Dear Mother-in-law-to-be[YURII CONTEST](currently editing)

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UNDER RENOVATION.

Spoiler
Dear Sis,

I know it would be inconsiderate of me to withdraw my entry for you have extended the contest's deadline for me; but I have a speech to finish this week, and I just cannot edit this anymore to follow up. I've given up. You may ridicule this.

Love,
Bro.

P.S. As you may already know, this is quite disturbing.

---------------

"You look beautiful,” Patricia said dispassionately, her glassy eyes stared at me from head to toe. I couldn't tell if she was being sincere. After all, she always had given me her utmost repugnance; I was just an ordinary girl to her, she had told many times before, I had had neither brains nor beauty. Now she was telling me that I was beautiful? That was certainly something new.

I sincerely smiled at her—a good, wide smirk must have done the trick. Maybe she had accepted her utter defeat after all. Her son would be mine within a matter of hours.

She smirked back. “The make-up artist is good,” she said as my smile faded into a humiliated gaze. Sneering her way out of the room, she walked past me with her back straight and an aura of a 'proud' and 'prideful' mother. You’ll never change will you, Patricia.

After hearing the door close, I collapsed on my chair, trying to keep my forced posture while the long, white, stocking-like banner on my head puffed away swiftly. A thread might have been caught in a sharp edge, ruining the stupid head cloth; but it wasn't time for those trivial things--I was getting married and my almost mother-in-law still seemed spiteful towards me.

I raised my eyes and looked at the mirror before me. My eyebrows were knitted in a pitiful manner. Why, yes, I did believe I had worn a good application of make-up--just to make myself prettier. It was not the artist; all he did was to define my features more. I was beautiful, with or without make-up.

Yes, that's how you should think.

I sat up straight and point my chin towards the glass, but my shoulders slouched over again as I heavily sighed.

When I was a kid, I had burnt my color tone to a tan as I worked in the fields under the glaring rays of the sun; but the arduous job also had made me strongly built, and it structured these soft curves of mine—deceivingly enticing, just like how men like a woman’s body to be.

I stood up and stepped to the right. I didn't see anything wrong: my brown, round eyes were standing out with the peach rose I had put in my hair; my lips were blooming pink; and my cheeks were slightly blushing.

Why do I have to internalize Patricia's hurtful statements anyway? I don’t have to listen to her. I had worked hard, even went beyond than what my doubting parents every planned for me. I left the province and moved to a city with my uncle. It was quite a frightful journey, but I managed to start and study college. So, how could Patricia degrade me now? She should have been proud of what a fine woman her son had found.

I looked back at the door and sighed. I was composing myself to be conceited. But I just did not understand. It was more than the equation of her, her son’s and my names.

When I met Alfred and entered this stoic relationship, I didn’t get the chance to visit Ilocos, see my parents, and rub in their faces of what I had achieved. I didn’t hate them. It was just--they never had believed in me. All that they saw in me was a girl running in the fields, tending the flowers, feeding the chickens and milking the cows, forever innocent. And I was happy they couldn’t keep me in the uncivilized. I was happy my Uncle Harold saw my potential and helped me go settle in this city, saving my hands from being gnarled.

But I also said that it wasn't easy. Uncle Harold could only let me study for the first year. He had warned be beforehand, and I had promised I would find a job. But unfortunately, I didn't. Then I thought I'd just stay with him until I found one and save up for my own tuition fees, but he disagreed for some reason he wouldn't tell. It was something I couldn't figure out. He was single, he was rich, and still, he wouldn't keep me, telling me that if I don't figure out something soon, he would bring me back to Ilocos.

I didn't want that! I wanted to finish college and settle in this particular city. This is what I wanted. I looked at myself and see my eyes flutter. Wasn’t it?

Sure, I missed lying on the grass and watching the windmill rotate in the dry seasons, the white sand on the beaches where I'd muse and wonder about what living in the city was like and how I would have been living with technology.

My eyes strayed away from my reflection. Instead of foolishly indulging myself in nostalgia, I wore my silver earrings and patted my gown. I was done watching Father inhale his tobacco in the morning as Mother prepared fresh goat milk. I had started to enjoy computers, cell phones, iPods and the Internet, and I most certainly would not go back, just like keyboards would not go back being typewriters.

Uncle Harold must have spoiled me. And I never thought he'd try to get. He gave me one option: marry. Marry a rich man. How may uncles would adopt you and tell you he couldn't keep you anymore so he'd be forced to bring you back to your parents unless you marry a rich man? Uncle Harold was indeed eccentric. And he just didn't tell me to rich a random rich man I meet, he offered me a particular man: Alfred Panganiban, his franchisor's son.

He introduced Alfred to me when Alfred had visited the franchise. They sat side by side while I sat in front of them. Alfred had black hair and eyes, but I didn't mind that he looked a typical Filipino. At least he wasn't ugly.

