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Viewing: Blog Posts Tagged with: Words &, Most Recent at Top [Help]
Results 1 - 13 of 13
1. Writers and fans

Thanks for all the deeply smart and thoughtful comments to yesterday’s question. You lot are awesome.

Youse lot have gotten me thinking muchly on the topic. On the one hand, I am a fan of many writers I’ve never met, like, Denise Mina, Meg Cabot, Geraldine McCaughrean, Walter Mosley, Megan Whalen Turner, Peter Temple and would probably embarrass myself by breathless gushing all over them if we were ever to meet. On the other hand, I’m a working writer who knows a lot of working writers and knows that we’re not particularly different from everyone else. (Well, except for Maureen Johnson . . . )

I put it like this to Holly Black:

It does not surprise me in the slightest that Karen Joy Fowler and Ursula Le Guin are friends. But it surprises me HUGELY that I am making a living as a writer and therefore I have many writer friends. I constantly have to pinch myself. How on Earth did I get here? Please don’t let anyone take it away!

That fear is real: many writers don’t make a living at it for their whole lives. It takes a long time for most of us to get published (took me close to twenty years) and then once you are published there’s no guarantee that your books will keep selling. Styles of writing go out of fashion. So do genres.

Your comments were all so useful, I thought I’d respond in more detail:

Danica’s point is a really good one: “I guess we (meaning non-writers) don’t always think of publishing as an industry and don’t realize that most writers must be connected somehow.”

That’s so true. I remember the first science fiction convention I went to back in 1993. I was astonished to see all these writers and editors I’d heard of in the one place. All of them clearly knew each other and were, in fact, a community. A pretty big community that consisted not only of those whose living was directly tied to the publishing industry (writers, editors, publishers, publicists etc) but also readers and fans and a handful of students and scholars. Long before I sold a single short story I was becoming friends with the likes of Ellen Datlow, Samuel R. Delany, Ellen Kushner, Delia Sherman, and Terri Windling. It was astonishing.

That community—of science fiction people— is the oldest genre community I know of and has roots that go back to the late 1920s. There are also romance communities, crime fiction communities, YA communities etc., and to a lesser extent mainstream lit fic communities (though I suspect that the easy access of fans to pros is not so strong in the lit fic world).

Tole said: “Perhaps it’s not so much that we are surprised that you know each other, as much as amazed at how lucky you are to not only have the talent and perseverance to write a novel, but that you have an amazing set of friends as well.”

I am also amazed by that. I mean, yes, I said above that we’re not that different from everyone else, but my writer friends understand the ins and outs of this weird job we have better than anyone else. No matter what questions I have there’s someone I know who’s been through it before and can help me out. “My book’s been remaindered! Does that mean my career is over?” “Barnes & Noble aren’t stocking my book! Does that mean my career is over?” “How do you write action scenes?” “What’s the best writing software?” and so on and so forth. When I have a success that’s hard to explain to people outside the industry (my book is on the BBYA) my YA writer friends get it and can celebrate with me and vice versa.

Having peers is a wonderful, wonderful thing. And when your peers are as talented and amazing as mine. Well, it’s pinching yourself time.

JS Bangs made two excellent points:

1) People think of authors as solitary geniuses scribbling away and living on water and crusts of bread, without any contact with others of their kind.

2) It feeds people’s fear that the publishing industry is all about who you know.

1) There are writers like that. There are definitely working writers who live a long way from their peers and don’t ever meet them at conferences and convention and so on. But I think they’re getting rarer. The internet has allowed more and more people in the same industry to be in contact with each other and break down that isolation. Is very good thing!

2) Oh, yes, that old bugbear. Pretty much every industry from medicine to the building industry to agriculture has a certain amount of who-you-know going on. The world runs on personal relationships. What most people who are paranoid about the publishing industry don’t get is that an unpublished writer knowing some editors may get them read but guarantees nothing beyond that. I’ve had editor friends since 1993. A decade later I sold my first novel.

I know plenty of writers who started selling before they’d met a single person in the industry.1 Knowing people in the industry means that it’s easier to figure out how it works—you have friends you can ask—but it doesn’t mean anything if you have no talent.

