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Tightrope Walking
Tightrope Walking

by Eimear in Dramatic Poetry
Young Writers Society Forum Index » Historical Fiction

This thread was created on April 7, 2008
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~Michelangelo's Night and Day~Chapter Two[rewritten]
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~Michelangelo's Night and Day~Chapter Four[rewritten]
~Michelangelo's Night and Day~Chapter Five
~Michelangelo's Night and Day~Chapter Six
~Michelangelo's Night and Day~Chapter Seven
~Michelangelo's Night and Day~Chapter Eight
~Michelangelo's Night and Day~Chapter Nine
~Michelangelo's Night and Day~Chapter Ten
~Michelangelo's Night and Day~Chapter Eleven
~Michelangelo's Night and Day~Chapter Twelve

~Michelangelo's Night and Day~Chapter One[rewritten] Goto page 1, 2  Next
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PostPosted: Tue Apr 08, 2008 1:13 am    Post subject: ~Michelangelo's Night and Day~Chapter One[rewritten] Reply with quote

First, I'm sorry but I HATE cutting my stories up once I have them written in chapter form so I guess this is just going to be long. Because if I cut it up, it'll look a mess and just irritate people (including myself) But I did space it out as much as I did to make it easier on all of you.

One more thing before I allow you to read! Very Happy This is the new, corrected version. But, that doesn't mean that it is perfect. So, harsh reviews is highly recommended!

Hope you like it! Smile

____________________________________________________________________________

CHAPTER ONE

The city is nothing as I imagined. I hadn’t prepared myself for the vastness of it all. It seems to stretch on forever in an endless sea of whitewashed stone, the tall buildings with sculpted pillars reminding me of home. I can feel the nostalgia setting in, gnawing away in my stomach with aching persistence. But, I conceal it within me with a mask of awe.

I am jostled and shaken as we traverse among the crowds and the boisterous noise is deafening. Shouts and screams and children’s laughter is knitted together into a babel of sound. I feel so out of place and I cower closer to my father. The people are so foreign, with their harsh tongues and rash words. It is a pandemonium here on the streets of Rome and I feel slightly light-headed as I look at so many different faces. However, I have familiarized myself with the Roman language at a very young age, and it is not hard for me to understand the crescendo of speech around me.

The people, on the other hand, are a blur to me. Their faces swirl together into a moving ameba of nothingness. But I do see, with precise detail, the clothes they wear. Togas and robes of all colors with aureate skirts drape over their frames and sandals enclose their toes. Their feet are in danger of being crushed and yet they still wear them. I am baffled, as I gaze at my own feet enclosed in sheepskin lined slippers.

We are nearing the opulent part of town with the more glamorous buildings displaying signs of wealth at every turn. White marble fountains are a centerpiece in open courtyards with blooming flowers that drift mellifluous scents across my nose. Servants scatter here and there, their colored bands jangling on their ankles, a signal to all of what they are. Each colored band represents the family they serve. I notice many deep purple anklets amongst the multicolored bands.

Now, we are in the center of it all. The magnificent buildings contain families who gain the utmost respect and I am directed to the largest house. I follow a slave to the front door as he opens it for us.

It is as though I have walked into a glittering palace. The floor, with its reflecting, immaculate tiles, plays like a mirror beneath my slippers. The whitewashed pillars are scattered randomly throughout the spacious welcoming hall and Persian carpets, along with nude figurines, crowd the space. It is all so different compared to my modest home with its walls adorned with murals of our families history. Never have we displayed nude sculptures of the human body. So flagrant and uncivilized, I think, my nose wrinkling in distaste.

Our tour continues into the main entertaining room.

The mother draws my attention first. A long and slender woman with a wild mess of light brown hair piled high on her head sips her goblet of wine with delicate movements, as if she were a china doll in danger of smashing into millions of pieces at the simplest of actions. Her tiny feet are stretched out beside her on the sofa with her ankles looped together.

The woman fascinates me in a negative way. She is delicate, poised, and annoyingly perfect. And because of this, the sight of such a human being still alive fascinates me. If she had lived in Greece, life wouldn’t have been so easy.

Her name is Delicia Chandrenos.

The next is the father. He stands immediately at our entrance and the slave who guided us steps aside so the father can greet my own father, Amycus. The differences between the two men are profound. My father is short and stubby with a full beard and a head of hair that is course and peppered. The other is tall and built with thick black hair graying at the roots. My father is wearing our custom Greek attire for a commoner; a wool tunic and wool breeches with sheepskin slippers. The man is wearing a white toga gilded with gold and gold sandals, as if they were sculpted with the metal itself.

His name is Evander Chandrenos.

He greets my father with an air of success. You can see the pride seeping from every pore in his well-toned body. His excretion of wealth leaves a bitter tang in my throat.

My eyes finally stray to the son. The first thing that intrigues me about him is his mysterious nature. He is the very essence of everything dark and occult. His head is bowed over his silver goblet filled with carmine colored wine. His head is a tangle of inky curls that tumble around his face like a veil of darkness. His muscled arms show his strength yet, there exists a weakness about him that I can’t explain. His appearance is a sudden and welcoming change to the others.

He lifts his head only when his father calls his name. My stomach curls inwards at the sight of his eyes. The smoky incandescent light floating from them is entrancing. “Nicandro, why don’t you greet our guests?” Evander asks his son with a cogent glare.

Nicandro’s eyes flit between my father and I with a disdain that I feel in the very pit of my gut. With eyes like knives, slicing holes in the confidence of my soul, he makes me feel as if I am lower than the stray dog on the street or the refuse it produces. He nods his head, once, twice before saying in the dullest, driest tone I have ever heard emerge from another human’s mouth, “Welcome to our home.”

I see my father’s beard crinkle with a half-hearted smile and Evander shoots his son a most grisly stare. If it had been me he was looking at, I would have fallen to the floor in full submission before his gold-gilded sandals. Nicandro, however, turns casually away, and sips his silver goblet, the wine staining his tongue and lips a most gruesome red. And yet, so far, nothing about him repulses me. I am just as entranced with his actions as I am with his appearance.

Evander faces us once again with an apologetic smile. “Why don’t I show you both to where you will be staying?” My father nods his head and we follow Evander out into the hall.

