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This thread was created on July 31, 2008
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Du Og Meg

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PostPosted: Thu Jul 31, 2008 5:13 pm    Post subject: Du Og Meg Reply with quote

This was for Jelly and Jabber's grammar contest. The title, "Du Og Meg", is from an Of Montreal song. It's Norwegian for "You and I". I wrote this very quickly, which means it most likely needs buttloads of work (hopefully not with grammar though! ^_^Wink

_____

The paint came out of the tube in thick globs, the brick red color falling onto the palette in its respective circlet. Meg rested on her elbow on the floor of her apartment, mixing her colors, the canvas at her feet as white as a Kleenex.

Her apartment was lined with her paintings, the canvases and the cardboard covering the bare plasterboard wall. Between the canvases there were only a few pieces of furniture, and then the creaking wooden boards of the floor, splattered with dried droplets of every color. Crumpled up sheets sat in the corner of every small room, caked with colors that blended to brown, black, and dark blue. The air smelled like chemicals, acrid scents tickling the nose, the heavy fumes of paint enveloped over everything that occupied the room.

Home acerbic home, she mused.

The apartment wasn’t in the best building, or in the best part of town. Her wallet sat on the flimsy kitchen table, a room over, a single dollar crinkled inside of it; as an artist, she tried to squeeze a life out of the smallest units of money. She was lucky to possess the things she did, and it was not surprising if she lost them.

Meg sniffed, scratching at her head and turning from the palette. The blank canvas was a gaping mouth at her feet, meaning to swallow her up. Beside it, leaning against the coffee table, were two paintings spotted with mangled hues and shapes that bent over each other, all of the paint twisting and forming nothing that meant anything to her. They looked horrendous; they weren’t anything she intended them to be.

She had an electric storm of thoughts in her head, emotions that dripped from the crevices of her brain and seemed to stain the whole of her, yet she couldn’t get them to come out of her hands to be vented upon a canvas. Unable to be released from her, they solidified inside her mind and made her feel heavy, clogged up all of her mental processes.

She had stopped answering her phone. Occasionally it trilled and begged for her to lay her hand upon it, but she resisted. She couldn’t bear to speak to her mother anymore. The woman was stretched thin, now nothing but strained wires, her fabric splitting and curling as one blow hit her after another. Her mother was composed of depression and nothing else; she walked with it, she used it to eat, she used to it breathe, and it was what helped her get into bed.

There was nothing more Meg could say to her. The woman had acquired her last stroke of misery when Meg’s older brother was arrested the week before, and now she couldn’t be comforted. Not when her husband was long gone, locked away in penitentiary, having brutally raped a little sprig of beauty picked up at a bar, solidly convicted and sentenced for a significant block of years.

Meg had long ago accepted the creature her father was. She moved through a cathartic period and now she couldn’t find herself to care about him. But now her little brother, Mike, was most likely off to the same place. Several accounts of robbery, breaking and entering.

She could only think of the little boy he had once been. When they used to unravel bed sheets from the closet and drape them over the dining room table to make tents. When they would make up games on the trampoline in the backyard, doing backflips and bringing their bouncing balls onto the hot knitted cloth, watching them fly up toward the sky as they jumped. Her brother giggling, running inside when the sun had them sweating and soaked, standing on his tiptoes to reach the lemonade on the counter.

But they had grown up, and now he was only ruining himself. Now he was off to court and sentences and then she wouldn’t see him; her sweet memory of him would be blocked by this new frightening image.

She was frustrated with her family, with her finances. It was all too big for her. She couldn’t take her tiny stained hands and hold everyone together, she couldn’t sell her paintings, and now she couldn’t even paint. Not even when she had so much to express, when she felt anxiety devouring her nerve endings.

All she wanted was to get it out of her. Throw her anger and grief into a tangible outlet, so she could hold it before her and slowly, but eventually, get over it.

Meg dipped her fingers into the yellow paint on her palette. She rubbed her fingertips together, watching the gleaming color seep between her fingers and stain her fingerprints the color of sunshine.

There was nothing stable in her life. Even her talent, her passion, wavered in and out like an old lightbulb. Something especially unsettling when it was her source of income.

Standing up, Meg cradled the palette in her arms. It was balanced on the palm of her hand as she walked into her little rusting kitchen, sauntering to the sink and lowering the circlet into the stained steel bowl. The faucet, cranked full blast, washed away all the mixed paint, the bowl turning blood red and a clotted purple.

She turned on her most recent paintings next. Her bathtub was filled to the brim, flecks of water raining down everywhere as she let the canvases drop into the clear bath, the liquid enveloping them and dragging them down, soaking into the cloth pores. The water washed a pale gray color.

The wisps of unraveling paint coming from the canvas caused a twisting feeling in her chest, like her heart was being pinched and plucked. She stood over the tub, destructive, thinking of her little brother’s round face, her mother’s lilting voice on the phone, begging of her, “What did I do wrong? What did I do?”

She felt it was time to do something normal. Mass art destruction wasn’t making her feel well off, or any closer to being on the same level of all the simple, quiet creatures of her apartment building.

Taking her plastic laundry hamper, Meg dragged it across her home, catching articles of laundry and casting them in. Her muscles were taut with stress, her shoulders humming with fatigue, but she needed to focus on laundry and nothing else, or else she would destroy more of her art, or call her mother, or turn on herself in some way.

Downstairs in the washing room, she slithered her hand all around her pocket but found no second quarter to complete the required change needed to activate the washer. She exhaled, trying to maintain her composure; there was always a coin or two lost under the vending machine in the front hallway. She headed down the small set of stairs that connected the washing room with the front of the building.

The rows of sweets and junk food blended with her reflection on the glass. Carefully, she dropped down to her knees, placing her cheek to the cold tiles of the floor. The space underneath the vending machine was a dank underworld of dustballs; in the far back, leaning against the back wall was a quarter, strung up amongst cobwebs and dead flies.

