2005 Author Reviews for
Dwimordene

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

Dwimordene is perhaps at her best when she is catching a moment. The moment may be long or short, it doesn't seem to matter. Just as long as it is a significant moment, and that talent comes through in this drabble, "Charity." It's amazing how much ground Dwim can cover with just a few sentences, and those few sentences by their very brevity seem to convey that they're from the mind rather than from the mouth. It's a moment wound up in the aftermath of a terrible day, and Dwim keeps it that way. No further than today, indeed.

Dwimordene is a prolific author. I have always liked turning things upside down and seeing the other perspectives and I especially enjoy her talent for looking at things from the other side.

This is great - everything a drabble should be: simple, clear, detailing a simple event, and creating a world and ideas much larger than that. I liked the ending especially, how the author includes Elrond's concern without his ever voicing it.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

Dwim's drabbles "Shield and Standard" and "Afterthoughts" remind me of shells. Or a writer's outline once the rest of the story is perceived. There is a lot happening in both drabbles, but Dwimordene pulls out only the pertinent parts, highlighting the things that matter and leaving the rest to the reader's imagination. It's a difficult thing to do because the question arises as to how much is too much and what is unsaid that should be said. But Dwimordene seems immune to those issues that confound us poor mortals, and once again, in brilliant fashion, she manages to convey entire worlds in just a few words. It's nothing short of amazing, and as always, I bow my head before such amazing talent.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

Dwimordene is a prolific author. I have always liked turning things upside down and seeing the other perspectives and I especially enjoy her talent for looking at things from the other side.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

Dwimordene's strength in this drabble is her ability to make it point to something else. Drabbles are difficult to work with because they're so short, but if you can get them to allude to a bigger tale (or to many bigger tales) they become more effective. And Dwim does that very well, referencing dwarven reticence to reveal their own ways to outsiders as well as all the events in the Fellowship leading up to Gandalf's death. Dwim accesses a backstory for the drabble that makes it a capstone rather than forcing it to support all of its own weight.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

Dwim's attention to details (for example, the marching of the ranks as they file out of Khazad-dum) gives this drabble a slow, steady pace that is not unlike the dwarves themselves. It's really a great way to establish the tone through narrative pacing, and when Thrain finally comes to make his speech, the reader feels as though the dwarves are ready to move on, even if their hearts are still in Khazad-dum.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

I really like Dwimordene's ideas on elves and song, and the way that song is depicted here while Arwen struggles to sing of her mother is a brilliant addition to an already impressive interpretation. Dwim's words about the song creating pictures that can flicker on the wrong note makes for some powerful imagery, to say nothing of the imagery from the song itself. And I find myself in complete agreement with Forodwaith. There need to be more depictions of Arwen separate from Aragorn.

Part of what makes Dwim so amazing is her ability to do perspective work. And by that, I don't mean the normal third-person limited POV abilities, those Dwim is certainly a master of that. I mean that Dwim is able to get completely inside a viewpoint that might not occur to anyone else and then to make this viewpoint accessible to readers. "Making of Boys" and "Ad Sum" are both perfect examples of this, particularly the latter. The charwoman has such an unusual perspective, but it's reasoned out and presented in such a logical manner that it makes sense. The same holds true for Ioreth as she's watching the boys play. Most of us have little or no experience in watching boys play at war while waiting on the edge of one, but Dwim makes certain that we can understand what Ioreth is facing. And in both of these stories, the characters never lose themselves. Ioreth never launches into a deep philosophical discussion and the charwoman never breaks face and expresses disgust for her work. The end result is some very tight writing and some very intriguing ideas from new ways of looking at the world. Which, in the end, is really what writing is all about.

I think Dwim's strength in the drabbles "Patrimony" and "Duty" lies in the fact that they're both left hanging. Open-ended. There's a sense of conclusion, but there's also some interesting foreshadowing to future events, which leaves the reader with a slightly unfinished feel. As though something is being left unsaid, even though the future events are known, and the result can be very powerful and sometimes very chilling. "Duty," in particular, was quite ominous with its foreshadowing, and I liked how it explained some of the motivations behind Boromir's actions. The same can be said of "Patrimony." Exploring the roots of these situations and then using those roots to hint at things to come enriches canon and gives the reader a much fuller picture. Fabulous writing!

