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SA T URDA Y , 3 0 JUNE 2 0 1 2

DoesObservationMatter?Imaginationaloneisntalwaysenoughtohelpyouwrite.

Writerscanfilltheirstorieswithasmuchmadeupstuffastheylike,butthereisnosubstituteforastuteobservationthekindofthingsthataddfinebrushstrokesandlayerstoyournarrative.

Observationisoneofthosethingsyoucanchoosetoincludeinyourwriting,ornot.Itsentirelyuptothewriter.Butwritingwithoutsomeobservationislikeapaintingwithoutcolour.Itsaboutnoticingthesmallerdetails,thebackgrounds,theminutiae.Thekindsofthingsthathelpbuildapicture,asceneoralandscapeinthereadersmind.

Artists,forinstance,dontpaintwiththeirhandsfigurativelyspeaking,theypaintwiththeireyes.Thatsbecause,onadeeperlevel,theirobservationandstudyoftheirsubjectiswhatistranslatedtothecanvas.Thesameistrueofwriters.Whatawriterobservesandstudiesistranslatedintothewrittenwordandthenbuiltintothenarrative.

Observationplaysanimportantpartinwriting.Itsatoolthatwritersusetoembellishtheirdescriptionstogreateffect.Itmeansthewriterhaspaidattentiontocertaindetails,ratherthanglossedoverascenewithoutputtinginanyefforttosupportit.

Youcould,forinstance,writeaboutanighttimescene

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withafullmoonoveralandscape.Mostwriterswouldprobablyoptfortheobligatorycloudsfloatingacrossthefaceofthemoonscenario,ormaybementiontheprettytwinklingstarsclich,oryoumightmentionhowbrightthemoonis,whichalsoseemstobeastaplefavourite.

Buthaveyoueverlookedatthemooninclosedetail?Evernoticeditscolours?(Itsnotjustbrightandgrey).Evernoticedthewayitshimmers(yes,evenatnight,duetoatmosphericconditions)?Evernoticedthewonderfulcolourswhencloudssometimesobscurethemoontherusts,thebluehuesorthepaletintscausedbythemoonslightpassingthroughthemandthusmakingthecloudstranslucent?Evernoticedthedifferentwaysthemooncastsitglare?Orthatsometimesthemoonseemssmallinthesky,andothertimesmuchlarger?Andthemoonhasdifferentphasesofcourse.

Thatsthedifferencebetweenpayingattentiontodetailinsteadofrelyingonclichtofillyournarrative.

Eventheseeminglytiny,unimportantobservationscanmakethedifferencetoyourreader.Dontunderestimatehowwellthereadersubconsciouslyabsorbswhatyouwrite,becausethefinerdetailshelpthemtobuildanentirepictureofthescene.

Observationalsoaddsahintofrealitytothewriting,andreaderslovethatkindoftouch,thatfamiliarity.Itmeansthatifyouveexperiencedsomethingfirsthandorseensomethingforyourselfnotjustpeople,placesoreventsandsoonthenthatsliceofreality,andtheabilitytodescribeit,addsmuchmoretothenarrative.

Anotherimportantaspectofobservationisthatitiscloselyconnectedtotheshow,donttellmaxim.Takeflowers,forexample.Theyarentjustprettycolours.Lookcloserandyoullseethatpetalshavetexture,shape,definition,folds,lines,veinsetc.Cloudsbecomemorethanjustcloudswhenyoustoptoobservethem.Coloursbecomemorevibrantthemomentyoustartnoticingthem.Peoplebecomefascinatingthemomentyoustudythemandsoon.

Everythingisobservableand,therefore,thereisalwayssomethingthatyoucanaddtoyournarrative.

Ifyouwantyourdescriptionstobevividandauthentic,thengothatlittlebitfurtherandshowthereader,dont

measure.Iamprivilegedtohaveeightshortstories/poemspublishedinthisbook,soifyoulikeyourdamesalittledarkanddangerous,thisisthebookforyou.

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justtellthemtheresayellowflowerinafieldoracloudinthesky.Letyourobservationscometolife,letthemtouchthatflowerandseethoseclouds.

Youshouldalsoutilisethesensestoenliventhenarrative.Somanywritersoverlookthesensestheyforgettodescribescenesadequatelytheyforgettohintaboutscents,colours,textures,tastesandsounds.Thislastonesoundisbyfarthemostneglectedinnarrative.Thereisalwayssoundaroundus,sowhydowritersforgetthatitsthere?

