Monday, 22 February 2010
Another book of writing exercises today.
What If? Writing exercises for Fiction Writers
This is quite an interesting little book. It's divided into sections on things like story beginnings and perspective and then each section has half a dozen chapters, of two or three pages each, explaining what it is the exercise is meant to be about, examples of the point the authors are trying to make from published works, and then a short exercise, usually followed by example 'answers' from members of the authors' writing class.
The exercise I posted here the other day about your character's habitat was from this book.
I have to admit a bias here. I don't think much of creative writing courses. Partly because many of them seem intrinsically biased against 'genre' fiction, which is of course my great love, and partly because of a nagging feeling that if these people knew so much about writing they'd be making money doing that instead of teaching classes on it. I know this is a little unfair to the really helpful creative writing classes out there, but it's how I feel. The books I have that are written as if you were on one of those courses are, therefore, not exactly my favourites. But I do like this little book.
Some of the exercises strike me as helpful when you're trying to understand a concept but something you'd never want to do again after you get it - like the first one which has you writing first sentences for stories you're never going to write. This is a useful exploration, along with the author's notes on the different ways of starting stories, of what works and what doesn't, but once you have a firm grip on that it doesn't strike me as anything I'd want to spend my time doing on a regular basis - I could be wrong as I haven't yet attempted this exercise (because starting with the first exercise in the book is just far too predictable), but that's how it strikes me.
Others though, like the second one where you deal with the past of a story (i.e. everything that happened before the first page) and analyse stories you've written or drafted seems like it could be really helpful and something I might do with the more plot-intensive stories when I read the editing stage in future. And the one I posted here is very helpful both for thinking about your story's setting and characterisation.
All in all I think I would recommend this book. Even the exercises I wouldn't repeat made me think about something to do with the craft of writing. It's not a book I'd go to for inspiration, like the Book of Matches, but it is one I think I will find myself coming back to again and again.
What If? Writing exercises for Fiction Writers
This is quite an interesting little book. It's divided into sections on things like story beginnings and perspective and then each section has half a dozen chapters, of two or three pages each, explaining what it is the exercise is meant to be about, examples of the point the authors are trying to make from published works, and then a short exercise, usually followed by example 'answers' from members of the authors' writing class.
The exercise I posted here the other day about your character's habitat was from this book.
I have to admit a bias here. I don't think much of creative writing courses. Partly because many of them seem intrinsically biased against 'genre' fiction, which is of course my great love, and partly because of a nagging feeling that if these people knew so much about writing they'd be making money doing that instead of teaching classes on it. I know this is a little unfair to the really helpful creative writing classes out there, but it's how I feel. The books I have that are written as if you were on one of those courses are, therefore, not exactly my favourites. But I do like this little book.
Some of the exercises strike me as helpful when you're trying to understand a concept but something you'd never want to do again after you get it - like the first one which has you writing first sentences for stories you're never going to write. This is a useful exploration, along with the author's notes on the different ways of starting stories, of what works and what doesn't, but once you have a firm grip on that it doesn't strike me as anything I'd want to spend my time doing on a regular basis - I could be wrong as I haven't yet attempted this exercise (because starting with the first exercise in the book is just far too predictable), but that's how it strikes me.
Others though, like the second one where you deal with the past of a story (i.e. everything that happened before the first page) and analyse stories you've written or drafted seems like it could be really helpful and something I might do with the more plot-intensive stories when I read the editing stage in future. And the one I posted here is very helpful both for thinking about your story's setting and characterisation.
All in all I think I would recommend this book. Even the exercises I wouldn't repeat made me think about something to do with the craft of writing. It's not a book I'd go to for inspiration, like the Book of Matches, but it is one I think I will find myself coming back to again and again.
Today's post is about the use of magic in your fictional world. While magic can open a whole box of delights when it comes to your fantastical setting it can also cause a whole load of problems for the unwary author. There are several things you need to think about when creating a magical world, just from the world building perspective, but there are also other questions that you need to consider from a purely authorial point of view.
I think I'm going to sub-divide this into three posts rather than try and get it all into one and possibly just end up rambling all over the place.
Today's post will be on magic and world building, then next week will be magical heroes and quests, and the week after that the problems that magic can cause you as an author. Some of this will probably be relevant to the topic of religion in fantasy which I intend to cover later, but I'll try not to repeat myself too much.
I think I'm going to sub-divide this into three posts rather than try and get it all into one and possibly just end up rambling all over the place.
