The Hemlock Notations

~ The writings of Faust S. Amazing

Tag Archives: Superiority Complex

Honestly Serious. Seriously Honest.

04 Thursday Aug 2016

Posted by Faust S. Amazing in writing

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editing, Hemlock, hemlock notations, Honesty, how do I edit, how do I write, how to edit, how to write, Samuel Eden, Superiority Complex, writing

Oh, it’s going to be one of those posts. I’m going to drop a chest nut on you.

I’ve brought this up before on the blog: “Write what you know.” It’s a mainstay of writing advice. What isn’t a mainstay of that advice is the reason behind the advice(I’ve never seen presented).

So that’s what we’ve got today. The reason behind the “write what you know” advice.

Okay. Now that you’ve stopped hyperventilating from excitement, keep reading.

So the reasoning behind the advice is simple, we’re trying to fill the page with honesty. That honest moment; being alone in a crowded coffee shop, or that moment when two people connect and form an unbreakable friendship. That honest feeling; the realization that the universe is too big for you, or how excited your pet is to see you when you come home from work lets all the shit from the day fall off your shoulders. Whatever you honestly know and have experienced coating the page so readers can connect with your story.

I’m going to pull back the curtain so you can see backstage of my writing. SPOILER ALERT: If you’re a fan of my other writing, and don’t want the whole thing dissected then skip to the salutation. For those of you that remain here’s some honesty for you: For a good chunk of my life, and I’m talking a solid 25 years, I’ve felt alone, like I didn’t belong, it’s something that I struggle with even now. I joke, but it really is true, that I was raised to be an outsider by a family of outsiders. So if you look at my writing it’s all, and I mean every story I’ve written, is about being alone, feeling isolated, struggling to find a place to fit. That’s the emotion I know the most, and that’s the emotional truth I put onto the page.

Now, that write what you know advice doesn’t have to consume the entirety of your stories like mine does. In the examples above I mention that pet whose enthusiasm to see you makes life easier to bear. That is an emotional truth itself, and you can use it in your writing. I would like to express the emotional truth is not the same as actual truth, so you can apply the knowledge of that moment and relationship to a married/dating couple. It’s still fiction writing after all. You see just because you haven’t experienced a specific thing, let’s say divorce, doesn’t mean you haven’t felt alone, or betrayed, and can apply it to the character in your story that is getting divorced.

The important thing to remember is the honest emotions you’ve experienced and apply those to your writing. The problems arise when you try to write about an emotion you haven’t experienced. Don’t be discouraged, every day you get to run through, roughly, 16 hours of emotions, eventually you’ll have enough for a whole saga of novels.

Until next time: Be yourself, be well. Write yourself, write well.

The Ergonomics of Failure

08 Thursday Oct 2015

Posted by Faust S. Amazing in writing

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beginning writing, editing, editing process, Failure, hemlock notations, how do I write, Samuel Eden, Superiority Complex, Writing Process

We’re back again for another installment.

Last time I mentioned failure. So I wanted to talk a little more about that. Because, you know, I don’t think life is depressing enough.

Anyway. I specifically say: “Stopping writing makes you a failure.” While at the time I was being inspirational this time I wanted to talk practically about that statement. I’ve asked several authors what is meant by the term, failed novel. All of them said that a failed novel is basically a novel that you stop working on.

I want to be clear on this. A novel isn’t a failure because it’s been rejected x number of times, or xx number of times, or xxx number of times, or xxxx number of times. It’s not a failure because it’s never published. It’s not a failure because numerous, very loud people don’t like it. It’s not a failure because, while people like it, the public misses the underlying point that you were going for in the story.

The only thing that makes a novel failed is you giving up on it.

Now I’m not talking about: I’ve been working on this novel for months/years. I’ve written it, re-written it, and re-re-written. I’m at the point that, I as the author cannot do anything more with it; I’m going to need a third party to come in and take a look at it before I can do anything else with it. So you stop actively working on it so you can focus on other things, like another novel, or eating, or your relationship (I swear I had a girlfriend/boyfriend/fiancé around here somewhere).