Our rooms are on the second floor and we each have separate quarters. My father’s is large and spacious with deep mahogany walls and he has his own office. Mine is slightly smaller and airy with walls painted a cheerful yellow and a balcony overlooking the family’s courtyard and garden. Evander and my father leave me, then, to talk business and I am left alone.

I immediately stride to the balcony and look out upon the garden. It is just like all the others, with the marble fountain as its center but this one is much larger, with a cobblestone pathway snaking its way through the area. The flowers rooted beneath me release their nectar and it flows up to me on a wind carried from the sea. The mixture of salty air and the smell of lilacs cause another spasm of nostalgia to ripple through my body. I close my eyes and wish myself back to my homeland in Greece.

The hills are speckled with lilacs and sunflowers, and the grass tickles my knees as I frolic along through the rolling plains. I crest a hill and the span of my village is cluttered below me. I tumble downwards and enter the mirthful atmosphere of my place of birth. The houses are made of sod and plaster, the walls carrying the history of its occupants spanned out over decades of descendants.

I greet with the other girls my age and we sit and create crowns of flowers, entwining them in each other’s hair. Then, we skirt around the village, flirting and giggling every time we spot Damaris.

His bronze colored skin has brilliance of no other man and his eyes hold the strength of a leader. He is like no other in our village. He represents all that is Greek and he carries with him the power of his father and the knowledge of his mother.

My heart aches. I remember him as clearly as if he stands before me.

Another enters my thoughts then. She is fair-haired and light-skinned with pale eyes and a chipper voice. Her name is Timandra and she is my closest friend in the village. I remember the day we set sail and she had waved and called out: “Remember to write, Isadora Chatzi!” I had sworn I would.

I break free of my childhood memories then, and focus on the present. I am in Rome now, the king of the world; the city of emperors and lords. I wonder how my father is fairing with Evander. I can see how Evander prides himself amongst these lords of the land. My father is now residing in a completely different battlefield and I wonder if he is up to the challenge.

I leave the balcony and float to the bed with a transparent canopy draped over it. I pull back the covering and enter a world of mountains made of down-filled pillows and hills of plush blankets. They envelop me into their deep seas and I sink to the bottom in a paradise of comfort.

A knock at the door startles me and I scramble from the world, hurrying to the door. It is the slave who had led my father and I to the Chandrenos household. “It is time for dinner, my lady,” he says in a deep, monotone voice. I nod, feeling slightly odd at the title.

The slave leads me into the lower levels and then, into the entertainment room once again. Delicia is present along with her son. I enter awkwardly and place myself on an empty sofa, shifting uncomfortably when neither of them says a word. They just sip their wine-filled goblets or nibble from trays laden with exotic fruit without emotion. I catch myself watching Nicandro out of the corner of my eye and quickly avert my gaze. But, something about him makes me look again…and again. He places a violet grape on the tip of his tongue and slips it inside his mouth in one smooth motion. He glances at me then, and roses bloom in my cheeks.

No emotion is present on his face He just stares, expressionless with his black curls brushing his long lashes. Suddenly, Nicandro’s eyes leave me to look to his father and I see his mouth tighten slightly at the sight of him. I frown but my stomach lightens when I notice that I am not alone, thankful that when my father enters with Evander. They are laughing and Evander is clapping my father on the back as if they are long time friends.

My father has worked for Evander Chandrenos for as long as I can remember. Evander is a wealthy tradesmen and merchant. My father is the owner of one of the ports Evander sells to. But, over the last few years, Evander has paid my father more and more attention. My father keeps his port neat and organized; never is there a barrel or crate out of place. My father’s men are disciplined and respect him. And so, Evander offered my father the chance to help him be a partner in his thriving business and, of course, my father couldn’t refuse.

So, here we are, guests in the Chandrenos’ home.

Evander places himself besides his fragile wife, who has barely glances up at his entrance. Nicandro’s eyes return to his food, his face plain again. My father smiles encouragingly at me from across the room and I grin warmly back, my spirit higher at his arrival, sitting taller as my confidence seeps back.

Moments later, servants arrive with platters of food. I have never seen such delicacies in my life and, I am embarrassed that my mouth salivates at the sight of it all. I sample the roasted salmon with chives and lemon on the side to drizzle over. Cooked salted pork, the ripest grapes Rome can offer, and a full goblet of wine is included and I eat it all, savoring every bite.

As I enjoy the scrumptious meal, I observe each family member over the bridge of my goblet.

Delicia is a dainty eater, choosing carefully before nibbling and replacing her fork, drinking large amounts of wine instead of food. Then, she resumes her nit picking again. I can’t understand how she is ever nourished when she swallows so little down her throat.

Evander is extremely enthusiastic, which brings about a slight smile to play across my lips. He digs into every delicacy with excitement and swallows with a loud satisfied sigh after every bite.

Nicandro is the most peculiar eater. He observes his food and then eats first, the one which looks the least appetizing, saving the most beautiful arrangement of the salmon with chives for last, all the while taking sips of wine between every bite. To him, I discover as I watch him eat, that it isn’t about the taste, but of the beauty of the food he is putting into his mouth.

I, however, praise food by the flavor. Yes, the salmon is nice to look at, but it is the salted pork that draws my complete attention. It isn’t just salted, but has many spices cooked into it to make the most harmonious symphony of music with my taste buds. I close my eyes as I swallow the last bite, licking off the last of the spices from my lips. When I open them, I realize Nicandro is watching me, and I blush furiously, glaring down at my clean plate.

I dare to look up again and he is still watching, curiosity now clouding his dark eyes. The light streaming from them hits me with a cloud of mingled novelistic gaze and a wondering stare. It is the first emotion I have seen present on his face, and it vanishes as quickly as it came.

I am left feeling bewildered.

~ ~ ~ ~

This night is probably the hardest night for me to bear. Sleeping in a foreign bed in a foreign land without my mother is troubling. I think of her now, curled up in the plush blankets. Her face swims before my closed eyelids and my heart yearns to hear her voice; to see her smile. Her dark hair laying straight and flat to the middle of her back

I imagine her as she always is back home, working on her loom, singing songs of long ago. I would always listen from just inside the door, weaving my own blanket with a needle and thread. It had seemed to me that I work better when she was singing rather than when she wasn’t.