Anobservantwriterisacleverone.Why?Becauseitstheonethingthatmarksflat,boringtellingdescriptionfromvibrant,richnarrativethatshowsthereader.

Everythingweseeandhearandexperienceformsabankofmemoriesandrecollectionstousewhenwriting.So,nexttimethereisathunderstorm,stopandlistentothesounds.Watchhowtherainformsonwindowsorsurfacesseehowthewindplayswiththetreesandsoon,lookattheshadesofthesky.Observeandpayattention.

Doesobservationmatterinfictionwriting?Yes,absolutely.

Nextweek:Howtopolishyourprose.

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Whattypeofwriterareyou?Thetortoiseorthehare?

EveryoneknowstheoldfableabouttheHareracingthetortoise,andtheassumptionthatbecauseofhisspeed,theharewilleasilywin,untilhedecidestotakeasnooze,leavingthetortoisetoovertakehimandambleacrossthefinishline.Mostwritersfallintodiscernablecategories,dependingonhowtheyapproachwriting,andsomecouldbedescribedasharesandothersmightbemorelike

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tortoises.

Writersareasindividualasfingerprintswhenitcomestowriting,buthowdoyouapproachyourwriting?Areyouthekindofwriterthatlikestodispensewithmeticulousplanningandinsteadrathergetrightintothewritingandlettingthestorygowhereverittakesyou?Orareyoumorelikelytotakethetimetocarefullyplanindetailandplothowyourstoryandcharacterswillevolve?

Perhapsyoufallbetweenthetwotypes.Youmightbeamixofbothyouliketogetonwithit,butmightdoalittlebitofplanningbeforehandtoactasaguide.

Somewriterstearheadlongintotheirwriting,spurredbyinspirationandexcitement,theypushoutasmuchastheycaneveryday,whileothersliketoworktospecificdailywordcountsasasettarget,andfeeltheyhaventachievedanythingunlesstheyvewritten2000wordsorso.

Thesetypesdontreallyplanororganisetheyjustgowiththeflow.And,onaverage,theyspendlesstimereflectingonthestoryormusinghowplottwistsandcharactersshoulddevelop.Theyliketojumprightinandjustgetonwithitwithoutworryingtoomuchabouttheintricaciesofwriting.

Ifthisresemblesthewayyouapproachwriting,youremorelikelytobeahare.

Somewriters,ontheotherhand,approachwritinginadiametricallyopposingway.Unlikehares,theytaketheirtimetoplaneverything,theypourovereverysentence,everyword,theyspendhoursthinkingoftherightconstruct,therightdescriptions.Theyrethinkingofplotandcharacterdevelopment.

Inthattimetheymightonlyproduceafewhundredwords...ornoneatall.

Ifyouidentifywiththiskindofwriter,youremorelikelytobeatortoise,andthatsnotmeantinanegativeway.Neitherisbeingahare,becausethetypeofwriteryouaredoesntreflectofthequalityofthewriting.Nomatteryourapproach,eventuallytheendresultshouldbeahighlypolishedpieceofwork,becauseitistheeditingafterwardsthatcounts,nottheactualwritingofthepiece.

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Harewriterstendtoapproachmostthingswithgusto,whiletortoisewriterstendtotakealongtimetoconsidertheirwritingandalsotheyreflectmoreoftenonwhattheyvewritten.

IfallintothetortoisecategoryIliketoplan,Iliketoplot,IcanspendhoursconstructingandthendeconstructingsentencesandparagraphsandIcanspendjustaslongdecidingwhatwordstochoose.Imighttakeanhourtowritehalfapage,itmightbethatIonlywrite500wordsinonesession,othertimesitmightbemore.

AgoodexampleofatortoisewriterisJamesJoyce,whofamouslycommentedtoafriend,whohadenquiredhowUlysseswasgoing,Ivewrittenawholesentencetoday.

WhenthefriendenquiredagainonJoycesprogressthenextday,Joycereplied,Forgingaheadwonderfully.TodayIcrossedoutthesentence.

AnotherisOscarWilde,whooncesaid,Iwasworkingontheproofofoneofmypoemsallthemorning,andtookoutacomma.IntheafternoonIputitbackagain.