Today's post will be on magic and world building, then next week will be magical heroes and quests, and the week after that the problems that magic can cause you as an author. Some of this will probably be relevant to the topic of religion in fantasy which I intend to cover later, but I'll try not to repeat myself too much.
Thursday, 18 February 2010
Patrick Swayze : She's Like The Wind Lyrics
Songwriters: Swayze, Patrick; Widelitz, Stacy;
She's like the wind through my tree
She rides the night next to me
She leads me through moonlight
Only to burn me with the sun
She's taken my heart
But she doesn't know what she's done
Feel her breath on my face
Her body close to me
Can't look in her eyes
She's out of my league
Just a fool to believe
I have anything she needs
She's like the wind
[SOLO]
I look in the mirror and all I see
Is a young old man with only a dream
Am I just fooling myself
That she'll stop the pain
Living without her
I'd go insane
Feel her breath on my face
Her body close to me
Can't look in her eyes
She's out of my league
Just a fool to believe
I have anything she needs
She's like the wind
Feel your breath on my face
Your body close to me
Can't look in your eyes
You're out of my league
Just a fool to believe
(Just a fool to believe)
She's like the wind
(Just a fool to believe)
Just a fool to believe
(She's like the wind)
Just a fool to believe
(Just a fool to believe)
She's like the wind
(Just a fool to believe)
Just a fool to believe
She's like the wind
(Just a fool...)
(She's like the wind)
(She's like the wind)
(Just a fool...)
(She's like the wind)
(Just a fool...)
Songwriters: Swayze, Patrick; Widelitz, Stacy;
She's like the wind through my tree
She rides the night next to me
She leads me through moonlight
Only to burn me with the sun
She's taken my heart
But she doesn't know what she's done
Feel her breath on my face
Her body close to me
Can't look in her eyes
She's out of my league
Just a fool to believe
I have anything she needs
She's like the wind
[SOLO]
I look in the mirror and all I see
Is a young old man with only a dream
Am I just fooling myself
That she'll stop the pain
Living without her
I'd go insane
Feel her breath on my face
Her body close to me
Can't look in her eyes
She's out of my league
Just a fool to believe
I have anything she needs
She's like the wind
Feel your breath on my face
Your body close to me
Can't look in your eyes
You're out of my league
Just a fool to believe
(Just a fool to believe)
She's like the wind
(Just a fool to believe)
Just a fool to believe
(She's like the wind)
Just a fool to believe
(Just a fool to believe)
She's like the wind
(Just a fool to believe)
Just a fool to believe
She's like the wind
(Just a fool...)
(She's like the wind)
(She's like the wind)
(Just a fool...)
(She's like the wind)
(Just a fool...)
Wednesday, 17 February 2010
Rewrite history (or someone else's story).
Take an historical event or a book or a film and explore the what ifs.
For example -
What if Obi-Wan had killed Darth Vader instead of dying?
What if Operation Valkyrie (the assassination of Hitler) had succeeded?
What if Ilsa had stayed in Casablanca?
This should give you an idea of how how actions and consequences can play out and in the case of rewriting a book or film it should show you why Casablanca would have been a much worse movie if it had a happy ending (in my opinion) or why a film you hated didn't work for you and what can be done to 'fix' it.
Take an historical event or a book or a film and explore the what ifs.
For example -
What if Obi-Wan had killed Darth Vader instead of dying?
What if Operation Valkyrie (the assassination of Hitler) had succeeded?
What if Ilsa had stayed in Casablanca?
This should give you an idea of how how actions and consequences can play out and in the case of rewriting a book or film it should show you why Casablanca would have been a much worse movie if it had a happy ending (in my opinion) or why a film you hated didn't work for you and what can be done to 'fix' it.
Monday, 15 February 2010
Another recent purchase of mine, although not as recent as last week's review, is The Element Encyclopaedia of Magical Creatures: The Ultimate A-Z of Fantastic Beings from Myth and Magic.
This is a rather thick tome, which strangely seems to be on much higher quality paper than any other paperback I've ever bought; it feels rather luxurious as you flick through it. After several skims through it, stopping at anything I thought looked interesting, and several forays into it searching for specific things, I still have no idea what criteria they've used to choose what to include. Pretty much any kind of magical animal, as well as plenty of 'normal' animals with magical connections, like the raven, is included, that's a given, but it's a little broader in scope than that. There are sentient creatures like elves and goblins. Then there's a section on the Titans from Greek Mythology, but most of the Olympians aren't in there, with, as far as I can tell, the sole exception of Pan. The Morrigan is there but most of the other Celtic Gods aren't. Anubis is there but Isis and Osiris aren't ...
