Can't Tell Daddy

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I am my father’s child. I am in his image. I, myself, mirror his exact composure. I trust only him – I always had. He would forever hear my rants and raves, never complaining a bit about them. And now I spoke of another harangue, once again finding myself sitting with my dad. And indeed, I do sit there – on my parent’s bed – and he sits there – on a chair’s footstool – and we both talk quietly. Mostly I talk, and he listens with a calm demeanor; then he speaks, and I respond with a facial look of allowance, and acceptance.

Patience.

My day was horrible, I tell him through a choked throat. Mom and I got into a fight, and we argued, and yelled, and disagreed: leaving me the only choice but to run away. I ran away from home, across the hayfield, down the natural gully, and into a strange wheat field.. and sat.

For three hours.

I further my story slowly, preceding it carefully, and straining to do the said due to my interrupting sobs. They are abrupt, my cries, and I cannot stop them to save my life. So I just sit there – as does daddy – and we both wait for them to quiet: for me to quiet. And as we remain in our lone figures, I tear tissues. My nails rip and tear at the breakable fabric – creating shreds and mounds of a white and snowy heap. When I do, finally, speak again my fingers work faster, in a crazy and mad way. My father watches me in silence as I create a snowstorm.

I had a bad thought, I tell him suddenly, and without prior emotion. My head raises and my black ringlets stir to caress my cheek – almost as if in ill-fated attempt to tease me into a better mood. Fingers leaving the tissues, I momentarily shift them to snatch at the disobedient, annoying hair.

From his perch, my father stands. He does so slowly – as if aged and old. First he pushes himself from the stool, and then he stays half crouched, his knees creaking in protest. Finally, he positions himself to his full height, and crosses the room in two steps.

What is it, honey? he asks slightly and quietly – so fatherly. His hand rises cautiously and halts, but then falls gently upon my hunched back. I flinch at the touch, surprised at the sudden contact. A shiver attacks my spine.

Gray eyes downcast, I stare at the bedspread below me, and pick at an unraveled thread – I need to do something with my hands… It gathers quickly in between my fingers, slipping and sliding – its hue the color of a well-aged red wine. My eyes twitch over it, and back to the pile of Kleenexes. I add the twine to the flurried mound, and grimace at the sight: its like blood on snow – an imperfection ruining the exact perfection. My grin broadens at the irony: am I the snow? The bad thought, the blood? Me the innocent tissues? And the bloody thread the ruining aspect?

I quickly lick ugly grin away.

My stomach does a flip-flop as my father continues to look at me. But I stare helplessly in descent, not wanting so stay further. I’ve already said too much, and my mind is screaming: no… you can’t tell him! Not yet! NO! Please…please, don’t tell him.

With those thoughts, my brow puckers, and I scratch at a sudden, hot itch on my neck.

What I don’t know yet is whether I will be able to continue. Can I speak again? Can I muster the strength to part my mouth in truthful speech? Tears are falling once more, traveling down the paths they know so well. I wipe at them in angry swipes, but it does no good: my hands are too wet. So I tip my head to the ceiling, and watch the dark fan blades whirl in perfect, and synchronized motion. I still don’t speak, content in staying silent, and letting my tears dry.

I can feel my father’s breath upon my head, tickling the slight follicles. The sound – and the feel – reassures me, and calms me somehow. Without a thought, I lean against him – my alabaster cheeks pink with emotion.

My mouth opens, and a small whimper tumbles out. It was an attempt at speech – but it had failed – crashed and burned. Though, my dad hears the sound, and nods in silent encouragement. His hand squeezes gently on my back: he wants me to continue. But I can’t. I can’t do this! I can’t speak… I don’t want to…! And I can’t even breathe, so how can I talk? My throat closes up, and that small meaningless whimper is followed by deep, gut-wrenching sobs, and heaving cries.

His shirt is quickly soaked, turning from a light, happy blue, to a darkened and sadder violet. The only sound in the room is my crying, and the continuing twirl of fan blades. But then I think I hear my dad crying, too – and I begin to cry even harder.

