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WorldCrafters Guild(tm)

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     Chatlog for Class #7 of
Online Course
"Editing The Novel"

Given By

Editor and Publisher

Bonnee Pierson                    bonneebw.gif (71006 bytes)

and

Silke Juppenlatz

reserve your place in this course.

Come to Class every Sunday, 3PM Eastern Time (USA)

Once again, this log comes to you because Greg Anderson edited it.  

Session Start: Sun Apr 23 11:24:12 2000

<Bonnee> There is a good reason why the title of Born of Fire.
<Greg> Why is that?
<Bonnee> The book was written as a sequel to Born of the Night and the publisher turned it down.
<AnnMarie> Ah ... IC ... I select my titles as the kingpin for the theme.
<Bonnee> The good side is that Sherri is giving us Born of the Night so we can carry both once she's got her rights back. I've got one of her print books now and am having a hard time doing submissions instead of reading that one. She writes under the name Kinley McGregor if you're ever looking for more traditional romance. She also wrote a book for Writer's Digest. I can't remember them all, but we do list them on our site on her author page. 
I should be asking if everyone here read both assignments?
<Jocelyn> twice
<MargareTZ> haven't read Born of Fire
<AnnMarie> I read them, sketched out a response for homework and then got clobbered by life.
<Bonnee> The big thing is if everyone read Master & Servant.
<MargareTZ> Yes, read all of Master & Servant.
<Bonnee> Okay... so would anyone else like to go first? Our first talk should be about M&S. A quick rundown is all. General impression of the book as a "whole".
<N`omi> Besides I love it!
<Bonnee> Yes, besides that. Were all the pieces brought together in the end?
<Jocelyn> Yes!
<N`omi> I had trouble with the lack of warning for transitions.
<MargareTZ> The two main characters did 'come alive' for me.
<Bonnee> Okay, good. Yes, I felt the whole piece stood as a whole. The one disclaimer I'll use is I still feel a strong prologue would help set the tone.
Transitions can be done as a rewrite, so that's why I'm not that focused yet. Does anyone have any overall complaints?
<AnnMarie> Transitions.
<Bonnee> Any pieces left hanging? Anything brought into the story and then dropped? 
<MargareTZ> things happening without any strong relationship to main characters actions.
<Bonnee> I know some of you have read this before so you might not have the same overall confusion that I did on one point. World-building. This is why I feel a prologue would set the tone. There were parts of the world that I didn't understand going into the piece. How were the servants and masters feeding? I get the sense they fed on emotion and blood, but didn't have the "background" to fill in those pieces. The world has changed from what we know it to how they now live. But what kind of time sense was there? IS this 200 years in the future? 2000? If you refer to an "earth" as in a long time ago, then you need to create the base for it.
<N`omi> hmm, I saw it as an alternate world.
<Bonnee> I had the sense of a great world war that was fought around bioweapons.
Genetic engineering to create the ultimate destroyer. Hence, the battle servants and masters. But who was created first and why and how were they tied to the masters? What keeps them going and what sustains them? Are they man or machine? I had the feeling they were a hybrid, but without the base of where they came from, that link can't be established for me to totally put everything in perspective. Does that make sense to anyone else? <G>
<Greg> Bioweapons and war came across, but perhaps not early enough in the story?
<AnnMarie> Yes
<Greg> Yes
<Bonnee> That's why I think a prologue would help. Give the history of what's happened between now, "today", and when this story takes place. Think of Star Wars... "A long time ago in a far off galaxy..." <g>. Establish the today by introducing it as history. "Man could never resolve his differences. War after war ravaged the Earth until the ultimate weapon was created". Something like that. Then, introduce the conception of masters and servants. Who they are, what they were designed for and why they still exist today. Were they supposed to survive for centuries? Or were they designed for a purpose that no longer exists. And now that's what the major story problem is? See what I mean? A prologue could introduce so many new facets tot he story. Maybe man, in his infinite ego, created this machine, but never thought to what would happen once the wars were over. Now you've got a master and a servant who must learn to survive with no purpose left. Not only do they have the personal struggles, but they also face a much greater struggle. Hmm... now the book is even bigger than originally thought.
