That will be a problem if you ever want to write about Christianity, or about Christians.  Or Mormons, or Jews, or Muslims.  Systems of belief are just that--systems.  Orson Scott Card's Mormon upbringing and active belief lead him to argue that the real hero of LotR is not Frodo but Sam.  (He's got a case, and it's stronger built on his foundations.)  Martin Luther's beliefs led him to argue for driving Jews out of their homes (if they would not convert).  And thousands of people now are screaming that speech is violence, and that free speech is incompatable with justice.

There's a huge structure of logic tying it all together.  It's called theology and has been the source of disagreement and even war.  Though the war usually resulted when someone wanted to throw it all away and start over from a 'simpler' base.  That same urge has 'informed' our politics for some decades now.

Good lesson, K.  Thanks.  Same would apply to land/sea battles, I think.

I just added a couple of notes on the review comments.

I've got two thoughts on reflection.  One is seeing through the eyes of the protagonist.  A lot of my physical-world comments flow from that.  The second comes from Matt Bird's =The Secrets of Story=, which I recommend without reservation.  One of his rules is that your job is creating expectations, rather than breaking them.  I'm thinking here of Aedre's decision to take advantage of her language skills.  If we-the-reader learn that Aedre's inner identity is tied up with her memories of her native-speaking mother, and we then learn of the job openimg, we'll be waiting to see if she takes it, and we'll feel connected to the story--and to her--when she does.

I put the review up a couple hours ago.  It's a monster.

I  need to break off work.  I'll finish it in the next 20 hours or so.

Make that a forty-hour review backup.  Rayner, I'm working on yours.  Four hours so far.

I'm hardly an expert.  I'm a competent 3rd year student struggling to do post-grad work.  That's why I'm working so slowly.  That, and the twenty-hour review back-up.  But I'll try to get one out in the next 24 hours.  A prompt reply will be appreciated, and we can discuss things in replies and counter-replies.

You can put smilies in, unless you hsve them turned off.

Ned Stark's murder/assasination did two things: it removed a powerful good guy, and it told us that this would be a desperate struggle: venality to chaos to existential threat.  How long before the fighting fools realize their ship is burning?

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No.  The material is about 1/16".

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Quantum leaps-of-fantasy in snacking

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Austenite and martensite are crystal phases of iron alloys.  Iron is the once-and-future wonder metal, and this property is exploited by the people who make safes and strongboxes.  I just found a drill bit customer review which says this property is common in stainless steel, and while the metal in question is not sold as stainless, it probably is designed for reduced corrosion.

I'm now drilling number-bit sized holes, and the bits I have are TiN coated.  I may have to spring for a 'cheap' set of Co bits for this.  ('Cheap' as in 'would buy three tanks of gas.)

K is a bloody-minded author.  Very few are as ruthless as him.

What makes the best story?  Is the death purposeful or purposeless?  What does that say about the story world?  What does it say about life?  Does it reward the reader for caring or mock the reader for caring?

If it mocks the reader for caring, why should should the reader come back, or recommend the book?

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Been away.  Had the chance to spend 4+ days with my Dad.  Figured out the mystery of the can't-drill-with-anything, hour-plus-with-carbide, angle bracket that chipped up one cobalt drill bit and dulled at least one more.  The material must be hanging on the edge of the austenite-to-martensite phase change, turning monster-hard constantly just ahead of the bit.  Answer-use a different brand.

Punchline in the last panel.

Feel free to earn points on my stuff!

No unholy spawn months down the road?

On dialogue: moments ago I heard a radio advertisement in the form of a conversation about a dilemma and the product that solved it.  The dialogue had to introduce the people, the problem, the product, and every one of its claimed virtues, in encyclopedic detail.  It was loaded to breaking with modifiers; it ran every detour into detail; it bubbled and burbled with praise and delight.

It was a magnificent anti-exemplar of dialogue writing.

If your story is written in past tense, then past tense is the story's present amd past perfect is the story's past.  Switching to past progressive ('was going') does nothing.  Oh, and The Best Advice nowadays is to avoid the progressive aspect unless it's really, really needed, to make the text more compact and to make it feel a little more definite.

I see your double chapter.  It may take a few days to get to it.  I've got a week with family coming up.  But I'll try.

Meanwhile, does this book go on for nine months?  Because I see an outcome for that barn scene.

Oh, topic shifts and flow are things I notice because I have to work hard on them too.

IIRC, in the case I called out, it wasn't so much a flashback as explanation after the fact.

The point is that I need to know to look!  TNBW alerts me when you do the basic reply, so I look then.  If you add to it after thst, just let me know.

My preference against the name 'Final Conflict' comes because it lacks any specific (and spooky) image like those of fog, raven, and tiger.

Of course, you can add the comments and put a note here.

Nearly everything I pick on in reviews is something I learned here, either by being reviewed or by reviewing.