Happy Fourth.
Jul. 4th, 2006 12:18 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
minxyThe Birthday celebration continues to go down, in the tangible world and internetly as well. Some of it-- belongs in a post all it's own (including ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
raqs's rather hilarious announcement that 'Minxy-Sue' fic should be a new genre of it's own--people are writing comment fic! It's amazing! But seriously, deserves it's own post)
Here I have an older meta post that folk have asked to see, so while I try to wrap my brain around Alizarin's comment fic (of me with lavender eyes and long raven curls! bwahahaha) and Sal's hilariously minxy snippet, I post a little meta.
This is how it started:
Cofax was thinking about how the recs she gets are slashily slanted (guilty), and wistfully wondering if there were extraordinary stories out there of the Sam/Jack bent that she doesn't hear about. Now I'm wondering this as well because my reading list certainly has a slash slant, though the gen and the het are represented to a degree. If anybody has recs for me of a Sam and Jack variety, though (any rating) I'd be really interested in seeing them. Particularly those with spot on characterization or plotty friendshippy stuff or complex psychology... or, you know, whatever.
This line of thinking got me pondering how I start reading new fanfic pairings or genres. If I know the author, and I do know a few, then less sales pitch is needed, but that's true of most stories regardless of genre. What it comes down to is that I'm hoping for story, content, characterization, intimacy, dialog, sense, lyricism, momentum and all that, and if I already know an author I'll trust them to bring these things into any particular theme. If I don't know the author and don't have a rec to predispose me to the story, you have to draw conclusions based on the header
Which takes us to the subject of what I glean from a header, and the first impression that helps me decide whether to take a chance on a story that may or may not deliver the goods.
So, here it is, the list of things that will make or break the decision to start reading a story; applicable to slash, gen and het stories, at participating dealerships, newsletters, announcement comms and bulletin board type places. What you say or how you say it in a personal post is an entirely different matter, and if I know you, I will forgive (and/or be really entertained by) a heck of a lot of nonsense in a header.
Sort of in order of things I notice:
1. Spelling. Things will be spelled properly, and there will be no 3l33t sp33k or whatever that's called, there will be proper grammar and punctuation, within reason. I'm not an English teacher, I can handle a misused semicolon, but I believe that a sales pitch ought to be simple and to the point, so I don't know why you'd need a semicolon. Plus, the header should be finished, just like the story is finished. Polished. Spellchecked. Not quirky slang, even if it's quirky geeky computer slang.
No emoticoning or asterisking, and restrained use of exclamation points and ellipses. (Permanent exception made for Flute, because she just can't help the exclamation points.)
2. Betas are used and acknowledged. I have been known to read an author just because I respect the person who beta'd them. I've been known to avoid stories for no other reason than they're unbeta'd. I don't know what to do with a person who uses more than three betas, although I think two is a good idea. The beta you trust to call you on every lazy word choice is not to be undervalued, but another pair of eyes might catch something the two of you missed, or have insight into the character POV or structure or fandom or something; too many more than that and I start wondering what you're gaining from the experience, apart from guaranteed feedback.
3. I prefer authors notes be loosely restricted to dedications and citations, occasionally sources for the title, or, possibly, an introduction on one's first post to a community. Assumptions that I have or want a frame of reference for that author (like comments about how it's an unusual writing style for them, or it's their first rating above a PG-13) I will read as a failure to anticipate me as your target audience; I will assume that the fiction will continue the trend of assumptions and I don't want to read a fic that takes shortcuts setting up the pairing or the characterization. This is mostly directed to posting a header in a comm since I think asking for f/b there for your first attempt at mission/tent/shoelace seduction is not going to garner you any sort of helpful feedback. If you're lj-cutting back to your own journal and you want to thank people profusely or tell the story of how the fic came into being or that the thing with John's 4th grade teacher really happened to you, by all means; once you lure people into your personal LJ, they really can't complain about personal expression. Sometimes people do have wonderful things to say, too, but authors (I think) should be seen and not heard... or something. Avoid too much authorial commenting in headers as well as in fic, methinks.
