cs156175 wrote:

cheese-duck wrote:

cs156175 wrote:

smartcutecandy wrote:

cheese-duck wrote:

WolfCat67 wrote:

cheese-duck wrote:

WolfCat67 wrote:

I'm writing a novel in the future (actually as a self-directed school project but whatever), but I'm not going to provide any details as I actually plan on publishing it in the future. Which book? Not telling.

However, I can say that it's fantasy based (cliché) and the main character will have magic (cliché), but instead of having strong magic… They have defensive magic (RIP).

Congratulations for not being 100% cliche*
Ugh why can't I be original rip

*actually cliche is fine as long as it's well-written and it doesn't have TOO much cliche

Yeah, I've kept with pretty much just those clichés, and everything else, as far as I'm aware, is original…

Just so you all know, I've shifted the perspective over to first-person, but it alternates perspectives between two (maybe three in the future, I don't know) characters throughout the story. It doesn't actually state which characters the book is being told from at any point, though; instead, you'll have to figure it out yourself. However, it's quite easy after you've figured out the first one, as it uses two different fonts of similar style and size, but clearly different, for the two characters, so if you see a font change after a new chapter or after a “ * * * ”-style divider thing (hope you know what I'm talking about there), then it's changed perspective.

I've also set it to be present-tense, as past-tense makes you know that the characters are still alive, as, well, they're telling it from the future. However, in present tense, you don't know what will happen; after all, I could choose to use two different perspectives throughout, but then suddenly one dies and it doesn't use their perspective for the rest of the story… You never know what'll happen.

I also don't have a basic “main character” in the novel; in fact, I might switch it throughout the story, and instead of being centered around one character, it's around multiple and the entire world. Heck, I might even have the main character die and never show up again if I feel like it, and the novel wouldn't even be ruined and could still continue. That's how I'm writing it, anyway. I probably won't let the first introduced character die in the book, but who knows? Anything to keep the reader's attention and make it interesting. After all, if your main character is invincible, it doesn't make for a very convincing, realistic story. Your main character should be just as vulnerable to pain, emotional struggles, and even death as even a side character or a random “background” character that does nothing for the story. It's better that way, in my opinion.

Oh well. That's just not-so-great writing advice from a not-experienced writer. At least my characters aren't Mary Sues.

Yeah I hate it when writers make their main characters “invincible…” Although I'll admit I have a LOT of cliches, I guess I try to make things believable. (Then I base characters off of myself and then they sound unrealistic because I'm unrealistic.)
I've seen perspective switches of course, but your kind is actually pretty original, since most of the time there's one specific main character (or two. or three. or whatever). I actually considered changing the novel I wrote to third person & switching “perspectives” (if you know what I mean), since it feels like I go a bit crazy in first person and it sounds dumb and immature… but I think first person fits more, especially because the book title is literally the main character's name. (The whole trilogy has 3 main characters that are equally as important*, and each one narrates one book.)
Also forgive me for my ignorance, but what exactly is a Mary Sue? (An overly cliche character?)

*They're supposed to be equally as important, actually. Although Eric always winds up sounding the most important.

Yes, a Mary Sue is an overly cliche character.

Actually, no.
A Mary Sue can be completely original, never follow a single cliche, and still be a Mary Sue.
A Mary Sue is simply a type of bad character where there aren't enough flaws or no flaws at all, or in a certain scenario lots of flaws that don't actually seem to hinder them in any way (or are overshadowed by powers and good traits.)
Most people associate Mary Sues with neon, rainbow, kawaii-desu magical eyesores. However, a Mary Sue character can look completely normal and be a Mary Sue because their powers far outweigh what they should be able to do. The most commonly used Sue flaws are ‘clumsy’ and ‘shy’, and most often the clumsiness ends up helping the character in some way. A Sue personality made up of some I've seen would be something like:
Awesome, funny, cool, lighthearted, shy, humble, rebellious, snarky, smart
Note the use of adjectives that are subjective. Do not do this.
That also includes saying your character is beautiful or handsome. Don't. Let people decide for themselves.
Of course, MS aren't the only bad type of character. I might write more of these about other types.