Camille expanded on the solitary point: “I think, too, it’s because you can write from anywhere. With lawyers and professors and the like, generally you have to congregate in a place to get anything done. (Less now, with the Internet, but still, predominantly people go TO work.) You HAVE to physically associate with your colleagues. Writers can live anywhere and yeah, somebody above said we think of writing as being a solitary exercise.”

That’s true. Part of my knowing so many writers has to do with my living in two very big cities: Sydney and NYC. And in both cities the writers in my genre have made an effort to make contact. Because so many of us write alone, I think the need for community is much stronger than those who work with people in their profession every day.

Of course, there are still writers out there who don’t know other writers and aren’t part of any writing communities.

Herenya: “I think it’s because we know who these other writers are. If I started talking about who my friends are, people would look at me blankly because none of my friends have done anything to warrant that sort of recognition (yet!) But you talk about your friends, and I think ‘oh, yes, I know who they are, I was reading one of their books yesterday.’ It’s a bit like the same sense of surprise you get when you find you and a friend / acquaintance ‘know’ someone in common, but with the awe factor involved, because we only know them through their writing and not personally.”

That makes a lot of sense to me and jibes with my own experience. The awe factor is nicely summed up by Bill: “Myself, I’m still so amazed that certain books exist at all (say, Stranger in a Strange Land) I can’t rationally believe that it was typed by hand by a human being named Robert Heinlein. Books, especially books that change your life, are inherently mystical objects to those of us on the receiving end.”

Even though I write books myself, I still feel that way about the books that move me. There is something fundamentally mysterious about the process of creating (no matter what you create). I think that’s why so many writers struggle to explain where they get their ideas.

On that note, I should probably get back to doing some creating of my own.

  1. Scott Westerfeld and John Scalzi are two that come to mind.

10 Comments on Writers and fans, last added: 3/12/2008
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2. Faerie, fairy, fey, whatever . . .

If I decided that the current poll was a wee bit of market research I’d be feeling quite happy that my next book1 is a fairy book. Thing is though that it’s not a f-a-e-r-i-e book. It’s a f-a-i-r-y book.

What’s the difference you ask? Well, in YA and children’s publishing land there are dark, scary faery like those that Holly Black writes about, who would as soon gouge your eyes out as look at you. And then there’s your pink, glittery, tinkerbell kind of fairy. A la all those of the Disney books etc. etc.

My fairies are probably more Disney than Holly Black. But they’re not pink. They’re not even visible. And um they help you do specific things. Like there are good-hair fairies and loose-change-finding fairies. You can’t fall in love with them, they can’t break your heart, or gouge out your eyes, and they don’t wave their magic wands to make pages turn.2 Like I said you can’t even see my fairies.

Thus I’m not sure the overwhelming popularity of Faery in the poll oppposite is going to help me any. It’s also made me a bit despondent about my Zombie Quintet. Not to mention the snow-boarding werewolf epic. And the daikaiju versus ghouls manga series.

Just as well I have an genuine certified-as-real-by-Holly-Black faerie story coming out at the same time as my fairy novel. It’s called “Thinner Than Water”3 and you’ll find it in the pages of Love is Hell edited by Farren Miller. I’m sure there are other faerie stories in there, too. Though Scott’s isn’t, but if you squinted as you read it, you could convince yourself it was . . . Sort of.4

Though if the poll were accurate vampires would be in the lead, given that there are way more vampire books than anything else. So bugger the poll! I’ll write my Zombie Quintet anyways and the snow-boarding werewolves and the daikaiju/ghoul manga. Maybe I’ll work my way through the list. I’ve already written about witches (Magic or Madness trilogy), and as mentioned above both faerie and fairy. I have a devil story, but that’s not on the poll. It just means figuring out a new take on vampires . . . Piece of cake.

I’ll go back to writing my next novel, now . . . Hava good weekend and don’t forget the aerogard!5

  1. coming in September of this year and no longer called The Ultimate Fairy Book
  2. A very old person reference. My apologies to those under thirty-five who read this blog.
  3. previously titled “Lammas Day”
  4. Other stories are by Melissa Marr, Laurie Faria Stolarz, and Gabrielle Zevin.
  5. Not that you need it where I am right now . . .