<AnnMarie> Exactly, Bonnee <grin>
<Bonnee> These are the questions that came to my mind as I was reading. Also what I mean when I say the first place we have to look is the "big picture".
<Jean> I just came in on this, but I agree that at least half of this book is missing.
<Bonnee> It could still be extremely focused, but it could also be expanded into a novel that's quite a bit longer. A solid prologue will give you the option of going either way. Another thought while we're here.... difference between short and long. A long book will answer all questions. That's why the author takes that much room.
<Jean> But many readers skip prologues.
<Bonnee> I never skip a prologue. I figure it's there for a reason.
<Jean> The setup here gives ample opportunity for information feed.
<Bonnee> But, better to drop the planet history into a prologue than create an information dump.
<Jean> The Master/Servant relationship gives plenty of reason for people to explain things to those who don't know. No, no, never a single dump!
<Bonnee> Yes and no. It would have to be handled extremely careful.
<Jean> It is doled out as needed.
<Bonnee> But, you're right in that you could use it to feed info to the reader.
<Jean> The action here starts whiz-bang! I would hate to lose that with a long prologue before it.
<Bonnee> No, we don't need to make it long. Three pages at the max.
<Jean> Get the reader interested, and then feed the necessary info.
<Bonnee> Simply create the world to give the reader a "base" of recognition. Remember, we're not only dealing with a future world that no longer resembles what the reader is familiar with.
<Jean> You are assuming an audience that hasn't read sf before.
<Bonnee> But we're also centering that world on creatures that don't currently exist.
<Jean> SF fans want to jump right in and ask questions later.
<Jocelyn> I thought that the joy of reading is to piece it together as you go.
<Greg> Bonnee, I felt the last half of the book was stronger than the first part and I'm not exactly sure why...comfort, more details..a better understanding of where the piece was going possibly.
<Jean> Yes, Jocelyn, that is how sf fans read.
<MargareTZ> definitely part of it for sf fans.
<Bonnee> Take the reader too far out of their element and they have nothing to compare to.
<N`omi> yes!
<Jean> This is not out of an sf reader's element at all.
<N`omi> a puzzle
<Jean> It's a common dystopia. A standard. Like 1984.
<Bonnee> Okay... but let me add one question to this. Do you want to deal strictly for one audience or do you want to expand the readership? Hard core SF fans are used to being "dumped in".
<Jean> 1984 has a huge readership.
<Bonnee> 1984 has a basis in the familiar because the world still resembles the one we're currently in.
<Jocelyn> I was talking about all the books I've read in any genre
<MargareTZ> also tend to re-read
<Jean> People are also TV-trained today. No prologues--jump in and explain later.
<Bonnee> All I'm saying is that if you jump in too quickly with too many unfamiliar elements, you don't give the reader the chance to relate. It makes it harder for them to warm up to the characters and the storyline if they have no "comfort" zone.
<Jean> They relate to interesting characters in an interesting situation.
<AnnMarie> Point ... the excerpt for an ebook is the first chapter ... when the book is bought, then they get the prologue ... would work I think
<Greg> Perhaps my 'discomfort' with the beginning of the piece was because of the puzzle nature of SF?
<Bonnee> I think so, Greg. I think you and I read it more the same than the others here ... <wry g> Ann Marie, yes.
<MargareTZ> depends on who you are submitting to AnnMarie
<Jean> It was obvious to me that this was a common after-the-big-war setting.
<AnnMarie> e only ... DU is one of my target publishers
<Bonnee> The excerpt that's put on a site is a scene that will draw in the readers.
<MargareTZ> good choice!
<Bonnee> A teaser, nothing more.
<Jean> The relationships are what make this book interesting.
<Bonnee> I agree that this book hinges on the relationship.
<Jean> The interdependency.
<Bonnee> That's why you need to know who they are before you can care whether they find each other.
<MargareTZ> which means it could have a wider appeal than just sf fans
<Bonnee> Exactly. That's what I'm saying for this book.
<Jean> Yes--I agree that a great deal of information is missing.
<Bonnee> I think the audience could be much wider than strictly sf fans.
<Jean> The characters' history, though, will also fill in the history of the culture.
