Saturday, January 29, 2011

Scott Lord Inga's Veil Evening page eight was updated



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Subject: [scottlordnovel] Scott Lord Inga's Veil Evening page eight was updated
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Scott Lord updated the page Scott Lord Inga's Veil Evening page eight. View the changes below.

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Later Chapers.

"In that its quiet and contemplative." He stopped; midsentence. He thought back to how she was playing with her hair, and how far apart they had been with the legnth of the room and his trying to allow some entrance into their both keeping a staring at each other between them, and then back the the previously evening, the making of conversation while her hands neared his.
"I like that you're looking at me like that, but it was only that I might not say 'I love you' while we're making love."
"Only then, only during, everytime."
"With us, I'm in a postiton to not say a word. Your name, if that."
"You still think I'm that pretty?" 

     He hadn't conceded it yet. He still wanted her.
     "In that its quiet and contemplative." He stopped; midsentence. He thought back to how she was playing with her hair, and how far apart they had been with the legnth of the room and his trying to allow some entrance into their both keeping a staring at each other between them, and then back the the previously evening, the making of conversation while her hands neared his.
"I like that you're looking at me like that, but it was only that I might not say 'I love you' while we're making love."
"Only then, only during, everytime."
"With us, I'm in a postiton to not say a word. Your name, if that."
"You still think I'm that pretty?"
     He had conceded it before they had spoken. She sang in the church choir and he hadn't seen her since Sunday .Her eyes were that blue to where he disregarded having seen her before and avoided trying to get involved her. He could hope to ask her to dinner, but would have to word it so that it would be for the middle of the week and that she could call him Monday or Tuesday. And yet it was because she was that pretty that he had conceded it and there was every indication that while they were talking that they could fall in love, irregardless of whether he thought he could have made it more romantic, either from having felt unprepared to speak to her, it having been after he had briefly aprroached her and introduced himself, asking to see her later, or from it not having been an ideal romantic circumstance, which to him was satisfactory as being romantic in that he saw her the very next morning. When he had asked if she were going to be there the next morning, he had quickly asked, "What time?" and she gave him the time of her rehearsal, rather than the time of the worship service. She had answered him directly, and had given him whPen he could see her personally.
     He had nearly quaked looking at her, his trying  bring himself back to that if they were fall in love with any sense of devotion, it could only be with affection, if not kindness, and yet in between trying to smile towards her to reassure her, there was the acknowledgement. He stood with a formality as he watched her at the alter. lifting his eyes to the blue stained glass windows, imploring that he was her guest.
Her guest, where and when she would call him. And yet it had been too long that he had been living alone, the Sunday leaving three days L of thinking of her. It had been too long since his abrupt seperation and there had been no affairs in between his having left his wife that he could lean back on- he felt the possibility of her merely not believing in pre-marital sex, which in turn, could only result in an all out battle to have a fling, if that's all she might accept.
     "I have to,",her thought,"Her eyes, to beheld by her, anything to see her." He had conceded her beauty, but not that she could she could live with him.

{revise or reword?
["Awesome,to quote. Will you be?"]}

Go to page: Scott Lord Inga's Veil Evening page eight


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Friday, January 28, 2011

An Erotic Trailer, written by Scott Lord



Scott Lord

An Erotic Trailer, written by Scott Lord



Full 15 min youtube version without my photo appearing.

Scott Lord

An Erotic Trailer, written by Scott Lord



Full version- It's only a screenplay- I can make up another one.

Scott Lord

An Erotic Trailer written by Scott Lord middle section

An Erotic Trailer written by Scott Lord middle section

An Erotic Trailer written by Scott Lord middle section

An Erotic Trailer written by Scott Lord middle section

An Erotic Trailer written by Scott Lord middle section

An Erotic Trailer written by Scott Lord middle section

An Erotic Trailer written by Scott Lord middle section

An Erotic Trailer written by Scott Lord middle section

An Erotic Trailer written by Scott Lord middle section

An Erotic Trailer written by Scott Lord middle section

An Erotic Trailer written by Scott Lord middle section

An Erotic Trailer written by Scott Lord middle section

An Erotic Trailer written by Scott Lord middle section

Wednesday, January 26, 2011

Scott Lord Inga's Veil Evening page eight was updated



---------- Forwarded message ----------
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Date: Thu, Jan 27, 2011 at 2:15 AM
Subject: [scottlordnovel] Scott Lord Inga's Veil Evening page eight was updated
To: scottlordnovelist@gmail.com


Scott Lord updated the page Scott Lord Inga's Veil Evening page eight. View the changes below.

