Word choice is such an essential part of writing. It’s the difference between an awkward sentence and dialogue or a description that perfectly conveys the character’s emotion. I have a healthy respect for the power of them. Some of my self-imposed rules border the quirky, but I unabashedly own them.
Like do you think about when the pronouns I/me and we/us are used? I’m quite conscious about it, and I don’t mean in terms of singular or plural. When dealing with characters who don’t like each other very much but are forced to work together to save the world, I make sure that they avoid referring to themselves as we/us. Before they find common ground, they are only allowed to see the world around them in terms of themselves. They are still in the “me” stage. This difference seems like a small detail, but I think it’s an important distinction.
Another rule I use is picking words associated with the metaphor or scene setting. For example, at the beginning of The Venerable Dawn, the main characters are in an airport, waiting to board a flight. During this scene, I use an occasional aviation term. Lilith, the protagonist, tries to remember something from her training many years ago but struggles to recall specific details. She searches for them in the cargo hold or belly of the plane. When she readily remembers some things, I liken their holding place to the easily accessible overhead compartment. Naturally, such references are done with nuance and not overused.
I’m careful about the terms I use for descriptions. Not every reader knows the fancy names for various references. Most know what an oak tree looks like, but not necessarily a white ash. Or they might be familiar with a giant redwood, but not the term sequoia. Use too many obscure terms, and I think you risk losing the reader. Admittedly, the dictionary feature included with eBooks is great and helps build our vocabulary. Though using it too much can take the reader out of the story. My best practice is to keep it simple but not too elementary, a delicate balance.
Another quirky rule is when to use the terms top/bottom and first/last. I associate top/bottom as vertical and first/last as horizontal. Not always, but in general. I think it’s because I’m a visual person, and I have an overbearing sense of logic. Maddening at times, figuratively, of course.
At times, I tend to be a perfectionist, and the struggle with word choice is real. Sometimes, I agonize over the right one, spending far too much time looking for the elusive word. To remedy my fixation, I’ve learned to drop in the best word that I can think of at the time and highlight it for future consideration. I also add alternative choices as a side comment. Usually, the right word will come to me when I come back to it as part of my endless editing. And it’s a beautiful thing when it does. The difference between an unremarkable sentence and a work of art that stirs the emotions or moves the soul.
I wonder if any other writers are as meticulous as I am about word choice…
Have you heard the advice: learn to write by reading? I think reading is a fundamental part of the apprenticeship. To my dismay, I fail this lesson far too often. Not because I don’t like reading. To the contrary, I love books and good storytelling.
My love of reading started in elementary school. I’d rather huddle under a shady tree with a good book than play with the other kids at recess. This hobby carried into my high school and college years. Though course material took precedence, I managed to do both at the same time by taking a lot of literature classes. Way too many Shakespeare courses, and my favorite, Intro to Science Fiction. I lived the dream, getting college credit for reading the classics by Asimov, Heinlein, Bradbury and Herbert to name a few. Later in life, my interest shifted from speculative fiction to mysteries. Martha Grimes, Dick Francis and Sue Grafton.
When career and family dominate life, sacrifices must be made because we can’t do everything.[1] For me, reading was one of the costs. Gone were the days of curling up with a good book all day on the weekends. Instead, it was relegated to when I went to bed. And that was a major fail. Two pages in, and I was in la-la land, dreaming my own fantastical tales.
Yet, I truly believe reading is essential to learning the craft. There is nothing like a well-written and compelling story to inspire my writing. While time isn’t as much of a hurdle now, it still influences my priorities. Once I grab hold of an idea, I become quite driven, and writing takes priority now. When I do read, a lot of the material is about the craft. My solution to overcoming my bad habit – join a book club.
I found an online SciFi group. The catch is I’m more of a fantasy reader than science fiction. I tend to gloss over the scientific explanations, missing essential facets of the story. The result is I don’t always finish the monthly selections. I give it 100 pages. If I struggle to get to this point, I’m out. My library card helps me save valuable space on my bookshelves for those works I genuinely love.
The unintended benefit is listening to the other readers’ perspectives. These people are avid readers and sci-fi fans. None are writers, but they are so well-read. I love hearing their thoughts about the books. In September, we read Dune, just in time for the movie release in October. I’ve been a huge fan of this classic for too many years to admit. But I heard the strangest viewpoints. Some that never crossed my mind, and in the right forum, I’d like to debate.