0 Comments on Faerie, fairy, fey, whatever . . . as of 2/2/2008 7:06:00 AM
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3. Posh?

Thanks so much for all the responses to the grandmother question. Fascinating! Plus I might use some of your responses in my next book, which has surprised me by being set entirely in the US of A with no Australian characters. Gulp.

I just read the first few chapters to Scott and he reckons my only misstep was the word “posh”, which I had my teenage protag use to describe a super-expensive private school. Which left me wondering what word you’d use instead. What’s the USian equivalent of “posh”?

I’ve had “classy” suggested but it doesn’t work for me because “posh” also has connotations of being a bit stuck up, and hard to get into, not merely expensive. Something can be “classy” but not expensive; a person can be “classy” without being “rich”. Scott says “fancy schmancy” or “hoity toity” but those sound to me like they come from the stone ages.

I suspect I’ll be asking more such questions over the coming months.

64 Comments on Posh?, last added: 1/11/2008
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4. Who’s your grandmother?

I’m from Sydney and I called my grandmother “nana”; Scott’s from Texas and he calls his “mee-maw”.

To be honest, when I first heard him say it I thought he was making it up. He has more than once tried to convince me something was USian or Texan that was merely Scottian. He likes to trick the dumb foreignor. But then I heard his nieces calling his mother “mee-maw”, so unless he briefed them ahead of time and they’re amazingly good actors, I’m ready to believe some Texans really call their grandmothers “mee-maw”.

Scott’s convinced that calling your grandmother “nana” is an Eastern European thing, but I know plenty of other Aussies with no Eastern European background who call their grandmothers “nana”.

So I’m driven to do some empirical research: Where are you from and what do (did) you call your grandmother? For extra credit: what do/did you call your grandfather? I called mine “papa”; Scott called his “grampa”.

56 Comments on Who’s your grandmother?, last added: 1/12/2008
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5. Writing = hard

Fellow writers, you know exactly what I’m talking about. You’re looking at your manuscript covered with line edits by your editor and you come across something like this:

I could feel felt . . .

And you stare it. Really? Really? I wrote “I could feel” when I could simply have written “I felt”? What was I thinking? Why is my editor a better writer than I am? Gah!

And then there’s this:

I could still feel the warmth of where his thumb had been1

I wrote “the warmth of”? I’m, like, the WORST writer ever. I totally deserve all the paper cuts this stupid manuscript is giving me. Every single one. Even the one across my nose. Maybe especially the one across my nose.

  1. on her forehead, okay? Don’t go thinking rude thoughts. My fairy book is very chaste.

29 Comments on Writing = hard, last added: 12/20/2007
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6. Sorry

I was asked today why I say sorry so much.1

It’s true. I do say it a lot. I say “Sorry!” even if I am not even slightly at fault: like when, say, someone has bumped into me, or spilled something over me. I say sorry for pretty much everything. Even when I’m not at all sorry. Mostly when I’m not at all sorry.

As to the why of all those sorrys. I used to think it was just me. That I have this weird sorry-saying nervous tic. But I now know it’s cultural. I say sorry all the time because I am an Australian girl.

I realised this when I was living in Spain and one of my friends there blew up about it. She yelled at me that if I said sorry one more time it would drive her insane.2 That I could keep my “sorrys” and my “thank yous” and “pleases” and shove them [somewhere unpleasant]. She never wanted to hear them ever again. After that it became a joke between us. Every time I slipped up I would say—you guessed it—sorry. She would glare at me and then I would say sorry for saying sorry for saying sorry.

The Spanish, I learned, do not say “sorry”, “please” and “thank you” a million times a day.

When I went back to Sydney I noticed—for the first time—that I was not alone. Pretty much every woman I know says sorry just as much as I do. More even. It was quite the revelation.

I have since noticed that many English women suffer this malady. And quite a few USians—especially the ones from the South.

I have no idea what it means. But I have dark suspicions.

  1. not for the first time
  2. ¡Me vuelvas loca!