Color key: Insertion | Deletion

Later Chapers.

"In that its quiet and contemplative." He stopped; midsentence. He thought back to how she was playing with her hair, and how far apart they had been with the legnth of the room and his trying to allow some entrance into their both keeping a staring at each other between them, and then back the the previously evening, the making of conversation while her hands neared his.
"I like that you're looking at me like that, but it was only that I might not say 'I love you' while we're making love."
"Only then, only during, everytime."
"With us, I'm in a postiton to not say a word. Your name, if that."
"You still think I'm that pretty."

Go to page: Scott Lord Inga's Veil Evening page eight


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Scott Lord: Sherlock Holmes

Scott Lord: Sherlock Holmes

Scott Lord: Scott Lord scottlord

Scott Lord: Scott Lord scottlord

Wednesday, January 12, 2011

] Inga's Veil, Evening chapter one Blue White Rainbow er...

 
 

Sent to you by Scott via Google Reader:

 
 




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From: scottlordnovel <noreply@google.com>
Date: Wed, Jan 12, 2011 at 2:05 AM
Subject: [scottlordnovel] Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem was updated
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Scott Lord updated the page Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem. View the changes below.

Color key: Insertion | Deletion

   

Wife in Mirror, 1966 by William Stilson
     The painted was kept in a gallery on Bearskin Kneck when the present author lived there. She is, for the most part, "the real Inga", though only a painting.



