it's a great life, if you don't weaken (matociquala) wrote,
it's a great life, if you don't weaken
matociquala

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28, 29, 30, 31, 32, 33, 34, 35 (polls are closed) (with bonus questions, since they were there.)

In other news, as I said to some people earlier, I think Bruce Springsteen has decided that Bob Dylan is slacking. Or maybe he's planning on running for president.

Dang.

28. Hypothetically, I'm making you dessert. What am I making?

That's a tough one. I love almost all fruit pies and/or cobblers, with emphasis on peach if it's not fakey orange sweet (which you would never do to anybody) and apple, and strawberry rhubarb. But I also like gooey bittersweet chocolate things, and chocolate croissants (which are a subcategory of gooey bittersweet chocolate things, as you know), and just plain fruit and cheese is lovely.

With a very few exceptions, if it's well-made I'll eat what's set before me, and enjoy it. I am not fond of peanuts or brussels sprouts or peppers cooked to bitteress or brie or champagne, and that's about it.


29.
What would you like more time to research/know about that you don't have time to mess with now? Beside everything - pick one that's intrigued you but you haven't had time to dig at.

I'd like to speak more languages, and get better at the ones I've learned and forgotten. It's actually something I plan to start working on in 2006.



30. What are you most proud of writing, and why? Or if that's been asked already -- the reverse maybe? What most disappointed you when you wrote it, and were you able to use it in some way anyway?

Ooo, this is a hard one. Most proud of writing? I don't think any rush beats finishing the first novel. I was high for a week. Even though, in the cold light of several years later, it's kind of a bad book. (But I will save it one day, because I loff the world.) And I think that answers the second half of the question, too,



31. Have you ever written something and then realised you couldn't use it *because* ? (And I'm meaning reasons other than technical/craft issues).

Because it was too personal or embarrassing, maybe? Not really. I mean, there are scenes that have been hard or unpleasant to write--sometimes even agonizing. In the OWW chat the other night, we talked about scenes that were hard to write, and I mentioned a couple that were very personal and ifficult for me--the torture and rape scene in Stratford Man, and the beating in The Sea thy Mistress. And the ending of Scardown, which was very hard.

Or do you mean because it didn't belong in the story? All the time. The obligatory scene where my characters sit down and explain the plot to me, in small words, because I'm stupid, for example. That always has to be cut. And there's a two-page scene that was cut from Worldwired for length issues that I loff, and will post over at the fiction blog when the book comes out.

Or something else?


32. I've gathered from previous posts that your approach to "sounding like an expert" on various topics is just to dig in and hope you don't make too nasty of a mistake. Have you ever censored one of your characters from talking/knowing about a topic for fear that it would be too difficult to research?

Well, that's not exactly an accurate assessment. I firmly believe in know what you write. Which is different than write what you know. If I have to tackle a topic I'm not well grounded in, I learn about it, and then if possible I get an expert to read what I've written and tell me what I did wrong. Which doesn't mean there aren't mistakes--for example, I bitched up some of the Quebecois in Hammered. C'est la vie. There will always be mistakes.

But, for example, I don't know anything about astrology, and I needed to, for Stratford Man. So I learned what I could about it in a couple of days, and then I collared somebody who has practiced for a while, and got her to sort stuff out for me.

So, um, no. To both parts of the question.



33. How much wood would a woodchuck chuck if a woodchuck could chuck wood?

.33 acre-feet of wood per woodchuck/hour. As a rule of thumb.


34. Who put the bomp in the bomp-she-bomp-she-bomp?

} Actually, Michelle Karllove of Columbus, Ohio is generally credited
} with being the first person to discover that, with proper preperation,
} one could put the Bomp in Bomp-She-Bomp. Of course, she had to work at
} this for a while, and she had her early failures. Her notes are filled
} with horror stories of the earlier attempts: Bomp-He-Bomp,
} Clump-She-Clump, and the explosive Bomb-She-Bomb.


Scroll down about 4/5ths for the rest.

35. Where have all the flowers gone?

Young girls picked them, every one.

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