I crawl from the bed and shuffle to my bag. I dig around for a moment until I feel the wool fibers brush my fingers. Smiling in the gloom, I pull out my finished blanket. Taking this with me, I bury back into the sea of cotton and place the wool beneath my head. The smell of home washes over me. My blanket smells of smoke from our fire, lilacs, and our family dog, Ruffy. It isn’t the loveliest of scents, but it is the one I yearn to smell.

And so, with my wool blanket tucked behind my cheek, I eventually drift off to sleep.

~ ~ ~ ~

Birds hum their sweet melody beyond the hills of blankets and I stretch luxuriously, yawning. I had slept wonderfully. My wool blanket cuddles next to me. I sit up and push the garnished sheet away so I can desert the confines of my bed. I traverse to the balcony and lean contentedly against the pillars, looking down below.

The courtyard is in full bloom today, and I have the sudden urge to walk amongst the flowers. I smile and quickly pull on my robe, leaving my room for the outside world.

Down in the garden, I float pass hundreds of kinds of flowers. Some are as large as a plate, others as small as nails on my fingers. Bees make themselves known as they flit from flower to flower, eating the sweet nectar they provide. Butterflies and other insects are present as well as they buzz their warnings to me as they fly by. I place myself on a stone bench, besides the fountain.

Centered in the fountain is a sculpture of another nude figurine. Two, actually, both raised on pedestals. The one on the right is that of a woman, her legs concealing her as the left crosses the right. Her chest, however, is bare and it makes me advert my gaze at such a blunt statement of the womanly figure. Her head is pulled towards her chest as her left hand holds up the weight of her forehead. Her hair is short and cropped tight around her face and her expression holds a sense of ecstasy that perplexes me. On her right, is the male. His body is turned away from her, baring his back and behind to all that can see, his leg pulled towards his chest. But, his neck and head are turned towards the woman, a look in his eyes so intense that it burns a fire in my cheeks.

I wrap my robe tighter across my chest and lean back against the calves of the man behind me. His body is cold and I shiver, sitting straighter. Instead, I observe the activities of the courtyard, watching every creature.

A caterpillar inches its way along towards the safety of the grass. I look up and see a bird circling the courtyard. Hurrying forward, I kneel, scooping the bright green worm into my hands. The bird voices its disapproval with a sharp click of its beak before flying off to find breakfast elsewhere. I open my fingers to find the caterpillar curled in on itself for protection in the palm of my hand. I smile and let it gently slide into the forest of grass and tulip stocks. I wait until it uncurls and continues its journey to find no doubt, a safer place to create its cocoon. I lift my head from where I kneel and gasp when I see I am not alone.

Nicandro stands a close distance from me. He is leaning lazily against the bark of a small tree planted near the entrance of the courtyard, head tilted in a most observant poise. I jump to my feet, raising my chin to appear unaffected by his unwelcome presence. He proceeds to walk away from the tree, slowly making his way towards me, pausing every few steps to lower his head and smell the different flower he passes.

I stand, stock-still, unable to find words to say to him. I want something witty to say; something, anything, to make him reply. But I am speechless, at a loss for words and struck dumb.

He stops only feet from me. There, he plucks a tulip from its earthy home and twirls it around and around in his fingers. I watch the petals weave in and out, wishing he would say something to me. But he stays mute. He lets his eyes lift from the flower in his hands to me. They are just as unnerving, if not more in full daylight. His curls are ruffled and uncoiled from the night’s rest. An image of him sprawled upon his bed appears in my mind.

I close my eyes briefly, wishing the vision away. When I open them, he is walking pass me. His arm brushes my shoulder and I jump, as if electrocuted. Before he turns his head, I swear I see a tug of a smile at the corner of his lips and I find my voice, then. “What do you want?” It comes out as more of a request then a demand and he contemplates my question with ease. He plays with the tulip some more, but stops his walking and turns back to me.

“Can a man not wander his own courtyard freely?” he asks, his voice deep and alluring. I find myself struck dumb once again, unable to come up with something to say to that. He steps closer. “But, I do wonder on why a guest of my household seems to think that she can wander my courtyard without permission?” My eyes widen and he stares intently at me.

“I hadn’t meant to intrude. I-I was – “ but a voice from the house calls us back inside.

“Isadora! There you are, child.” My father breathes a sigh of relief as he steps into the courtyard. Nicandro takes a step back from me and my father stops at the sight of him. He looks to me with questioning eyes, and I just lower them to my bare feet. “I was looking all over for you. I came to your room this morning and you weren’t there,” Father adds.

“I apologize. I couldn’t help it. The courtyard was too alluring to ignore.” I glance side-ways at Nicandro but he says not a word.

“Well, at least I know that you are safe. My old heart can rest easy now,” he teases and I smile.

“Sorry to worry you, Father.”

“Quite all right. Now, would you please join us for breakfast? Evander is waiting for us.” I nod and do not miss my father’s glance at Nicandro again. “Are you coming, Nicandro?” Father questions him as we turn to go.

Nicandro keeps his gaze on the tulip woven amongst his fingers. “I will join you later, Amycus,” he says calmly, before turning his back on us. Father nods curtly and wraps a securing arm around my shoulders, guiding me back inside.

“You silly girl! What were you doing out there?” he whispers harshly once we are alone.

“I was touring the garden.” I shift uncomfortable at Father’s scrutinizing glare.

“I mean, what were you doing with Evander’s son?”

“Nothing. He entered the garden just as I was leaving and we talked. That’s all.” My father shakes his head hurriedly before leading me towards the outside terrence where Evander waits with his wife. Evander is in an elegant toga and I suddenly remember that I still wear my lace nightgown and wool robe. I wiggle my toes and realize that my feet are bare.

My father seems to notice this at the same time I do and quickly lowers me into a chair, one of the five surrounding a painted table with a glass surface. A canopy covers and shades us from the glaring sun. I pull the robe further across me, tying it tight to keep it in place. “Amycus, I see that you have found Isadora,” Evander greets, smiling warmly at us both.

“Yes. She was touring your garden.”

“Ah,” Evander says with twinkling eyes. “And, did you find it to your liking?”

“Oh yes. It is beautiful,” I complement with a grin.

My father nods his approval before servants arrive with our breakfast. It is just as delicious as last night’s supper and I consume every bite, as Evander and my father discuss business. I see Delicia glance up from her plate and I follow her gaze to where Nicandro stands in the doorway.

