I write novels. And with just about every novel I write, I try to do something new or different that I haven’t done before, in order to challenge myself as a writer, and to keep developing my skills. In The Android’s Dream, of example, I wrote in the third person for the first time; in Zoe’s Tale, I had a main character—a sixteen year old girl—whose life experience was substantially different from my own; with The Human Division, I wrote a novel comprised of thirteen stand-alone “episodes.”
And now? With Lock In? What new thing have I done to stretch myself as a writer and teller of tales? Well, I’ll tell you; it’s something I’m really proud of, actually:
I’ve written a novel entirely free of semicolons.
John Scalzi in Pacing Doesn’t Just Mean Wearing a Groove in the Floor.
Like that final note, that whisper for forgiveness on bended knee; a semi-colon here and there is forgiven. It allows the sweet taste of mental interchange to hover, that invisible goodness between minds.
Beautifully done, Sirrah!
Here’s my take on semi-colons; http://ed-strong.com/screw-the-semi-colon
Haha, congrats! What a challenge that must have been.
I am fond of semicolons. If I find your book, I shall be obliged to carry a napsack (sic) of them as refraishments among chappeders.
One man’s pedantry is another’s pleasure: I second the fondness for semicolons.