What I’m talking about when I say a novel is failed is: I got fifty pages in about a couple years ago and then I just haven’t had the time to pick it back up. Or, I tried writing a novel, but it just wasn’t for me. Or, I wrote a whole novel, but no one seemed to like it so, but I’m not going to change anything because they don’t get it; I’ll just focus on my porn addiction for a while.

Basically any time you just stop working on a novel, and just never go back to pick it up. The above reasons are pretty negative, but a failed novel might be a good thing too. Just let me explain. If you spend time writing you should, eventually, get a feel for your writing process, your style, and stories in general. You could have a great idea for a novel, get fifty pages in, and you realize that it’s just not working. Whatever the reason may be: the subject might not translate well, you might be having trouble organizing your thoughts, you might not be feeling the story right then. In that case you abandon the project in favor for a project that comes more easily. Or you might decide that your brilliant idea for a novel actually works better as a short story.

As a writer it is important that you’re able to identify poor writing, especially if it’s yours. Just because you have a failed novel doesn’t mean you are a failure. Apparently, John Green in the wake of The Fault in Our Stars, has started and abandoned four or five novels.

(If you don’t know who John Green is; he’s awesome. If you haven’t read The Fault in Our Stars; you should.)

The point I’m going for is this: Just because you have a failed novel doesn’t mean you are a failure. As the old saying goes: We learn more from our failures then our successes. And again: the only thing that makes you a failure is if you stop writing. So don’t let that one failed novel/story define the rest of your story, learn from it and move on.

Until next time: be yourself, be well; write yourself, write well.

BOO!

31 Friday Oct 2014

Posted by Faust S. Amazing in Uncategorized

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Halloween, hemlock notations, Horror Writing, how to write, how to write horror, Samuel Eden, Superiority Complex, writing, writing advice

Alright let’s talk horror. What makes a good horror story? Think back to the stories that scared, or currently scare, you. What was it about them that sent a chill down your spine?

Monsters? Sure.

Gore? Yep.

Fifteen flavors of death? You bet.

But these are not the things one needs to think about when thinking about crafting a horror story. (Yes, if your story is a ghost story you need to think about why and how they are a ghost and the rules for that, but the core writing of a horror story is what I want to discuss today.) There are two core things to keep in mind when crafting a horror story: atmosphere and claustrophobia.

Again think back to the stories that scare you. What is it about the writing that you see?

Atmosphere (At-most-fear): Descriptions of things and situations are key to setting a creepy atmosphere. Saying your characters visit a cemetery is good. Saying your characters visit a cemetery at sunset is better. Saying you characters visit a cemetery at sunset on the outskirts of town and the silence of its expanse is heavy is best. The more you can draw your readers into the scene the more you can paint them a picture of what it’s like in the world of your nightmares. Descriptions are just one way to add to the atmosphere of your story; don’t forget about your characters. How your characters react to a situation, or setting, can add to the creepiness as well.

Claustrophobia (the fear of enclosed spaces): I don’t mean this in a literal sense (you don’t actually need someone afraid of enclosed spaces in your story). What I’m talking about is your characters feeling that the world is closing in on all sides, or the feeling that they are all alone in the world. Setting can do a lot of the heavy lifting here. Think about Evil Dead, Cabin in the Woods, Cabin Fever, or John Carpenter’s The Thing. These are all movies, but still stories, that place the characters in isolation. Sure the characters could run from the cabin(s), or the research station, but then what? They’ve got miles and miles of nothing around them, while they are “free” to leave whenever they want, they are effectively trapped by their environment. (As an added bonus these environments, if described correctly, can add much in the way of atmosphere to your story). Other films like Nightmare on Elm Street and The Ring (the American version, yeah I know, but I never got around to seeing the original), go about the claustrophobia in different ways. In Nightmare the setting is the suburbs but the claustrophobia is layered first with overbearing parents that restrict their children’s movements and then by transporting the kids into dreams where they are trapped by the environment in the dreams (a house, boiler room, any number of creepy hallways) and in the dream itself. In The Ring the main character is free to go and do whatever she wants, she even lives in a big city, in this case the claustrophobia comes from the time limit placed on her life. Not only the time limit, but as the deadline (ha, ha) approaches she feels more and more isolated from the world around her. As another example think of any zombie story you’ve ever read; the claustrophobia (the main source, not just the hiding out in fortified houses) comes from the fact that the characters may be the only humans left in the world. So again while they could, theoretically, go wherever they want, what would be the point?