OrwhataboutClarenceBudingtonKelland.Igetupinthemorning,tortureatypewriteruntilitscreams,thenstop.

Howweapproachourwritingisanindividualthing.Someofusplan,someofusdont.Someofusreflect,someneverthinkaboutthewritingtoomuchuntilitstimetoedit.Someofuscanproducethousandsofwordsinnotime,someofuscant.Somejustwriteandletthestorygowhereitwantstogo,whileothersplanrightdowntothelastdetail.

Someofusmightbehares,someofusmightbetortoises,othersareinbetween.Themostimportantpartofthewritingjourneyishowitsalleditedandpulledtogethertomakethefinishedproduct.Thatswhatcounts.

So,whattypeofwritermightyoube?

Nextweek:Doesobservationmatter?


June(5)DoesObservationMatter?

Whattypeofwriterareyou?

TheArtofForeshadowing

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TheArtofForeshadowingAwritersjobisntjustabouttellingastory.Itsmorecomplicatedthansimplestorytelling,becausetherearesomanydevicesavailabletohelpwritersimproveandenrichtheirwriting.Oneveryusefultoolavailabletowritersistheartofforeshadowing,orinsimpleterms,theartofsubtlerevelation,forewarningandteasing.

Itssurprisinghowmuchforeshadowingisoverlookedinfictionwedontalwaysthinkaboutlittlethingslikethisandwetendtoforgettheminuteintricaciesthathelpbringdepthandrichnesstoourstories.

Whatdoesforeshadowingdo?

Foreshadowinghasmanyfunctions,fromprovidingsubtlehintsaboutcharactersorsituations,cluestoeventsyettohappen,toimpartingnecessaryinformation,butitalsoservestomovethestoryforwardandtosometimesdeliberatelywrongfootthereader.

Foreshadowingmoreoftenthannotbringsanextradimensiontothestory,becauseitmeansyouarehintingatwhatmightcome,whatmighthappen,whatcouldoccurfurtherintothetale.Itsaboutteasingthereaderwithsnippetsofinformation,bymakingthemprivytowhatishappening,thereforethereaderwillknowwhatmighthappen,butyourcharacterswillbeoblivious.

Thismeansthereadercanlookforwardtoaneventthatmighthappenfurtherintothestory,ortheymightevenguesstheoutcome.

Foreshadowingalsoaddsalittletension,anticipation,moodandatmosphereregardingwhatmighthappen.Itcreatesthatsenseofsuspense.

Youmightwanttodeliberatelyfoolthereaderintothinkingsomethingwillhappen,andthenthestorytwistsinanotherdirection,butithastobejustifiableandshouldnotleavethereaderfeelingcompletelymanipulatedinawaythattheyfeeldissatisfiedorcheated.

Oneimportantprocessistomovethestoryforward.

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Foreshadowingdoesthisbyallowingthereadertojumpintotheforeseeablefutureofthestoryandguesswhatmighthappen,thusteasingthem.Thisallowsthestorytomoveforwardbecauseofanticipationandguesswork.

Writerscanalsouseforeshadowingasadeviceforplotdevelopment,becauseifthereisasnippetofinformationorasymbolicteasethatisdirectlyassociatedwiththeplot,thenonceagainthewritercanmakethereaderprivytoafuturestorydevelopment.

Effectiveforeshadowingisaskillithastobesubtleandsymbolicwithoutgivingtoomuchaway,orbybeingtooovert.Ifnotdonecarefully,theforeshadowingmightseemtooobvious,toocontriteortwoforced,andmightallowthereadertowhollypredicttheoutcomeofthestory.Henceastoryorfilmorplaybecomestoopredictable.

Whyisitimportant?

Ifawriterfailstoincludesomeformofforeshadowing,thenthereisadangerthatanincidentoroccurrenceinthestoryhappenstoounexpectedlyandleavesthereaderconfusedandwonderingwhyitwasntmentionedearlier,orwhytheyareconnected.

Theskillwithitisnottogivetoomuchaway,butatthesametime,thewritershouldntprovidetoofewdetailsthatitsbecomesconfusingforthereader.

Howisitachieved?

Foreshadowingshouldhingeonlikelysignificanteventsinthestory,soitsaboutfindingoutwhichofthesignificanteventsorincidentsyoucouldforeshadow,thenplantlikelyhintsorperhapsimpartinformationtoteasethereader.Youmightdothisbymentioningsomethingindialogue,somethingthatthecharactersareplanningperhaps,oryoucouldhintwithinthenarrativeaboutsomethingsignificant.