“Nicandro, have you finally decided to bless us with your presence?” Evander asks with slight scorn.

Nicandro smiles in spite of his father’s disapproval and says calmly, “I couldn’t postpone my arrival any later or you all would be damned.”

Evander frowns at his son’s wit and watches him with obscene eyes. Nicandro places himself on the other side of his mother, beside me. I shift uncomfortably at him being so close and concentrate on my empty plate. A servant promptly places a platter before him and Nicandro eats while looking at his father with a mocking smile. Evander frowns and turns back to Amycus.

Soon, talk resumes and all is normal.

Out of the corner of Nicandro’s mouth, he whispers, “You still haven’t answered my question.”

I glance at him with raised eyebrows and whisper back, “And what is that?”

“Why were you touring my garden?”

“So I could aggrieve you with my opinion,” I say simply before turning back to my cup of wine, sipping it delicately.

“And what is that opinion you planned to aggrieve me with, if you can aggrieve me?” I hear the challenge in his words and close my jaws around the bait that he dangles so willingly close across my nose.

“That you and your family have opulent taste,” I say through thin lips, minimizing the chances of my father overhearing.

“Opulent taste?” I can hear the smile in Nicandro’s words but I dare not look in his direction for it would give us away.

“Yes. Opulent. And that your need for a manifold of items is very clear.”

“My, such large words for something with so little.” There is no longer a smile in Nicandro’s voice and I hear the bittersweet of his tongue. I have offended him and I glance at him.

“Take no offense. My words are harmless.”

“Harmless you say?” he snaps. “Your talk of my family is audacious and unneeded.”

“I hadn’t meant it to come out so. Understand that it was harmless banter, nothing more,” I say, urging him to hear the lightness of my words.

Unexpectedly, a playful smile crosses his face, and I am perplexed. “Your rally was quite amusing, seeing as you were distressed with my displeasure.”

I scoff. “I thought you were angry.”

“My hostility was taken seriously?”

“Of course it was. Clearly, I was distressed with you taking my words so heavily.”

He chuckles lightly, bringing about a curious look from his mother. I quickly avert my gaze but he continues to speak, “Well, be distressed no longer. You have not burdened me.”

“That’s a relief,” I huff and he laughs again, louder than he should have, and Evander glances over.

“Do you care to share what is so humorous, my son?” he asks with narrowed eyes.

Nicandro casts a look in my direction, and my eyes widen. “I was merely expressing my amusement at Isadora’s wit.”

Father raises his eyebrows, and I look to my hands clasped in my lap. Evander looks between Nicandro and me. I, shy and diffident; Nicandro haughty with a challenging smirk. Evander looks back to my father and says, “I think it is time we take a visit to the shipping yards. Shall we, Amycus?”

My father stands along with Evander. “Sounds refreshing. Isadora?” I stand, eyes on my father as he continues to speak. “Why don’t you join us? A little fresh air may bring you in high spirits.”

“Sounds delightful, Father. I will just go and change,” I say and everybody’s eyes linger on my inappropriate clothing. I catch Nicandro staring with what appeared to be a sly smile pulling at the corners of his mouth. I retreat from the terrence as quickly as I can.

Upstairs in my quarters, I quickly change into a skirt with a flower design hugging the hem and a blouse of a shade of brilliant yellow. I pull my dark hair high on my head and spray some perfume on my neck and wrists, a gift from Damaris before my departure. I then put on my slippers and hurry to the entrance hall.

I am surprised to find Nicandro present as well, along with Evander and my father. Evander keeps shooting his son disapproving looks but Nicandro seems completely content. When I arrive, that playful smile tugs at his mouth, and I scurry to my father’s side. Father is uneasy with Nicandro accompanying us as well but it is not his place to voice his disapproval of Nicandro. He welcomes me beside him with a smile and we proceed to leave the home.


_________________
-Fill your paper with the breathings of your heart-
~William Wordsworth

-We are like the wilted petals of a poisoned rose. To grow, we made our flower bloom. But to end, we had to have our blossom die. "Us" is no more-
~Me


Last edited by ashleylee on Sun Jun 08, 2008 1:28 pm; edited 24 times in total
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PostPosted: Wed Apr 09, 2008 4:40 am    Post subject: Re: ~Roman Skies and Greek Meadows~Chapter One Reply with quote

ashleylee wrote:
One more thing before I allow you to read! I know this has A LOT of grammar things and needs WORK! So, harsh reviews is highly recommended!

You ask and you shall recieve!

It's an interesting story. I don't think I've ever read one in present tense, but I don't think it's a bad thing.
I love how you describe things. For instance, the "endless sea of whitewashed stone", and many of the other similes and metaphors you use. When you described each member of the Chandrenos family, I could feel much of Isadora's disdain for them and their opulence. I also called Nicandro a jerk the moment he first spoke. I still don't trust him. This is good. You introduced the readers to this world as the main character is being introduced to it, and then get them to feel something for it - to react to this world.

One question: What time period is it? The only clues are that it's a decadant Rome (I'm assuming that it's Rome, you didn't say what city they're in in the story), and that the Romans are wearing togas. A big part of my confusion is this:
ashleylee wrote:
Evander offered my father the chance to help him be a partner in his multimillion-dollar business

I'm not sure how far back such business deals go, and I'm certain that multimillion-dollar ones are a fairly recent occurance. Plus, they're in Italy and don't use the dollar.

Now for the joyous grammer stuff!
You use a lot of passive voice. This makes the work more formal and tends to distance the reader from the story.

An occurance of passive voice:
ashleylee wrote:
The buildings are tall with sculpted pillars that remind me of home.

This should be: The tall buildings with sculpted pillars remind me of home.
I'll mention some other occurances of passive voices below.


ashleylee wrote:
It is much, much grander on a wider scale.

You might want an 'and' after grander. A complete rewording of this sentence might be needed.

ashleylee wrote:
Togas and robes of all colors with aureate skirts and sandals. Their feet are in danger of being crushed and yet, they still wear them. Baffled I am as I gaze at my own feet enclosed in sheepskin lined slippers. These people are so foreign with their harsh tongues and rash words. I had familiarized myself with their language at a very young age and it is not hard for me to understand the crescendo of speech around me.