33 Comments on Sorry, last added: 11/8/2007
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7. Sherwood Smith on World Building

Because I am very behind on reading blogs—and pretty much everything else in my life—I missed this lovely riposte by Sherwood Smith. She’s responding to M. John Harrison dismissing world building. He’s not, though, he’s dismissing bad world building. Just like all those people who say that omniscient narration is evil and wrong. Nope, only when it’s done badly.

You should go read Sherwood because what she says is exactly so:

My objection is this, that worldbuilding is one of the ways humans play. Just as reading is a form of play.1 Many people don’t even know they are worldbuilding. Children worldbuild all the time. They will establish with a few quick rules what each item in the yard represents, and play at that a while, testing that everyone’s on the same page, and then someone begins a “what if?” “What if we all turned into ponies?” “What if the ponies fly?” “What if race cars had brains?” My son, at four, who never willingly reads a book, had had the living room converted to a world that was internally laid out–he didn’t tell us what was what. We could only guess by the sound effects he made as he motored about; then at one point he got the pots and pans out of the kitchen, laid them carefully out into a man shape, pointed the TV changer at it, expecting it to come to life. He cried, the world crashed down, and we had to explain where his rules and this world’s rules clashed, but it was clear that that giant robot had had a role in his ongoing story.

What she said. Read the whole thing. The comments are pretty fascinating too.

  1. The argument that reading ought not to be play, but ought to be useful and informative and force one to think is, I believe, just another form of the great clomping foot of the puritan ethic.

7 Comments on Sherwood Smith on World Building, last added: 11/4/2007
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8. Post no. 755

Why is it often such a nightmare trying to come up with the right title? Why can’t I just call my next article “Article no. 25,” my next short story “Short Story no. 3,” and my next novel “Fourth Novel,” and the one after that “Fifth Novel”?

Don’t you think that has a ring to it? Sixth Novel by Justine Larbalestier.

Or, better still: Two Hundredth and Twenty Seventh Novel by Justine Larbalestier.

Or, how about: Just read it, already! by Justine Larbalestier.

Or, It’s a Book, Stupid. What did you think it was? by Justine Larbalestier.

Stupid titles. I kick them all.

22 Comments on Post no. 755, last added: 11/18/2007
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9. Lord of the Flies



Here's a recent illustration for Lord of the Flies. Slightly different technique used here, incorporating some methods I used to use at college (dark tree like texture applied to whole image, then erased in a scribbly fashion with v small eraser brush).

0 Comments on Lord of the Flies as of 1/1/1900
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10. Making the words good after you already writ ‘em

I’ve had a few requests lately to explain how to edit a book once the first draft is done. I’ve started a long and exhaustive post on just that, but it’s not finished, plus Maureen already wrote about it. In the meantime David Louis Edelman has a really useful ten-point guide to line editing:

1. Eliminate unnecessary modifiers. When I say unnecessary modifiers, I’m talking about both “weasel” words that lessen the impact of your prose and useless modifiers that emphasize for no reason. Words like possibly, simply, really, totally, very, supposedly, seriously, terribly, allegedly, utterly, sort of, kind of, usually, extremely, almost, mostly, practically, probably, and quite. Why write “It was quite hot out that day” or “It was extremely hot that day” when the sentence “It was hot that day” accomplishes the same thing? The more clutter you can get rid of, the better your sentences will be.

What he said. Add “actually” and “just” and “though” to that list. But remember there are always exceptions. Like many of those words are dead useful in dialogue for conveying dithering etc. For example:

“Actually, I was totally going to set the zombies on the unicorns. Seriously I was! But I was possibly maybe almost kind of sort of distracted by the troll invasion. They’re really big!”

Edelman’s list—like all such lists—is a guide not a set of rules.

9 Comments on Making the words good after you already writ ‘em, last added: 9/10/2007
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11. Dude!

A negative review of Poppy Z. Brite’s Soul Kitchen takes issue with her dialogue:

dialog—atrocious. do you realize that Rickey never once calls G-Man, his life partner, by his name? its always “Hey, dude.” “Yeah, dude?” “Dude!” between them. holy Bill & Ted! is that believable? is this how lovers talk?

A whole bunch of peoples—including Poppy Z. Brite—show up to say, “Yeah, Dude, that is what I call my lover/spouse/life partner/best friend/random acquaintances/vet/dog/neighbour etc.”