Meg drew in her breath, inching her hand underneath the machine, her fingers crawling along the tiles and through the dust. She managed to reach the coin and withdrew her arm, clumps of dust bunnies coming along with it, a dead spider stringing far behind Washington.

Cringing, she slid the quarter along the sides of the vending machine, knocking off the dust and curling corpse of a spider. She sat up with her triumphant find, misjudging her movements and whacking her head on the doorframe beside the machine. She let out a whimper, struggling to her feet and balling her fist over the coin.

Back to the washing room. A throb was beginning to pulsate on the back of her head, and her eyes were tearing up involuntarily. She fingered the quarter, rolling it around between her fingers as she reached her hamper and the washer. Jamming the money into the slot, she listened to the clinks as her fee registered through and the dials on the washing machine became accessible.

After dispensing her laundry into the mouth of the machine, she spun the dial and listened with disbelief as the unit roared and sputtered; her laundry flipped around inside, then fell out of its dance to lie still at the bottom of the chamber.

A cry of frustration escaped her. She felt the tears becoming more voluntary at each passing moment; she whacked her sneaker into the side of the washer, but it only hissed at her and made a few more wheezing noises before falling into silence.

“Why does nothing work?” she gasped out, pacing for a moment in front of the machine, her hands balled up at her hips. Her patience for life in general was wearing thin, and she heard the seams rip as it was stretched and yanked by circumstance.

She turned the dial, the machine clicking and huffing. Her clothes flopped around once and then the turning stopped again.

A thought entered her head. She couldn’t even do the laundry. Everything in her life was out of order.

She kicked her empty laundry hamper in an explosion of aggravation. The flimsy thing smacked into the washer, cracking when it did, letting out a loud snapping sound. She stared at its wobbling plastic frame, barely able to catch her breath.

“Whoa, whoa, whoa!” The voice came from the doorway of the washing room. “Do you need some help?”

Meg was startled by the new presence, since her miniature tantrum was personal and not expecting an audience. She turned from her cracked hamper to the person addressing her.

It was a young man, a member of the same unfortunate generation as her, buttoned up in a striped shirt and dress pants. He carried his own hamper piled to the brim with laundry, and his head was tilted atop the crumpled pants and shirts, his expression searching for explanation or any response at all.

She recognized him as the building proprietor’s son. He lived in his own place on the third floor; he looked nothing like the little Greek woman who ran the place, though he had the same wild bush of brown hair, as thick as brushwood.

“I, uh,” she mumbled, tucking her hair behind her ears, looking helplessly at her surroundings. “I’m just frustrated right now.”

“Yeah, I get ya,” he said, walking over to her and looking at the defunct washer. Putting down his hamper, he reached into his pants’ pocket and pulled out a plastic bag of quarters. “Here, I’ll pay for a new machine for you. This washing room is ridiculous; I don’t why my ma doesn’t listen to all the complaints and do something about it.”

“Yeah,” she laughed, her voice sounding rasped and thin. She pulled out all of her clothes in a clump, shoving them into a new washer as the proprietor’s son slipped two quarters into the slot. She was exasperated, but found herself appreciative for the help. Crouched down by the washer chamber, she peered up at him over the machine’s door. He was even attractive from that angle. Embarrassment washed over her as she realized what a fool she had made of herself with her kicking spectacle.

“There,” he said, stepping back. He looked down at her, his eyes crinkling as he observed, and she felt her skin prickle and pale at what he might be thinking. “You know, you don’t look so good. I’ll get you a water, okay?”

“Oh, no-”

“You’re Megen from the fifth floor, right?” She nodded, feeling like a bobblehead, and he grinned and explained himself. “My ma said something about you. You’re the artist.”

“Well, sort of,” she fumbled out, clutching her one arm and pinching at her skin. “I try to make a living as one, and it works out as well as you can imagine.”

He smiled at her; his teeth were as white as her blank canvases. She smiled back, lips pressed tight, knowing of the coffee stains. “Actually, most call me Meg,” she amended, nodding her head flippantly.

“I’m Theo,” he said, his hand reaching out and enveloping hers. She stared down as they shook, surprised at the heartiness of his introduction. “I’ll go get that water now, alright? You’ll be here?”

“Oh! I’m really fine,” she tried to explain, but he was already heading out the door.

She shuffled around the washer and turned it on; biting at her nails, she quietly exited the washing room. She lowered herself onto the steps in the front hallway, aghast with herself. She had not met anyone new in a long time. She found herself grasping for what to say or how to act. The last few days had been entirely composed of her own worries, her own problems doing acrobats in her mind; interacting with others and forgetting those things were a sudden task.

Theo entered the hallway a moment later, bringing the bottled water to her on the staircase. He sat beside her as she twisted the cap open and took a swig, the cold water making her tongue come alive and her face cool off.

“There. Is that better?” he asked, leaning against the wall, his arms wrapping underneath his knees. He smelled like paper. “You looked pretty pale and manic back there.”

“Mmhmm.” She took another drink, enjoying the fresh taste.

He was quiet for a moment. “Y’know, you look like an artist,” he said then, his face cast with amusement and even a flash of mischief.

She laughed into the bottle, looking at him out of the corner of her eyes. “Oh? So I look exhausted, poor, and haughty?”

“No, not what I meant,” he laughed. “I mean, you look interesting.”

Meg twisted the cap back onto the bottle and gave him a sharp look, one eyebrow arched. “Wouldn’t you like to know? Smashing laundry hampers is only one talent of mine.”

“And here I was thinking that you did that so deftly that you couldn’t possibly possess any other skills.” He seemed as young as her, yet laugh lines streaked around his eyes as he grinned. “Y’know, you and I aren’t so different. I’m a writer.”

“Oh? What kind of writer?”

“Well, I’m a journalist.” He shrugged with his hands. “I’d rather be a more artistic sort of writer, if you know what I mean, but my manuscripts really don’t catch on as hotly as my news articles do. Such is my talent.”

“I know how that is,” she said, her eyes wide as she nodded.