"My niece here is a very fine woman, Al," Uncle had started. Alfred had looked at me, a plastered smile on his face. Uncle had nudged him. I looked away and pretended to watch the cars passing by. I knew matchmaking was a seriously bad idea. "You need to find a suitable wife soon."

I looked back, throwing Uncle Harold a bored look, implying that I wanted to go home. Alfred whispered something to Uncle Harold. Uncle Harold gave out a loud laugh, while Alfred smiled discreetly. It was an odd scene--watching two men whisper to each other. I didn't even know how to react, let alone the fact that they were talking about me. What could be so funny?

Uncle Harold stopped laughing as Alfred spoke. I never thought his voice would be deep. "Then we should know about each other..."

I was dumbed--muted. Not a smile, not a word, I just bowed my head and nodded to conceal a flush in my cheeks.

Alfred took me out frequently. It felt odd. It was like he was playing with me or something. I didn't know why he had to find a wife, all I did was to play his game so I could have a better future. The game went on till it reached the time he took me to his mother's house.

I could never forget the time I met Patricia. I was nervous and my neck sweated that when you touch it, it would feel like the surface of a cold drink set under the sun. I was sixteen, Alfred was twenty-six. I honestly thought his mother would figure out my real intentions with her son. But what was I to worry about? Alfred had something to do with me, too.

We had drunk iced tea in Patricia's suite. Chandeliers dangled down from her ears to her shoulders. What I had learned from that soundless encounter was cherry lipsticks could really make any lady look like a snob—for a fifty-four-year-old-woman.

She impassively stared at me for minutes that seemed like an eternity—till she looked at Alfred and broke the silence.

“Is she your new maid?”

Maid? The nervousness inside me stirred into anger. She had exposed her inner motives: she didn’t want me as her son’s wife.

Alfred mocked a laugh. “Oh, Mama. You have such a sense of humour.” I looked at him, his ebony eyes were filled with hesitation. “She’s my girlfriend.”

Patricia didn’t look at me. After a few moments she left for the stairs.

I had wondered then if I should just go back Ilocos.

My fake dates with Alfred continued. I guess I was beginning to fall for him anyway. The age gap provided a sense of security when I was with him. Though there was something that bothered me much. It wasn’t something that he did—it was something that he didn’t do. He never held me by the waist or kissed me.

Day after day I wondered if I was doing the right thing.

But one night, he took me by the bay. There, he kissed me on the cheek, showed me a small box, and knelt on one knee. I blushed as my heart thumped faster.

Opening the box and disclosing the ring within it, Alfred asked me, “Alicia, will you marry me?” His voice still lingers in my ears. That was the only thing I needed to be sure he was the one.

“Yes.” I smiled as he stood up and pulled me in for a hug.

I thought, so his mother approved me? As soon as pulled out, I asked him, “Does your mother know? Did you tell her you were proposing to me?”

I hoped that he had, but he shook his head. “I want you to tell her.”

“But w--why me?” I stuttered. “You’re the son.”

“It will be a good thing for you.”

“Why is it so?” I asked, baffled. But he didn’t answer me.

That night, I tossed and turned on my bed, wondering in the dark how I would tell Patricia. Should I show up in her place? Should I call? Or should I just send her a letter? I stood up, finally sticking with the latter option which was also the safest, and turned on the light. As the night hours passed, I wrote a postcard for Patricia.

Dear future Mother-in-be, Your son and I have planned to get married. I'm sorry I'm confirming your worst fear. P.S. This is the dress!


Image

I sneered to myself. It would have been the perfect letter. But it sounded too disgraceful, so I wrote another one which was probably more acceptable—I hoped.

Dear Mom, Alfred and I are soon to be married, so I hope you don’t mind my calling you ‘mom’. He just proposed to me yesterday, which will be the 'other day' if you receive this letter at once. Love, Alicia. P.S. This is a picture of the dress. Simple, isn’t it? Just like me.

When I got up the next morning, I went to the mailing office in haste. After a couple of days, I received a letter, and as predicted, it was from Patricia. Breathing deeply, I opened the red envelope in my hands.

I whispered the words to myself. “Alicia, this might be my worst fear now, but soon it will be yours. Patricia.”

My heart quavered at the note. I ran into my room and reached on my desk. Fumbling through the clutter of paper, my eyes widened at the postcard left on my table. I had inserted in the envelope the impetuous note, making her furious, I supposed.

I panicked, thinking she might do something stupid to stop the wedding. But to my surprise, she never bothered Alfred and me the following days. I went through the wedding preparations peacefully with my fiancé. I didn’t even hear about her from Alfred.

But each day, there was something that pushed me into thinking that that Alfredo’s weariness from the preparations had soon evolved to fear. I suspected then that there was something I hadn’t known about. And I was positive that whatever it was, Patricia was the one behind it.

