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GallagherWitt

Over 90 days ago

Female, 44

Japan

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14 Apr 2011

If my readers demand a sequel, usually that means there's something left hanging in the original. With my first M/M book, a lot of people said "I loved it, BUT...it seems like there's more to their story!!" I wrote a sequel, and it has been very popular. Another book, same deal...readers kept asking "What happens to character X?" So I wrote the sequel, and it'll be out in a few months. That's not to say the original books don't come to a conclusion. The conflict is resolved, but they don't necessarily resolve *all* of their issues. i.e., in one book, the POV character is still estranged from his brother. So in the sequel, their relationship was addressed. In the other book, there's a three-way sexual relationship, but only two of the guys are romantically involved (they have a casual relationship with the third)...a lot of readers wanted to see #3 have a chance to fall in love with someone. They ask, they receive.

In another instance, it wasn't so much that I left the characters hanging. I came up with another story, and the more I thought about it, the more I realized it would fit perfectly into the world of that particular group of characters. That sequel has been as popular, if not more so, than the first book. (And there may be a third in the series...I haven't settled on it yet)

So, in short, I've had a lot of success with sequels, but I don't necessarily write them for every book. Just depends on the story. Also depends on reader demand...if a lot of people are asking for a sequel for the same reason ("we want to see #3 fall in love!"), then I will. If it's just "I love these guys and want to see them again", then it depends on if there's any story left to tell.

14 Apr 2011

Quote by DirtyMartini
Quote by GallagherWitt

I'm told water-boarding is an effective means of--

*looks around*

What???

You know, that might make for an interesting story actually...

Come to think of it, I've read stories with whips, chains, cages...can't recall ever reading a good water-boarding story though...

Hmmm...

I actually have a scene of water-boarding in one of my upcoming books, but it is NOT part of a sex scene or anything of the sort. lol It's used as a method of serious torture. (And was rather skin-crawly to write, if I'm honest...)

12 Apr 2011

Quote by MorganHawke
Quote by TracyAmes
...The [fundamentals] aren't meant to fence us in...they're a springboard.

Exactly!
-- Now how do I get the 'creative' writers to believe this?

I'm told water-boarding is an effective means of--

*looks around*

What???

11 Apr 2011

Quote by Bunny12
To me this is all a bunch of contrived B.S. all my writing comes from personal experience, straight from the heart driven by pure inspiration. But that's just me lol

That's fine and dandy. Enjoy.

Have you ever watched a student film? One of those ultra deep, heavy-on-symbolism, self-indulgent films that leave most people scratching their heads while the director smugly watches all the peasants try to wrap their heads around his earth-shaking, meaningful, intellectual film? Some of those are beautiful pieces, lovely examples of cinematography and such, but they're shit as far as films go. Why? Because no one gets it. Not because they're stupid, or because they can't get their heads around deep concepts, but because the film doesn't connect with the audience. It resonates with no one except the director.

For those of us who are writing TO BE READ, it's important to learn to convey our story to our readers. Writing, like any art form, is not only a means of expression, but a means of communication. There are methods that make a story speak to its reader more than other methods, those that give the reader a connection to it. Those methods that make a story enjoyable, interesting, memorable.

What Morgan is describing is one of those methods. It's not a bunch of contrived B.S. It's a way of helping people COMMUNICATE their ideas in ways that resonate with readers, entertain them, stick with them, interest them, etc.

No one's saying you have to use it. But calling it contrived B.S.? That's just rude. Morgan's taking the time to post these articles to help writers. If you don't want to use it, don't. If the advice doesn't click with you, by all means, try something else.

If you want to stand off to the side and polish your nails on your lapel as if your methods are somehow superior, I can introduce you to some film school graduates you might get along with.

6 Apr 2011

Quote by MorganHawke
Quote by GallagherWitt
Perfect timing with this thread, Morgan. I just realized one of my main characters has a tendency to shoot off his mouth without thinking about it, which is a major catalyst for the conflict.

