Free Analysis of Sexual Habits of My Harvard PhD Harem Videos
She gets forced to model at a lingerie party.
He lounged back against the side, his arms resting on the edge. He loved coming here; it gave him a perfect opportunity to show off his toned body. He scanned his eyes over the pool, searching for anybody who might deserve his attention.
"Mmm," he murmured to himself as he caught the eye of a particularly fine specimen. She was staring back at him, obviously entranced by his superlative looks. Paul's eyes dropped to her impressive cleavage, encased in a minimalist green bikini and smiled as he noticed her peanut smuggling credentials. She wanted him.
Paul watched as she languidly swam towards him, her flaxen hair washing around her head, his eyes watching her breasts move. She reached the side and lowered her feet to the bottom of the pool so she was standing eye to eye with him. Paul allowed himself a final glance at her erect nipples and waited for her to open the conversation.
"Will you stop staring at my tits?" She spoke loudly, deliberately attracting everyone's attention. "Jesus, it's bad enough having to do my morning swim in this ice-cold swimming pool without having some sleazy short-arse ogle me constantly."
ALEX756 makes the valid point: "Nothing wrong with telling. Its all story telling."
QUASIMODEM points out: "Some things can't be shown."
"How do you show that a girl has red hair?
You COULD employ the following dialogue:
"It's auburn, damn it! Auburn."
Both times you have (different characters) "tell" her hair colour, but through the dialogue, you have "shown" the reader that she is sensitive about her hair being red.
Actually, the only way to "show" hair colour would be with an illustration."
WILDSWEETONE reminds us that we are using words:
"so what's wrong with using an illustration?
- a head of fire
- a crown of blood"
An example now of dialogue showing instead of telling by OPENTHIGHS_SARAH:
"Hey, check out movie-star guy over at the bar. He's got his eye on you."
"The little one?"
She sighed. "Your standards are questionable. He ain't that little, Sarah. Nice muscles, too."
"He's probably my height. And he needs a haircut." I yawned and looked away.
"You're like, what, five-eleven? You're a freak of nature."
"I'm statuesque. I can't be looking down at a guy unless he's, you know, licking my--"
"Yeah, I know. You've told me. Anyway, your little friends say otherwise. You could cut diamonds with those things."
"This is a medical condition, Daria. I've explained it to you before." I finished my drink and quietly told my nipples to shut up.
"Besides," Daria pointed out, "you didn't even mention your blond hair. So you ruined everything, Sarah. Gauche will think it's pathetic. And you're way over the maximum word count. Just because it was almost all dialogue doesn't mean you get to ignore all the rules."
"Fuck off, Daria. You're not even real. You're not even a goddamn story character. This is just an exercise, for God's sake."
She sobbed quietly.
"Oh, god, I'm sorry. I said I'm sorry." I took her in my arms and gave her a hug.
She smiled up at me. "Wanna make out?" she asked.
I shrugged. "Sure."
This could be called "showing whilst telling". We are eavesdropping on a conversation which contains the relevant details of the original list but also conveyed to us is a scene involving peoples thoughts about the elements of the list. Surrealism invades as the two reveal that they realise they are written characters and can even comment on their own creation.
Now KILLERMUFFIN introduces us to an otherwise invisible 'character' (who is in essence the author): The Narrator.
"When the narrator "tells" something, e.