“What color do you think is better?” I raised my hands and showed Alfred two cloths, one cream and one pink. We were at the tailor’s and I was trying to pick a good color for my gown. “I think I should stick with white, Alfred?” I stared at him for about two minutes before he realized I was talking to him.

“Ah—you…” he stammered.

I put back the cloths on the tailor's sewing machine and excused myself. Pushing Alfred to a corner, I worryingly asked him, “What is wrong?”

He forcefully smiled. “Nothing’s wrong,” Alfredo declared, striking my hair with his hand.

“Are you sure?”

He nodded. But seeing that his words and actions didn’t in the least give me comfort, he for the first time kissed me on the lips. It turned out to be intoxicating, and I finally verified my heart that I was in love with him. I am still, I guess; and not for long, I can be as intimate as I want with him.

I remember his kiss, but Patricia’s words rudely enter and torture my mind: "You look beautiful, Alicia. The make-up artist did a good job." I wish she could have just said what she really meant to say directly, whatever it was.

I stand up and tap my hair—brown and up in a bun. The wedding will be starting. No time for those awful thoughts.

I saunter for the door, and outside the car has been already waiting. Uncle Harold has taken the time to be my escort in place of father.

“Patty’s gone.” He winks. I laugh. “Now, you look beautiful. Your parents are sure missing a lot.”

I’m almost about to cry. And tears have always been my ultimate enemy. I just strive to take a hold of myself and look pleasing.

I sit in the white car designed with peach ribbons in front (no, it’s not a limousine). I know it won’t be a long trip, so I try to relax as much as my mind can. Getting Patricia off of my mind will be the perfect relaxation, I joke to myself.

I close my eyes, feeling the long, fake lashes poking my eye bugs. This is me now. The dumb, province-girl is long gone.

After a few moments, I find myself entering the church at last, one of my hands hanging onto Uncle Harold’s arm, the other holding the fresh peach roses tied up in pink lace. The building’s two huge doors are open for the best day of my life, next to having kids, I think. Eyes roam about as that tiresomely traditional wedding melody is being played by the melancholic tune of the pipe organ. My heart is light. I do not in the least feel nervous.

Looking straight ahead, I cherished the picture: petals randomly design the carpet, people in their formal suits surrounded me, the priest beside Alfred, who at this moment is gazing at me.

I look to the right so I can throw a smile of thanksgiving to all who’s here today. Patricia is there fanning herself arrogantly. But her lips curves up, she grins at me. I smile back and look to my left—my eyes are caught by the two people at the second row: the woman with gray curls sadly smiles at me, the stick man beside her does the same. My heart tenderly melts at what I've seen.

Inay, Itay...” I whisper to myself. My parents are here. I glance at Uncle Harold. He winks at me again.

I don’t know how my soul can contain the joy it holds right now. Can anything go wrong? It feels impossible. I smile, the tears edging in my eyes. I look back at Alfred. He tensely smiles back. Uncle Harold let go of me as Alfred takes my arm. I squeeze his hands in return.

“Are you nervous?” I whisper.

“Kind of,” he says.

“Don’t be,” I plead. “Please.”

Alfred’s nervousness makes me nervous, too. I try to relax, simply listening to the priest’s deep voice as he speaks. His speech goes on. I can’t catch most of the words, I’m worried for Alfred. I only catch up when the priest faces me.

“Do you, Alicia Halcedo, take this man as your husband and closest friend, and do you agree to be fully committed to the sanctity of this marriage for as long as you both shall live?”

“I do.” My voice is loud, my answer is clear, my mind is made up.

The priest turns to Alfred. “Do you, Alfred Panganiban, take this woman as your wife and closest friend, and do you agree to be fully committed to the sanctity of this marriage for as long as you both shall live?”

“I—I,” Alfred stammers. I see a sweat break down his forehead.

“Alfred?” I softly speak. “Are you okay, dear?” Our eyes meet—black against brown. He looks like he’s about to throw up. “Al--?”

My words are cut by Alfred. “I can’t do this.”

“What?” My voice is almost yelling at him.

The crowd gasps simultaneously. I’m shocked myself. I must have heard it wrong; we all must have. I look at the audience. All of them are surprised—except Patricia. Why, she smirks at me and mouths, “Told you.”

I look back at Alfred. “What did she tell you?” I angrily ask.

“She who?” he asks back.

“What did your mother tell you?”

“She has nothing to do with this,” Alfred answers, silencing my tongue from accusing Patricia the more.

“Alfred, please don’t do this,” I plead, I’m about to cry, and I can never fight tears.

“I’m so sorry, Alicia,” he says. “I’m sorry for taking away so much time from you.”

“You know better than this!” I scream. Everything was so perfect.

“I’m so sorry for having to lie to you. I—I thought I could change.” His voice calms down as he shakes his head.

“If it’s not your mother then what is it?” I hold him by the arm, but he slowly takes it away. I gasp. “There’s another one, isn’t there?” My voice quivers, my heart shatters.

