i answered these, but fortunately they are ones that can have multiple answers!
12) your weaknesses as an author - i have a hard time writing stuff that isnât dialogue or stream of consciousness. writing two characters bantering is easy, but writing those same two characters in an action sequences or just wandering around exploring or whatever is much harder and i have a hard time being able to tell if itâs interesting or not.
13) your strengths as an author - i like to think some amount of humor? like witty banter and situational humor? ultimately itâs not my opinion on it that matters, but itâs something i feel comes out well.
25) copy/paste a few sentences or a short paragraph that youâre particularly proud of - From Silhouette:
Sheâs used to being thought of as a blunt instrument, and so sheâs a bit nonplussed by the way Root keeps insisting she cares. Thatâs not something anyoneâs ever accused her of before and sheâs annoyed by it as a reflex.
Sheâs annoyed by it the entire ride out of the darkened city on a damned bike, and when she steals a car on the other side of the bridge, and all the way across bumblefuck New Jersey to make sure Root doesnât get shot before she can tell her how annoyed she is.
She watches her own shadow biking furiously alongside her over the bridge. Thatâs all most people see, she knows. Her shadow, empty and dark, miming out her movements because it canât do anything else.
Root predictably insinuates she was worried about her and Shaw isnât nearly as annoyed as sheâd planned to be.
And from Feedback Loops, because this is a mood:
âThere are maybe four dishes in the sink.â Shaw shook her head. âStop being so dramatic about this.â
Root picked up the sponge, unenthusiastically. Sure there were only four dishes now, but once the dish-washing precedent was set there were an infinite number of dishes waiting in the future. She felt like she was drowning in potential dishes.