      She is the only direct subject of the first scene of the film: there is the use of voice over narrative and flashforward. In the opening shot she is seen in mediuum full shot, her having finished her correspondence. Depending upon what hour she had begun, there previously had been added to that an infrequent journal entry in epistolary form addressed to her lover more often than not rather than to herself. Despite its seeming to be too early in the evening, she appears to be putting a manuscript into the top drawer of her desk, which she closes with her right hand. If it can be said that as an actress she will be drifting and that her instructions are to dress off to the right of her chair, on film the sequence is an on camera turn-her directions to sit into the set have been precluded in that later within the scene there is the use of retrospective narrative cut in shots of her sitting at the desk from within a half hour of her having risen from her chair, the camera intriguing the spectator by suprisingly creating a voyouerism within discourse throught its third person omniscient voice, the transdiegetic aspect of its having omniprescence being temporal rather than spatial as it returns to a cutback shot in the present tense.
     There is a cup of coffee on the desk, the height of which is  above her knees while below her stomach. At first, the tight closeups, close ups and medium close shots are lensed from behind the desk, from a vantage point not thought possible for the camera to acquire, as though there were  physically no wall behind it, much like a three wall set, whereas the medium shots are near to being filmed over the shoulder and in three quarter profile. Near to the right of the chair, she has already skimmed the contents of the drawer before closing it and has brought her glance to the horizontal plane, the subjective high angle withheld from the film as she is to lower her view to reassure herself that the objects on the desk are neatly placed, her not necessarily imediately having noticed the telephone having had been being now more to the left within the square created by what is either a computer or a television with a digital video recorder within the  polished wooden rectangle .
     Were the films use of multiple cameras to include her surveying the desk, watching her eyes would have relayed a sentimental look in her having accomplished having written the particular letter or poem and in their sense of immediacy and yet there is an urgency that has concluded or transformed, something indicative of her being unfailiar with a newly felt emotion, one different than she previously had concieved it would be were she to ever experience it. As she slowly, only gradually lowers her eyelids, it is not according to a personal, solipstic fascination, but more so her lips are only slightly apart, her having ostensibly precluded opening them any wider as her unspoken response to something she had remembered his having said and would not allow herself to answer, to quote or to reiterate, she herself only having heard it said only once, only by him on that occaision, it cloistered within her memory-laden femininity as she looked to him to kiss her eyelids again. There was now a smoothness, or ease to her movements, one in part self acknowledgement, there being a look of introspective holiness, or spiritual beauty derived from that which is known intimately, and known as being particularly singular or unique to her own experience; there is a sensuality to her being in reflection and yet her herself being an an emotive image as a softness impinged her sensibility and her sensibility of self awareness. Within the transcription of her moving image into the dramaturgical significance it would acquire positioned within the linear visual plotline, projected onto, and or projected for the ideal viewer of an implied or disembodied spectator is her solitude projected as not only a mobilized gaze, but as an act of prayer that can be taken as a metaphor for what not only would be tacit between them when they later would meet, but also for her present need to speak to him at that moment- female desire as transcendental. It is discernable, before viewing the retrospective interdiegetic shots of her penning what she had only then finished writing, that it may hvae been only after her having recieved, or found, an earlier letter of his, or a volume of poetry on the shelf in which he had written something in the margins and had telephoned her about in hope she would have time to thumb through the book to find it.  Was it that belief, and accordingly beauty, was the desire for union with something that found the fondness of appreciation?
    "I can't say a word on this telephone untill your finished telling me everything."
     "Why did you stop using words while we were making love?"
     The shot at present is stationary. An as objectification of pleasure, her body, and any beauty inherent within  the erotic object as a quality and its accompanying position of belief as the desire for a transcendental love and ideal beauty, in its femininity is beauty as is modified, her nudity and its foreshadowing of its possible later reoccurrence in the film beuaty that as an objectification of pleasure takes action rather than being only transitory, beauty as perpetual, truth, searched for as being absolute, held by her spontaneity; as an aethetic continuum there is a sensuality to the narrative-spatial dimensions of the scene in which its motifs are encased as she is the center of the vertical composition, the spatial planes of the room limited to the vertical frameline untill divulged by her horizontal movement.
     Within the spectatorial address or any consequent objectification of spectatorial pleasure or desire, including viewer identification as desire for an erotic subjectivity as erotic object, the sequence, itself designed as thematicly autonomous, is not an autonomous single shot in that there is a cutting for continuity that includes reframings and cutting to similar angles. There is a thematic unity of context within the interframe narrative that, in being centered around her and her movement, her movement and or action theatrical space in relation to object positions that within their spatial proximity to her and within their spatial contiguity to each other are measured by linear perspective as non-moving height or width, is becoming increasingly interested in her.
     Within narrative as a mode of address, the viewer is not only interpellated but reproduced, transmogrified or reconfigured, as subject and, within a unfied ideal spectatorial position is brought into a suture pattern of characterization, there being a suture pattern to identification, an appearance dissappearance within the relationship of protagonist observer, an absence presence of emotion, the emotion involved in reception, each relsolution of narrative action holding a lack of closure in the presence and absence of future event, particularly in that the view has constructed an imaginary eroticism which is either supported by the object of fantasy, or brought to a greater excitement than that which the viewer had been looking forward to while waiting. There is, casually, an erotic relationship of hers, whether erotic action or fantasy, contained in what she is doing that becomes seemingly more singular, which at first seems almost ordinary, the viewer only omniscient in that the left shot is left as imaginary and as being among the possible movements she could make within the limited space of the frame, and then in turn, within each framing, there being a diegetic logic of the erotic, there a suture relationship between the camera's decisions and selections, the individual's agency,or fate, or urgency within her particular position in the narratvie core and the viewer as fantasisizing desire to act as protagonist while vouyer.  As to create a shot to shot contrast of spatial configuration, the spatial distance she is kept from the camera and each object brings a diegetic connontation that the action of the scene is her desire, or her desire to transcend sexual gratification. There is a discursive organization to the contiguous images that lends them a figurative context, a cutting for emotional effect with legnthy static shots  that bring to poin her meditations and continuous shots of varying, yet measurably comparable, duration; each reframing a perspectival acknowledgement of each slight purient motion on her part and each decision as to how long they are to continue, the suprise of the nymph elapsed; each a deigetic reference to each postition her body acquires to create spatial temporality while creating vanishing points with off-screen space that had previously been onscreen and with space eroticlly hidden inhabited by the image in the shot to follow;each a reference to her moving without being as near to him as she could be.
 
