The algorithm is a closely-guarded secret, locked in sprite's liquor cabinet. So, good luck getting to that.
An educated guess, though, is that it probably involves a tally of the number of views/votes/comments over a given time period (hour, day, something?) multiplied by some random numbers selected by the giant hamsters that keep the cogs turning in the fiery pits below the grounds of Lush HQ.
I suspect the phenomenon you see regarding more 'compiness' in the list is because there are a lot of eyes on competition pieces and they garner a lot of votes, views and comments in a short space of time, since most entrants (and the Lush readership at large) read and comment on each other's stories while the competition window is open.
I've never done it, but that seems like a reasonable approach. Should work.
Paulafox has gone. Comments should disappear on the next sync sweep.
I took the liberty of editing your post, Mysteria, to remove the link to her photos so it's not indexed by search engines, thus perpetuating the spammer's reach. Hope you don't mind.
I've not written in horror yet but have tried in some of the lesser-visited categories such as SciFi and Fantasy, Supernatural, and Monster sex. Despite how good I think the stories are, none of them received anything close to the number of views and votes as other categories, nor as high as stories that contained the tag 'anal'! Might just be because I'm an average storyteller. Or that the majority of people are here for the instant gratification rather then the cerebral long haul.
The number of views and votes doesn't detract from my enjoyment bringing the stories to life, and those readers that took the plunge and commented seemed to appreciate the effort.
Hadn't considered changing the font size/face for editing. That's a neat idea, thanks for sharing. Part of the reason things get missed is because the brain is tricked into skipping words, and this is especially true due to familiarity with word order and position.
Otherwise, yeah, all the good advice above. Reading aloud, even muttering under your breath as you read, is a fab way to figure out if sentences are too long or don't flow, or need commas for pauses. Or require a tweak/rewrite.
My biggest problem when writing is not carrying on from where I left off, but going back to the beginning to reread, and I end up editing some of it, work my way to the part I stopped at last time, and run out of steam.
My wife has produced this on occasion and I'm not sure the exact combination of circumstances under which it happens. It's fucking delicious and so, so sexy.
Yes, Luca! Very much so. King's horror is a great example of storytelling done well. I prefer when the characters and their motives drive the action.
This isn't necessarily a case of "one or the other": character then action, or action then character. As you say, you don't have to start at the beginning and spell everything out to help readers care for a character. Skilled storytellers can lead with action and interweave backstory.
I approach writing with a movie-esque air and prefer a non-linear structure. There's no intrinsic requirement for once upon a time... or my neighbour was 5'8" with a great set of tits first before the sex. Some of the best movies start in the middle, or two-thirds of the way through and then fill in the gaps or jump around.
Reservoir Dogs is one: viewers are thrown into the action fairly early on, and then the situation of events leading to the heist and its aftermath unfolds around it.
American Beauty starts at the very end so you _know_ what's going to happen and then watch the train wreck unfold as you learn more about the characters.
In my view, character and action are very much intertwined and are not exclusively partitioned into setup (backstory) and payoff (sex, in our case). Sometimes it's great to learn as a character does - as utterchaos says, first-person present tense helps in this endeavour. Other times, a story can be told first-person present then flash back. I do this a lot.
The needs of the story and the desire to tell it a particular way drive whether it's presented as a linear continuum or non-linear sequence, as in-fill to the action/drama. And this structure then drives how much is delivered to readers up-front vs how much is drip-fed throughout the action.
Don't run with scissors.
Don't operate a shredder drunk.
Beware that 87.4% of statistics are made up on the spot.
If nobody comes from the future to stop you from taking action, it must be a good decision.
Absolutely. Exposition is the devil's tool and I always cringe when I go back to stories I've written and find it. Which is (annoyingly) quite frequent. I'm getting better at all-but eradicating it. Not there yet.
What I meant by character-driven is that the guy doesn't just walk up to someone and whip his cock out and the girl gushes. Sex ensues.
I prefer there to be a good reason for that act. The story might start there but by the end you have a solid understanding of why it happened by revealing their motives during the storytelling. Especially during Flash stories you don't have time or word count for exposition. You throw readers into a moment and explore it. But for me, that moment needs to come from somewhere off the page rather than just be "sex for the sake of it because it's an erotic act".
If that makes any sense at all.