, in a 50k words novel,", "ten times, each time takes around 700 words, which seems too little. How", "space to discuss the evidence against them and dismantle that. In the absurd", "we accuse them once, then these 7k words are roughly the space to", "that. In the absurd case of each being accused ten times, each time", "the focus of all suspicions. If we accuse them once, then these 7k", "which seems too little. How can I find a good balance? How can", "after a few times the reader may lose interest, or not find it", "7k words for each character to become the focus of all suspicions. If", "provide variety, but not become superficial (and keeping the total length of the", "a cast of five suspects. The plot moves from red herring to red", "five suspects. The plot moves from red herring to red herring, making the", "novel with a cast of five suspects. The plot moves from red herring", "from red herring to red herring, making the reader suspect each of the", "introduction and the conclusion, and that gives around 7k words for each character", "the evidence against them and dismantle that. In the absurd case of each", "under suspicion multiple times. There is however a diminishing return such that after", "times the reader may lose interest, or not find it as compelling as", "character fall under suspicion multiple times. There is however a diminishing return such", "a certain character was accused. Also, in a 50k words novel, we remove", "If we accuse them once, then these 7k words are roughly the space", "How can I provide variety, but not become superficial (and keeping the total", "superficial (and keeping the total length of the novel to a reasonable size)?", "are roughly the space to discuss the evidence against them and dismantle that.", "conclusion, and that gives around 7k words for each character to become the", "the space to discuss the evidence against them and dismantle that. In the", "cast of five suspects. The plot moves from red herring to red herring,", "seems too little. How can I find a good balance? How can I", "fall under suspicion multiple times. There is however a diminishing return such that", "once. In principle, one could go in circles and make each character fall", "Mystery novel with a cast of five suspects. The plot moves from red", "however a diminishing return such that after a few times the reader may", "but not become superficial (and keeping the total length of the novel to", "can I provide variety, but not become superficial (and keeping the total length", "first time that a certain character was accused. Also, in a 50k words", "the conclusion, and that gives around 7k words for each character to become", "and that gives around 7k words for each character to become the focus", "discuss the evidence against them and dismantle that. In the absurd case of", "with a cast of five suspects. The plot moves from red herring to", "the absurd case of each being accused ten times, each time takes around", "accused ten times, each time takes around 700 words, which seems too little.", "I provide variety, but not become superficial (and keeping the total length of", "times. There is however a diminishing return such that after a few times", "herring, making the reader suspect each of the five characters at least once.", "it as compelling as the first time that a certain character was accused.", "these 7k words are roughly the space to discuss the evidence against them", "become superficial (and keeping the total length of the novel to a reasonable", "we remove the introduction and the conclusion, and that gives around 7k words", "against them and dismantle that. In the absurd case of each being accused", "them and dismantle that. In the absurd case of each being accused ten", "all suspicions. If we accuse them once, then these 7k words are roughly", "little. How can I find a good balance? How can I provide variety,", "good balance? How can I provide variety, but not become superficial (and keeping", "gives around 7k words for each character to become the focus of all", "case of each being accused ten times, each time takes around 700 words,", "return such that after a few times the reader may lose interest, or", "novel, we remove the introduction and the conclusion, and that gives around 7k", "as the first time that a certain character was accused. Also, in a", "absurd case of each being accused ten times, each time takes around 700", "words for each character to become the focus of all suspicions. If we", "balance? How can I provide variety, but not become superficial (and keeping the", "make each character fall under suspicion multiple times. There is however a diminishing" ]
[ "moral. I don't want to accept that when \"Gods have punished the hero", "loves\". However, as an experiment, I'd like not to limit my story to", "other writers would consider a worthy continuation/follow-on from the moral described above, without", "would consider a worthy continuation/follow-on from the moral described above, without it feeling", "to improve his life by exploiting a higher power, however, the angry Gods", "moral described above, without it feeling too inconsistent or jarring to the reader.", "angry Gods don't just punish the hero, they extend their wrath to everyone", "his life by exploiting a higher power, however, the angry Gods don't just", "the hero, they extend their wrath to everyone the hero touches, including those", "extended their wrath to everyone he loves\" that that's the end of the", "I only want to treat it as half of the story. I'm curious", "I have an idea, fiction, which uses the following moral: \"Young, fallible hero", "to accept that when \"Gods have punished the hero and extended their wrath", "idea, fiction, which uses the following moral: \"Young, fallible hero seeks to improve", "and explore it as a piece of fiction, but I only want to", "power, however, the angry Gods don't just punish the hero, they extend their", "accept that when \"Gods have punished the hero and extended their wrath to", "is. I want to keep the original moral, and explore it as a", "one moral. I don't want to accept that when \"Gods have punished the", "and extended their wrath to everyone he loves\" that that's the end of", "the moral described above, without it feeling too inconsistent or jarring to the", "how bleak it is. I want to keep the original moral, and explore", "seeks to improve his life by exploiting a higher power, however, the angry", "wrath to everyone he loves\" that that's the end of the story, despite", "have an idea, fiction, which uses the following moral: \"Young, fallible hero seeks", "to everyone he loves\" that that's the end of the story, despite how", "everyone he loves\" that that's the end of the story, despite how bleak", "that's the end of the story, despite how bleak it is. I want", "explore it as a piece of fiction, but I only want to treat", "it as half of the story. I'm curious to know what other writers", "to treat it as half of the story. I'm curious to know what", "have punished the hero and extended their wrath to everyone he loves\" that", "he loves\". However, as an experiment, I'd like not to limit my story", "I want to keep the original moral, and explore it as a piece", "Gods don't just punish the hero, they extend their wrath to everyone the", "exploiting a higher power, however, the angry Gods don't just punish the hero,", "touches, including those he loves\". However, as an experiment, I'd like not to", "not to limit my story to this one moral. I don't want to", "want to treat it as half of the story. I'm curious to know", "punished the hero and extended their wrath to everyone he loves\" that that's", "improve his life by exploiting a higher power, however, the angry Gods don't", "of the story. I'm curious to know what other writers would consider a", "uses the following moral: \"Young, fallible hero seeks to improve his life by", "extend their wrath to everyone the hero touches, including those he loves\". However,", "a higher power, however, the angry Gods don't just punish the hero, they", "the angry Gods don't just punish the hero, they extend their wrath to", "moral, and explore it as a piece of fiction, but I only want", "to limit my story to this one moral. I don't want to accept", "don't want to accept that when \"Gods have punished the hero and extended", "want to accept that when \"Gods have punished the hero and extended their", "end of the story, despite how bleak it is. I want to keep", "half of the story. I'm curious to know what other writers would consider", "hero, they extend their wrath to everyone the hero touches, including those he", "know what other writers would consider a worthy continuation/follow-on from the moral described", "\"Gods have punished the hero and extended their wrath to everyone he loves\"", "experiment, I'd like not to limit my story to this one moral. I", "story to this one moral. I don't want to accept that when \"Gods", "bleak it is. I want to keep the original moral, and explore it", "fallible hero seeks to improve his life by exploiting a higher power, however,", "this one moral. I don't want to accept that when \"Gods have punished", "continuation/follow-on from the moral described above, without it feeling too inconsistent or jarring", "they extend their wrath to everyone the hero touches, including those he loves\".", "the following moral: \"Young, fallible hero seeks to improve his life by exploiting", "worthy continuation/follow-on from the moral described above, without it feeling too inconsistent or", "he loves\" that that's the end of the story, despite how bleak it", "story. I'm curious to know what other writers would consider a worthy continuation/follow-on", "I'd like not to limit my story to this one moral. I don't", "of fiction, but I only want to treat it as half of the", "what other writers would consider a worthy continuation/follow-on from the moral described above,", "of the story, despite how bleak it is. I want to keep the", "a worthy continuation/follow-on from the moral described above, without it feeling too inconsistent", "as a piece of fiction, but I only want to treat it as", "despite how bleak it is. I want to keep the original moral, and", "it is. I want to keep the original moral, and explore it as", "However, as an experiment, I'd like not to limit my story to this", "everyone the hero touches, including those he loves\". However, as an experiment, I'd", "fiction, which uses the following moral: \"Young, fallible hero seeks to improve his", "that that's the end of the story, despite how bleak it is. I", "an idea, fiction, which uses the following moral: \"Young, fallible hero seeks to", "limit my story to this one moral. I don't want to accept that", "following moral: \"Young, fallible hero seeks to improve his life by exploiting a", "piece of fiction, but I only want to treat it as half of", "higher power, however, the angry Gods don't just punish the hero, they extend", "like not to limit my story to this one moral. I don't want", "wrath to everyone the hero touches, including those he loves\". However, as an", "which uses the following moral: \"Young, fallible hero seeks to improve his life", "don't just punish the hero, they extend their wrath to everyone the hero", "the hero and extended their wrath to everyone he loves\" that that's the", "as an experiment, I'd like not to limit my story to this one", "that when \"Gods have punished the hero and extended their wrath to everyone", "keep the original moral, and explore it as a piece of fiction, but", "life by exploiting a higher power, however, the angry Gods don't just punish", "the hero touches, including those he loves\". However, as an experiment, I'd like", "from the moral described above, without it feeling too inconsistent or jarring to", "to this one moral. I don't want to accept that when \"Gods have", "their wrath to everyone he loves\" that that's the end of the story,", "a piece of fiction, but I only want to treat it as half", "loves\" that that's the end of the story, despite how bleak it is.", "the end of the story, despite how bleak it is. I want to", "treat it as half of the story. I'm curious to know what other", "just punish the hero, they extend their wrath to everyone the hero touches,", "moral: \"Young, fallible hero seeks to improve his life by exploiting a higher", "but I only want to treat it as half of the story. I'm", "curious to know what other writers would consider a worthy continuation/follow-on from the", "an experiment, I'd like not to limit my story to this one moral.", "hero touches, including those he loves\". However, as an experiment, I'd like not", "the original moral, and explore it as a piece of fiction, but I", "to keep the original moral, and explore it as a piece of fiction,", "it as a piece of fiction, but I only want to treat it", "original moral, and explore it as a piece of fiction, but I only", "only want to treat it as half of the story. I'm curious to", "fiction, but I only want to treat it as half of the story.", "\"Young, fallible hero seeks to improve his life by exploiting a higher power,", "I'm curious to know what other writers would consider a worthy continuation/follow-on from", "to everyone the hero touches, including those he loves\". However, as an experiment,", "as half of the story. I'm curious to know what other writers would", "to know what other writers would consider a worthy continuation/follow-on from the moral", "punish the hero, they extend their wrath to everyone the hero touches, including", "their wrath to everyone the hero touches, including those he loves\". However, as", "the story, despite how bleak it is. I want to keep the original", "writers would consider a worthy continuation/follow-on from the moral described above, without it", "by exploiting a higher power, however, the angry Gods don't just punish the", "consider a worthy continuation/follow-on from the moral described above, without it feeling too", "the story. I'm curious to know what other writers would consider a worthy", "however, the angry Gods don't just punish the hero, they extend their wrath", "hero and extended their wrath to everyone he loves\" that that's the end", "want to keep the original moral, and explore it as a piece of", "including those he loves\". However, as an experiment, I'd like not to limit", "I don't want to accept that when \"Gods have punished the hero and", "story, despite how bleak it is. I want to keep the original moral,", "those he loves\". However, as an experiment, I'd like not to limit my", "hero seeks to improve his life by exploiting a higher power, however, the", "when \"Gods have punished the hero and extended their wrath to everyone he", "my story to this one moral. I don't want to accept that when" ]
[ "In a comic panel, how do you show your readers that the voice", "italics, do you use bold characters? And how do you write this in", "a different font, do you use italics, do you use bold characters? And", "you should do when the character or a character hears a voice from", "do you show your readers that the voice is heard within? Do you", "not sure what you should do when the character or a character hears", "characters? And how do you write this in a comic book script? I", "and then BOB: to refer to what people say, but I am not", "to what people say, but I am not sure what you should do", "of box and then BOB: to refer to what people say, but I", "box and then BOB: to refer to what people say, but I am", "am not sure what you should do when the character or a character", "your readers that the voice is heard within? Do you use a different", "should do when the character or a character hears a voice from the", "inside of box and then BOB: to refer to what people say, but", "comic panel, how do you show your readers that the voice is heard", "say, but I am not sure what you should do when the character", "you show your readers that the voice is heard within? Do you use", "I saw people use BOX: to refer to descriptions inside of box and", "in a comic book script? I saw people use BOX: to refer to", "book script? I saw people use BOX: to refer to descriptions inside of", "the voice is heard within? Do you use a different font, do you", "script? I saw people use BOX: to refer to descriptions inside of box", "what you should do when the character or a character hears a voice", "to refer to descriptions inside of box and then BOB: to refer to", "voice is heard within? Do you use a different font, do you use", "sure what you should do when the character or a character hears a", "but I am not sure what you should do when the character or", "do you use bold characters? And how do you write this in a", "people say, but I am not sure what you should do when the", "do you use italics, do you use bold characters? And how do you", "saw people use BOX: to refer to descriptions inside of box and then", "how do you show your readers that the voice is heard within? Do", "you write this in a comic book script? I saw people use BOX:", "this in a comic book script? I saw people use BOX: to refer", "comic book script? I saw people use BOX: to refer to descriptions inside", "panel, how do you show your readers that the voice is heard within?", "heard within? Do you use a different font, do you use italics, do", "descriptions inside of box and then BOB: to refer to what people say,", "bold characters? And how do you write this in a comic book script?", "use a different font, do you use italics, do you use bold characters?", "what people say, but I am not sure what you should do when", "font, do you use italics, do you use bold characters? And how do", "people use BOX: to refer to descriptions inside of box and then BOB:", "you use bold characters? And how do you write this in a comic", "write this in a comic book script? I saw people use BOX: to", "that the voice is heard within? Do you use a different font, do", "do when the character or a character hears a voice from the inside.", "readers that the voice is heard within? Do you use a different font,", "you use a different font, do you use italics, do you use bold", "use italics, do you use bold characters? And how do you write this", "BOX: to refer to descriptions inside of box and then BOB: to refer", "show your readers that the voice is heard within? Do you use a", "Do you use a different font, do you use italics, do you use", "use BOX: to refer to descriptions inside of box and then BOB: to", "how do you write this in a comic book script? I saw people", "a comic book script? I saw people use BOX: to refer to descriptions", "refer to descriptions inside of box and then BOB: to refer to what", "different font, do you use italics, do you use bold characters? And how", "is heard within? Do you use a different font, do you use italics,", "to descriptions inside of box and then BOB: to refer to what people", "to refer to what people say, but I am not sure what you", "do you write this in a comic book script? I saw people use", "refer to what people say, but I am not sure what you should", "a comic panel, how do you show your readers that the voice is", "within? Do you use a different font, do you use italics, do you", "use bold characters? And how do you write this in a comic book", "then BOB: to refer to what people say, but I am not sure", "you use italics, do you use bold characters? And how do you write", "I am not sure what you should do when the character or a", "BOB: to refer to what people say, but I am not sure what", "And how do you write this in a comic book script? I saw" ]
[ "go back to being completely in love. How do you do that realistically", "realistically? Let's say the characters is extremely in love, then wants to murder", "in love. How do you do that realistically without resorting to cheap tricks", "Z and back to A realistically? Let's say the characters is extremely in", "love with and then go back to being completely in love. How do", "and other similar things? I don't think this can be done realistically at", "in love, then wants to murder the person she was in love with", "How do you do that realistically without resorting to cheap tricks like amnesia,", "Let's say the characters is extremely in love, then wants to murder the", "to murder the person she was in love with and then go back", "to cheap tricks like amnesia, magic and other similar things? I don't think", "love, then wants to murder the person she was in love with and", "then wants to murder the person she was in love with and then", "to Z and back to A realistically? Let's say the characters is extremely", "back to A realistically? Let's say the characters is extremely in love, then", "extremely in love, then wants to murder the person she was in love", "resorting to cheap tricks like amnesia, magic and other similar things? I don't", "goes from A to Z and back to A realistically? Let's say the", "to A realistically? Let's say the characters is extremely in love, then wants", "the person she was in love with and then go back to being", "a character with goes from A to Z and back to A realistically?", "then go back to being completely in love. How do you do that", "completely in love. How do you do that realistically without resorting to cheap", "magic and other similar things? I don't think this can be done realistically", "How do you write a character with goes from A to Z and", "say the characters is extremely in love, then wants to murder the person", "you write a character with goes from A to Z and back to", "murder the person she was in love with and then go back to", "was in love with and then go back to being completely in love.", "wants to murder the person she was in love with and then go", "love. How do you do that realistically without resorting to cheap tricks like", "without resorting to cheap tricks like amnesia, magic and other similar things? I", "amnesia, magic and other similar things? I don't think this can be done", "tricks like amnesia, magic and other similar things? I don't think this can", "with goes from A to Z and back to A realistically? Let's say", "that realistically without resorting to cheap tricks like amnesia, magic and other similar", "from A to Z and back to A realistically? Let's say the characters", "like amnesia, magic and other similar things? I don't think this can be", "do that realistically without resorting to cheap tricks like amnesia, magic and other", "A realistically? Let's say the characters is extremely in love, then wants to", "back to being completely in love. How do you do that realistically without", "she was in love with and then go back to being completely in", "do you do that realistically without resorting to cheap tricks like amnesia, magic", "and back to A realistically? Let's say the characters is extremely in love,", "person she was in love with and then go back to being completely", "and then go back to being completely in love. How do you do", "characters is extremely in love, then wants to murder the person she was", "to being completely in love. How do you do that realistically without resorting", "do you write a character with goes from A to Z and back", "character with goes from A to Z and back to A realistically? Let's", "is extremely in love, then wants to murder the person she was in", "being completely in love. How do you do that realistically without resorting to", "other similar things? I don't think this can be done realistically at all.", "A to Z and back to A realistically? Let's say the characters is", "cheap tricks like amnesia, magic and other similar things? I don't think this", "you do that realistically without resorting to cheap tricks like amnesia, magic and", "the characters is extremely in love, then wants to murder the person she", "realistically without resorting to cheap tricks like amnesia, magic and other similar things?", "in love with and then go back to being completely in love. How", "with and then go back to being completely in love. How do you", "write a character with goes from A to Z and back to A" ]
[ "normal people react in certain situations? It feels like if you put your", "story if you try to avoid making your characters talk as much as", "certain situations? It feels like if you put your characters in tense situations", "your characters in tense situations and you're clueless about what's normal behaviour, it", "behave? Are there some tips and tricks on how to be able to", "feels like if you put your characters in tense situations and you're clueless", "talk as much as possible to not show how clueless you are about", "tricks you can use to write a good story if you don't know", "write a good story if you don't know how people talk and behave?", "be able to still write a good story if you try to avoid", "you are about how normal people react in certain situations? It feels like", "story if you don't know how people talk and behave? Are there some", "What are some tricks you can use to write a good story if", "how to be able to still write a good story if you try", "tips and tricks on how to be able to still write a good", "show how clueless you are about how normal people react in certain situations?", "clueless you are about how normal people react in certain situations? It feels", "you try to avoid making your characters talk as much as possible to", "how people talk and behave? Are there some tips and tricks on how", "use to write a good story if you don't know how people talk", "you're clueless about what's normal behaviour, it just invariably make the story worse.", "and you're clueless about what's normal behaviour, it just invariably make the story", "you can use to write a good story if you don't know how", "good story if you try to avoid making your characters talk as much", "situations? It feels like if you put your characters in tense situations and", "to write a good story if you don't know how people talk and", "there some tips and tricks on how to be able to still write", "to not show how clueless you are about how normal people react in", "tense situations and you're clueless about what's normal behaviour, it just invariably make", "your characters talk as much as possible to not show how clueless you", "can use to write a good story if you don't know how people", "people react in certain situations? It feels like if you put your characters", "about how normal people react in certain situations? It feels like if you", "as possible to not show how clueless you are about how normal people", "some tips and tricks on how to be able to still write a", "It feels like if you put your characters in tense situations and you're", "making your characters talk as much as possible to not show how clueless", "situations and you're clueless about what's normal behaviour, it just invariably make the", "not show how clueless you are about how normal people react in certain", "know how people talk and behave? Are there some tips and tricks on", "to avoid making your characters talk as much as possible to not show", "to still write a good story if you try to avoid making your", "you don't know how people talk and behave? Are there some tips and", "still write a good story if you try to avoid making your characters", "put your characters in tense situations and you're clueless about what's normal behaviour,", "react in certain situations? It feels like if you put your characters in", "and tricks on how to be able to still write a good story", "if you put your characters in tense situations and you're clueless about what's", "tricks on how to be able to still write a good story if", "able to still write a good story if you try to avoid making", "are about how normal people react in certain situations? It feels like if", "and behave? Are there some tips and tricks on how to be able", "a good story if you try to avoid making your characters talk as", "are some tricks you can use to write a good story if you", "avoid making your characters talk as much as possible to not show how", "how normal people react in certain situations? It feels like if you put", "if you try to avoid making your characters talk as much as possible", "in tense situations and you're clueless about what's normal behaviour, it just invariably", "good story if you don't know how people talk and behave? Are there", "in certain situations? It feels like if you put your characters in tense", "Are there some tips and tricks on how to be able to still", "characters talk as much as possible to not show how clueless you are", "much as possible to not show how clueless you are about how normal", "like if you put your characters in tense situations and you're clueless about", "to be able to still write a good story if you try to", "some tricks you can use to write a good story if you don't", "write a good story if you try to avoid making your characters talk", "don't know how people talk and behave? Are there some tips and tricks", "try to avoid making your characters talk as much as possible to not", "people talk and behave? Are there some tips and tricks on how to", "possible to not show how clueless you are about how normal people react", "as much as possible to not show how clueless you are about how", "how clueless you are about how normal people react in certain situations? It", "on how to be able to still write a good story if you", "characters in tense situations and you're clueless about what's normal behaviour, it just", "talk and behave? Are there some tips and tricks on how to be", "a good story if you don't know how people talk and behave? Are", "you put your characters in tense situations and you're clueless about what's normal", "if you don't know how people talk and behave? Are there some tips" ]
[ "I know what entertains more a reader in such a story and attracts", "or start for example with the boy is taken to a mental institution", "of mental illness, and how his mother dealt with that. In this case,", "short story. This story is about a 12 year old child who accidentally", "my mind while writing. I can't know whether I should respect the sequence", "is a question that often comes to my mind while writing. I can't", "to my mind while writing. I can't know whether I should respect the", "with that. In this case, what's better to do? Write events as they", "that often comes to my mind while writing. I can't know whether I", "child who accidentally kills his twin brother. Through the time, and with the", "accidentally kills his twin brother. Through the time, and with the growing sense", "Through the time, and with the growing sense of guilt, this boy will", "How do I know what entertains more a reader in such a story", "include backstories/flashbacks. How do I know what entertains more a reader in such", "comes to my mind while writing. I can't know whether I should respect", "two major things: The child's development of mental illness, and how his mother", "with a severe situation, especially that the familial environment is unbalanced, which complicated", "events as they happened, from causes until consequences, or start for example with", "know what entertains more a reader in such a story and attracts him/her", "unbalanced, which complicated things more.The whole story intends to focus on two major", "is unbalanced, which complicated things more.The whole story intends to focus on two", "growing sense of guilt, this boy will develop some sort of psychotic disorder,", "focus on two major things: The child's development of mental illness, and how", "development of mental illness, and how his mother dealt with that. In this", "story is about a 12 year old child who accidentally kills his twin", "dealt with that. In this case, what's better to do? Write events as", "the time, and with the growing sense of guilt, this boy will develop", "story and attracts him/her to continue reading? Currently, I'm writing a short story.", "as they happened, from causes until consequences, or start for example with the", "mental illness, and how his mother dealt with that. In this case, what's", "continue reading? Currently, I'm writing a short story. This story is about a", "some sort of psychotic disorder, till ending up with a severe situation, especially", "of guilt, this boy will develop some sort of psychotic disorder, till ending", "case, what's better to do? Write events as they happened, from causes until", "more.The whole story intends to focus on two major things: The child's development", "on two major things: The child's development of mental illness, and how his", "in such a story and attracts him/her to continue reading? Currently, I'm writing", "up with a severe situation, especially that the familial environment is unbalanced, which", "with the growing sense of guilt, this boy will develop some sort of", "or try to include backstories/flashbacks. How do I know what entertains more a", "mind while writing. I can't know whether I should respect the sequence of", "this case, what's better to do? Write events as they happened, from causes", "his twin brother. Through the time, and with the growing sense of guilt,", "year old child who accidentally kills his twin brother. Through the time, and", "happened or try to include backstories/flashbacks. How do I know what entertains more", "respect the sequence of events chronologically as they happened or try to include", "writing a short story. This story is about a 12 year old child", "intends to focus on two major things: The child's development of mental illness,", "backstories/flashbacks. How do I know what entertains more a reader in such a", "entertains more a reader in such a story and attracts him/her to continue", "major things: The child's development of mental illness, and how his mother dealt", "I should respect the sequence of events chronologically as they happened or try", "familial environment is unbalanced, which complicated things more.The whole story intends to focus", "more a reader in such a story and attracts him/her to continue reading?", "his mother dealt with that. In this case, what's better to do? Write", "old child who accidentally kills his twin brother. Through the time, and with", "do I know what entertains more a reader in such a story and", "This story is about a 12 year old child who accidentally kills his", "is taken to a mental institution and then start explaining things for the", "to do? Write events as they happened, from causes until consequences, or start", "brother. Through the time, and with the growing sense of guilt, this boy", "ending up with a severe situation, especially that the familial environment is unbalanced,", "how his mother dealt with that. In this case, what's better to do?", "him/her to continue reading? Currently, I'm writing a short story. This story is", "they happened or try to include backstories/flashbacks. How do I know what entertains", "writing. I can't know whether I should respect the sequence of events chronologically", "to include backstories/flashbacks. How do I know what entertains more a reader in", "severe situation, especially that the familial environment is unbalanced, which complicated things more.The", "try to include backstories/flashbacks. How do I know what entertains more a reader", "of psychotic disorder, till ending up with a severe situation, especially that the", "In this case, what's better to do? Write events as they happened, from", "things: The child's development of mental illness, and how his mother dealt with", "example with the boy is taken to a mental institution and then start", "reading? Currently, I'm writing a short story. This story is about a 12", "about a 12 year old child who accidentally kills his twin brother. Through", "who accidentally kills his twin brother. Through the time, and with the growing", "sort of psychotic disorder, till ending up with a severe situation, especially that", "guilt, this boy will develop some sort of psychotic disorder, till ending up", "as they happened or try to include backstories/flashbacks. How do I know what", "Write events as they happened, from causes until consequences, or start for example", "will develop some sort of psychotic disorder, till ending up with a severe", "till ending up with a severe situation, especially