The underlined sentence is a fragment. Perhaps you should describe their clothes a bit more and then mention the sandals. As is, the second sentence doesn't flow well with the first/fragment. Remove the "I am" after "Baffled" in the third sentence. And then you jump from clothing to speech. Considering you mention sound and 'babel' in the previous paragraph, you could move the last two sentences of this paragraph to that one.

ashleylee wrote:
The largest house is the one I am directed to. I follow our servant guide to the front door, which he enters and made us ensue.

Here's some more passive voice. The first sentence should be "I am directed to the largest house." As for the second sentence, it's awkward. You should replace "which he enters and made us ensue" with "which he opens and makes us enter."

ashleylee wrote:
The floor is playing like a mirror with reflecting, immaculate tiles beneath my slippers.

Better: "The floor, with its reflecting, immaculate tiles, plays like a mirror beneath my slippers."

ashleylee wrote:
The next is his father. He stands immediately at our entrance and our servant guide steps aside so he can greet my own father, Amycus. The differences between the two men are profound. My father is short and stubby with a full beard and a head of hair that is course and peppered. The other is tall and built with thick black hair graying at the roots. My father is wearing our custom attire back in Greece for a commoner; a wool tunic and wool breeches with sheepskin slippers. The man standing is wearing a white toga gilded with gold and gold sandals as if they were sculpted with the metal itself.

In the second to last sentence is awkward; try "wearing our custom Greek attire for a commoner". As for the last sentence, both men are standing, so take out 'standing' and put 'other' before 'man', as well as remove 'is' and change 'wearing' to 'wears' so that the sentence isn't passive anymore. Smile

ashleylee wrote:
He excretes wealth. And it leaves a bitter tang to my throat.

Combine these two sentences and change 'to' to 'in'.

ashleylee wrote:
I had expected them to be like any other wealthy family but worse.

This doesn't make sense. If you mean that she expected the family to be worse than any other wealthy family, then say that. If you mean that she expected them to be like any other wealthy family or worse, then say that. Either the 'but' needs to go, or the sentence needs rewording.

ashleylee wrote:
Delicia is timid when she eats, choosing wisely before nibbling and replacing her fork before drinking large amounts of wine. Than, she resumes nit picking again. I can’t understand how she is ever nourished when there is so little that she swallows down her throat.

Bold: 'Than' should be 'Then'.
Underlined: Another passive sentence. Try 'when she swallows so little down her throat.'

ashleylee wrote:
Nicandro, as usual, is the most peculiar eater. He, at first, observes his food and then, he eats first, the one which looks the least appetizing, saving the most beautiful arrangement of the salmon with chives for last, all the while taking sips of wine between every bite. To him, it isn’t about the taste, but of the beauty of the food he is putting into his mouth.

Switch 'at first' to the beginning of the sentence. Then break the sentence into two sentences so it reads 'At first, he observes his food. Then, he eats...' There shouldn't be a comma after the second first.

ashleylee wrote:
I close my eyes as I swallow the last bite, licking my lips with a tasting tongue, licking off the last of the spices.

Remove the bolded portion, saying insted 'licking off the last of the spices from my lips.'

ashleylee wrote:
My father’s eyebrows raise and I look to my hands clasped in my lap. Evander looks between Nicandro and I; I shy and diffident, Nicandro haughty with daring eyes. Evander looks back to my father and simply says. “I think it is time we take a visit to the shipping yards. Shall we Amycus?”

'Nicandro and me', and that period should be a colon or semicolon (I can't always remember).


Well, that's what I thought should be pointed out! I didn't point out everything because a lot of it is passive voice and other structural issues that I think you can handle with some practice. So keep writing!

I hope this helps!

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PostPosted: Wed Apr 09, 2008 1:43 pm    Post subject: Reply with quote

Hello BFF.

I'm glad you finally put this on here.

I'm not going to do a full critique, considering that's already been covered, but I'll give you my basic opinion.

Now, I'm going to be honest, this had some huge info-dumps in it. You had some excellent description and details, and I could tell that much research has gone into this, but as as reader I don't want to shove tons of facts into my head all at once. Perhaps you should try to spread the information out.

As to your characters and dialogue, I thought you did very well. I think you're getting better. You've begun your plot nicely.

Sorry I'm not particularly helpful. Can't wait to see more. Write on.

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PostPosted: Sun Apr 20, 2008 1:46 pm    Post subject: Reply with quote

Hey, thanks to both of you for critiquing! Very Happy

Perra:

I took your advise and changed all the things you said. Hopefully, it makes more sense now! Also, this is set WAY back when the arena in rome still went on and they had the largest empire in the world.

KJ:

Hello to you BFF. Wink lol But yes, I reread through it a couple of times and it is kind of a info dump. But, I can't find a way to get around it. If you could, could you reread this and give me some advise on how to fix that because, I'm totally lost at this point!

~To Everbody~


I fixed this up and I just want to thank all of you for reading this because I know how annoyingly long it is...but I just couldn't break it up further.

Happy Reading to all!

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PostPosted: Mon Apr 28, 2008 3:50 pm    Post subject: Reply with quote

Ash, I'll reread it, but print it out, OK? I hate staring at the computer screen for long periods of time, and this will take some time. So yeah, print it out and I will flourish my pen and show you where I think there could be improvement!

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PostPosted: Mon Apr 28, 2008 9:33 pm    Post subject: Reply with quote

Kelsey:

Okay, I will. If I can't print it out tonight, I will soon! Promise! Very Happy

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PostPosted: Mon May 05, 2008 9:58 pm    Post subject: Reply with quote

Phew! Sorry it took me so long on this second edit! It can take me a long time to type these out, especially if they're long like this. This was also done over a matter of days, meaning I was critiquing in pieces/chunks and that this might not flow together so well. I tried to give you a few helpful mini-lessons on avoiding passive voice and info dumping, as well. I hope they help. Smile

And don't let the length of this review scare you: the story is getting better, and this should help it even more.

Arrow The Art of Avoiding Passive Voice:
Occasionally you have a passive verb followed by another verb. For some of these, you can just omit the passive verb and change the second verb up a little. For example:
ashleylee wrote:
Shouts and screams and children’s laughter is smashed smashes together into a babel of sound

ashleylee wrote:
We are nearing the opulent part of town with the more glamorous buildings displaying signs of wealth at every turn.

ashleylee wrote:
White marble fountains are a centerpiece in open courtyards with blooming flowers that drift mellifluous scents across my nose.

ashleylee wrote:
His head is boweds over his silver goblet filled with carmine colored wine.