An excellent example of a static trait if ever I heard one.

Like I said, perfect timing. I was working on a scene, he started mouthing off, and I went "Wait a minute...isn't that what Morgan was talking about?" And you wouldn't believe how many pieces fell into place.

I'm still figuring it out with the other two characters, but Levi's mouth will definitely be his downfall.

6 Apr 2011

Perfect timing with this thread, Morgan. I just realized one of my main characters has a tendency to shoot off his mouth without thinking about it, which is a major catalyst for the conflict. biggrin

biggrin

4 Apr 2011

Quote by MorganHawke
Quote by GallagherWitt
Agreed with both of you. Too much detail becomes tedious, and it muddies all the IMPORTANT details. Assuming it doesn't put your reader into a coma first...

No details at all can be just as bad. It's like I'm listening to a radio show -- without the background music or sound effects.

Agreed. The challenge lies in finding the balance between too much and not enough.

4 Apr 2011

Quote by MorganHawke
Quote by nicola
...His attention to detail, overly so a lot of the time, makes it too difficult for me to enjoy the story. You're constantly stopping to try and create the image he's painting, rather than naturally creating your own.

Tolkien could be the same way. I swear, he described so much and in such detail that sometimes his stories were more like travelogues.

Agreed with both of you. Too much detail becomes tedious, and it muddies all the IMPORTANT details. Assuming it doesn't put your reader into a coma first...

2 Apr 2011

Quote by MorganHawke
Quote by GallagherWitt
...Of course environmental and sensory details are important. I'm not saying they aren't. Quite the contrary, actually: They're so important that they should be used sparingly and judiciously so that each one registers in the reader's mind. ... Less is more. Much more.

...Make every detail count. If you're describing someone's living room, give me a reason to care how the furniture is arranged, whether or not it matches, and what knicknacks are on the mantle. For the love of God, if you're going to spend a page and a half telling me about a chair, you'd better be subtly telling me about something besides the damned chair.

Less is more. Subtlety has more impact. Don't insult your reader's intelligence.

Excellent Advice!
-- I'm so glad I dragged you in here.

Me too. But you can stop dragging me around by my hair if you want to. You don't HAVE to. I'm just sayin'. If your hand's getting tired or somethin'. It's all good if you want to keep doing it too...

2 Apr 2011

Quote by MorganHawke
Quote by GallagherWitt
It's helping, actually. Biggest problems I'm running into now relate to some logistics (getting character X in the vicinity of character Y) and motivations (WHY is character X going to where character Y is), but the overall plot arc is working.

Excellent!
-- To get one character in the vicinity of the other, try something simple and ordinary. Murphy's Law can also be amazingly useful!

> They stop at a convenience store to buy a snack.
> They stop at a coffee shop because they always stop at this coffee shop before (or after) work.
> They stop at a gas station.
> The car got a flat.
> The plane had to set down in a different city because of weather conditions or engine issues and now they're stuck on an overnight wait, so they go to a local hotel.

It's not so much I need to stall them or anything...basically, Darius and Ian are in one location, Levi's in another. I need a reason for Levi to take it upon himself to go to them. He wants to choke -- or, rather, STAKE -- Darius, but he doesn't want to see Ian...and he doesn't know Darius is there. So I'm trying to figure out why he decides to take his carcass to where Ian is, and once he's there, he and Darius can have a little mini-showdown.

Fun times...*stakes all three of them, including the werewolf*

2 Apr 2011

Adapting this from a blog entry I posted a couple of years ago...not sure if Morgan's covered this one, but here goes:

When I beta read for people, one of the most common pitfalls I see is the tendency to describe EVERYTHING. And I do mean EVERYTHING. Of course, in school, when we're learning to write, our English teachers drill the "more details, more details, more details" mantra into our fragile, pliable little brains. We're taught to describe everything down to its most minute detail, while being directed to various classics as examples of "See? This is how it's done."