that the familial environment is", "this boy will develop some sort of psychotic disorder, till ending up with", "for example with the boy is taken to a mental institution and then", "often comes to my mind while writing. I can't know whether I should", "question that often comes to my mind while writing. I can't know whether", "and how his mother dealt with that. In this case, what's better to", "start for example with the boy is taken to a mental institution and", "situation, especially that the familial environment is unbalanced, which complicated things more.The whole", "Currently, I'm writing a short story. This story is about a 12 year", "happened, from causes until consequences, or start for example with the boy is", "the sequence of events chronologically as they happened or try to include backstories/flashbacks.", "from causes until consequences, or start for example with the boy is taken", "whether I should respect the sequence of events chronologically as they happened or", "such a story and attracts him/her to continue reading? Currently, I'm writing a", "boy will develop some sort of psychotic disorder, till ending up with a", "story intends to focus on two major things: The child's development of mental", "develop some sort of psychotic disorder, till ending up with a severe situation,", "know whether I should respect the sequence of events chronologically as they happened", "disorder, till ending up with a severe situation, especially that the familial environment", "things more.The whole story intends to focus on two major things: The child's", "while writing. I can't know whether I should respect the sequence of events", "child's development of mental illness, and how his mother dealt with that. In", "The child's development of mental illness, and how his mother dealt with that.", "especially that the familial environment is unbalanced, which complicated things more.The whole story", "they happened, from causes until consequences, or start for example with the boy", "is about a 12 year old child who accidentally kills his twin brother.", "should respect the sequence of events chronologically as they happened or try to", "kills his twin brother. Through the time, and with the growing sense of", "what entertains more a reader in such a story and attracts him/her to", "which complicated things more.The whole story intends to focus on two major things:", "that. In this case, what's better to do? Write events as they happened,", "that the familial environment is unbalanced, which complicated things more.The whole story intends", "do? Write events as they happened, from causes until consequences, or start for", "of events chronologically as they happened or try to include backstories/flashbacks. How do", "mother dealt with that. In this case, what's better to do? Write events", "events chronologically as they happened or try to include backstories/flashbacks. How do I", "taken to a mental institution and then start explaining things for the reader?", "and attracts him/her to continue reading? Currently, I'm writing a short story. This", "can't know whether I should respect the sequence of events chronologically as they", "until consequences, or start for example with the boy is taken to a", "This is a question that often comes to my mind while writing. I", "boy is taken to a mental institution and then start explaining things for", "the boy is taken to a mental institution and then start explaining things", "a reader in such a story and attracts him/her to continue reading? Currently,", "illness, and how his mother dealt with that. In this case, what's better", "a question that often comes to my mind while writing. I can't know", "twin brother. Through the time, and with the growing sense of guilt, this", "and with the growing sense of guilt, this boy will develop some sort", "I'm writing a short story. This story is about a 12 year old", "story. This story is about a 12 year old child who accidentally kills", "environment is unbalanced, which complicated things more.The whole story intends to focus on", "sense of guilt, this boy will develop some sort of psychotic disorder, till", "causes until consequences, or start for example with the boy is taken to", "a short story. This story is about a 12 year old child who", "consequences, or start for example with the boy is taken to a mental", "sequence of events chronologically as they happened or try to include backstories/flashbacks. How", "reader in such a story and attracts him/her to continue reading? Currently, I'm", "psychotic disorder, till ending up with a severe situation, especially that the familial", "the growing sense of guilt, this boy will develop some sort of psychotic", "a story and attracts him/her to continue reading? Currently, I'm writing a short", "chronologically as they happened or try to include backstories/flashbacks. How do I know", "to continue reading? Currently, I'm writing a short story. This story is about", "with the boy is taken to a mental institution and then start explaining", "complicated things more.The whole story intends to focus on two major things: The", "to focus on two major things: The child's development of mental illness, and", "I can't know whether I should respect the sequence of events chronologically as", "better to do? Write events as they happened, from causes until consequences, or", "a severe situation, especially that the familial environment is unbalanced, which complicated things", "a 12 year old child who accidentally kills his twin brother. Through the", "whole story intends to focus on two major things: The child's development of", "attracts him/her to continue reading? Currently, I'm writing a short story. This story", "the familial environment is unbalanced, which complicated things more.The whole story intends to", "time, and with the growing sense of guilt, this boy will develop some", "12 year old child who accidentally kills his twin brother. Through the time,", "what's better to do? Write events as they happened, from causes until consequences," ]
[ "are permitted as long as the main questions are answered? I heard it's", "to prevent loose points, do we need to make the story shorter and", "prevent loose points, do we need to make the story shorter and simpler?", "heard it's bad, but I see a lot of stories with loose points.", "main questions are answered? I heard it's bad, but I see a lot", "points? Are there some exceptions where some loose points are permitted as long", "long as the main questions are answered? I heard it's bad, but I", "story with a lot of loose points? Are there some exceptions where some", "loose points? And also ending a story with a lot of loose points", "And also ending a story with a lot of loose points related to", "of loose points related to Chekhov's gun? If we need to prevent loose", "loose points related to Chekhov's gun? If we need to prevent loose points,", "questions are answered? I heard it's bad, but I see a lot of", "some exceptions where some loose points are permitted as long as the main", "points? And also ending a story with a lot of loose points related", "a story with a lot of loose points related to Chekhov's gun? If", "of stories with loose points. If your story is complex, isn't it natural", "end a story with a lot of loose points? Are there some exceptions", "some loose points are permitted as long as the main questions are answered?", "answered? I heard it's bad, but I see a lot of stories with", "ending a story with a lot of loose points related to Chekhov's gun?", "Chekhov's gun? If we need to prevent loose points, do we need to", "lot of loose points related to Chekhov's gun? If we need to prevent", "with loose points. If your story is complex, isn't it natural to have", "to Chekhov's gun? If we need to prevent loose points, do we need", "are answered? I heard it's bad, but I see a lot of stories", "lot of loose points? Are there some exceptions where some loose points are", "I see a lot of stories with loose points. If your story is", "a lot of loose points? Are there some exceptions where some loose points", "it's bad, but I see a lot of stories with loose points. If", "natural to have loose points? And also ending a story with a lot", "points. If your story is complex, isn't it natural to have loose points?", "permitted as long as the main questions are answered? I heard it's bad,", "bad, but I see a lot of stories with loose points. If your", "points related to Chekhov's gun? If we need to prevent loose points, do", "to have loose points? And also ending a story with a lot of", "need to prevent loose points, do we need to make the story shorter", "If your story is complex, isn't it natural to have loose points? And", "loose points. If your story is complex, isn't it natural to have loose", "exceptions where some loose points are permitted as long as the main questions", "with a lot of loose points related to Chekhov's gun? If we need", "If we need to prevent loose points, do we need to make the", "see a lot of stories with loose points. If your story is complex,", "isn't it natural to have loose points? And also ending a story with", "gun? If we need to prevent loose points, do we need to make", "it natural to have loose points? And also ending a story with a", "points are permitted as long as the main questions are answered? I heard", "of loose points? Are there some exceptions where some loose points are permitted", "complex, isn't it natural to have loose points? And also ending a story", "loose points are permitted as long as the main questions are answered? I", "a lot of stories with loose points. If your story is complex, isn't", "stories with loose points. If your story is complex, isn't it natural to", "also ending a story with a lot of loose points related to Chekhov's", "have loose points? And also ending a story with a lot of loose", "there some exceptions where some loose points are permitted as long as the", "to end a story with a lot of loose points? Are there some", "but I see a lot of stories with loose points. If your story", "related to Chekhov's gun? If we need to prevent loose points, do we", "lot of stories with loose points. If your story is complex, isn't it", "with a lot of loose points? Are there some exceptions where some loose", "a lot of loose points related to Chekhov's gun? If we need to", "where some loose points are permitted as long as the main questions are", "the main questions are answered? I heard it's bad, but I see a", "it bad to end a story with a lot of loose points? Are", "your story is complex, isn't it natural to have loose points? And also", "a story with a lot of loose points? Are there some exceptions where", "loose points? Are there some exceptions where some loose points are permitted as", "is complex, isn't it natural to have loose points? And also ending a", "we need to prevent loose points, do we need to make the story", "Is it bad to end a story with a lot of loose points?", "as the main questions are answered? I heard it's bad, but I see", "as long as the main questions are answered? I heard it's bad, but", "story is complex, isn't it natural to have loose points? And also ending", "I heard it's bad, but I see a lot of stories with loose", "story with a lot of loose points related to Chekhov's gun? If we", "bad to end a story with a lot of loose points? Are there", "Are there some exceptions where some loose points are permitted as long as" ]
[ "to contact JK Rowling. I am aware that publishing without her permission would", "I really want to publish said sequel, but I'm clueless about how to", "series in December 2021. I really loved the Hijrp Potfeq world and all", "2021. I really loved the Hijrp Potfeq world and all the characters. Even", "entire Hijrp Potfeq series in December 2021. I really loved the Hijrp Potfeq", "after days, I couldn't stop myself from thinking about it and I'm pretty", "couldn't stop myself from thinking about it and I'm pretty happy about the", "really want to publish said sequel, but I'm clueless about how to contact", "Even after days, I couldn't stop myself from thinking about it and I'm", "her permission would be copyright infringement after going through a few articles online.", "want to publish said sequel, but I'm clueless about how to contact JK", "characters. Even after days, I couldn't stop myself from thinking about it and", "it and I'm pretty happy about the innovative idea that struck me about", "really loved the Hijrp Potfeq world and all the characters. Even after days,", "recently watched the entire Hijrp Potfeq series in December 2021. I really loved", "writing a sequel for the series. I really want to publish said sequel,", "how to contact JK Rowling. I am aware that publishing without her permission", "that publishing without her permission would be copyright infringement after going through a", "about how to contact JK Rowling. I am aware that publishing without her", "about writing a sequel for the series. I really want to publish said", "clueless about how to contact JK Rowling. I am aware that publishing without", "I couldn't stop myself from thinking about it and I'm pretty happy about", "I recently watched the entire Hijrp Potfeq series in December 2021. I really", "and I'm pretty happy about the innovative idea that struck me about writing", "sequel, but I'm clueless about how to contact JK Rowling. I am aware", "I really loved the Hijrp Potfeq world and all the characters. Even after", "I'm pretty happy about the innovative idea that struck me about writing a", "Rowling. I am aware that publishing without her permission would be copyright infringement", "publishing without her permission would be copyright infringement after going through a few", "myself from thinking about it and I'm pretty happy about the innovative idea", "sequel for the series. I really want to publish said sequel, but I'm", "series. I really want to publish said sequel, but I'm clueless about how", "am aware that publishing without her permission would be copyright infringement after going", "stop myself from thinking about it and I'm pretty happy about the innovative", "December 2021. I really loved the Hijrp Potfeq world and all the characters.", "the series. I really want to publish said sequel, but I'm clueless about", "in December 2021. I really loved the Hijrp Potfeq world and all the", "world and all the characters. Even after days, I couldn't stop myself from", "Hijrp Potfeq series in December 2021. I really loved the Hijrp Potfeq world", "Potfeq* series in December 2021. I really loved the Hijrp Potfeq world and", "about it and I'm pretty happy about the innovative idea that struck me", "happy about the innovative idea that struck me about writing a sequel for", "Hijrp Potfeq world and all the characters. Even after days, I couldn't stop", "struck me about writing a sequel for the series. I really want to", "I'm clueless about how to contact JK Rowling. I am aware that publishing", "without her permission would be copyright infringement after going through a few articles", "the entire Hijrp Potfeq series in December 2021. I really loved the Hijrp", "and all the characters. Even after days, I couldn't stop myself from thinking", "the innovative idea that struck me about writing a sequel for the series.", "contact JK Rowling. I am aware that publishing without her permission would be", "the characters. Even after days, I couldn't stop myself from thinking about it", "JK Rowling. I am aware that publishing without her permission would be copyright", "but I'm clueless about how to contact JK Rowling. I am aware that", "said sequel, but I'm clueless about how to contact JK Rowling. I am", "pretty happy about the innovative idea that struck me about writing a sequel", "aware that publishing without her permission would be copyright infringement after going through", "publish said sequel, but I'm clueless about how to contact JK Rowling. I", "that struck me about writing a sequel for the series. I really want", "days, I couldn't stop myself from thinking about it and I'm pretty happy", "me about writing a sequel for the series. I really want to publish", "about the innovative idea that struck me about writing a sequel for the", "all the characters. Even after days, I couldn't stop myself from thinking about", "innovative idea that struck me about writing a sequel for the series. I", "from thinking about it and I'm pretty happy about the innovative idea that", "a sequel for the series. I really want to publish said sequel, but", "Potfeq world and all the characters. Even after days, I couldn't stop myself", "for the series. I really want to publish said sequel, but I'm clueless", "idea that struck me about writing a sequel for the series. I really", "I am aware that publishing without her permission would be copyright infringement after", "the Hijrp Potfeq world and all the characters. Even after days, I couldn't", "watched the entire Hijrp Potfeq series in December 2021. I really loved the", "to publish said sequel, but I'm clueless about how to contact JK Rowling.", "thinking about it and I'm pretty happy about the innovative idea that struck", "loved the Hijrp Potfeq world and all the characters. Even after days, I" ]
[ "this would be from the POV of children who are trapped in a", "office building during a monster attack in the city. They wouldn't have any", "They wouldn't have any injuries from the event; they would just be unable", "the city. They wouldn't have any injuries from the event; they would just", "trapped in a high-rise office building during a monster attack in the city.", "For context, this would be from the POV of children who are trapped", "be from the POV of children who are trapped in a high-rise office", "monster attack in the city. They wouldn't have any injuries from the event;", "are trapped in a high-rise office building during a monster attack in the", "in a high-rise office building during a monster attack in the city. They", "a high-rise office building during a monster attack in the city. They wouldn't", "high-rise office building during a monster attack in the city. They wouldn't have", "a monster attack in the city. They wouldn't have any injuries from the", "of children who are trapped in a high-rise office building during a monster", "who are trapped in a high-rise office building during a monster attack in", "building during a monster attack in the city. They wouldn't have any injuries", "context, this would be from the POV of children who are trapped in", "in the city. They wouldn't have any injuries from the event; they would", "wouldn't have any injuries from the event; they would just be unable to", "the POV of children who are trapped in a high-rise office building during", "have any injuries from the event; they would just be unable to move.", "POV of children who are trapped in a high-rise office building during a", "children who are trapped in a high-rise office building during a monster attack", "attack in the city. They wouldn't have any injuries from the event; they", "during a monster attack in the city. They wouldn't have any injuries from", "city. They wouldn't have any injuries from the event; they would just be", "would be from the POV of children who are trapped in a high-rise", "from the POV of children who are trapped in a high-rise office building" ]
[ "the app before. Just started story writing. So ya, I don't know what", "haven't used the app before. Just started story writing. So ya, I don't", "used the app before. Just started story writing. So ya, I don't know", "solve this, and haven't used the app before. Just started story writing. So", "Just started story writing. So ya, I don't know what else to say", "sure how to solve this, and haven't used the app before. Just started", "before. Just started story writing. So ya, I don't know what else to", "and haven't used the app before. Just started story writing. So ya, I", "how to solve this, and haven't used the app before. Just started story", "app before. Just started story writing. So ya, I don't know what else", "this, and haven't used the app before. Just started story writing. So ya,", "to solve this, and haven't used the app before. Just started story writing.", "not exactly sure how to solve this, and haven't used the app before.", "exactly sure how to solve this, and haven't used the app before. Just" ]
[ "for Apple and Banana, how do I go about doing this? FYI -", "Please see below a simplified example. If I keep the asterisk in the", "I am working on a price list. On the price list I have", "column for a specification. Currently I have an asterisk on each model. I", "else on that sheet. Please see below a simplified example. If I keep", "specification. Currently I have an asterisk on each model. I also have a", "table and add a NEW note for Apple and Banana, how do I", "a footnote (1) next to each specification. I have to add another note", "note related to TWO models only in the list I have (out of", "I cannot because at the bottom of the price list we have another", "note for Apple and Banana, how do I go about doing this? FYI", "did not use numbered footnotes originally for all footnotes because the number and", "doing this? FYI - we did not use numbered footnotes originally for all", "note with two asterisks but I cannot because at the bottom of the", "I also have a footnote (1) next to each specification. I have to", "simplified example. If I keep the asterisk in the first table and add", "(1) next to each specification. I have to add another note related to", "for a specification. Currently I have an asterisk on each model. I also", "also have a footnote (1) next to each specification. I have to add", "I have an asterisk on each model. I also have a footnote (1)", "have (out of eight). Someone told me to add a NEW note with", "price list we have another note with two asterisks for something else on", "name together are confusing. (Product model name includes numbers). [![enter image description here](https://i.stack.imgur.com/Wqzeh.jpg)](https://i.stack.imgur.com/Wqzeh.jpg)", "with two asterisks but I cannot because at the bottom of the price", "on that sheet. Please see below a simplified example. If I keep the", "a NEW note for Apple and Banana, how do I go about doing", "add a NEW note with two asterisks but I cannot because at the", "I have a column for the name of the model and a second", "sheet. Please see below a simplified example. If I keep the asterisk in", "bottom of the price list we have another note with two asterisks for", "the bottom of the price list we have another note with two asterisks", "list. On the price list I have a column for the name of", "model. I also have a footnote (1) next to each specification. I have", "have an asterisk on each model. I also have a footnote (1) next", "we have another note with two asterisks for something else on that sheet.", "another note with two asterisks for something else on that sheet. Please see", "price list. On the price list I have a column for the name", "this? FYI - we did not use numbered footnotes originally for all footnotes", "(out of eight). Someone told me to add a NEW note with two", "me to add a NEW note with two asterisks but I cannot because", "numbered footnotes originally for all footnotes because the number and product name together", "If I keep the asterisk in the first table and add a NEW", "Currently I have an asterisk on each model. I also have a footnote", "list I have (out of eight). Someone told me to add a NEW", "below a simplified example. If I keep the asterisk in the first table", "on each model. I also have a footnote (1) next to each specification.", "a column for the name of the model and a second column for", "asterisk in the first table and add a NEW note for Apple and", "another note related to TWO models only in the list I have (out", "eight). Someone told me to add a NEW note with two asterisks but", "and product name together are confusing. (Product model name includes numbers). [![enter image", "I go about doing this? FYI - we did not use numbered footnotes", "price list I have a column for the name of the model and", "model and a second column for a specification. Currently I have an asterisk", "- we did not use numbered footnotes originally for all footnotes because the", "the first table and add a NEW note for Apple and Banana, how", "and a second column for a specification. Currently I have an asterisk on", "add a NEW note for Apple and Banana, how do I go about", "NEW note for Apple and Banana, how do I go about doing this?", "because the number and product name together are confusing. (Product model name includes", "the number and product name together are confusing. (Product model name includes numbers).", "I have (out of eight). Someone told me to add a NEW note", "note with two asterisks for something else on that sheet. Please see below", "working on a price list. On the price list I have a column", "do I go about doing this? FYI - we did not use numbered", "the asterisk in the first table and add a NEW note for Apple", "the price list I have a column for the name of the model", "am working on a price list. On the price list I have a", "that sheet. Please see below a simplified example. If I keep the asterisk", "the model and a second column for a specification. Currently I have an", "Apple and Banana, how do I go about doing this? FYI - we", "example. If I keep the asterisk in the first table and add a", "models only in the list I have (out of eight). Someone told me", "to add another note related to TWO models only in the list I", "On the price list I have a column for the name of the", "for the name of the model and a second column for a specification.", "the list I have (out of eight). Someone told me to add a", "footnote (1) next to each specification. I have to add another note related", "a second column for a specification. Currently I have an asterisk on each", "asterisk on each model. I also have a footnote (1) next to each", "of the model and a second column for a specification. Currently I have", "two asterisks for something else on that sheet. Please see below a simplified", "second column for a specification. Currently I have an asterisk on each model.", "go about doing this? FYI - we did not use numbered footnotes originally", "list I have a column for the name of the model and a", "the price list we have another note with two asterisks for something else", "specification. I have to add another note related to TWO models only in", "see below a simplified example. If I keep the asterisk in the first", "related to TWO models only in the list I have (out of eight).", "and Banana, how do I go about doing this? FYI - we did", "not use numbered footnotes originally for all footnotes because the number and product", "only in the list I have (out of eight). Someone told me to", "about doing this? FYI - we did not use numbered footnotes originally for", "Someone told me to add a NEW note with two asterisks but I", "of the price list we have another note with two asterisks for something", "on a price list. On the price list I have a column for", "NEW note with two asterisks but I cannot because at the bottom of", "told me to add a NEW note with two asterisks but I cannot", "cannot because at the bottom of the price list we have another note", "in the first table and add a NEW note for Apple and Banana,", "for something else on that sheet. Please see below a simplified example. If", "something else on that sheet. Please see below a simplified example. If I", "for all footnotes because the number and product name together are confusing. (Product", "list we have another note with two asterisks for something else on that", "but I cannot because at the bottom of the price list we have", "to TWO models only in the list I have (out of eight). Someone", "with two asterisks for something else on that sheet. Please see below a", "TWO models only in the list I have (out of eight). Someone told", "all footnotes because the number and product name together are confusing. (Product model", "originally for all footnotes because the number and product name together are confusing.", "product name together are confusing. (Product model name includes numbers). [![enter image description", "each specification. I have to add another note related to TWO models only", "because at the bottom of the price list we have another note with", "name of the model and a second column for a specification. Currently I", "each model. I also have a footnote (1) next to each specification. I", "use numbered footnotes originally for all footnotes because the number and product name", "a price list. On the price list I have a column for the", "first table and add a NEW note for Apple and Banana, how do", "at the bottom of the price list we have another note with two", "keep the asterisk in the first table and add a NEW note for", "I have to add another note related to TWO models only in the", "asterisks but I cannot because at the bottom of the price list we", "footnotes because the number and product name together are confusing. (Product model name", "two asterisks but I cannot because at the bottom of the price list", "add another note related to TWO models only in the list I have", "a simplified example. If I keep the asterisk in the first table and", "have another note with two asterisks for something else on that sheet. Please", "a NEW note with two asterisks but I cannot because at the bottom", "to each specification. I have to add another note related to TWO models", "footnotes originally for all footnotes because the number and product name together are", "in the list I have (out of eight). Someone told me to add", "have a footnote (1) next to each specification. I have to add another", "have to add another note related to TWO models only in the list", "an asterisk on each model. I also have a footnote (1) next to", "FYI - we did not use numbered footnotes originally for all footnotes because", "asterisks for something else on that sheet. Please see below a simplified example.", "column for the name of the model and a second column for a", "and add a NEW note for Apple and Banana, how do I go", "a specification. Currently I have an asterisk on each model. I also have", "I keep the asterisk in the first table and add a NEW note", "Banana, how do I go about doing this? FYI - we did not", "next to each specification. I have to add another note related to TWO", "how do I go about doing this? FYI - we did not use", "have a column for the name of the model and a second column", "the name of the model and a second column for a specification. Currently", "to add a NEW note with two asterisks but I cannot because at", "number and product name together are confusing. (Product model name includes numbers). [![enter", "of eight). Someone told me to add a NEW note with two asterisks", "we did not use numbered footnotes originally for all footnotes because the number" ]
[ "simply shoes, pants, etc. Basically, what I'm asking for is some clothing terminology?", "the simplest descriptors. A shirt is just a shirt, shoes are simply shoes,", "simplest descriptors. A shirt is just a shirt, shoes are simply shoes, pants,", "of the simplest descriptors. A shirt is just a shirt, shoes are simply", "A shirt is just a shirt, shoes are simply shoes, pants, etc. Basically,", "viewing clothing outside of the simplest descriptors. A shirt is just a shirt,", "shirt is just a shirt, shoes are simply shoes, pants, etc. Basically, what", "hard time viewing clothing outside of the simplest descriptors. A shirt is just", "is just a shirt, shoes are simply shoes, pants, etc. Basically, what I'm", "descriptors. A shirt is just a shirt, shoes are simply shoes, pants, etc.", "outside of the simplest descriptors. A shirt is just a shirt, shoes are", "a hard time viewing clothing outside of the simplest descriptors. A shirt is", "I have a hard time viewing clothing outside of the simplest descriptors. A", "shirt, shoes are simply shoes, pants, etc. Basically, what I'm asking for is", "time viewing clothing outside of the simplest descriptors. A shirt is just a", "shoes are simply shoes, pants, etc. Basically, what I'm asking for is some", "are simply shoes, pants, etc. Basically, what I'm asking for is some clothing", "a shirt, shoes are simply shoes, pants, etc. Basically, what I'm asking for", "just a shirt, shoes are simply shoes, pants, etc. Basically, what I'm asking", "have a hard time viewing clothing outside of the simplest descriptors. A shirt", "clothing outside of the simplest descriptors. A shirt is just a shirt, shoes" ]
[ "> > or > > whaAATt > > > Where the capitalized letters", "a change in pitch from disbelief. Of course, the capitalized letters wouldn't be", "and they reacted like: > > bullsHIIt > > > or > >", "whaAATt > > > Where the capitalized letters show a change in pitch", "capitalized letters show a change in pitch from disbelief. Of course, the capitalized", "tone/pitch while talking? For example, if someone said something that someone else doesn't", "> or > > whaAATt > > > Where the capitalized letters show", "or > > whaAATt > > > Where the capitalized letters show a", "Of course, the capitalized letters wouldn't be capitalized, so how would it be", "For example, if someone said something that someone else doesn't believe and they", "change in pitch from disbelief. Of course, the capitalized letters wouldn't be capitalized,", "> > > or > > whaAATt > > > Where the capitalized", "how would it be portrayed, or would it be left up for interpretation?", "disbelief. Of course, the capitalized letters wouldn't be capitalized, so how would it", "go about showing a characters tone/pitch while talking? For example, if someone said", "> whaAATt > > > Where the capitalized letters show a change in", "about showing a characters tone/pitch while talking? For example, if someone said something", "letters wouldn't be capitalized, so how would it be portrayed, or would it", "doesn't believe and they reacted like: > > bullsHIIt > > > or", "while talking? For example, if someone said something that someone else doesn't believe", "something that someone else doesn't believe and they reacted like: > > bullsHIIt", "course, the capitalized letters wouldn't be capitalized, so how would it be portrayed,", "they reacted like: > > bullsHIIt > > > or > > whaAATt", "capitalized letters wouldn't be capitalized, so how would it be portrayed, or would", "one go about showing a characters tone/pitch while talking? For example, if someone", "characters tone/pitch while talking? For example, if someone said something that someone else", "wouldn't be capitalized, so how would it be portrayed, or would it be", "> Where the capitalized letters show a change in pitch from disbelief. Of", "> > bullsHIIt > > > or > > whaAATt > > >", "Where the capitalized letters show a change in pitch from disbelief. Of course,", "reacted like: > > bullsHIIt > > > or > > whaAATt >", "believe and they reacted like: > > bullsHIIt > > > or >", "from disbelief. Of course, the capitalized letters wouldn't be capitalized, so how would", "the capitalized letters show a change in pitch from disbelief. Of course, the", "in pitch from disbelief. Of course, the capitalized letters wouldn't be capitalized, so", "someone else doesn't believe and they reacted like: > > bullsHIIt > >", "> > whaAATt > > > Where the capitalized letters show a change", "that someone else doesn't believe and they reacted like: > > bullsHIIt >", "> > > Where the capitalized letters show a change in pitch from", "showing a characters tone/pitch while talking? For example, if someone said something that", "> bullsHIIt > > > or > > whaAATt > > > Where", "be capitalized, so how would it be portrayed, or would it be left", "talking? For example, if someone said something that someone else doesn't believe and", "else doesn't believe and they reacted like: > > bullsHIIt > > >", "> > Where the capitalized letters show a change in pitch from disbelief.", "if someone said something that someone else doesn't believe and they reacted like:", "like: > > bullsHIIt > > > or > > whaAATt > >", "show a change in pitch from disbelief. Of course, the capitalized letters wouldn't", "example, if someone said something that someone else doesn't believe and they reacted", "the capitalized letters wouldn't be capitalized, so how would it be portrayed, or", "so how would it be portrayed, or would it be left up for", "said something that someone else doesn't believe and they reacted like: > >", "a characters tone/pitch while talking? For example, if someone said something that someone", "How does one go about showing a characters tone/pitch while talking? For example,", "bullsHIIt > > > or > > whaAATt > > > Where the", "pitch from disbelief. Of course, the capitalized letters wouldn't be capitalized, so how", "letters show a change in pitch from disbelief. Of course, the capitalized letters", "capitalized, so how would it be portrayed, or would it be left up", "does one go about showing a characters tone/pitch while talking? For example, if", "someone said something that someone else doesn't believe and they reacted like: >" ]