Replacing the passive verb with a non-passive verb works, too.
ashleylee wrote:
His muscled arms show his strength yet there is[verb] a weakness about him that I can’t explain.
Here you can replace 'is' with another verb, like 'lies' or 'exists'.


You can also combine sentences and reword them to get rid of passive voice.
ashleylee wrote:
She is a very long and slender woman with a wild mess of light brown hair piled high on her head. She is sipping her goblet of wine with delicate movements as if she were a china doll in danger of smashing into pieces at the simplest of movements.
Here you can combine these two sentences into an active sentence:
"A very long and slender woman with a wild mess of light brown hair piled high on her head, she sips her goblet of wine with delicate movements..."
Heres another passive sentence you can get rid of by combining it with another:
ashleylee wrote:
His eyes are like knives, slicing holes in the confidence of my soul. He makes me feel as if I am lower than the stray dog on the street or the dung it produces.
This could be:
"With eyes like knives, slicing holes in the confidence of my soul, he makes me feel as if I am lower than...."


Arrow Avoiding the Info Dump:
These are just a few small examples/suggestions on how to avoid info dumping within your story. Not really a lesson...
ashleylee wrote:
Our rooms are on the second floor and we each have our own separate quarters. My father’s is large and spacious with deep mahogany walls and his own office. Mine is slightly smaller and airy with walls painted a cheerful yellow and a balcony overlooking the family’s courtyard and garden.
Here you can explain what their rooms look like by having her look around her room and then, later, when it pertains to the story, go into her father's room. And you can explain that their rooms are on the second story when she goes out onto the balcony.

I feel that the dinner scene isn't very important. Instead, you could have Isadora in her room reflecting on dinner, with a sentence or two on how they ate, and then come to Nicandro notice her staring and have Isadora blush at the memory. In fact, you could combine her reflection with the above and her memories of her mother as she falls to sleep. Maybe?


Arrow
ashleylee wrote:
“Nothing of course. He entered the garden just as I was leaving and we talked. That’s all.[comma]” I say stiffly.
This gets its own arrow because you have repeated occurrences of periods instead of commas in dialogue. I figured you could use a little help. This little article should help you if you're having trouble figuring out what punctuation is needed in your dialogue. Smile


Arrow Miscellaneous/Technicalities:
(Somehow, I found more things to be picky about. :/ It's probably because I wasn't reading and critiquing all at once)

ashleylee wrote:
It is much, much grander and on a wider scale.
Hmm, I still don't like this sentence. In fact, I think you should get rid of it; the next sentence gets the point across just fine.

Maybe you could do a line or two on what Isadora expected to see? It might be a nice addition. We also don't know how she feels about all this. Is she scared? Glancing at everyone she bumps into? Feeling out of place? Curious? Anxious?

ashleylee wrote:
However, I have familiarized myself with their language at a very young age[comma] and so it is not hard for me to understand the crescendo of speech around me.


ashleylee wrote:
Their faces swirl together into a moving ameba of nothingness.
We didn't know about amoebas until the eighteenth century. So, while it's an awesome description, it's out of place. However, it's your choice whether you replace it or claim artistic license. It only appears once, anyway.

ashleylee wrote:
I am b Baffled[comma] as I gaze at my own feet enclosed in sheepskin lined slippers.


ashleylee wrote:
I follow our servant guide to the front door, which he opens and makes us follow.
This doesn't work. Follow who and to where?

ashleylee wrote:
He excretes wealth and it leaves a bitter tang in my throat.
I know I commented on this line already in my first review, but I think "His excretion of wealth leaves a bitter tang in my throat" would sound nifty. ^-^ And, it would fit because you already say he oozes pride.

ashleylee wrote:
Nicandro, however, turns casually away and sips his silver goblet, the red wine staining his tongue and lips a most gruesome red. And yet, nothing so far about him repulses me.
The first "red" should be omitted because we can infer that the wine is red because that's the colour it stains his lips. As for the underlined, "so far" should come before "nothing" in order to avoid an awkward sentence. I think you might need a comma after "so far", as well.

ashleylee wrote:
It is just like all the others with the marble fountain as its center but this one is much larger and with a cobblestone pathway snaking its way through the area.


ashleylee wrote:
The mixture of salty air and the smell of lilacs causes another spasm of nostalgia to ripple through my body.
"Cause" should be plural because it is in reference to "mixture" of air and smells (a singular subject), not the air and smell themselves (a plural subject).

ashleylee wrote:
Another’s enters my thoughts then.


ashleylee wrote:
I remember the day we set sail and she had waved and called out.[comma] “Remember to write[comma] Isadora Chatzi!”
Also, maybe it would be good to italicize her Greece flashback/memory. That way readers will understand that it's a flashback.

ashleylee wrote:
It is the servant who had led my father and Ime to the Chandrenos household.


ashleylee wrote:
My father has worked for Evander Chandrenos for as long as I can [accidental enter instead of space]
remember. Evander is a wealthy tradesmen and merchant. My father is the leader of one of the ports Evander sells to. But over the last few years, Evander has paid my father more and more attention. My father keeps his port neat and organized. Never is there a barrel or crate out of place. And his men are disciplined and respect my father. And so, Evander offered my father the chance to help him be a partner in his thriving business and of course, he couldn’t refuse.
This is a lot better than the multimillion-dollar business deal. It also seems more plausible and correct for the time period.

ashleylee wrote:
Hummingbirds make themselves known as they flit from flower to flower, eating the sweet nectar they provide.
Wrong continent. Wink Hummingbirds are native to the Americas, and nowhere else.

ashleylee wrote:
I place myself on a stone bench, besides the fountain.
"Beside" should not be plural.

ashleylee wrote:
It is a sculpture of another nude figure. It is a man with a lily pad concealing himself from the world.
Here you repeat "It is" to describe the statue. It gives the sense of two separate descriptions rather than one flowing one of the same thing. Instead, try combining the sentences or rewording one or both of them.

ashleylee wrote:
However[comma] his behind isn’t as covered as his front I note with coloring cheeks.
I think you should move "I note with coloring cheeks" behind "However," and add "that" between "cheeks" and "his behind" so that this sentence reads, "However, I note with coloring cheeks that his behind..."

ashleylee wrote:
His head is tipped towards the heavens and his feet are in a position that[comma] if he was alive, he would, at any moment, leap from his platform and begin to dance.