Immediate Author's Note red flag that will cause me to dismiss your work out of hand: if you tell me it does or probably will suck. I will believe you. Don't bash your own work, really. It's not humility. There are certain qualifier words that trip me up too, like 'just' in the hypothetical just a little thing I wrote last night while standing on my head pondering life, the universe and everything. TMI, author person, and false modesty. Let your story have the spotlight, save that stuff for the personal posts, unless it will measurably add to my understanding of the story (and seriously, the fact that it occurred to you in the bath needs to be a relevant little anecdote to qualify.)
4. I don't like to read WIPs unless the parts stand alone; so I will refrain until the series is completed and/or you convince me it's coming in a day or two (and there are recs all over the place). So part 1/whatever is a red flag for me unless it's just a long story and you are only cutting because of LJ's length restrictions. Beyond that, if you have more than, oh, 3 parts to your story? I'll get a little skeptical and probably read something shorter before I commit to a novel. If you don't know how long your story is going to be ultimately? You'll probably need to figure that out before you convince me to read it. It's part of that whole 'present me with finished work' hang-up I have as a reader. Part 52/? is Right Out.
It might be worth remembering, if you are a WIP posting type author person, that folks like me will not remember the first sales pitch you made for the story, so getting blase about headers for the last part could lose us. Sometimes I do need a rec in general as a kick in the pants to read something novel length in general, but the point stands: if you're going to post in parts, you'll need to view the header as reselling every sequel, every chapter, every time. But then, I'm biased against WIPs.
5. I'm looking for a title with tempo and interest. Titles are hard, I grant you, but it is the doorway to your fic. Given the choice between: Scenes from an Accidental Courtship (TMtorakowalski) and 'Rodney's Big Day' (I made that up) I will read the former every time, and in fact, I did read it just because of the title. It tells me the author has an ear for rhythm and beauty, and a lyric sense of at least naming their fic, regardless of the actual tone of the piece. The potential is high. An unimaginative title, on the other hand, with few to no polysyllabic words, indicates to me that the author is unconcerned with their style of writing and has spent little time considering their word choice. Of course, you can go the other way and name something pretentiously, so it needs to work lyrically if you're going to reference something obscure or esoteric. But seriously, in my ideal header, it's the title and the summary that indicate all the most important things to me, like style and voice and subject and depth and all that stuff, so don't waste an opening on a cliche.
Which brings us to:
6. What often clinches the deal is a summary or opening line that draws me in and makes me curious or bounces around in my head like a musical theme. Avoid passive voice, avoid telling me the end (or too much of the middle) avoid boring word choices. I have an intense dislike of summaries written like those curiously damning book blurbs: 'Jack realizes Daniel means more to him than he's let on, but Daniel's been kidnapped by Evil Ninjas on the planet Welly-- Can Jack rescue him before the Ninja's start throwing little metal stars, and will Daniel listen to what Jack really has to tell him? What if Jack brings jewelry? Will he listen then, after all he's been through?!?!?!' (Example not drawn from actual fic, for the record.) Now, this does not make me shift forward in my seat and chew my nails in anticipation of clicking the LJ cut tag (unless it's a humor piece, but I'd still be more interested in the Ninja planet.) Because of course Jack rescues him, and of course there will be a happy ending, and with all the silly clichés I'm pretty sure I know all there is to know about this story just from the summary.
It seems to me that the easiest way to indicate writing style and subject, as well as hook the reader into the story, is to use the opening line as a summary. It's sort of the purpose of an opening line anyway, isn't it? To grab people and get them to read more? Plus then it feels like you're letting the work speak for itself, as opposed to trying to sell me some swamp land in Florida. If you don't think of yourself as particularly gifted at selling stuff, this is the approach I recommend. It's also the one I use, since I myself am rubbish at selling stuff.
That said? That first sentence really does need to grab me while avoiding purple prose. This is where the characterization and story and all that stuff steps up. There's no need to tell me everything in the opening, or even completely set the scene or anything ("avoid opening with weather" is an interesting bit of advice I read once,) and I would recommend trying to avoid a sentence so short it doesn't stand out as unique. The team walked down the ramp standing side by side for example, is a magazine promo shot (and passive), not a sell for a story; as with titles, don't waste an opportunity to hook a reader. Either the title or the summary falling flat is a deal breaker for me, barring external influences.