“kawaii-desu magical eyesores” lol
Yes, subjective adjectives to describe a character drives me crazy, at least when overused. (Sure, saying “I guess i'm smart. I think. Maybe.” is okay.)
The example you gave actually has some contradictions, or at least partially. For instance smart and cool… jk jk (just saying from experience that smart kids usually aren't very cool… ugh did i just call myself smart, i need to stop being so freakin self centered)

Exactly. MS's are usually contradictory, and they usually don't have a personality archetype of any kind (they're just a bunch of good and sometimes bad traits mashed together with no though to whether they fit). Also, EmoSues (it's a term I made up but I'm sure it exists somewhere else) are characters with terrible pasts that only exist to garner sympathy and give reasoning for things the character has that makes them ‘cool’, like scars or.. flashbacks. That would just be an emo character, actually (which is just as bad, pasts aren't all tragic, and a dark and brooding character who can't be happy isn't very interesting), but an EmoSue is a character who, despite their tragicness, still finds a way to be the kindest, most understanding being on earth. This is attributed to their tragic pasts, but they don't seem to be negatively affected in any way (or in very small ways, which usually make them more compassionate/kind) by said pasts.
There are also Edgy OCs and EdgySues. Basically you can take any bad character type (Bland, stereotypical, unoriginal) and add ‘sue’ to the end and have a valid bad character type.

Oh, yes, you're right. But they can be cliche too, because those traits tend to be over used.

cs156175 wrote:

cheese-duck wrote:

cs156175 wrote:

smartcutecandy wrote:

cheese-duck wrote:

WolfCat67 wrote:

cheese-duck wrote:

WolfCat67 wrote:

I'm writing a novel in the future (actually as a self-directed school project but whatever), but I'm not going to provide any details as I actually plan on publishing it in the future. Which book? Not telling.

However, I can say that it's fantasy based (cliché) and the main character will have magic (cliché), but instead of having strong magic… They have defensive magic (RIP).

Congratulations for not being 100% cliche*
Ugh why can't I be original rip

*actually cliche is fine as long as it's well-written and it doesn't have TOO much cliche

Yeah, I've kept with pretty much just those clichés, and everything else, as far as I'm aware, is original…

Just so you all know, I've shifted the perspective over to first-person, but it alternates perspectives between two (maybe three in the future, I don't know) characters throughout the story. It doesn't actually state which characters the book is being told from at any point, though; instead, you'll have to figure it out yourself. However, it's quite easy after you've figured out the first one, as it uses two different fonts of similar style and size, but clearly different, for the two characters, so if you see a font change after a new chapter or after a “ * * * ”-style divider thing (hope you know what I'm talking about there), then it's changed perspective.

I've also set it to be present-tense, as past-tense makes you know that the characters are still alive, as, well, they're telling it from the future. However, in present tense, you don't know what will happen; after all, I could choose to use two different perspectives throughout, but then suddenly one dies and it doesn't use their perspective for the rest of the story… You never know what'll happen.

I also don't have a basic “main character” in the novel; in fact, I might switch it throughout the story, and instead of being centered around one character, it's around multiple and the entire world. Heck, I might even have the main character die and never show up again if I feel like it, and the novel wouldn't even be ruined and could still continue. That's how I'm writing it, anyway. I probably won't let the first introduced character die in the book, but who knows? Anything to keep the reader's attention and make it interesting. After all, if your main character is invincible, it doesn't make for a very convincing, realistic story. Your main character should be just as vulnerable to pain, emotional struggles, and even death as even a side character or a random “background” character that does nothing for the story. It's better that way, in my opinion.

Oh well. That's just not-so-great writing advice from a not-experienced writer. At least my characters aren't Mary Sues.

Yeah I hate it when writers make their main characters “invincible…” Although I'll admit I have a LOT of cliches, I guess I try to make things believable. (Then I base characters off of myself and then they sound unrealistic because I'm unrealistic.)
I've seen perspective switches of course, but your kind is actually pretty original, since most of the time there's one specific main character (or two. or three. or whatever). I actually considered changing the novel I wrote to third person & switching “perspectives” (if you know what I mean), since it feels like I go a bit crazy in first person and it sounds dumb and immature… but I think first person fits more, especially because the book title is literally the main character's name. (The whole trilogy has 3 main characters that are equally as important*, and each one narrates one book.)
Also forgive me for my ignorance, but what exactly is a Mary Sue? (An overly cliche character?)