If you still need help with passive voice and info dumping, don't be afraid to ask! And if I can't help anymore, I'll help find someone who can.

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PostPosted: Mon May 05, 2008 10:48 pm    Post subject: Reply with quote

Perra:

Omgosh, thank you so much! Very Happy This is great! That passive stuff makes so much more sense now. I wasn't really sure what you were talking about Embarassed but now I do!

You definitely have helped me me TONS! Umm, if there is anything you need help with me, I can totally help you!

Thanks Again! Very Happy

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PostPosted: Wed May 07, 2008 5:48 am    Post subject: Reply with quote

I'd like to start off by saying this is a really well written piece. Apparently it started out as an info dump, but i didn't get that at all. Actually I thought some information was missing at the start, like what city they're in, and what gender the main character is.

I love Nicandro, but the first scene is very different when you think the narrators a boy. Embarassed

Also, I'm not sure if I understand the title. I'm not really sure how it connects to the piece, but I could be missing something.

Just a few notes. In the line
Quote:
“Remember to write Isadora Chatzi!”
you tell us the main characters name for the first time. All I thought was, "Who the heck is Isadora Chatzi? This problem could be fixed by saying he name sometime before that point, and sticking a comma before the name.

Secondly, in the line
Quote:
I can’t understand how she is ever nourished when she swallows so little down her throat.. “I don't like the word can't. That could be just me, it's your decision to change it or not. You also have a double period on the end.

When you write
It is a lively sculpture and luckily not as revealing as some others I have seen." I would replace the work luckily with thankfully, because the latter might better portray her feelings toward nude statues. Again, it's completely up to you.

Finally, I don't like the ending. It kind of fizzles out/ A great story like this deserves a bigger finish.

I'm not going into the thing that I liked, because I enjoyed it so much it would take forever. I will say that I immensely enjoyed you style, and i particularly liked the banter between Isadora and Nicandro.

Hope this helped!

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PostPosted: Wed May 07, 2008 9:27 pm    Post subject: Reply with quote

Leahweird:

Wow, thanks for the great critique! Very Happy

My MC is a girl too. I'll try to clear that up more in the beginning. Yes, that situation between Isadora and Nicandro would be weird if they were both boys! lol Wink but they aren't, so that's good!

Also, I will work on the two things you suggested. Gosh, I have so much to fix still from Perra so I might not get to correcting until this weekend.

Umm, also, the ending is cut off because I have another chapter continuing from there. But, I will work on that so that it is a better transition from one chapter to another.

Thanks again for the review! Very Happy

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consider rephrasing
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PostPosted: Sun May 18, 2008 3:08 pm    Post subject: Reply with quote

ahleylee,

Tad bit long, yes, but I know the feeling, and cutting it into pieces is like cutting yourself, yes? Irritating also, but bloody in the first place. Anyhow… to the critique… I’ll start out with a line-by-line one, and then I’ll move on to impressions etc.



Quote:
These people are so foreign with their harsh tongues and rash words.

That is a statement, with statement-like surroundings. A dry one. Statements are, up to a point, good, yet I’d like to know more of the MC’s emotions, feeling concerning that. I’d probably leave that and move on if not for the ‘are so (…)’ which caught my attention. I don’t know why, but it stood out.


Quote:
Their feet are in danger of being crushed and yet, they still wear them. I am baffled as I gaze at my own feet enclosed in sheepskin lined slippers.

Nice.


Quote:
This is where I first lay eyes on Nicandro Chandrenos.
The first person that draws my attention is his mother.

If one is determined, then one can be nitpicky of those two ‘firsts’. Also, I’d add, perhaps, a ‘however’ up there? Nicandro is talked of, yet obviously it’s the mother that is seen first. First!


Quote:
The next is his father.

Apparently nothing wrong with this sentence, and I had to pause to think of a reason why it struck me awkward. The next… the next what? I mean, I do know, yet… Eh. You can assume it’s okay, heh.


Quote:
The next is Nicandro.

You’ve caught me, yes? I critique as I real, lol. But, “the next again”. Keep one if you wish, but do get rid of the other.


Quote:
The first thing that intrigues me about him is his occult-ness.

Occult-ness? Neologisms are cool, yet rephrasing, or putting a proxy there would be, too. However, I may be getting carried away - I do that.


Quote:
But Nicandro…he is a surprise.

My personal nitpickiness urged me to write this: space after the ellipse. No rule states that, I suppose, but it’d look better visual-wise.


Quote:
And yet, nothing so far about him repulses me.

Rephrasing needed? Or is it okay? I’m curious myself - help a poor foreigner, to whom English is a second language. I’ve had little contact with it lately, and so yes, I’m in dire need of that help at some points. While we’re at it, I’ll post another quote which baffled me (but which is probably alright - just my paranoid curiosity):


Quote:
Nicandro’s eyes flit between my father and I with disdain that I feel in the very pit of my gut.

“my father and I?” Under the assumption that that is correct, would “my father and myself” also be so?


Quote:
The hills are speckled with lilacs and sunflowers and the grass tickles my knees as I frolic along through the rolling plains.

Lovely description, yes, but it was not that that I wanted to remark upon, at least not only that. The reader is plunged into the retrospection - though plain ‘memories’ would, I feel, be more accurate - with hardly any warning. Yes, it is said that that she “wishes herself back to Greece”, but I feel that is not warning enough, especially since a time change is no signal here. It becomes obvious only when she “breaks free”.


Quote:
“It is time for dinner, my lady.” He says in a deep, monotone voice.

Comma instead of periods (the before the quote one), and “he” in minors.


Quote:
He leads the way to the lower levels and then, into the entertainment room once again.

Who? The servant? That is not entirely clear due to the line breaks.


Quote:
Delicia is present along with her son Nicandro.

Comma up there? Though I admit, it’s just a guess. I’m a comma fanatic at times, and so I could not resist the temptation…


Quote:
I enter awkwardly and place myself on an empty sofa. I shift uncomfortably when neither of them say a word.

Perhaps merge those two sentences together, e.g. “I enter awkwardly and place myself on an empty sofa, shifting uncomfortably when neither of them say a word.” That was not too have too many short sentences, that make a text look a bit choppy.