If you nail atmosphere and the feeling of claustrophobia for your stories you might not even need an actual monster in the story, the idea of the monster might be enough.

As always when writing horror, think about what scares you and put that on the page. You’re not alone, someone else is probably just as scared of that thing as you.

Happy Halloween!

I’m Prepared to Prepare for the Preparing

01 Monday Sep 2014

Posted by Faust S. Amazing in Uncategorized

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beginning writing, getting started writing, hemlock notations, how to write, Samuel Eden, Superiority Complex, writers, writing, writing preparation

How’s everyone doing today? That’s good (and conversely: I hope it gets better).

Today I want to talk to you about preparation. This goes beyond making sure you have the power cord for the laptop and a refill for a Venti-Grand Pumpkin Seasoned Frappa-Latte hold the Whip. What I want to talk about is preparation for your story.

As with the actual writing process there are as many different ways to prepare for writing your story as there are people who write. We’re going to look at two of the biggest in this post and touch on some others. Research is a part of the preparation, but I have enough to say about just that that it will get its own post.

The first way of preparing is the outline. If you’re unsure how to outline something try this: http://web.psych.washington.edu/writingcenter/writingguides/pdf/outline.pdf . This is a PDF from the University of Washington, it’s straight and to the point. A good way to think of an outline is as a skeleton for your story. What you’re doing with an outline is putting down the bare bones of the story. You then use the outline as a road map, reminding you where the story was going when you first conceived of it. Many writers hang their hats on the obvious and genuine successful utility of an outline. It is a tried and true method of writing preparation. The upside of using an outline is that it is clear and easy to read, everything is right there for you in an order anyone can follow at a glance. The downside I’ve seen with the outline is that newer writers see the outline as an absolute. They believe that because it’s on the outline it has to be in the story, that if they have something as the third scene on the outline it has to be the third scene in the novel. The best advice is to remember that an outline is just prep; if by the time you have some/most of the story down and something you have in the outline doesn’t fit right (or at all) anymore don’t try to force it into your story just because it’s in the outline. If a scene works better later in the story than where you have it in the outline move it. The outline is a static thing, but a story is alive and grows listen to it as much as possible.

The second way of preparing is note taking. Basically this means as ideas about the story come to you you write them down in a notebook. Notes can be as detailed or as sparse as you want, as long as there is enough information down to remind you of what you wanted to say originally. Many writers jot down notes on anything they have at hand (one author-damned if I can remember who now-said he once wrote notes to one of his books in the margins of another novel), but most carry a small notebook with them for when inspiration strikes. I want to state now that this is the method I use. It just works for me because of the way my mind works. My notes will include a character list, with a few sentences about personality/role in the story/some history, but mostly there will be notes on scenes and lines that I thought were cool when I heard them/they came to me. Sometimes the notes for the scenes are a few lines (this happens, then character A does this, and character B is saved/abhorred/dead), sometimes I write the whole scene down because I like what comes to me originally and want to get it all down. The upside of this approach to prep is that it’s much more free form than an outline. It doesn’t come with the same stigma of rigidness as an outline. The downside is this approach can be far less organized than the outline; which means you may have to backtrack during the writing to put in a scene you missed because it’s buried in a page of notes. This happened to me once, I was three-fourths of the way through a story, looking for a note about a line I liked, and found a scene that was supposed to go in the middle of the story. As it turns out after reading the note on the scene I decided not to include it because it didn’t really fit the story at that point. So be warned that you can miss notes, and if you’re the type of person who is disorganized outlining might be a better way to go for you.