<Bonnee> It's got the potential to appeal to both traditional romance readers as well as sf.
<Bonnee> Yes, Jean
<Jean> That is what is so great about the situation Ann Marie has set up. Her characters were IN that war--they each know something about what happened.
<Bonnee> Believe me, let me add a disclaimer that I'm the first person in line to dump a prologue.
<Jean> Put together ALL their experiences, and you have the whole answer by the end.
<Bonnee> Remember the book I suggested for reading? 38 Most Common Fiction Writing Mistakes?
<AnnMarie> Have read it, repeatedly.
<Jean> As each finds out more about the others, so the reader learns everything that is necessary to understand.
<Bonnee> One of the biggest mistakes is DON'T warm your engines. Don't warm up your audience. Get right in and go for it.
<Jean> Exactly!
<Bonnee> But this is a book I see where a short prologue could help. Omniscient POV... a quick peek into history... how did we humans get from where we are to where the book begins.
<Jean> But that is the mystery the reader wants to solve!
<AnnMarie> That is a long, long story Bonnee ... I have a 200K novel on the blocks telling that story.
<Jean> WHY were battle-masters and battle-servants created?
<Bonnee> That's it in a nutshell, Jean. That's all you need to know in a prologue. Why were they created and what are they.
<Jean> So don't turn to the last page in the prologue and reveal whodunit! The answer may not even lie in this first book.
<Bonnee> Why is a platinum rare and why are coppers so common? That can be answered in the text. What do they feed on and why are they co-dependent.
<Jean> The created people probably don't know the WHY. In later books they can go find humans who can tell them.
<Bonnee> But they aren't the ones telling the prologue... and that's why a prologue would work.
<Jean> In this book they reach a survival equilibrium. If the reader is told the answer to the whole series in the prologue to Book I, why read on?
<Greg> We were just looking at this one piece though...not any others written prior..or planned for the future.
<Bonnee> Right, Greg.
<Jean> It's obviously the beginning of a series.
<AnnMarie> Hmmm ... would an intro like "6 Million Dollar Man" work?
<Bonnee> There is no answer to that. All I'm saying is you need to "set the tone". Ann Marie, yes! Simple, straight forward. Don't solve the problems of the world. Simply introduce the "creatures" and why they exist.
<Jean> Yes, if there HAS to be an intro, then Six Million Dollar Man or Farscape.
<Bonnee> And what they require to sustain.
<Jean> NOT the answer to the Big Question of the entire series.
<Bonnee> What exactly are they feeding on? Is it emotion? If so, how do they do that?
<Jean> No--both SMDM and Farscape just tell what happened to One Person.
<Bonnee> I wouldn't direct a prologue to one person.
<Jean> They do NOT give all the answers to questions the viewer isn't asking yet.
<AnnMarie> I was thinking running down the tech specs as created by Ilya in a proposal for funding.
<Jean> Well, it works well on those two TV shows.
<Bonnee> That might work if the specs give a sense of who they are, what they were created for and what they need to continue functioning.
<AnnMarie> I wouldn't put in what they were really created for ... but the public answer would do (they were created as a perverts sex toy ... grimace)
<Jean> The specs could work very well. I thought they were created as soldiers!
<AnnMarie> No, Ilya had to have made them before the war started.
<Jean> And then the rest of it developed.
<AnnMarie> The chronology doesn't work otherwise
<Bonnee> Okay, so why did Ilya create them?
<Jean> Weapons are usually developed before the war starts.
<AnnMarie> He wanted humanoid toys he could abuse to his black little heart's desire.
<Jean> You start the war after you think you have the weapons to win it. Ah--but he can't say that in his application for funding!
<AnnMarie> Exactly Jean
<Bonnee> And, once the war began, he found funding and a new function for his toys?
<AnnMarie> Yes, Bonnee
<Jean> He called them BATTLEmasters and BATTLEservants.
<Bonnee> That's all that's needed.
<Greg> I thought we were looking at one piece...not trying to analyze a series that resides in the mind of the author...
<AnnMarie> With a prologue ... all of it has to work together or I'll end up in a corner.
<Jean> Right--only reveal what is necessary for this book.
<Bonnee> No, Ann Marie, not necessarily <evil g>. They were widely used as soldiers. It doesn't have to be known until much later that they were originally developed as toys.
<Jean> Basic rule of series writing: don't establish in Book I what isn't necessary to Book IV.
<Bonnee> That can be brought out later... "the secret"
<Jean> till
