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The Pecman

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The Pecman last won the day on January 25 2016

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  1. I think another key point is: don't bore the audience with a long intro. You could eschew the entire intro and just dive in and show the boys in question and not talk about who they are or where they come from. It's OK for you to think about their background as you write the material, but it's not necessarily interesting for the reader. I think the reader can figure out that one of the boys is preternaturally intelligent just from dialogue and the response of the people around him. A crucial rule for film and TV shows is to start at least a third of the way into the scene whenever possibl
  2. Ah, but don't forget: Jake Chambers was killed off several times, and he still survives in many other dimensions. "There are worlds other than these." BTW, here is a shot of actor Tom Taylor, who will be playing Jake Chambers in the upcoming Dark Tower movies:
  3. Maybe that's a new story. Many great works of literature and films and TV shows end one major part of the story, wait a while, then start a continuing part of the story as a new novel, new film, new season. Nothing wrong with that. I would much rather authors do that then just drag out a novel into 500,000 words and 100 chapters or something. Find a natural place to bail, then call it "Book 2" or something. I think these are wise words (albeit from a decade ago). If you wound up making readers care so much about an imaginary character that they objected to the character getting
  4. Then again: my partner and I recently watched the 2-hour finale to the Showtime gay series Looking, about a group of gay men and women living in San Francisco, most of whom are searching for the right person to settle down with. The show was low-rated, won no major awards, and did not do well. The problem I had with the show is that it wasn't dramatic enough, the stories were so true-to-life that they lacked a lot of passion and conflict, and they were... well... boring. My idea of a far more entertaining show was Queer as Folk, which (though it was on 15 years ago) had a lot more drama a
  5. I find the type of over-the-top gay people in Modern Family to be pretty offensive, kind of a "Steppin' Fetchit" kind of lame stereotype. I think gay people in real life run the gamut of a lot of different kinds of personalities, and I feel like they just used a cliched way to present those characters. The gay kid on The Real O'Neals -- which is a very different ABC sitcom -- is a lot closer to what I see in real life. I don't think the show is very good, but at least in terms of how a gay character is portrayed in mainstream media, it's not too bad.
  6. As an experiment, I wrote a novel some years back with a very flawed teenager as the protagonist, a kid who's denied being gay and completely reinvented himself at a new school, new city, new house, new life. Events conspire to eventually force him to face part of the traumatic issues he avoided when moving away from another city 3 years earlier. He starts off a bit cocky and arrogant, but he gets brought down to size by a blackmail scheme and several other dramatic scenes, including being framed for murder. By the end of the story, the kid has been run through the mill to the point where he's
  7. Stephen King has a great quote in his book On Writing: "The road to hell is paved with adverbs." I think he's right.
  8. I think you can work a mention of condoms into a sex scene, but I wouldn't dwell on it. I also think there are circumstances where unsafe sex make more sense in very special circumstances. But I would also say that the same rules apply for straight erotica or gay erotica. A lot depends on the nature of the scene, and I don't think there are blanket rules that apply.
  9. Eh, I'd just call this syndrome a hero who has unbelievable luck or skills. You know it's a "thing" when there's an entire entry on Wikipedia devoted to Mary Sue: https://en.wikipedia.org/wiki/Mary_Sue
  10. I just caught this on the "Words on Words" website and thought this was hilarious. And I totally cop to some of my stories needing these warning labels. http://johndopp.com/writers/amazons-new-warning-labels/
  11. Note that with 3rd person Omniscient, you can get inside of any character's head. The key is to not overdo it, and just concentrate on a single character per scene. The advantage of 3rd person is that you can explore situations and ideas that your main character does not yet know about, and this is a crucial difference.
  12. I agree with Thorn. I'd say the word "very" (and, in fact, many adverbs) is a far bigger problem than "that's."
  13. And always remember there's a good chance the performing artist may not have written the song at all. It's always important when you're quoting lyrics to actually cite the person responsible for creating them.
  14. Emphasis and intensity. If you're not just mad, but you're very mad, then it's easier to say that than to say, "I'm fucking livid! My head's going to explode!" Not only should very be avoided when possible, I also think you have to be careful about the use of adverbs: all the dreaded ly words that pepper a lot of first drafts. No less than Stephen King has said, "after I do my first drafts, I cut out about 85% of the adverbs and usually the novel gets shaved down another 50 pages."
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