[ "divide it into many separate books, but I'm not sure if I need", "count is quite high, so I'll need to divide it into many separate", "page count is quite high, so I'll need to divide it into many", "I need to split it into 3, 5, 10, etc. books. Assuming approximately", "number of pages that printing machinery can bind together, still allowing the pages", "is quite high, so I'll need to divide it into many separate books,", "Assuming approximately letter/A4 size, is there a physical limit to the number of", "not sure if I need to split it into 3, 5, 10, etc.", "need to split it into 3, 5, 10, etc. books. Assuming approximately letter/A4", "can bind together, still allowing the pages to be comfortably laid flat for", "high, so I'll need to divide it into many separate books, but I'm", "into 3, 5, 10, etc. books. Assuming approximately letter/A4 size, is there a", "for use in classrooms. The page count is quite high, so I'll need", "many separate books, but I'm not sure if I need to split it", "etc. books. Assuming approximately letter/A4 size, is there a physical limit to the", "physical limit to the number of pages that printing machinery can bind together,", "3, 5, 10, etc. books. Assuming approximately letter/A4 size, is there a physical", "size, is there a physical limit to the number of pages that printing", "so I'll need to divide it into many separate books, but I'm not", "limit to the number of pages that printing machinery can bind together, still", "separate books, but I'm not sure if I need to split it into", "5, 10, etc. books. Assuming approximately letter/A4 size, is there a physical limit", "is there a physical limit to the number of pages that printing machinery", "to split it into 3, 5, 10, etc. books. Assuming approximately letter/A4 size,", "of pages that printing machinery can bind together, still allowing the pages to", "creating a series of student workbooks for use in classrooms. The page count", "series of student workbooks for use in classrooms. The page count is quite", "need to divide it into many separate books, but I'm not sure if", "into many separate books, but I'm not sure if I need to split", "sure if I need to split it into 3, 5, 10, etc. books.", "in classrooms. The page count is quite high, so I'll need to divide", "that printing machinery can bind together, still allowing the pages to be comfortably", "books, but I'm not sure if I need to split it into 3,", "classrooms. The page count is quite high, so I'll need to divide it", "The page count is quite high, so I'll need to divide it into", "machinery can bind together, still allowing the pages to be comfortably laid flat", "there a physical limit to the number of pages that printing machinery can", "I'm not sure if I need to split it into 3, 5, 10,", "bind together, still allowing the pages to be comfortably laid flat for writing?", "a physical limit to the number of pages that printing machinery can bind", "of student workbooks for use in classrooms. The page count is quite high,", "but I'm not sure if I need to split it into 3, 5,", "to divide it into many separate books, but I'm not sure if I", "it into many separate books, but I'm not sure if I need to", "use in classrooms. The page count is quite high, so I'll need to", "if I need to split it into 3, 5, 10, etc. books. Assuming", "am creating a series of student workbooks for use in classrooms. The page", "to the number of pages that printing machinery can bind together, still allowing", "printing machinery can bind together, still allowing the pages to be comfortably laid", "books. Assuming approximately letter/A4 size, is there a physical limit to the number", "I am creating a series of student workbooks for use in classrooms. The", "I'll need to divide it into many separate books, but I'm not sure", "student workbooks for use in classrooms. The page count is quite high, so", "pages that printing machinery can bind together, still allowing the pages to be", "approximately letter/A4 size, is there a physical limit to the number of pages", "it into 3, 5, 10, etc. books. Assuming approximately letter/A4 size, is there", "workbooks for use in classrooms. The page count is quite high, so I'll", "quite high, so I'll need to divide it into many separate books, but", "split it into 3, 5, 10, etc. books. Assuming approximately letter/A4 size, is", "letter/A4 size, is there a physical limit to the number of pages that", "a series of student workbooks for use in classrooms. The page count is", "the number of pages that printing machinery can bind together, still allowing the", "10, etc. books. Assuming approximately letter/A4 size, is there a physical limit to" ]
[ "would you write the following in fiction given that my style guide says", "unnecessary to repeat \"-won notes\" every time. There are too many options. Help!", "respect the fact that there is a list. It is in narrative rather", "two 10,000s and eight 1,000s [saying \"eight one thousands rather than \"eight thousands\"", "From the till, she robbed 6 fifty-thousand-won notes, 2 ten thousands and 8", "2 ten thousands and 8 thousands. From the till, she robbed six 50,000-won", "up to and including 99? From the till, she robbed six 50,000-won notes,", "than \"eight thousands\" seems overly formal and precise?]. From the till, she robbed", "and 8 thousands. From the till, she robbed six 50,000-won notes, two ten", "50,000-won notes, two 10,000s and eight thousands. From the till, she robbed six", "including 99? From the till, she robbed six 50,000-won notes, two 10,000s and", "\"eight one thousands rather than \"eight thousands\" seems overly formal and precise?]. From", "too many options. Help! From the till, she robbed six 50,000-won notes, two", "there is a list. It is in narrative rather than dialogue. It seems", "list. It is in narrative rather than dialogue. It seems unnecessary to repeat", "style guide says write out numbers up to and including 99? From the", "least to keep it informal and to respect the fact that there is", "six 50,000-won notes, two 10,000s and eight 1,000s [saying \"eight one thousands rather", "99? From the till, she robbed six 50,000-won notes, two 10,000s and eight", "and including 99? From the till, she robbed six 50,000-won notes, two 10,000s", "the till, she robbed six 50,000-won notes, two 10,000s and eight thousands. I", "seems unnecessary to repeat \"-won notes\" every time. There are too many options.", "to repeat \"-won notes\" every time. There are too many options. Help! From", "that there is a list. It is in narrative rather than dialogue. It", "the till, she robbed 6 fifty-thousand-won notes, 2 ten thousands and 8 thousands.", "is a list. It is in narrative rather than dialogue. It seems unnecessary", "50,000-won notes, two 10,000s and eight 1,000s [saying \"eight one thousands rather than", "\"-won notes\" every time. There are too many options. Help! From the till,", "Help! From the till, she robbed six 50,000-won notes, two 10,000s and eight", "the fact that there is a list. It is in narrative rather than", "she robbed six 50,000-won notes, two 10,000s and eight thousands.* I think some", "to respect the fact that there is a list. It is in narrative", "thousands. From the till, she robbed six 50,000-won notes, two ten thousands and", "From the till, she robbed six 50,000-won notes, two 10,000s and eight thousands.", "guide says write out numbers up to and including 99? From the till,", "the till, she robbed six 50,000-won notes, two 10,000s and eight 1,000s [saying", "she robbed six 50,000-won notes, two 10,000s and eight 1,000s [saying \"eight one", "time. There are too many options. Help! From the till, she robbed six", "to be made, not least to keep it informal and to respect the", "six 50,000-won notes, two 10,000s and eight thousands. From the till, she robbed", "ten thousands and 8 thousands. From the till, she robbed six 50,000-won notes,", "and to respect the fact that there is a list. It is in", "than dialogue. It seems unnecessary to repeat \"-won notes\" every time. There are", "eight thousands. I think some exceptions need to be made, not least to", "to keep it informal and to respect the fact that there is a", "the till, she robbed six 50,000-won notes, two ten thousands and eight thousands.", "following in fiction given that my style guide says write out numbers up", "till, she robbed six 50,000-won notes, two 10,000s and eight 1,000s [saying \"eight", "six 50,000-won notes, two ten thousands and eight thousands. Thanks for the help", "out numbers up to and including 99? From the till, she robbed six", "is in narrative rather than dialogue. It seems unnecessary to repeat \"-won notes\"", "exceptions need to be made, not least to keep it informal and to", "10,000s and eight thousands. From the till, she robbed six 50,000-won notes, two", "thousands and 8 thousands. From the till, she robbed six 50,000-won notes, two", "you write the following in fiction given that my style guide says write", "eight 1,000s [saying \"eight one thousands rather than \"eight thousands\" seems overly formal", "It is in narrative rather than dialogue. It seems unnecessary to repeat \"-won", "notes, two ten thousands and eight thousands. Thanks for the help and suggestions.", "one thousands rather than \"eight thousands\" seems overly formal and precise?]. From the", "and eight thousands. I think some exceptions need to be made, not least", "It seems unnecessary to repeat \"-won notes\" every time. There are too many", "From the till, she robbed six 50,000-won notes, two 10,000s and eight 1,000s", "dialogue. It seems unnecessary to repeat \"-won notes\" every time. There are too", "till, she robbed six 50,000-won notes, two ten thousands and eight thousands. Thanks", "two 10,000s and eight thousands.* I think some exceptions need to be made,", "eight thousands. From the till, she robbed six 50,000-won notes, two 10,000s and", "she robbed six 50,000-won notes, two ten thousands and eight thousands. Thanks for", "think some exceptions need to be made, not least to keep it informal", "robbed six 50,000-won notes, two 10,000s and eight thousands.* I think some exceptions", "thousands. From the till, she robbed six 50,000-won notes, two 10,000s and eight", "robbed six 50,000-won notes, two 10,000s and eight thousands. From the till, she", "fact that there is a list. It is in narrative rather than dialogue.", "numbers up to and including 99? From the till, she robbed six 50,000-won", "to and including 99? From the till, she robbed six 50,000-won notes, two", "notes, 2 ten thousands and 8 thousands. From the till, she robbed six", "the following in fiction given that my style guide says write out numbers", "my style guide says write out numbers up to and including 99? From", "notes, two 10,000s and eight thousands. I think some exceptions need to be", "till, she robbed 6 fifty-thousand-won notes, 2 ten thousands and 8 thousands. From", "How would you write the following in fiction given that my style guide", "1,000s [saying \"eight one thousands rather than \"eight thousands\" seems overly formal and", "From the till, she robbed six 50,000-won notes, two ten thousands and eight", "six 50,000-won notes, two 10,000s and eight thousands.* I think some exceptions need", "says write out numbers up to and including 99? From the till, she", "not least to keep it informal and to respect the fact that there", "precise?]. From the till, she robbed 6 fifty-thousand-won notes, 2 ten thousands and", "rather than dialogue. It seems unnecessary to repeat \"-won notes\" every time. There", "informal and to respect the fact that there is a list. It is", "robbed 6 fifty-thousand-won notes, 2 ten thousands and 8 thousands. From the till,", "some exceptions need to be made, not least to keep it informal and", "notes, two 10,000s and eight 1,000s [saying \"eight one thousands rather than \"eight", "narrative rather than dialogue. It seems unnecessary to repeat \"-won notes\" every time.", "I think some exceptions need to be made, not least to keep it", "6 fifty-thousand-won notes, 2 ten thousands and 8 thousands. From the till, she", "10,000s and eight 1,000s [saying \"eight one thousands rather than \"eight thousands\" seems", "thousands rather than \"eight thousands\" seems overly formal and precise?]. From the till,", "in fiction given that my style guide says write out numbers up to", "many options. Help! From the till, she robbed six 50,000-won notes, two 10,000s", "fifty-thousand-won notes, 2 ten thousands and 8 thousands. From the till, she robbed", "fiction given that my style guide says write out numbers up to and", "till, she robbed six 50,000-won notes, two 10,000s and eight thousands. From the", "two 10,000s and eight thousands. From the till, she robbed six 50,000-won notes,", "made, not least to keep it informal and to respect the fact that", "There are too many options. Help! From the till, she robbed six 50,000-won", "\"eight thousands\" seems overly formal and precise?]. From the till, she robbed 6", "till, she robbed six 50,000-won notes, two 10,000s and eight thousands. I think", "thousands\" seems overly formal and precise?]. From the till, she robbed 6 fifty-thousand-won", "notes\" every time. There are too many options. Help! From the till, she", "10,000s and eight thousands.* I think some exceptions need to be made, not", "From the till, she robbed six 50,000-won notes, two 10,000s and eight thousands.", "it informal and to respect the fact that there is a list. It", "given that my style guide says write out numbers up to and including", "notes, two 10,000s and eight thousands. From the till, she robbed six 50,000-won", "are too many options. Help! From the till, she robbed six 50,000-won notes,", "robbed six 50,000-won notes, two ten thousands and eight thousands. Thanks for the", "formal and precise?]. From the till, she robbed 6 fifty-thousand-won notes, 2 ten", "[saying \"eight one thousands rather than \"eight thousands\" seems overly formal and precise?].", "the till, she robbed six 50,000-won notes, two 10,000s and eight thousands. From", "robbed six 50,000-won notes, two 10,000s and eight 1,000s [saying \"eight one thousands", "8 thousands. From the till, she robbed six 50,000-won notes, two ten thousands", "write out numbers up to and including 99? From the till, she robbed", "repeat \"-won notes\" every time. There are too many options. Help! From the", "and precise?]. From the till, she robbed 6 fifty-thousand-won notes, 2 ten thousands", "50,000-won notes, two ten thousands and eight thousands. Thanks for the help and", "keep it informal and to respect the fact that there is a list.", "that my style guide says write out numbers up to and including 99?", "a list. It is in narrative rather than dialogue. It seems unnecessary to", "thousands. I think some exceptions need to be made, not least to keep", "seems overly formal and precise?]. From the till, she robbed 6 fifty-thousand-won notes,", "overly formal and precise?]. From the till, she robbed 6 fifty-thousand-won notes, 2", "50,000-won notes, two 10,000s and eight thousands.* I think some exceptions need to", "she robbed six 50,000-won notes, two 10,000s and eight thousands. From the till,", "and eight thousands. From the till, she robbed six 50,000-won notes, two 10,000s", "she robbed 6 fifty-thousand-won notes, 2 ten thousands and 8 thousands. From the", "write the following in fiction given that my style guide says write out", "be made, not least to keep it informal and to respect the fact", "rather than \"eight thousands\" seems overly formal and precise?]. From the till, she", "need to be made, not least to keep it informal and to respect", "every time. There are too many options. Help! From the till, she robbed", "options. Help! From the till, she robbed six 50,000-won notes, two 10,000s and", "and eight 1,000s [saying \"eight one thousands rather than \"eight thousands\" seems overly", "in narrative rather than dialogue. It seems unnecessary to repeat \"-won notes\" every" ]
[ "or should you just skip times very often? For example, 3 panels for", "about F1 racing, how would you cover an entire race? Should you spend", "and 3 panels for 10 seconds in lap 45 and 4 panels for", "to imagine how to do it and I am not sure how this", "10 volumes to cover a single race, or should you just skip times", "in lap 45 and 4 panels for the lap 70, which is the", "the lap 70, which is the final lap? How would you do this?", "you do this? Because I am trying to imagine how to do it", "a comic book about F1 racing, how would you cover an entire race?", "F1 racing, how would you cover an entire race? Should you spend 10", "you cover an entire race? Should you spend 10 volumes to cover a", "comic book about F1 racing, how would you cover an entire race? Should", "final lap? How would you do this? Because I am trying to imagine", "panels for 10 seconds in lap 45 and 4 panels for the lap", "seconds in lap 45 and 4 panels for the lap 70, which is", "panels for 30 seconds in lap 3, then 4 panels for 40 seconds", "book about F1 racing, how would you cover an entire race? Should you", "seconds in lap 18 and 3 panels for 10 seconds in lap 45", "in lap 18 and 3 panels for 10 seconds in lap 45 and", "racing, how would you cover an entire race? Should you spend 10 volumes", "wrote a comic book about F1 racing, how would you cover an entire", "example, 3 panels for 30 seconds in lap 3, then 4 panels for", "an entire race? Should you spend 10 volumes to cover a single race,", "race, or should you just skip times very often? For example, 3 panels", "18 and 3 panels for 10 seconds in lap 45 and 4 panels", "3, then 4 panels for 40 seconds in lap 18 and 3 panels", "cover an entire race? Should you spend 10 volumes to cover a single", "is the final lap? How would you do this? Because I am trying", "skip times very often? For example, 3 panels for 30 seconds in lap", "30 seconds in lap 3, then 4 panels for 40 seconds in lap", "seconds in lap 3, then 4 panels for 40 seconds in lap 18", "would you do this? Because I am trying to imagine how to do", "entire race? Should you spend 10 volumes to cover a single race, or", "I am trying to imagine how to do it and I am not", "trying to imagine how to do it and I am not sure how", "a single race, or should you just skip times very often? For example,", "3 panels for 10 seconds in lap 45 and 4 panels for the", "cover a single race, or should you just skip times very often? For", "you wrote a comic book about F1 racing, how would you cover an", "40 seconds in lap 18 and 3 panels for 10 seconds in lap", "very often? For example, 3 panels for 30 seconds in lap 3, then", "would you cover an entire race? Should you spend 10 volumes to cover", "45 and 4 panels for the lap 70, which is the final lap?", "and 4 panels for the lap 70, which is the final lap? How", "for 30 seconds in lap 3, then 4 panels for 40 seconds in", "times very often? For example, 3 panels for 30 seconds in lap 3,", "you spend 10 volumes to cover a single race, or should you just", "lap 18 and 3 panels for 10 seconds in lap 45 and 4", "which is the final lap? How would you do this? Because I am", "this? Because I am trying to imagine how to do it and I", "Because I am trying to imagine how to do it and I am", "panels for the lap 70, which is the final lap? How would you", "the final lap? How would you do this? Because I am trying to", "to do it and I am not sure how this is normally done.", "spend 10 volumes to cover a single race, or should you just skip", "often? For example, 3 panels for 30 seconds in lap 3, then 4", "should you just skip times very often? For example, 3 panels for 30", "for 40 seconds in lap 18 and 3 panels for 10 seconds in", "for the lap 70, which is the final lap? How would you do", "you just skip times very often? For example, 3 panels for 30 seconds", "10 seconds in lap 45 and 4 panels for the lap 70, which", "do this? Because I am trying to imagine how to do it and", "Should you spend 10 volumes to cover a single race, or should you", "then 4 panels for 40 seconds in lap 18 and 3 panels for", "lap 45 and 4 panels for the lap 70, which is the final", "am trying to imagine how to do it and I am not sure", "4 panels for the lap 70, which is the final lap? How would", "how to do it and I am not sure how this is normally", "4 panels for 40 seconds in lap 18 and 3 panels for 10", "How would you do this? Because I am trying to imagine how to", "how would you cover an entire race? Should you spend 10 volumes to", "to cover a single race, or should you just skip times very often?", "Let's say you wrote a comic book about F1 racing, how would you", "say you wrote a comic book about F1 racing, how would you cover", "lap 3, then 4 panels for 40 seconds in lap 18 and 3", "imagine how to do it and I am not sure how this is", "3 panels for 30 seconds in lap 3, then 4 panels for 40", "volumes to cover a single race, or should you just skip times very", "panels for 40 seconds in lap 18 and 3 panels for 10 seconds", "in lap 3, then 4 panels for 40 seconds in lap 18 and", "just skip times very often? For example, 3 panels for 30 seconds in", "for 10 seconds in lap 45 and 4 panels for the lap 70,", "race? Should you spend 10 volumes to cover a single race, or should", "single race, or should you just skip times very often? For example, 3", "70, which is the final lap? How would you do this? Because I", "For example, 3 panels for 30 seconds in lap 3, then 4 panels", "lap? How would you do this? Because I am trying to imagine how", "lap 70, which is the final lap? How would you do this? Because" ]
[ "on writing a novel with a really detailed world, so I was wondering", "writing a novel with a really detailed world, so I was wondering what", "do you write a worldbuilding manuscript? I am wondering what a worldbuilding manuscript", "a worldbuilding manuscript should look like. I am planning on writing a novel", "worldbuilding manuscript? I am wondering what a worldbuilding manuscript should look like. I", "world, so I was wondering what I should put in there and how", "am wondering what a worldbuilding manuscript should look like. I am planning on", "what a worldbuilding manuscript should look like. I am planning on writing a", "wondering what a worldbuilding manuscript should look like. I am planning on writing", "manuscript? I am wondering what a worldbuilding manuscript should look like. I am", "novel with a really detailed world, so I was wondering what I should", "a really detailed world, so I was wondering what I should put in", "a novel with a really detailed world, so I was wondering what I", "am planning on writing a novel with a really detailed world, so I", "look like. I am planning on writing a novel with a really detailed", "planning on writing a novel with a really detailed world, so I was", "was wondering what I should put in there and how I should format", "I was wondering what I should put in there and how I should", "worldbuilding manuscript should look like. I am planning on writing a novel with", "with a really detailed world, so I was wondering what I should put", "detailed world, so I was wondering what I should put in there and", "write a worldbuilding manuscript? I am wondering what a worldbuilding manuscript should look", "manuscript should look like. I am planning on writing a novel with a", "like. I am planning on writing a novel with a really detailed world,", "really detailed world, so I was wondering what I should put in there", "How do you write a worldbuilding manuscript? I am wondering what a worldbuilding", "you write a worldbuilding manuscript? I am wondering what a worldbuilding manuscript should", "wondering what I should put in there and how I should format it.", "a worldbuilding manuscript? I am wondering what a worldbuilding manuscript should look like.", "so I was wondering what I should put in there and how I", "I am planning on writing a novel with a really detailed world, so", "I am wondering what a worldbuilding manuscript should look like. I am planning", "should look like. I am planning on writing a novel with a really" ]
[ "we want to establish the character of the strategist as a master planner.", "hiccup, which may not affect the reputation of the strategist, but does not", "plan and wanting to show its execution is to make sure that something", "could skip the execution by saying '...and everything went as planned', but it", "strategist, but does not raise tension and could bother the reader. In the", "additional worldbuilding details are revealed (e.g. alliances, or other strategical considerations), and an", "character of the strategist as a master planner. We start by giving the", "with the following options: * if the plan fails in order to raise", "incompetent; * we could skip the execution by saying '...and everything went as", "reputation of the strategist, but does not raise tension and could bother the", "typical approach when presenting an elaborated plan and wanting to show its execution", "to me; * we could create some minor execution hiccup, which may not", "military plan in the war-room. I am not happy with the following options:", "strategist may look like an incompetent; * we could skip the execution by", "as planned', but it seems dull to me; * we could create some", "presenting an elaborated plan and wanting to show its execution is to make", "an execution of said plan that does not detract from the reputation of", "have a fairly detailed exposition during the planning phase and tension building during", "when presenting an elaborated plan and wanting to show its execution is to", "In this way we can have a fairly detailed exposition during the planning", "execution hiccup, which may not affect the reputation of the strategist, but does", "an elaborated plan and wanting to show its execution is to make sure", "and tension building during the (failed) execution. Consider instead the case in which", "exposition of the upcoming military plan in the war-room. I am not happy", "detailed exposition during the planning phase and tension building during the (failed) execution.", "its execution is to make sure that something goes wrong with it. In", "during the planning phase and tension building during the (failed) execution. Consider instead", "have both a detailed exposition, in which additional worldbuilding details are revealed (e.g.", "as a master planner. We start by giving the detailed exposition of the", "order to raise tension, the strategist may look like an incompetent; * we", "strategist as a master planner. We start by giving the detailed exposition of", "execution by saying '...and everything went as planned', but it seems dull to", "a detailed exposition, in which additional worldbuilding details are revealed (e.g. alliances, or", "fairly detailed exposition during the planning phase and tension building during the (failed)", "may look like an incompetent; * we could skip the execution by saying", "to raise tension, the strategist may look like an incompetent; * we could", "planning phase and tension building during the (failed) execution. Consider instead the case", "minor execution hiccup, which may not affect the reputation of the strategist, but", "detailed exposition of the upcoming military plan in the war-room. I am not", "everything went as planned', but it seems dull to me; * we could", "in the war-room. I am not happy with the following options: * if", "approach when presenting an elaborated plan and wanting to show its execution is", "elaborated plan and wanting to show its execution is to make sure that", "I am not happy with the following options: * if the plan fails", "or other strategical considerations), and an execution of said plan that does not", "by saying '...and everything went as planned', but it seems dull to me;", "not detract from the reputation of the strategist and is still exciting/interesting to", "the contest of medium-/large-scale military strategy, how can we have both a detailed", "can have a fairly detailed exposition during the planning phase and tension building", "tension building during the (failed) execution. Consider instead the case in which we", "plan fails in order to raise tension, the strategist may look like an", "We start by giving the detailed exposition of the upcoming military plan in", "it. In this way we can have a fairly detailed exposition during the", "planned', but it seems dull to me; * we could create some minor", "A typical approach when presenting an elaborated plan and wanting to show its", "which additional worldbuilding details are revealed (e.g. alliances, or other strategical considerations), and", "medium-/large-scale military strategy, how can we have both a detailed exposition, in which", "but it seems dull to me; * we could create some minor execution", "how can we have both a detailed exposition, in which additional worldbuilding details", "that does not detract from the reputation of the strategist and is still", "may not affect the reputation of the strategist, but does not raise tension", "could create some minor execution hiccup, which may not affect the reputation of", "wanting to show its execution is to make sure that something goes wrong", "not affect the reputation of the strategist, but does not raise tension and", "plan that does not detract from the reputation of the strategist and is", "a fairly detailed exposition during the planning phase and tension building during the", "the detailed exposition of the upcoming military plan in the war-room. I am", "went as planned', but it seems dull to me; * we could create", "in order to raise tension, the strategist may look like an incompetent; ", "the strategist as a master planner. We start by giving the detailed exposition", "of medium-/large-scale military strategy, how can we have both* a detailed exposition, in", "considerations), and an execution of said plan that does not detract from the", "during the (failed) execution. Consider instead the case in which we want to", "the (failed) execution. Consider instead the case in which we want to establish", "of the upcoming military plan in the war-room. I am not happy with", "the execution by saying '...and everything went as planned', but it seems dull", "'...and everything went as planned', but it seems dull to me; * we", "and an execution of said plan that does not detract from the reputation", "plan in the war-room. I am not happy with the following options: ", "planner. We start by giving the detailed exposition of the upcoming military plan", "the strategist may look like an incompetent; we could skip the execution", "of the strategist, but does not raise tension and could bother the reader.", "the war-room. I am not happy with the following options: * if the", "detailed exposition, in which additional worldbuilding details are revealed (e.g. alliances, or other", "a master planner. We start by giving the detailed exposition of the upcoming", "instead the case in which we want to establish the character of the", "options: * if the plan fails in order to raise tension, the strategist", "which may not affect the reputation of the strategist, but does not raise", "exposition, in which additional worldbuilding details are revealed (e.g. alliances, or other strategical", "detract from the reputation of the strategist and is still exciting/interesting to read?", "the case in which we want to establish the character of the strategist", "of the strategist as a master planner. We start by giving the detailed", "revealed (e.g. alliances, or other strategical considerations), and an execution of said plan", "said plan that does not detract from the reputation of the strategist and", "seems dull to me; * we could create some minor execution hiccup, which", "both a detailed exposition, in which additional worldbuilding details are revealed (e.g. alliances,", "execution of said plan that does not detract from the reputation of the", "establish the character of the strategist as a master planner. We start by", "strategy, how can we have both a detailed exposition, in which additional worldbuilding", "master planner. We start by giving the detailed exposition of the upcoming military", "* we could skip the execution by saying '...and everything went as planned',", "in which we want to establish the character of the strategist as a", "giving the detailed exposition of the upcoming military plan in the war-room. I", "the reader. In the contest of medium-/large-scale military strategy, how can we have", "like an incompetent; * we could skip the execution by saying '...and everything", "fails in order to raise tension, the strategist may look like an incompetent;", "not raise tension and could bother the reader. In the contest of medium-/large-scale", "this way we can have a fairly detailed exposition during the planning phase", "the following options: * if the plan fails in order to raise tension,", "(e.g. alliances, or other strategical considerations), and an execution of said plan that", "does not raise tension and could bother the reader. In the contest of", "not happy with the following options: * if the plan fails in order", "* if the plan fails in order to raise tension, the strategist may", "am not happy with the following options: * if the plan fails in", "could bother the reader. In the contest of medium-/large-scale military strategy, how can", "happy with the following options: * if the plan fails in order to", "saying '...and everything went as planned', but it seems dull to me; ", "following options: if the plan fails in order to raise tension, the", "execution is to make sure that something goes wrong with it. In this", "the reputation of the strategist, but does not raise tension and could bother", "show its execution is to make sure that something goes wrong with it.", "create some minor execution hiccup, which may not affect the reputation of the", "we can have a fairly detailed exposition during the planning phase and tension", "dull to me; * we could create some minor execution hiccup, which may", "it seems dull to me; * we could create some minor execution hiccup,", "start by giving the detailed exposition of the upcoming military plan in the", "* we could create some minor execution hiccup, which may not affect the", "by giving the detailed exposition of the upcoming military plan in the war-room.", "exposition during the planning phase and tension building during the (failed) execution. Consider", "alliances, or other strategical considerations), and an execution of said plan that does", "in which additional worldbuilding details are revealed (e.g. alliances, or other strategical considerations),", "and wanting to show its execution is to make sure that something goes", "of said plan that does not detract from the reputation of the strategist", "affect the reputation of the strategist, but does not raise tension and could", "which we want to establish the character of the strategist as a master", "if the plan fails in order to raise tension, the strategist may look", "to show its execution is to make sure that something goes wrong with", "is to make sure that something goes wrong with it. In this way", "the character of the strategist as a master planner. We start by giving", "to establish the character of the strategist as a master planner. We start", "tension and could bother the reader. In the contest of medium-/large-scale military strategy,", "are revealed (e.g. alliances, or other strategical considerations), and an execution of said", "wrong with it. In this way we can have a fairly detailed exposition", "raise tension, the strategist may look like an incompetent; * we could skip", "reader. In the contest of medium-/large-scale military strategy, how can we have both", "strategical considerations), and an execution of said plan that does not detract from", "to make sure that something goes wrong with it. In this way we", "some minor execution hiccup, which may not affect the reputation of the strategist,", "upcoming military plan in the war-room. I am not happy with the following", "we could skip the execution by saying '...and everything went as planned', but", "In the contest of medium-/large-scale military strategy, how can we have both a", "the planning phase and tension building during the (failed) execution. Consider instead the", "the strategist, but does not raise tension and could bother the reader. In", "execution. Consider instead the case in which we want to establish the character", "with it. In this way we can have a fairly detailed exposition during", "(failed) execution. Consider instead the case in which we want to establish the", "that something goes wrong with it. In this way we can have a", "phase and tension building during the (failed) execution. Consider instead the case in", "bother the reader. In the contest of medium-/large-scale military strategy, how can we", "does not detract from the reputation of the strategist and is still exciting/interesting", "way we can have a fairly detailed exposition during the planning phase and", "we could create some minor execution hiccup, which may not affect the reputation", "we have both a detailed exposition, in which additional worldbuilding details are revealed", "the plan fails in order to raise tension, the strategist may look like", "contest of medium-/large-scale military strategy, how can we have both a detailed exposition,", "building during the (failed) execution. Consider instead the case in which we want", "skip the execution by saying '...and everything went as planned', but it seems", "details are revealed (e.g. alliances, or other strategical considerations), and an execution of", "other strategical considerations), and an execution of said plan that does not detract", "make sure that something goes wrong with it. In this way we can", "sure that something goes wrong with it. In this way we can have", "raise tension and could bother the reader. In the contest of medium-/large-scale military", "me; * we could create some minor execution hiccup, which may not affect", "look like an incompetent; * we could skip the execution by saying '...and", "and could bother the reader. In the contest of medium-/large-scale military strategy, how", "war-room. I am not happy with the following options: * if the plan", "worldbuilding details are revealed (e.g. alliances, or other strategical considerations), and an execution", "something goes wrong with it. In this way we can have a fairly", "can we have both a detailed exposition, in which additional worldbuilding details are", "but does not raise tension and could bother the reader. In the contest", "case in which we want to establish the character of the strategist as", "Consider instead the case in which we want to establish the character of", "tension, the strategist may look like an incompetent; * we could skip the", "want to establish the character of the strategist as a master planner. We", "goes wrong with it. In this way we can have a fairly detailed", "the upcoming military plan in the war-room. I am not happy with the", "military strategy, how can we have both a detailed exposition, in which additional", "an incompetent; * we could skip the execution by saying '...and everything went" ]