“So,” he spoke up again as he watched her. “Do you need anything else? You looked so unbearably stressed out back there it made me unnerved to see. I don’t want you pulling all of your hair out, now.”

She already appreciated the fifty cents and the water he had given to her. Her little brother’s face flashed before her eyes, strained a horrid purple color, dressed in a gray suit in a courtroom. A realization of what she needed came to her.

“I just need to forget,” she said, her voice solemn. She expected him to inch away – after all, people generally didn’t seek conversation in someone with a hassled demeanor. But he rested his chin in his hands, looking more into their dialogue than out.

“You probably usually paint when something’s bothering you. Why not do that? An artist’s anguish is a canvas’s weight to bear.”

“I tried. I just can’t get anything to come out. All my most recent paintings look like shit,” she murmured, curling one strand of red hair around her finger, scrutinizing the split ends. “I threw them all in the bathtub.”

“That’s some serious frustration. Once, after typing up a rather horrendous fiction, I printed it all out and burned it over the stove. The backspace button wasn’t enough to wipe away my dissatisfaction.”

She found herself smiling at this. “So maybe you do understand. I would think it would be easier to be a writer. Your tools are so much simpler.”

His mouth opened in mock fury, and he shook his head in a wild gesture of protest. “No, no, no, Miss Meg. You have your brushes and paints and whatever, but I’m working with the entire English language. Every single word, I wonder, does it complement the next? Every single sentence is something that can be reworked and constructed a hundred different ways, but I have to find the right way to phrase it. Not saying that what you do isn’t difficult, of course. Any art is something to master.”

“I’m sorry,” she replied, feeling awful to have bashed his work. He was truly being sweet toward her, and she didn’t want to undermine him. “I didn’t mean it as a bad thing. I don’t know, I’m too frustrated to be talking to another human being right now.”

She gathered herself up, about to stand, but he held out his hand.

“No, wait. Maybe you’re trying too hard. Maybe you need to think less, and then act.”

Her body relaxed a little. “What do you mean?”

“Well, you’re thinking too much about what you’re trying to paint. Carefully constructing it, when that’s not what the situation calls for. Maybe if your thoughts are chaotic, you just need to let some colors fly out.”

She slowly stood, leaning herself against the wall, her feet sliding out in front of her.

“Like, when a writer is upset,” he tried to explain more. “And he writes this long winded story or letter about it. Without thinking it through, just letting the words fly. Maybe that’s what you need to do with your art.”

She chewed on her lower lip, realizing what he meant.

“Have you ever thrown paint?” he asked.

A smile bloomed on her face, and she felt a childish joy flood her.

He took her hand, an extremely forward gesture but one that she accepted. There was something lovingly boyish about him and she sensed no harm. Their footsteps up the stairs echoed in the narrow, musty stairwell, disturbing the cobwebs high up in the corners. Moths scattered around the lights, disturbed by their flight to the fifth floor.

Her apartment door whined as she opened it. She left it open as they walked inside, and she felt a momentary shame for the mess and lack of real furniture. It passed though as the art all around her reminded her of her goal.

The large pails of paint were in her closet, the small space reeking of turpentine. Theo wrinkled his nose but helped her with the pails, lugging them out into the living room. Every color stained their fingertips. Next was the white sheet, tacked to the wall behind the expansive canvas. She pinned it to the plasterboard, feeling as if she could fall into the white.

There was an immature desire to their actions as they pried the lids off the pails, meaning to destroy the crisp white canvas surface, yet create something out of her frustration and his understanding for it. The thick smell of paint devoured the apartment, even after Meg opened a window to let the dusk air battle the chemicals.

She could taste her expressions on her tongue, and every color had its own flavor: how sweet pink was, like star fruit, and red was as salty as blood, as thick. She dipped her hands into the blue, the color dripping from her rising hands, and she streaked it across the canvas. The electric blue cut through the white, flecks sucking into the cloth pores, the white inhaling the offensive color.

Theo said he had a better way. He picked up the pail of pastel green, swinging it forward, blobs of green reaching out and catching the canvas like grasping fingers. The two of them beamed as the color snaked downward, seeming to be alive and mobile.

The paintbrushes were all on her coffee table and she scooped them up, brandishing them like glorious weapons, picking out the largest ones to do her heart-filled vanquishing. The bristles of the brush soaked up the violent red color and she streaked it across the canvas, her mind filling with images.

Her mother’s voice choked over the phoneline. A whirl of lipstick red.

Daddy in an orange jumper, vowing, “I didn’t do anything wrong.” Orange circles, swallowing black.

Little brother Mike with his eyes swollen over. Purple scratching into the canvas, bubbling and cascading over the rest of the colors.

The energy drained out of her, sucked into the art, and she knelt before her work, her hands black and brown with the riotous mixture of colors. Theo knelt down beside her, staring at the flecked and whipped painting before them, feral and looming, haunting with its wild disarray. A halo of admiration around him, he looked to Meg.

Bliss made her face glow, a smudge of violet on her chin; she observed her work with a satisfaction that seemed too brilliant for a human being.

“Are you free tomorrow?” he asked, hesitant to take her from her happy place.

Her head turned sharply toward him, but she nodded.

“Want to go out for coffee around lunchtime?”

Her nodding slowed; a smile teased at the corners of her mouth. “Of course.”

He left then. She felt like dancing as her door shut, and her bare feet padded on the wooden floor as she escaped to the window. She stuck her head outside into the brisk air, breathing in the luscious fresh night, letting it awake her from her trance.

She had been feeling so lost, scrambled to bits, and then there he was, with a conversation that seemed more real than any she had carried on over the past few months. Her lungs expanded, she felt her heart patter – she hadn’t ever felt so human.

And she would see him tomorrow. She had never been more excited about talking to another person. The whirling feeling of hormones in her veins made her giddy and she collapsed onto a pillow, her fingers curling into the fabric.

It felt like a salve to finally forget, to let her worries flake off like snow.