<Jean> Agreed. This book is about Jeanine and Anatoly finding one another and forming a viable relationship. AFTER they know they can survive, they will have the leisure to become curious about other things.
<Bonnee> Yes and the reason why all this other stuff needs to be established up front is because otherwise there's no reason for them to find each others.
<AnnMarie> The next does go into the origin and nature of the Masters and Servants ... as well as their relationship to humans.
<Jean> What other stuff? It is clear that Jeanine cannot survive without a master.
<Bonnee> But why can't she? That's what's never established because we don't understand the relationship between them. Why must she feed from a master?
<Jean> Because she kills anyone else she tries to feed from.
<Bonnee> And why is he immune?
<Jean> Her choice is killer or servant.
<Greg> I thought she could survive without a master...but a master could not survive without them.
<Jean> They are designed as a pair.
<Bonnee> Why?
<Jean> All the masters are immune. They are genetically designed that way.
<Bonnee> What are they feeding from each other? Why is he immune?
<Jean> If the servants were designed as sex toys, why were masters made?
<AnnMarie> Good questions Bonnee ... I think Jean is leaking S~G
<Jean> They feed on emotions.
<Bonnee> LOL! 
<Jean> It's easy to see S~G (if you know it well) as an ancestor of this universe, but it is still very different.
<Bonnee> How do they feed on emotion?
<Jean> As we see in the scenes where it happens. I'm not going to type out those scenes! They are very clear in the story.
<AnnMarie> As you keep question ... the exact same way a human infant feeds off its parents, but magnified.
<Bonnee> Yes, I feel the power from the emotion, but not necessarily the payoff. Let me try to explain.... If I'd never read The Sundered series, I wouldn't have been as clearly familiar.
<Jean> Not knowing about the sex toys in Ann Marie's mind, I assumed they were designed as weapons that got away from the designers.
<Bonnee> with the concept of feeding off emotion. They fed off fear and hate and anger.
<AnnMarie> I've never read The Sundered, btw
<Bonnee> Very specific emotions... It's not clear which emotions feed the servants.
<Jean> That the sex aspect was unintentional, a result of feeding off other emotions that led to feeding off sex, too.
<Bonnee> It makes sense, though. Sex magnifies emotions. But are there only specific emotions? Is it a matter of the servant feeds off the master and then returns it in other ways? I'm just saying that this wasn't entirely clear to me.
<Jean> I made an assumption from the terms master/servant.
<AnnMarie> Yes, I can see this and am taking copious notes on where I need to fill in holes.
<Bonnee> It was also mentioned that servants always snapped the necks of their victims. I would imagine that did the killing, not necessarily any feeding
<Jean> I assumed that the masters were supposed to be the "officers" controlling the battle servants.
<Bonnee> Unless (and this was never clear), a master had the ability to break away from a servant before a servant drained them.
<MargareTZ> me too, Jean
<Bonnee> That's what I thought.
<Jocelyn> I got that the masters need the servants to get rid of the excess emotional energy.
<Bonnee> I thought of them as the generals leading the servants into battle.
<Jean> I assumed that humans intended to control the masters, but too many went the way of Gregory.
<Bonnee> Through the bond of linking their mental thoughts, the masters could direct the battle servants.
<Jean> I thought it was the weapon-gone-out-of-control archetype, given this great new twist.
<N`omi> yes, Jean!
<AnnMarie> Exactly Bonnee ... in Mirror I put in a scene where Anatoly is leading a half unit of servants on a raid.
<Bonnee> Yes, I did read that, Ann Marie. I thought of the servants as soldiers and the feeding was a "reward" kind of thing the masters "allowed" if they did their job.
<AnnMarie> Oops ... wrong story ... <blush> Tangling my novels. It was a way to keep them from going rogue.
<Jean> I thought both had to have the feeding to survive.
<Bonnee> Course, reading all this, this is why a prologue simply introducing the masters and servants.
<Jean> Without the feeding the masters waste away and the servants kill innocent people.
<Bonnee> They were bioweapons creates for war.
<AnnMarie> Yes, which was a way for humans to control both before the human population became to small to control anything.
<Bonnee> But the war is over and still they survive.
<Jean> I see such fabulous potential in this universe!
<Bonnee> Now they dominate and somehow something must be done to keep them under control.