At this point I want to bring up that these two types of preparation are not mutually exclusive. There are plenty of writers out there who take notes and before they sit down to actually start writing organize their notes by putting them into an outline. There are writers out there who do outlines and write notes about scenes and characters on it as they go and the information fills in during the writing process.

And again these are not the only ways to prepare for writing. I’ve heard some writers say they just sit down and pound out pages when they get an idea and then go back and take out things and rearrange scenes when they’re done. This can be good for a short story, but I’ve found it hard to pound out a novel (eventually I’ll forget something, which is more annoying to me than taking the time to write down some notes).

I do have a point to make that goes beyond mentioning how people prepare for writing. The point I want to make with this post is: Preparing to write is not writing.

I want to share something with you. I’m acquainted with someone who calls themselves a part time writer. He really likes epic fantasy and so wants to write epic fantasy. A couple years ago, being polite and semi-interested, I asked him how his writing was. He replied that he had some notes for a new story he was excited about. I asked him what it was about, he mumbled a few sentences, and we went on our ways. A couple weeks later I saw him and again asked how the writing was. He replied that he’d finally organized his notes into an outline. That’s cool I said, and again ways were went. Couple weeks later, how’s the writing? He’d found a map generator online and he’d finally settled on a map for his world. Okay. Ways. This time it was a month before I saw him again. How’s the writing? He’s been working on detailed backstories for his characters so he knows how they’d react in any given situation. I stopped asking after that.

I’m not telling anyone specifically how they should write (I like to think of these posts as suggestions to help get people started). However at some point preparing to write your story becomes putting off writing your story. I know for me writing is my addiction. On days I write I’m happy and bouncy, but the longer I go without writing the more irritable I get. So the fact that this person was doing everything they could except writing their story seemed like they were afraid to write it.

So today’s piece of writing addiction advice: Don’t be afraid to write your story. You’re the only one who can.

Superior Free Stuff!

07 Thursday Aug 2014

Posted by Faust S. Amazing in Uncategorized

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fantasyworldwriter.com, free stuff, Samuel Eden, Superiority Complex

Hey, All!

Just to let you know, I’m working with fantasyworldwriter.com for a promotion of Superiority Complex (my first book). If you go to his website and talk to him he can set you up with a free digital copy of the book if you promise to write a review about it.

This is a good chance to get a good chunk of writing from me if you’ve always wanted to but didn’t necessarily have the money to do it.

Enjoy the book, and good reading everyone.

The Subject of Objectivity; The Object that is Subjectivity

21 Friday Mar 2014

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hemlock notations, how do I write, literary blog, Samuel Eden, Superiority Complex, the writing process, writing blog

Being a part of a writing group is very insightful. One of the things it has taught me is that a writer can only be objective about other people’s writing.

That’s not to say it won’t make a person more critical of their own writing, but I’m going to be honest with you, it won’t be enough.

No one is quite as objective towards something as someone who has nothing invested in what they’re doing. After spending hours upon hours of figuring out your characters and your stories, and then hours upon hours of writing them and putting the story together the way you want it, there’s going to be a ceiling of objectivity for you.

This is absolutely fine. You shouldn’t be objective about your writing. It’s your baby. It’s a piece of you. At the end of the day we write because we have something to say. Let’s face it there are easier ways to get fame and money. So the fact that you can’t see that crazy Uncle Karl character is too clichéd and cluttering the scenes is to be expected.

What you have to do is stay objective about the process of writing. When you give your story to someone else and they tell you that crazy Uncle Karl is clichéd and clutters the scenes he’s in you have to be able to hear that critique, go back, and look at Uncle Karl with the eyes of your reader. Maybe the fix is as simple as just having Uncle Karl in the background; maybe the fix is fusing Uncle Karl with another character; maybe the fix is getting rid of Uncle Karl altogether.