As far as I can tell if you have some kind of animalistic aspect (Anubis' is the Jackal God; Morrigan can turn into an animal) you're included, but it's not a hard and fast rule. Zeus, after all, took the form of a bull to seduce one of his many lovers and he isn't there, perhaps because although he could appear as an animal it wasn't particularly associated with him. And yet, I would consider elves to be no further from human then Gods and Goddesses are, but the elves are there and most of the Gods aren't. Zombies are included, despite being simply ensorcelled humans (living or dead, depending on the exact mythology).
If you can get beyond the confusion about what is and isn't there and how they made their decisions, it is a very well researched and entirely fascinating volume that I would heartily recommend. I notice that there are several others in the series covering things like ghosts and spirits, magic, and vampires, so when I'm next feeling flush with cash I think I may invest in those as well, although oddly there doesn't seem to be one covering the Gods and Goddesses of the various pagan religions, historical and current, which seems to be a gap in their range. Hopefully a gap they'll fill in the future as it would make a good companion volume to this one.
This is a rather thick tome, which strangely seems to be on much higher quality paper than any other paperback I've ever bought; it feels rather luxurious as you flick through it. After several skims through it, stopping at anything I thought looked interesting, and several forays into it searching for specific things, I still have no idea what criteria they've used to choose what to include. Pretty much any kind of magical animal, as well as plenty of 'normal' animals with magical connections, like the raven, is included, that's a given, but it's a little broader in scope than that. There are sentient creatures like elves and goblins. Then there's a section on the Titans from Greek Mythology, but most of the Olympians aren't in there, with, as far as I can tell, the sole exception of Pan. The Morrigan is there but most of the other Celtic Gods aren't. Anubis is there but Isis and Osiris aren't ...
As far as I can tell if you have some kind of animalistic aspect (Anubis' is the Jackal God; Morrigan can turn into an animal) you're included, but it's not a hard and fast rule. Zeus, after all, took the form of a bull to seduce one of his many lovers and he isn't there, perhaps because although he could appear as an animal it wasn't particularly associated with him. And yet, I would consider elves to be no further from human then Gods and Goddesses are, but the elves are there and most of the Gods aren't. Zombies are included, despite being simply ensorcelled humans (living or dead, depending on the exact mythology).
If you can get beyond the confusion about what is and isn't there and how they made their decisions, it is a very well researched and entirely fascinating volume that I would heartily recommend. I notice that there are several others in the series covering things like ghosts and spirits, magic, and vampires, so when I'm next feeling flush with cash I think I may invest in those as well, although oddly there doesn't seem to be one covering the Gods and Goddesses of the various pagan religions, historical and current, which seems to be a gap in their range. Hopefully a gap they'll fill in the future as it would make a good companion volume to this one.
Thursday, 11 February 2010
The Widow at Windsor by Rudyard Kipling
'Ave you 'eard o' the Widow at Windsor
With a hairy gold crown on 'er 'ead?
She 'as ships on the foam -- she 'as millions at 'ome,
An' she pays us poor beggars in red.
(Ow, poor beggars in red!)
There's 'er nick on the cavalry 'orses,
There's 'er mark on the medical stores --
An' 'er troopers you'll find with a fair wind be'ind
That takes us to various wars.
(Poor beggars! -- barbarious wars!)
Then 'ere's to the Widow at Windsor,
An' 'ere's to the stores an' the guns,
The men an' the 'orses what makes up the forces
O' Missis Victorier's sons.
(Poor beggars! Victorier's sons!)
Walk wide o' the Widow at Windsor,
For 'alf o' Creation she owns:
We 'ave bought 'er the same with the sword an' the flame,
An' we've salted it down with our bones.
(Poor beggars! -- it's blue with our bones!)
Hands off o' the sons o' the Widow,
Hands off o' the goods in 'er shop,
For the Kings must come down an' the Emperors frown
When the Widow at Windsor says "Stop"!
(Poor beggars! -- we're sent to say "Stop"!)
Then 'ere's to the Lodge o' the Widow,
From the Pole to the Tropics it runs --
To the Lodge that we tile with the rank an' the file,
An' open in form with the guns.
(Poor beggars! -- it's always they guns!)
