shadowsong26 (![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png)
shadowsong26) wrote2015-08-04 11:38 pm
shadowsong26) wrote2015-08-04 11:38 pm
Yoinked from bookblather
List the first lines of your last twenty stories. See if you find any patterns.
Because why not?
1. Despite everything, Imi can’t help but feel incredibly lucky, now that she’s found her sisters.
2. "Hey, Mari, look!"
3. When Kes was little, she dreamed about monsters in the deep.
4. When Isshiri went to Feredar the second time, Nolani almost went with him.
5. Nida is the swan, grace and beauty hiding a vicious streak others like to pretend she doesn't have; it's no wonder the young King picks her.
6. Sola knows her homeland is unstable, its foundations far less secure than her brother believes--it is a castle built on air, shaky bridges across the ether providing an illusion of support.
7. He should have known better than to follow Telri.
8. The cart swayed under Isshiri, and he let himself drift along to its rhythm.
9. Mariko hasn't gone out much, not since she came back from the CSP Station, not since...not since Lux.
10. Mel follows the woman with the iron-grey braid deeper into the jungle, along the banks of a narrowing creek that’s lit up by the occasional shaft of sunlight through the canopy.
11. he pulls her behind him, their two right hands entwined, supporting her when she needs it as they flee through the shadowed, twisting alleys of feredar, away from his father’s prisons and to safety in the dark.
12. The first time he woke up and remembered Ruth, he went back and almost saw her--but that would have hurt her worse in the long run, so he kept his distance.
13. Once or twice, after he started killing, Kit came close to getting caught.
14. Queen Kesshare was no stranger to flattery.
15. "John Doe, late thirties, severe burns to the face and--" [including this even though I technically wrote that particular bit over a year ago, because going by completion instead of by when the first line was written.]
16. It isn't that there are no flowers here at home.
17. It was David's birthday, and Ruth had told him he could have whatever he wanted for dinner.
18. I don't actually fill my...uh, I guess you could call it my basic function...anyway, I don't actually do it all that much.
19. Lives changed in moments.
20. “I’m sorry.”
So...fffffff. Man, I don't know. Last time I did something like this, it was a pretty even mix of stuff like either #19 or #11. Short, declarative statements or long ones full of nested clauses that stretch the definition of 'sentence' to the breaking point. I still do a fair amount of that last bit, but I think I've gotten a broader range of sentence styles? I also seem to like doing...it's not exactly if/then structure, but like...set-up clause/concluding and/or contrasting clause? See 1, 3, 4, 9, 12, 13...yeah. Not a lot of dialogue--only three out of twenty, and two of those three are weird settings (one being a super-meta story and the other being...mm...I guess the best way to explain it is the viewpoint character is on the edge of a coma?) Anyway. I seem to like long sentences more than short ones...but at least two of these come from pieces that are all but prose poems...so IDK.
Anyone else notice any patterns? I'm curious...
Because why not?
1. Despite everything, Imi can’t help but feel incredibly lucky, now that she’s found her sisters.
2. "Hey, Mari, look!"
3. When Kes was little, she dreamed about monsters in the deep.
4. When Isshiri went to Feredar the second time, Nolani almost went with him.
5. Nida is the swan, grace and beauty hiding a vicious streak others like to pretend she doesn't have; it's no wonder the young King picks her.
6. Sola knows her homeland is unstable, its foundations far less secure than her brother believes--it is a castle built on air, shaky bridges across the ether providing an illusion of support.
7. He should have known better than to follow Telri.
8. The cart swayed under Isshiri, and he let himself drift along to its rhythm.
9. Mariko hasn't gone out much, not since she came back from the CSP Station, not since...not since Lux.
10. Mel follows the woman with the iron-grey braid deeper into the jungle, along the banks of a narrowing creek that’s lit up by the occasional shaft of sunlight through the canopy.
11. he pulls her behind him, their two right hands entwined, supporting her when she needs it as they flee through the shadowed, twisting alleys of feredar, away from his father’s prisons and to safety in the dark.
12. The first time he woke up and remembered Ruth, he went back and almost saw her--but that would have hurt her worse in the long run, so he kept his distance.
13. Once or twice, after he started killing, Kit came close to getting caught.
14. Queen Kesshare was no stranger to flattery.
15. "John Doe, late thirties, severe burns to the face and--" [including this even though I technically wrote that particular bit over a year ago, because going by completion instead of by when the first line was written.]
16. It isn't that there are no flowers here at home.
17. It was David's birthday, and Ruth had told him he could have whatever he wanted for dinner.
18. I don't actually fill my...uh, I guess you could call it my basic function...anyway, I don't actually do it all that much.
19. Lives changed in moments.
20. “I’m sorry.”
So...fffffff. Man, I don't know. Last time I did something like this, it was a pretty even mix of stuff like either #19 or #11. Short, declarative statements or long ones full of nested clauses that stretch the definition of 'sentence' to the breaking point. I still do a fair amount of that last bit, but I think I've gotten a broader range of sentence styles? I also seem to like doing...it's not exactly if/then structure, but like...set-up clause/concluding and/or contrasting clause? See 1, 3, 4, 9, 12, 13...yeah. Not a lot of dialogue--only three out of twenty, and two of those three are weird settings (one being a super-meta story and the other being...mm...I guess the best way to explain it is the viewpoint character is on the edge of a coma?) Anyway. I seem to like long sentences more than short ones...but at least two of these come from pieces that are all but prose poems...so IDK.
Anyone else notice any patterns? I'm curious...
no subject
no subject
Yeah, I kind of feel the same way, about trying to hard to be Impressive or Artsy or whatever in writing, and it ends up being...IDK. I had a long string of arguments on the subject with someone which sort of got into High Art/Low Art dichotomy and mostly made me really mad in the long run...
But thank you, again! ^_^