“No…” He sadly looks at his mother, then at me. After bowing down and squeezing my hands, he finally spoke. “I can’t do this because,” he tells me as tears flow down my cheeks, ruining my light make-up. I start to blame everyone that enter my mind: father, mother, Uncle Harold, Alfred, Patricia--myself. And just when I'm starting to breathe again, Alfred's words strike my head as if it were a gong. “I’m gay.”

~~~~~~~~~~~~

This is my entry for Yuriiko’s Contest. Please don’t expect anything, well ‘cause, just like Skins, I’m a novelist, and so I don’t think I’m not good with short stories. O_o And I was nervous posting this, ‘cause I’ll be up against epic YWSers like Skins, Tiger and Shubs…*deeply breathes* But I still gave a shot! So, yay for me. LOL The deadline was 20, so this was rushed…that’s why I hate it.

P.S. the lack of descriptions, I think, was caused by this being a short story and my SUPER RUSHED attempt. Gah! LOL

P.S.S. Sis is awesome because she extended the deadline for me. =P So not only can I post my entry on time, I'll have enough reviews, I think. =))
Last edited by Jashael on Tue Nov 23, 2010 2:12 am, edited 6 times in total.
“I believe in Christianity as I believe that the sun has risen:
not only because I see it, but because by it I see everything else.”


—C.S. LEWIS


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Hullo there! I have to say, after reading your intro and spoiler it was really hard to go on to the story itself without preconceptions. I understand you don't like it... but maybe put that after the story so you don't taint your reviewers' views of the story before they've even gotten a chance to read it? Meh... just a thought.

Anyway, since this is just a draft, I'm not going to point out the little grammatical errors, but there are a few moments I'd like you to look at.

“You look beautiful,” Patricia dispassionately says, her glassy eyes stare at me from head to toe.
Okay. This isn't that bad, but since it's the opening line it needs to be better. "Dispassionately says" just sounds awkward to me -- maybe try "says dispassionately?" Also, I think you should either make the comma after "says" into a period, or you should make "stare" into "are staring." Like so: "“You look beautiful,” Patricia says dispassionately. Her glassy eyes stare at me from head to toe." OR: "“You look beautiful,” Patricia says dispassionately, her glassy eyes staring at me from head to toe."

I’m happy my Uncle Harold saw my potential and helped me go settle in this city, saving my hands to be almost gnarled.
Okay, so this is probably just a typo of the kind that I said I wouldn't dwell on, but I just have to point it out because I think it's saying the opposite of what you want it to. It sounds like you're saying that Harold saved her hands so that he could make them be gnarled... which doesn't make any sense. :/ I think what you wanted to say is that he saved her hands from becoming gnarled. Right? I would reword it like this: "I’m happy my Uncle Harold saw my potential and helped me go settle in this city, saving my hands from being gnarled." (I also took out the "almost" because it didn't seem necessary to me).

I was nervous and my neck sweated hat when you touch it, it would feel like the surface of a cold drink set under the sun.
This might be a typo too... I'm not sure. Is "sweating hat" a phrase? If so, I've never heard it. Also, I don't understand the sentence structure. It seems to me like is should be: "I was nervous and my neck sweated so much that when you touch it, it would feel like the surface of a cold drink set under the sun." but I'm not sure.

Uncle Harold has taken the time to be my escort in place of father.
This was kind of confusing the first... like... three times I read it. Either "father" should be capitalized, or you should say "my father." Right now you're using the word "father" like a name, but you're not capitalizing it accordingly.
------------------------

Okay. I understand this is a rough draft, but I really do think it has potential. I didn't suspect for a moment that Alfred was gay, and then that last paragraph was really heart-wrenching and I was thinking maybe he was going to tell her that he has some terminal illness and he didn't want to marry her because he didn't want to break her heart by making her a young widow. Patricia's character is really well-developed -- the best of all the characters in the piece, I think. I had the feeling for most of the piece that she hated Alicia for race and/or class issues, and that made me dislike her because I thought her a bigot. But now I think she wanted to warn Alicia, but she didn't want to stop them from getting married. She knew that it was a bad idea all along.

Anyway, my main problem with this piece was that the first half of the story (just about until the post card) feels like an info-dump. Now, I'm all for stream-of-consciousness stories, and I like the idea of starting the piece with flashbacks to show her situation and explain her emotions. But enough is enough. I'm sorry to say this, but it felt like you were rambling on a bit. There is just so much time spent with Alicia convincing herself that she is beautiful and that she doesn't like Patricia, and it feels more like telling than showing. In my opinion, you were on the right track with the flashback about when she met Patricia -- that showed everything about the Alicia-Patricia conflict that you had been telling up until then. So why do all the telling? I think that, for setting up the conflict between the two women, you could do to get rid of a lot of the "stream of consciousness" and replace it with flashbacks. They're a lot more powerful, and less tiresome to read.