*They're supposed to be equally as important, actually. Although Eric always winds up sounding the most important.

Yes, a Mary Sue is an overly cliche character.

Actually, no.
A Mary Sue can be completely original, never follow a single cliche, and still be a Mary Sue.
A Mary Sue is simply a type of bad character where there aren't enough flaws or no flaws at all, or in a certain scenario lots of flaws that don't actually seem to hinder them in any way (or are overshadowed by powers and good traits.)
Most people associate Mary Sues with neon, rainbow, kawaii-desu magical eyesores. However, a Mary Sue character can look completely normal and be a Mary Sue because their powers far outweigh what they should be able to do. The most commonly used Sue flaws are ‘clumsy’ and ‘shy’, and most often the clumsiness ends up helping the character in some way. A Sue personality made up of some I've seen would be something like:
Awesome, funny, cool, lighthearted, shy, humble, rebellious, snarky, smart
Note the use of adjectives that are subjective. Do not do this.
That also includes saying your character is beautiful or handsome. Don't. Let people decide for themselves.
Of course, MS aren't the only bad type of character. I might write more of these about other types.

“kawaii-desu magical eyesores” lol
Yes, subjective adjectives to describe a character drives me crazy, at least when overused. (Sure, saying “I guess i'm smart. I think. Maybe.” is okay.)
The example you gave actually has some contradictions, or at least partially. For instance smart and cool… jk jk (just saying from experience that smart kids usually aren't very cool… ugh did i just call myself smart, i need to stop being so freakin self centered)

Exactly. MS's are usually contradictory, and they usually don't have a personality archetype of any kind (they're just a bunch of good and sometimes bad traits mashed together with no though to whether they fit). Also, EmoSues (it's a term I made up but I'm sure it exists somewhere else) are characters with terrible pasts that only exist to garner sympathy and give reasoning for things the character has that makes them ‘cool’, like scars or.. flashbacks. That would just be an emo character, actually (which is just as bad, pasts aren't all tragic, and a dark and brooding character who can't be happy isn't very interesting), but an EmoSue is a character who, despite their tragicness, still finds a way to be the kindest, most understanding being on earth. This is attributed to their tragic pasts, but they don't seem to be negatively affected in any way (or in very small ways, which usually make them more compassionate/kind) by said pasts.
There are also Edgy OCs and EdgySues. Basically you can take any bad character type (Bland, stereotypical, unoriginal) and add ‘sue’ to the end and have a valid bad character type.

Poor Sue
Again the contradiction because how does someone who seems like they've been dipped in liquid depression be loved by everyone and be hailed as a hero or something. If anything people would just walk by and go “Get a life.”
While we're on the topic of bad characters, any examples of really good ones? :O

I'm writing multiple things, and a to-be novel called Some Kind Of Happiness.

mirihawk wrote:

I'm writing multiple things, and a to-be novel called Some Kind Of Happiness.

Hmm…I like the name….what's it about?

mirihawk wrote:

I'm writing multiple things, and a to-be novel called Some Kind Of Happiness.

Ooh! Sounds interesting!

So I need some options.

For those of you who write novels, not just short stories or fan fiction, how do you plan your novels? Get out a long piece of paper and make a timeline, write down a rough outline of major scenes, do no planning whatsoever, etc. I need some options because I have been getting a lot of long periods of writer's block and I think planning where I'm going would help a lot.

smartcutecandy wrote:

So I need some options.

For those of you who write novels, not just short stories or fan fiction, how do you plan your novels? Get out a long piece of paper and make a timeline, write down a rough outline of major scenes, do no planning whatsoever, etc. I need some options because I have been getting a lot of long periods of writer's block and I think planning where I'm going would help a lot.