Quote:
I catch myself watching Nicandro out of the corner of my eye and I quickly avert my gaze.

When writing in first person, a lot of “I” is used, and to that fact all must submit. However, when it is not demanded, when it can be avoided - do so.


Quote:
No emotion is present on his face however.

That looks (notice: looks) awkward. Comma? Or rephrasing? I don’t know.


Quote:
Evander is a wealthy tradesmen and merchant. My father is the leader of one of the ports Evander sells to. But over the last few years, Evander has paid my father more and more attention. My father keeps his port neat and organized. Never is there a barrel or crate out of place. And his men are disciplined and respect my father.

There is a rhythmic beat in those sentences (apart form the third one), and in this case, that is not a good thing. Something is, another thing is, that and this is, too. Last two sentences? Definitely need to be merged. First two also, perhaps.


Quote:
So, here we are guests in the Chandrenos’ home.

Comma after ‘are’.


Quote:
Evander places himself besides his fragile wife, who barely glances up at his entrance.

Not: ‘glanced?’


Quote:
My father smiles encouragingly at me and I grin warmly back, my spirit higher at his arrival and I sit a little taller, feeling my confidence seep back
.
Hmm. Perhaps a semicolon instead of that ‘and’, e.g. “My father smiles encouragingly at me and I grin warmly back, my spirit higher at his arrival; I sit a little taller, feeling my confidence seep back.


Quote:
I have never seen such delicacies in my life and I am embarrassed to say that my mouth salivates at the sight of it all.

Why should she ‘say’? That seems a tad bit unnecessary. But, nothing is necessary, you might say, and so I shall rephrase myself: it is simply out of place.


Quote:
Delicia is timid when she eats, choosing wisely before nibbling and replacing her fork before drinking large amounts of wine.

Before, ah, before. Next sentence there are two periods.


Quote:
Evander is extremely enthusiastic, which brings about a slight smile to play across my lips stained red from the wine.

Comma, or consider rephrasing. But a comma would be just the thing.


Quote:
He digs into every delicacy with such excitement and swallows with a loud satisfied sigh after every bite.

The “such” makes the reader of expect something, though he or she, in this case she, does not know what exactly. “with such excitement that…“ That what? That nothing! Here nothing comes, and so I’d suggest to get rid of that slightly irksome detail.


Quote:
Nicandro, as usual, is the most peculiar eater.

Why, as usual? She never saw him eat. For she knew, it was when eating that he appeared normal! Of course, later on such delusions would have be done away with, yet…


Quote”
He observes his food and then, he eats first the one which looks the least appetizing,

No comma. I don’t know… Sounds a tad bit awkward, this sentence. I know what you want to say, and I understand, yet when I read it out loud - it just didn’t sound right. Consider rephrasing?


Quote:
I think of her then, curled up in the plush blankets.

Two commas, e.g. “I think of her, then, curled in the plush blankets”. I don’t know which option - yours or mine - is right.


Quote:
To see her smile. Her dark hair lays straight and flat to the middle of her back; this is accustomed in my village for woman to wear their hair long. Same with my father. All married men must keep beards.

These sentences lack connection. They float around, not really together. “To see her smile?” Yes, but, in the middle of the mother’s description? And, “Same with my father.” While it didn’t come out of the blue, I’d like to see that twined to the custom part. And, down below, it’s back to the mother… It’s a tad bit chaotic.


Quote:
However his behind isn’t as covered as his front I note with coloring cheeks.

Comma? That too is an unanswered question… Ah. Compare commas after ‘however’ to the sense of life, will you?


Quote:
I see a caterpillar inch its way along towards the safety of the grass. I look up and see a bird circling. At that

See, see.


Quote:
The bird squawks its disapproval before flying off to find breakfast elsewhere.

Nice.


Quote:
I stand, stock-still, unable to find words to say to him. I want to find something witty to banter him with. Something, anything to make him say something in reply. But I am speechless, at a loss for words and struck dumb.

This can serve the purpose of a contrast. The reader is aware of how, and what, she feels, and it’s not just description anymore.


Quote:
Well, at least I know that you are safe. My old heart can rest easy now.” He teases and I smile.

Is “he teases” a reference to the dialogue sentence? If yes, then a comma instead of a period, and the “He” in minors. If not, then rephrase, e.g. I know that he is teasing me, and I smile.


Quote:
“Sorry to worry you father.”

Comma. But “sorry” doesn’t strike me as something she would say… “Apologize?” Eh. Yes. Definitely carried away, here.


Quote:
“Are you coming Nicandro?”

Comma.


Quote:
“I will join you later Amycus.” He says calmly before turning his back on us.

Comma, again. And that “dialogue sentence - how it is said” relationship again.


Quote:
“You silly girl. What were you doing out there?” He whispers harshly once we are alone.

Minor “He”. I’d add an exclamation mark after the ‘girl’, just for the visual effect.


Quote:
“Nothing of course.

Comma.


Quote:
That’s all.” I say stiffly.

“dialogue sentence - how it is said” relationship.


Quote:
“You silly girl. What were you doing out there?” He whispers harshly once we are alone.

“I was touring the garden.”

“I mean, what were you doing with Evander’s son?”

“Nothing of course. He entered the garden just as I was leaving and we talked. That’s all.” I say stiffly.


That was just unrealistic. I didn’t expect such ‘harshness’, as it was put, from her father. However, let’s not talk only of my expectations… That dialogue seemed a bit fake, pressed. Add, perhaps, some body language there? Tags, mayhap? Save the situation.


Quote:
“Amycus, you have found Isadora I see.

Comma before “I see”.


Quote:
“Oh yes. It is beautiful.” I complement with a grin.

You know what to do, or if you don’t want to, then rephrase it.


Quote:
“Nicandro, finally decide to bless us with your presence?” Evander says with slight scorn.

Consider rephrasing, e.g. “Nicandro, have you finally decided to bless us with your presence?” That was just a suggestion, of course. Also, I’d like to see more of Evander’s reaction in this particular moment. I am aware that there is elaboration below, yet it doesn’t seem right to put Evander’s speech bubble in the same line as Delicia’s and Isadora’s turning to look at Nicandro.


Quote:
Nicandro smiles in the face of death and says ca