I know, he says in a broken tone: his voice thick.

That is what gave me the sudden courage – a vague realization that I needed to tell my daddy what I had to say. He understood that I couldn’t manage to say what I needed to, but he also knew that I had to say it. He had to know, and I had to tell. Sudden trust enveloped around me like a well-fitted glove, and it tightened, allowing myself to feel strength from it’s abrupt, and swift feel. So with a shaky breath, I gathered the small courage that I had, and finally looked up to my dad.

And on that sticky summer evening, through my tears and cries, I opened my mouth, and finally spoke to my daddy.

I have a secret, I say.




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Hiya Silver! I'm here to review, like I said I would. ^_^ Oh and welcome to YWS! :D

Nit-Picks:
I trust only him – I always had.

I'm a tad confused on why you switched tense. You had trusted him? Explain why that is so and what makes it that way.

I further my story slowly, preceding it carefully, and straining to do the said due to my interrupting sobs.

'Preceding' should be proceeding. Also, 'straining to do the said due to my interrupting sobs' doesn't make a lot of sense. Instead, you can have 'straining to do so due to my interrupting sobs'.

What is it, honey? he asks slightly and quietly – so fatherly.

Quotes around your question.

I had a bad thought, I tell him suddenly, and without prior emotion.

Add quotes around 'I had a bad thought,'.

I quickly lick ugly grin away.

Insert 'the' between 'lick' and 'ugly'.

But I stare helplessly in descent, not wanting so stay further

'So' should be 'to'.

*You should put quotes around all of your dialogue. If you need help with that, feel free to ask.*

Overall:

I really liked reading this. It has a kind of broken feeling to it, and I could feel your character's pain. I also liked that this girl trusts in her father so much as to tell him her secret, whatever that may be. You've definitely caught my attention and I want to read more! :D I'm guessing that the secret is that she's suicidal, based off her hints in this part with the tissues. The story so far is very sentimental, but maybe there's a silver lining somewhere? I don't know yet but I want to find out!

If you have any questions, or would like a review, feel free to PM me and I'll see what I can do. ^_^
Got YWS?

You judge others upon their actions, but you judge yourself by your intention.




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Hiya! Here as requested!

And indeed, I do sit there – on my parent’s bed – and he sits there – on a chair’s footstool – and we both talk quietly.


I find the repetition of "there" doesn't work too well here. Maybe put "I sit here [...] he sits there" so it's not so repetitive.

and straining to do the said due to my interrupting sobs.


"Do" and "due" are close enough in sound that it feels repetitive.

When I do, finally, speak again my fingers work faster, in a crazy and mad way.


I'd delete the commas around "finally" so that this sentence isn't so broken up by commas. If you want to keep the commas there, make the second part of the sentence "in a..." able to stand on its own. ^_^

I tell him suddenly, and without prior emotion.


The "and" there can be cut very easily. It's not really needed.

Fingers leaving the tissues, I momentarily shift them to snatch at the disobedient, annoying hair.


I'd rework this sentence so there wasn't an introduction (the intro here being "fingers leaving the tissues"). It would make it slightly easier to read. ^_^

From his perch, my father stands.


Same note about the introduction here.

I add the twine to the flurried mound, and grimace at the sight: its like blood on snow – an imperfection ruining the exact perfection. My grin broadens at the irony: am I the snow? The bad thought, the blood? Me the innocent tissues? And the bloody thread the ruining aspect?


I really like this metaphor. I'd like to see a lot more, actually. Weave it in through the whole work, and putting more symbolism in general, would really take this to the next level. :D

I quickly lick ugly grin away.


I believe you mean the ugly grin?

my alabaster cheeks pink with emotion.


I'm not so fond of "alabaster" here. It seems a bit unrealistic in the first-person narration.