Another thing that bothered me is Alicia. I just read almost three thousand words of her thoughts, and I still don't feel like I know her. I don't understand her emotions. She's nervous and unsure of herself and doesn't even know if her future husband loves her or she him. But then as soon as she gets to the church she's overflowing with joy. I'd like to understand her feelings towards Alfred a little better. You tell us that (by the end) she loves him, or at least she thinks she does, but I never see any evidence of that. She never says anything about him to make their relationship seem anything but awkward to me. And it is awkward -- but there must be something she loves about him.

Also, this is just a small thing, but how did the post card get made? You don't really go into that. Did they decide on the dress, get it made, and photograph her in it all the night of their engagement? That doesn't make sense, but how else would she be able to send the post card the day after? Oh, and one more thing. I know you're not comfortable in present tense, but you really need to be careful about getting your tenses straight. Especially because there are flashbacks and stuff, it's critical that the reader be able to distinguish without any confusion what is happening now from what is being remembered.

All in all, this is rough -- but it's got potential. I suggest you work on developing the relationships between characters a little more. With showing, not telling. Show us what she loves about Alfredo, and show us the friction between her and Patricia.

If I was unclear about anything or you want to discuss something I've said, please let me know! I hope this helps somewhat.

Good luck with the contest.


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Hey jashbagabaldo. So, stream of consciousness, huh? Not necessarily my favorite style of prose but I've read some in the past that was written quite well. Let's see how you did.

I'll be using strikeout for parts I suggest you omit, [brackets] for things to add, blue for stuff to change, #FF0000 ">red for the stuff that confused me, and also <these things> for in text comments.

jashbagabaldo wrote:“You look beautiful,” Patricia dispassionately says, her glassy eyes[/color] stare at me from head to toe. I cannot tell if she is being sincere. After all, she always has given me her utmost repugnance; I’m just an ordinary girl to her, she told me not once but many times before, I have neither brains nor beauty. Now she is telling me that I’m beautiful? That’s something new.

I sincerely smile at her—a good, wide smirk does the trick actually. Maybe she has accepted her utter defeat after all. Her son will be mine within a matter of hours.

She smirks back. “The make-up artist is good,” she satisfactorily says as my smile fades into a humiliated gaze. Sneering her way out of the room, she walks past me with her back straight and an aura of a 'proud' and 'prideful' mother. You’ll never change will you, Patricia.


Alright: My first impression is that this doesn't really fit with the stream-of-consciousness narrative mode. Mostly because, as a reader, I'm not getting a good sense of this protagonist's thought process. You're relying too much on adjectives/adverbs to describe what's going on. Telling us that Patricia said something "dispassionately" does nothing to paint a vivid picture of either of these characters. Instead try showing us why this narrator thinks her voice is dispassionate. Maybe Patricia's speaking to her in the same "dispassionate" tone she used when sh told the MC that her eyes looked a little too close together. Be specific with your descriptions.

Also, for stream-of-consciousness writing, there needs to be a lot of shifts in punctuation and syntax in order for it to seem believable. Your narrator needs to be talking about her favorite tv show and switch to the color of the wallpaper mid-sentence. The purpose of this writing reflect the haphazard, disorganized way the character thinks. Needless to say this is very difficult to do effectively.

After hearing the door close quietly, I collapse on my chair, trying to keep my forced posture while the long, white, stocking-like banner on my head puffs away swiftly. #FF0000 ">I do not care <If you don't care then why waste time describing it?> if a thread has been caught in a sharp edge, ruining the stupid head cloth <honestly, I don't see the purpose of this sentence. It doesn't do much to reveal the character's thought process.>. I am dearly sad upon hearing Patricia's remarks. I honestly thought she has accepted me. But I guess not…<Why ellipsis?>

I raise my eyes and look at the mirror before me. Yes, I do believe I have worn a good application of make-up[.] , just to make myself prettier. It’s not the artist; all he did was to define my features more. I am beautiful, with or without make-up. Yes, that's how you should think. <Why is this in italics?>

I sit up straight and point my chin towards the glass. Obviously,[W]hen I was a kid, I burnt my color tone to a tan as I worked in the fields under the glaring rays of the sun; but the arduous job also made me strongly built, and it structured these soft curves of mine—deceivingly enticing, just like how men like a woman’s body to be.


I'm having a tough time believing this story. You've written it in 1st person, but the language is what you'd expect from a 3rd person narrator. Unless the character is extremely narcissistic, it doesn't seem natural for a person to be thinking about the curve structure of his/her own body. It also doesn't seem natural for a character to be telling us their story as the story's still taking place.