Youdonthavetobeovertyoucoulduseweather,likegatheringstormcloudstosignifysomethingdarkabouttohappen,oritcouldbetherepetitionofacharacterswordsorbehaviour,itmightbethesymbolicnatureofaspecificcolour,somethinghappeninginthebackground...itcanbeanything,aslongsasitissignificanttothestoryandspikesthereadersinterest.

Andofcourse,ifyoudoforeshadowsomething,make

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sureyoucarryitout.Donthintatsomethingandthendonothingaboutitandleavereaderswonderingwhatorhoworwhy.

Example:

Helookedatthecrimsonroseontheseatbesidehim,richincolour,atokensymbol.Hehadalwaysluredthemwithrosesthedeepcolouroflife,velvetytothetouch,lushwiththetemptationofloveanddeath

Thisextractforeshadowsfutureeventsthroughthesymbolicnatureofarose.Hehadalwaysluredthemwithrosesisamassivehint.LushwiththetemptationofloveanddeathThissuggeststhatwhoeverhegivestherosetomightendupintrouble.

Itsunderstatedandsubtleenoughtosinkintothereadersconscience.

Summaryofforeshadowing:

HintatinformationGivecluestoeventsyettohappenMovethestoryforwardthroughrevelationTeasethereaderMisleadthereader,butalwaysmakeitjustifiedEvolveplotdevelopment

Whicheverwayyoudecide,dontmakeittooobvious,letthereaderdotheworkbecausetheyareverygoodatreadingbetweenthelines,butmostofallletthemenjoythatsenseofanticipationandsuspenseofwhatmightcome.

Nextweek:Whattypeofwriterareyou?



SA T URDA Y , 9 JUNE 2 0 1 2

VaryingtheNarrativeforBetterWritingThereare,onoccasions,whenfictionwritingcausesnumerousheadachesforwritersintheirpursuitofbetter




writing.

Oneofthoseheadachesistherateofuseandoccurrenceofheandshewithinsentencestructures,andinparticular,theincidenceoftheoldhesaid/shesaid.

Heandshebecomesocommonplacewithinthenarrativewhenwearewritingthatwetakethemforgranted,butitsnotuntilyoureadbackthroughourstorythatyourealisejusthowmuchyouhavereliedupontheirusage,andonlythenyoucanappreciatehowclunkyyourdescriptionsmightappeariftheyareoverused.

Ofcourse,usingthemiscompletelyunavoidable.Wealldoitandwedoneedthem,butaswithadverbsandadjectives,writerscanlimittheamountofhesandsheswithinsentencesbytighteningandtidyingthenarrativesothatitnotonlyreadsbetter,butitlooksbettertothereaderseye.

Lookbackthroughpreviousmanuscriptsandstoriesandyoumightbesurprisedjusthowmanytimesitoccurs.Theycanclogthenarrativewithoutyouevennoticing.

Thisisatypicalexampleofwhatyoumightfindinanaveragestory(Ivehighlightedtheoffendingtags):

Helookedather,unsure.

Shesmiled.Iwouldnthaveaskedifitwasntagoodidea.

Thebreezecoiledaroundthem,chillynowthecloudshadgathered.

Itsnotthat,hesaid.Ijustdontthinkweshouldgobackthere.

Shesidleduptothecar.Wedonthaveachoice,Mike.Iwantthathouse.

Hisshoulderssank.Hecouldfeelthehintofrainonhisface.Heapproachedthecar.Butthathousegivesmethecreeps.

Whilethereisnothingactuallywrongwiththeaboveexamplesentencestructure,itcanbefurtherimprovedsothatitreadsbetterandismoreconcisebyimprovingthewritingandvaryinghowsomesentencesarestructuredso



thathesaidandshesaidorhethisandhethatetc,dontmakethewritinglooktoostilted,wearyorrepetitive.

Youcandothisbyreplacingheorshewiththecharactersnameeverynowandthen(alwaysuseinmoderation),youcouldrearrangethesentenceorder,oryoucouldremoveoraddcertainwordstomakethesentencesmoresuccinct.

Areworkedexamplemightreadlikethis,withthemodifiednarrativehighlighted:

Michaellookedather,unsure.