<Jean> Ah, but there are no human characters that matter in this book.
<AnnMarie> ... and the Toron, and the Beast Masters, and the diseases, and the rogue humans ... and
<Bonnee> Feeding is how they're controlled, but how they feed is what needs to be explained.
<Jean> There may be later, but this one focuses on the created beings.
<Bonnee> That's the key since that's how Anatoly eventually "captures" Jeanine.
<Jean> Please define "how" Bonnee.
<AnnMarie> I was trying to keep the story within reasonable bounds.
<Jean> You keep asking what I see as clearly demonstrated repeatedly.
<Bonnee> It wasn't because she's dying without a master.... She can tolerate real food if she's bonded.
<Jean> So you have to be asking a different question from what I would mean by "How do they feed?"
<Bonnee> I'm probably not asking it right. I guess the real question is why must they be a pair? Why are they co-dependent?
<Jean> They have to have their metabolism boosted by the emotional energy of the bonding. Otherwise they cannot absorb nutrients. Then they can only "feed" on the powerful energies of fear, pain, and death.
<Bonnee> But if they can survive off the emotions of humans, then why bond? (Other than the killing result.)
<Jean> I assume there are rogue servants who are happy not to bond, and just go on killing.
<Bonnee> When faced with killing to survive or becoming what Jeanine amounts to becoming a slave...
<Jean> But Jeanine doesn't want to be a killer. YES!
<Bonnee> She'd rather be a "slave" than kill?
<Jean> That is the wonderful dilemma!
<Jocelyn> No normal human can provide enough energy even in death to feed one.
<Jean> Ah, but she finds someone in Anatoly who will allow her not to be a slave. Gregory enslaves his servants.
<Bonnee> Okay, so that begs the question of why a master can contain enough energy and emotion to sustain a servant.
<Jean> There are battle-masters who prefer reciprocal relationships.
<Bonnee> Why is he necessary at all other than to keep her from killing humans?
<Jean> Oh, that's just a given of the universe.. They were built to do so.
<N`omi> and coppers
<Jean> Humans designed these beings.
<Bonnee> If they feed on pain and fear, would you want to bond with someone who you must abuse in order to feed?
<Jean> Gregory does. They can feed on any emotions within a bonding.
<AnnMarie> A point I didn't bring out strongly enough ... servants can feed on any strong emotion ... including love.
<Bonnee> That was the thing... I never got the feeling Anatoly was afraid of anything. So what was Jeanine feeding on if not fear? That wasn't clear.
<Jean> I would think they would prefer to feed on love/sex. I thought it was pretty clear that Anatoly's servants feed on his sexual energy.
<AnnMarie> Some early masters managed patriotism and pride.
<Bonnee> The whole bonding relationship needs to be made stronger. Explained clearer.
<Jean> In fact, with the added info that they originated as sex toys, then they were meant to feed on sexual energy.
<Bonnee> But Anatoly admitted he hadn't felt sexual interest in years.
<Jean> He does with Jeanine!
<N`omi> Anatoly was afraid of bonding that deeply.. and loosing again.. the pain ran deep after Vanya.
<Bonnee> But how was he feeding the others before her? Yes, I did pick up on that, N'omi.
<Jean> I think it's a male thing.
<AnnMarie> Religious fervor ... in the services.
<Jean> Orgasm without interest.
<Bonnee> Both Anatoly and Jeanine were driven by fear of losing.
<Jean> Purely physical.
<Bonnee> Again, wasn't explained. The services were only mentioned briefly.
<Jean> I didn't get any religious sense from this book. If that's important it has to be really beefed up.
<Bonnee> Agreed. IOW, room for expansion. Bottom Line -- Is this book publishable "as is"? I would say no. Rewriting is needed to add those areas where questions came up.
<Jean> Well, I think if you're willing to do the work, Ann Marie, you have one goshwow book here.
<Bonnee> Is it a viable book? Absolutely.
<Jean> Agreed. But it's not ready for publication. Don't lose this one!
<AnnMarie> I didn't think it was ... but it was the best I had at the time.
<Bonnee> The story is there. The world is built and the characters "live and breathe". Just needs fine tuning.
<AnnMarie> I don't plan on it Jean.
<Jean> You realize that this one could go to Baen if you handled it right?
<AnnMarie> Even though its sequel is far better developed, even though it was written with all the excessive modifiers. I'd rather sell to epub, Jean.
<Bonnee> That's the nitpicky stuff, Ann Marie
<Jean> It's HARD to find a new twist on war, and you've done it.
<Bonnee> A good editor can clean up anything. The biggest job for an editor is finding a viable story. The hardest part for a writer is telling a damn good story. Everything after that is technique.