And for some, yes, that's how it's done. In the eras in which those classics were written, authors were paid by the word. Naturally, you're going to spend a few paragraphs verbally whittling a tree down to its last pine cone if it means a few more cents to buy bread. That does not, however, mean that today's writer should follow suit. I've especially noticed some fantasy writers - probably trying to imitate the endlessly verbose JRR Tolkien - will spend pages describing things that really aren't important. Or, more to the point, aren't relevant.

Description and details aren't bad things of course, but there's a little thing called moderation, and it can be a tricky thing to learn. The fact is, when it comes to details, less is often more. Don't describe everything in the room. Make your descriptions count. So how do you decide which details to include?

Here, I'm specifically focusing on setting, but the principles apply to describing characters too.

Let's say we have a scene that takes place on a movie set. Now, as soon as you read that, you had an instant picture in your mind. Maybe you pictured an outdoor set. Maybe a soundstage set up like someone's living room. Whatever the case, "movie set" immediately brings an image to mind.

Now, there's two ways a writer can go into a scene. I can describe every detail: the upholstry on the couch, the color of the director's chair, the cameras, the boom mics, the bright lights, etc. Or, I can simply leave it at "movie set". Maybe mention that it's a soundstage. Now you know we're indoors. You and I may have the cameras arranged a little differently, or the furniture on the set might be different colors, but we're both on the same page. Unless there is a reason for you to know how many cameras are there, what kind of lights are on, what kinds of food are laid out on the table off to the side, and whether or not the eccentric director's dog is lying at his feet, it really doesn't matter if we see things exactly the same way.

So, instead of going on about the movie set, my personal preference is to go right into answering the question that should be on the reader's mind: "Okay, I'm here. Now what's going to happen?" Throw in some mention of noise if there is any, the smell of coffee if it's there, something to that effect, but I'm going to get you on the movie set and roll right into the story, because that's why you're with me in the first place. You're here for the drama, not the wallpaper.

Let's move on to another scene. Now we're in the living room of another character who has been recently introduced. With regard to the room, we are again faced with choices, in this case, four of them:

1. Describe everything down to the last coaster on the coffee table, making absolutely sure the reader knows exactly what the room looks like, where everything is, and how the DVDs are organized.
2. Pick out a few details to give a basic idea of what the room looks like. (Black leather furniture, a few pictures on the wall, etc., and leave it at that)
3. Describe nothing. Let "cabin" and "living room" cue the reader's mind to fill in the blanks. (I mean, really, does the reader need to know exactly what the room looks like? If not, just walk into the living room and leave it at that. Move on to the relevant information)
4. Pick out a few details from the room to describe the recently introduced character. Simple but elegant taste. Tables cluttered with papers and such. Immaculately clean or beer cans and chip bags all over the coffee table. All of those give us an idea of what the room looks like, but tell us even more about the character who lives there AND the character who's perceiving it.

Personally, I don't think you can go wrong with 2-4 depending on what you're trying to accomplish with the scene. Option 1 is often boring and tedious unless masterfully done, and even then, will leave me as the reader thinking, "Is there a reason I need to know this?" And therein lies the key: Give every detail a reason to be there.

Of course environmental and sensory details are important. I'm not saying they aren't. Quite the contrary, actually: They're so important that they should be used sparingly and judiciously so that each one registers in the reader's mind. If I spend three pages describing an office, then another three pages describing the kitchen, then another three describing the bathroom, when I get to the living room and mention the half-empty bottle of Smirnoff sitting next to a wrinkled stack of tabloid magazines, you might easily go right past the bottle and the magazines. If the descriptions are kept to a minimum, then I zoom in on the vodka and tabloids, you're going to raise an eyebrow and think, "Hmm, there's a reason for those. I will remember them."

Less is more. Much more.

As another example, I beta read a friend's novel not long ago. It's an historical set in ancient Egypt, and like me, that author tends to be more spartan with description, highlighting just enough to trip your synapses and let your brain fill in the rest. Very effective, in my not-so-humble and somewhat-biased-because-I-do-the-same-thing opinion.