If you are like me and undisciplined about reading on a regular basis – join a book club. At the very least, you’ll get to hear what works and doesn’t work for devoted readers. Case in point – hard-core scifi fans don’t like any romance in their stories. Another reason I write fantasy.
BTW, I continue to struggle with the lullaby effect of reading at night. It has to be quite a compelling story for me to get through more than a chapter. Though it is the best cure for falling asleep after those 3am sessions, dumping the ideas flooding my mind into an email. Sweet dreams, friends.
[1]Many try, but few succeed. Pick your battles; stick with what you value the most and give it your all.
One of my favorite parts of writing fiction is putting my characters in shocking situations. To make their worst nightmare come true or make the unthinkable happen. They are key moments in the story for the protagonist like when the main character realizes her father is the villain, and she must kill him to save the world. Or it becomes clear that his lover is leaving him for a woman. In either case, these realizations rock our characters’ world.
In my writing group, I’ve read about characters shattered by a revelation, and within a couple of paragraphs, they have accepted it as their new reality. Then, they move on to the next plot point without a second thought. This scenario guarantees a lengthy critique comment from me. Why? Because that’s not how it happens in real life.
When someone receives life-changing news, they move through the cycle of acceptance. Think about a person’s thought process when they receive a cancer diagnosis. Anyone who’s gotten such terrible news would tell you that it took them a while to process and accept it. Likewise, the stages of grief involve a little bit more than, “Oh no, that’s awful news. I can’t believe he’s gone. Wasn’t there anything the doctors could have done for him? Too bad, I’ll miss him.” A ridiculously simplistic example, but I’ve read some stories where it’s written in such manner.
In my current work-in-progress, a pivotal moment is when my protagonist’s destiny is authenticated. In the opening scene, her potential fate is suggested to her, but nothing is certain until her fate is validated. Throughout the next 20 pages, she gathers information and learns more about her preordained role. Dread starts to settle in because she wants nothing to do with this leadership role.
Finally, the moment of truth is upon her, and her destiny is authenticated. Her initial responses include shock in the form of a panic attack, and when she recovers, a vehement denial. At the end of the scene, she accepts the reality for a split second and asks her companion, “What happens now?” The total word count is about 600 words or about 3 pages.
In the next scene, she reverts to denial until she starts bargaining with herself. She starts to think of ways to avoid assuming this role and the consequences if she throws the challenge per se. Through internal discussion and soul searching, she resolves to get on with the ritual to assume power because it’s the only way to end the nightmare. Her hope is she will fail at some point, allowing her to return to a life of anonymity and solitude.
My protagonist cycles through the phases several times on different levels throughout the book. On a macro level, her character arc. Her transformation from one person to another includes working through the stages. Also, she works through a variation of the process each time she learns something about her past. Sometimes, she gets through the process quickly. Other times, it takes her more time to reach acceptance. It depends on the bombshell dropped on her, and there a few of them.
This approach is fundamental to my writing. I believe it adds depth to my characters when readers understand what they go through when the author puts them in challenging situations. In my protagonist’s case, the poor woman gets blindsided several times when she learns about the lies she’s been living. Showing her range of emotions helps endear her to the readers, and they become invested in what happens to her.
The takeaway for this post – put your character through the paces.
Self-editing. The angst of many writers. They are more comfortable and excited about writing their first draft where they can ignore grammar rules, setting descriptions, and other fundamentals of the craft. No need to worry about showing rather than telling, info-dumping, or using ly-adverbs (yes, I ignored the rule for this post). Just let the ideas flow and get them on paper, i.e., in a Word or Google doc.
All good for those types of writers. It works for many of them. Yet, editing is inevitable, whether traditionally or self-publishing. An agent or small press publisher might bite if the story is good, and the writing is polished. A clean manuscript minimizes their cost in terms of time and money. Good editing is even more important for the indie author. Their sales depend on clean copy. Many self-published books get 1- or 2-star ratings because the writing is poor.
In either case, some effort into self-editing goes a long way. It shows traditional industry professionals that you know the craft of writing. I heard one agent say she can help an author with materials like jacket covers, but she cannot teach someone how to write. Likewise, any good hired editor charges by the hour. A lot of redlining equals a lot of money.
Here’s an overview of my process for those who dread the process or those who don’t know where to start. There are a couple phases: a developmental edit and copyediting/proofreading.