<Jean> And this is a damn good story.
<Bonnee> I agree
<AnnMarie> Thank you both
<Jean> Actually, all that can be taught is technique.
<Bonnee> It's got power to it. Exactly! <g>
<Jean> Ann Marie has the gift for story. She just has to get it under control.
<Bonnee> Yes! That's it in a nutshell. I get tons of submissions from people who've developed an ace technique but still can't tell a good story.
<AnnMarie> So, when are you accepting submissions again?
<Bonnee> September... Sorry!!!! I'm booked solid for reading material until July.
<Jean> Well, you need that long to rewrite anyway!
<MargareTZ> September sounds like a good time frame for revising
<AnnMarie> Sokay ... it can wait ... my technique needs so much work I certainly have the time.
<Bonnee> Then I take the rest of the summer to sit around the pool with my girls. Yes, Ann Marie, I'd definitely like to see this one revised and sent
<AnnMarie> Thank you, Bonnee ... it will be there
<Bonnee> I look forward to it
<AnnMarie> I'll send you Mirror as well, although I have to hold that one for a bit before I rewrite it again
<Jean> Thank you so much, Bonnee, and you for letting us read your raw work, Ann Marie.
<Bonnee> Send me the first book (this one?) and then we'll play one book at a time. You're very welcome, Jean. Now, next Sunday. Let's get to assignment time. I want you all to look at the book I assigned -- 38 Most Common Fiction Writing and we'll discuss those chapters in terms of how they affect what we read. If you have any questions. Clarifications. That type of thing. Things like "warming your engines" and creating "breathing" characters, POV and how it affects the reader's emotions. We'll use those chapters in further discussing the two books we've just read, Born of Fire and Master & Servant.
<MargareTZ> That, POV, would really like to discuss!
<Jean> Sounds good.
<Bonnee> POV is always a good rousing discussion <g>. It can make or break a story.
<Jean> Agreed!
<AnnMarie> Sounds good to me ... particularly PoV with the romance/SF differential here.
<Bonnee> In fact, I'll bring some excerpts for you for examples.
<Jean> Great! 
<Bonnee> I just edited a manuscript for a book we'll be publishing in June and the writers totally killed their hook in a scene by dropping in the wrong POV. I'll get permission to use those excerpts.
<MargareTZ> you mean viewpoint character by POV?
<Bonnee> Yes
<Jean> That sounds really useful.
<Bonnee> I'll try to see if I can find a few more while I'm diggin around my hard drive <g>
<AnnMarie> The roving PoV of romance is much harder to use than the more fixed of SF ... I tend to coward out and use the latter.
<Bonnee> LOL! Actually, one of the best books I ever read in romance? It never uses the hero's POV.
<Jean> But my favorite romances have only one or two points of view.
<Bonnee> Everyone else in the book but never does the author go into the hero's POV.
<MargareTZ> I rather like alternating as long as there aren't too many alternates.
<Bonnee> If you're a really fast reader and would like a good example of the use of POV, try THE OUTSIDER by Penelope Williamson. Long book and absolutely wonderful.
<AnnMarie> The most bizarre I ever ran across was first observer in The Possessed by Dostoyevski.
<Bonnee> The story is a woman of faith (think Amish, though she never states if she's Amish or Quaker) who finds a gunfighter bleeding to death in her field. Totally at war in terms of faith and beliefs, Dostoyevski always confused the heck outa me... Three names for each character. Very Russian in style, but I always hated that <g>
<AnnMarie> In a bad translation he's awful ... in a good one he can be hysterically funny. Even while trying not to cringe at some of the viciousness of the setting.
<Bonnee> I was forced to read him in high school. I never got over it so never tried another book.
<AnnMarie> I've gotten very used to the naming system for Russians, I use it in my S~G.
<Bonnee> Read Chekov in college for a theater course and didn't care much for him either <sigh>
<Jean> You do it more clearly than Tolstoy does.
<Bonnee> Agreed <g> Okay, next week.... Point of View, right?
<AnnMarie> Usually the translations don't give the feel for the language ... Dostoyevski actually has a very dry, witty tone in Russian ... not Victorian at all.
<N`omi> right!
<AnnMarie> Yep ... PoV sounds wonderful
<MargareTZ> yes!
<Jean> Okay--see you next Sunday. Thank you! Thanks to everyone for coming.
<Bonnee> Okay, everyone now get back to you dinners! Happy Easter!
<N`omi> thanks Bonnie and Jean

Session Close: Sun Apr 23 13:32:26 2000

 

 

 

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