We 'ave 'eard o' the Widow at Windsor,
It's safest to let 'er alone:
For 'er sentries we stand by the sea an' the land
Wherever the bugles are blown.
(Poor beggars! -- an' don't we get blown!)
Take 'old o' the Wings o' the Mornin',
An' flop round the earth till you're dead;
But you won't get away from the tune that they play
To the bloomin' old rag over'ead.
(Poor beggars! -- it's 'ot over'ead!)
Then 'ere's to the sons o' the Widow,
Wherever, 'owever they roam.
'Ere's all they desire, an' if they require
A speedy return to their 'ome.
(Poor beggars! -- they'll never see 'ome!)
'Ave you 'eard o' the Widow at Windsor
With a hairy gold crown on 'er 'ead?
She 'as ships on the foam -- she 'as millions at 'ome,
An' she pays us poor beggars in red.
(Ow, poor beggars in red!)
There's 'er nick on the cavalry 'orses,
There's 'er mark on the medical stores --
An' 'er troopers you'll find with a fair wind be'ind
That takes us to various wars.
(Poor beggars! -- barbarious wars!)
Then 'ere's to the Widow at Windsor,
An' 'ere's to the stores an' the guns,
The men an' the 'orses what makes up the forces
O' Missis Victorier's sons.
(Poor beggars! Victorier's sons!)
Walk wide o' the Widow at Windsor,
For 'alf o' Creation she owns:
We 'ave bought 'er the same with the sword an' the flame,
An' we've salted it down with our bones.
(Poor beggars! -- it's blue with our bones!)
Hands off o' the sons o' the Widow,
Hands off o' the goods in 'er shop,
For the Kings must come down an' the Emperors frown
When the Widow at Windsor says "Stop"!
(Poor beggars! -- we're sent to say "Stop"!)
Then 'ere's to the Lodge o' the Widow,
From the Pole to the Tropics it runs --
To the Lodge that we tile with the rank an' the file,
An' open in form with the guns.
(Poor beggars! -- it's always they guns!)
We 'ave 'eard o' the Widow at Windsor,
It's safest to let 'er alone:
For 'er sentries we stand by the sea an' the land
Wherever the bugles are blown.
(Poor beggars! -- an' don't we get blown!)
Take 'old o' the Wings o' the Mornin',
An' flop round the earth till you're dead;
But you won't get away from the tune that they play
To the bloomin' old rag over'ead.
(Poor beggars! -- it's 'ot over'ead!)
Then 'ere's to the sons o' the Widow,
Wherever, 'owever they roam.
'Ere's all they desire, an' if they require
A speedy return to their 'ome.
(Poor beggars! -- they'll never see 'ome!)
This is from "The Writer's Book of Matches" -
A marine biologist discovers the washed up body of what appears to be the Loch Ness Monster. Write about hoe this discovery affects:
A marine biologist discovers the washed up body of what appears to be the Loch Ness Monster. Write about hoe this discovery affects:
- a lifelong sceptic who has written several books denying the creature's existence
- a self-proclaimed monster hunter who has spent years searching for Nessie
- the lives of people in a small town close to where the monster was found
- a young couple who happen to be holidaying near Loch Ness when the body is found
Monday, 8 February 2010
Today's book is one that I've only actually had in my possession for a few hours. It's called "The Writer's Book of Matches - 1001 Prompts to Ignite Your Fiction".
Like I say it arrived in the post a few hours ago, but already I love it. There are three kinds of prompt in the book. Situational, Dialogue, and Assignments.
Situational Prompts give you a brief description of a situation to inspire you. For example, 'A priest is attacked for being a paedophile. He is innocent of the crime, but guilty of something worse' or 'During her first trip to Las Vegas, a woman experiences the luckiest night of her life'. These all seem designed to make you think. What is the priest really guilty of? Why is he being accused of paedophilia? Will he let them find him guilty of that crime to hide the other? What does the 'luckiest night' mean? Did she win a lot of money? Did she fall in love? Did she find something to give her a new start in life - a job, an opportunity, a contact?
Dialogue prompts are exactly that, a line of dialogue, without context. For example, 'Look, somebody has got to make a decision' or 'You know, they invented a word for guys like him'. You have complete freedom to decide who is speaking, who they're talking to, what the context is.