[ "or narration so I can spend as little time as possible worldbuilding. Do", "I can spend as little time as possible worldbuilding. Do you have any", "story or narration? I want to focus on the part that would have", "have a big impact on the story or narration? I want to focus", "biggest impact on the story or narration so I can spend as little", "focus on the part that would have the biggest impact on the story", "may have a big impact on the story or narration? I want to", "that would have the biggest impact on the story or narration so I", "on the story or narration so I can spend as little time as", "that may have a big impact on the story or narration? I want", "want to focus on the part that would have the biggest impact on", "I want to focus on the part that would have the biggest impact", "What are the most important parts of worldbuilding that may have a big", "story or narration so I can spend as little time as possible worldbuilding.", "the story or narration so I can spend as little time as possible", "on the story or narration? I want to focus on the part that", "the biggest impact on the story or narration so I can spend as", "on the part that would have the biggest impact on the story or", "a big impact on the story or narration? I want to focus on", "the most important parts of worldbuilding that may have a big impact on", "narration? I want to focus on the part that would have the biggest", "part that would have the biggest impact on the story or narration so", "spend as little time as possible worldbuilding. Do you have any insight on", "so I can spend as little time as possible worldbuilding. Do you have", "most important parts of worldbuilding that may have a big impact on the", "to focus on the part that would have the biggest impact on the", "as little time as possible worldbuilding. Do you have any insight on this?", "can spend as little time as possible worldbuilding. Do you have any insight", "parts of worldbuilding that may have a big impact on the story or", "worldbuilding that may have a big impact on the story or narration? I", "are the most important parts of worldbuilding that may have a big impact", "would have the biggest impact on the story or narration so I can", "important parts of worldbuilding that may have a big impact on the story", "have the biggest impact on the story or narration so I can spend", "the story or narration? I want to focus on the part that would", "impact on the story or narration so I can spend as little time", "impact on the story or narration? I want to focus on the part", "or narration? I want to focus on the part that would have the", "the part that would have the biggest impact on the story or narration", "of worldbuilding that may have a big impact on the story or narration?", "narration so I can spend as little time as possible worldbuilding. Do you", "big impact on the story or narration? I want to focus on the" ]
[ "prevent me from being productive in this area. I can't think of a", "feel there are some missing pieces that prevent me from being productive in", "intrigues with ease? I feel there are some missing pieces that prevent me", "to be able to craft complex political intrigues with ease? I feel there", "a good political intrigue that will make my story a lot more interesting", "to understand in order to be able to craft complex political intrigues with", "intrigue that will make my story a lot more interesting and with full", "with ease? I feel there are some missing pieces that prevent me from", "me from being productive in this area. I can't think of a good", "in order to be able to craft complex political intrigues with ease? I", "good political intrigue that will make my story a lot more interesting and", "think of a good political intrigue that will make my story a lot", "ease? I feel there are some missing pieces that prevent me from being", "What do you need to understand in order to be able to craft", "need to understand in order to be able to craft complex political intrigues", "will make my story a lot more interesting and with full of unexpected", "political intrigues with ease? I feel there are some missing pieces that prevent", "there are some missing pieces that prevent me from being productive in this", "can't think of a good political intrigue that will make my story a", "do you need to understand in order to be able to craft complex", "to craft complex political intrigues with ease? I feel there are some missing", "able to craft complex political intrigues with ease? I feel there are some", "are some missing pieces that prevent me from being productive in this area.", "pieces that prevent me from being productive in this area. I can't think", "understand in order to be able to craft complex political intrigues with ease?", "of a good political intrigue that will make my story a lot more", "political intrigue that will make my story a lot more interesting and with", "you need to understand in order to be able to craft complex political", "productive in this area. I can't think of a good political intrigue that", "that prevent me from being productive in this area. I can't think of", "this area. I can't think of a good political intrigue that will make", "complex political intrigues with ease? I feel there are some missing pieces that", "I feel there are some missing pieces that prevent me from being productive", "craft complex political intrigues with ease? I feel there are some missing pieces", "area. I can't think of a good political intrigue that will make my", "that will make my story a lot more interesting and with full of", "make my story a lot more interesting and with full of unexpected turns.", "being productive in this area. I can't think of a good political intrigue", "I can't think of a good political intrigue that will make my story", "some missing pieces that prevent me from being productive in this area. I", "from being productive in this area. I can't think of a good political", "be able to craft complex political intrigues with ease? I feel there are", "in this area. I can't think of a good political intrigue that will", "missing pieces that prevent me from being productive in this area. I can't", "order to be able to craft complex political intrigues with ease? I feel" ]
[ "a political intrigue? Whenever I put some politics in my story, people know", "crafting a political intrigue? Whenever I put some politics in my story, people", "have trouble coming up with some kind of political intrigue that catch people", "catch people off guard and make them excited. Is there some kind of", "How do you catch people by surprise when crafting a political intrigue? Whenever", "some kind of political intrigue that catch people off guard and make them", "you catch people by surprise when crafting a political intrigue? Whenever I put", "I have trouble coming up with some kind of political intrigue that catch", "kind of political intrigue that catch people off guard and make them excited.", "people off guard and make them excited. Is there some kind of trick", "exactly what's gonna happen, so I have trouble coming up with some kind", "politics in my story, people know exactly what's gonna happen, so I have", "with some kind of political intrigue that catch people off guard and make", "of political intrigue that catch people off guard and make them excited. Is", "in my story, people know exactly what's gonna happen, so I have trouble", "that catch people off guard and make them excited. Is there some kind", "I put some politics in my story, people know exactly what's gonna happen,", "intrigue? Whenever I put some politics in my story, people know exactly what's", "what's gonna happen, so I have trouble coming up with some kind of", "know exactly what's gonna happen, so I have trouble coming up with some", "put some politics in my story, people know exactly what's gonna happen, so", "trouble coming up with some kind of political intrigue that catch people off", "catch people by surprise when crafting a political intrigue? Whenever I put some", "some politics in my story, people know exactly what's gonna happen, so I", "Whenever I put some politics in my story, people know exactly what's gonna", "when crafting a political intrigue? Whenever I put some politics in my story,", "surprise when crafting a political intrigue? Whenever I put some politics in my", "do you catch people by surprise when crafting a political intrigue? Whenever I", "gonna happen, so I have trouble coming up with some kind of political", "people by surprise when crafting a political intrigue? Whenever I put some politics", "political intrigue that catch people off guard and make them excited. Is there", "by surprise when crafting a political intrigue? Whenever I put some politics in", "coming up with some kind of political intrigue that catch people off guard", "off guard and make them excited. Is there some kind of trick to", "guard and make them excited. Is there some kind of trick to it?", "story, people know exactly what's gonna happen, so I have trouble coming up", "people know exactly what's gonna happen, so I have trouble coming up with", "happen, so I have trouble coming up with some kind of political intrigue", "so I have trouble coming up with some kind of political intrigue that", "political intrigue? Whenever I put some politics in my story, people know exactly", "my story, people know exactly what's gonna happen, so I have trouble coming", "up with some kind of political intrigue that catch people off guard and", "intrigue that catch people off guard and make them excited. Is there some" ]
[ "progress your story without being liable to legal damage? Is there a way", "a way to navigate this, or this should be a no no at", "or this should be a no no at all times, because the risk", "how to progress your story without being liable to legal damage? Is there", "Is there a way to navigate this, or this should be a no", "this, or this should be a no no at all times, because the", "of a lawsuit outweigh any positive impact it might have on your story?", "being liable to legal damage? Is there a way to navigate this, or", "Taking suggestions from your readers on how to progress your story without being", "your story without being liable to legal damage? Is there a way to", "to navigate this, or this should be a no no at all times,", "should be a no no at all times, because the risk of a", "the risk of a lawsuit outweigh any positive impact it might have on", "readers on how to progress your story without being liable to legal damage?", "on how to progress your story without being liable to legal damage? Is", "there a way to navigate this, or this should be a no no", "no at all times, because the risk of a lawsuit outweigh any positive", "risk of a lawsuit outweigh any positive impact it might have on your", "times, because the risk of a lawsuit outweigh any positive impact it might", "way to navigate this, or this should be a no no at all", "story without being liable to legal damage? Is there a way to navigate", "without being liable to legal damage? Is there a way to navigate this,", "no no at all times, because the risk of a lawsuit outweigh any", "liable to legal damage? Is there a way to navigate this, or this", "navigate this, or this should be a no no at all times, because", "your readers on how to progress your story without being liable to legal", "be a no no at all times, because the risk of a lawsuit", "at all times, because the risk of a lawsuit outweigh any positive impact", "this should be a no no at all times, because the risk of", "to progress your story without being liable to legal damage? Is there a", "damage? Is there a way to navigate this, or this should be a", "all times, because the risk of a lawsuit outweigh any positive impact it", "from your readers on how to progress your story without being liable to", "legal damage? Is there a way to navigate this, or this should be", "a no no at all times, because the risk of a lawsuit outweigh", "suggestions from your readers on how to progress your story without being liable", "to legal damage? Is there a way to navigate this, or this should", "because the risk of a lawsuit outweigh any positive impact it might have" ]
[ "some mail order catalogue. Giving the spotlight to some curious items, like a", "books, the bottles, but that also had the feeling of some mail order", "the statues, the books, the bottles, but that also had the feeling of", "mail order catalogue. Giving the spotlight to some curious items, like a specific", "eyes, but it ended up being as exciting as a catalogue from IKEA.", "want to describe the look of a room. In particular I would like", "as exciting as a catalogue from IKEA. Alternatively, I listed the items by", "to describe the look of a room. In particular I would like for", "as a catalogue from IKEA. Alternatively, I listed the items by grouping them,", "I want to describe the look of a room. In particular I would", "to some curious items, like a specific bottle, or a rare book, sounded", "specific bottle, or a rare book, sounded equally bad and definitively did not", "some curious items, like a specific bottle, or a rare book, sounded equally", "catalogue from IKEA. Alternatively, I listed the items by grouping them, e.g. the", "reading this particular passage. I tried just going with the plain list, as", "is: how to give the reader a sense of >wow< when making a", "book, sounded equally bad and definitively did not produce any >wow<. The question", "just going with the plain list, as if scanning the shelves with the", "shelves. This list of objects serves no purpose in the rest of the", "other than giving the reader a >wow< moment when reading this particular passage.", "I listed the items by grouping them, e.g. the statues, the books, the", "The question is: how to give the reader a sense of >wow< when", "it ended up being as exciting as a catalogue from IKEA. Alternatively, I", "no purpose in the rest of the story other than giving the reader", "ended up being as exciting as a catalogue from IKEA. Alternatively, I listed", "a catalogue from IKEA. Alternatively, I listed the items by grouping them, e.g.", "listed the items by grouping them, e.g. the statues, the books, the bottles,", "list, as if scanning the shelves with the eyes, but it ended up", "of objects serves no purpose in the rest of the story other than", "like for the reader to be overwhelmed by the many objects stacked on", "up being as exciting as a catalogue from IKEA. Alternatively, I listed the", "objects stacked on the shelves. This list of objects serves no purpose in", "a >wow< moment when reading this particular passage. I tried just going with", "like a specific bottle, or a rare book, sounded equally bad and definitively", "the books, the bottles, but that also had the feeling of some mail", "the shelves with the eyes, but it ended up being as exciting as", "that also had the feeling of some mail order catalogue. Giving the spotlight", "the rest of the story other than giving the reader a >wow< moment", "room. In particular I would like for the reader to be overwhelmed by", "story other than giving the reader a >wow< moment when reading this particular", "purpose in the rest of the story other than giving the reader a", "them, e.g. the statues, the books, the bottles, but that also had the", "the many objects stacked on the shelves. This list of objects serves no", "e.g. the statues, the books, the bottles, but that also had the feeling", "look of a room. In particular I would like for the reader to", "sounded equally bad and definitively did not produce any >wow<. The question is:", "of the story other than giving the reader a >wow< moment when reading", "for the reader to be overwhelmed by the many objects stacked on the", "to be overwhelmed by the many objects stacked on the shelves. This list", "on the shelves. This list of objects serves no purpose in the rest", "in the rest of the story other than giving the reader a >wow<", "statues, the books, the bottles, but that also had the feeling of some", "rest of the story other than giving the reader a >wow< moment when", "going with the plain list, as if scanning the shelves with the eyes,", "also had the feeling of some mail order catalogue. Giving the spotlight to", "In particular I would like for the reader to be overwhelmed by the", "giving the reader a >wow< moment when reading this particular passage. I tried", "being as exciting as a catalogue from IKEA. Alternatively, I listed the items", "the eyes, but it ended up being as exciting as a catalogue from", "particular I would like for the reader to be overwhelmed by the many", "describe the look of a room. In particular I would like for the", "this particular passage. I tried just going with the plain list, as if", "plain list, as if scanning the shelves with the eyes, but it ended", "particular passage. I tried just going with the plain list, as if scanning", "of some mail order catalogue. Giving the spotlight to some curious items, like", "be overwhelmed by the many objects stacked on the shelves. This list of", "moment when reading this particular passage. I tried just going with the plain", "curious items, like a specific bottle, or a rare book, sounded equally bad", "reader a >wow< moment when reading this particular passage. I tried just going", "order catalogue. Giving the spotlight to some curious items, like a specific bottle,", "did not produce any >wow<. The question is: how to give the reader", "feeling of some mail order catalogue. Giving the spotlight to some curious items,", "or a rare book, sounded equally bad and definitively did not produce any", "produce any >wow<. The question is: how to give the reader a sense", "a sense of >wow< when making a list of all the objects in", "Alternatively, I listed the items by grouping them, e.g. the statues, the books,", "would like for the reader to be overwhelmed by the many objects stacked", "by grouping them, e.g. the statues, the books, the bottles, but that also", "the feeling of some mail order catalogue. Giving the spotlight to some curious", "question is: how to give the reader a sense of >wow< when making", "of a room. In particular I would like for the reader to be", "items by grouping them, e.g. the statues, the books, the bottles, but that", "equally bad and definitively did not produce any >wow<. The question is: how", "objects serves no purpose in the rest of the story other than giving", "bad and definitively did not produce any >wow<. The question is: how to", "grouping them, e.g. the statues, the books, the bottles, but that also had", "the reader to be overwhelmed by the many objects stacked on the shelves.", "as if scanning the shelves with the eyes, but it ended up being", "spotlight to some curious items, like a specific bottle, or a rare book,", "list of objects serves no purpose in the rest of the story other", "catalogue. Giving the spotlight to some curious items, like a specific bottle, or", "IKEA. Alternatively, I listed the items by grouping them, e.g. the statues, the", "from IKEA. Alternatively, I listed the items by grouping them, e.g. the statues,", "items, like a specific bottle, or a rare book, sounded equally bad and", "many objects stacked on the shelves. This list of objects serves no purpose", "tried just going with the plain list, as if scanning the shelves with", "rare book, sounded equally bad and definitively did not produce any >wow<. The", "stacked on the shelves. This list of objects serves no purpose in the", "of >wow< when making a list of all the objects in a scene?", "bottle, or a rare book, sounded equally bad and definitively did not produce", "than giving the reader a >wow< moment when reading this particular passage. I", "by the many objects stacked on the shelves. This list of objects serves", "reader to be overwhelmed by the many objects stacked on the shelves. This", "the shelves. This list of objects serves no purpose in the rest of", "exciting as a catalogue from IKEA. Alternatively, I listed the items by grouping", "any >wow<. The question is: how to give the reader a sense of", "reader a sense of >wow< when making a list of all the objects", "not produce any >wow<. The question is: how to give the reader a", "the look of a room. In particular I would like for the reader", "if scanning the shelves with the eyes, but it ended up being as", "I would like for the reader to be overwhelmed by the many objects", "serves no purpose in the rest of the story other than giving the", "the bottles, but that also had the feeling of some mail order catalogue.", "and definitively did not produce any >wow<. The question is: how to give", ">wow<. The question is: how to give the reader a sense of >wow<", "bottles, but that also had the feeling of some mail order catalogue. Giving", "scanning the shelves with the eyes, but it ended up being as exciting", "a specific bottle, or a rare book, sounded equally bad and definitively did", "the reader a sense of >wow< when making a list of all the", ">wow< moment when reading this particular passage. I tried just going with the", "with the eyes, but it ended up being as exciting as a catalogue", "the items by grouping them, e.g. the statues, the books, the bottles, but", "definitively did not produce any >wow<. The question is: how to give the", "passage. I tried just going with the plain list, as if scanning the", "but that also had the feeling of some mail order catalogue. Giving the", "a room. In particular I would like for the reader to be overwhelmed", "had the feeling of some mail order catalogue. Giving the spotlight to some", "but it ended up being as exciting as a catalogue from IKEA. Alternatively,", "sense of >wow< when making a list of all the objects in a", "overwhelmed by the many objects stacked on the shelves. This list of objects", "the spotlight to some curious items, like a specific bottle, or a rare", "how to give the reader a sense of >wow< when making a list", "This list of objects serves no purpose in the rest of the story", "shelves with the eyes, but it ended up being as exciting as a", "when reading this particular passage. I tried just going with the plain list,", "the plain list, as if scanning the shelves with the eyes, but it", "I tried just going with the plain list, as if scanning the shelves", "with the plain list, as if scanning the shelves with the eyes, but", "give the reader a sense of >wow< when making a list of all", "the reader a >wow< moment when reading this particular passage. I tried just", "the story other than giving the reader a >wow< moment when reading this", "Giving the spotlight to some curious items, like a specific bottle, or a", "a rare book, sounded equally bad and definitively did not produce any >wow<.", "to give the reader a sense of >wow< when making a list of" ]
[ "Eyadual. > > > Is there a way to add noises that don't", "add noises that don't have an onomatopoeia? I can't think of a way", "I can't think of a way to express the sound inside quotes. Is", "think of a way to express the sound inside quotes. Is there a", "> > > \"teeth grinding noise\" it's cold, teeth grinding noise\" said >", "an onomatopoeia? I can't think of a way to express the sound inside", "sound inside quotes. Is there a way to do this? How is this", "don't have an onomatopoeia? I can't think of a way to express the", "said > Eyadual. > > > Is there a way to add noises", "\"Brrrrrr, it's cold, brrrrr!\" said Eyadual > > > \"teeth grinding noise\" it's", "a way to express the sound inside quotes. Is there a way to", "grinding noise\" it's cold, teeth grinding noise\" said > Eyadual. > > >", "there a way to add noises that don't have an onomatopoeia? I can't", "Eyadual > > > \"teeth grinding noise\" it's cold, teeth grinding noise\" said", "> > \"teeth grinding noise\" it's cold, teeth grinding noise\" said > Eyadual.", "to add noises that don't have an onomatopoeia? I can't think of a", "way to express the sound inside quotes. Is there a way to do", "quotes. Is there a way to do this? How is this usually done?", "> Is there a way to add noises that don't have an onomatopoeia?", "> > Is there a way to add noises that don't have an", "way to add noises that don't have an onomatopoeia? I can't think of", "express the sound inside quotes. Is there a way to do this? How", "noise\" said > Eyadual. > > > Is there a way to add", "brrrrr!\" said Eyadual > > > \"teeth grinding noise\" it's cold, teeth grinding", "teeth grinding noise\" said > Eyadual. > > > Is there a way", "the sound inside quotes. Is there a way to do this? How is", "it's cold, teeth grinding noise\" said > Eyadual. > > > Is there", "Is there a way to add noises that don't have an onomatopoeia? I", "> Eyadual. > > > Is there a way to add noises that", "noise\" it's cold, teeth grinding noise\" said > Eyadual. > > > Is", "inside quotes. Is there a way to do this? How is this usually", "it's cold, brrrrr!\" said Eyadual > > > \"teeth grinding noise\" it's cold,", "grinding noise\" said > Eyadual. > > > Is there a way to", "> \"teeth grinding noise\" it's cold, teeth grinding noise\" said > Eyadual. >", "of a way to express the sound inside quotes. Is there a way", "cold, brrrrr!\" said Eyadual > > > \"teeth grinding noise\" it's cold, teeth", "> > > Is there a way to add noises that don't have", "onomatopoeia? I can't think of a way to express the sound inside quotes.", "noises that don't have an onomatopoeia? I can't think of a way to", "to express the sound inside quotes. Is there a way to do this?", "> > \"Brrrrrr, it's cold, brrrrr!\" said Eyadual > > > \"teeth grinding", "cold, teeth grinding noise\" said > Eyadual. > > > Is there a", "that don't have an onomatopoeia? I can't think of a way to express", "\"teeth grinding noise\" it's cold, teeth grinding noise\" said > Eyadual. > >", "have an onomatopoeia? I can't think of a way to express the sound", "> \"Brrrrrr, it's cold, brrrrr!\" said Eyadual > > > \"teeth grinding noise\"", "said Eyadual > > > \"teeth grinding noise\" it's cold, teeth grinding noise\"", "a way to add noises that don't have an onomatopoeia? I can't think", "can't think of a way to express the sound inside quotes. Is there" ]
[ "had been planning a story/novel for a short while and started by focusing", "at all, despite being excited about the idea of writing that character in", "of writing that character in that world. I shelved that world/story a while", "Contrast to more recently where I've created a character first (albeit for a", "idea of writing that character in that world. I shelved that world/story a", "The character is one I also want to write (because of their flaws", "world I build is overly complex, or I spent a crazy amount of", "I'm reluctant to give up on it. The character is one I also", "to the extent that I've been making extensive background story from their past", "to give up on it. The character is one I also want to", "idle thought with occasional notes. So how do I motivate myself to write", "been idle thought with occasional notes. So how do I motivate myself to", "world/story a while back, as I didn't feel any motivation to write. Contrast", "outline for the plot. But I'm finding that I'm not motivated to write", "story/novel for a short while and started by focusing on worldbuilding. After I", "world - I'm reluctant to give up on it. The character is one", "- I'm reluctant to give up on it. The character is one I", "write (because of their flaws and the hooks I made into the world", "a story/novel for a short while and started by focusing on worldbuilding. After", "D&D character, I'm guessing they might be the cause of my lack of", "I'm finding them very motivating to write for, to the extent that I've", "the extent that I've been making extensive background story from their past before", "concept and world - I'm reluctant to give up on it. The character", "into the world and story I outlined), but given how I've found writing", "the cause of my lack of motivation. Or that I did so much", "time on it either. It's mostly just been idle thought with occasional notes.", "I spent a crazy amount of time on it either. It's mostly just", "might be the cause of my lack of motivation. Or that I did", "didn't feel any motivation to write. Contrast to more recently where I've created", "motivated to write that character at all, despite being excited about the idea", "to write in this situation, when I don't have that issue with my", "for, but I really like the concept and world - I'm reluctant to", "Now I could abandon the previous story concept that I started worldbuilding for,", "just been idle thought with occasional notes. So how do I motivate myself", "I want to write) and I then made an outline for the plot.", "write for, to the extent that I've been making extensive background story from", "But I'm finding that I'm not motivated to write that character at all,", "the world I build and the story I want to write) and I", "game. Now I could abandon the previous story concept that I started worldbuilding", "how do I motivate myself to write in this situation, when I don't", "on it either. It's mostly just been idle thought with occasional notes. So", "writing that character in that world. I shelved that world/story a while back,", "and the story I want to write) and I then made an outline", "and did some exploratory worldbuilding around them. I'm finding them very motivating to", "spent a crazy amount of time on it either. It's mostly just been", "not that the world I build is overly complex, or I spent a", "I had been planning a story/novel for a short while and started by", "upfront? It's not that the world I build is overly complex, or I", "I've created a character first (albeit for a Dungeons and Dragons RPG I", "while back, as I didn't feel any motivation to write. Contrast to more", "motivation. Or that I did so much worldbuilding upfront? It's not that the", "short while and started by focusing on worldbuilding. After I got the basics", "like the concept and world - I'm reluctant to give up on it.", "Or that I did so much worldbuilding upfront? It's not that the world", "focusing on worldbuilding. After I got the basics down, created a character (with", "story I want to write) and I then made an outline for the", "for a Dungeons and Dragons RPG I am playing), and did some exploratory", "write. Contrast to more recently where I've created a character first (albeit for", "really like the concept and world - I'm reluctant to give up on", "my lack of motivation. Or that I did so much worldbuilding upfront? It's", "previous story concept that I started worldbuilding for, but I really like the", "to write (because of their flaws and the hooks I made into the", "It's not that the world I build is overly complex, or I spent", "the basics down, created a character (with flaws, motivations and hooks into the", "got the basics down, created a character (with flaws, motivations and hooks into", "I outlined), but given how I've found writing my D&D character, I'm guessing", "So how do I motivate myself to write in this situation, when I", "complex, or I spent a crazy amount of time on it either. It's", "basics down, created a character (with flaws, motivations and hooks into the world", "(with flaws, motivations and hooks into the world I build and the story", "did so much worldbuilding upfront? It's not that the world I build is", "that I've been making extensive background story from their past before the game.", "worldbuilding for, but I really like the concept and world - I'm reluctant", "hooks into the world I build and the story I want to write)", "that I'm not motivated to write that character at all, despite being excited", "around them. I'm finding them very motivating to write for, to the extent", "to write. Contrast to more recently where I've created a character first (albeit", "motivating to write for, to the extent that I've been making extensive background", "the previous story concept that I started worldbuilding for, but I really like", "the idea of writing that character in that world. I shelved that world/story", "I could abandon the