There was nothing like falling.


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PostPosted: Thu Jul 31, 2008 5:24 pm    Post subject: Du Og Meg Reply with quote

Just wanted to let you know I'll do a review on this soon as I have some time =D I'll just edit this post laters.

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PostPosted: Sat Aug 02, 2008 5:21 am    Post subject: Reply with quote

I really enjoyed this piece. meg's despair is so real and I absolutely love your descriptions of her paint/artwok/settings etc. It was a very vivid story which i really enjoyed.

Some suggestions:


Quote:
Her wallet sat on the flimsy kitchen table, a room over, a single dollar crinkled inside of it; as an artist, she tried to squeeze a life out of the smallest units of money.


I think you should get rid of the semi-colon and make this two separate sentences.

Quote:
She was lucky to possess the things she did, and it would not be surprising if she lost them.


I think that reads better.

Quote:
Several accounts of robbery, breaking and entering.


Actually, from personal experience there actually is no real thing as breaking and entering. The police officers were so kind as they explained to me that if I broke into a vending machine that was trespassing and if I broke into my high school auditorium that was considered a level one robbery. All while I was pleasantly handcuffed in the back of their squad car. = )

Quote:
Now He was off to court and sentences


I think this is the second time you use now in this paragraph. Just a minor redundancy.

Quote:
Her bathtub was filled to the brim, flecks of water raining down everywhere as she let the canvases drop into the clear bath water, the liquid enveloping them and dragging them down, soaking into the cloth pores.


Also you use down twice, and cloth pores comes up later in the story. I think the description is so vivid that it should be used only once to maintain its strength.

Quote:
Her muscles were taut with stress


Taunt instead of taut. I think.

Quote:
in the far back, leaning against the back wall was a quarter, strung up amongst cobwebs and dead flies.


I guess I catch these small things, because it is usually the minor things that bug me. Must be the OCD in me.

Quote:
her laundry flipped around inside, then fell out of its dance to lie still at the bottom of the chamber.


I think typically the washing machine fills with water before it ever starts to rotate.

Quote:
A thought entered her head.


I think this sentence is weak and unecessary.

Quote:
his expression searching for an explanation or any response at all.


Quote:
He lived in his own place on the third floor; he looked nothing like the little Greek woman who ran the place, though he had the same wild bush of brown hair, as thick as brushwood.


Again I think this would be better if you got rid of the semi-colon and split this into two different sentences.

Quote:
walking over to her, and looking at the defunct washer.


I hope I got the punctuation right on that.

Quote:
I don’t know why my ma doesn’t listen to all the complaints and do something about it.”


Quote:
the proprietor’s son


Second time you have used the word proprietor, i think landlady would work just as well.

Quote:
She shuffled around the washer and turned it on; biting at her nails, she quietly exited the washing room. She lowered herself onto the steps in the front hallway, aghast with herself. She had not met anyone new in a long time. She found herself grasping for what to say or how to act.


Lol, here is another example of my OCD that tends to come and go. I quote this small bit because you used the word "she" five times. Maybe you could use her name a couple times just to balance this out.

Quote:
He sat beside her as she twisted the cap open and took a swig; the cold water making her tongue come alive and her face cool off.


Replace the comma with a semi-colon (its in bold).

Quote:
“You looked pretty pale and manic[s] back there.”


I know he is a writer and probably does have an extensive vocabulary but I think this is too extensive for dialouge.

Quote:
I don’t want you pulling all of your hair out[s], now.”


I think that flows better.

Quote:
All of my most recent paintings look like shit,”


Quote:
Their footsteps up the stairs echoed in the narrow, musty stairwell, disturbing the cobwebs high up in the corners. Moths scattered around the lights, disturbed by their flight to the fifth floor.


I think you should replace one of those disturbeds with a different word.

Quote:
The bristles of the brush soaked up the violent red color and she streaked it across the canvas, her mind filling with images.

Her mother’s voice choked over the phoneline. A whirl of lipstick red.


It seems that as you associate each color of paint with a family member Meg is applying it to the canvas. So for Meg to streak red on the canvas and then repeat it with a whirl of red is, you guessed it, redundant. I think you should replace the violent red with a yellow or black even. Plus I find lipstick red a bit cliched. However I think it would be quite dramatic if you wrote it as

Quote:
A whirl of violent lipstick red


No? You decide, as you have the power housed there in your keyboard.

Quote:
She felt like dancing as her door shut, and her bare feet padded on the wooden floor


Just a minor detail, how did she end up bare foot? Was she bare foot the whole time?

I liked how you ended this story, especially that line about flaking like snow. Very descriptive. Good job, hope my longwinded critique was more helpful than hurtful. = )
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PostPosted: Sat Aug 02, 2008 7:47 pm    Post subject: Reply with quote

Clo!

Okay, so, I'm delirious with happiness. This piece was packed with your usual beauty ("Her mother was composed of depression and nothing else; she walked with it, she used it to eat, she used to it breathe, and it was what helped her get into bed."), and that little stroke of weirdness I've come to expect from you. ^_~ I also really loved the mysterious Theo and his art therapy--he was just a great character, strange and verbose as he is.

Also, I'm listening to Satanic Panic at this moment, in your honor.

THE RIGHT START

Right now, your opening is good, but it drags. It's focused a lot on Meg and Meg's circumstances, but in a detached way. It feels far away from her, even though she's knee-deep in everything. This way, it feels like it takes a long to get to Theo and the heart of her conflict, instead of snapping from place to place.

Instead, try starting with some kind of conflict that she can be working through while going through all of these things in her head--the opportune time would be when trying to get the laundry machine to work or digging under the vending machine. It gives her something to "keep her hands busy" while you're working through her backstory, and it's instant conflict. You can work in her poverty with the amount of clothes she has, and the messy colors spattered on her arms. You can get a lot of the first part across with nuance and images.

THEO-LOGIC

Theo can be a sweet-talking literrateur, but you have to pay extra-special attention to make sure that his dialogue doesn't become kind of stilted.

