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Post Reply A woman rushes out of a house(not her house) to her car. On her car windshield, tuck under the wiper blade, is a handwri
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22 / United States
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Posted 8/4/16
"Next time you're cheating with my Husband in my house, make sure my car isn't home and that I'm not literally in the next room over. Today was Friday. I don't work Fridays, so your 'leave before 10 at night' policy won't help you on Fridays.

Thanks,
Wife of the Guy you just had sex with

P.S. You should work on your blowjob technique, it's lacking."
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Posted 8/4/16

Freddy96NO wrote:


chiyotoko wrote:
"Can't see me"
with your avatar that reminded me of this picture.





Noice.
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20 / Cold and High
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Posted 8/4/16

Laura_Bodewig wrote:
"Thanks,
Wife of the Guy you just had sex with
P.S. You should work on your bj technique, it's lacking."
Great sorry.. I mean story...
Just like real life
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25 / F / New Jersey, USA
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Posted 8/4/16

Tay01 wrote:


qualeshia3 wrote:

And yet nobody comments about that woman came rushing out of someone's house.


Don't worry I didn't forget, though you may rather I did. Who knows.

As she reaches for it she notices... guess what, her hands are missing. Really tragic I know. Yet luckily, someone was kind enough to write on the note "I think you left those inside". She runs back to the house, clamoring up the stairs, bleeding profuse, slipping maybe once or twice on her slick syrupy blood. On the last step she falls on her face. Desperate to get up she bores her bloodied stumps in the porch, lifting herself with all her might. Getting quite a bit of slivers mind you. However only to make matters worse, right when hope was shinning threw, she bumps into the door. Its now shut, oops. Missing hands and all that, shes in trouble. However shes persistent, or something else, stupid maybe, and tries to open it with the crux of her elbow. But well that fails and just sprays blood all over the place. In a desperate bid for who knows what, she gnaws on the door knob chipping teeth, and coating the door in even more blood than any home owner would want on it. Simply because she wants it open, what conceit. However the owner was probably a nasty jerk and locked it in the end. She falls backwards, tumbling down the stairs smashing her head against the pavement, and in her last moments as her vision fades, she notices rubbing right against her face is a cute little door mat, that say "no soliciting". She sure regretted that.

Hopefully I conveyed this right.



You made a little story? How sweet.
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27 / F / The Ivory Tower
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Posted 8/4/16
I wrote two, because I'm a little confused.

The version somewhat implied by the description:

Mona ran up the stairs, jumped over the pile of dirty clothes in the middle of the hallway for probably the thousandth time, and reached for the doorknob to Timothy's room.

But she didn't touch it. She couldn't touch it; it wasn't the same doorknob. It wasn't the same door, the same hallway, the same pile of dirty clothes, even the same house. It was a warped house - warped by the secret world Timothy had been hiding from her, that was now changing her reality. No, not changing - her old reality was false to begin with. At that thought Mona started to gasp, but she knew she couldn't. She had to face him. She clutched the doorknob to reclaim herself from her thoughts... and opened the door.

The room was empty. And not just empty - scoured. A motorcycle revved outside, and Mona started running again. When she got to the front door, Timothy was standing next to her car. He looked back to her, jumped onto his motorcycle, and drove away.

For a while Mona just stood there. The exhaust made her think of the time they had gone halfway across the 10 in the middle of the night: her hair flying free, she held Timothy tight, laughing at the squeaks his leather jacket made when she adjusted her body against his back, wondering how something as small as herself got the chance to marvel at something as huge as the Milky Way in the night sky. She tried to hold the memory in her head for as long as she could, but eventually her gaze fixated on something. And then she recognized it: under her windshield wiper there was a note. This time she let herself gasp, and she was sobbing by the time she reached her car and opened the note. "I'm sorry," it said. "I have to fix it. Wait for me."

So she waited.



An attempt at a deconstructionist version:

The society in which the woman lives greatly values the efficient use of time, and as a result it is customary either to run from place to place as much as possible or, with enough money, to purchase personal conveyance vehicles that can move faster than people can walk or run. The note she finds under her windshield wiper is astonishing, as society has moved beyond the casual use of paper and leaving a personal note is very inefficient. Thus usually it indicates the desire to communicate something very privately, and it would be unthinkable for someone to leave a note in plain sight. On it is written merely the number four. That the house she left wasn't hers happens to be irrelevant.
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27 / F / The Ivory Tower
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Posted 8/4/16 , edited 8/4/16
I am confused at the scenarios you are posting; they seem to be designed to elicit very specific responses and are culturally coded. Why did you consider it important in the scenario to mention that the woman was rushing, and that the house she was leaving was not her own? You made it sound like there was some kind of problem, and that the note was connected to it somehow. I'm only going to think that if I happen to have grown up in or been instructed by a culture similar to yours. So far everyone has either picked up on how the situation and note are framed to be unusual, or has made some kind of joke response. I wrote the first version to fit the implied structure (the distressed/troubled woman trope).