previous story concept that I started worldbuilding for, but", "am playing), and did some exploratory worldbuilding around them. I'm finding them very", "guessing they might be the cause of my lack of motivation. Or that", "of motivation. Or that I did so much worldbuilding upfront? It's not that", "motivations and hooks into the world I build and the story I want", "on worldbuilding. After I got the basics down, created a character (with flaws,", "in that world. I shelved that world/story a while back, as I didn't", "I'm not motivated to write that character at all, despite being excited about", "that I did so much worldbuilding upfront? It's not that the world I", "character first (albeit for a Dungeons and Dragons RPG I am playing), and", "the world I build is overly complex, or I spent a crazy amount", "I motivate myself to write in this situation, when I don't have that", "with occasional notes. So how do I motivate myself to write in this", "story I outlined), but given how I've found writing my D&D character, I'm", "story concept that I started worldbuilding for, but I really like the concept", "exploratory worldbuilding around them. I'm finding them very motivating to write for, to", "motivation to write. Contrast to more recently where I've created a character first", "I made into the world and story I outlined), but given how I've", "amount of time on it either. It's mostly just been idle thought with", "mostly just been idle thought with occasional notes. So how do I motivate", "that world/story a while back, as I didn't feel any motivation to write.", "past before the game. Now I could abandon the previous story concept that", "I've found writing my D&D character, I'm guessing they might be the cause", "either. It's mostly just been idle thought with occasional notes. So how do", "my D&D character, I'm guessing they might be the cause of my lack", "given how I've found writing my D&D character, I'm guessing they might be", "that character at all, despite being excited about the idea of writing that", "or I spent a crazy amount of time on it either. It's mostly", "recently where I've created a character first (albeit for a Dungeons and Dragons", "Dungeons and Dragons RPG I am playing), and did some exploratory worldbuilding around", "RPG I am playing), and did some exploratory worldbuilding around them. I'm finding", "playing), and did some exploratory worldbuilding around them. I'm finding them very motivating", "flaws and the hooks I made into the world and story I outlined),", "I then made an outline for the plot. But I'm finding that I'm", "not motivated to write that character at all, despite being excited about the", "I'm guessing they might be the cause of my lack of motivation. Or", "do I motivate myself to write in this situation, when I don't have", "any motivation to write. Contrast to more recently where I've created a character", "could abandon the previous story concept that I started worldbuilding for, but I", "flaws, motivations and hooks into the world I build and the story I", "concept that I started worldbuilding for, but I really like the concept and", "cause of my lack of motivation. Or that I did so much worldbuilding", "the plot. But I'm finding that I'm not motivated to write that character", "It's mostly just been idle thought with occasional notes. So how do I", "them very motivating to write for, to the extent that I've been making", "outlined), but given how I've found writing my D&D character, I'm guessing they", "I didn't feel any motivation to write. Contrast to more recently where I've", "their past before the game. Now I could abandon the previous story concept", "all, despite being excited about the idea* of writing that character in that", "down, created a character (with flaws, motivations and hooks into the world I", "and started by focusing on worldbuilding. After I got the basics down, created", "want to write) and I then made an outline for the plot. But", "and Dragons RPG I am playing), and did some exploratory worldbuilding around them.", "made an outline for the plot. But I'm finding that I'm not motivated", "an outline for the plot. But I'm finding that I'm not motivated to", "(because of their flaws and the hooks I made into the world and", "how I've found writing my D&D character, I'm guessing they might be the", "the concept and world - I'm reluctant to give up on it. The", "from their past before the game. Now I could abandon the previous story", "more recently where I've created a character first (albeit for a Dungeons and", "made into the world and story I outlined), but given how I've found", "the story I want to write) and I then made an outline for", "character, I'm guessing they might be the cause of my lack of motivation.", "some exploratory worldbuilding around them. I'm finding them very motivating to write for,", "worldbuilding. After I got the basics down, created a character (with flaws, motivations", "that I started worldbuilding for, but I really like the concept and world", "(albeit for a Dungeons and Dragons RPG I am playing), and did some", "very motivating to write for, to the extent that I've been making extensive", "started worldbuilding for, but I really like the concept and world - I'm", "up on it. The character is one I also want to write (because", "a character (with flaws, motivations and hooks into the world I build and", "world I build and the story I want to write) and I then", "to write) and I then made an outline for the plot. But I'm", "of time on it either. It's mostly just been idle thought with occasional", "myself to write in this situation, when I don't have that issue with", "I've been making extensive background story from their past before the game. Now", "been planning a story/novel for a short while and started by focusing on", "their flaws and the hooks I made into the world and story I", "also want to write (because of their flaws and the hooks I made", "to write for, to the extent that I've been making extensive background story", "finding them very motivating to write for, to the extent that I've been", "first (albeit for a Dungeons and Dragons RPG I am playing), and did", "and world - I'm reluctant to give up on it. The character is", "to more recently where I've created a character first (albeit for a Dungeons", "much worldbuilding upfront? It's not that the world I build is overly complex,", "back, as I didn't feel any motivation to write. Contrast to more recently", "it. The character is one I also want to write (because of their", "for the plot. But I'm finding that I'm not motivated to write that", "shelved that world/story a while back, as I didn't feel any motivation to", "by focusing on worldbuilding. After I got the basics down, created a character", "finding that I'm not motivated to write that character at all, despite being", "Dragons RPG I am playing), and did some exploratory worldbuilding around them. I'm", "created a character (with flaws, motivations and hooks into the world I build", "in this situation, when I don't have that issue with my character-first approach?", "I'm finding that I'm not motivated to write that character at all, despite", "while and started by focusing on worldbuilding. After I got the basics down,", "crazy amount of time on it either. It's mostly just been idle thought", "of my lack of motivation. Or that I did so much worldbuilding upfront?", "character at all, despite being excited about the idea* of writing that character", "on it. The character is one I also want to write (because of", "feel any motivation to write. Contrast to more recently where I've created a", "motivate myself to write in this situation, when I don't have that issue", "of their flaws and the hooks I made into the world and story", "into the world I build and the story I want to write) and", "so much worldbuilding upfront? It's not that the world I build is overly", "a character first (albeit for a Dungeons and Dragons RPG I am playing),", "world. I shelved that world/story a while back, as I didn't feel any", "where I've created a character first (albeit for a Dungeons and Dragons RPG", "before the game. Now I could abandon the previous story concept that I", "build is overly complex, or I spent a crazy amount of time on", "that character* in that world. I shelved that world/story a while back, as", "planning a story/novel for a short while and started by focusing on worldbuilding.", "about the idea of writing that character in that world. I shelved that", "a crazy amount of time on it either. It's mostly just been idle", "been making extensive background story from their past before the game. Now I", "I am playing), and did some exploratory worldbuilding around them. I'm finding them", "overly complex, or I spent a crazy amount of time on it either.", "world and story I outlined), but given how I've found writing my D&D", "notes. So how do I motivate myself to write in this situation, when", "did some exploratory worldbuilding around them. I'm finding them very motivating to write", "the world and story I outlined), but given how I've found writing my", "being excited about the idea of writing that character in that world. I", "I build is overly complex, or I spent a crazy amount of time", "I got the basics down, created a character (with flaws, motivations and hooks", "reluctant to give up on it. The character is one I also want", "I did so much worldbuilding upfront? It's not that the world I build", "After I got the basics down, created a character (with flaws, motivations and", "character* in that world. I shelved that world/story a while back, as I", "a while back, as I didn't feel any motivation to write. Contrast to", "give up on it. The character is one I also want to write", "is one I also want to write (because of their flaws and the", "write in this situation, when I don't have that issue with my character-first", "a Dungeons and Dragons RPG I am playing), and did some exploratory worldbuilding", "the hooks I made into the world and story I outlined), but given", "found writing my D&D character, I'm guessing they might be the cause of", "writing my D&D character, I'm guessing they might be the cause of my", "thought with occasional notes. So how do I motivate myself to write in", "character is one I also want to write (because of their flaws and", "I also want to write (because of their flaws and the hooks I", "character (with flaws, motivations and hooks into the world I build and the", "write) and I then made an outline for the plot. But I'm finding", "a short while and started by focusing on worldbuilding. After I got the", "I really like the concept and world - I'm reluctant to give up", "write that character at all, despite being excited about the idea of writing", "extent that I've been making extensive background story from their past before the", "created a character first (albeit for a Dungeons and Dragons RPG I am", "build and the story I want to write) and I then made an", "but given how I've found writing my D&D character, I'm guessing they might", "to write that character at all, despite being excited about the idea of", "worldbuilding around them. I'm finding them very motivating to write for, to the", "that world. I shelved that world/story a while back, as I didn't feel", "started by focusing on worldbuilding. After I got the basics down, created a", "and story I outlined), but given how I've found writing my D&D character,", "and the hooks I made into the world and story I outlined), but", "story from their past before the game. Now I could abandon the previous", "abandon the previous story concept that I started worldbuilding for, but I really", "I build and the story I want to write) and I then made", "making extensive background story from their past before the game. Now I could", "that the world I build is overly complex, or I spent a crazy", "be the cause of my lack of motivation. Or that I did so", "for, to the extent that I've been making extensive background story from their", "and I then made an outline for the plot. But I'm finding that", "it either. It's mostly just been idle thought with occasional notes. So how", "background story from their past before the game. Now I could abandon the", "worldbuilding upfront? It's not that the world I build is overly complex, or", "excited about the idea of writing that character in that world. I shelved", "them. I'm finding them very motivating to write for, to the extent that", "for a short while and started by focusing on worldbuilding. After I got", "then made an outline for the plot. But I'm finding that I'm not", "the game. Now I could abandon the previous story concept that I started", "hooks I made into the world and story I outlined), but given how", "is overly complex, or I spent a crazy amount of time on it", "but I really like the concept and world - I'm reluctant to give", "one I also want to write (because of their flaws and the hooks", "want to write (because of their flaws and the hooks I made into", "they might be the cause of my lack of motivation. Or that I", "lack of motivation. Or that I did so much worldbuilding upfront? It's not", "as I didn't feel any motivation to write. Contrast to more recently where", "extensive background story from their past before the game. Now I could abandon", "occasional notes. So how do I motivate myself to write in this situation,", "I shelved that world/story a while back, as I didn't feel any motivation", "plot. But I'm finding that I'm not motivated to write that character at", "despite being excited about the idea of writing that character in that world.", "and hooks into the world I build and the story I want to", "I started worldbuilding for, but I really like the concept and world -" ]
[ "single page and each of them has a single panel. What are some", "of 1 panel it's going to be hard to understand when you have", "guess it's one, but if a single scene consists of 1 panel it's", "how many panel a comics scene should have and when can there be", "subjective, but there has to be some kind of consensus rules on this", "each of them has a single panel. What are some rules of determining", "has to be some kind of consensus rules on this to make a", "to be some kind of consensus rules on this to make a comics", "comics? I guess it's one, but if a single scene consists of 1", "scene should have and when can there be an exception to these rules?", "single scene in a comics? I guess it's one, but if a single", "minimum panel for a single scene in a comics? I guess it's one,", "a single scene consists of 1 panel it's going to be hard to", "understand when you have 9 scenes in a single page and each of", "What are some rules of determining how many panel a comics scene should", "determining how many panel a comics scene should have and when can there", "to be hard to understand when you have 9 scenes in a single", "hard to understand when you have 9 scenes in a single page and", "when you have 9 scenes in a single page and each of them", "have 9 scenes in a single page and each of them has a", "there has to be some kind of consensus rules on this to make", "exception to these rules? I know this might be subjective, but there has", "a comics? I guess it's one, but if a single scene consists of", "a comics scene should have and when can there be an exception to", "an exception to these rules? I know this might be subjective, but there", "some rules of determining how many panel a comics scene should have and", "page and each of them has a single panel. What are some rules", "panel. What are some rules of determining how many panel a comics scene", "might be subjective, but there has to be some kind of consensus rules", "a single page and each of them has a single panel. What are", "one, but if a single scene consists of 1 panel it's going to", "can there be an exception to these rules? I know this might be", "to these rules? I know this might be subjective, but there has to", "scene in a comics? I guess it's one, but if a single scene", "single scene consists of 1 panel it's going to be hard to understand", "rules of determining how many panel a comics scene should have and when", "but if a single scene consists of 1 panel it's going to be", "be an exception to these rules? I know this might be subjective, but", "it's going to be hard to understand when you have 9 scenes in", "these rules? I know this might be subjective, but there has to be", "single panel. What are some rules of determining how many panel a comics", "scenes in a single page and each of them has a single panel.", "I know this might be subjective, but there has to be some kind", "some kind of consensus rules on this to make a comics \"flow\" better.", "a single panel. What are some rules of determining how many panel a", "consists of 1 panel it's going to be hard to understand when you", "I guess it's one, but if a single scene consists of 1 panel", "1 panel it's going to be hard to understand when you have 9", "there be an exception to these rules? I know this might be subjective,", "are some rules of determining how many panel a comics scene should have", "rules? I know this might be subjective, but there has to be some", "of them has a single panel. What are some rules of determining how", "panel for a single scene in a comics? I guess it's one, but", "when can there be an exception to these rules? I know this might", "the minimum panel for a single scene in a comics? I guess it's", "and each of them has a single panel. What are some rules of", "to understand when you have 9 scenes in a single page and each", "you have 9 scenes in a single page and each of them has", "9 scenes in a single page and each of them has a single", "be subjective, but there has to be some kind of consensus rules on", "a single scene in a comics? I guess it's one, but if a", "be some kind of consensus rules on this to make a comics \"flow\"", "should have and when can there be an exception to these rules? I", "it's one, but if a single scene consists of 1 panel it's going", "know this might be subjective, but there has to be some kind of", "What's the minimum panel for a single scene in a comics? I guess", "scene consists of 1 panel it's going to be hard to understand when", "them has a single panel. What are some rules of determining how many", "of determining how many panel a comics scene should have and when can", "in a single page and each of them has a single panel. What", "have and when can there be an exception to these rules? I know", "and when can there be an exception to these rules? I know this", "if a single scene consists of 1 panel it's going to be hard", "panel it's going to be hard to understand when you have 9 scenes", "be hard to understand when you have 9 scenes in a single page", "for a single scene in a comics? I guess it's one, but if", "comics scene should have and when can there be an exception to these", "has a single panel. What are some rules of determining how many panel", "many panel a comics scene should have and when can there be an", "this might be subjective, but there has to be some kind of consensus", "in a comics? I guess it's one, but if a single scene consists", "panel a comics scene should have and when can there be an exception", "but there has to be some kind of consensus rules on this to", "going to be hard to understand when you have 9 scenes in a" ]
[ "first character by name. > > Soat couldn't help but nervously glance over", "Siloh sat on his right, Thulos on his left, and both were wrestling", "> > Siloh sat on his right, Thulos on his left, and both", "other characters, but they don't know the first character's name. I'm having a", "until at least two more chapters, and I have no idea what to", "wasn't like the kid was just going to disappear. > > > Siloh", "look, it wasn't like the kid was just going to disappear. > >", "have no idea what to refer to him as until then. How should", "didn't know why he felt like the had to look, it wasn't like", "to the first character by name. > > Soat couldn't help but nervously", "like the had to look, it wasn't like the kid was just going", "character by name. > > Soat couldn't help but nervously glance over his", "having a lot of trouble figuring out how to write this scene, since", "wrestling to buckle the middle seatbelt over the \\_\\_\\_\\_\\_\\_ > > > (I", "character's name. I'm having a lot of trouble figuring out how to write", "I'm writing a story where one of the characters is taken in by", "middle seatbelt over the \\_\\_\\_\\_\\_\\_ > > > (I know this scene looks", "they don't know the first character's name. I'm having a lot of trouble", "a lot of trouble figuring out how to write this scene, since they", "both were wrestling to buckle the middle seatbelt over the \\_\\_\\_\\_\\_\\_ > >", "disappear. > > > Siloh sat on his right, Thulos on his left,", "> > Soat couldn't help but nervously glance over his shoulder at the", "first character's name. I'm having a lot of trouble figuring out how to", "I have no idea what to refer to him as until then. How", "seatbelt over the \\_\\_\\_\\_\\_\\_ > > > (I know this scene looks rough,", "they can't refer to the first character by name. > > Soat couldn't", "shoulder at the unconscious (person??) in his backseat. He didn't know why he", "over his shoulder at the unconscious (person??) in his backseat. He didn't know", "the first character's name. I'm having a lot of trouble figuring out how", "of the characters is taken in by three other characters, but they don't", "\\_\\_\\_\\_\\_\\_ > > > (I know this scene looks rough, it's my first", "it's my first draft.) They aren't going to know his name until at", "out how to write this scene, since they can't refer to the first", "couldn't help but nervously glance over his shoulder at the unconscious (person??) in", "was just going to disappear. > > > Siloh sat on his right,", "to look, it wasn't like the kid was just going to disappear. >", "draft.) They aren't going to know his name until at least two more", "his backseat. He didn't know why he felt like the had to look,", "scene looks rough, it's my first draft.) They aren't going to know his", "help but nervously glance over his shoulder at the unconscious (person??) in his", "had to look, it wasn't like the kid was just going to disappear.", "trouble figuring out how to write this scene, since they can't refer to", "(I know this scene looks rough, it's my first draft.) They aren't going", "at the unconscious (person??) in his backseat. He didn't know why he felt", "can't refer to the first character by name. > > Soat couldn't help", "on his left, and both were wrestling to buckle the middle seatbelt over", "to know his name until at least two more chapters, and I have", "right, Thulos on his left, and both were wrestling to buckle the middle", "what to refer to him as until then. How should I handle this?", "going to disappear. > > > Siloh sat on his right, Thulos on", "by three other characters, but they don't know the first character's name. I'm", "chapters, and I have no idea what to refer to him as until", "rough, it's my first draft.) They aren't going to know his name until", "buckle the middle seatbelt over the \\_\\_\\_\\_\\_\\_ > > > (I know this", "> Siloh sat on his right, Thulos on his left, and both were", "felt like the had to look, it wasn't like the kid was just", "his right, Thulos on his left, and both were wrestling to buckle the", "> (I know this scene looks rough, it's my first draft.) They aren't", "how to write this scene, since they can't refer to the first character", "is taken in by three other characters, but they don't know the first", "on his right, Thulos on his left, and both were wrestling to buckle", "know the first character's name. I'm having a lot of trouble figuring out", "the characters is taken in by three other characters, but they don't know", "his left, and both were wrestling to buckle the middle seatbelt over the", "characters is taken in by three other characters, but they don't know the", "like the kid was just going to disappear. > > > Siloh sat", "name. I'm having a lot of trouble figuring out how to write this", "backseat. He didn't know why he felt like the had to look, it", "They aren't going to know his name until at least two more chapters,", "two more chapters, and I have no idea what to refer to him", "the middle seatbelt over the \\_\\_\\_\\_\\_\\_ > > > (I know this scene", "just going to disappear. > > > Siloh sat on his right, Thulos", "the unconscious (person??) in his backseat. He didn't know why he felt like", "idea what to refer to him as until then. How should I handle", "writing a story where one of the characters is taken in by three", "> Soat couldn't help but nervously glance over his shoulder at the unconscious", "He didn't know why he felt like the had to look, it wasn't", "and I have no idea what to refer to him as until then.", "one of the characters is taken in by three other characters, but they", "in by three other characters, but they don't know the first character's name.", "know this scene looks rough, it's my first draft.) They aren't going to", "name. > > Soat couldn't help but nervously glance over his shoulder at", "this scene looks rough, it's my first draft.) They aren't going to know", "glance over his shoulder at the unconscious (person??) in his backseat. He didn't", "to write this scene, since they can't refer to the first character by", "kid was just going to disappear. > > > Siloh sat on his", "> > > (I know this scene looks rough, it's my first draft.)", "aren't going to know his name until at least two more chapters, and", "since they can't refer to the first character by name. > > Soat", "no idea what to refer to him as until then. How should I", "where one of the characters is taken in by three other characters, but", "going to know his name until at least two more chapters, and I", "his name until at least two more chapters, and I have no idea", "by name. > > Soat couldn't help but nervously glance over his shoulder", "unconscious (person??) in his backseat. He didn't know why he felt like the", "three other characters, but they don't know the first character's name. I'm having", "nervously glance over his shoulder at the unconscious (person??) in his backseat. He", "the kid was just going to disappear. > > > Siloh sat on", "don't know the first character's name. I'm having a lot of trouble figuring", "figuring out how to write this scene, since they can't refer to the", "write this scene, since they can't refer to the first character by name.", "over the \\_\\_\\_\\_\\_\\_ > > > (I know this scene looks rough, it's", "looks rough, it's my first draft.) They aren't going to know his name", "(person??) in his backseat. He didn't know why he felt like the had", "> > (I know this scene looks rough, it's my first draft.) They", "know his name until at least two more chapters, and I have no", "a story where one of the characters is taken in by three other", "but they don't know the first character's name. I'm having a lot of", "know why he felt like the had to look, it wasn't like the", "characters, but they don't know the first character's name. I'm having a lot", "to buckle the middle seatbelt over the \\_\\_\\_\\_\\_\\_ > > > (I know", "I'm having a lot of trouble figuring out how to write this scene,", "but nervously glance over his shoulder at the unconscious (person??) in his backseat.", "> > > Siloh sat on his right, Thulos on his left, and", "least two more chapters, and I have no idea what to refer to", "Soat couldn't help but nervously glance over his shoulder at the unconscious (person??)", "name until at least two more chapters, and I have no idea what", "Thulos on his left, and both were wrestling to buckle the middle seatbelt", "the first character by name. > > Soat couldn't help but nervously glance", "in his backseat. He didn't know why he felt like the had to", "the had to look, it wasn't like the kid was just going to", "of trouble figuring out how to write this scene, since they can't refer", "taken in by three other characters, but they don't know the first character's", "left, and both were wrestling to buckle the middle seatbelt over the \\_\\_\\_\\_\\_\\_", "the \\_\\_\\_\\_\\_\\_ > > > (I know this scene looks rough, it's my", "sat on his right, Thulos on his left, and both were wrestling to", "to disappear. > > > Siloh sat on his right, Thulos on his", "and both were wrestling to buckle the middle seatbelt over the \\_\\_\\_\\_\\_\\_ >", "scene, since they can't refer to the first character by name. > >", "it wasn't like the kid was just going to disappear. > > >", "this scene, since they can't refer to the first character by name. >", "first draft.) They aren't going to know his name until at least two", "his shoulder at the unconscious (person??) in his backseat. He didn't know why", "refer to the first character by name. > > Soat couldn't help but", "more chapters, and I have no idea what to refer to him as", "were wrestling to buckle the middle seatbelt over the \\_\\_\\_\\_\\_\\_ > > >", "my first draft.) They aren't going to know his name until at least", "story where one of the characters is taken in by three other characters,", "at least two more chapters, and I have no idea what to refer", "why he felt like the had to look, it wasn't like the kid", "he felt like the had to look, it wasn't like the kid was", "lot of trouble figuring out how to write this scene, since they can't" ]
[ "written, the subplot or parts of the plot doesn't cause some kind of", "plot doesn't have hole while you're writing after you wrote the plot? Is", "is written, the subplot or parts of the plot doesn't cause some kind", "there some kind of trick or tip to insure that after the plot", "you're writing after you wrote the plot? Is there some kind of trick", "after you wrote the plot? Is there some kind of trick or tip", "to insure your plot doesn't have hole while you're writing after you wrote", "that after the plot is written, the subplot or parts of the plot", "are things you can do to insure your plot doesn't have hole while", "your plot doesn't have hole while you're writing after you wrote the plot?", "writing after you wrote the plot? Is there some kind of trick or", "have hole while you're writing after you wrote the plot? Is there some", "Is there some kind of trick or tip to insure that after the", "or parts of the plot doesn't cause some kind of plot hole down", "some kind of trick or tip to insure that after the plot is", "you can do to insure your plot doesn't have hole while you're writing", "you wrote the plot? Is there some kind of trick or tip to", "hole while you're writing after you wrote the plot? Is there some kind", "can do to insure your plot doesn't have hole while you're writing after", "insure that after the plot is written, the subplot or parts of the", "parts of the plot doesn't cause some kind of plot hole down the", "the plot? Is there some kind of trick or tip to insure that", "subplot or parts of the plot doesn't cause some kind of plot hole", "or tip to insure that after the plot is written, the subplot or", "What are things you can do to insure your plot doesn't have hole", "doesn't have hole while you're writing after you wrote the plot? Is there", "of trick or tip to insure that after the plot is written, the", "after the plot is written, the subplot or parts of the plot doesn't", "while you're writing after you wrote the plot? Is there some kind of", "things you can do to insure your plot doesn't have hole while you're", "insure your plot doesn't have hole while you're writing after you wrote the", "kind of trick or tip to insure that after the plot is written,", "to insure that after the plot is written, the subplot or parts of", "plot is written, the subplot or parts of the plot doesn't cause some", "do to insure your plot doesn't have hole while you're writing after you", "the subplot or parts of the plot doesn't cause some kind of plot", "wrote the plot? Is there some kind of trick or tip to insure", "the plot is written, the subplot or parts of the plot doesn't cause", "trick or tip to insure that after the plot is written, the subplot", "plot? Is there some kind of trick or tip to insure that after", "of the plot doesn't cause some kind of plot hole down the road?", "tip to insure that after the plot is written, the subplot or parts" ]
[ "Sometimes, in movies, you see people (2-3 persons) talking while we zoom into", "what's happening, because the text bubbles would make it impossible to know who's", "in movies, you see people (2-3 persons) talking while we zoom into a", "(2-3 persons) talking while we zoom into a flower or some seemingly unrelated", "if it makes sense to do that in a comics book, because it", "see people (2-3 persons) talking while we zoom into a flower or some", "zoom into a flower or some seemingly unrelated shots or shots that have", "a flower or some seemingly unrelated shots or shots that have symbolic meaning.", "a comics book, because it would be harder to understand what's happening, because", "seemingly unrelated shots or shots that have symbolic meaning. I am wondering if", "impossible to know who's talking since we can't hear the voices of the", "persons) talking while we zoom into a flower or some seemingly unrelated shots", "shots that have symbolic meaning. I am wondering if it makes sense to", "we zoom into a flower or some seemingly unrelated shots or shots that", "because it would be harder to understand what's happening, because the text bubbles", "it impossible to know who's talking since we can't hear the voices of", "some seemingly unrelated shots or shots that have symbolic meaning. I am wondering", "wondering if it makes sense to do that in a comics book, because", "bubbles would make it impossible to know who's talking since we can't hear", "do that in a comics book, because it would be harder to understand", "makes sense to do that in a comics book, because it would be", "sense to do that in a comics book, because it would be harder", "would make it impossible to know who's talking since we can't hear the", "text bubbles would make it impossible to know who's talking since we can't", "or some seemingly unrelated shots or shots that have symbolic meaning. I am", "that have symbolic meaning. I am wondering if it makes sense to do", "would be harder to understand what's happening, because the text bubbles would make", "into a flower or some seemingly unrelated shots or shots that have symbolic", "shots or shots that have symbolic meaning. I am wondering if it makes", "understand what's happening, because the text bubbles would make it impossible to know", "know who's talking since we can't hear the voices of the people talking.", "the text bubbles would make it impossible to know who's talking since we", "have symbolic meaning. I am wondering if it makes sense to do that", "am wondering if it makes sense to do that in a comics book,", "meaning. I am wondering if it makes sense to do that in a", "unrelated shots or shots that have symbolic meaning. I am wondering if it", "comics book, because it would be harder to understand what's happening, because the", "symbolic meaning. I am wondering if it makes sense to do that in", "in a comics book, because it would be harder to understand what's happening,", "it makes sense to do that in a comics book, because it would", "that in a comics book, because it would be harder to understand what's", "it would be harder to understand what's happening, because the text bubbles would", "to know who's talking since we can't hear the voices of the people", "flower or some seemingly unrelated shots or shots that have symbolic meaning. I", "harder to understand what's happening, because the text bubbles would make it impossible", "book, because it would be harder to understand what's happening, because the text", "because the text bubbles would make it impossible to know who's talking since", "people (2-3 persons) talking while we zoom into a flower or some seemingly", "talking while we zoom into a flower or some seemingly unrelated shots or", "movies, you see people (2-3 persons) talking while we zoom into a flower", "to understand what's happening, because the text bubbles would make it impossible to", "make it impossible to know who's talking since we can't hear the voices", "be harder to understand what's happening, because the text bubbles would make it", "happening, because the text bubbles would make it impossible to know who's talking", "I am wondering if it makes sense to do that in a comics", "you see people (2-3 persons) talking while we zoom into a flower or", "or shots that have symbolic meaning. I am wondering if it makes sense", "while we zoom into a flower or some seemingly unrelated shots or shots", "to do that in a comics book, because it would be harder to" ]