7. Warnings. It's a sticky subject, and one that I think is hard to nail down, but I will say that slash or het? Does not need a warning, but should be clear from the pairings or rating or comm an author is posting in, or whatever. Character death? I don't know that that will influence me one way or the other but other people? It might. My personal squicks are first person (with rare exceptions), present tense, real people fic, blood play, rape!fic and stuff that gets way too schmoopy, but in a serious way. Do I think those need warnings? Depends. Keep it short, though, sometimes I think authors assume you've read the story already and are sharing a personal in-joke with them and that tone itself is a warning for me ('read at your own risk! lol!')
As a side note: sometimes you can do everything right. I read a header that was wonderful and nailed every one of these guidelines of mine the other day, but when I clicked on the fic I found it was all about how you felt when he did this and yadda... I couldn't make it past the first paragraph. I wanted to, though, dude, I gave it the old college try just based on the header; they killed me with tense. I r ded from tense.
Exception to the header rules: If I know you. This is sort of self-explanatory and I just went off on a huge tangent about how I read most stuff by my friends but am really selective about what I rec, although not always scientific about it so please don't feel hurt if I only leave feedback but don't rec. Or don't leave f/b as I may not have been in a gen mood that day, or whatever. Blah blah blah pancakes. The disclaimer was superfluous and self-important and unnecessary, so I cut it.
Exception to the header rules, part the second: Rec'd by a third party.
If you have a lousy header on your fic, or I overlooked it for some reason, or never saw it to begin with, I may still read your story if it's rec'd well by someone I do know or in a particularly intriguing way.![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-community.gif)
stargateficrec is an amazing comm that way, I find really amazing stuff there that I mightn't otherwise, and the recs are from complete strangers in totally different little corners of fandom. I don't need a full header to sell me on a fic if either the author or the reccer is known to me, though, that's the beauty of trusting someone's judgment.
So there you are. In summary: spellcheck, proper English, betas, minimal authorial commentary (no self bashing), I won't read a WIP until it's not, snazzy titles, hook me with your first sentence, warn briefly at your own discretion. Headers are a necessary evil, given that so much of fanfic is painfully bad, and I love when people use the header deftly to tell me all I need to know and somehow not reveal a surprise pairing and not even hint that there was something they weren't telling me; that's awesome. Then again, I probably knew their work and I would have read something titled 'meta on the subject of dirt, part 1 of 14: the difference between dirt and mud is in the water content.' Probably. I've read stupider scientific articles, after all, it's likely that authors powers of description would've rendered the essay unique at the very least.
Anyway, there's amnesty for headers on the Sam/Jack or Sam & Jack fic rec request, all I really need is a link and I'll peruse my own self. Or tell me why you read and where. Or just pull up a chair and grab a cup of tea, whatever. There's still cake from my birthday.
If you're interested in the perils of reading badfic,liviapen posted a fantastic little meta called Stop Knocking Down Phoebe, on character bashing to hold up an OTP, which is a pretty universal peril.
The most loved and grammatically capable beta on the planet (RW) pointed me to a nifty post on grammar here: a tiny refresher course in dialogue punctuation and speaker attribution, fromfuriosity.
littera_abactor has written the warning to end all warnings here, and it's hilarious.
'Tis time to head off to a patio party and swim and frolic and watch shiny things go boom. Happy Fourth of July, may your summer be grand.
raqs's rather hilarious announcement that 'Minxy-Sue' fic should be a new genre of it's own--people are writing comment fic! It's amazing! But seriously, deserves it's own post)Here I have an older meta post that folk have asked to see, so while I try to wrap my brain around Alizarin's comment fic (of me with lavender eyes and long raven curls! bwahahaha) and Sal's hilariously minxy snippet, I post a little meta.
This is how it started:
Cofax was thinking about how the recs she gets are slashily slanted (guilty), and wistfully wondering if there were extraordinary stories out there of the Sam/Jack bent that she doesn't hear about. Now I'm wondering this as well because my reading list certainly has a slash slant, though the gen and the het are represented to a degree. If anybody has recs for me of a Sam and Jack variety, though (any rating) I'd be really interested in seeing them. Particularly those with spot on characterization or plotty friendshippy stuff or complex psychology... or, you know, whatever.
