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Courtesy of nineveh_uk and a_t_rain: post the first sentences of your last ten fics, and look for patterns. (I’m combining my moon_custafer and bayone screen IDs)
No. 1: Opens spam
— “Reasons Why Jack F. Is No Longer Allowed to Use This Radio Station's Work Computer”
Sphinxes are usually described as having the head and breasts of a woman, the body of a lion, and the wings of an eagle.
—“Dream Sequence”
Ellen carefully filled in a series of triangles that diagonally crossed the surface of her canvas, mixing deeper and deeper shades of orange to achieve the chromatic effect she wanted.
—“Spooked!…in Soho”
“Ye’ve mislabeled this one, Brody.”
—“Correction”
The problem with this prisoner, as far as Marcus was concerned, was that he would not stop singing.
—“A Grand Romp”
He’s been huddled there since the ambulance men went away, taking it with them.
—“Keith sits on the floor beside the rumpled bed”
“Have you ever seen a ghost? I’ve always wanted to.”
—“The Face”
“Let me see!”
—“1967” (I’ve abandoned this one)
“So what is it you have to show me?”
—“Ensuite”
Winter in London is cold as winter in the country; and city snow doesn’t even whiten the sepulchre of the frozen streets— city snow is dirtied the very moment it touches the grimy cobblestones.
—“Who Labours to Out-jest”
Don’t really know what this says about my writing – half of these begin with longish descriptive sentences, but half begin with short dialogue statements.
I don’t know how I decide which stories get told in past-tense and which in present-tense. I suspect it’s purely vibes-based.
Sometimes I’m enthusiastic about coming up with titles, and sometimes I just stick to one word. It’s like TOS vs TNG titling conventions.
No. 1: Opens spam
— “Reasons Why Jack F. Is No Longer Allowed to Use This Radio Station's Work Computer”
Sphinxes are usually described as having the head and breasts of a woman, the body of a lion, and the wings of an eagle.
—“Dream Sequence”
Ellen carefully filled in a series of triangles that diagonally crossed the surface of her canvas, mixing deeper and deeper shades of orange to achieve the chromatic effect she wanted.
—“Spooked!…in Soho”
“Ye’ve mislabeled this one, Brody.”
—“Correction”
The problem with this prisoner, as far as Marcus was concerned, was that he would not stop singing.
—“A Grand Romp”
He’s been huddled there since the ambulance men went away, taking it with them.
—“Keith sits on the floor beside the rumpled bed”
“Have you ever seen a ghost? I’ve always wanted to.”
—“The Face”
“Let me see!”
—“1967” (I’ve abandoned this one)
“So what is it you have to show me?”
—“Ensuite”
Winter in London is cold as winter in the country; and city snow doesn’t even whiten the sepulchre of the frozen streets— city snow is dirtied the very moment it touches the grimy cobblestones.
—“Who Labours to Out-jest”
Don’t really know what this says about my writing – half of these begin with longish descriptive sentences, but half begin with short dialogue statements.
I don’t know how I decide which stories get told in past-tense and which in present-tense. I suspect it’s purely vibes-based.
Sometimes I’m enthusiastic about coming up with titles, and sometimes I just stick to one word. It’s like TOS vs TNG titling conventions.