Assignments are a bit more detailed. They describe a situation and then ask you to write about different takes on it. For example, 'You accidentally overhear a conversation between two people you have never met. The topic of the conversation shocks and dismays you. Write about these conversations and describe how you respond to the content: a conversation between two stockbrokers; a conversation between a priest and a member of his parish; a conversation between a woman and the man with whom she is cheating on her husband.' I find these much less inspiring, but they're outnumbered by the other two types so I'm not particularly worried.
The idea is to write something every day and to get into the habit of writing. As the book says, if you do one prompt a day you have over three years worth of prompts, but not content with that they give suggestions in the appendices for remixing the prompts so you can use them multiple times. There are a set of variation tables which you can choose suggestions from or roll a dice to get ideas at random, varying the gender or age of the protagonist, the setting and era and so forth.
There are also suggestions for varying individual prompts. For example, it suggests you take the prompt 'A man decides his daughter's career is getting in the way of her getting married and takes matters into her own hands' and instead of writing from the father's perspective, which is the obvious take on the prompt, write from the daughter's or from someone else's - like her mother or her boyfriend.
All in all I think this book is a great way of finding inspiration when you're lacking it and I heartily recommend it.
Links
Randomly generated writing prompts.
Writer's Digest Prompts.
Writing Prompt Generator - I love this one, it's great fun.
One Word - this one's amusing too.
Themed Writing Challenges on Livejournal
Like I say it arrived in the post a few hours ago, but already I love it. There are three kinds of prompt in the book. Situational, Dialogue, and Assignments.
Situational Prompts give you a brief description of a situation to inspire you. For example, 'A priest is attacked for being a paedophile. He is innocent of the crime, but guilty of something worse' or 'During her first trip to Las Vegas, a woman experiences the luckiest night of her life'. These all seem designed to make you think. What is the priest really guilty of? Why is he being accused of paedophilia? Will he let them find him guilty of that crime to hide the other? What does the 'luckiest night' mean? Did she win a lot of money? Did she fall in love? Did she find something to give her a new start in life - a job, an opportunity, a contact?
Dialogue prompts are exactly that, a line of dialogue, without context. For example, 'Look, somebody has got to make a decision' or 'You know, they invented a word for guys like him'. You have complete freedom to decide who is speaking, who they're talking to, what the context is.
Assignments are a bit more detailed. They describe a situation and then ask you to write about different takes on it. For example, 'You accidentally overhear a conversation between two people you have never met. The topic of the conversation shocks and dismays you. Write about these conversations and describe how you respond to the content: a conversation between two stockbrokers; a conversation between a priest and a member of his parish; a conversation between a woman and the man with whom she is cheating on her husband.' I find these much less inspiring, but they're outnumbered by the other two types so I'm not particularly worried.
The idea is to write something every day and to get into the habit of writing. As the book says, if you do one prompt a day you have over three years worth of prompts, but not content with that they give suggestions in the appendices for remixing the prompts so you can use them multiple times. There are a set of variation tables which you can choose suggestions from or roll a dice to get ideas at random, varying the gender or age of the protagonist, the setting and era and so forth.
There are also suggestions for varying individual prompts. For example, it suggests you take the prompt 'A man decides his daughter's career is getting in the way of her getting married and takes matters into her own hands' and instead of writing from the father's perspective, which is the obvious take on the prompt, write from the daughter's or from someone else's - like her mother or her boyfriend.
All in all I think this book is a great way of finding inspiration when you're lacking it and I heartily recommend it.
Links
Randomly generated writing prompts.
Writer's Digest Prompts.
Writing Prompt Generator - I love this one, it's great fun.
One Word - this one's amusing too.
Themed Writing Challenges on Livejournal
Sunday, 7 February 2010
Fiction
Word Count - 1342 words
Stories worked on - One WIP and on completed ficlet
Planning
Word Count - 3194 words
Stories worked on - general research and blog posts
Total
Word Count - 4536
Still not great but given the Internet outages and the fact we've had builders in doing the kitchen so there's a lot of noise and often no electricity, it's not so bad.
Thursday, 4 February 2010
Today's lyrics are from Some Days You Gotta Dance, sung by the Dixie Chicks.