Most 1st person narrators are what we call "distance remembering narrators" meaning that they are telling the reader about events which took place in the past. This type of story telling feels the most natural because it is the one we are most familiar with. When you're telling your friends about your summer vacation, you don't tell your story as if it's still going on, you say, "last summer we went to that new water park over by the expressway etc." It makes more sense that some time has passed since these events took place and it's also given the narrator more time to reflect on those events which gives us a stronger sense of character development.

If you revise this story I strongly suggest you rewrite it in the past-tense. Also in 3rd person, since stream-of-consciousness is extremely difficult to do in 1st person.

I stand up andslightly stepped to the right. I look gorgeous. <how?> Why do I have to internalize Patricia's hurtful statements anyway? I deserve everything taking place right now. I don’t have to listen to her. I have worked hard, even went beyond than what my doubting parents every planned for me. I left the province and moved to a city with my uncle. It was quite a frightful journey, but I managed to study and finish college. So, how can Patricia degrade me now? She should even be proud of what a fine woman her son has found. <All of this exposition seems unnatural for a 1st person narrator>

I look back at the door and sighed <verb tense confusion>. I'm unnecessarily composing myself to be conceited. But I just do not understand. #FF0000 ">It’s more than the equation of her, her son’s and my names; there must be something more on why she hates me so much.

When I met Alfred and entered this stoic relationship, I didn’t get the chance to visit Ilocos and see my parents and rub in their faces of what I have achieved. I don’t hate them. It’s just, they never believed in me. Maybe like Patricia, what they saw in me was just a girl running in the fields, tending the flowers, feeding the chickens and milking the cows, forever innocent. And I’m happy they couldn’t keep me in the uncivilized. I’m happy my Uncle Harold saw my potential and helped me go settle in this city, saving my hands to be almost gnarled. This is what I wanted. I look at myself and see my eyes flutter. Wasn’t it?


Real people don't think in segmented blocks of exposition about their backgrounds. They move through their environments and their memories are triggered by their interactions. If this is stream-of-consciousness then the MC isn't just going to randomly start thinking about her life on the farm. She's going to see a picture of a farm that reminds her of it which sets her train of thought in that direction.

Sure, I miss the lying on the grass and watching the windmill rotate in the dry seasons, the white sand on the beaches where I'd muse and wonder about the cities. <Where is this story taking place?>

My eyes stray away from my reflection. Instead of foolishly indulging myself in nostalgia,I wear my silver earrings and pat my gown. I'm going to be married now. I'm done with watching Father inhale his tobacco in the morning as Mother prepared fresh goat milk. I'm not just ready to be a wife, I'm ready to be a mother.

The more I think, the more I get confused. My thoughts keep shifting between the days I was in the north and my mother-in-law-to-be, Patricia; and both themes are utterly dreadful.

I sigh. I can never forget the time I met Patricia. Alfred had taken me to her house. I was nervous #FF0000 ">and my neck sweated hat when you touch it, it would feel like the surface of a cold drink set under the sun. I was twenty-six<This person doesn't sound like she's 26>, Alfred was twenty-one; we fell in love after being classmates in the previous four years of college life<She also doesn't sound like she went to college>. I honestly thought that she must have thought I had a relationship with Alfred for money. But that's not true, I was attracted to him even before I knew he was rich.

We silently drank iced tea in Patricia's suite. Chandeliers dangled down from her ears to her shoulders. What I learned from that soundless encounter was cherry lipsticks could really make any lady look like a snob—for a fifty-four-year-old-woman, I mean.


If you ask me I think your story should start right about here, with this scene. All the stuff in the previous paragraphs about waiting for the wedding to begin didn't serve much of a purpose other than to set up the context for this scene.

I'd rather you began your story with this scene because there's immediate tension and the storytelling is more natural because it's in the past tense.

She impassively stared at me for minutes that seemed like an eternity—till she looked at Alfred and broke the silence.

“Is she your new maid?” <See what I mean? This would be a perfect first line of dialogue for a story.>

Maid? The nervousness inside me stirred into anger. I couldn’t believe what I heard. From that simple statement, She had exposed her inner motives: she didn’t want me as her son’s wife.

Alfred mocked a laugh. “Oh, Mama. You have such a sense of [humor].” I looked at him, his ebony eyes were filled with hesitation. “She’s my girlfriend.”

Patricia didn’t look at me. After a few moments she left for the stairs, leaving me and Alfredo alone.

I wondered from then on if Alfredo was the one for me. After all, I was the one who 'suited' him. Seems odd, I know, but from then on, we had a fairly good relationship. He made it up to me and took me out on dates, sent me flowers and chocolates, and called me often to know if I was okay.

Though there was something that bothered me much. It wasn’t something that he did—it was something that he didn’t do. He never held me by the waist or kissed me.