It is funny.

Personally, I do not call Scott “Dude”; I call Scott “Scott”. But he calls me “Dude” and a billion other things, but almost never “Justine”. Americans seem to have this weird allergy to calling their spouse/partner/lover by their actual name. It’s all “sweetie” and “sugar” and other weird things I can’t even bring myself to type. I am not much for cutesie names. I prefer “Dude” to “Darling”. But I like being called Justine best of all.

What do you call your main squeeze?

And, by the way, the reviewer of Brite’s book is smoking crack. She couldn’t write a bad sentence if she tried.

22 Comments on Dude!, last added: 9/7/2007
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12. The writer’s life: 1930 compared to 2007

Somerset Maugham meditating upon the writer’s life:

It is full of tribulation. First he must endure poverty and the world’s indifference; then, having achieved a measure of success, he must submit with good will to its hazards. He depends upon a fickle public. He is at the mercy of journalists who want to interview him and photographers who want to take his picture, of editors who harry him for copy and tax gatherers who harry him for income tax, of persons of quality who ask him to lunch and secretaries of institutes who ask him to lecture, of women who want to marry him and women who want to divorce him, of youths who want his autograph, actors who want parts and strangers who want a loan, of gushing ladies who want advice on their matrimonial affairs and earnest young men who want advice on their compositions, of agents, publishers, managers, bores, admirers, critics, and his own conscience. But he has one compensation. Whenever he has anything on his mind, whether it be a harassing reflection, grief at the death of a friend, unrequited love, wounded pride, anger at the treachery of someone to whom he has shown kindness, in short any emotion or any perplexing thought, he has only to put it down in black and white, using it as the theme of a story or the decoration of an essay, to forget all about it. He is the only free man.

Cakes and Ale (1930)

Leaving aside that Maugham is under the delusion that everyone is male except wives and those in need of marital advice, how does all of that apply to us pro writers now? Or, rather, to this pro writer in particular.

Tribulation? Check.
Fickle public? Check. Why can’t all of them love all of us all the time? Or even know who we are!
Mercy of journalists who want interviews? Of bloggers yes. Of journalists not so much. But frankly I kind of like it that way.
Of photographers who want to take the writer’s picture? Hah! If only Maugham had lived to the current day when almost everyone in the first world has a bloody camera and feels compelled to plague everyone else with it and will not accept the idea that some people do not want their photo taken. Is there anyone left who’s never been photographed? Are there any souls left unstolen?
Editors who harry the writer for copy? Oh, yes. Just the same! Bastard editors!
Tax gatherers who harry a writer for income tax? How odd. I didn’t realise that in 1930 only writers had to pay tax.
Persons of quality who ask the writer to lunch? Are my editors and agents “people of quality”? Are librarians? I’m gunna say yes.
Secretaries of institutes who ask the writer to lecture? I imagine that still applies. Not to me though. No secretary of any institute has ever asked me to lecture. Rotters!
Women who want to marry the writer? Now, I’m bummed. No woman or man has ever asked me to marry ‘em just cause I’m a writer.
Women who want to divorce the writer? But, here’s the upside: no one’s ever asked me for a divorce on account of I write words that turn into books on shelves. Poor Mr Maugham!
Of youths who want the writer’s autograph? This has happened occasionally. And, oh, how I loves it! More, please!
Actors who want parts? Parts of what? Most definitely does not apply.
Strangers who want a loan? Do letters from Nigeria count?
Of gushing ladies who want advice on their matrimonial affairs? Actually, because I wrote this piece I have had a handful of people asking for advice on their love life. None of them gushed though and they were boys as well as girls.
Earnest young men who want advice on their compositions? Check. Though not all earnest, not all young and not all men.
At the mercy of agents? Check. I guess. But my agents, Jill Grinberg and Whitney Lee, are so lovely and so very good at what they do it’s hard to think of it that way.
Of publishers? Check.
Of managers? Writers had managers back in 1930? I didn’t even think they had them now. How strange.
Of bores? Check. But just a tiny percentage of the number I had to deal with when I was academic.
Of admirers? Check. There’s one or two. Bless their every breath.
Of critics? Check. One or two of them and all.
Of their own conscience? Huh? What is this “conscience” Maugham speaks of? And why would I be at it’s mercy? I am confused!