The point is: you have to be open (and objective) about the process of your story’s development. To that end you have to pick the right readers. Inevitably our loved ones become the first ones to read our stories. This is good and bad. The positive: they have a vested interest in you and in encouraging you so there’s that. The negative: they have a vested interest in you and in encouraging you, so they might not be as harsh on your story as someone else. So be sure you’re having the right people reading, not that your loved ones shouldn’t read your stories, but you should have others too. You need other people to read your stories, because you’re going to need someone to be harsh on your stories for them to get better.

There’s an inspirational sports poster I remember seeing in my high school: Pain is weakness leaving the body. The same can be true of the harshness of a critique. The reason for editing is to get the best story possible.

Who doesn’t want to put out their best work?

So stay open to the process (no getting mad at people for helping). And remember, very few books are their best on the first draft.

Nutrition and Processed Writing

07 Friday Mar 2014

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hemlock notations, how do I write, Samuel Eden, Superiority Complex, the writing process, writing

“It’s a meat process.”
–Doublemeat Palace, Buffy the Vampire Slayer; Season Six

Okay, we’ve been building to this for a while now. Today I’d like to discuss the writing process. Almost every writer gets asked what their writing process is. I haven’t been asked much, but I like to joke that it involves a lot of internet porn.

I’ve been avoiding talking about it because it seems like such a big thing to talk about. “Kids, sit down. It’s time for “the talk.” When a man, or woman, feels a building urge inside them to tell a story they go to the drugstore to buy some things they’ll need…” Yeah, that type of big.

At the same time the phrase “writing process” evokes incongruous images. Such as, an assembly line where cars get built, or a recipe for baking a cake. As if a writer, because he/she is popular and making money, or is critically acclaimed, has found the right setup of ingredients and/or procedure to write.

I’d like to say right now: the writing process is not a magical formula for writing.

A colleague in my writing group finds he writes best at the Barnes & Noble Starbucks a few miles from where he lives. Another colleague writes between midnight and two in the morning. Laurie Hallse Anderson’s husband built her a cabin in the backyard where the only electronic thing out there is her computer. J.K. Rowling wrote exclusively in coffee shops.

I have a loving and understanding wife who let me have my own office. So when I write I go into my orange office with black trim (that’s right it’s Halloween all the time for me), sit at my black table (not a desk; desks are claustrophobic), turn on my Dubstep playlist entitled: Medreadation (‘cause I’m a dork), and write. Furthermore, if I’m writing on the computer I change the color of the page to black and the color of the letters (I wrote this blog post in green). Sometimes I come in, turn on the music and just can’t take it. So I turn it off, put in my ear plugs, and shut out the world. Sometimes, I can’t take looking at the computer screen, and I whip out a notebook and pen. When I write long hand I use a variety of pens and notebooks (right now I’m on a legal pad kick; but white paged legal pads, the yellow pages annoy the fuck out of me). Black or blue ink depends on my mood, and a red pen on standby for on the spot corrections.

To point out the obvious: all of these “writing processes” are different. Here’s the secret to the writing process: it’s just a way for you to feel comfortable enough to write. It’s almost anti-climactic in a way. Innit?

Clarification: When I say comfortable I don’t necessarily mean relaxed. My one piece of advice for the writing process is that you find a space/place/environment that’s stimulating without being distracting. When I say comfortable I mean: a place where you feel you can sink into the story and express it in the form of words via writing. Some people feel comfortable floating along the background noise of other people in coffee shops, others find shutting out the world so it’s just them, their brain, and the world of the story. Whatever works for you is what’s good for you.

One thing to keep in mind about the writing process is you. As I stated above: the writing process isn’t some magical formula. The writing process is a tool to help you write. It is not set in stone. If you find that you’re not writing as much, or are being distracted more, by what you were doing, try something else. Sometimes I write stories on the computer, and sometimes I write them long hand first. Sometimes I switch back and forth between the two. Don’t be afraid to change what you’re doing. You’re going to change as a person, so too will the way you write.