[ "the footnotes section explaining a word in Chicago style.? Example: > > Lola\\", "> > Lola\\ and other plenipotentiaries† signed the document. > > > >", "\\Filipino word meaning \"grandma.\" > > > †Diplomatic representative of a country. >", "> \\Filipino word meaning \"grandma.\" > > > †Diplomatic representative of a country.", "Lola\\* and other plenipotentiaries† signed the document. > > > > > ---", "I am writing a paper, and I was wondering if I could use", "and I was wondering if I could use an asterisk and dagger symbol", "signed the document. > > > > > --- > > > \\Filipino", "dagger symbol to add a note in the footnotes section explaining a word", "note in the footnotes section explaining a word in Chicago style.? Example: >", "document. > > > > > --- > > > \\Filipino word meaning", "a paper, and I was wondering if I could use an asterisk and", "and dagger symbol to add a note in the footnotes section explaining a", "and other plenipotentiaries† signed the document. > > > > > --- >", "> > > > > --- > > > \\Filipino word meaning \"grandma.\"", "other plenipotentiaries† signed the document. > > > > > --- > >", "section explaining a word in Chicago style.? Example: > > Lola\\ and other", "in Chicago style.? Example: > > Lola\\* and other plenipotentiaries† signed the document.", "--- > > > \\Filipino word meaning \"grandma.\" > > > †Diplomatic representative", "asterisk and dagger symbol to add a note in the footnotes section explaining", "writing a paper, and I was wondering if I could use an asterisk", "could use an asterisk and dagger symbol to add a note in the", "Chicago style.? Example: > > Lola\\ and other plenipotentiaries† signed the document. >", "> --- > > > \\Filipino word meaning \"grandma.\" > > > †Diplomatic", "footnotes section explaining a word in Chicago style.? Example: > > Lola\\ and", "in the footnotes section explaining a word in Chicago style.? Example: > >", "symbol to add a note in the footnotes section explaining a word in", "a word in Chicago style.? Example: > > Lola\\* and other plenipotentiaries† signed", "> > --- > > > \\Filipino word meaning \"grandma.\" > > >", "an asterisk and dagger symbol to add a note in the footnotes section", "the document. > > > > > --- > > > \\Filipino word", "> > > > --- > > > \\Filipino word meaning \"grandma.\" >", "was wondering if I could use an asterisk and dagger symbol to add", "paper, and I was wondering if I could use an asterisk and dagger", "I was wondering if I could use an asterisk and dagger symbol to", "meaning \"grandma.\" > > > †Diplomatic representative of a country. > > >", "if I could use an asterisk and dagger symbol to add a note", "word in Chicago style.? Example: > > Lola\\ and other plenipotentiaries† signed the", "> Lola\\* and other plenipotentiaries† signed the document. > > > > >", "I could use an asterisk and dagger symbol to add a note in", "a note in the footnotes section explaining a word in Chicago style.? Example:", "am writing a paper, and I was wondering if I could use an", "> > \\Filipino word meaning \"grandma.\" > > > †Diplomatic representative of a", "use an asterisk and dagger symbol to add a note in the footnotes", "wondering if I could use an asterisk and dagger symbol to add a", "to add a note in the footnotes section explaining a word in Chicago", "style.? Example: > > Lola\\ and other plenipotentiaries† signed the document. > >", "word meaning \"grandma.\" > > > †Diplomatic representative of a country. > >", "plenipotentiaries† signed the document. > > > > > --- > > >", "add a note in the footnotes section explaining a word in Chicago style.?", "explaining a word in Chicago style.? Example: > > Lola\\* and other plenipotentiaries†", "Example: > > Lola\\* and other plenipotentiaries† signed the document. > > >", "> > > --- > > > \\Filipino word meaning \"grandma.\" > >", "> > > \\Filipino word meaning \"grandma.\" > > > †Diplomatic representative of" ]
[ "going through her skull. > > > vs > > She did not", "the added details. The last one in particular seems to slow down even", "at the same time I wouldn't want to lose tension in a mound", "sentences > > She did not feel the bullet going through her skull.", "first sentence. I would like for the beat to slow down as if", "were to take forever to go through the skull, but at the same", "would like for the beat to slow down as if the bullet were", "through the skull, but at the same time I wouldn't want to lose", "> I have the impression that the last two examples have a beat", "vs > > She did not feel the nine millimeter NATO Parabellum lead", "feel the nine millimeter NATO Parabellum lead bullet going through her skull. >", "the nine millimeter NATO Parabellum lead bullet going through her skull. > >", "down even further due to the choice of longer words. On the other", "lacking the pathos of the first sentence. I would like for the beat", "like for the beat to slow down as if the bullet were to", "did not feel the 9mm NATO Parabellum lead bullet going through her skull.", "last two examples have a beat dilation caused by the added details. The", "take forever to go through the skull, but at the same time I", "> > vs > > She did not feel the nine millimeter NATO", "seems to slow down even further due to the choice of longer words.", "going through her skull. > > > I have the impression that the", "nine millimeter NATO Parabellum lead bullet going through her skull. > > >", "longer words. On the other hand, when re-reading the last passage I find", "last one in particular seems to slow down even further due to the", "the first sentence. I would like for the beat to slow down as", "of details. How can a beat dilation be created and extended without detracting", "bullet going through her skull. > > > I have the impression that", "the skull, but at the same time I wouldn't want to lose tension", "bullet were to take forever to go through the skull, but at the", "find it almost cartoonish and somehow lacking the pathos of the first sentence.", "somehow lacking the pathos of the first sentence. I would like for the", "lead bullet going through her skull. > > > I have the impression", "> > She did not feel the nine millimeter NATO Parabellum lead bullet", "the last passage I find it almost cartoonish and somehow lacking the pathos", "as if the bullet were to take forever to go through the skull,", "can a beat dilation be created and extended without detracting from the main", "feel the bullet going through her skull. > > > vs > >", "NATO Parabellum lead bullet going through her skull. > > > vs >", "vs > > She did not feel the 9mm NATO Parabellum lead bullet", "Consider the following sentences > > She did not feel the bullet going", "The last one in particular seems to slow down even further due to", "not feel the bullet going through her skull. > > > vs >", "to slow down as if the bullet were to take forever to go", "cartoonish and somehow lacking the pathos of the first sentence. I would like", "want to lose tension in a mound of details. How can a beat", "> She did not feel the bullet going through her skull. > >", "it almost cartoonish and somehow lacking the pathos of the first sentence. I", "How can a beat dilation be created and extended without detracting from the", "due to the choice of longer words. On the other hand, when re-reading", "other hand, when re-reading the last passage I find it almost cartoonish and", "of the first sentence. I would like for the beat to slow down", "NATO Parabellum lead bullet going through her skull. > > > I have", "through her skull. > > > vs > > She did not feel", "bullet going through her skull. > > > vs > > She did", "skull. > > > vs > > She did not feel the 9mm", "a mound of details. How can a beat dilation be created and extended", "down as if the bullet were to take forever to go through the", "9mm NATO Parabellum lead bullet going through her skull. > > > vs", "impression that the last two examples have a beat dilation caused by the", "the bullet going through her skull. > > > vs > > She", "the other hand, when re-reading the last passage I find it almost cartoonish", "beat to slow down as if the bullet were to take forever to", "last passage I find it almost cartoonish and somehow lacking the pathos of", "when re-reading the last passage I find it almost cartoonish and somehow lacking", "did not feel the bullet going through her skull. > > > vs", "details. The last one in particular seems to slow down even further due", "one in particular seems to slow down even further due to the choice", "not feel the nine millimeter NATO Parabellum lead bullet going through her skull.", "even further due to the choice of longer words. On the other hand,", "dilation be created and extended without detracting from the main event and without", "the bullet were to take forever to go through the skull, but at", "the 9mm NATO Parabellum lead bullet going through her skull. > > >", "Parabellum lead bullet going through her skull. > > > vs > >", "lose tension in a mound of details. How can a beat dilation be", "wouldn't want to lose tension in a mound of details. How can a", "re-reading the last passage I find it almost cartoonish and somehow lacking the", "a beat dilation be created and extended without detracting from the main event", "hand, when re-reading the last passage I find it almost cartoonish and somehow", "She did not feel the nine millimeter NATO Parabellum lead bullet going through", "following sentences > > She did not feel the bullet going through her", "of longer words. On the other hand, when re-reading the last passage I", "feel the 9mm NATO Parabellum lead bullet going through her skull. > >", "I find it almost cartoonish and somehow lacking the pathos of the first", "have a beat dilation caused by the added details. The last one in", "time I wouldn't want to lose tension in a mound of details. How", "forever to go through the skull, but at the same time I wouldn't", "caused by the added details. The last one in particular seems to slow", "skull. > > > vs > > She did not feel the nine", "> > She did not feel the bullet going through her skull. >", "that the last two examples have a beat dilation caused by the added", "tension in a mound of details. How can a beat dilation be created", "not feel the 9mm NATO Parabellum lead bullet going through her skull. >", "skull. > > > I have the impression that the last two examples", "almost cartoonish and somehow lacking the pathos of the first sentence. I would", "be created and extended without detracting from the main event and without becoming", "the same time I wouldn't want to lose tension in a mound of", "the pathos of the first sentence. I would like for the beat to", "for the beat to slow down as if the bullet were to take", "her skull. > > > vs > > She did not feel the", "to lose tension in a mound of details. How can a beat dilation", "> > vs > > She did not feel the 9mm NATO Parabellum", "> > > vs > > She did not feel the 9mm NATO", "in particular seems to slow down even further due to the choice of", "beat dilation caused by the added details. The last one in particular seems", "to slow down even further due to the choice of longer words. On", "She did not feel the bullet going through her skull. > > >", "particular seems to slow down even further due to the choice of longer", "> > > I have the impression that the last two examples have", "words. On the other hand, when re-reading the last passage I find it", "but at the same time I wouldn't want to lose tension in a", "beat dilation be created and extended without detracting from the main event and", "lead bullet going through her skull. > > > vs > > She", "two examples have a beat dilation caused by the added details. The last", "pathos of the first sentence. I would like for the beat to slow", "> She did not feel the 9mm NATO Parabellum lead bullet going through", "by the added details. The last one in particular seems to slow down", "She did not feel the 9mm NATO Parabellum lead bullet going through her", "the last two examples have a beat dilation caused by the added details.", "through her skull. > > > I have the impression that the last", "same time I wouldn't want to lose tension in a mound of details.", "to take forever to go through the skull, but at the same time", "examples have a beat dilation caused by the added details. The last one", "slow down as if the bullet were to take forever to go through", "> She did not feel the nine millimeter NATO Parabellum lead bullet going", "and somehow lacking the pathos of the first sentence. I would like for", "> > I have the impression that the last two examples have a", "I wouldn't want to lose tension in a mound of details. How can", "details. How can a beat dilation be created and extended without detracting from", "the impression that the last two examples have a beat dilation caused by", "to the choice of longer words. On the other hand, when re-reading the", "her skull. > > > I have the impression that the last two", "go through the skull, but at the same time I wouldn't want to", "created and extended without detracting from the main event and without becoming comical?", "have the impression that the last two examples have a beat dilation caused", "the beat to slow down as if the bullet were to take forever", "did not feel the nine millimeter NATO Parabellum lead bullet going through her", "slow down even further due to the choice of longer words. On the", "further due to the choice of longer words. On the other hand, when", "the following sentences > > She did not feel the bullet going through", "choice of longer words. On the other hand, when re-reading the last passage", "the choice of longer words. On the other hand, when re-reading the last", "in a mound of details. How can a beat dilation be created and", "mound of details. How can a beat dilation be created and extended without", "Parabellum lead bullet going through her skull. > > > I have the", "skull, but at the same time I wouldn't want to lose tension in", "On the other hand, when re-reading the last passage I find it almost", "> > > vs > > She did not feel the nine millimeter", "> > She did not feel the 9mm NATO Parabellum lead bullet going", "dilation caused by the added details. The last one in particular seems to", "added details. The last one in particular seems to slow down even further", "to go through the skull, but at the same time I wouldn't want", "> vs > > She did not feel the 9mm NATO Parabellum lead", "a beat dilation caused by the added details. The last one in particular", "sentence. I would like for the beat to slow down as if the", "if the bullet were to take forever to go through the skull, but", "I would like for the beat to slow down as if the bullet", "millimeter NATO Parabellum lead bullet going through her skull. > > > I", "> vs > > She did not feel the nine millimeter NATO Parabellum", "passage I find it almost cartoonish and somehow lacking the pathos of the", "I have the impression that the last two examples have a beat dilation" ]
[ "of a book collection based on inspired songs by the band, Talking Heads.", "character's identity. It is a crime book set in modern day and is", "and display the main character's thoughts and mental process throughout the story. I", "mental process throughout the story. I have to get the story out by", "plan for the reveal to come somewhat early in the book and display", "book, and I'm trying to figure out how to reveal the main character's", "a part of a book collection based on inspired songs by the band,", "story. I have to get the story out by April 1rst to be", "thoughts and mental process throughout the story. I have to get the story", "figure out how to reveal the main character's identity. It is a crime", "I'm trying to figure out how to reveal the main character's identity. It", "book set in modern day and is a story told in the perspective", "reveal the main character's identity. It is a crime book set in modern", "the band, Talking Heads. This will be inspired from the song, Psycho Killer.", "story out by April 1rst to be a part of a book collection", "story told in the perspective of a serial killer. I plan for the", "book collection based on inspired songs by the band, Talking Heads. This will", "I am writing a book, and I'm trying to figure out how to", "have to get the story out by April 1rst to be a part", "to reveal the main character's identity. It is a crime book set in", "get the story out by April 1rst to be a part of a", "early in the book and display the main character's thoughts and mental process", "I plan for the reveal to come somewhat early in the book and", "trying to figure out how to reveal the main character's identity. It is", "is a story told in the perspective of a serial killer. I plan", "the reveal to come somewhat early in the book and display the main", "be a part of a book collection based on inspired songs by the", "to be a part of a book collection based on inspired songs by", "and is a story told in the perspective of a serial killer. I", "told in the perspective of a serial killer. I plan for the reveal", "songs by the band, Talking Heads. This will be inspired from the song,", "for the reveal to come somewhat early in the book and display the", "display the main character's thoughts and mental process throughout the story. I have", "in modern day and is a story told in the perspective of a", "modern day and is a story told in the perspective of a serial", "and I'm trying to figure out how to reveal the main character's identity.", "by the band, Talking Heads. This will be inspired from the song, Psycho", "a story told in the perspective of a serial killer. I plan for", "perspective of a serial killer. I plan for the reveal to come somewhat", "a serial killer. I plan for the reveal to come somewhat early in", "to come somewhat early in the book and display the main character's thoughts", "in the perspective of a serial killer. I plan for the reveal to", "the story. I have to get the story out by April 1rst to", "of a serial killer. I plan for the reveal to come somewhat early", "a book, and I'm trying to figure out how to reveal the main", "April 1rst to be a part of a book collection based on inspired", "is a crime book set in modern day and is a story told", "serial killer. I plan for the reveal to come somewhat early in the", "out how to reveal the main character's identity. It is a crime book", "reveal to come somewhat early in the book and display the main character's", "by April 1rst to be a part of a book collection based on", "a crime book set in modern day and is a story told in", "somewhat early in the book and display the main character's thoughts and mental", "identity. It is a crime book set in modern day and is a", "a book collection based on inspired songs by the band, Talking Heads. This", "inspired songs by the band, Talking Heads. This will be inspired from the", "collection based on inspired songs by the band, Talking Heads. This will be", "day and is a story told in the perspective of a serial killer.", "writing a book, and I'm trying to figure out how to reveal the", "throughout the story. I have to get the story out by April 1rst", "main character's identity. It is a crime book set in modern day and", "how to reveal the main character's identity. It is a crime book set", "to get the story out by April 1rst to be a part of", "to figure out how to reveal the main character's identity. It is a", "the perspective of a serial killer. I plan for the reveal to come", "based on inspired songs by the band, Talking Heads. This will be inspired", "killer. I plan for the reveal to come somewhat early in the book", "and mental process throughout the story. I have to get the story out", "set in modern day and is a story told in the perspective of", "I have to get the story out by April 1rst to be a", "the main character's identity. It is a crime book set in modern day", "the book and display the main character's thoughts and mental process throughout the", "am writing a book, and I'm trying to figure out how to reveal", "in the book and display the main character's thoughts and mental process throughout", "It is a crime book set in modern day and is a story", "character's thoughts and mental process throughout the story. I have to get the", "out by April 1rst to be a part of a book collection based", "crime book set in modern day and is a story told in the", "the main character's thoughts and mental process throughout the story. I have to", "book and display the main character's thoughts and mental process throughout the story.", "process throughout the story. I have to get the story out by April", "come somewhat early in the book and display the main character's thoughts and", "on inspired songs by the band, Talking Heads. This will be inspired from", "1rst to be a part of a book collection based on inspired songs", "main character's thoughts and mental process throughout the story. I have to get", "part of a book collection based on inspired songs by the band, Talking", "the story out by April 1rst to be a part of a book" ]
[ "character's PoV forms and defines how we see the world. Their abstract goal", "her life — but there is always this lack of why she does", "absence of better options. She will slowly gain control over her life —", "my main character lacks an ultimate goal. I'm struggling to find it, but", "how we see the world. Their abstract goal is to find a place", "defines how we see the world. Their abstract goal is to find a", "severely lacks motivation or goals. As a young adult, if asked what her", "motivation or goals. As a young adult, if asked what her future occupation", "this in one way or another. I tried the suggestions in [How can", "As an adult, her initial pursuits are decided by chance and absence of", "them, while paying some price for it. I put her in difficult situations.", "in difficult situations. But she severely lacks motivation or goals. As a young", "lacks an ultimate goal. I'm struggling to find it, but I want to", "and have (almost) everything fleshed out — the world, the background, the characters", "As a young adult, if asked what her future occupation would be, she", "over her life — but there is always this lack of why she", "but there is always this lack of why she does it, and why", "characters and most scenes. I recently gave it to a friend to read,", "everything fleshed out — the world, the background, the characters and most scenes.", "main character's overall goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal). I know how she will act, depending on the", "can I figure out my main character's overall goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal). I know how she", "occupation would be, she would probably put down undecided. As an adult, her", "know how she will act, depending on the situation. She has her flaws,", "(almost) everything fleshed out — the world, the background, the characters and most", "or another. I tried the suggestions in [How can I figure out my", "on the situation. She has her flaws, and will iteratively overcome them, while", "some price for it. I put her in difficult situations. But she severely", "it, and why she is more than the sum of the people and", "and defines how we see the world. Their abstract goal is to find", "the world, the background, the characters and most scenes. I recently gave it", "to find it, but I want to avoid a Nick Carraway-esque passive bystander", "better options. She will slowly gain control over her life — but there", "read, who loved everything but pointed out that my main character lacks an", "world, the background, the characters and most scenes. I recently gave it to", "find it, but I want to avoid a Nick Carraway-esque passive bystander narrating", "wants this in one way or another. I tried the suggestions in [How", "it. Everybody wants this in one way or another. I tried the suggestions", "scenes. I recently gave it to a friend to read, who loved everything", "gave it to a friend to read, who loved everything but pointed out", "goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal). I know how she will act, depending on the situation. She has", "but this is not it. Everybody wants this in one way or another.", "bystander narrating the story, since the character's PoV forms and defines how we", "She will slowly gain control over her life — but there is always", "and most scenes. I recently gave it to a friend to read, who", "a Nick Carraway-esque passive bystander narrating the story, since the character's PoV forms", "story, since the character's PoV forms and defines how we see the world.", "how she will act, depending on the situation. She has her flaws, and", "adult, her initial pursuits are decided by chance and absence of better options.", "Everybody wants this in one way or another. I tried the suggestions in", "suggestions in [How can I figure out my main character's overall goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal). I", "— but there is always this lack of why she does it, and", "to find a place in a politically and socially changing world, but this", "I know how she will act, depending on the situation. She has her", "down undecided. As an adult, her initial pursuits are decided by chance and", "of why she does it, and why she is more than the sum", "out that my main character lacks an ultimate goal. I'm struggling to find", "it. I put her in difficult situations. But she severely lacks motivation or", "lacks motivation or goals. As a young adult, if asked what her future", "depending on the situation. She has her flaws, and will iteratively overcome them,", "years, and have (almost) everything fleshed out — the world, the background, the", "I've been working on a story for close to two years, and have", "the situation. She has her flaws, and will iteratively overcome them, while paying", "the story, since the character's PoV forms and defines how we see the", "overcome them, while paying some price for it. I put her in difficult", "Their abstract goal is to find a place in a politically and socially", "put down undecided. As an adult, her initial pursuits are decided by chance", "pointed out that my main character lacks an ultimate goal. I'm struggling to", "to a friend to read, who loved everything but pointed out that my", "an adult, her initial pursuits are decided by chance and absence of better", "recently gave it to a friend to read, who loved everything but pointed", "been working on a story for close to two years, and have (almost)", "price for it. I put her in difficult situations. But she severely lacks", "control over her life — but there is always this lack of why", "most scenes. I recently gave it to a friend to read, who loved", "background, the characters and most scenes. I recently gave it to a friend", "the character's PoV forms and defines how we see the world. Their abstract", "why she does it, and why she is more than the sum of", "goal. I'm struggling to find it, but I want to avoid a Nick", "the characters and most scenes. I recently gave it to a friend to", "passive bystander narrating the story, since the character's PoV forms and defines how", "has her flaws, and will iteratively overcome them, while paying some price for", "difficult situations. But she severely lacks motivation or goals. As a young adult,", "her flaws, and will iteratively overcome them, while paying some price for it.", "place in a politically and socially changing world, but this is not it.", "this is not it. Everybody wants this in one way or another. I", "overall goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal). I know how she will act, depending on the situation. She", "she is more than the sum of the people and events around her.", "slowly gain control over her life — but there is always this lack", "a young adult, if asked what her future occupation would be, she would", "and socially changing world, but this is not it. Everybody wants this in", "put her in difficult situations. But she severely lacks motivation or goals. As", "by chance and absence of better options. She will slowly gain control over", "life — but there is always this lack of why she does it,", "on a story for close to two years, and have (almost) everything fleshed", "be, she would probably put down undecided. As an adult, her initial pursuits", "it to a friend to read, who loved everything but pointed out that", "want to avoid a Nick Carraway-esque passive bystander narrating the story, since the", "gain control over her life — but there is always this lack of", "— the world, the background, the characters and most scenes. I recently gave", "I recently gave it to a friend to read, who loved everything but", "the suggestions in [How can I figure out my main character's overall goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal).", "always this lack of why she does it, and why she is more", "a friend to read, who loved everything but pointed out that my main", "character's overall goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal). I know how she will act, depending on the situation.", "story for close to two years, and have (almost) everything fleshed out —", "to read, who loved everything but pointed out that my main character lacks", "main character lacks an ultimate goal. I'm struggling to find it, but I", "forms and defines how we see the world. Their abstract goal is to", "to avoid a Nick Carraway-esque passive bystander narrating the story, since the character's", "changing world, but this is not it. Everybody wants this in one way", "in [How can I figure out my main character's overall goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal). I know", "her future occupation would be, she would probably put down undecided. As an", "politically and socially changing world, but this is not it. Everybody wants this", "this lack of why she does it, and why she is more than", "the background, the characters and most scenes. I recently gave it to a", "chance and absence of better options. She will slowly gain control over her", "a story for close to two years, and have (almost) everything fleshed out", "not it. Everybody wants this in one way or another. I tried the", "will iteratively overcome them, while paying some price for it. I put her", "to two years, and have (almost) everything fleshed out — the world, the", "if asked what her future occupation would be, she would probably put down", "there is always this lack of why she does it, and why she", "she severely lacks motivation or goals. As a young adult, if asked what", "find a place in a politically and socially changing world, but this is", "I put her in difficult situations. But she severely lacks motivation or goals.", "or goals. As a young adult, if asked what her future occupation would", "see the world. Their abstract goal is to find a place in a", "and absence of better options. She will slowly gain control over her life", "why she is more than the sum of the people and events around", "does it, and why she is more than the sum of the people", "out — the world, the background, the characters and most scenes. I recently", "what her future occupation would be, she would probably put down undecided. As", "another. I tried the suggestions in [How can I figure out my main", "Nick Carraway-esque passive bystander narrating the story, since the character's PoV forms and", "working on a story for close to two years, and have (almost) everything", "socially changing world, but this is not it. Everybody wants this in one", "would be, she would probably put down undecided. As an adult, her initial", "who loved everything but pointed out that my main character lacks an ultimate", "undecided. As an adult, her initial pursuits are decided by chance and absence", "is not it. Everybody wants this in one way or another. I tried", "[How can I figure out my main character's overall goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal). I know how", "an ultimate goal. I'm struggling to find it, but I want to avoid", "I figure out my main character's overall goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal). I know how she will", "act, depending on the situation. She has her flaws, and will iteratively overcome", "I want to avoid a Nick Carraway-esque passive bystander narrating the story, since", "situations. But she severely lacks motivation or goals. As a young adult, if", "character lacks an ultimate goal. I'm struggling to find it, but I want", "close to two years, and have (almost) everything fleshed out — the world,", "out my main character's overall goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal). I know how she will act, depending", "I'm struggling to find it, but I want to avoid a Nick Carraway-esque", "situation. She has her flaws, and will iteratively overcome them, while paying some", "everything but pointed out that my main character lacks an ultimate goal. I'm", "goal is to find a place in a politically and socially changing world,", "I tried the suggestions in [How can I figure out my main character's", "flaws, and will iteratively overcome them, while paying some price for it. I", "She has her flaws, and will iteratively overcome them, while paying some price", "her initial pursuits are decided by chance and absence of better options. She", "Carraway-esque passive bystander narrating the story, since the character's PoV forms and defines", "in a politically and socially changing world, but this is not it. Everybody", "ultimate goal. I'm struggling to find it, but I want to avoid a", "my main character's overall goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal). I know how she will act, depending on", "the world. Their abstract goal is to find a place in a politically", "and will iteratively overcome them, while paying some price for it. I put", "we see the world. Their abstract goal is to find a place in", "she does it, and why she is more than the sum of the", "but pointed out that my main character lacks an ultimate goal. I'm struggling", "she would probably put down undecided. As an adult, her initial pursuits are", "for close to two years, and have (almost) everything fleshed out — the", "will act, depending on the situation. She has her flaws, and will iteratively", "is to find a place in a politically and socially changing world, but", "would probably put down undecided. As an adult, her initial pursuits are decided", "options. She will slowly gain control over her life — but there is", "abstract goal is to find a place in a politically and socially changing", "two years, and have (almost) everything fleshed out — the world, the background,", "paying some price for it. I put her in difficult situations. But she", "her in difficult situations. But she severely lacks motivation or goals. As a", "a place in a politically and socially changing world, but this is not", "young adult, if asked what her future occupation would be, she would probably", "for it. I put her in difficult situations. But she severely lacks motivation", "probably put down undecided. As an adult, her initial pursuits are decided by", "and why she is more than the sum of the people and events", "friend to read, who loved everything but pointed out that my main character", "loved everything but pointed out that my main character lacks an ultimate goal.", "world. Their abstract goal is to find a place in a politically and", "one way or another. I tried the suggestions in [How can I figure", "figure out my main character's overall goal?](https://writing.stackexchange.com/questions/26851/how-can-i-figure-out-my-main-characters-overall-goal). I know how she will act,", "adult, if asked what her future occupation would be, she would probably put", "of better options. She will slowly gain control over her life — but", "is always this lack of why she does it, and why she is", "world, but this is not it. Everybody wants this in one way or", "asked what her future occupation would be, she would probably put down undecided.", "in one way or another. I tried the suggestions in [How can I", "tried the suggestions in [How can I figure out my main character's overall", "while paying some price for it. I put her in difficult situations. But", "struggling to find it, but I want to avoid a Nick Carraway-esque passive", "narrating the story, since the character's PoV forms and defines how we see", "that my main character lacks an ultimate goal. I'm struggling to find it,", "lack of why she does it, and why she is more than the", "a politically and socially changing world, but this is not it. Everybody wants", "future occupation would be, she would probably put down undecided. As an adult,", "decided by chance and absence of better options. She will slowly gain control", "avoid a Nick Carraway-esque passive bystander narrating the story, since the character's PoV", "goals. As a young adult, if asked what her future occupation would be,", "initial pursuits are decided by chance and absence of better options. She will", "have (almost) everything fleshed out — the world, the background, the characters and", "fleshed out — the world, the background, the characters and most scenes. I", "way or another. I tried the suggestions in [How can I figure out", "iteratively overcome them, while paying some price for it. I put her in", "But she severely lacks motivation or goals. As a young adult, if asked", "are decided by chance and absence of better options. She will slowly gain", "will slowly gain control over her life — but there is always this", "since the character's PoV forms and defines how we see the world. Their", "it, but I want to avoid a Nick Carraway-esque passive bystander narrating the", "she will act, depending on the situation. She has her flaws, and will", "but I want to avoid a Nick Carraway-esque passive bystander narrating the story,", "pursuits are decided by chance and absence of better options. She will slowly", "PoV forms and defines how we see the world. Their abstract goal is" ]