Quote:
“And here I was thinking that you did that so deftly that you couldn’t possibly possess any other skills.” He seemed as young as her, yet laugh lines streaked around his eyes as he grinned. “Y’know, you and I aren’t so different. I’m a writer.”


Here, he completely switches modes in talking. Instead, try, "You did that so well, I didn't think you had enough room for other talents," blah blah blah. "Y'know..." and so forth. Keep the book-talk as low as possible--if it sounds like he's writing with his speech, it sounds a bit too rehearsed. Play with the lines until they become fluid and natural.

__

Yayyy! Let me know if you have any questions. ^_^ Also, I think you ought to check out Johnny Flynn's A Larum--he's a bit more twangy than I would normally be into, but he's like British wannabe Appalachian banjo-plucker and it's lovely. I think there's a link to download on the Joyful of Indie blog.

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PostPosted: Thu Aug 07, 2008 12:24 am    Post subject: Reply with quote

Here's your critique for entering CIA's grammar contest. Nit-picks are attached 'cause I'm a lazy bum. XD

Hmm... actually, this isn't gonna count as a critique, is it? But it will take me an hour to transfer everything from Word to here. So... I shall ramble?

Yes. I shall ramble.

About...

The title!

The title. It confuses me - what is it? I used a google search, but all I got was a song...

Is it another language? If so, what? What does it have to do with the story?

I'm confused, and it definately turned me off from the story.

Hmmm....

Is this long enough?

I hope so.

The real critique is attached. XD With lots of nit-picks!

Yours was one of the most fun to critique. XD

After I Read

Good job! This was actually very well done. I have a lot of line edits, but I really don't think this needs an overall…

Just watch their ages, okay? I'm really unsure about the ages. Meg, Theo, and her little brother all need to be defined a bit more.

And what's with the random strange name? XD

PM me for anything at all.

~JFW1415


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PostPosted: Sun Aug 10, 2008 8:55 pm    Post subject: Reply with quote

Clo! ^^

Thanks so much for entering CIA's grammar contest! Here's the special critique you deserve for entering. ^^

I really liked this story. The title was really neat, by the way. Hopefully Norwegian will turn up in the book? Otherwise, the Norwegian title would be a bit random and should just be in English. Otherwise, I liked it.

I've attached the critique because it's easier for me to critique in word and I have more than one thing to critique. Laughing Better go with the easy route so it gets done faster!

Anyway, sorry for the wait, and here is your critique! If there are any issues pulling it up or if I gave you the wrong one (which is a fear of mine lately), then PM me. I'll be sure to fix the situation soon!

Keep writing!

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PostPosted: Sun Aug 10, 2008 10:21 pm    Post subject: Reply with quote

Quote:
Her apartment was lined with her paintings, the canvases and the cardboard covering the bare plasterboard wall.

I think this might sound better as "Her apartment was lined with her paintings, canvases and carboard covered the bare plasterboard wall."

Quote:
splattered with dried droplets of every color. Crumpled up sheets sat in the corner of every small room,

You said every a couple times.

Quote:
enveloped over

I think just eveloped, I don't think you can evelope over something? I could be wrong ^_~

I just had to look up acerbic, now I feel stupid. ^_~

Quote:
and it was not surprising if she lost them.

I love this <3

Quote:
and it was what helped her get into bed.

Do you mean get out of bed?

Quote:
doing backflips

My microsoft word says that should be "back flips" two words.

Quote:
blood red and a clotted purple.

I think you should either say "a blood red" or just "clotted purple" just... for neatness.

Quote:
a dank underworld of dustballs

word says dustballs = two words as well.

Quote:
Meg was startled by the new presence, since her miniature tantrum was personal and not expecting an audience.

You don't need to say that! It's kind of obvious. Maybe later say she felt awkward or something. This line is kind of telling and not showing (wow I hate saying that ;_; )

Quote:
An artist’s anguish is a canvas’s weight to bear.

I love that too =D

Quote:
feeling awful to have bashed his work

the word bashed is a bit slangy. It's not so bad =] but it does stand out a bit.

Quote:
Maybe you need to think less, and then act.

I think maybe "and then" would be better "and just".

Quote:
phoneline

Another one =] phone line? Is this just an american-british difference that I'm missing?

Quote:
There was nothing like falling.

Great ending.

---

I love this =D yeah it's taken me ages to get round to reading it. It's so sweet and lovely. I love her character she's wonderful, original and interesting - I like how she's a bit messed up. Quite lovable. I love how the story just fits together, it's got some great realism. The images of the colours swirling together - the problems she had in her life turning into colours on the canvas, I think that was my favourite part. That and the part where she sticks her head out of the window - I know that feeling pretty well myself. You write artists really nicely.

Your writing is great ^^

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PostPosted: Mon Aug 18, 2008 5:10 pm    Post subject: Reply with quote

Long overdue, and somewhat chatty, here's my review:

Quote:

The paint came out of the tube in thick globs, the brick red color falling onto the palette in its respective circlet. Meg rested on her elbow on the floor of her apartment, mixing her colors, the canvas at her feet as white as a Kleenex.

This might be irrelevant, but I'm pretty sure that Kleenex also comes in off-white, yellow, blue and pink, and possibly some other colors. It might not be the best metaphor for white.
Also, there's something about these two sentences that I don't like, though it's hard to put my finger on just what, exactly, is bothering me. They feel awkward, and a little forced. Something that wouldn't matter at any other point in the story, but you need a strong beginning, and this isn't it.


Quote:

Her apartment was lined with her paintings, the canvases and the cardboard covering the bare plasterboard wall. Between the canvases there were only a few pieces of furniture, and then the creaking wooden boards of the floor, splattered with dried droplets of every color. Crumpled up sheets sat in the corner of every small room, caked with colors that blended to brown, black, and dark blue. The air smelled like chemicals, acrid scents tickling the nose, the heavy fumes of paint enveloped over everything that occupied the room.