After a few chapters, there comes a scene in which she shifts gears...she describes a setting in great detail, with some very unique and odd imagery. Had she been describing everything all along, the details of this setting might have escaped my notice -- I might have even started skimming -- but because she'd rationed details from the beginning, it made me pause. "There's a reason she's telling me this," I said to myself. It made me sit up and take notice, because her writing had conditioned me to understand that everything she tells me is relevant, important, and significant. When the scene unfolded, it was very powerful, and the images leading up to it only served to make it more so.

As for using descriptions to tell more about characters than setting, this is an example from one of my own books of how I do it:

Though I was still getting to know him, every inch of this place just screamed “Andrew.” Neatly arranged books filled the cases that covered one wall of his office. Opposite the bookcases, the walls were adorned with a few framed photos and awards highlighting his career on the force.
Unembellished, black-lacquered furniture in both the living room and bedroom. Photos of, judging by the striking resemblance, family members all along the hallway and on the occasional shelf or table.
It was all undeniably Andrew. It was possible, though, that it was neither the simple furniture nor sparse décor that kept his name at the forefront of my mind. It could have been the look I caught his reflection giving me in the glass of a picture frame. It might have been related to the way he casually rested his hand on the small of my back when we moved from one room to the next.
Or maybe, just maybe, it had something to do with the way both conversation and respiration dwindled to almost nothing when we were in his bedroom. The one room in the house I wanted to be in more than any other. If his expression was any indication, he was on the same page.

The precise details of the house are unimportant. What's important is what those details say about Andrew, and what the perception of them say about the POV character.

Bottom line:

Give your readers some credit. Don't spoonfeed them every last detail of the mundane and irrelevant, or you will completely desensitize them so that by the time an important detail comes out, it won't be as dramatic.

Make every detail count. If you're describing someone's living room, give me a reason to care how the furniture is arranged, whether or not it matches, and what knicknacks are on the mantle. For the love of God, if you're going to spend a page and a half telling me about a chair, you'd better be subtly telling me about something besides the damned chair.

Less is more. Subtlety has more impact. Don't insult your reader's intelligence.

2 Apr 2011

Quote by MorganHawke
Quote by GallagherWitt
...And now that my outline just got hijacked for the 17th time, I'm going to give Morgan's technique a go and see if that helps me sort it out. *mumbles about obnoxious characters*

Let me know if it works!

It's helping, actually. smile

smile

Biggest problems I'm running into now relate to some logistics (getting character X in the vicinity of character Y) and motivations (WHY is character X going to where character Y is), but the overall plot arc is working. biggrin

biggrin

2 Apr 2011

Quote by sprite
Quote by GallagherWitt
GAH. Where was this yesterday when I was screaming at my characters and begging them to cooperate long enough for an outline? lol

Great article. I am so saving this one for my next book.

do what i do - threaten them with deletion if they fall into line!

My characters just laugh. They know I won't be able to sleep until their story is written, so any threat to delete them is an empty one. >.<

And now that my outline just got hijacked for the 17th time, I'm going to give Morgan's technique a go and see if that helps me sort it out. *mumbles about obnoxious characters*

1 Apr 2011

GAH. Where was this yesterday when I was screaming at my characters and begging them to cooperate long enough for an outline? lol

Great article. I am so saving this one for my next book.

31 Mar 2011

Quote by MorganHawke
Quote by GallagherWitt
If a publisher has consistently crappy covers, think twice before subbing to them. The author has input in cover art, but the final say belongs with the publisher, so if they routinely put out unattractive covers, your odds of getting a bad one are high.

VERY good point. It's happened to me a couple of times.

Sucks, doesn't it? I've been fortunate...the worst I've gotten has been a cover that's "eh, so-so". Even that was enough to turn readers off, though.