Everyone has their own method, so maybe you just need to do some experimenting to find one that suits you, but here's mine:
Once I have an idea– usually just a very, very, faint idea that sounds absolutely boring– I dive into writing head-first. For a few days, I often come up with a few more ideas that are essential to the plot at random times during the day (ex. “What if there was this chest that made things real or some cr4p” and then that chest winds up being the object that the whole novel revolves around). Usually during this stage, I feel a bit iffy about the writing, not sure if it'll just crash and burn. But then it doesn't, so I'll keep writing.
For the rest of the story, I guess I'll just keep on writing and occasionally coming up with big plot ideas. I don't plan ahead of time, but I do keep a document of notes. These notes, I think, are crucial to my writing. Without these big plans, I think I'd be stumbling around blindly, and the whole story wouldn't have much of a plot. I make big ‘checkpoints’ I guess (ex. “This guy dies here” “This guy almost dies here” well yeah, checkpoints often involve dying for me…).
As for the notes, some things I've included are: timeline (including birthdates, battles, etc.); plot ideas, of course (there's one major plot idea that took me half a year to straighten out, and I rather loved it); random character descriptions (lol Eric's teeth…); there's these two characters who are sort of secret helpers, the main character think the two guys are their enemies, but they're really helping, so I list ways they help out.
I do get writer's block once in a while though. Usually what I do is look back on what I just wrote and see if maybe it doesn't fit, maybe I could just get rid of it. If it's really bad writer's block that's not just the content… I think I talked to my characters once. Yes it sounds weird. But I think it helped.
Good luck

cheese-duck wrote:

smartcutecandy wrote:

So I need some options.

For those of you who write novels, not just short stories or fan fiction, how do you plan your novels? Get out a long piece of paper and make a timeline, write down a rough outline of major scenes, do no planning whatsoever, etc. I need some options because I have been getting a lot of long periods of writer's block and I think planning where I'm going would help a lot.

Everyone has their own method, so maybe you just need to do some experimenting to find one that suits you, but here's mine:
Once I have an idea– usually just a very, very, faint idea that sounds absolutely boring– I dive into writing head-first. For a few days, I often come up with a few more ideas that are essential to the plot at random times during the day (ex. “What if there was this chest that made things real or some cr4p” and then that chest winds up being the object that the whole novel revolves around). Usually during this stage, I feel a bit iffy about the writing, not sure if it'll just crash and burn. But then it doesn't, so I'll keep writing.
For the rest of the story, I guess I'll just keep on writing and occasionally coming up with big plot ideas. I don't plan ahead of time, but I do keep a document of notes. These notes, I think, are crucial to my writing. Without these big plans, I think I'd be stumbling around blindly, and the whole story wouldn't have much of a plot. I make big ‘checkpoints’ I guess (ex. “This guy dies here” “This guy almost dies here” well yeah, checkpoints often involve dying for me…).
As for the notes, some things I've included are: timeline (including birthdates, battles, etc.); plot ideas, of course (there's one major plot idea that took me half a year to straighten out, and I rather loved it); random character descriptions (lol Eric's teeth…); there's these two characters who are sort of secret helpers, the main character think the two guys are their enemies, but they're really helping, so I list ways they help out.
I do get writer's block once in a while though. Usually what I do is look back on what I just wrote and see if maybe it doesn't fit, maybe I could just get rid of it. If it's really bad writer's block that's not just the content… I think I talked to my characters once. Yes it sounds weird. But I think it helped.
Good luck

Those are some great ideas! Thank you! I talk to my characters all the time. I think it really helps.

smartcutecandy wrote:

cheese-duck wrote:

smartcutecandy wrote:

So I need some options.

For those of you who write novels, not just short stories or fan fiction, how do you plan your novels? Get out a long piece of paper and make a timeline, write down a rough outline of major scenes, do no planning whatsoever, etc. I need some options because I have been getting a lot of long periods of writer's block and I think planning where I'm going would help a lot.