You're doing a good job of trying to show your reader the room, especially in the second half of this paragraph. The first two sentences could use a little work, but the style's starting to come together a little better now. I sometimes find that once you finish a piece it's a good idea to go back and redo the beginning, since you tend to get into the flow slightly farther along in the story, and the beginning tends not to fit after that. Generally speaking, of course. That said, we're definitely getting an image of Meg, here.


Quote:

Home acerbic home, she mused.

Home, acerbic home, she mused.


Quote:

The apartment wasn’t in the best building, or in the best part of town. Her wallet sat on the flimsy kitchen table, a room over, a single dollar crinkled inside of it; as an artist, she tried to squeeze a life out of the smallest units of money. She was lucky to possess the things she did, and it was not surprising if she lost them.

This is mostly fine. Here's my revision of the paragraph:
The apartment wasn't in the best building, or in the best part of town: the wallet that sat on the flimsy kitchen table in the next room contained only a single, crumpled dollar. As an artist, Meg tried to squeeze a life out of the smallest units of money. She was lucky to possess the things she did, and it was no great surprise when some were lost.
Something like that, anyway. Mainly, IMO, you just had the semi-colon in the wrong place, so I moved it, and then I thought a colon might be better. Your choice, but I'd definitely fiddle with this paragraph some.



Quote:

Meg sniffed, scratching at her head and turning from the palette. The blank canvas was a gaping mouth at her feet, meaning to swallow her up. Beside it, leaning against the coffee table, were two paintings spotted with mangled hues and shapes that bent over each other, all of the paint twisting and forming nothing that meant anything to her. They looked horrendous; they weren’t anything she intended them to be.

This is some seriously disturbing imagery, especially with the canvas being a "gaping mouth at her feet." O.O I like it, though. It does wonders for show-not-telling. I applaud this paragraph.



Quote:

She had an electric storm of thoughts in her head, emotions that dripped from the crevices of her brain and seemed to stain the whole of her, yet she couldn’t get them to come out of her hands to be vented upon a canvas. Unable to be released from her, they solidified inside her mind and made her feel heavy, clogged up all of her mental processes.

More of the same. Good job in painting Meg's state of mind for the reader.


Quote:

She had stopped answering her phone. Occasionally it trilled and begged for her to lay her hand upon it, but she resisted. She couldn’t bear to speak to her mother anymore. The woman was stretched thin, now nothing but strained wires, her fabric splitting and curling as one blow hit her after another. Her mother was composed of depression and nothing else; she walked with it, she used it to eat, she used to it breathe, and it was what helped her get into bed.

This paragraph is good, but there are some slight problems with the wording. It's difficult to tell when you're talking about Meg and when you're talking about her mother. I'd suggest some revision to make it clearer.



Quote:

There was nothing more Meg could say to her. The woman had acquired her last stroke of misery when Meg’s older brother was arrested the week before, and now she couldn’t be comforted. Not when her husband was long gone, locked away in penitentiary, having brutally raped a little sprig of beauty picked up at a bar, solidly convicted and sentenced for a significant block of years.

Ouch. Damn, that sucks. This also gives the reader reason to wonder if Meg herself was molested by her father, though I'm not sure if that is true or even has any relevance to the story. Even if it doesn't, having that question there puts one of those nice, unresolved questions underneath the story, which is always a plus.

Quote:

Meg had long ago accepted the creature her father was. She moved through a cathartic period and now she couldn’t find herself to care about him. But now her little brother, Mike, was most likely off to the same place. Several accounts of robbery, breaking and entering.

Like father, like son. I'd reword that first sentence. Prepositions are bad thing to end sentences with. Remember? Wink



Quote:

She could only think of the little boy he had once been. When they used to unravel bed sheets from the closet and drape them over the dining room table to make tents. When they would make up games on the trampoline in the backyard, doing backflips and bringing their bouncing balls onto the hot knitted cloth, watching them fly up toward the sky as they jumped. Her brother giggling, running inside when the sun had them sweating and soaked, standing on his tiptoes to reach the lemonade on the counter.

This is very sweet and sad. I might attach it to the previous paragraph, though, where she starts thinking about her brother. Either way.


Quote:

But they had grown up, and now he was only ruining himself. Now he was off to court and sentences and then she wouldn’t see him; her sweet memory of him would be blocked by this new frightening image.

I'm not one of those people who insist that you should never start a sentence with a conjunction, but I don't like starting paragraphs with them. Also, I don't know that "blocked" is the right word to describe what will happen to her older memories as they are covered by new ones. The way the human mind works, I'd think something like "tainted" would better describe the way the newer, more painful memories will overwhelm the previous, happier images and lend them the darkness of his present crimes.




Quote:

She was frustrated with her family, with her finances. It was all too big for her. She couldn’t take her tiny stained hands and hold everyone together, she couldn’t sell her paintings, and now she couldn’t even paint. Not even when she had so much to express, when she felt anxiety devouring her nerve endings.

This is something of a quick jump, but it does attach the family remembrances nicely with the empty wallet on the table, so it's not too bad. After that first sentence, it just gets better, too. I love the third sentence. Comma between "tiny" and "stained," though.



Quote:

All she wanted was to get it out of her. Throw her anger and grief into a tangible outlet, so she could hold it before her and slowly, but eventually, get over it.

I think I'd attach this to the previous paragraph, but, again, it's a style call.



Quote:

Meg dipped her fingers into the yellow paint on her palette. She rubbed her fingertips together, watching the gleaming color seep between her fingers and stain her fingerprints the color of sunshine.

Maybe if you used "digits" instead of "fingers" in that second instance, you might have less repetition here. As it is, we see the word "finger" three times in the same sentence.



Quote:

There was nothing stable in her life. Even her talent, her passion, wavered in and out like an old lightbulb. Something especially unsettling when it was her source of income.

