I've written quite a few things, but I've put it on hold for now to see how everything fits together. Then I'll approach it and write specifically to see how the pieces fit in the puzzle.
Sentiment: POSITIVE
I have trouble writing if I can't picture how things are going to look.
Once I'm given an idea for a story I have a million ideas on how it should be illustrated, but I don't have a big shoebox full of unfinished ideas.
My goal as a puzzle designer is to create a meaningful experience for the player, not just 'I solved it.'
I write down portions, maybe fragments, and perhaps an imperfect view of what I'm hoping to write. Out of that, I keep trying to find exactly what I want.
Writing a mystery is like drawing a picture and then cutting it into little pieces that you offer to your readers one piece at a time, thus allowing them the chance to put the jigsaw puzzle together by the end of the book.
Each piece I tell stands on its own, and then it all ties together. It segues from story to story, and then I wrap it up - like three-piece movements in a symphony.
Just go outside and look at something and write it down and you'll find it is a very nice piece of writing.
I'm here to get the story on to the page. It would be good to catch your attention, and I have to make you want to read on, and I suppose I prefer you don't actually think about the 'how' at all - the writing technique, the 'style', or even who it is that's putting this together.
The experiment of the poem is mostly intuitive. I write the first draft, pulling in the various elements that interest me, in the hope that their being combined will lead to some kind of insight.
What I do is write, and I try to write as closely as I can into what I call 'the mystery.'
No opposing quotes found.