Shesmiled.Iwouldnthaveaskedifitwasntagoodidea.

Thebreezecoiledaroundthem,chillynowthecloudshadgathered.

Itsnotthat.Ijustdontweshouldgobackthere.

Jesssidleduptothecar.Wedonthaveachoice,Mike.Iwantthathouse.

Hisshoulderssank.Heapproachedthecar,feltahintofrainonhisface.Butthathousegivesmethecreeps.

Thefirstlineusesthemalecharactersname,Michael.Thefourthlinedispenseswithspeechtagsaltogether,becauseitsclearMichaelisspeaking.Thefifthlineusesthefemalecharactersname,Jess,whilethesixthlinemakesuseofthenarrativetocompletelyrearrangeHecouldfeelahintofrainonhisface.Heapproachedthecarandchangestoabetterchoice.

Theseexamplesareverysimple,buthopefullytheyshowhowalittletweakingandaforethoughtcanimprovenarrativewithoutthatmucheffort.

Intheend,itallcomesdownvariationandmoderationtosentencestructure.Getthestructurerightandyouwonthavetoworryabouthowmanyinstancesofheorshesprinkleyournarrative.

Hesaid/shesaidThesameprincipleappliesaboutconstructingbettersentenceswherehesaidandshesaidcropupateveryopportunitywithoutthewriterevennoticing.Again,itsallaboutvariationandmoderation.



Heresverysimpleexampleofthekindofscenethatwritersslipintowithoutrealising,wherehesaid/shesaidbecomescommonplace:

Theresnowhereforyoutogo,hesaid.

Notunlessyouhelpme,shesaid,tight.Ineedtogetintothemountainsandfindhim.

Butyoucouldbeheadingintotrouble,hesaid.Hismenwillkillyou.

Areyougoingtohelpmeornot,Simon?sheasked.

Look,itsnotthateasy,hesaid.

Nowheresthesamescene,tweakedtocutoutsomeofthehesaid/shesaidtags:

Tilleygrippedherarms.Theresnowhereforyoutogo.

Notunlessyouhelpme,Alexsaid,tight.Ineedtogetintothemountainsandfindhim.

Butyoucouldbeheadingintotrouble.Hismenwillkillyou.

Hereyesdarkened.Areyougoingtohelpmeornot,Simon?

Hesighed.Look,itsnotthateasy.

Byswitchingthesentenceorder,removingsometagsandaddingafewwords,youcanmakethesentencebetter,tighter,andinsomecases,youcandoawaywithallthosespeechtagsaltogether.AllittakesisalittletimetothinkabouthowyoustructureyoursentencesbyaskingyourselfCanImakethembetter?

Butshouldthisreallymatter?Inthegrandschemeofthings,notreally.Notunlessyouwanttobecomeabetterwriter,thatis.

Awriterisasonlyasgoodashisorherwillingnesstolearn.Ifwritersdontwanttolearn,thatsfine,buttheywillneverevolveandthereforeneverimprove.



Iftheydowanttolearn,thenthelittlethingslikethisarejustasimportant,sonexttimeyoucatchyourselfwritingheandshetoomuch,orhesaid/shesaidumpteentimesinascene,takeamomenttodecideifyoucanreworkthenarrativeandmakeitbetter,tighterandmoreconcise.

Nextweek:Theartofforeshadowing



MONDA Y , 4 JUNE 2 0 1 2

TricksoftheTradeHandyTipsAswriters,werealwaysonthelookoutforhelpfuladviceandhints,andeverywritershouldgetusedtousingsomeofthetricksofthetradeinordertoimprovetheirfictionwriting.Theyaretheretomakeoutlifemucheasier,andourwritingmuchbetter.

Hook

Notsurewheretostart?Startwithahook.Somethingthatinstantlysparksthereadersimagination.Getstraightintotheheartoftheactioninyourfirstchapter.Thatwaythereislesschancetoborethereader.Grabthemfromthestartandkeepupthesamemomentum.

Slownarrative

Whenyoureadthroughthenarrativeandyoufinditseemstoplodinallsortsofareas,thatsaclearindicationthatyouneedtoadjustthepaceofthenarrativebyspeedingthingsupandgivingitsomebalance.

Slownarrativeoccurswhentherearefewactionscenes,verylittleconflict,notmuchdialogue,toomuchdescriptionandnotenoughbalance.Also,prologuescanmakethepacebecomeslowbeforeyouveevenstartedwritingthefirstchapter,soavoidthem.