This line of thinking got me pondering how I start reading new fanfic pairings or genres. If I know the author, and I do know a few, then less sales pitch is needed, but that's true of most stories regardless of genre. What it comes down to is that I'm hoping for story, content, characterization, intimacy, dialog, sense, lyricism, momentum and all that, and if I already know an author I'll trust them to bring these things into any particular theme. If I don't know the author and don't have a rec to predispose me to the story, you have to draw conclusions based on the header
Which takes us to the subject of what I glean from a header, and the first impression that helps me decide whether to take a chance on a story that may or may not deliver the goods.
So, here it is, the list of things that will make or break the decision to start reading a story; applicable to slash, gen and het stories, at participating dealerships, newsletters, announcement comms and bulletin board type places. What you say or how you say it in a personal post is an entirely different matter, and if I know you, I will forgive (and/or be really entertained by) a heck of a lot of nonsense in a header.
Sort of in order of things I notice:
1. Spelling. Things will be spelled properly, and there will be no 3l33t sp33k or whatever that's called, there will be proper grammar and punctuation, within reason. I'm not an English teacher, I can handle a misused semicolon, but I believe that a sales pitch ought to be simple and to the point, so I don't know why you'd need a semicolon. Plus, the header should be finished, just like the story is finished. Polished. Spellchecked. Not quirky slang, even if it's quirky geeky computer slang.
No emoticoning or asterisking, and restrained use of exclamation points and ellipses. (Permanent exception made for Flute, because she just can't help the exclamation points.)
2. Betas are used and acknowledged. I have been known to read an author just because I respect the person who beta'd them. I've been known to avoid stories for no other reason than they're unbeta'd. I don't know what to do with a person who uses more than three betas, although I think two is a good idea. The beta you trust to call you on every lazy word choice is not to be undervalued, but another pair of eyes might catch something the two of you missed, or have insight into the character POV or structure or fandom or something; too many more than that and I start wondering what you're gaining from the experience, apart from guaranteed feedback.
3. I prefer authors notes be loosely restricted to dedications and citations, occasionally sources for the title, or, possibly, an introduction on one's first post to a community. Assumptions that I have or want a frame of reference for that author (like comments about how it's an unusual writing style for them, or it's their first rating above a PG-13) I will read as a failure to anticipate me as your target audience; I will assume that the fiction will continue the trend of assumptions and I don't want to read a fic that takes shortcuts setting up the pairing or the characterization. This is mostly directed to posting a header in a comm since I think asking for f/b there for your first attempt at mission/tent/shoelace seduction is not going to garner you any sort of helpful feedback. If you're lj-cutting back to your own journal and you want to thank people profusely or tell the story of how the fic came into being or that the thing with John's 4th grade teacher really happened to you, by all means; once you lure people into your personal LJ, they really can't complain about personal expression. Sometimes people do have wonderful things to say, too, but authors (I think) should be seen and not heard... or something. Avoid too much authorial commenting in headers as well as in fic, methinks.
Immediate Author's Note red flag that will cause me to dismiss your work out of hand: if you tell me it does or probably will suck. I will believe you. Don't bash your own work, really. It's not humility. There are certain qualifier words that trip me up too, like 'just' in the hypothetical just a little thing I wrote last night while standing on my head pondering life, the universe and everything. TMI, author person, and false modesty. Let your story have the spotlight, save that stuff for the personal posts, unless it will measurably add to my understanding of the story (and seriously, the fact that it occurred to you in the bath needs to be a relevant little anecdote to qualify.)
4. I don't like to read WIPs unless the parts stand alone; so I will refrain until the series is completed and/or you convince me it's coming in a day or two (and there are recs all over the place). So part 1/whatever is a red flag for me unless it's just a long story and you are only cutting because of LJ's length restrictions. Beyond that, if you have more than, oh, 3 parts to your story? I'll get a little skeptical and probably read something shorter before I commit to a novel. If you don't know how long your story is going to be ultimately? You'll probably need to figure that out before you convince me to read it. It's part of that whole 'present me with finished work' hang-up I have as a reader. Part 52/? is Right Out.
It might be worth remembering, if you are a WIP posting type author person, that folks like me will not remember the first sales pitch you made for the story, so getting blase about headers for the last part could lose us. Sometimes I do need a rec in general as a kick in the pants to read something novel length in general, but the point stands: if you're going to post in parts, you'll need to view the header as reselling every sequel, every chapter, every time. But then, I'm biased against WIPs.