    

YouTube Video erotic trailer written in between revisions










 
 
 
 
 
 
 
 
 

Go to page: Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem


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Things you can do from here:

 
 

Tuesday, January 11, 2011

Evening chapter one Blue White Rainbow erotic novel, film poem was updated



---------- Forwarded message ----------
From: scottlordnovel <noreply@google.com>
Date: Wed, Jan 12, 2011 at 2:05 AM
Subject: [scottlordnovel] Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem was updated
To: scottlordnovelist@gmail.com


Scott Lord updated the page Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem. View the changes below.

Color key: Insertion | Deletion

   

Wife in Mirror, 1966 by William Stilson
     The painted was kept in a gallery on Bearskin Kneck when the present author lived there. She is, for the most part, "the real Inga", though only a painting.



      She is the only direct subject of the first scene of the film: there is the use of voice over narrative and flashforward. In the opening shot she is seen in mediuum full shot, her having finished her correspondence. Depending upon what hour she had begun, there previously had been added to that an infrequent journal entry in epistolary form addressed to her lover more often than not rather than to herself. Despite its seeming to be too early in the evening, she appears to be putting a manuscript into the top drawer of her desk, which she closes with her right hand. If it can be said that as an actress she will be drifting and that her instructions are to dress off to the right of her chair, on film the sequence is an on camera turn-her directions to sit into the set have been precluded in that later within the scene there is the use of retrospective narrative cut in shots of her sitting at the desk from within a half hour of her having risen from her chair, the camera intriguing the spectator by suprisingly creating a voyouerism within discourse throught its third person omniscient voice, the transdiegetic aspect of its having omniprescence being temporal rather than spatial as it returns to a cutback shot in the present tense.
     There is a cup of coffee on the desk, the height of which is  above her knees while below her stomach. At first, the tight closeups, close ups and medium close shots are lensed from behind the desk, from a vantage point not thought possible for the camera to acquire, as though there were  physically no wall behind it, much like a three wall set, whereas the medium shots are near to being filmed over the shoulder and in three quarter profile. Near to the right of the chair, she has already skimmed the contents of the drawer before closing it and has brought her glance to the horizontal plane, the subjective high angle withheld from the film as she is to lower her view to reassure herself that the objects on the desk are neatly placed, her not necessarily imediately having noticed the telephone having had been being now more to the left within the square created by what is either a computer or a television with a digital video recorder within the  polished wooden rectangle .
     Were the films use of multiple cameras to include her surveying the desk, watching her eyes would have relayed a sentimental look in her having accomplished having written the particular letter or poem and in their sense of immediacy and yet there is an urgency that has concluded or transformed, something indicative of her being unfailiar with a newly felt emotion, one different than she previously had concieved it would be were she to ever experience it. As she slowly, only gradually lowers her eyelids, it is not according to a personal, solipstic fascination, but more so her lips are only slightly apart, her having ostensibly precluded opening them any wider as her unspoken response to something she had remembered his having said and would not allow herself to answer, to quote or to reiterate, she herself only having heard it said only once, only by him on that occaision, it cloistered within her memory-laden femininity as she looked to him to kiss her eyelids again. There was now a smoothness, or ease to her movements, one in part self acknowledgement, there being a look of introspective holiness, or spiritual beauty derived from that which is known intimately, and known as being particularly singular or unique to her own experience; there is a sensuality to her being in reflection and yet her herself being an an emotive image as a softness impinged her sensibility and her sensibility of self awareness. Within the transcription of her moving image into the dramaturgical significance it would acquire positioned within the linear visual plotline, projected onto, and or projected for the ideal viewer of an implied or disembodied spectator is her solitude projected as not only a mobilized gaze, but as an act of prayer that can be taken as a metaphor for what not only would be tacit between them when they later would meet, but also for her present need to speak to him at that moment- female desire as transcendental. It is discernable, before viewing the retrospective interdiegetic shots of her penning what she had only then finished writing, that it may hvae been only after her having recieved, or found, an earlier letter of his, or a volume of poetry on the shelf in which he had written something in the margins and had telephoned her about in hope she would have time to thumb through the book to find it.  Was it that belief, and accordingly beauty, was the desire for union with something that found the fondness of appreciation?