Youcanadjustthepaceofthestorybyaddingdialoguerelevanttothestory,actionwherenecessaryandconflictallofthesetoolshelpmovethestoryforward.

Fastnarrative

Whenyoufindthenarrativerunningawayatablisteringpace,withoutleavingyoubreathingspace,thatswhenyouneedtoslowthings




down.Thisgivesthereaderchancetopauseandreflectandalsodoesthesameforyourcharacters.

Youcanaccomplishthisbyseeingwhereyoucouldaddsomereflective,slowersceneswhilestillmovingthestoryforwardperhapswithsomemoredialogue.Descriptionisabrillianttoolforslowingthepace,orperhapsyoucanuseaflashback.Thesehelpbreakupthepaceofthenarrativeandallowthereadersomebreathingspace.

Movingthestoryforward

Thisisanimportantpartoffictionwriting.Youmustalwaysmovethestoryforward.Ithastohavethatmomentumuntiltheend.Butwhatifyouthinkthestoryisntgoinganywhere?Whatifitseemstohavecometoahalt?

Thereareseveralwaystodomovethestoryforward:

Revealpartsofthestorythroughdialoguethismovesthestoryforwardandalsoincreasespace.Pivotalactionscenesalsohelpmovethestoryalong.Createimmediacycharacterisationandgooddialoguehelpcreateasensethatthereaderisrightthere,withinyourstory.Providenecessaryinformationinotherwords,useyourcharacterstoimpartpertinentinformationabouttheplot/story.Thiscanbedonethroughtheirinnerthoughtstheiractionsorthroughdialogue.

Doesitallmakesense?

Readyourstoryaloud.Thismaysoundstrange,butitworkswondersforyourwriting.Thatsbecauseyouarenotjustreadingasyounormallywouldanovel,butyouarelisteningtotheresonanceofthenarrativeanddescriptions,youarelisteningtothedialogue,youarelisteningtohowthewholethingsoundsandflows.

Youwillimmediatelynoticeifthenarrativedoesntflowcorrectlyorifitdoesntfeelright,youwillinstantlypickuponcheesyorirrelevantdialogue.Youwillnoticeglaringplotflaws,youwillnoticeifyouneedmoredialogueordescription,orwhetherthestoryneedsmoreorlesspace.

Youwillbecomeawareofthesethingsbecausewedontalwaysdetectthemwhensimplyreadingtoourselves.

Cliffhangers



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Needawayofkeepingthereaderinterested?

Cliffhangers.Theartofagoodstoryisnotonlybeingabletotellagoodstory,butalsotheartofteasingthereaderateveryavailableopportunity.Thatmeansleavingalittleteaserattheendofeachchapter,somethingthatmakesthereaderwanttoturnthepageandfindoutmore.

Alwaysengagethereaderwhereverpossible.Youemploythesametacticattheendofkeyscenestoo.

Plantinformation

Itdoesnthavetobeoverthetop,butplantingsimple,subtlehintsforthereaderkeepstheircuriositybrewing,somethingtheywillknoworbecomeawareoffurtherintothestory,(butthecharacterwont).Thiskeepsthereadersinterestfirmlyonthestory.

Toomuchdialogue

Toomuchdialogueusuallymeanssomecharactersaretalkingirrelevantrubbish.Theconsequenceofthisisthatitdoesntmovethestoryforward.Cutouttheextraneousdialogueandreplacewithdescription,actionorconflicttobalancethingsup.

TheBigSleep

Areyouindangerofsendingyourreaderintoadeepsleepwithastorythatseemslimpanduninspiring?Ifso,thenyourstoryneedsactionandconflict.Certainlynostorycanbeastorywithoutconflictofsomesortthisiswhatdrivesthecharactersandthestory.

Ensureyouhavetherightbalanceofactionscenesandconflictbetweencharacters.Entertainyourreader,dontborethem.

Alwaysrememberthatyourstoryneedsconflict,action,dialogue,descriptionandpace,andaboveall,youmustalwaysmovethestoryforward.

Nextweek:Varyingthenarrativetoavoidtoomuch'hesaid/shesaid'.

POSTEDBYAJ HUMPAGEATMONDAY, JUNE04, 20124COMMENTS: L INKSTOTHISPOST


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