First, a developmental edit of my own work begins with a macro-analysis. I’m a plotter, so my writing process starts with an outline, which evolves as the story unfolds. Yet even as a plotter, I still perform this review because it’s more than an outline. It’s creating what I call scene summaries, and there are four key elements in mine:
Purpose The reason for each scene. I answer several questions during this analysis. First and foremost, why is it important to the plot? What am I trying to accomplish with this scene? How does it add to the unfolding of the story? Is it necessary to devote an entire scene to it? Can I slip it into another scene?
Synopsis A summary of what happens in the scene. This step helps with pacing, and it’s related to the purpose. In general, it helps me to see if the scene’s intent is clear to the reader based on what happens in it. Did the action serve its purpose? Or was it too short or too long to carry out its mission? The same analysis is done with dialogue. Does the discussion between characters reveal what the reader needs to know? If anything, writing these synopses are great practice for when I have to write them for selling or marketing my book. Another tip I found helpful: a synopsis is written in present tense like a screenplay.
Character Arcs All of us know (or should know) that our protagonist’s is not the same person at the beginning and end of the story. They transform from one person to another as a result of what happened to them in the story. This step summarizes their journey, and I complete it for every significant character to ensure they are fully developed. I even document the purpose of the flat or expo characters.
Narrative Tension This aspect is defined differently by others. In my little writing universe, I describe it as “what keeps the reader turning the page.” It includes suspense, intrigue, and speculation in the form of questions raised, questions answered, and foreshadowing. I identify the carrots I’ve dangled in front of the reader. In addition, I note when details are given to the reader to make sure I leave no questions unanswered.
Another technique I use is more creative in a sense. It involves the use of color to identify various elements in my manuscript. Using different colors, I highlight backstory, worldbuilding, descriptions, and visceral/sensory reactions. In the end, I have a visual picture of how these important components are integrated into the story. A valuable tool for identifying too much or too little of a good thing.
Finally, copyediting and proofreading. The simplest way to check your grammar is to use an online tool. There are several options available, and they are usually free. These automated tools will not catch “everything,” and you don’t have to accept “every” recommended change. Like the program I use doesn’t like my fragmented sentences, but it does keep me honest about using them judiciously. If anything, I get a refresher on the rules because grammar should be second-nature to a writer.
My all-time favorite proofreading tool is the Read-Aloud function. It is a life-saver for me since my fingers can’t keep up with my mind. It catches the dreaded missing words. Likewise, it helps me with the cadence of my writing. Parts that don’t flow well or read awkwardly jump off the page when I hear them.
I used both of the tricks to edit and proof this post. I unabashedly admit that there were lots of redlines.
This process is mine and won’t work for everyone. I’m very detail-oriented and visual. For like-minded writers, they may already use some of these techniques or have other tricks of their own. For those who loath self-editing, perhaps, one or two of my methods will help them successfully conquer this necessary evil. Because self-editing is a fundamental part of commercial writing.
Recently, I’ve been looking for guidance about writing short stories. Why? Because short stories are recommended for new fiction writers, and I’m new to fiction writing. They help us hone our skills before delving into the complex work of writing a novel. Practice makes perfect. Mistakes can be made without wasting a lot of time because writing is an investment of time. Staying true to my nature, I ignored this advice and dove head-first into a novel. I might be setting myself up for failure, but I feel have nothing to lose at this point.
So if I’m not creating short stories to practice the craft, why am I interested in learning about writing them? Simply said, to make money. According to some sources, making money selling short stories might be as improbable as a new writer tackling a novel. The trade-off is the loss of time spent on my book. But at least, I’ll be practicing my craft using the recommended approach. A win-win from my point of view. And if I’m lucky, I’ll make a few bucks, too.
During my quest to educate myself, I happened upon a book about the subject. The Write Practice Presents:Let’s Write a Short Story! by Joe Bunting. It contains a lot of great content about writing short stories and selling them, too. While I highly recommend this resource, this post is not a book review. It is about something I learned about my own writing during this exploration.
My ah-ha moment occurred while reading a segment about the literary techniques used for award-winning stories. Namely, Pulitzer and Nobel award-winning pieces. Now I am not a literary writer by any stretch of the imagination. My genre of choice is speculative fiction, urban/contemporary fantasies in particular. The style of this genre tends to be edgy; some have a noir feel to them. But my style is more characteristic of literary writing.