*

Not a lot to say here, since this is a nonfiction work. Some general comments, however:

Watch your sentence structure as you write. When you start putting too many introductions, or if the introductions aren't worded very well, they can read as confusing. You're pretty good with this, I only spotted a couple of locations, but those couple are enough to make this less powerful.

I'd also like a little more figurative language in here. Figurative language is stuff like metaphor and simile. It would deepen the work and give it a more poetic touch.

Overall, I did find this was a nice work. Could use a touch more polishing, but the base is good. ^_^

PM me with questions.

~Rosey
A writer is a world trapped in a person— Victor Hugo

Ink is blood. Paper is bandages. The wounded press books to their heart to know they're not alone.




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Thank you Rosey and Selene for commenting - every little bit helps! And I see how there are a lot of confusing and rough patches. I appreciate you both pointing those out. And I do have to watch the tenses I use (directed to Selene.) Sometimes I get caught up in the story, and pay NO attention whatsoever to past and present tense. Oops! :P

And I do like the symbolism, Rosey, that I did with the twine and tissues. I'm not sure how I can work it in more... so I might have to take you up on your offer, and PM you.

Other than that, thank you both, again, very much for your critiques and comments. I'll be sure to look this over once more, and tweek it (not just a bit) but loads!

-Rachel :D




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Hey Rachel! I'm here to review this piece. I tend to get very wordy, so forgive the length.

And now I spoke of another harangue, once again finding myself sitting with my dad. And indeed, I do sit there – on my parent’s bed – and he sits there – on a chair’s footstool – and we both talk quietly.

Both of these sentences begin with ‘And’. Could you just cut out both instances, and would it still work in the story? I’m not sure if ‘spoke’ fits in well, since it suggests past tense, while everything else is in the present tense.

I ran away from home, across the hayfield, down the natural gully, and into a strange wheat field.. and sat.

Typically, an ellipsis consists of three dots, like so: …

I further my story slowly, preceding it carefully, and straining to do the said due to my interrupting sobs. They are abrupt, my cries, and I cannot stop them to save my life. So I just sit there – as does daddy – and we both wait for them to quiet: for me to quiet.

The first sentence is very longwinded and confusing. ‘Further my story’ and ‘Proceeding it carefully’ basically mean the same thing, so it would be best just to use one of them. If you decide to go with the latter, get rid of the ‘it’. Here’s my rewrite of that one sentence: I proceed carefully, straining to continue through my interrupting sobs. In that one instance, Daddy should be capitalized, since it is a name.

[s]And[/s] as we remain in our lone figures, I tear tissues. My nails rip and tear at the breakable fabric – creating shreds and mounds of a white and snowy heap. When I [s]do[/s], finally speak again my fingers work faster, in a crazy and mad way. My father watches me in silence as I create a snowstorm.

I think the ‘and’ can be safely omitted here. The ‘tear’s are a little too close for my liking, giving off a repetitive feel. Perhaps you could just say “My nails rip…” in the second instance.
But really, the imagery is great here. I especially love the last sentence of this section. There’s something very nice about the way you wrote it.

I had a bad thought, I tell him suddenly, and without prior emotion. My head raises and my black ringlets stir to caress my cheek – almost as if in ill-fated attempt to tease me into a better mood. Fingers leaving the tissues, I momentarily shift them to snatch at the disobedient, annoying hair.

I’m not sure if the word ‘emotion’ is the best choice here. Saying something without prior feelings? Perhaps ‘notice’ would work better. After all, the narrator says so suddenly and out of the blue, right? I think the second underlined section should be replaced with ‘an’, because it feels very wordy and roundabout.

What is it, honey? he asks [s]slightly and[/s] quietly – so fatherly. His hand rises cautiously and halts, but then falls gently upon my hunched back. I flinch at the touch, [s]surprised at the sudden contact[/s]. A shiver attacks my spine.

I’m not sure how someone can ask something in a slight manner. The flinching already implies surprise, so the second part is unnecessary.

Gray eyes downcast, I stare at the bedspread below me, and pick at an unraveled thread – I need to do something with my hands… It gathers quickly in between my fingers, slipping and sliding – its hue the color of a well-aged red wine.