We're starting to get into emo territory, here. I know that this pretty accurately reflects Meg's temperament - and that of most artists - but we get the idea now, and you don't want to drag us through too much of this. I'd draw the line about here.



Quote:

Standing up, Meg cradled the palette in her arms. It was balanced on the palm of her hand as she walked into her little rusting kitchen, sauntering to the sink and lowering the circlet into the stained steel bowl. The faucet, cranked full blast, washed away all the mixed paint, the bowl turning blood red and a clotted purple.

Why is she sauntering? That particular word just doesn't seem to fit her frame of mind at this juncture. I'd also reword most of this. Here's an example:
Standing up, Meg cradled the palette in her arms, balancing it on the palm of her hand as she walked into her little, rusting kitchen. Moving to the sink, she lowered the circlet into the stained steel baisin. The faucet, as she cranked it full blast, washed the mixed paint down the drain, the water turning blood red and then a clotted purple.
Maybe something more in this vein? Just a suggestion. Try rewording on your own.



Quote:

She turned on her most recent paintings next. Her bathtub was filled to the brim, flecks of water raining down everywhere as she let the canvases drop into the clear bath, the liquid enveloping them and dragging them down, soaking into the cloth pores. The water washed a pale gray color.

Uh-oh. We're on our way to a mental breakdown. You're doing a good job, here, of letting her actions reflect her mood more than her thoughts. Just in time, too, right after the emo began pushing the limits, you've switched veins. Excellent job.


Quote:

The wisps of unraveling paint coming from the canvas caused a twisting feeling in her chest, like her heart was being pinched and plucked. She stood over the tub, destructive, thinking of her little brother’s round face, her mother’s lilting voice on the phone, begging of her, “What did I do wrong? What did I do?”

Beautiful!


Quote:

She felt it was time to do something normal. Mass art destruction wasn’t making her feel well off, or any closer to being on the same level of all the simple, quiet creatures of her apartment building.

I'd say "Meg" instead of "She" at the beginning of the paragraph. Just because she's the only one here doesn't mean it isn't a good idea to use her name every so often. The rule I try to stick to is that a person's name should be used about once every two paragraphs when there's no one else and no confusion, and once a paragraph when there's another character present. But that's just me.



Quote:


Taking her plastic laundry hamper, Meg dragged it across her home, catching articles of laundry and casting them in. Her muscles were taut with stress, her shoulders humming with fatigue, but she needed to focus on laundry and nothing else, or else she would destroy more of her art, or call her mother, or turn on herself in some way.

Perhaps "grabbing" would be a better verb than "taking." Just to help show that she's not doing this because the laundry needs to be done, but because she's upset and doesn't want to destroy more art. Yes, you say that at the end of the paragraph, but it seems a little abrupt and strange at first.



Quote:

Downstairs in the washing room, she slithered her hand all around her pocket but found no second quarter to complete the required change needed to activate the washer. She exhaled, trying to maintain her composure; there was always a coin or two lost under the vending machine in the front hallway. She headed down the small set of stairs that connected the washing room with the front of the building.

Comma after "downstairs." Also, I'd reconsider the word "slithered" as you've used it here. ...does it really only cost fifty cents to do your laundry? *cries* The machines in my apartment complex cost $1.50 each.



Quote:

The rows of sweets and junk food blended with her reflection on the glass. Carefully, she dropped down to her knees, placing her cheek to the cold tiles of the floor. The space underneath the vending machine was a dank underworld of dustballs; in the far back, leaning against the back wall was a quarter, strung up amongst cobwebs and dead flies.

I might use a colon instead of a semi-colon, here, but I'm not sure. Those two pieces of punctuation are easily confused.



Quote:

Meg drew in her breath, inching her hand underneath the machine, her fingers crawling along the tiles and through the dust. She managed to reach the coin and withdrew her arm, clumps of dust bunnies coming along with it, a dead spider stringing far behind Washington.

Ew! Ew! EEEEEEWWWWW! I hate spiders. Meg's a brave girl. I'd've tried to pull the machine away from the wall and snag the quarter with my foot, and then I would have kicked it around a little until the dust and cobwebs came off. XD


Quote:

Cringing, she slid the quarter along the sides of the vending machine, knocking off the dust and curling corpse of a spider. She sat up with her triumphant find, misjudging her movements and whacking her head on the doorframe beside the machine. She let out a whimper, struggling to her feet and balling her fist over the coin.

Yeah, actually, kind of like that. lol And, ow.


Quote:

Back to the washing room. A throb was beginning to pulsate on the back of her head, and her eyes were tearing up involuntarily. She fingered the quarter, rolling it around between her fingers as she reached her hamper and the washer. Jamming the money into the slot, she listened to the clinks as her fee registered through and the dials on the washing machine became accessible.

An interesting side journey, so far, but I'd like to see some point to all this. If she had to make a special trip to look under the candy machine for a quarter, I'd expect something to happen. The whole time she's been down in the washing room, I've been waiting for someone to show up and represent a turning point in her attitude. I'm not even sure it that's where you're going with this, but that's what I was led to expect. *reaches for the next paragraph* We'll see what happens.



Quote:

After dispensing her laundry into the mouth of the machine, she spun the dial and listened with disbelief as the unit roared and sputtered; her laundry flipped around inside, then fell out of its dance to lie still at the bottom of the chamber.

Nooo! That's always a bitch and a half, isn't it? One thing, though, I don't think you can see inside most washers. Can you? Without opening up the lid? That's been my experience, but I could very easily be wrong.



Quote:

A cry of frustration escaped her. She felt the tears becoming more voluntary at each passing moment; she whacked her sneaker into the side of the washer, but it only hissed at her and made a few more wheezing noises before falling into silence.

I don't know about that "tears becoming more voluntary" bit. It doesn't make a whole lot of sense to me.


Quote:

“Why does nothing work?” she gasped out, pacing for a moment in front of the machine, her hands balled up at her hips. Her patience for life in general was wearing thin, and she heard the seams rip as it was stretched and yanked by circumstance.