Everyone has their own method, so maybe you just need to do some experimenting to find one that suits you, but here's mine:
Once I have an idea– usually just a very, very, faint idea that sounds absolutely boring– I dive into writing head-first. For a few days, I often come up with a few more ideas that are essential to the plot at random times during the day (ex. “What if there was this chest that made things real or some cr4p” and then that chest winds up being the object that the whole novel revolves around). Usually during this stage, I feel a bit iffy about the writing, not sure if it'll just crash and burn. But then it doesn't, so I'll keep writing.
For the rest of the story, I guess I'll just keep on writing and occasionally coming up with big plot ideas. I don't plan ahead of time, but I do keep a document of notes. These notes, I think, are crucial to my writing. Without these big plans, I think I'd be stumbling around blindly, and the whole story wouldn't have much of a plot. I make big ‘checkpoints’ I guess (ex. “This guy dies here” “This guy almost dies here” well yeah, checkpoints often involve dying for me…).
As for the notes, some things I've included are: timeline (including birthdates, battles, etc.); plot ideas, of course (there's one major plot idea that took me half a year to straighten out, and I rather loved it); random character descriptions (lol Eric's teeth…); there's these two characters who are sort of secret helpers, the main character think the two guys are their enemies, but they're really helping, so I list ways they help out.
I do get writer's block once in a while though. Usually what I do is look back on what I just wrote and see if maybe it doesn't fit, maybe I could just get rid of it. If it's really bad writer's block that's not just the content… I think I talked to my characters once. Yes it sounds weird. But I think it helped.
Good luck

Those are some great ideas! Thank you! I talk to my characters all the time. I think it really helps.

oh good i'm not alone
You're welcome

uh imma post the first chapter from my book

i did this a while ago

i know it' short but….

Enjoy, I guess?

——————————————————–

Ninani walked outside, the wind making her hair blonde flow gracefully behind her. She walked up to the white-coloured house next door, where her best friend, Claude, lived.

Ninani knocked on the door softly, waiting for a response.

Claude opened the door, a small screeeech coming from the wooden door.

He had golden hair with a charming smile- his dark gray eyes complimented his slightly-tanned skin.

“Hey, Ani!” He grinned as he saw who was at the door.

Ninani smiled back. “Hey, Clod!” Claude laughed at her joke.

“So, you said we were going in the forest?” she asked a few moments later, shrugging.

“Yeah, my dad needs me to take a few pictures of some birds or something.” he replied. He had a satchel on his shoulder. He took it off, giving Ninani the bag to hold.

He took a rather modern-looking camera out, small but attractive.

“Let's go.” he said, padding outside the wooden patio.

They had reached the Xanthe Forest a few minutes later.

Ninani held the bag over her shoulder, the light weight barely bothering her. A soft wind flew over.

The sky was a dull blue, showing that the sun had only just started to rise. The smell of morning dew still hung in the air. The grass was soft and wet, a light green colour.

Ninani walked after Claude, who was turning his head around.

A cold breeze, stronger than the light wind before, almost made her fall over. She looked up and saw a white bird that almost seemed to glow sitting on a branch, making golden-red leaves fall to the ground.

It must be a dove! Ninani thought.

“Look.” she whispered to Claude, pointing to the branch.

But the sky was now full of clouds, no ray of sunlight in sight.

so i have an idea…
Post a segment of your writing that makes no sense out of context.

idk i actually can't find anything right now unless “This tastes like Kate's hair” or “Be quiet, I died in Taerns” counts.


Or “You've been taming flowers for a thousand years.” A literal thousand years.

cheese-duck wrote:

so i have an idea…
Post a segment of your writing that makes no sense out of context.

idk i actually can't find anything right now unless “This tastes like Kate's hair” or “Be quiet, I died in Taerns” counts.


Or “You've been taming flowers for a thousand years.” A literal thousand years.

Off the top of my head, the only incidents I can think of are:

“It's not my fault my sister who happens to be a 100-year-old master assassin decided to climb that chandelier!”
or
“Blow up the chair.”

cheese-duck wrote:

so i have an idea…
Post a segment of your writing that makes no sense out of context.

idk i actually can't find anything right now unless “This tastes like Kate's hair” or “Be quiet, I died in Taerns” counts.


Or “You've been taming flowers for a thousand years.” A literal thousand years.

“I taste words.” That's the best I can think of without searching my entire novel.

smartcutecandy wrote:

cheese-duck wrote:

so i have an idea…
Post a segment of your writing that makes no sense out of context.

idk i actually can't find anything right now unless “This tastes like Kate's hair” or “Be quiet, I died in Taerns” counts.


Or “You've been taming flowers for a thousand years.” A literal thousand years.

“I taste words.” That's the best I can think of without searching my entire novel.