Quote by MorganHawke
Quote by GallagherWitt
I'll also second Morgan's comments about having multiple publishers. I have eight, four of which I submit to on a regular basis. Two of my editors in particular have polar opposite tastes...if one doesn't like a manuscript, I can bet money the other will, and the books purchased by either of them generally sell very well.

This way you Always have money coming in.

AMEN. Especially since some pubs pay quarterly, others monthly. I wouldn't call it a steady income, but there's always *some* money coming in.

Quote by MorganHawke
Quote by GallagherWitt
Finally, I rather like having multiple editors because, hey, I'm not a perfect writer by any means. With every editor, I learn something new...either a way to tighten up my prose, a way to improve pacing, or some crutch word I didn't know I was abusing.

I have learned more from my editors --and their red pens-- than from anywhere else, and that includes all the How-To books I've read.

Isn't that the truth? I've been through enough edits that the mere thought of MS Word Track Changes makes my eyes bleed, but man, I have learned A TON. So, the more editors you have, the more you learn.

29 Mar 2011

I write filth full-time. smile

smile

I've previously been a photographer, edited porn videos, worked in customer service/tech support, and managed a car rental lot. I actually work more hours now than I ever have in my life, but I LOVE my job. Wouldn't trade it for the world. :)

29 Mar 2011

I would also add that it's worthwhile to take a look at their cover art. The fact is, readers DO judge books by their covers. I've had readers flat out tell me they nearly passed one of my books by because the cover was "meh". Others have bought books without even reading the blurbs because they liked the covers so much. If a publisher has consistently crappy covers, think twice before subbing to them. The author has input in cover art, but the final say belongs with the publisher, so if they routinely put out unattractive covers, your odds of getting a bad one are high.

I'll also second Morgan's comments about having multiple publishers. I have eight, four of which I submit to on a regular basis. Two of my editors in particular have polar opposite tastes...if one doesn't like a manuscript, I can bet money the other will, and the books purchased by either of them generally sell very well.

Finally, I rather like having multiple editors because, hey, I'm not a perfect writer by any means. With every editor, I learn something new...either a way to tighten up my prose, a way to improve pacing, or some crutch word I didn't know I was abusing.

Great post, Morgan. smile

smile

27 Mar 2011

Quote by MorganHawke
Quote by GallagherWitt
I HATE the whole "OMG D/s IS HORRIBLE" thing. That's part of the reason I wrote my BDSM books in the first place.

It's why I wrote my BDSM books too.

The revolution has begun. biggrin

biggrin

27 Mar 2011

Quote by stephanie
Re: "Alexander"

"(... still sucks hairy donkey balls, though)"

Is this scene on the DVD extras???? Did Colin Farrell do this??? I can't remember this scene from the cinema release, and my early DVD copy has no extras.... Is there a Director's Cut featuring this? Who was lucky enough to play the donkey???

(LOL!!!)

I'm being facaetious!!! (And dangerously close to being banned by Lush by our rules!!! And not the rule where you dunno how to spell 'facetious'.....)

Great advice!!!

XX SF

LMAO. Now that would have been funny. The least he could have done was kiss Jared Leto, though! WTF??? Jeez. Put those two on screen with that much chemistry, AND playing two characters who were historically lovers, and...*sigh* Oliver Stone, you are OFF my Christmas card list.

27 Mar 2011

Quote by MorganHawke

As far as I know, Secretary is the only movie that does this. Every other movie I've seen, including 9 and 1/2 Weeks, as much as I love it, portrays D/s as being unhealthy.

No kidding. That's why I love it so much. I HATE the whole "OMG D/s IS HORRIBLE" thing. That's part of the reason I wrote my BDSM books in the first place.

27 Mar 2011

I totally forgot about The Secretary, but yes, that's an awesome one for the dynamic between the two characters. (And a Dom/sub relationship portrayed positively? WHAT A CONCEPT)

27 Mar 2011

Yes, I'm once again invading Morgan's forum, this time with some advice of my own:

What sex scenes have always stuck in your mind after watching a film? Which scenes kept replaying in your mind and making you shiver hours, days, even weeks after you saw the film? Which fell flat? Most importantly, what MADE them stick in your mind or fall flat?