Let’s start with a list of the techniques cited:
1. Using long sentences 2. Using short sentences 3. Lyrical prose 4. Making an allusion 5. Using an eponym for character names 6. Be specific 7. A story within a story 8. A wide scope
Using Long Sentences Whether it’s technical or fiction writing, I tend to write long compound sentences. Here’s an example of my writing:
Holding her Celtic cross necklace in the palm of my hand, I whispered a few verses of her favorite song, “Vincent,” into it and told her to wear it tonight to keep my spirit near her heart.
My sentences aren’t too long. The above example is only thirty-seven words, which is about average for my long sentences. Eleven words less than Cormac McCarthy’s forty-eight-word sentence cited in the book. Neither of them even close to the Tim O’Brien’s seventy-seven word cited example.
Another difference is both book samples are full of conjunctions whereas I rarely use more than one in my long sentences. Also, they disregard the punctuation rules whereas I’m a stickler about it, even if it’s first draft. I know it’s a fault, but I unabashedly own it.
Using Short Sentences One of my favorite techniques is punctuating my long sentences with short sentences. It’s so satisfying.
Twilight cast brilliant shades of yellow and orange bleeding into red, purple, and deep blue upon the horizon as we cruised over the Arthur Ravenel Jr. Bridge, the gateway to our destination, Sullivan’s Island. Red brake lights flashed intermittently.
They are great at grabbing the readers’ attention after a series of compound sentences or long run-on sentences, full of conjunctions.
Lyrical Prose My style has a lyrical quality:
A warm summer breeze scented with the sweet fragrance of nearby lilac blossoms caressed my skin. My grandpa sat next to me. With each gentle rise and fall of the swing, his voice grew stronger and louder, drowning out the static noise ringing in my ears.
I hit the jackpot with this example of my writing. It includes a long, a medium and a short sentence. More importantly, it has quite a rhythmic flow to it. I used it as my illustration because several critique partners commented on its quality. In particular, they noted my descriptive language which I think is characteristic of fantasy writing. But not so much for urban fantasies like my story. Descriptions in this genre are more straightforward, not too fluffy or willowy.
Making an allusion This term was new to me; I had not heard of it before I read this book. It involves making a reference to another literary work by using an image, a character, or even a direct quote. Most readers won’t recognize when an allusion is made, but it’s exciting for those who “get it.” It adds depth to their reading experience and makes them feel like they connect with the author on a different level.
Technically, I don’t make allusions. Instead, I pepper a lot of symbolism throughout my story. For example, the theme of my story is new beginnings, and I refer to birch trees whenever possible as they are symbolic of new beginnings. A grove of trees is described as a grove of birch trees. A character throws a couple more birch logs onto the fire. Another character makes a cup of tea with Chaga mushroom, which grows on birch trees. Most readers will miss these subtle details, but they will be really cool for the reader who picks up on them.
Using an eponym for character names Eponym, another literary term I was unfamiliar with, but its definition is simple. It means naming a character after someone famous in some manner. Oddly enough, I was very deliberate when I bestowed my characters with their names. I wanted them to have significance and mean something to the reader. Some of the names I use are Lilith, Sam, Darcy, and Damion. They are a bit cliché, but again, I proudly own it. Other names include a nod to King Arthur and Magnum PI.
I suspect I’m not unlike my peers when it comes to character names. They are something most writers are thoughtful about. If you’re a writer and haven’t thought about the role of your characters’ names, you might to think about them. On a side note, rethink using names that are difficult to pronounce. While they add nuance to your story, they can distract your readers, too.
Be specific This technique means not speaking in generalizations, and I associate it with the artful use of descriptions. Based on examples in the book, literary writers describe blue birds as blue jays and red birds as cardinals. Or the wind whipped the willow’s branches rather than the tree branches.
If one thing is consistent in my young writing career, it is my descriptions. I’m a very descriptive writer, and critique partners either love them or hate them.
A story within a story I’m not sure if my story within a story is comparable to this literary technique. Simply put, it means one character tells a story to another character. An example used in the book was from Shakespeare’s Taming of the Shrew, where the courtship of Petruchio and Katherina is a play performed for a drunkard who’s made to think he is a nobleman. A little bit of a complicated illustration of the concept, but nonetheless, illustrative.
My story involves a legend about the demise of former rulers. Throughout the tale, details about the legend are revealed, which impact the plot. To me, this scenario seems like a story within a story. In fact, a lot about my Book 2 is included in Book 1.