5. I'm looking for a title with tempo and interest. Titles are hard, I grant you, but it is the doorway to your fic. Given the choice between: Scenes from an Accidental Courtship (TM
torakowalski) and 'Rodney's Big Day' (I made that up) I will read the former every time, and in fact, I did read it just because of the title. It tells me the author has an ear for rhythm and beauty, and a lyric sense of at least naming their fic, regardless of the actual tone of the piece. The potential is high. An unimaginative title, on the other hand, with few to no polysyllabic words, indicates to me that the author is unconcerned with their style of writing and has spent little time considering their word choice. Of course, you can go the other way and name something pretentiously, so it needs to work lyrically if you're going to reference something obscure or esoteric. But seriously, in my ideal header, it's the title and the summary that indicate all the most important things to me, like style and voice and subject and depth and all that stuff, so don't waste an opening on a cliche.Which brings us to:
6. What often clinches the deal is a summary or opening line that draws me in and makes me curious or bounces around in my head like a musical theme. Avoid passive voice, avoid telling me the end (or too much of the middle) avoid boring word choices. I have an intense dislike of summaries written like those curiously damning book blurbs: 'Jack realizes Daniel means more to him than he's let on, but Daniel's been kidnapped by Evil Ninjas on the planet Welly-- Can Jack rescue him before the Ninja's start throwing little metal stars, and will Daniel listen to what Jack really has to tell him? What if Jack brings jewelry? Will he listen then, after all he's been through?!?!?!' (Example not drawn from actual fic, for the record.) Now, this does not make me shift forward in my seat and chew my nails in anticipation of clicking the LJ cut tag (unless it's a humor piece, but I'd still be more interested in the Ninja planet.) Because of course Jack rescues him, and of course there will be a happy ending, and with all the silly clichés I'm pretty sure I know all there is to know about this story just from the summary.
It seems to me that the easiest way to indicate writing style and subject, as well as hook the reader into the story, is to use the opening line as a summary. It's sort of the purpose of an opening line anyway, isn't it? To grab people and get them to read more? Plus then it feels like you're letting the work speak for itself, as opposed to trying to sell me some swamp land in Florida. If you don't think of yourself as particularly gifted at selling stuff, this is the approach I recommend. It's also the one I use, since I myself am rubbish at selling stuff.
That said? That first sentence really does need to grab me while avoiding purple prose. This is where the characterization and story and all that stuff steps up. There's no need to tell me everything in the opening, or even completely set the scene or anything ("avoid opening with weather" is an interesting bit of advice I read once,) and I would recommend trying to avoid a sentence so short it doesn't stand out as unique. The team walked down the ramp standing side by side for example, is a magazine promo shot (and passive), not a sell for a story; as with titles, don't waste an opportunity to hook a reader. Either the title or the summary falling flat is a deal breaker for me, barring external influences.
7. Warnings. It's a sticky subject, and one that I think is hard to nail down, but I will say that slash or het? Does not need a warning, but should be clear from the pairings or rating or comm an author is posting in, or whatever. Character death? I don't know that that will influence me one way or the other but other people? It might. My personal squicks are first person (with rare exceptions), present tense, real people fic, blood play, rape!fic and stuff that gets way too schmoopy, but in a serious way. Do I think those need warnings? Depends. Keep it short, though, sometimes I think authors assume you've read the story already and are sharing a personal in-joke with them and that tone itself is a warning for me ('read at your own risk! lol!')
As a side note: sometimes you can do everything right. I read a header that was wonderful and nailed every one of these guidelines of mine the other day, but when I clicked on the fic I found it was all about how you felt when he did this and yadda... I couldn't make it past the first paragraph. I wanted to, though, dude, I gave it the old college try just based on the header; they killed me with tense. I r ded from tense.
Exception to the header rules: If I know you. This is sort of self-explanatory and I just went off on a huge tangent about how I read most stuff by my friends but am really selective about what I rec, although not always scientific about it so please don't feel hurt if I only leave feedback but don't rec. Or don't leave f/b as I may not have been in a gen mood that day, or whatever. Blah blah blah pancakes. The disclaimer was superfluous and self-important and unnecessary, so I cut it.