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

This is very nice. I can really see Merry taking a moment out from the party for a little quiet reflection, seeing first the somber and then the joyful, with a little chuckle for his friends.

Dwimordene reigns supreme when it comes to Aragorn characterization. There's simply no one out there who comes close to nailing down the Ranger with so many different names, faces, and roles. Dwim's Aragorn is Tolkien's Aragorn, only bigger and richer. And it certainly doesn't hurt that Dwimordene excells at characterizing everyone else, too, from original characters to familiar canon faces like Halbarad. Add to this a penchant for fascinating conversations and musings (with obligatory philosophical overtones) and perhaps it can be understood just what makes Dwim so good as an author. She is a master of manipulating complex plots, complex personalities, and complex emotions, striking a balance somewhere in the midst of all that and forming fromt it a compelling story that will not let you set it aside. I humbly bow before the best Tolkien author that I have ever found.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

To me, one of the most interesting things about "Justice" is that it seems to focus more on the question of "Elfhelm: Traitor or Hero?" rather than on "Eowyn: Deserter or Heroine?" Eowyn was certainly not overlooked, but to me, it seems as though Dwim sidestepped her question just a bit by going after Elfhelm. And through Elfhelm, Dwim came back and inadvertantly addressed the question of Eowyn. If I'm not reading this wrong and that is indeed the case, then it was a brilliant and subtle way of handling a very interesting question. I wouldn't expect anything less from Dwimordene, but this is above even her usual level of excellence. But even if I'm wrong and that was not Dwim's intent, the focus on Elfhelm was one of the best I've ever seen and it makes for a much fuller and more balanced story. Which, again, is nothing less than what I would expect.

Highlights. That's what makes Dwim so powerful in drabbles. I've said it elsewhere, but I can't think of a better way to put it. Dwim's strength in the drabbles is an ability to outline a story, a culture, a character, or a land and then give just enough guidance so that the reader can fill in the rest. And as always, Dwimordene delves. Never one to shy away from the difficult subjects, Dwim tackles the creation of Dernhelm and Eomer's somewhat controversial decisions as king. Neither one of these is an easy topic to cover in vignette or story form, much less drabble, but Dwim makes it look easy. And once again, Dwim has made me think, which is perhaps the highest praise I can give to an author.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

Dwimordene is a prolific author. I hae always liked turning things upside down and seeing the other perspectives and I especially enjoy her talent for looking at things from the other side.

Dwim's power in working with villains (and in working with underused and underappreciated characters in general) is to give them fullness. She gives the Haradrim purpose, culture, tradition, and richness while she gives the orcs ingenuity, strategy, and shrewdness. Villains are sometimes severely lacking in character development, but Dwim makes up for it by showing us a world beyond the good and how it functions. And she does it as if there should be no question as to its existence, simply laying it out in such a way that we all nod and believe.

Wow! This is terrrific ... I continue to be awed by those who can make so little out of so much; not just the 100 word form, but these tiny textual nuggets as well. From that brief mention the author has created an entire world, an entire people who give praise to Sauron, are subject to taxes and conscription. By giving us this glimpse of the enemy, the author has created something noble and surprising.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.

I know in one of her reviews for Dwimordene's pieces last year, Ainaechoiriel said that she thinks Dwim writes symphonies. Reading the pieces that Dwim had entered this year, I say I have to agree. The trick to reading and enjoying Dwim's stories, I think, is to look at them not like normal stories you read from many other authors but almost like parables. Because of her academic background the theme is often predominant, and while the story might be quite good in its own right, there is more to it. Since there's more lurking below the surface it may take several reads, and several approaches of the story. This isn't a fault, of course, but it may not be what one would expect. Many of my favourite stories this last year have involved characters coming to terms with some facet of their own sexuality, and Dwim is no exception. In "Semper Fidelis" and "Not In Our Stars", Dwim shows us a Halbarad trying to come to terms with a desire that will not and in many ways cannot be returned; "Religion" gives us the flip side, the relationship as perceived by Aragorn in a ways (though in that story it's strictly friendship, as I'm sure Aragorn would see it). In "Love Sweet As Poison" she shows a heterosexual relationship, one between Denethor and Finduilas, that is just as troublesome to the reader as any comment her slash fiction might have on our society. The important thing with Dwim is to read and keep reading, to enjoy the scene but to realise that's not all that's there. This is present even in her drabbles -- a skill I'm very envious of.