I'ma just leave this here:
The Legalities of Shooting People.
ETA: Okay, I realize that everyone is having a blast smacking Clamps around like a cheap pinata, but I'm going to bow out at this point in time. I have a Sunday deadline I'm desperately trying to hit on a story that's making me crazy
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Shudkhers, vaguely reptilian or piscine with inhumanly sapient eyes and almost slippery and scaly skin of moss green or rust or light gray, tridactyl feet and sharp sickle claws. I jumped in a cleft in the ground, and a wave of shudkhers leapt above me.
We went into a cave network as shelter from the simoons and the marauding shudkhers. Where coarse sand had poured in through cracks and where dusty sunlight streamed through, cacti and manzanita and succulents grew under. In darker recesses, there were growths like severed and melted hands on naked rock and on chunks of machinery so wracked and ruined I could no longer determine what they were once part of, but if I had to guess, they were mining equipment, glowing a neon orange.
Please tell me this is a first draft.
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It has this, at least: Christopher almost shivered, as the abrupt return of the room to a bearable level of light fell like the darkness of a winter compared to the summertime brilliance of the moment before. It was as if the sun had suddenly disappeared from the sky, turning noon to inky midnight in an instant.
That stood out. In a bad way, of course.
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It's a forty-word fragment.
Planks and motes.
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This is simply bad: "The guide was very nearly as unfriendly as a dwarf too, the man who was presently calling himself Nicolas thought, vaguely annoyed at his inability to crack the man's reserve."
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And what I'm saying is that the passage you quoted is a classic example of style over substance, award-winning or not, and is part of the problem with modern SFF. Someone can win multiple awards and still be bad.
After all, Larry's won multiple awards, and you think he's bad.
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