The writing here is lovely, I have little to say about it. However, I’m not fond of the use of a dash in two consecutive sentences. The second sentence is probably the better candidate for rephrasing.

I add the twine to the flurried mound, and grimace at the sight: its like blood on snow – an imperfection ruining the exact perfection.
Is ‘flurried’ the best choice for this? According to the Free Dictionary, ‘flurried’ means stirred or agitated. ‘Flurry’ means a moving mass. I just can’t quite picture the mound moving or stirred by the twine. The second thing here is that ‘its’ should be ‘it’s’. Remember, ‘its’ means possession while ‘it’s’ is a contraction for ‘it is’.

But I stare helplessly in descent, not wanting so stay further.

‘Stare helplessly in descent’? Where exactly, is the narrator descending to? ‘Not wanting so stay further’? Is ‘so’ supposed to be ‘to’?

So I tip my head to the ceiling, and watch the dark fan blades whirl in perfect, [s]and[/s] synchronized motion. I still don’t speak, [s]content in staying silent, and[/s] letting my tears dry.

This is fantastic characterization. It’s a little detail that lets the reader know more about the main character. I just think that it could be stronger by cutting out a few unnecessary words. What you have without it works perfectly.

My mouth opens, and a small whimper tumbles out. It was an attempt at speech – but it had failed – crashed and burned. Though, my dad hears the sound, and nods in silent encouragement. His hand squeezes [s]gently on[/s] my back[s]: he wants me to continue. But[/s] I can’t. I can’t do this! I can’t speak… I don’t want to…! [s]And[/s] I can’t even breathe, so how can I talk? My throat closes up, and that small meaningless whimper is followed by deep, gut-wrenching sobs[s], and heaving cries[/s].

The second sentence, the one beginning with “It was an attempt”, could do without the dashes. Actually, it might work better if the first dash becomes a period and the second one a comma. There’s something very awkward about the dashes in that sentence. Again, I think omitting some of those pieces might strengthen the piece.

I know, he says in a broken tone: his voice thick.

A comma would work better than a colon here. The colon makes things feel a little stilted, and I think a comma might smooth things out.
That is what gave me the [s]sudden[/s] courage – a vague realization that I needed to tell my daddy what I had to say. He understood that I couldn’t manage to say what I needed to, but he also knew that I had to say it. He had to know, and I had to tell. [s]Sudden[/s] trust enveloped around me like a well-fitted glove, and it tightened, allowing myself to feel strength from it’s abrupt, and swift feel.

I don’t think ‘sudden’ adds much to this section, so perhaps they should be left out. Also, ‘it’s’ should be ‘its’ in this instance, since trust possesses this abrupt and swift feel. Also, I think that this would be best written in the present tense. “This gives me courage— a realization that I need to tell my daddy.” After all, the rest of the piece so far has been written in present tense. It would be best if this was too.
[s]And[/s] on that sticky summer evening, through my tears [s]and cries[/s], I opened my mouth, and finally spoke to my daddy.

Again, I think this should be in present tense.

Overall, this was a very strong and heartbreaking piece. The voice of the narrator shines through, and the reader connects quickly to this young girl and her struggle to be honest with her father, to open herself up to the one person she’s relied on through thick and thin. My only advice here would be to distill the writing. In some places, there are tiny words that don’t seem very significant, and that’s exactly why they should be taken out. By removing some of these little things, other words take precedent and create a vivid atmosphere. Don’t worry about it, I have the exact same problem, and I tend to do it on a larger scale. Anyway, I hope you found a few things helpful, and please let me know if I said something out of line.

Best of luck,
octo
...if you are going to step on a live mine, make it your own. Be blown up, as it were, by your own delights and despairs. ~ Ray Bradbury
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“I am not worried, Harry," said Dumbledore, his voice a little stronger despite the freezing water. "I am with you.”
— Albus Dumbledore, Harry Potter and the Half-Blood Prince