Day after day I wondered if I was even in love with him. Maybe I was just dazzled by his looks. Maybe I was speeding up to find my prince charming.


Look: I see what you're trying to do. You want the reader to feel that the narrator's relationship with Alfred is being threatened by Patricia. The problem is that up to this point we have no idea of how the narrator feels about Alfred. If you want us to feel compelled by this rift between these two character you need to set up something to lose. Sure she's planning on marrying him, but how does he really make her feel? What is it about this particular person that makes him more attractive than everyone else? Why did she agree to marry this guy in the first place?

You need to address these issues early on, or else when the relationship is threatened your reader simply will not care.

But one night, he took me by the bay. There, he kissed me on the cheek, showed me a small box, and knelt on one knee. I blushed as my heart thumped faster. I knew then that he was serious with me.

Opening the box and disclosing the ring within it, Alfred asked me, “Alicia, will you marry me?” His voice still lingers in my ears. That was the only thing I needed to be sure he was the one.


This is supposed to be one of those monumental occasions in Alicia's life. You need to describe the setting, describe the sand, the crashing waves, the stars etc. Make us readers feel like we're in the scene with Alicia in order to let us know how important it is to this character.

“Yes.” I smiled as he stood up and pulled me in for a hug.

I thought, so his mother approved me? As soon as pulled out, I asked him, “Does your mother know? Did you tell her you were proposing to me?”

I hoped that he had, but he shook his head. “I want you to tell her.”

“But w--why me?” I stuttered. “You’re the son.”

“It will be a good thing for you.”

“Why is it so?” I asked, baffled. But he didn’t answer me.

That night, I tossed and turned on my bed <cliche>, wondering in the dark how I would tell Patricia. Should I show up in her place? Should I call? Or should I just send her a letter? I stood up, finally sticking with the latter option which was also the safest, and turned on the light. As the night hours passed, I wrote a postcard for Patricia.

Dear future Mother-in-be, Your son and I have planned to get married. I'm sorry I'm confirming your worst fear. P.S. This is the dress!


Image


Maybe this is part of the contest, or whatever, but I really don't see the purpose this picture serves for the story. It seems kinda gimmicky if you ask me, like something you just through in there for whatever outside reason.

This is why I don't don't write for contests. You should find a contest that fits your work, don't try to make your work fit a contest.

I sneered to myself. It would have been the perfect letter. But it sounded too disgraceful, so I wrote another one which was probably more acceptable—I hoped.

Dear Mom, Alfred and I are soon to be married, so I hope you don’t mind my calling you ‘mom’. He just proposed to me yesterday, which will be the 'other day' if you receive this letter at once. Love, Alicia. P.S. This is a picture of the dress. Simple, isn’t it? Just like me.


Here's something that doesn't make sense, how does Alicia already know what dress she'll be wearing to the wedding if Alfred just proposed to her the previous day? I'll admit it's possible that she would pick out the dress right away, but highly unlikely. For most soon-to-be-married women wedding plans are not the types of things to be decided on the spur of the moment.

When I got up the next morning, I went to the #FF0000 ">mailing office <Post office?> in haste. After a couple of days, I received a letter, and as predicted, it was from Patricia. Breathing deeply, I opened the red envelope in my hands.

I whispered the words to myself. “Alicia, this might be my worst fear now, but soon it will be yours. Patricia.”

What year is this story taking place in? It's already unusual that Alicia would opt out of telling her future mother-in-law the news in person, but why write a letter instead of a phone call? Even an e-mail would make more sense if this is taking place in modern times.

My heart quavered at the note. I ran into my room and reached on my desk. Fumbling through the clutter of paper, my eyes widened at the postcard left on my table. I had inserted in the envelope the impetuous note, making her furious, I supposed.

I panicked, thinking she might do something stupid to stop the wedding. But to my surprise, she never bothered Alfred and me the following days. I went through the wedding preparations peacefully with my fiancé. I didn’t even hear about her from Alfred.

But each day, there was something that pushed me into thinking that that #FF0000 ">Alfredo’s <WHAT?> weariness from the preparations had soon evolved to fear. I suspected then that there was something I hadn’t known about. And I was positive that whatever it was, Patricia was the one behind it.

“What color do you think is better?” I raised my hands and showed Alfred two cloths, one cream and one pink. We were at the tailor’s and I was trying to pick a good color for my gown. “I think I should stick with white, Alfred?” I stared at him for about two minutes before he realized I was talking to him.

“Ah—you…” he stammered.

I put back the cloths on the tailor's sewing machine and excused myself. Pushing Alfred to a corner, I worryingly asked him, “What is wrong?”

He forcefully smiled. “Nothing’s wrong,” Alfredo declared, striking my hair with his hand.

“Are you sure?”