    "I can't say a word on this telephone untill your finished telling me everything."
     "Why did you stop using words while we were making love?"
     The shot at present is stationary. An as objectification of pleasure, her body, and any beauty inherent within  the erotic object as a quality and its accompanying position of belief as the desire for a transcendental love and ideal beauty, in its femininity is beauty as is modified, her nudity and its foreshadowing of its possible later reoccurrence in the film beuaty that as an objectification of pleasure takes action rather than being only transitory, beauty as perpetual, truth, searched for as being absolute, held by her spontaneity; as an aethetic continuum there is a sensuality to the narrative-spatial dimensions of the scene in which its motifs are encased as she is the center of the vertical composition, the spatial planes of the room limited to the vertical frameline untill divulged by her horizontal movement.
     Within the spectatorial address or any consequent objectification of spectatorial pleasure or desire, including viewer identification as desire for an erotic subjectivity as erotic object, the sequence, itself designed as thematicly autonomous, is not an autonomous single shot in that there is a cutting for continuity that includes reframings and cutting to similar angles. There is a thematic unity of context within the interframe narrative that, in being centered around her and her movement, her movement and or action theatrical space in relation to object positions that within their spatial proximity to her and within their spatial contiguity to each other are measured by linear perspective as non-moving height or width, is becoming increasingly interested in her.
     Within narrative as a mode of address, the viewer is not only interpellated but reproduced, transmogrified or reconfigured, as subject and, within a unfied ideal spectatorial position is brought into a suture pattern of characterization, there being a suture pattern to identification, an appearance dissappearance within the relationship of protagonist observer, an absence presence of emotion, the emotion involved in reception, each relsolution of narrative action holding a lack of closure in the presence and absence of future event, particularly in that the view has constructed an imaginary eroticism which is either supported by the object of fantasy, or brought to a greater excitement than that which the viewer had been looking forward to while waiting. There is, casually, an erotic relationship of hers, whether erotic action or fantasy, contained in what she is doing that becomes seemingly more singular, which at first seems almost ordinary, the viewer only omniscient in that the left shot is left as imaginary and as being among the possible movements she could make within the limited space of the frame, and then in turn, within each framing, there being a diegetic logic of the erotic, there a suture relationship between the camera's decisions and selections, the individual's agency,or fate, or urgency within her particular position in the narratvie core and the viewer as fantasisizing desire to act as protagonist while vouyer.  As to create a shot to shot contrast of spatial configuration, the spatial distance she is kept from the camera and each object brings a diegetic connontation that the action of the scene is her desire, or her desire to transcend sexual gratification. There is a discursive organization to the contiguous images that lends them a figurative context, a cutting for emotional effect with legnthy static shots  that bring to poin her meditations and continuous shots of varying, yet measurably comparable, duration; each reframing a perspectival acknowledgement of each slight purient motion on her part and each decision as to how long they are to continue, the suprise of the nymph elapsed; each a deigetic reference to each postition her body acquires to create spatial temporality while creating vanishing points with off-screen space that had previously been onscreen and with space eroticlly hidden inhabited by the image in the shot to follow;each a reference to her moving without being as near to him aPs she could be.
 
    

YouTube Video erotic trailer written in between revisions










 
 
 
 
 
 
 
 
 
 

Go to page: Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem


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An Erotic Trailer

An erotic trailer, written by Scott Lord.

New recent development in The Memorial Hall Murder. But we have to open it without Aurora's wisdom, it's only there to guide us.
Risk it.

An Erotic Trailer written by Scott Lord,




Sunday, January 9, 2011

Scott Lord- Lifting;photoseries






I'm not sure how long its going to take- but at my weight, I have to relift.

I got what I wanted-Bruce Lee. But I need more of a build.

scottlord

scottlord- Greta Garbo

Saturday, January 1, 2011

New Picasa Web Albums Activity

Recent Uploads
Scott Lord added 4 photos to Scott Lord Nude
Dec 31, 2010 2:52:23 PM

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New Picasa Web Albums Activity

Recent Uploads
Scott Lord added 4 photos to Scott Lord Nude
Dec 31, 2010 2:52:23 PM

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