It was about five 'til five on Friday
We were all getting ready to go
And the boss man started screaming
and his veins began to show
He said you and you come with me
'cause you're gonna have to stay
My heart was thumping I was jumping
I had to get away
Some days you gotta dance
Live it up when you get the chance
'Cause when the world doesn't make no sense
And you're feeling just a little too tense
Gotta loosen up those chains and dance
Well I was talking with my baby
over a small glass of tea
He asked the loaded question
He said now how do you feel about me
My mind was racin' I was pacin'
but the words just wouldn't come
And there was only one thing
left to do I feel it comin' on
Some days you gotta dance
Live it up when you get the chance
'Cause when the world doesn't make no sense
And you're feeling just a little too tense
Gotta loosen up those chains and dance a ha
Some days you gotta dance
Live it up when you get the chance
'Cause when the world doesn't make no sense
And you're feeling just a little too tense
Gotta loosen up those chains and dance
You gotta loosen up those chains and dance
Come on and loosen up those chains and dance
It was about five 'til five on Friday
We were all getting ready to go
And the boss man started screaming
and his veins began to show
He said you and you come with me
'cause you're gonna have to stay
My heart was thumping I was jumping
I had to get away
Some days you gotta dance
Live it up when you get the chance
'Cause when the world doesn't make no sense
And you're feeling just a little too tense
Gotta loosen up those chains and dance
Well I was talking with my baby
over a small glass of tea
He asked the loaded question
He said now how do you feel about me
My mind was racin' I was pacin'
but the words just wouldn't come
And there was only one thing
left to do I feel it comin' on
Some days you gotta dance
Live it up when you get the chance
'Cause when the world doesn't make no sense
And you're feeling just a little too tense
Gotta loosen up those chains and dance a ha
Some days you gotta dance
Live it up when you get the chance
'Cause when the world doesn't make no sense
And you're feeling just a little too tense
Gotta loosen up those chains and dance
You gotta loosen up those chains and dance
Come on and loosen up those chains and dance
Wednesday, 3 February 2010
This is the last one I will do on characterisation for a while. I promise.
I'm taking the general idea for this one from What If? Writing Exercises for Fiction Writers.
You can tell a lot from a character's habitat. Looking around your house someone could probably come up with a good idea of what you're like, so you should be able to do the same for your characters. Pick a room that they spend time in (bedroom, office, living room) and describe it. What clues are there that will tell you about the character?
I'm taking the general idea for this one from What If? Writing Exercises for Fiction Writers.
You can tell a lot from a character's habitat. Looking around your house someone could probably come up with a good idea of what you're like, so you should be able to do the same for your characters. Pick a room that they spend time in (bedroom, office, living room) and describe it. What clues are there that will tell you about the character?
I'm going to review another one of my recent Amazon purchases today. 45 Master Characters by Victoria Lynn Schmidt
The book talks about using character archetypes to create three dimensional characters. You can find a lot about archetypes on line but this uses archetypes based on the Greek Pantheon, inspired by Jungian philosophy. Have I scared you off yet? Despite the sound of it, the book is very accessible and very easy to read. The first chapter explains the concept of character archetypes as being a way to understand your character's motivations and basic nature. There is one thing the author says in the introduction that I think every writer should have indelibly etched into their monitor or type writer or the first page of their journal, wherever it is they sit to write - "A character doesn't decide to go into a burning building because that's what your plot point says he should do - he goes inside because it's his nature to do so."
The book talks about using character archetypes to create three dimensional characters. You can find a lot about archetypes on line but this uses archetypes based on the Greek Pantheon, inspired by Jungian philosophy. Have I scared you off yet? Despite the sound of it, the book is very accessible and very easy to read. The first chapter explains the concept of character archetypes as being a way to understand your character's motivations and basic nature. There is one thing the author says in the introduction that I think every writer should have indelibly etched into their monitor or type writer or the first page of their journal, wherever it is they sit to write - "A character doesn't decide to go into a burning building because that's what your plot point says he should do - he goes inside because it's his nature to do so."
My internet has been down for a while, which is why I haven't been posting. I'll skip the weekly round up post and just do the round up for two weeks this Sunday, but in the mean time here are all the daily prompts that I haven't been able to post.
Sci-Fi & Fantasy Saturday - Hidden World
First Line Sunday - Once when I was six years old I saw a magnificent picture in a book about the jungle called True Stories. - Antoine de Saint-Exupery, The Little Prince
Moods Monday - Pessimistic
Random Tuesdays - Survival
Sci-Fi & Fantasy Saturday - Hidden World
First Line Sunday - Once when I was six years old I saw a magnificent picture in a book about the jungle called True Stories. - Antoine de Saint-Exupery, The Little Prince
Moods Monday - Pessimistic
Random Tuesdays - Survival
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