'I mean, you technically are dead fragments of others, but it's nothing bad!'

That sounds more creepy actually…

Nettlesplash wrote:

cheese-duck wrote:

so i have an idea…
Post a segment of your writing that makes no sense out of context.

idk i actually can't find anything right now unless “This tastes like Kate's hair” or “Be quiet, I died in Taerns” counts.


Or “You've been taming flowers for a thousand years.” A literal thousand years.

Off the top of my head, the only incidents I can think of are:

“It's not my fault my sister who happens to be a 100-year-old master assassin decided to climb that chandelier!”
or
“Blow up the chair.”

I watch with a sailor from the MAF Terminator as it unloads the land cruiser. It shoots a beam of light from the bottom of the ship, and the landcruiser appears tiny in it. It gradually grows to be bigger than the Terminator as it is lowered to the ground. “How exactly does that work?” I ask the sailor beside me. “Well, you see, a machine on the ship dilates the transitional time variations of the object, differentiating the transverse refractions in order to hyper spatially compress the quantum rarefactions in such a way as to enlarge or de-enlarge the object as needed. And of course, it’s all powered by the ship’s turbo-encabulator. It’s actually quite simple.” My eyes glaze over. He continues. “It all has to do with how the turbo encabulator works. You see, the original machine had a base-plate of prefabulated amulite, surmounted by a malleable logarithmic casing in such a way that the two spurving bearings were in a direct line with the pentametric fan. The main winding was of the normal lotus-o-delta type placed in panendermic semi-boloid slots in the stator, every seventh conductor being connected by a nonreversible trem'e pipe to the differential girdlespring on the ‘up’ end of the grammeters. Make sense?” he says. “Uh… sure. Yeah. That seems about right…” I reply. I go off and find something to do, anything to keep my mind from melting…

Generalstarwars333 wrote:

Nettlesplash wrote:

cheese-duck wrote:

so i have an idea…
Post a segment of your writing that makes no sense out of context.

idk i actually can't find anything right now unless “This tastes like Kate's hair” or “Be quiet, I died in Taerns” counts.


Or “You've been taming flowers for a thousand years.” A literal thousand years.

Off the top of my head, the only incidents I can think of are:

“It's not my fault my sister who happens to be a 100-year-old master assassin decided to climb that chandelier!”
or
“Blow up the chair.”

I watch with a sailor from the MAF Terminator as it unloads the land cruiser. It shoots a beam of light from the bottom of the ship, and the landcruiser appears tiny in it. It gradually grows to be bigger than the Terminator as it is lowered to the ground. “How exactly does that work?” I ask the sailor beside me. “Well, you see, a machine on the ship dilates the transitional time variations of the object, differentiating the transverse refractions in order to hyper spatially compress the quantum rarefactions in such a way as to enlarge or de-enlarge the object as needed. And of course, it’s all powered by the ship’s turbo-encabulator. It’s actually quite simple.” My eyes glaze over. He continues. “It all has to do with how the turbo encabulator works. You see, the original machine had a base-plate of prefabulated amulite, surmounted by a malleable logarithmic casing in such a way that the two spurving bearings were in a direct line with the pentametric fan. The main winding was of the normal lotus-o-delta type placed in panendermic semi-boloid slots in the stator, every seventh conductor being connected by a nonreversible trem'e pipe to the differential girdlespring on the ‘up’ end of the grammeters. Make sense?” he says. “Uh… sure. Yeah. That seems about right…” I reply. I go off and find something to do, anything to keep my mind from melting…

I think one of mine is:

“ARE YOU CRAZY WOMAN? SHE JUST TRIED TO KILL US!”

Or,
“Your hair tastes like how flowers smell”

Ravenfairy187 wrote:

Generalstarwars333 wrote:

Nettlesplash wrote:

cheese-duck wrote:

so i have an idea…
Post a segment of your writing that makes no sense out of context.

idk i actually can't find anything right now unless “This tastes like Kate's hair” or “Be quiet, I died in Taerns” counts.


Or “You've been taming flowers for a thousand years.” A literal thousand years.

Off the top of my head, the only incidents I can think of are:

“It's not my fault my sister who happens to be a 100-year-old master assassin decided to climb that chandelier!”
or
“Blow up the chair.”