A couple of years ago, a friend and I decided to take some time and figure out what set okay sex scenes apart from GREAT sex scenes. We'd watch them and ask ourselves/each other why a particular scene worked and why one didn't. Why did one fall flat while the other created visceral, physical reactions (aka, tinglies!)? What little details made our breath catch while others barely registered. You know what the biggest difference was? The little things. Breath on skin. His hand sliding from her waist to the small of her back. A fleeting moment of eye contact. We watched these scenes over and over to figure out how to translate those little things into our writing. (This was pure torture, I assure you. Spending hours on end on YouTube watching our favorite sex scenes. Absolutely hellish.)

Remember, as writers, we can be much more explicit than most films. However, the very fact that they CAN'T show all the plumbing and the banging means they have to find other ways to convey what's happening, how people are responding, etc. Just because we can show all the action, right down to the penetration shots, doesn't mean we should skip over the rest of it. And this applies to any kind of erotica, whether it's meant to be more emotional or just some wank fodder...you want to really get your readers hot and bothered? Tease all their senses. Don't just show them a cock in a pussy, let them hear the creaking bed frame. Don't stop at moans and groans, make the reader feel the goose bumps on her skin when he exhales against the back of her neck. Don't just show us a powerful orgasm, show us the sheets bunching in her hands. Don't rely so heavily on how much semen the guy gets all over his abs, her face, the blinds, or whatever else...show us the cords standing out from his neck, his knuckles turning white from gripping a headboard for dear life, and the bead of sweat on his temple.

Show everything, not just the dirty bits.

So. With all of that said, I highly recommend watching the following scenes (obviously adult content, NSFW, etc) and REALLY looking at them.

From "The English Patient". Note their faces. The looks they exchange. Notice how the camera zooms in on their hands. What he's doing with her clothes.

From "Atonement" This is easily one of my favorites. There's something heart-stoppingly sexy about a kiss or a touch that says "I need you NOW". To me, that's what makes this scene so sexy...all the tension and buildup, then a "can't wait another second" release. Especially take note of her skirt going up her leg, the strap from her dress between his fingers, things like that. Also, there's no music, just the sounds of breathing, moving, etc. (The fact that James McAvoy is hot doesn't hurt anything either...)

From "On Becoming Jane" This isn't a sex scene, but is a great example of romantic and sexual tension. Watch the whole thing...it's slow to start, and the part I'm thinking of is at 2:08, but the rest of the clip builds up to it. It's really little more than a look shared between two people, but it speaks volumes. Note the difference in her demeanor, in the entire atmosphere of the scene, after that moment, even though the dance is continuing exactly like it has through the entire scene. (And once again, the fact that James McAvoy is hot doesn't hurt, but I digress...)

From "The Matrix: Reloaded" Obviously something like this is going to translate better to film than to the written word, but it's a good example of using the environment/surroundings to emphasize the feelings of a scene. There's an incredible, primal rhythm to that scene, and while the movie itself was mostly made of fail, that scene was spectacular.

From "Meet Joe Black": Watch his face. You know what's happening by how his body is moving, but you know what he FEELS by his face.

From "The Recruit": Parking garage kiss, lovely example of tension (which builds quickly) followed by a "must have you RIGHT NOW" kiss. Consider how much less effective the scene would have been if they'd had more time...being rushed added to the tension. (pardon me while I go think dirty thoughts about Colin Farrell for a few minutes...)

Other: (YouTube isn't cooperating with me tonight)

City of Angels - Sex scene. Much like the one from Meet Joe Black, watch his face.

True Lies - Striptease scene. Pay attention not to what she's doing, but how he's looking at her. Even though you can barely see his face, the looks are there...and so is the tension.

Titanic - The hand on the fogged up rear window. The viewer may not know if Jack is fucking Rose, eating her pussy, or fingering her at that precise moment, but that hand left nothing to the imagination about how Rose FELT.