Exception to the header rules, part the second: Rec'd by a third party.
If you have a lousy header on your fic, or I overlooked it for some reason, or never saw it to begin with, I may still read your story if it's rec'd well by someone I do know or in a particularly intriguing way.
stargateficrec is an amazing comm that way, I find really amazing stuff there that I mightn't otherwise, and the recs are from complete strangers in totally different little corners of fandom. I don't need a full header to sell me on a fic if either the author or the reccer is known to me, though, that's the beauty of trusting someone's judgment.So there you are. In summary: spellcheck, proper English, betas, minimal authorial commentary (no self bashing), I won't read a WIP until it's not, snazzy titles, hook me with your first sentence, warn briefly at your own discretion. Headers are a necessary evil, given that so much of fanfic is painfully bad, and I love when people use the header deftly to tell me all I need to know and somehow not reveal a surprise pairing and not even hint that there was something they weren't telling me; that's awesome. Then again, I probably knew their work and I would have read something titled 'meta on the subject of dirt, part 1 of 14: the difference between dirt and mud is in the water content.' Probably. I've read stupider scientific articles, after all, it's likely that authors powers of description would've rendered the essay unique at the very least.
Anyway, there's amnesty for headers on the Sam/Jack or Sam & Jack fic rec request, all I really need is a link and I'll peruse my own self. Or tell me why you read and where. Or just pull up a chair and grab a cup of tea, whatever. There's still cake from my birthday.
If you're interested in the perils of reading badfic,
liviapen posted a fantastic little meta called Stop Knocking Down Phoebe, on character bashing to hold up an OTP, which is a pretty universal peril.The most loved and grammatically capable beta on the planet (RW) pointed me to a nifty post on grammar here: a tiny refresher course in dialogue punctuation and speaker attribution, from
furiosity.littera_abactor has written the warning to end all warnings here, and it's hilarious.'Tis time to head off to a patio party and swim and frolic and watch shiny things go boom. Happy Fourth of July, may your summer be grand.
![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png){kind=small}
no subject
Date: 2006-07-05 05:58 pm (UTC)I guess I will look for Sam/Jack that really focuses on the barriers to their relationship. I have no problem with using subtext to even see their relationship; I can imagine Jack being so in control that he could conceal an attraction for Carter, completely and forever. So the fact that there's not so much on-screen chemistry with them doesn't throw me. Honestly, I think there is some. But again -- I can watch the show for the Jack/Daniel, or watch why may be the show the PTB are writing, but it's all subjective.
I guess I'll start looking for fic that delves into what it would take to make them get together, break the rules, which is where the interesting conflicts lie, IMHO.
Thanks for letting me ramble and be all confused, in any case. And, as always, for making me think.
That Numerology story was indeed terrific, too.
no subject
Date: 2006-07-05 06:54 pm (UTC)This is not the journal for emo sensitivity. Heh. Maybe I'll hold a multi-shipping amnesty day in which everyone celebrates a pairing (+) of their choice. No whining or bashing, but conversations encouraged. Maybe we'll call it the Broccoli Day. (It could work!)
Surrealphantast's fic recc'd above is one that fits your requirements. I could see an attraction too, early on. Later the psychology required to maintain a holding pattern crush just got to me, it's a disconnect that Sam (not Jack so much, I can see him concealing attraction) could knowingly let herself do it. It's interesting to see authors play with it as a strength, though. Jenn, for example, sees their commitment to the airforce as loyalty and strength. Meanwhile, they're going on with their lives, but if this extraordinary situation happened, and those barriers were slowly worn away, to the point where they were on the brink... what would it take?
Interesting. I'm hoping to find some friendship pieces somewhere in there that show me some really interesting moments. I would love those two as friends.
Numerology was great.
no subject
Date: 2006-07-05 11:39 pm (UTC)but i will continue to hang around and lurk in hopes of grokking the Sam/Jack, and if you do a Broccoli Day, count me in.
Of course I'm not through S7, so my ideas won't hold water eventually, whatever they turn out to be. i do agree that any kind of plausible characterization of jack and sam would have to take seriously their commitment to the air force and their investment in its values. and yay for friendship fic. certainly.
I'll check out that fic now -- i have read a lot of jenn's stuff but maybe I missed this one?
*cheers*