Ten Ways Meme
Jan. 25th, 2006 12:00 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
snorkackcatcherThat meme again, gacked from lots of people ...
Ten Ways To Tell You're Reading A SnorkackCatcher Story
1. Lots of little nods to the books, elaboration of minor canon details, and in-jokes. These may or may not be necessary for the story.
2. Lots of dialogue, too. The characters often ramble on and on and just won't shut up, despite the author tapping them on the shoulder and telling them to get back to the plot.
3. They also ... pause using ellipses a lot during this dialogue, in an attempt to sound natural. In addition, they often stumble over words, say 'um' and 'ah', and demonstrate the accuracy of Harry's realisation that 'er' is a word.
4. Their manner of speech is frequently indicated with the help of adverbs. Lots of 'em. I approve of this style as the literary replacement for tone-of-voice clues in speech, and consequently have no problem with it in canon, and may do a rant on the subject one of these days (he said stubbornly).
5. Their facial expressions and gestures are often described explicitly. But their facial features and general appearance often aren't. You're doing well if you get one line saying what they look like. (You're on safe ground if you assume that none of them have violet eyes, however.)
6. They don't engage in teh hawt sex. Well, all right, sometimes they do, just not onscreen. If they snog, that's about as explicit as it gets before the scene fades to the written equivalent of two droplets of water joining as they run down a window pane.
7. When the authorial voice takes over, it's fairly prosaic ... um, prose. There are rarely any attempts at poetic flights of fancy or elaborate imagery.
8. Paragraphs that contain but one or two long sentences (often with parenthesised material inserted into the middle of them as an aside) suddenly pop up out of nowhere to confuse the reader; these sentences may well, of course, have additional clauses -- if that's the correct word -- that attempt to give the various options available in English punctuation a solid workout.
9. There is usually an attempt at some sort of twist in the tail, even in a little character study type fic. Generally this involves trying to play on a common assumption, or stating something obliquely, or trying to find parallels between characters and carefully avoiding any mention of their huge differences.
10. No beta. Bad me. BAD me. ::selfthwaps:: That would require organisation, you see.
Ten Ways To Tell You're Reading A SnorkackCatcher Story
1. Lots of little nods to the books, elaboration of minor canon details, and in-jokes. These may or may not be necessary for the story.
2. Lots of dialogue, too. The characters often ramble on and on and just won't shut up, despite the author tapping them on the shoulder and telling them to get back to the plot.
3. They also ... pause using ellipses a lot during this dialogue, in an attempt to sound natural. In addition, they often stumble over words, say 'um' and 'ah', and demonstrate the accuracy of Harry's realisation that 'er' is a word.
4. Their manner of speech is frequently indicated with the help of adverbs. Lots of 'em. I approve of this style as the literary replacement for tone-of-voice clues in speech, and consequently have no problem with it in canon, and may do a rant on the subject one of these days (he said stubbornly).
5. Their facial expressions and gestures are often described explicitly. But their facial features and general appearance often aren't. You're doing well if you get one line saying what they look like. (You're on safe ground if you assume that none of them have violet eyes, however.)
6. They don't engage in teh hawt sex. Well, all right, sometimes they do, just not onscreen. If they snog, that's about as explicit as it gets before the scene fades to the written equivalent of two droplets of water joining as they run down a window pane.
7. When the authorial voice takes over, it's fairly prosaic ... um, prose. There are rarely any attempts at poetic flights of fancy or elaborate imagery.
8. Paragraphs that contain but one or two long sentences (often with parenthesised material inserted into the middle of them as an aside) suddenly pop up out of nowhere to confuse the reader; these sentences may well, of course, have additional clauses -- if that's the correct word -- that attempt to give the various options available in English punctuation a solid workout.
9. There is usually an attempt at some sort of twist in the tail, even in a little character study type fic. Generally this involves trying to play on a common assumption, or stating something obliquely, or trying to find parallels between characters and carefully avoiding any mention of their huge differences.
10. No beta. Bad me. BAD me. ::selfthwaps:: That would require organisation, you see.
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Date: 2006-01-25 09:34 pm (UTC)no subject
Date: 2006-01-26 04:48 pm (UTC)