A wide scope The scope of most literary novels is national or international, meaning they are set in times of war like Hemingway’s For Whom the Bells Toll set during the Spanish Civil War. Or other notable time periods like TheGreat Gatsby’s portrayal of the Roaring 20s.
The setting of my story is contemporary, but the legend mentioned above is rooted in the early 19th century England. A time of transition between the Georgian and Victoria eras. The culture and practices of these eras are interwoven throughout my novel. Another technicality where my setting doesn’t quite fit the definition. Yet there is a presence of a historical time period.
Literary writing is about experimental styles and breaking the rules. I’m certainly not an Ernest Hemingway, Margaret Atwood, or Cormac McCarthy. But I think I’m breaking the rules of my chosen genre by using some of the same literary techniques used by them.
More importantly, I didn’t intentionally apply these techniques; they came naturally to me which continues surprise me. It proves we learn about ourselves as we seek knowledge. The take-way is never stop learning, make it hobby.
Let me start by thanking you for your thoughtful feedback about my recent submission. It’s apparent you spent a considerable amount of time on it.
First, I hope my effort to provide a good clean copy for your review didn’t go unnoticed. I don’t believe in submitting an unedited first draft because it inevitably includes more telling than showing, the dreaded info-dumping and careless grammar mistakes. I don’t want these obvious issues to hinder your review. I want you to focus your expertise on the story elements like plot, characters, dialogue, and worldbuilding. I think I accomplished this goal as most of your comments are related to what I’m looking for.
I noticed several of your comments were tagged “it’s only my opinion” and “it’s your story.” Yes, it is my story, and I want your opinion. I want to know what you learned about the world in which my story takes place in. Do you understand their culture and customs? Their magic system? Do my characters have depth, their own voice? Do you know what they look like? Do you care? Are my descriptions flat? Or over-the-top and distracting? In your opinion, what do you think about the pacing, dialogue, the rhythm and flow of the prose? Was there enough tension? So please, please give me your opinion.
Where you commented you couldn’t remember or recall certain details, I understand. There are gaps in time between the review of chapters. I have the same problem at times. Being a hoarder pays off when it happens to me – I think I have every critique I’ve ever written. The hardest part is the time it takes to find the submission with the detail I’m looking for. Usually, it’s my forgetfulness. If it’s not, I let the writer know to make the detail in question more memorable in earlier chapters.
Another favorite comment of mine is “I’m not very good at explaining myself.” I’m sure you’ve gotten it a time or two yourself. I struggle with this remark because we’re writers. Describing a character’s thoughts, their emotions, their actions, and the settings are the essence of our work. So, shouldn’t we be able to convey our thoughts in a critique? I know it can take some time to find the right words to express ourselves, but take whatever time you need to voice your impression. Otherwise, don’t make the comment if you can’t explain it. Right?
Many thanks for a couple of your suggestions. One of them triggered an ah-ha moment about how to fix a pacing problem that’s been testing my patience. Another inspired me to approach the description of a scene from a different angle. The result was a black and white noir-type setting: Escorted by the detective, I trudged down the shadowy hallway in a surreal daze. Nondescript gray walls, gray doors, gray linoleum. The pools of dim light cast by the overhead lights lead us towards our destination. The morgue. Inside, white walls, shiny white floor, bright lights, and the stark reality. A truly wonderful writing experience for me. Thank you so much for the inspiration.
Oh, and by the way, my main character is a woman, not a man. Just want to make sure you knew since you used the masculine pronoun “he” throughout your review.
Sincerely, Suzanne
* * * * *
The above post is my cynical look at the critique process. It is a vital part of writing, and I honestly appreciate and enjoy the feedback I receive. But at times, I question its authenticity. Yes, we are reminded to take critique comments “with a grain of salt”, which literally means to not take something literally; to view it with skepticism.What’s the point of the critique then?
Learning the craft of writing includes lots of reading, and as an aspiring writer, I read several novels over the holidays. One of my favorites was Magic Bites by Ilona Andrews.
A husband-wife team co-authored Magic Bites using the pseudonym, Ilona Andrews. Published on March 27, 2007, it is the first book in the Kate Daniels series. There are twelve books from Kate’s point of view and a number of novels from the other characters’ point of view. I aspire to be as prolific as this writing team.