Turtle Soup or Rabbit Stew: the tortoise and the hare revisited

22 Saturday Feb 2014

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hemlock notations, how do I write, Samuel Eden, Superiority Complex, The Man with the Invincible Gun, the writing process, writers, writing

Alright, we’ve discussed the writing habit, or muscle if you prefer. Now I want to talk about something that is closely related to “the habit” and “your process”: output.

BA-BA-BUUUUUM!

As writers, as people really, we like to see what we have to show for our work. Being able to look at a screen/notebook/printed pages and say, “wow, this is what I got done today,” is a key part to our esteem as workers, as writers, as creators. Eventually this question might also cross your mind: “How much should I be writing?”

In his memoir of craft On Writing (2000, Pocket Books) Stephen King mentions that he does ten thousand words a day. For those of you who can’t do the conversion from words to pages in your head that’s forty (OMG!) pages a day. Author of The Phedre’s Trilogy Jacqueline Carey, in an interview with Writer’s Market, mentioned that while writing the first book in the series she made a deal with herself that she couldn’t shower until she got at least a paragraph…and some weeks she went days without one.

Recently I overheard two of my colleagues in my writers’ group talking about writing. One of them asked the other how long it takes them to write. Of course I perked up and listened doubly hard. The other one answered: “I take about three to four hours,” and I thought this was reasonable, “per page.” My mind was blown. I couldn’t believe the person takes that long for each page.

For me, if I’ve spent 3 to 4 hours on a page it’s a bad day. I’m not feeling it; I know I have to admit I’m beat and take a break. The project I’m working on with my writers’ group I wrote over the summer. I wrote it in full lit-jock mode so not only was I hitting my five page quota easily I was averaging between 12 and 20 pages most days.

There are two very different amounts of output associated with working like this. I want to stress that my colleague’s pages have beautiful language (they better), but this is a stylistic choice that wouldn’t necessarily change if he worked faster. In the writers’ group we usually deal with a couple people each week with no more than a maximum of thirty pages. The last time we looked at this colleague’s pages he turned in 10 and those were a couple days late. My pages don’t have beautiful language, but then I didn’t write that type of story, and I’m done with the whole novel, in fact I finished in the summer, I turn in 30 pages every time I’m up for the group.

Now before you think I’ve thrown down the gauntlet, or I’m condemning my colleague, I want to clarify a few things. First, I’m a 10 on the personality scale (my scale only goes up to 10) so every story I write I’m excited about. Second, I have a crazy work ethic and if I don’t get at least five pages a day I feel like I’ve wasted my time. Third, I believe in the power of editing. One of my favorite things to say is: Editing lets you craft the story you thought you wrote the first time around.

Some of you might be thinking that taking 3 to 4 hours per page means you can cut down on the editing process. Well, that’s a false premise, because the 3 to 4 hours per page factors into that. Obviously my colleague is taking the time to make each sentence perfect (or near enough) before moving on. So there’s still editing, it’s just built into the writing process. Secondly, it cuts down on the editing on a basic, sentence level, but not necessarily when it comes to the story itself. Do you know that old military saying? “No plan survives contact with the enemy.” Well, no manuscript survives intact after first contact with readers (agents/editors/focus groups/what-have-you). So you still might have to change the story multiple times to clarify things or flesh things out.

Again, I’m not drawing a line in the sand and saying writing slowly is bad. I’m not even saying it’s less or more work, taking less or more time. What I want to make clear is if you write fast or you write slowly it’s roughly the same amount of work either way. I want everyone to be aware of that.

The point I want to make with this post is this: all progress is positive. It doesn’t matter if after 4 hours you have three pages or twenty, you’ve done a good job. If you’re only getting a few pages after hours of writing it doesn’t matter. Seriously, your process, your style, your output will change, should change, as you mature as a writer. The important thing is you’re writing.

And to put it simply: if you want to write more, write more.

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