But I think it's natural, in a way, what you say. It kind of ties in with my complaint about the skating commentators being so damned picky. To the average viewer, who doesn't know the difference between a flip and lutz jump, or the casual artistic skater like me (who has managed a single lutz once in her life--yay me!--and hates flip jumps with a burning passion), it seems enough to land a three-revolution jump backwards on one foot...but to someone who's trained and studied the nuances of the sport, issues like how long a skater holds an edge become noticeable and important.
I suppose it's much the same for writers. The casual reader goes into a story wanting to be entertained, not really caring about the technical nuances...but one who has studied those things tends to notice, and it affects how that person judges the story.
For me, having edited/beta'ed/workshopped more stories than I care to remember, it's hard to turn off the critic and just sit back and enjoy the story.
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rosecarmine
(no subject)
Date: 2006-02-22 04:37 pm (UTC)But I think it's natural, in a way, what you say. It kind of ties in with my complaint about the skating commentators being so damned picky. To the average viewer, who doesn't know the difference between a flip and lutz jump, or the casual artistic skater like me (who has managed a single lutz once in her life--yay me!--and hates flip jumps with a burning passion), it seems enough to land a three-revolution jump backwards on one foot...but to someone who's trained and studied the nuances of the sport, issues like how long a skater holds an edge become noticeable and important.
I suppose it's much the same for writers. The casual reader goes into a story wanting to be entertained, not really caring about the technical nuances...but one who has studied those things tends to notice, and it affects how that person judges the story.
For me, having edited/beta'ed/workshopped more stories than I care to remember, it's hard to turn off the critic and just sit back and enjoy the story.