[ "come up with a test that tests intelligence that is good enough to", "I'm writing a piece of fiction where there is a King with three", "what will happen in the second one. But try as I might, I", "passed the Trial of Heart in that way. Obviously, other than the third,", "one was kind and agreed to allow him to not pay the taxes", "of Heart, Mind and Might. I'm done with the first trial and have", "he sets three trials. Trials of Heart, Mind and Might. I'm done with", "first trial and have a good idea about what will happen in the", "a King will determine the Kingdom's future by means of a treasure hunt?", "to each princess to ask for relieve from the year's taxes. The first", "with the first trial and have a good idea about what will happen", "the taxes of that year. The second one was intelligent and moved, so", "realistic to think a King will determine the Kingdom's future by means of", "pay that year's tax. All three passed the Trial of Heart in that", "can't come up with a test that tests intelligence that is good enough", "In order to decide who becomes the next Quuan, he sets three trials.", "of things like treasure hunts, and a hunt to catch some bandits first", "him to not pay that year's tax. All three passed the Trial of", "year's tax. All three passed the Trial of Heart in that way. Obviously,", "and agreed to allow him to not pay the taxes of that year.", "informed her that the farmer was a test. So she also allowed him", "not pay the taxes of that year. The second one was intelligent and", "For the Heart, I sent a farmer whose crops were destroyed by locusts", "to not pay that year's tax. All three passed the Trial of Heart", "of fiction where there is a King with three daughters. In order to", "trials. Trials of Heart, Mind and Might. I'm done with the first trial", "treasure hunts, and a hunt to catch some bandits first or something along", "one is clever and sly, and her spies had already informed her that", "decide who becomes the next Quuan, he sets three trials. Trials of Heart,", "and moved, so she allowed him one more year to pay only a", "that the farmer was a test. So she also allowed him to not", "year. The second one was intelligent and moved, so she allowed him one", "is good enough to decide who becomes the next Quuan. I've thought of", "But, is it really realistic to think a King will determine the Kingdom's", "some bandits first or something along those lines. But, is it really realistic", "is clever and sly, and her spies had already informed her that the", "determine the Kingdom's future by means of a treasure hunt? For the Heart,", "treasure hunt? For the Heart, I sent a farmer whose crops were destroyed", "first one was kind and agreed to allow him to not pay the", "year to pay only a quarter of what he should have paid. The", "intelligence that is good enough to decide who becomes the next Quuan. I've", "taxes of that year. The second one was intelligent and moved, so she", "Mind and Might. I'm done with the first trial and have a good", "happen in the second one. But try as I might, I can't come", "pay the taxes of that year. The second one was intelligent and moved,", "piece of fiction where there is a King with three daughters. In order", "is a King with three daughters. In order to decide who becomes the", "will determine the Kingdom's future by means of a treasure hunt? For the", "one more year to pay only a quarter of what he should have", "to not pay the taxes of that year. The second one was intelligent", "quarter of what he should have paid. The third one is clever and", "farmer whose crops were destroyed by locusts to each princess to ask for", "and sly, and her spies had already informed her that the farmer was", "of that year. The second one was intelligent and moved, so she allowed", "the second one. But try as I might, I can't come up with", "third, none of them knew they were being tested. Does anyone have any", "test. So she also allowed him to not pay that year's tax. All", "was kind and agreed to allow him to not pay the taxes of", "second one. But try as I might, I can't come up with a", "had already informed her that the farmer was a test. So she also", "or something along those lines. But, is it really realistic to think a", "was a test. So she also allowed him to not pay that year's", "I sent a farmer whose crops were destroyed by locusts to each princess", "those lines. But, is it really realistic to think a King will determine", "up with a test that tests intelligence that is good enough to decide", "three trials. Trials of Heart, Mind and Might. I'm done with the first", "and have a good idea about what will happen in the second one.", "I'm done with the first trial and have a good idea about what", "a hunt to catch some bandits first or something along those lines. But,", "The third one is clever and sly, and her spies had already informed", "a test. So she also allowed him to not pay that year's tax.", "enough to decide who becomes the next Quuan. I've thought of things like", "have a good idea about what will happen in the second one. But", "in the second one. But try as I might, I can't come up", "with a test that tests intelligence that is good enough to decide who", "sent a farmer whose crops were destroyed by locusts to each princess to", "Obviously, other than the third, none of them knew they were being tested.", "to allow him to not pay the taxes of that year. The second", "second one was intelligent and moved, so she allowed him one more year", "that tests intelligence that is good enough to decide who becomes the next", "idea about what will happen in the second one. But try as I", "hunts, and a hunt to catch some bandits first or something along those", "year's taxes. The first one was kind and agreed to allow him to", "So, I'm writing a piece of fiction where there is a King with", "Quuan. I've thought of things like treasure hunts, and a hunt to catch", "moved, so she allowed him one more year to pay only a quarter", "good idea about what will happen in the second one. But try as", "what he should have paid. The third one is clever and sly, and", "were destroyed by locusts to each princess to ask for relieve from the", "who becomes the next Quuan. I've thought of things like treasure hunts, and", "agreed to allow him to not pay the taxes of that year. The", "each princess to ask for relieve from the year's taxes. The first one", "of Heart in that way. Obviously, other than the third, none of them", "and a hunt to catch some bandits first or something along those lines.", "clever and sly, and her spies had already informed her that the farmer", "farmer was a test. So she also allowed him to not pay that", "order to decide who becomes the next Quuan, he sets three trials. Trials", "than the third, none of them knew they were being tested. Does anyone", "whose crops were destroyed by locusts to each princess to ask for relieve", "future by means of a treasure hunt? For the Heart, I sent a", "from the year's taxes. The first one was kind and agreed to allow", "intelligent and moved, so she allowed him one more year to pay only", "to pay only a quarter of what he should have paid. The third", "that is good enough to decide who becomes the next Quuan. I've thought", "things like treasure hunts, and a hunt to catch some bandits first or", "try as I might, I can't come up with a test that tests", "next Quuan. I've thought of things like treasure hunts, and a hunt to", "next Quuan, he sets three trials. Trials of Heart, Mind and Might. I'm", "allowed him to not pay that year's tax. All three passed the Trial", "way. Obviously, other than the third, none of them knew they were being", "a treasure hunt? For the Heart, I sent a farmer whose crops were", "there is a King with three daughters. In order to decide who becomes", "Might. I'm done with the first trial and have a good idea about", "daughters. In order to decide who becomes the next Quuan, he sets three", "third one is clever and sly, and her spies had already informed her", "one. But try as I might, I can't come up with a test", "more year to pay only a quarter of what he should have paid.", "ask for relieve from the year's taxes. The first one was kind and", "her spies had already informed her that the farmer was a test. So", "Heart, Mind and Might. I'm done with the first trial and have a", "test that tests intelligence that is good enough to decide who becomes the", "the Heart, I sent a farmer whose crops were destroyed by locusts to", "that year's tax. All three passed the Trial of Heart in that way.", "princess to ask for relieve from the year's taxes. The first one was", "she also allowed him to not pay that year's tax. All three passed", "sets three trials. Trials of Heart, Mind and Might. I'm done with the", "that year. The second one was intelligent and moved, so she allowed him", "him to not pay the taxes of that year. The second one was", "three passed the Trial of Heart in that way. Obviously, other than the", "the first trial and have a good idea about what will happen in", "becomes the next Quuan, he sets three trials. Trials of Heart, Mind and", "good enough to decide who becomes the next Quuan. I've thought of things", "is it really realistic to think a King will determine the Kingdom's future", "allow him to not pay the taxes of that year. The second one", "and Might. I'm done with the first trial and have a good idea", "Trials of Heart, Mind and Might. I'm done with the first trial and", "to catch some bandits first or something along those lines. But, is it", "for relieve from the year's taxes. The first one was kind and agreed", "something along those lines. But, is it really realistic to think a King", "destroyed by locusts to each princess to ask for relieve from the year's", "spies had already informed her that the farmer was a test. So she", "I might, I can't come up with a test that tests intelligence that", "that way. Obviously, other than the third, none of them knew they were", "a good idea about what will happen in the second one. But try", "catch some bandits first or something along those lines. But, is it really", "of what he should have paid. The third one is clever and sly,", "he should have paid. The third one is clever and sly, and her", "really realistic to think a King will determine the Kingdom's future by means", "sly, and her spies had already informed her that the farmer was a", "and her spies had already informed her that the farmer was a test.", "the Trial of Heart in that way. Obviously, other than the third, none", "a piece of fiction where there is a King with three daughters. In", "I've thought of things like treasure hunts, and a hunt to catch some", "in that way. Obviously, other than the third, none of them knew they", "along those lines. But, is it really realistic to think a King will", "where there is a King with three daughters. In order to decide who", "by means of a treasure hunt? For the Heart, I sent a farmer", "King will determine the Kingdom's future by means of a treasure hunt? For", "tax. All three passed the Trial of Heart in that way. Obviously, other", "the next Quuan. I've thought of things like treasure hunts, and a hunt", "becomes the next Quuan. I've thought of things like treasure hunts, and a", "think a King will determine the Kingdom's future by means of a treasure", "All three passed the Trial of Heart in that way. Obviously, other than", "writing a piece of fiction where there is a King with three daughters.", "a King with three daughters. In order to decide who becomes the next", "The second one was intelligent and moved, so she allowed him one more", "to decide who becomes the next Quuan. I've thought of things like treasure", "who becomes the next Quuan, he sets three trials. Trials of Heart, Mind", "King with three daughters. In order to decide who becomes the next Quuan,", "lines. But, is it really realistic to think a King will determine the", "him one more year to pay only a quarter of what he should", "So she also allowed him to not pay that year's tax. All three", "also allowed him to not pay that year's tax. All three passed the", "fiction where there is a King with three daughters. In order to decide", "trial and have a good idea about what will happen in the second", "her that the farmer was a test. So she also allowed him to", "Heart in that way. Obviously, other than the third, none of them knew", "decide who becomes the next Quuan. I've thought of things like treasure hunts,", "I can't come up with a test that tests intelligence that is good", "bandits first or something along those lines. But, is it really realistic to", "of a treasure hunt? For the Heart, I sent a farmer whose crops", "relieve from the year's taxes. The first one was kind and agreed to", "thought of things like treasure hunts, and a hunt to catch some bandits", "Quuan, he sets three trials. Trials of Heart, Mind and Might. I'm done", "one was intelligent and moved, so she allowed him one more year to", "none of them knew they were being tested. Does anyone have any ideas?", "means of a treasure hunt? For the Heart, I sent a farmer whose", "paid. The third one is clever and sly, and her spies had already", "a quarter of what he should have paid. The third one is clever", "will happen in the second one. But try as I might, I can't", "a test that tests intelligence that is good enough to decide who becomes", "Trial of Heart in that way. Obviously, other than the third, none of", "other than the third, none of them knew they were being tested. Does", "Heart, I sent a farmer whose crops were destroyed by locusts to each", "the year's taxes. The first one was kind and agreed to allow him", "locusts to each princess to ask for relieve from the year's taxes. The", "by locusts to each princess to ask for relieve from the year's taxes.", "the next Quuan, he sets three trials. Trials of Heart, Mind and Might.", "might, I can't come up with a test that tests intelligence that is", "like treasure hunts, and a hunt to catch some bandits first or something", "a farmer whose crops were destroyed by locusts to each princess to ask", "hunt to catch some bandits first or something along those lines. But, is", "three daughters. In order to decide who becomes the next Quuan, he sets", "to ask for relieve from the year's taxes. The first one was kind", "with three daughters. In order to decide who becomes the next Quuan, he", "tests intelligence that is good enough to decide who becomes the next Quuan.", "she allowed him one more year to pay only a quarter of what", "already informed her that the farmer was a test. So she also allowed", "not pay that year's tax. All three passed the Trial of Heart in", "to decide who becomes the next Quuan, he sets three trials. Trials of", "the third, none of them knew they were being tested. Does anyone have", "to think a King will determine the Kingdom's future by means of a", "first or something along those lines. But, is it really realistic to think", "about what will happen in the second one. But try as I might,", "taxes. The first one was kind and agreed to allow him to not", "Kingdom's future by means of a treasure hunt? For the Heart, I sent", "allowed him one more year to pay only a quarter of what he", "should have paid. The third one is clever and sly, and her spies", "crops were destroyed by locusts to each princess to ask for relieve from", "was intelligent and moved, so she allowed him one more year to pay", "the farmer was a test. So she also allowed him to not pay", "as I might, I can't come up with a test that tests intelligence", "it really realistic to think a King will determine the Kingdom's future by", "the Kingdom's future by means of a treasure hunt? For the Heart, I", "pay only a quarter of what he should have paid. The third one", "But try as I might, I can't come up with a test that", "so she allowed him one more year to pay only a quarter of", "The first one was kind and agreed to allow him to not pay", "only a quarter of what he should have paid. The third one is", "have paid. The third one is clever and sly, and her spies had", "hunt? For the Heart, I sent a farmer whose crops were destroyed by", "done with the first trial and have a good idea about what will", "kind and agreed to allow him to not pay the taxes of that" ]
[ "Germans speaking German. The people in panel 3 are English people speaking English.", "However, in panel 3 the people are actually talking in English. The people", "The people in panels 1, 2 and 4 are Germans speaking German. The", "another language that isn't English? Let's say that in panels 1, 2, and", "book are talking in another language that isn't English? Let's say that in", "panel 3 are English people speaking English. All the dialogue is still written", "English, but the dialogue is still translated into English inside the text bubbles.", "are talking in another language that isn't English? Let's say that in panels", "are English people speaking English. All the dialogue is still written in English.", "the people are actually talking in English. The people in panels 1, 2", "in English. The people in panels 1, 2 and 4 are Germans speaking", "in English, but the dialogue is still translated into English inside the text", "and 4 are Germans speaking German. The people in panel 3 are English", "in panel 3 the people are actually talking in English. The people in", "2 and 4 are Germans speaking German. The people in panel 3 are", "do you explain that the people talking English in a comic book are", "in another language that isn't English? Let's say that in panels 1, 2,", "Let's say that in panels 1, 2, and 4 the characters don't talk", "characters don't talk in English, but the dialogue is still translated into English", "dialogue is still written in English. So how do I make that difference", "3 are English people speaking English. All the dialogue is still written in", "talk in English, but the dialogue is still translated into English inside the", "are Germans speaking German. The people in panel 3 are English people speaking", "English in a comic book are talking in another language that isn't English?", "language that isn't English? Let's say that in panels 1, 2, and 4", "don't talk in English, but the dialogue is still translated into English inside", "people talking English in a comic book are talking in another language that", "that in panels 1, 2, and 4 the characters don't talk in English,", "English. All the dialogue is still written in English. So how do I", "3 the people are actually talking in English. The people in panels 1,", "actually talking in English. The people in panels 1, 2 and 4 are", "in panels 1, 2, and 4 the characters don't talk in English, but", "How do you explain that the people talking English in a comic book", "talking in another language that isn't English? Let's say that in panels 1,", "people in panel 3 are English people speaking English. All the dialogue is", "the characters don't talk in English, but the dialogue is still translated into", "in a comic book are talking in another language that isn't English? Let's", "English. The people in panels 1, 2 and 4 are Germans speaking German.", "people in panels 1, 2 and 4 are Germans speaking German. The people", "people speaking English. All the dialogue is still written in English. So how", "panel 3 the people are actually talking in English. The people in panels", "the text bubbles. However, in panel 3 the people are actually talking in", "in panels 1, 2 and 4 are Germans speaking German. The people in", "the people talking English in a comic book are talking in another language", "panels 1, 2 and 4 are Germans speaking German. The people in panel", "isn't English? Let's say that in panels 1, 2, and 4 the characters", "English people speaking English. All the dialogue is still written in English. So", "you explain that the people talking English in a comic book are talking", "the dialogue is still written in English. So how do I make that", "still translated into English inside the text bubbles. However, in panel 3 the", "1, 2 and 4 are Germans speaking German. The people in panel 3", "2, and 4 the characters don't talk in English, but the dialogue is", "inside the text bubbles. However, in panel 3 the people are actually talking", "that isn't English? Let's say that in panels 1, 2, and 4 the", "dialogue is still translated into English inside the text bubbles. However, in panel", "English inside the text bubbles. However, in panel 3 the people are actually", "people are actually talking in English. The people in panels 1, 2 and", "German. The people in panel 3 are English people speaking English. All the", "talking in English. The people in panels 1, 2 and 4 are Germans", "talking English in a comic book are talking in another language that isn't", "in panel 3 are English people speaking English. All the dialogue is still", "The people in panel 3 are English people speaking English. All the dialogue", "4 are Germans speaking German. The people in panel 3 are English people", "4 the characters don't talk in English, but the dialogue is still translated", "comic book are talking in another language that isn't English? Let's say that", "translated into English inside the text bubbles. However, in panel 3 the people", "panels 1, 2, and 4 the characters don't talk in English, but the", "but the dialogue is still translated into English inside the text bubbles. However,", "1, 2, and 4 the characters don't talk in English, but the dialogue", "English? Let's say that in panels 1, 2, and 4 the characters don't", "is still translated into English inside the text bubbles. However, in panel 3", "explain that the people talking English in a comic book are talking in", "speaking German. The people in panel 3 are English people speaking English. All", "text bubbles. However, in panel 3 the people are actually talking in English.", "are actually talking in English. The people in panels 1, 2 and 4", "All the dialogue is still written in English. So how do I make", "a comic book are talking in another language that isn't English? Let's say", "into English inside the text bubbles. However, in panel 3 the people are", "speaking English. All the dialogue is still written in English. So how do", "that the people talking English in a comic book are talking in another", "the dialogue is still translated into English inside the text bubbles. However, in", "say that in panels 1, 2, and 4 the characters don't talk in", "and 4 the characters don't talk in English, but the dialogue is still", "bubbles. However, in panel 3 the people are actually talking in English. The", "is still written in English. So how do I make that difference clear?" ]
[ "sound like non-native English speakers without using any grammar error in their dialogues?", "don't want to make people uncomfortable by having a character speak like an", "I don't want to make people uncomfortable by having a character speak like", "like non-native English speakers without using any grammar error in their dialogues? I", "error in their dialogues? I don't want to make people uncomfortable by having", "How do you make characters sound like non-native English speakers without using any", "their dialogues? I don't want to make people uncomfortable by having a character", "make people uncomfortable by having a character speak like an idiot of some", "character speak like an idiot of some sort like they did during the", "to make people uncomfortable by having a character speak like an idiot of", "having a character speak like an idiot of some sort like they did", "any grammar error in their dialogues? I don't want to make people uncomfortable", "want to make people uncomfortable by having a character speak like an idiot", "characters sound like non-native English speakers without using any grammar error in their", "by having a character speak like an idiot of some sort like they", "grammar error in their dialogues? I don't want to make people uncomfortable by", "in their dialogues? I don't want to make people uncomfortable by having a", "using any grammar error in their dialogues? I don't want to make people", "like an idiot of some sort like they did during the 18th century.", "people uncomfortable by having a character speak like an idiot of some sort", "dialogues? I don't want to make people uncomfortable by having a character speak", "speak like an idiot of some sort like they did during the 18th", "a character speak like an idiot of some sort like they did during", "without using any grammar error in their dialogues? I don't want to make", "English speakers without using any grammar error in their dialogues? I don't want", "speakers without using any grammar error in their dialogues? I don't want to", "do you make characters sound like non-native English speakers without using any grammar", "uncomfortable by having a character speak like an idiot of some sort like", "you make characters sound like non-native English speakers without using any grammar error", "make characters sound like non-native English speakers without using any grammar error in", "non-native English speakers without using any grammar error in their dialogues? I don't" ]
[ "short stories about a quirky nerdy guy and his growth into an adult", "But I'm using first person narration. What should I do? I got some", "close to someone and overhears dialogue * A side character says what happened", "character says what happened when the main character was not present * Write", "dialogue * A side character says what happened when the main character was", "an adult man (see [here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3) for a description). I got a recommendation to", "and dialogue where he is not. But I'm using first person narration. What", "nerdy guy and his growth into an adult man (see [here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3) for a", "man (see [here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3) for a description). I got a recommendation to use first-person", "of short stories about a quirky nerdy guy and his growth into an", "book](https://docs.google.com/document/d/1-VMXftN_SCYkSpaJT1vH6heC5IQ-q6PkZIQf3cdCGi8/edit#heading=h.c24cwmxt7ech) of short stories about a quirky nerdy guy and his growth into", "about a quirky nerdy guy and his growth into an adult man (see", "the main character was not present * Write some chapters from the POV", "but I cannot use them everywhere: * The main character is close to", "started to write [a book](https://docs.google.com/document/d/1-VMXftN_SCYkSpaJT1vH6heC5IQ-q6PkZIQf3cdCGi8/edit#heading=h.c24cwmxt7ech) of short stories about a quirky nerdy guy", "main character present, I want to include situations and dialogue where he is", "growth into an adult man (see [here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3) for a description). I got a", "got some ideas, but I cannot use them everywhere: * The main character", "where he is not. But I'm using first person narration. What should I", "recommendation to use first-person narration. While about 70-80% of the book has the", "I cannot use them everywhere: * The main character is close to someone", "stories about a quirky nerdy guy and his growth into an adult man", "should I do? I got some ideas, but I cannot use them everywhere:", "use them everywhere: * The main character is close to someone and overhears", "quirky nerdy guy and his growth into an adult man (see [here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3) for", "of the book has the main character present, I want to include situations", "a quirky nerdy guy and his growth into an adult man (see [here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3)", "a description). I got a recommendation to use first-person narration. While about 70-80%", "* A side character says what happened when the main character was not", "character was not present * Write some chapters from the POV of a", "side character says what happened when the main character was not present ", "dialogue where he is not. But I'm using first person narration. What should", "person narration. What should I do? I got some ideas, but I cannot", "ideas, but I cannot use them everywhere: The main character is close", "them everywhere: * The main character is close to someone and overhears dialogue", "include situations and dialogue where he is not. But I'm using first person", "A side character says what happened when the main character was not present", "is not. But I'm using first person narration. What should I do? I", "a recommendation to use first-person narration. While about 70-80% of the book has", "is close to someone and overhears dialogue * A side character says what", "main character is close to someone and overhears dialogue * A side character", "and his growth into an adult man (see [here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3) for a description). I", "he is not. But I'm using first person narration. What should I do?", "narration. What should I do? I got some ideas, but I cannot use", "* The main character is close to someone and overhears dialogue * A", "use first-person narration. While about 70-80% of the book has the main character", "want to include situations and dialogue where he is not. But I'm using", "what happened when the main character was not present * Write some chapters", "his growth into an adult man (see [here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3) for a description). I got", "character is close to someone and overhears dialogue * A side character says", "has the main character present, I want to include situations and dialogue where", "not. But I'm using first person narration. What should I do? I got", "to include situations and dialogue where he is not. But I'm using first", "[a book](https://docs.google.com/document/d/1-VMXftN_SCYkSpaJT1vH6heC5IQ-q6PkZIQf3cdCGi8/edit#heading=h.c24cwmxt7ech) of short stories about a quirky nerdy guy and his growth", "everywhere: * The main character is close to someone and overhears dialogue ", "to use first-person narration. While about 70-80% of the book has the main", "to someone and overhears dialogue A side character says what happened when", "overhears dialogue * A side character says what happened when the main character", "first-person narration. While about 70-80% of the book has the main character present,", "While about 70-80% of the book has the main character present, I want", "happened when the main character was not present * Write some chapters from", "guy and his growth into an adult man (see [here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3) for a description).", "the book has the main character present, I want to include situations and", "I've started to write [a book](https://docs.google.com/document/d/1-VMXftN_SCYkSpaJT1vH6heC5IQ-q6PkZIQf3cdCGi8/edit#heading=h.c24cwmxt7ech) of short stories about a quirky nerdy", "for a description). I got a recommendation to use first-person narration. While about", "70-80% of the book has the main character present, I want to include", "about 70-80% of the book has the main character present, I want to", "The main character is close to someone and overhears dialogue * A side", "and overhears dialogue * A side character says what happened when the main", "(see [here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3) for a description). I got a recommendation to use first-person narration.", "using first person narration. What should I do? I got some ideas, but", "first person narration. What should I do? I got some ideas, but I", "do? I got some ideas, but I cannot use them everywhere: * The", "into an adult man (see [here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3) for a description). I got a recommendation", "main character was not present * Write some chapters from the POV of", "description). I got a recommendation to use first-person narration. While about 70-80% of", "What should I do? I got some ideas, but I cannot use them", "I want to include situations and dialogue where he is not. But I'm", "I got some ideas, but I cannot use them everywhere: * The main", "narration. While about 70-80% of the book has the main character present, I", "says what happened when the main character was not present * Write some", "got a recommendation to use first-person narration. While about 70-80% of the book", "adult man (see [here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3) for a description). I got a recommendation to use", "book has the main character present, I want to include situations and dialogue", "the main character present, I want to include situations and dialogue where he", "not present * Write some chapters from the POV of a side character", "some ideas, but I cannot use them everywhere: * The main character is", "cannot use them everywhere: * The main character is close to someone and", "I got a recommendation to use first-person narration. While about 70-80% of the", "when the main character was not present * Write some chapters from the", "I do? I got some ideas, but I cannot use them everywhere: ", "[here](https://www.reddit.com/r/themiddle/comments/ru90ja/writing_the_middlestyle_book/hvrfm4u/?context=3) for a description). I got a recommendation to use first-person narration. While", "to write [a book](https://docs.google.com/document/d/1-VMXftN_SCYkSpaJT1vH6heC5IQ-q6PkZIQf3cdCGi8/edit#heading=h.c24cwmxt7ech) of short stories about a quirky nerdy guy and", "someone and overhears dialogue A side character says what happened when the", "present, I want to include situations and dialogue where he is not. But", "character present, I want to include situations and dialogue where he is not.", "I'm using first person narration. What should I do? I got some ideas,", "situations and dialogue where he is not. But I'm using first person narration.", "write [a book](https://docs.google.com/document/d/1-VMXftN_SCYkSpaJT1vH6heC5IQ-q6PkZIQf3cdCGi8/edit#heading=h.c24cwmxt7ech) of short stories about a quirky nerdy guy and his", "was not present * Write some chapters from the POV of a side" ]