Does the first one seem more interesting? More compelling? Well, I wrote it almost mechanically: I knew exactly what the story was supposed to do, and the details were fairly easy to manufacture. The same story has been written countless times, with only the names and details changed. Coming up with the deconstructionist version was more difficult and required a lot more thought: it required me to come up with a way to divorce "rushing" from urgency due to a specific situation, the note from the rushing, and the note from our usual understanding of how notes are used. Frankly, it was more creative.

It's very hard to say something new, and old topics are plenty worthy of rehashing. But I'm not sure the kind of exercise you're giving us is all that useful. Sure, it prompts us to fantasize scenarios, but we're probably either just going to make jokes or we're going to fantasize the scenarios society has already inculcated in us. It's far more interesting to take apart those inculcated scenarios. Deconstructionists argue that this is what literature is ultimately about. I enjoyed taking apart the first scenario you posted a while ago, about the woman in the red dress walking into the ocean; try something like that instead.
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25 / M / The Void
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Posted 8/4/16
"Who was phone?" *cell phone rings*
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27 / M / NY
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Posted 8/4/16

VividDreamZ wrote:



"right" down my details

*writes down a score of 90% on the paper*
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25 / F / New Jersey, USA
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Posted 8/4/16

auroraloose wrote:

I am confused at the scenarios you are posting; they seem to be designed to elicit very specific responses and are culturally coded. Why did you consider it important in the scenario to mention that the woman was rushing, and that the house she was leaving was not her own? You made it sound like there was some kind of problem, and that the note was connected to it somehow. I'm only going to think that if I happen to have grown up in or been instructed by a culture similar to yours. So far everyone has either picked up on how the situation and note are framed to be unusual, or has made some kind of joke response. I wrote the first version to fit the implied structure (the distressed/troubled woman trope).

Does the first one seem more interesting? More compelling? Well, I wrote it almost mechanically: I knew exactly what the story was supposed to do, and the details were fairly easy to manufacture. The same story has been written countless times, with only the names and details changed. Coming up with the deconstructionist version was more difficult and required a lot more thought: it required me to come up with a way to divorce "rushing" from urgency due to a specific situation, the note from the rushing, and the note from our usual understanding of how notes are used. Frankly, it was more creative.

It's very hard to say something new, and old topics are plenty worthy of rehashing. But I'm not sure the kind of exercise you're giving us is all that useful. Sure, it prompts us to fantasize scenarios, but we're probably either just going to make jokes or we're going to fantasize the scenarios society has already inculcated in us. It's far more interesting to take apart those inculcated scenarios. Deconstructionists argue that this is what literature is ultimately about. I enjoyed taking apart the first scenario you posted a while ago, about the woman in the red dress walking into the ocean; try something like that instead.


Do you want to know a secret?
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27 / F / The Ivory Tower
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Posted 8/4/16

qualeshia3 wrote:

Do you want to know a secret?


Depends; to what is the secret relevant? Presumably this conversation. I'd be okay with that, but I'd have to think about whether I'd want to know a world-shattering secret.
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25 / F / New Jersey, USA
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Posted 8/4/16

auroraloose wrote:


qualeshia3 wrote:

Do you want to know a secret?


Depends; to what is the secret relevant? Presumably this conversation. I'd be okay with that, but I'd have to think about whether I'd want to know a world-shattering secret.


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27 / F / The Ivory Tower
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Posted 8/4/16

qualeshia3 wrote:


auroraloose wrote:


qualeshia3 wrote:

Do you want to know a secret?


Depends; to what is the secret relevant? Presumably this conversation. I'd be okay with that, but I'd have to think about whether I'd want to know a world-shattering secret.




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25 / F / New Jersey, USA
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Posted 8/4/16

auroraloose wrote:


qualeshia3 wrote:


auroraloose wrote:


qualeshia3 wrote:

Do you want to know a secret?


Depends; to what is the secret relevant? Presumably this conversation. I'd be okay with that, but I'd have to think about whether I'd want to know a world-shattering secret.







No. It's mainly for fun.
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