A Quote by Laurell K. Hamilton

I want a kiss to be so believable it gives the reader shivers. — © Laurell K. Hamilton
I want a kiss to be so believable it gives the reader shivers.
When I play a gay character, I want to be as believable as possible. And when I'm playing a straight character, I also want to be as believable as possible. So the less that people know about my personal life, the more believable I can be as a character.
Why all this insistence on the senses? Because in order to convince your reader that he is THERE, you must assault each of his senses, in turn, with color, sound, taste, and texture. If your reader feels the sun on his flesh, the wind fluttering his shirt sleeves, half your fight is won. The most improbable tales can be made believable, if your reader, through his senses, feels certain that he stands at the middle of events. He cannot refuse, then, to participate. The logic of events always gives way to the logic of the senses.
We kiss again. This next kiss is the kind that breaks open the sky. It steals my breath and gives it back. It shows me that every other kiss I've had in my life has been wrong.
In the end, it's about the reality. You want something that's believable in the performances; you want something that's believable in the storytelling, in the writing. You just want to connect to something that you feel is real.
To whomever gives a kiss or a blow Render a kiss or blow But to whomever gives when you are unable to return Offer all the hatred in your heart For you were slaves and he enslaves you
If you hear Anarchy in the UK today your hair stands on end. It gives you the shivers.
I do crazy amounts of research. I want this stuff to 'work,' so to speak. I need to be, at least to me, believable - because if I feel - if I cannot invest some element of verisimilitude, the reader is absolutely not going to buy in.
So, when kiss Spring comes we'll kiss each kiss other on kiss the kiss lips because tic clocks tock don't make a toctic difference to kisskiss you and to kiss me.
Any writer who gives a reader a pleasurable experience is doing every other writer a favor because it will make the reader want to read other books. I am all for it.
It is the passion that is in a kiss that gives to it its sweetness; it is the affection in a kiss that sanctifies it.
I was seventeen and the star of my high school play. I was supposed to kiss my leading man, but I couldn't stand the guy. I really didn't want to kiss him. All during rehearsals, I refused to kiss him. Then my drama teacher told me, "If you don't kiss him on opening night, you'll flunk drama class. So I kissed him, and that was my first kiss.
RHETORIC The art of making life less believable; the calculated use of language, not to alarm but to do full harm to our busy minds and properly dispose our listeners to a pain they have never dreamed of. The context of what can be known establishes that love and indifference are forms of language, but the wise addition of punctuation allows us to believe that there are other harms - the dash gives the reader the clear signal they are coming.
Probably, subliminally, I think of the reader as a kind of collaborator. I don't want to say something for the reader that the reader could have said for himself.
I believe that if the story is fleshed out and the characters more believable, the reader is more likely to take the journey with them. In addition, the plot can be more complex. My characters are very real to me, and I want each of my characters to be different.
There are many different types of kisses. There's a passionate kiss of farewell - like the kind Rhett gave Scarlett when he went off to war. The kiss of I-can't-really-be-with-you-but-I-want-to-be - like with Superman and Lois Lane. There's the first kiss - one that is gentle and hesitant, warm and vulnerable. And then there's the kiss of possession - which was how Ren kissed me now.
The most improbable tales can be made believable, if your reader, through his sense, feels certain that he stands at the middle of events.
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