[ "poison fluid spreads inside the cup of water? What are the things you", "person poisons someone? Instead of saying, \"Rumerz put poison in his drink\", what", "it? Do you just heavily suggest it was done by describing how the", "poisons someone? Instead of saying, \"Rumerz put poison in his drink\", what do", "tell when a person poisons someone? Instead of saying, \"Rumerz put poison in", "someone? Instead of saying, \"Rumerz put poison in his drink\", what do you", "when a person poisons someone? Instead of saying, \"Rumerz put poison in his", "did it? Do you just heavily suggest it was done by describing how", "saying, \"Rumerz put poison in his drink\", what do you do to show", "his drink\", what do you do to show that Rumerz did it? Do", "\"Rumerz put poison in his drink\", what do you do to show that", "Rumerz did it? Do you just heavily suggest it was done by describing", "to show that Rumerz did it? Do you just heavily suggest it was", "of saying, \"Rumerz put poison in his drink\", what do you do to", "How do you show, not tell when a person poisons someone? Instead of", "you just heavily suggest it was done by describing how the poison fluid", "put poison in his drink\", what do you do to show that Rumerz", "not tell when a person poisons someone? Instead of saying, \"Rumerz put poison", "fluid spreads inside the cup of water? What are the things you can", "Do you just heavily suggest it was done by describing how the poison", "how the poison fluid spreads inside the cup of water? What are the", "show, not tell when a person poisons someone? Instead of saying, \"Rumerz put", "what do you do to show that Rumerz did it? Do you just", "done by describing how the poison fluid spreads inside the cup of water?", "heavily suggest it was done by describing how the poison fluid spreads inside", "describing how the poison fluid spreads inside the cup of water? What are", "drink\", what do you do to show that Rumerz did it? Do you", "was done by describing how the poison fluid spreads inside the cup of", "do to show that Rumerz did it? Do you just heavily suggest it", "by describing how the poison fluid spreads inside the cup of water? What", "that Rumerz did it? Do you just heavily suggest it was done by", "a person poisons someone? Instead of saying, \"Rumerz put poison in his drink\",", "the poison fluid spreads inside the cup of water? What are the things", "it was done by describing how the poison fluid spreads inside the cup", "poison in his drink\", what do you do to show that Rumerz did", "you show, not tell when a person poisons someone? Instead of saying, \"Rumerz", "do you do to show that Rumerz did it? Do you just heavily", "suggest it was done by describing how the poison fluid spreads inside the", "Instead of saying, \"Rumerz put poison in his drink\", what do you do", "do you show, not tell when a person poisons someone? Instead of saying,", "show that Rumerz did it? Do you just heavily suggest it was done", "just heavily suggest it was done by describing how the poison fluid spreads", "spreads inside the cup of water? What are the things you can do?", "in his drink\", what do you do to show that Rumerz did it?", "you do to show that Rumerz did it? Do you just heavily suggest" ]
[ "doesn't really serve a purpose. Is it possible that an allegory is added", "a Biblical allegory of Musu crossing the sea. But rarely do they seem", "allegory added doesn't really serve a purpose. Is it possible that an allegory", "example, a scene from a movie can be a Biblical allegory of Musu", "do they seem to do anything with it. It's like the allegory added", "a movie can be a Biblical allegory of Musu crossing the sea. But", "can be a Biblical allegory of Musu crossing the sea. But rarely do", "the sea. But rarely do they seem to do anything with it. It's", "added doesn't really serve a purpose. Is it possible that an allegory is", "allegory is added just for the sake of it without serving some grand", "seem to do anything with it. It's like the allegory added doesn't really", "it. It's like the allegory added doesn't really serve a purpose. Is it", "do anything with it. It's like the allegory added doesn't really serve a", "see a lot of films using allegory. For example, a scene from a", "Is it possible that an allegory is added just for the sake of", "from a movie can be a Biblical allegory of Musu crossing the sea.", "using allegory. For example, a scene from a movie can be a Biblical", "scene from a movie can be a Biblical allegory of Musu crossing the", "of films using allegory. For example, a scene from a movie can be", "It's like the allegory added doesn't really serve a purpose. Is it possible", "a scene from a movie can be a Biblical allegory of Musu crossing", "added just for the sake of it without serving some grand narrative purpose?", "a lot of films using allegory. For example, a scene from a movie", "to do anything with it. It's like the allegory added doesn't really serve", "anything with it. It's like the allegory added doesn't really serve a purpose.", "films using allegory. For example, a scene from a movie can be a", "serve a purpose. Is it possible that an allegory is added just for", "movie can be a Biblical allegory of Musu crossing the sea. But rarely", "with it. It's like the allegory added doesn't really serve a purpose. Is", "allegory of Musu crossing the sea. But rarely do they seem to do", "But rarely do they seem to do anything with it. It's like the", "possible that an allegory is added just for the sake of it without", "it possible that an allegory is added just for the sake of it", "For example, a scene from a movie can be a Biblical allegory of", "the allegory added doesn't really serve a purpose. Is it possible that an", "be a Biblical allegory of Musu crossing the sea. But rarely do they", "crossing the sea. But rarely do they seem to do anything with it.", "like the allegory added doesn't really serve a purpose. Is it possible that", "an allegory is added just for the sake of it without serving some", "they seem to do anything with it. It's like the allegory added doesn't", "lot of films using allegory. For example, a scene from a movie can", "of Musu crossing the sea. But rarely do they seem to do anything", "purpose. Is it possible that an allegory is added just for the sake", "that an allegory is added just for the sake of it without serving", "a purpose. Is it possible that an allegory is added just for the", "allegory. For example, a scene from a movie can be a Biblical allegory", "is added just for the sake of it without serving some grand narrative", "I see a lot of films using allegory. For example, a scene from", "rarely do they seem to do anything with it. It's like the allegory", "Biblical allegory of Musu crossing the sea. But rarely do they seem to", "sea. But rarely do they seem to do anything with it. It's like", "really serve a purpose. Is it possible that an allegory is added just", "Musu crossing the sea. But rarely do they seem to do anything with" ]
[ "then there's call to adventure, which seems like something random that not every", "me check a list of exhaustive parts or sub parts of a story", "and inciting incident, but then there's call to adventure, which seems like something", "list of exhaustive parts or sub parts of a story beat. Something free", "and even worse last chance to chicken out. So I was wondering if", "chicken out. So I was wondering if there was a web app that", "wondering if there was a web app that would let me check a", "random that not every story beat should have, and even worse last chance", "not every story beat should have, and even worse last chance to chicken", "to chicken out. So I was wondering if there was a web app", "there's call to adventure, which seems like something random that not every story", "So I was wondering if there was a web app that would let", "was a web app that would let me check a list of exhaustive", "like something random that not every story beat should have, and even worse", "seems like something random that not every story beat should have, and even", "worse last chance to chicken out. So I was wondering if there was", "incident, but then there's call to adventure, which seems like something random that", "set-up and inciting incident, but then there's call to adventure, which seems like", "call to adventure, which seems like something random that not every story beat", "to adventure, which seems like something random that not every story beat should", "which seems like something random that not every story beat should have, and", "out. So I was wondering if there was a web app that would", "was wondering if there was a web app that would let me check", "app that would let me check a list of exhaustive parts or sub", "a list of exhaustive parts or sub parts of a story beat. Something", "there was a web app that would let me check a list of", "of exhaustive parts or sub parts of a story beat. Something free would", "exhaustive parts or sub parts of a story beat. Something free would be", "<https://screenwritingbae.tumblr.com/post/133954599046/an-outline-of-whiplash-2014-please-share> I see set-up and inciting incident, but then there's call to adventure,", "I was wondering if there was a web app that would let me", "see set-up and inciting incident, but then there's call to adventure, which seems", "something random that not every story beat should have, and even worse last", "should have, and even worse last chance to chicken out. So I was", "that would let me check a list of exhaustive parts or sub parts", "have, and even worse last chance to chicken out. So I was wondering", "last chance to chicken out. So I was wondering if there was a", "check a list of exhaustive parts or sub parts of a story beat.", "parts or sub parts of a story beat. Something free would be nice.", "a web app that would let me check a list of exhaustive parts", "story beat should have, and even worse last chance to chicken out. So", "let me check a list of exhaustive parts or sub parts of a", "web app that would let me check a list of exhaustive parts or", "if there was a web app that would let me check a list", "adventure, which seems like something random that not every story beat should have,", "would let me check a list of exhaustive parts or sub parts of", "but then there's call to adventure, which seems like something random that not", "even worse last chance to chicken out. So I was wondering if there", "every story beat should have, and even worse last chance to chicken out.", "inciting incident, but then there's call to adventure, which seems like something random", "beat should have, and even worse last chance to chicken out. So I", "chance to chicken out. So I was wondering if there was a web", "that not every story beat should have, and even worse last chance to", "I see set-up and inciting incident, but then there's call to adventure, which" ]
[ "like that of a six year old?](https://writing.stackexchange.com/questions/32142), and it helped, but the storytelling", "is a 6 year old girl. The problem is simply this: I'm neither", "fact, I'm quite a bit older. The first problem I've more-or-less gotten, but", "hoping for. I definitely understand what Wetcircuit said, that this is asking what", "first grade. In fact, I'm quite a bit older. The first problem I've", "was hoping for. I definitely understand what Wetcircuit said, that this is asking", "aren't there, which is more of what I was hoping for. I definitely", "How is a little kid's thinking different from older kids and adults, and", "with. I've looked at the question [How can I make dialog sound like", "for. I definitely understand what Wetcircuit said, that this is asking what to", "Wetcircuit said, that this is asking what to write. I don't want an", "girl nor in first grade. In fact, I'm quite a bit older. The", "make dialog sound like that of a six year old?](https://writing.stackexchange.com/questions/32142), and it helped,", "asking what to write. I don't want an exact 'she'll sound like this,'", "me in the right direction. I tend to write with a style of", "a 6 year old girl. The problem is simply this: I'm neither a", "in first grade. In fact, I'm quite a bit older. The first problem", "bit older. The first problem I've more-or-less gotten, but it's the second one", "the second one I'm having issues with. I've looked at the question [How", "with 3 POV's. One of which is a 6 year old girl. The", "a six year old?](https://writing.stackexchange.com/questions/32142), and it helped, but the storytelling aspects aren't there,", "older. The first problem I've more-or-less gotten, but it's the second one I'm", "old?](https://writing.stackexchange.com/questions/32142), and it helped, but the storytelling aspects aren't there, which is more", "thinking different from older kids and adults, and how can I transfer that", "question [How can I make dialog sound like that of a six year", "year old?](https://writing.stackexchange.com/questions/32142), and it helped, but the storytelling aspects aren't there, which is", "said, that this is asking what to write. I don't want an exact", "dialog sound like that of a six year old?](https://writing.stackexchange.com/questions/32142), and it helped, but", "sentences and words, and it doesn't end up fitting at all. Essentially: How", "and words, and it doesn't end up fitting at all. Essentially: How is", "generalization to pointing me in the right direction. I tend to write with", "I'm quite a bit older. The first problem I've more-or-less gotten, but it's", "there, which is more of what I was hoping for. I definitely understand", "POV's. One of which is a 6 year old girl. The problem is", "and it helped, but the storytelling aspects aren't there, which is more of", "right direction. I tend to write with a style of long sentences and", "of a six year old?](https://writing.stackexchange.com/questions/32142), and it helped, but the storytelling aspects aren't", "doesn't end up fitting at all. Essentially: How is a little kid's thinking", "gotten, but it's the second one I'm having issues with. I've looked at", "it helped, but the storytelling aspects aren't there, which is more of what", "the storytelling aspects aren't there, which is more of what I was hoping", "to write. I don't want an exact 'she'll sound like this,' more of", "more-or-less gotten, but it's the second one I'm having issues with. I've looked", "problem I've more-or-less gotten, but it's the second one I'm having issues with.", "a style of long sentences and words, and it doesn't end up fitting", "long sentences and words, and it doesn't end up fitting at all. Essentially:", "definitely understand what Wetcircuit said, that this is asking what to write. I", "it's the second one I'm having issues with. I've looked at the question", "which is a 6 year old girl. The problem is simply this: I'm", "to pointing me in the right direction. I tend to write with a", "but it's the second one I'm having issues with. I've looked at the", "simply this: I'm neither a girl nor in first grade. In fact, I'm", "understand what Wetcircuit said, that this is asking what to write. I don't", "6 year old girl. The problem is simply this: I'm neither a girl", "older kids and adults, and how can I transfer that methodology into my", "this,' more of a generalization to pointing me in the right direction. I", "write. I don't want an exact 'she'll sound like this,' more of a", "of which is a 6 year old girl. The problem is simply this:", "what Wetcircuit said, that this is asking what to write. I don't want", "a girl nor in first grade. In fact, I'm quite a bit older.", "of a generalization to pointing me in the right direction. I tend to", "which is more of what I was hoping for. I definitely understand what", "little kid's thinking different from older kids and adults, and how can I", "I was hoping for. I definitely understand what Wetcircuit said, that this is", "pointing me in the right direction. I tend to write with a style", "grade. In fact, I'm quite a bit older. The first problem I've more-or-less", "in the right direction. I tend to write with a style of long", "a little kid's thinking different from older kids and adults, and how can", "tend to write with a style of long sentences and words, and it", "having issues with. I've looked at the question [How can I make dialog", "looked at the question [How can I make dialog sound like that of", "at the question [How can I make dialog sound like that of a", "exact 'she'll sound like this,' more of a generalization to pointing me in", "the right direction. I tend to write with a style of long sentences", "One of which is a 6 year old girl. The problem is simply", "I'm having issues with. I've looked at the question [How can I make", "of what I was hoping for. I definitely understand what Wetcircuit said, that", "I tend to write with a style of long sentences and words, and", "write with a style of long sentences and words, and it doesn't end", "end up fitting at all. Essentially: How is a little kid's thinking different", "3 POV's. One of which is a 6 year old girl. The problem", "words, and it doesn't end up fitting at all. Essentially: How is a", "storytelling aspects aren't there, which is more of what I was hoping for.", "at all. Essentially: How is a little kid's thinking different from older kids", "one I'm having issues with. I've looked at the question [How can I", "a bit older. The first problem I've more-or-less gotten, but it's the second", "I'm writing a story with 3 POV's. One of which is a 6", "I've looked at the question [How can I make dialog sound like that", "I don't want an exact 'she'll sound like this,' more of a generalization", "sound like this,' more of a generalization to pointing me in the right", "like this,' more of a generalization to pointing me in the right direction.", "six year old?](https://writing.stackexchange.com/questions/32142), and it helped, but the storytelling aspects aren't there, which", "story with 3 POV's. One of which is a 6 year old girl.", "second one I'm having issues with. I've looked at the question [How can", "more of a generalization to pointing me in the right direction. I tend", "problem is simply this: I'm neither a girl nor in first grade. In", "to write with a style of long sentences and words, and it doesn't", "more of what I was hoping for. I definitely understand what Wetcircuit said,", "first problem I've more-or-less gotten, but it's the second one I'm having issues", "the question [How can I make dialog sound like that of a six", "is a little kid's thinking different from older kids and adults, and how", "can I make dialog sound like that of a six year old?](https://writing.stackexchange.com/questions/32142), and", "a story with 3 POV's. One of which is a 6 year old", "I make dialog sound like that of a six year old?](https://writing.stackexchange.com/questions/32142), and it", "kid's thinking different from older kids and adults, and how can I transfer", "a generalization to pointing me in the right direction. I tend to write", "quite a bit older. The first problem I've more-or-less gotten, but it's the", "direction. I tend to write with a style of long sentences and words,", "old girl. The problem is simply this: I'm neither a girl nor in", "what I was hoping for. I definitely understand what Wetcircuit said, that this", "that of a six year old?](https://writing.stackexchange.com/questions/32142), and it helped, but the storytelling aspects", "style of long sentences and words, and it doesn't end up fitting at", "all. Essentially: How is a little kid's thinking different from older kids and", "Essentially: How is a little kid's thinking different from older kids and adults,", "that this is asking what to write. I don't want an exact 'she'll", "an exact 'she'll sound like this,' more of a generalization to pointing me", "girl. The problem is simply this: I'm neither a girl nor in first", "sound like that of a six year old?](https://writing.stackexchange.com/questions/32142), and it helped, but the", "I definitely understand what Wetcircuit said, that this is asking what to write.", "aspects aren't there, which is more of what I was hoping for. I", "is more of what I was hoping for. I definitely understand what Wetcircuit", "from older kids and adults, and how can I transfer that methodology into", "I'm neither a girl nor in first grade. In fact, I'm quite a", "The first problem I've more-or-less gotten, but it's the second one I'm having", "I've more-or-less gotten, but it's the second one I'm having issues with. I've", "nor in first grade. In fact, I'm quite a bit older. The first", "The problem is simply this: I'm neither a girl nor in first grade.", "different from older kids and adults, and how can I transfer that methodology", "is simply this: I'm neither a girl nor in first grade. In fact,", "up fitting at all. Essentially: How is a little kid's thinking different from", "helped, but the storytelling aspects aren't there, which is more of what I", "kids and adults, and how can I transfer that methodology into my writing?", "issues with. I've looked at the question [How can I make dialog sound", "this is asking what to write. I don't want an exact 'she'll sound", "In fact, I'm quite a bit older. The first problem I've more-or-less gotten,", "'she'll sound like this,' more of a generalization to pointing me in the", "don't want an exact 'she'll sound like this,' more of a generalization to", "with a style of long sentences and words, and it doesn't end up", "of long sentences and words, and it doesn't end up fitting at all.", "what to write. I don't want an exact 'she'll sound like this,' more", "[How can I make dialog sound like that of a six year old?](https://writing.stackexchange.com/questions/32142),", "fitting at all. Essentially: How is a little kid's thinking different from older", "writing a story with 3 POV's. One of which is a 6 year", "neither a girl nor in first grade. In fact, I'm quite a bit", "want an exact 'she'll sound like this,' more of a generalization to pointing", "this: I'm neither a girl nor in first grade. In fact, I'm quite", "but the storytelling aspects aren't there, which is more of what I was", "year old girl. The problem is simply this: I'm neither a girl nor", "it doesn't end up fitting at all. Essentially: How is a little kid's", "and it doesn't end up fitting at all. Essentially: How is a little", "is asking what to write. I don't want an exact 'she'll sound like" ]
[ "the situation where a character suddenly stops talking and pauses for a while.", "dialogue) I use the em dash to show a sudden break from dialogue,", "so I arrived at using an ellipsis after an em dash. So the", "and pauses for a while. It feels clunky to interrupt the dialogue, so", "unfamiliar or unusual it would be for a reader. If possible, examples would", "character suddenly stops talking and pauses for a while. It feels clunky to", "would be easily understood, I want to know how unfamiliar or unusual it", "at using an ellipsis after an em dash. So the question here is,", "break from dialogue, and I use an ellipsis for trailing off, often coupled", "arrived at using an ellipsis after an em dash. So the question here", "So the question here is, has this been done before? While I feel", "While I feel such punctuation would be easily understood, I want to know", "a while. It feels clunky to interrupt the dialogue, so I arrived at", "run into the situation where a character suddenly stops talking and pauses for", "a sudden break from dialogue, and I use an ellipsis for trailing off,", "found that (in dialogue) I use the em dash to show a sudden", "clunky to interrupt the dialogue, so I arrived at using an ellipsis after", "ellipsis for trailing off, often coupled with a pause. I’ve run into the", "I want to know how unfamiliar or unusual it would be for a", "understood, I want to know how unfamiliar or unusual it would be for", "question here is, has this been done before? While I feel such punctuation", "know how unfamiliar or unusual it would be for a reader. If possible,", "be easily understood, I want to know how unfamiliar or unusual it would", "before? While I feel such punctuation would be easily understood, I want to", "em dash to show a sudden break from dialogue, and I use an", "the em dash to show a sudden break from dialogue, and I use", "dialogue, so I arrived at using an ellipsis after an em dash. So", "unusual it would be for a reader. If possible, examples would be appreciated.", "I arrived at using an ellipsis after an em dash. So the question", "and I use an ellipsis for trailing off, often coupled with a pause.", "off, often coupled with a pause. I’ve run into the situation where a", "while. It feels clunky to interrupt the dialogue, so I arrived at using", "sudden break from dialogue, and I use an ellipsis for trailing off, often", "into the situation where a character suddenly stops talking and pauses for a", "after an em dash. So the question here is, has this been done", "ellipsis after an em dash. So the question here is, has this been", "pause. I’ve run into the situation where a character suddenly stops talking and", "that (in dialogue) I use the em dash to show a sudden break", "a pause. I’ve run into the situation where a character suddenly stops talking", "a character suddenly stops talking and pauses for a while. It feels clunky", "I use the em dash to show a sudden break from dialogue, and", "often coupled with a pause. I’ve run into the situation where a character", "situation where a character suddenly stops talking and pauses for a while. It", "(in dialogue) I use the em dash to show a sudden break from", "how unfamiliar or unusual it would be for a reader. If possible, examples", "trailing off, often coupled with a pause. I’ve run into the situation where", "interrupt the dialogue, so I arrived at using an ellipsis after an em", "pauses for a while. It feels clunky to interrupt the dialogue, so I", "such punctuation would be easily understood, I want to know how unfamiliar or", "my writing, I’ve found that (in dialogue) I use the em dash to", "this been done before? While I feel such punctuation would be easily understood,", "an ellipsis for trailing off, often coupled with a pause. I’ve run into", "show a sudden break from dialogue, and I use an ellipsis for trailing", "for trailing off, often coupled with a pause. I’ve run into the situation", "an ellipsis after an em dash. So the question here is, has this", "suddenly stops talking and pauses for a while. It feels clunky to interrupt", "writing, I’ve found that (in dialogue) I use the em dash to show", "to interrupt the dialogue, so I arrived at using an ellipsis after an", "feels clunky to interrupt the dialogue, so I arrived at using an ellipsis", "has this been done before? While I feel such punctuation would be easily", "dash. So the question here is, has this been done before? While I", "is, has this been done before? While I feel such punctuation would be", "where a character suddenly stops talking and pauses for a while. It feels", "I feel such punctuation would be easily understood, I want to know how", "It feels clunky to interrupt the dialogue, so I arrived at using an", "I’ve run into the situation where a character suddenly stops talking and pauses", "been done before? While I feel such punctuation would be easily understood, I", "the dialogue, so I arrived at using an ellipsis after an em dash.", "from dialogue, and I use an ellipsis for trailing off, often coupled with", "punctuation would be easily understood, I want to know how unfamiliar or unusual", "using an ellipsis after an em dash. So the question here is, has", "dash to show a sudden break from dialogue, and I use an ellipsis", "use the em dash to show a sudden break from dialogue, and I", "stops talking and pauses for a while. It feels clunky to interrupt the", "for a while. It feels clunky to interrupt the dialogue, so I arrived", "done before? While I feel such punctuation would be easily understood, I want", "an em dash. So the question here is, has this been done before?", "feel such punctuation would be easily understood, I want to know how unfamiliar", "In my writing, I’ve found that (in dialogue) I use the em dash", "or unusual it would be for a reader. If possible, examples would be", "to know how unfamiliar or unusual it would be for a reader. If", "dialogue, and I use an ellipsis for trailing off, often coupled with a", "I’ve found that (in dialogue) I use the em dash to show a", "talking and pauses for a while. It feels clunky to interrupt the dialogue,", "with a pause. I’ve run into the situation where a character suddenly stops", "easily understood, I want to know how unfamiliar or unusual it would be", "want to know how unfamiliar or unusual it would be for a reader.", "here is, has this been done before? While I feel such punctuation would", "coupled with a pause. I’ve run into the situation where a character suddenly", "I use an ellipsis for trailing off, often coupled with a pause. I’ve", "the question here is, has this been done before? While I feel such", "use an ellipsis for trailing off, often coupled with a pause. I’ve run", "em dash. So the question here is, has this been done before? While", "to show a sudden break from dialogue, and I use an ellipsis for" ]
[ "from subjects that are related to (or are incorporated in) writing, such as", "or workshops, but I neither know what I don't know nor understand the", "nor understand the main points in depth. Would anyone recommend resources for better", "writing workshop websites on academic or technical writing. However, the more I learn,", "graduate student courses, or from subjects that are related to (or are incorporated", "self-studying writing in quarantine. At present, I've read some books and browsed writing", "the more I notice the differences between professional writers' writing and mine, without", "who's currently self-studying writing in quarantine. At present, I've read some books and", "technical writing. However, the more I learn, the more I notice the differences", "I'm open to resources from any genre of writing/type of text, from undergraduate", "However, the more I learn, the more I notice the differences between professional", "to practice the main points which are repeatedly mentioned in writing books or", "of text, from undergraduate or graduate student courses, or from subjects that are", "concepts. Thank you, in advance, for the recommendations! I appreciate them so much.", "subjects that are related to (or are incorporated in) writing, such as grammar", "writing, such as grammar and other linguistic concepts. Thank you, in advance, for", "linguistic concepts. Thank you, in advance, for the recommendations! I appreciate them so", "some books and browsed writing workshop websites on academic or technical writing. However,", "neither know what I don't know nor understand the main points in depth.", "present, I've read some books and browsed writing workshop websites on academic or", "of writing/type of text, from undergraduate or graduate student courses, or from subjects", "on academic or technical writing. However, the more I learn, the more I", "Would anyone recommend resources for better writing? I'm open to resources from any", "I don't know nor understand the main points in depth. Would anyone recommend", "websites on academic or technical writing. However, the more I learn, the more", "between professional writers' writing and mine, without knowing why. This text reflects my", "(or are incorporated in) writing, such as grammar and other linguistic concepts. Thank", "resources from any genre of writing/type of text, from undergraduate or graduate student", "are related to (or are incorporated in) writing, such as grammar and other", "mentioned in writing books or workshops, but I neither know what I don't", "anyone recommend resources for better writing? I'm open to resources from any genre", "generally understand and put to practice the main points which are repeatedly mentioned", "writing? I'm open to resources from any genre of writing/type of text, from", "or technical writing. However, the more I learn, the more I notice the", "writing books or workshops, but I neither know what I don't know nor", "of writing: I generally understand and put to practice the main points which", "as grammar and other linguistic concepts. Thank you, in advance, for the recommendations!", "learn, the more I notice the differences between professional writers' writing and mine,", "academic or technical writing. However, the more I learn, the more I notice", "understand the main points in depth. Would anyone recommend resources for better writing?", "and other linguistic concepts. Thank you, in advance, for the recommendations! I appreciate", "student courses, or from subjects that are related to (or are incorporated in)", "other linguistic concepts. Thank you, in advance, for the recommendations! I appreciate them", "don't know nor understand the main points in depth. Would anyone recommend resources", "know nor understand the main points in depth. Would anyone recommend resources for", "more I notice the differences between professional writers' writing and mine, without knowing", "which are repeatedly mentioned in writing books or workshops, but I neither know", "from undergraduate or graduate student courses, or from subjects that are related to", "I notice the differences between professional writers' writing and mine, without knowing why.", "practice the main points which are repeatedly mentioned in writing books or workshops,", "the main points which are repeatedly mentioned in writing books or workshops, but", "the more I learn, the more I notice the differences between professional writers'", "main points in depth. Would anyone recommend resources for better writing? I'm open", "courses, or from subjects that are related to (or are incorporated in) writing,", "I learn, the more I notice the differences between professional writers' writing and", "genre of writing/type of text, from undergraduate or graduate student courses, or from", "points in depth. Would anyone recommend resources for better writing? I'm open to", "differences between professional writers' writing and mine, without knowing why. This text reflects", "student who's currently self-studying writing in quarantine. At present, I've read some books", "in) writing, such as grammar and other linguistic concepts. Thank you, in advance,", "notice the differences between professional writers' writing and mine, without knowing why. This", "I'm an undergraduate student who's currently self-studying writing in quarantine. At present, I've", "and browsed writing workshop websites on academic or technical writing. 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This text reflects my current", "from any genre of writing/type of text, from undergraduate or graduate student courses,", "why. This text reflects my current level of writing: I generally understand and", "in depth. Would anyone recommend resources for better writing? I'm open to resources", "are repeatedly mentioned in writing books or workshops, but I neither know what", "This text reflects my current level of writing: I generally understand and put", "At present, I've read some books and browsed writing workshop websites on academic", "writers' writing and mine, without knowing why. This text reflects my current level", "text reflects my current level of writing: I generally understand and put to", "incorporated in) writing, such as grammar and other linguistic concepts. Thank you, in", "grammar and other linguistic concepts. Thank you, in advance, for the recommendations! I", "undergraduate student who's currently self-studying writing in quarantine. 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