Remember: The tension does not begin or end in the bedroom. Putting aside my undying hatred of the movie Alexander, and my insane crushes on both Jared Leto and Colin Farrell, there is one thing that makes that movie worthwhile: The sexual tension between their characters. They never do anything onscreen (Oliver Stone, for this I hate you), and their dialogue is horrible (hey, at least it was consistent with the rest of the film)...BUT the looks they exchange. Good God. If anyone can put on a look of sexual longing, it's Hephaestion when he's watching Alexander marry someone else. They both nailed the chemistry and sexual tension. (The movie still sucks hairy donkey balls, though)

Figure out what makes those scenes sexy, what gives them tension, and translate that onto the page. Observe them, analyze them, and adapt it to your writing...I can almost guarantee an added sizzle in your sex scenes. "Is it really that effective?" you wonder quietly to yourself. It was for me. This analysis was one of the defining moments in my career, and what gave me the key to writing sex scenes that resonated with my readers.

Go forth and watch some sex scenes. You won't regret it.

19 Mar 2011

Quote by MorganHawke
Quote by GallagherWitt
I do NOT. *points at halo* Innocent, mi amiga. Totally innocent.

Nice try, but if you actually were that innocent, we wouldn't get along half this well.

Hmm...good point.

Okay, so maybe I'm not *entirely* innocent...

18 Mar 2011

Quote by MorganHawke
Quote by GallagherWitt

Like I would ever let you touch me THERE.

Oh, you LIE~!

I do NOT. *points at halo* Innocent, mi amiga. Totally innocent.

angel7

angel7

18 Mar 2011

Quote by MorganHawke
Quote by GallagherWitt
Yeah, but we're all the same height lying down. You just waited til I was on my back, THEN dragged me in by my ear.

That wasn't your ear. ;)

Like I would ever let you touch me THERE.

angel7

angel7

18 Mar 2011

Quote by MorganHawke
Talent is when you do something right by Accident.
Skill, on the other hand is when one does it right On Purpose.

WORD. Well said. In fact, I'm going to tweet that. So there.

17 Mar 2011

Quote by MorganHawke
Quote by GallagherWitt
What? What? It's not my fault!! She DRAGGED me in here. By my EAR! I swear it!!

Lori, while I freely admit to dragging you in here (not that it took that much effort,) but might I remind you that I am Short? My hands can't reach your ears. They only go as as high as your nipples.

Yeah, but we're all the same height lying down. You just waited til I was on my back, THEN dragged me in by my ear.

17 Mar 2011

Quote by MorganHawke
Quote by GallagherWitt
"I suck for no apparent reason..."
Those are evil. They are the main reason for my Ego Band-Aids. I've been told it's stupid to have it now that I have a writing career, but honestly? I think I need it more now than I did as a beginner. lol

It's not stupid at all. I swear that my ego has developed major fractures since I became semi-popular. I worry a lot more than I did when I was just tossing stuff up at whim.

Man, isn't that the truth...

17 Mar 2011

Quote by sprite
oh? is he good looking? i'm all about being shared... um.. sharing... divided and conquored, even!

Well, I'm rather biased, but I think he's good looking. Especially in camouflage with a gun on his hip. ;) (I'm married to a military cop)

and... you have a point *glances over at Ms Hawke and frowns* i'll have to rethink this, i can see... then again, there's that whole sharing thing again! :D lol - in my defence, it's late and i'm a little punch drunk and you seem like a good sport!

hehe I'm always a good sport...and always game for sharing. :D

17 Mar 2011

Quote by sprite
*sighs* i guess we'll just have to have an illicit affair then... oh, and yeah, i figured i'd get a few words in before anyone warned you about me - it's the only way i have a CHANCE here anymore! ;)

Well, my husband says I can play with girls as long as I share. ;)

And as far as warning me about you? Darling, most people need to be warned about ME. I mean, look who I hang out with. *points at Morgan*