I watch with a sailor from the MAF Terminator as it unloads the land cruiser. It shoots a beam of light from the bottom of the ship, and the landcruiser appears tiny in it. It gradually grows to be bigger than the Terminator as it is lowered to the ground. “How exactly does that work?” I ask the sailor beside me. “Well, you see, a machine on the ship dilates the transitional time variations of the object, differentiating the transverse refractions in order to hyper spatially compress the quantum rarefactions in such a way as to enlarge or de-enlarge the object as needed. And of course, it’s all powered by the ship’s turbo-encabulator. It’s actually quite simple.” My eyes glaze over. He continues. “It all has to do with how the turbo encabulator works. You see, the original machine had a base-plate of prefabulated amulite, surmounted by a malleable logarithmic casing in such a way that the two spurving bearings were in a direct line with the pentametric fan. The main winding was of the normal lotus-o-delta type placed in panendermic semi-boloid slots in the stator, every seventh conductor being connected by a nonreversible trem'e pipe to the differential girdlespring on the ‘up’ end of the grammeters. Make sense?” he says. “Uh… sure. Yeah. That seems about right…” I reply. I go off and find something to do, anything to keep my mind from melting…

I think one of mine is:

“ARE YOU CRAZY WOMAN? SHE JUST TRIED TO KILL US!”

Or,
“Your hair tastes like how flowers smell”

Ey another hair biter haha

Kate's hair tastes like wall btw (according to Eric)

smartcutecandy wrote:

cheese-duck wrote:

so i have an idea…
Post a segment of your writing that makes no sense out of context.

idk i actually can't find anything right now unless “This tastes like Kate's hair” or “Be quiet, I died in Taerns” counts.


Or “You've been taming flowers for a thousand years.” A literal thousand years.

“I taste words.” That's the best I can think of without searching my entire novel.

/licks ‘pneumonoultramicroscopicsilicovolcanoconiosis’/ “Hmm this tastes like marshmallows”

I Write a lot, but it's off a show I watch. I am working on a novel though!

cheese-duck wrote:

Ravenfairy187 wrote:

Generalstarwars333 wrote:

Nettlesplash wrote:

cheese-duck wrote:

so i have an idea…
Post a segment of your writing that makes no sense out of context.

idk i actually can't find anything right now unless “This tastes like Kate's hair” or “Be quiet, I died in Taerns” counts.


Or “You've been taming flowers for a thousand years.” A literal thousand years.

Off the top of my head, the only incidents I can think of are:

“It's not my fault my sister who happens to be a 100-year-old master assassin decided to climb that chandelier!”
or
“Blow up the chair.”

I watch with a sailor from the MAF Terminator as it unloads the land cruiser. It shoots a beam of light from the bottom of the ship, and the landcruiser appears tiny in it. It gradually grows to be bigger than the Terminator as it is lowered to the ground. “How exactly does that work?” I ask the sailor beside me. “Well, you see, a machine on the ship dilates the transitional time variations of the object, differentiating the transverse refractions in order to hyper spatially compress the quantum rarefactions in such a way as to enlarge or de-enlarge the object as needed. And of course, it’s all powered by the ship’s turbo-encabulator. It’s actually quite simple.” My eyes glaze over. He continues. “It all has to do with how the turbo encabulator works. You see, the original machine had a base-plate of prefabulated amulite, surmounted by a malleable logarithmic casing in such a way that the two spurving bearings were in a direct line with the pentametric fan. The main winding was of the normal lotus-o-delta type placed in panendermic semi-boloid slots in the stator, every seventh conductor being connected by a nonreversible trem'e pipe to the differential girdlespring on the ‘up’ end of the grammeters. Make sense?” he says. “Uh… sure. Yeah. That seems about right…” I reply. I go off and find something to do, anything to keep my mind from melting…

I think one of mine is:

“ARE YOU CRAZY WOMAN? SHE JUST TRIED TO KILL US!”

Or,
“Your hair tastes like how flowers smell”

Ey another hair biter haha

Kate's hair tastes like wall btw (according to Eric)

Leon's apparently tastes very good. Naidia only bites Leon's hair. It's weird.