Why, indeed? I know exactly how this feels.


Quote:

She turned the dial, the machine clicking and huffing. Her clothes flopped around once and then the turning stopped again.

A thought entered her head. She couldn’t even do the laundry. Everything in her life was out of order.

The straw that broke the camel's back. This is where you break down, collapse on the floor and sob.


Quote:

She kicked her empty laundry hamper in an explosion of aggravation. The flimsy thing smacked into the washer, cracking when it did, letting out a loud snapping sound. She stared at its wobbling plastic frame, barely able to catch her breath.

“Whoa, whoa, whoa!” The voice came from the doorway of the washing room. “Do you need some help?”

There we go! I knew someone was coming.


Quote:

Meg was startled by the new presence, since her miniature tantrum was personal and not expecting an audience. She turned from her cracked hamper to the person addressing her.

"...since her miniature tantrum was personal and she had not expected an audience..."

Quote:

It was a young man, a member of the same unfortunate generation as her, buttoned up in a striped shirt and dress pants. He carried his own hamper piled to the brim with laundry, and his head was tilted atop the crumpled pants and shirts, his expression searching for explanation or any response at all.

Of course it's a young man. *grins* Doing his own laundry. Therefore, no live-in girlfriend. Wink, wink. XD


Quote:

She recognized him as the building proprietor’s son. He lived in his own place on the third floor; he looked nothing like the little Greek woman who ran the place, though he had the same wild bush of brown hair, as thick as brushwood.

Oho, he's the landlord's boy! Nice line there, describing his hair, by the way. Good metaphor.


Quote:

“I, uh,” she mumbled, tucking her hair behind her ears, looking helplessly at her surroundings. “I’m just frustrated right now.”

“Yeah, I get ya,” he said, walking over to her and looking at the defunct washer. Putting down his hamper, he reached into his pants’ pocket and pulled out a plastic bag of quarters. “Here, I’ll pay for a new machine for you. This washing room is ridiculous; I don’t why my ma doesn’t listen to all the complaints and do something about it.”

Does "pants' pocket" have an apostrophe? I never really thought about it before, and I've never used one, but now that I'm looking at it from an editing standpoint, you may be right. I'd have to look up the rule on that one. Also, I try to avoid semi-colons in dialogue, simply because it makes people seem more educated that they probably are. But that's a judgement call.
A bit crass of him, by the way, to announce that he's the landlord's son like that. Razz



Quote:

“Yeah,” she laughed, her voice sounding rasped and thin. She pulled out all of her clothes in a clump, shoving them into a new washer as the proprietor’s son slipped two quarters into the slot. She was exasperated, but found herself appreciative for the help. Crouched down by the washer chamber, she peered up at him over the machine’s door. He was even attractive from that angle. Embarrassment washed over her as she realized what a fool she had made of herself with her kicking spectacle.

Heh heh heh. Even attractive from the on-your-knees angle, eh? *winks*


Quote:

“There,” he said, stepping back. He looked down at her, his eyes crinkling as he observed, and she felt her skin prickle and pale at what he might be thinking. “You know, you don’t look so good. I’ll get you a water, okay?”

Ouch. No girl wants to hear that.


Quote:

“Oh, no-”

“You’re Megen from the fifth floor, right?” She nodded, feeling like a bobblehead, and he grinned and explained himself. “My ma said something about you. You’re the artist.”

“Well, sort of,” she fumbled out, clutching her one arm and pinching at her skin. “I try to make a living as one, and it works out as well as you can imagine.”

He smiled at her; his teeth were as white as her blank canvases. She smiled back, lips pressed tight, knowing of the coffee stains. “Actually, most call me Meg,” she amended, nodding her head flippantly.

I was expecting him to be the one talking in that last paragraph. You've got to be careful with dialogue. I usually recommend making sure that no one else takes any action in the same paragraph as the speaker, to avoid confusion.


Quote:

“I’m Theo,” he said, his hand reaching out and enveloping hers. She stared down as they shook, surprised at the heartiness of his introduction. “I’ll go get that water now, alright? You’ll be here?”

“Oh! I’m really fine,” she tried to explain, but he was already heading out the door.

Of course she'll be there.


Quote:

She shuffled around the washer and turned it on; biting at her nails, she quietly exited the washing room. She lowered herself onto the steps in the front hallway, aghast with herself. She had not met anyone new in a long time. She found herself grasping for what to say or how to act. The last few days had been entirely composed of her own worries, her own problems doing acrobats in her mind; interacting with others and forgetting those things were a sudden task.

Don't forget to use her name outside of dialogue. Also, I notice you have the same over-fondness for semicolons that I have. As I try to tell myself, tone it down. You don't need to use one every paragraph, you know. Smile



Quote:

Theo entered the hallway a moment later, bringing the bottled water to her on the staircase. He sat beside her as she twisted the cap open and took a swig, the cold water making her tongue come alive and her face cool off.

“There. Is that better?” he asked, leaning against the wall, his arms wrapping underneath his knees. He smelled like paper. “You looked pretty pale and manic back there.”

“Mmhmm.” She took another drink, enjoying the fresh taste.

I like that, "he smelled like paper." Of course, now I'm almost certain that he's a writer, and therefore understands her artistic temperament, and therefore they become close... Et cetera.


Quote:

He was quiet for a moment. “Y’know, you look like an artist,” he said then, his face cast with amusement and even a flash of mischief.

She laughed into the bottle, looking at him out of the corner of her eyes. “Oh? So I look exhausted, poor, and haughty?”

“No, not what I meant,” he laughed. “I mean, you look interesting.”

Oh, he's a slick one, he is.


Quote:

Meg twisted the cap back onto the bottle and gave him a sharp look, one eyebrow arched. “Wouldn’t you like to know? Smashing laundry hampers is only one talent of mine.”

“And here I was thinking that you did that so deftly that you couldn’t possibly possess any other skills.” He seemed as young as her, yet laugh lines streaked around his eyes as he grinned. “Y’