The urban fantasy takes place in Atlanta, where magic and technology vie for superiority. Set in 2040, Kate’s sole-surviving family member, her guardian, Greg Feldman is murdered. During her investigation, she interacts with rival factions, each with their own agenda, and an ancient supernatural being.
Kate earns her living as a mercenary in a world of shapeshifters, necromancers, and vampires. In the simplest terms, she’s badass. Obstinate and sarcastic, she wields a magic sword, named Slayer, which she carries in a sheath on her back. When looking for the leader of the Pack faction, Curran Lennart, a lion shapeshifter, she calls out, “Here, kitty, kitty, kitty.” The undercurrent of a developing romantic relationship between Kate and Curran flowing throughout the tale is palpable and enticing.
The created world is well developed. But I’m not sure the book would have been as enjoyable if not for the bonus material including FAQ, character bios, and descriptions of the factions. I love speculative fiction, but the worlds in even well-written books boggle my mind sometimes. In this case, reading the supplemental information beforehand kept me engaged through the entire 366 pages.
For me, Magic Bites was a great case study since I’m in the process of writing an urban fantasy from a first-person point of view. I’m looking forward to diving into the prequel soon.
The following is a writing assignment in my latest class, Copyediting Certification.
What exactly does a copyeditor do? Many people think a copyeditor and a proofreader are synonymous. Both roles involve correcting grammatical and spelling errors. Thus, they both require a comprehensive understanding of the English language and its usage. However, a copyeditor’s role encompasses much more.
Let’s start by exploring the publishing process. In general, there are three steps to publishing a novel: the writer and editor make changes to the raw manuscript; the copyeditor makes sure the manuscript is free of grammatical errors, is easy to read, and conforms to the publisher’s style; the proofreader performs quality control to ensure the manuscript is formatted correctly and free of errors. Before going to print, a reader with a fresh perspective may give the manuscript one last quality check.
Now let’s take a closer look at the role of a copyeditor. First, a copyeditor is responsible for performing the initial check for any grammatical, punctuation and spelling errors. Next, a copyeditor fact-checks to make sure everything is accurate and correct. The spelling of names, places, and organizations are double-checked as well as the accuracy of facts, dates, and statistics. Finally, a copyeditor fixes any problems with style and tone to ensure the prose flows and no awkward sentences.
Like other professions, both hard and soft skills are necessary to be a successful copyeditor. Most employers require a bachelor’s degree in English, journalism, communications, or other related field. Copyeditors are passionate about the English language and are often skilled writers themselves. They must have a keen eye and be detail orientated. Good communication and interpersonal skills are needed since copyeditors interact with both the writers and editors too. Exchanges with both of them must be civil and courteous.
This week, I’m posting some of my writing. The following paragraphs are from an exercise for a class I’m taking. Writing style is the voice an author uses in a piece to tell the story. There are many different styles. The following pieces are examples of deadpan (The Catch) and stream of consciousness (The Audition).
THE CATCH With the hook set, I knew I had a good catch from the fight the fish put up, and it took close to an hour to land it. About the same time, it took me to land Julie, which should have been a clue about the tenure of our relationship. But she was a fine specimen, just like my tournament catch. She bolstered my standing in my long rivalry with my bro, Joe. Like Julie, my catch was going catapult me to the top of the leaderboard. At least, that’s what I thought. Before I held it in my hands. Once I got the catch onboard, I knew it was not trophy material. Like Julie, it looked beautiful, but lacked the substance to elevate my status. Like Julie, I released my catch and moved on to my next conquest, confident I would land the catch of my life to beat Joe in the tournament. (word count: 156)
THE AUDITION Oh, my gosh, I’m so nervous; remember, he has no idea how I feel about him, he’ll never think I’m expressing my feelings for him so relax and get a grip, I need to channel my feelings into the character, if I don’t, I won’t get the part and won’t get the chance to hang out with him during rehearsals; he’ll give it to his regular leading lady, Janice, she’s been in the lead role for the past two productions when he’s been the director, maybe there’s something going on between them, but they don’t seem flirty when they are together, all business when they interact, and I’ve never seen them together outside of the theater, she’s never joined us after rehearsals or any other time we get together at the Irish Cue; where I fell head-over-heels for him, attracted by his charisma, he was so charming when we talked, especially when we talked about theater, remember he invited me to the audition for this production, I hope he doesn’t think I’ll sleep with him to get the part; Oh my gosh, I have to stop psyching myself out about this audition. (word count:192)
My Idle Ramblings 