As for Maugham’s one compensation:

Whenever he has anything on his mind, whether it be a harassing reflection, grief at the death of a friend, unrequited love, wounded pride, anger at the treachery of someone to whom he has shown kindness, in short any emotion or any perplexing thought, he has only to put it down in black and white, using it as the theme of a story or the decoration of an essay, to forget all about it. He is the only free man.

Maybe I’m more neurotic than Maugham—figures, it’s more than seventy years later, neuroticness has definitely grown—but just writing about a trauma or experience does not expunge it for me. Or maybe that’s just because I haven’t really done it. I haven’t written about the people I love who have died. I haven’t typed for hours to make it go away. I am not free.

Though I’ll wager that my writer’s life is heaps happier than Maugham’s!

I do agree with him, though, that the writing part is by far the most wonderful thing about being a writer.

That, and the champagne.

21 Comments on The writer’s life: 1930 compared to 2007, last added: 7/10/2007
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13. The F-bomb

USians sometimes talk about the “f-bomb”. A euphemism I heard for the very first time last year from a librarian whose full time job is to fight censorship. We were on a panel (at WisCon) discussing book banning and censorship in front of an audience of adults. I was the moderator and in my introduction I used quite a few of the words that are likely to cause a book aimed at teenagers to run into trouble. It didn’t occur to me not to given that the panel started at 10PM and was in front of an audience of adults.

For less than a second all the air went out of the room.

And then the librarian laughed and said as how she had been tiptoeing around those words for so long that she could no longer say them out loud. Everyone else laughed too.

You’ll notice I’m not using any of them in this post either. That’s because I happen to know that some of the readers of this blog would be offended and I do not wish to offend them.

Chris Crutcher in his keynote speech at the Humble Teen Literature Festival last February eloquently defended his use of “cuss words” (tee hee! Sorry, it just makes me giggle) in his books without using any, but making it clear which ones he was talking about. It made me wonder what the difference is between making it clear what the word you’re not saying is and simply saying that word. It’s obviously a huge one because I’m pretty certain that if Chris Crutcher deployed any of those words in his speeches he would not get as many speaking gigs as he gets and he would lessen his power in the fight against censorship.

Ironic, innit?

I happen to like swearing. Some of my favourite words are offensive to many people. And so are those of Chris Crutcher and Holly Black. The enjoyment comes not from the shock value. Frankly, none of my friends or family are offended by swearing. The pleasure is from—to borrow a term from the land of wine and food lovers—the mouth feel.

I love the way many rude words feel in my mouth. I love their explosiveness. I love to use them as punctuation, as intensifiers, as poetry, as song.

I love getting creative with my swearing. I love using old standards. I love the age of these words. The majority of the rudest words in English go back to the beginnings of the language. I love that feeling of longevity. Words like these have been exploding out of people’s mouths for centuries.

I would love to write a book for teens that used the kind of language that I hear them use every day. That I use every day. I would love to capture those rhythms and cadences. But such a book would probably not get published.

I’d also love to write a book that did everything I want it to: was exciting, dramatic, moving, fun, and populated with recognisably teen characters but also managed to not offend anyone. What would such a book look like?

There would be no swear words in it. Everyone would speak uncolloquially and without grammatical errors. Characters would only fall in love with people of the opposite sex and same race and religion, yet they would not have sex. They would not smoke or lie or cheat.

But I know people who are offended by books that create worlds in which the ten per cent of the population that isn’t heterosexual do not exist.

I’m not sure a book that offends no one is possible. Afterall, I’m deeply offended by unicorns and by books in which the heroine keeps falling over and has to be rescued by the big handsome hero. That’s right, passive heroines drive me spare. But lots of other people just gobble them up.

I do not wish to have those books banned. I just wish people wouldn’t gobble them up. I also wish never to be subjected to the foul smells of coffee, petrol and perfume ever again, but I don’t fancy my chances.

I don’t want to offend anyone but as long as I’m writing books I don’t see how I can avoid it.

24 Comments on The F-bomb, last added: 7/10/2007
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