SepSceneWriMo is essentially an open writers’ workshop.
Anyone participating effectively announces their intent in perfecting their scene writing and critique is expected.
Of course, common courtesy must be honored.
Positive criticism, corrective hints, the ID of inside out sentences, grammar, spelling, POV issues (head-hopping), etc. etc. and so on and so forth are allowed and encouraged.
Let me say it again: encouraged.
Writing is hard. Writing well is damn near impossible. Writers need all the help they can get. Fawning platitudes are practically worthless. I said “practically”. Of course many of these scene-writing efforts are worthy of praise. So, slather the accolades if you feel the need. But if something doesn’t work for you — let the writer, us, know.
Thanks,
‘Mole
Anonymole - apocryphal agitators 
Positive reactions are easy (if useless). Good criticism means work. Once I catch up maybe I’ll deliver.
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You honor me just by reading, Audrey.
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Thanks. I’ll keep doing that.
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I know people are short on time doing this so I don’t get too judgy (especially when I think how I fire things off without even titles at this point), but if I notice something that doesn’t work that’s easy to fix, I’ll point it out. I also try to say something I like, too. I too hate the effusive praise thing. I’m happy if someone finds a certain line funny, or if they point out something I missed that could improve it.
What I hate more than even the praise, (or people missing the point, I hate that too), are what I refer to as drive-by comments. It’s like the person skimmed the post at top speed, fixated on a single word, and then makes a one line comment about nothing. Oh, I love Hamburger Helper. Or, even a plain “Oo scary!” Phil gets the worst drive-bys. I genuinely dread reading his comments.
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The comments he receives on his blog, that is.
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Yeah. Well, if he’d learn to write scenes instead of treatises.
I’ve been mostly enjoying his latest, so, I’ll give him that.
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Treatises are simply related “scenes” strung together in some semblance of order. Anybody can write the crazy Asian lady at Walmart or Barb is about to jump. All those things are openers or closers, which Tolstoy says is where writers do the most lying. Open, narrate, stumble and leave. Which is why this “scene” exercise, which is what they are, exercises, is off my list this year. Unless someone out there is doing Sandra Cisneros or David Foster Wallace scenes. Otherwise, homework is homework. My homework is tell a story “in the modified (reduced) style of” based on a true event. Like a Rehder or Hiaasen without six subplots and forty characters.
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I hear ya on the scene thing. It’s all bullshit now. I use it as an excuse to push my dementia addled mind to its increasingly meager limits.
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Push it past the wank cycle. Find something that’s not cardboard or personal clip art and run with it. The android thing is superb up to the point of mirrors and “persnickety.” WTF? That’s a Walmart housedress at a Wednesday night casserole church social in small town 1940’s Georgia, escaped from Charles Dickens’ wastebasket. Unless it develops into an inside joke signature with the characters, then sold.
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