"Ma’am, you know that one doesn’t go up and down?"
“It’s a dragon!!!”
One in high school, one in the army, and one in an online role playing community. Which…is also where I’ve met not-best-but-still-friends friends, too, just most people I don’t keep up with after they move away.
You can’t stop being something that you never were in the first place.
There is always hope of finding friends. Without knowing much about your situation, it sounds like two of your big problems (not being exposed to other potential-friends-people, not learning how to make friends) are being addressed by your plan. Not only are you tackling those issues head on, but it shows a willingness on your part to do something in pursuit of your desire for friendship. That’s a pretty mature attitude to have, much more mature than a lot of people your age. It’s going to be difficult (you’ve got a lot of inertia to overcome), but it won’t be impossible as long as you keep moving forward.
The maelstrom inside the Portal was almost a relief. Clary went last through the shining doorway, after the other four had stepped through, and she let the cold darkness take her like water pulling her down and under, stealing the breath from her lungs, making her forget everything but the clamor and the falling.
…that…sounds very unpleasant. If that was a “relief,” what was it a relief from? I mean, just before this we had the whole bantering argument about who should go, but that doesn’t seem bad enough to call this a “relief.”
I think you can describe a scar that way.
There’s two main problems with the mirror description.
- It’s lazy, infodump-y, and, to some extent, unrealistic. And while that’s enough of a reason on its own, that’s not what I want to talk about.
- It’s a cliche. More importantly, it’s a cliche used by very new writers, and for those who have read a lot on the internet and seen it used there, it conveys a sense of carelessness and a lack of professionalism. They see the mirror, and they think “oh, god, it’s one of those authors.” Doesn’t matter what “those” means. Doesn’t matter if you really are one or not. Reading is an emotional experience involving emotion-stuffed humans who make emotional judgements. If something is going to set them off on the wrong foot and color how they view the rest of your scene, that’s something you actually should consider when writing. It doesn’t matter if this is “fair” or not, or whether people “should” do something else. This is what they will do. They will judge you by the cliches you use. The only control you have over the matter is picking cliches that you don’t mind owning up to when the judgement comes.
That’s really the crux of the matter. “Described in a mirror” is something I advise against, not because it’s such a huge technical sin, but because it has so much baggage attached to it for a lot of readers, and if you can avoid that baggage with just a little effort, then why wouldn’t you?
Looking for loopholes in the issue may get you past the first bullet point, but it won’t do anything for the second. If it’s a scene that you really want to use, and damn the rest because you believe that strongly that it’s best for your scenario, then you know what? Damn the rest! Write on! But do it knowing what you’re getting into, and make sure that you’re sure. That’s all I’m asking.
…wow, Nonny found a situation where that would actually work.
“It almost doesn’t seem to make a difference,”
Are you sure you don’t want to add any more qualifiers to that sentence? One more and it can be a legit non-statement.
Keepsake boxes shaped like books.
Should I get one of everything, or one of everything?
Maia goes to Jordan’s apartment to get new clothes, and though she’s upset about being in that setting again, it’s all pretty subdued. I’m rather torn between “oh thank god, finally,” and “with any other character you’d have an entire chapter devoted to dramatic suffering and crying; did you just get tired by the time you got to Maia?”