He nodded. But seeing that his words and actions didn’t in the least give me comfort, he for the first time kissed me on the lips. It turned out to be intoxicating, and I finally verified my heart that I was in love with him. I am still, I guess; and not for long, I can be as intimate as I want with him.


This whole shopping scene just seems incredibly awkward, and not in a believable way either.

I remember his kiss, but Patricia’s words rudely enter and torture my mind: "You look beautiful, Alicia. The make-up artist did a good job." I wish she could have just said what she really meant to say directly, whatever it was.

I stand up and tap my hair—#FF0000 ">brown and up in a bun. The wedding will be starting. No time for those awful thoughts.

I saunter for the door, and outside the car has been already waiting. Uncle Harold has taken the time to be my escort in place of father.

“Patty’s gone.” He winks. I laugh. “Now, you look beautiful. Your parents are sure missing a lot.”

I’m almost about to cry. And tears have always been my ultimate enemy. I just strive to take a hold of myself and look pleasing.

I sit in the white car designed with peach ribbons in front (no, it’s not a limousine). I know it won’t be a long trip, so I try to relax as much as my mind can. Getting Patricia off of my mind will be the perfect relaxation, I joke to myself.

I close my eyes, feeling the long, fake lashes poking my eye bugs. This is me now. #FF0000 ">The dumb, province-girl is long gone. <Everything about this sentence confused me.>

After a few moments, I find myself entering the church at last, one of my hands hanging onto Uncle Harold’s arm, the other holding the fresh peach roses tied up in pink lace. The building’s two huge doors are open for the best day of my life, next to having kids, I think. Eyes roam about as that tiresomely traditional wedding melody is being played by the melancholic tune of the pipe organ. My heart is light. I do not in the least feel nervous.

Looking straight ahead, I cherished the picture: petals randomly design the carpet, people in their formal suits surrounded me, the priest beside Alfred, who at this moment is gazing at me.

I look to the right so I can throw a smile of thanksgiving to all who’[re] here today. Patricia is there fanning herself arrogantly. But her lips curves up, she grins at me. I smile back and look to my left—my eyes are caught by the two people at the second row: the woman with gray curls sadly smiles at me, the #FF0000 ">stick man beside her does the same. My heart tenderly melts at what I've seen.

#FF0000 ">“Inay, Itay...<What?> I whisper to myself. My parents are here. I glance at Uncle Harold. He winks at me again.

I don’t know how my soul can contain the joy it holds right now. Can anything go wrong? It feels impossible. I smile, the tears edging in my eyes. I look back at Alfred. He tensely smiles back. Uncle Harold let go of me as Alfred takes my arm. I squeeze his hands in return.

“Are you nervous?” I whisper.

“Kind of,” he says.

“Don’t be,” I plead. “Please.”

Alfred’s nervousness makes me nervous, too. I try to relax, simply listening to the priest’s deep voice as he speaks. His speech goes on. I can’t catch most of the words, I’m worried for Alfred. I only catch up when the priest faces me.

“Do you, Alicia Halcedo, take this man as your husband and closest friend, and do you agree to be fully committed to the sanctity of this marriage for as long as you both shall live?” <This does not sound like marriage rites to me>

“I do.” My voice is loud, my answer is clear, my mind is made up.

The priest turns to Alfred. “Do you, Alfred Panganiban, take this woman as your wife and closest friend, and do you agree to be fully committed to the sanctity of this marriage for as long as you both shall live?”

“I—I,” Alfred stammers. I see a sweat break down his forehead.

“Alfred?” I softly speak. “Are you okay, dear?” Our eyes meet—black against brown. He looks like he’s about to throw up. “Al--?”

My words are cut by Alfred. “I can’t do this.”

“What?” My voice is almost yelling at him.

The crowd gasps simultaneously. I’m shocked myself. I must have heard it wrong; we all must have. I look at the audience. All of them are surprised—except Patricia. Why, she smirks at me and mouths, “Told you.”

I look back at Alfred. “What did she tell you?” I angrily ask.

“She who?” he asks back.

“What did your mother tell you?”

“She has nothing to do with this,” Alfred answers, silencing my tongue from accusing Patricia the more.

“Alfred, please don’t do this,” I plead, I’m about to cry, and I can never fight tears.

“I’m so sorry, Alicia,” he says. “I’m sorry for taking away so much time from you.”

“You know better than this!” I scream. Everything was so perfect.

“I’m so sorry for having to lie to you. I—I thought I could change.” His voice calms down as he shakes his head.

“If it’s not your mother then what is it?” I hold him by the arm, but he slowly takes it away. I gasp. “There’s another one, isn’t there?” My voice quivers, my heart shatters.

“No…” He sadly looks at his mother, then at me. After bowing down and squeezing my hands, he finally spoke. “I can’t do this because,” he tells me as tears flow down my cheeks, ruining my light make-up. I start to blame everyone that enter my mind: father, mother, Uncle Harold, Alfred, Patricia--myself. And just when I'm starting to breathe again, Alfred's words strike my head as if it were a gong. “I’m gay.”


Look: I'm a little disappointed with this ending. Partly because I could see this ending coming from a mile away, I didn't necessarily know Alfred was going to be gay, but I was certain that he was going to opt out of the wedding at the last moment. The set-up was too trope-laden to be unexpected. I was also disappointed with the fact that you revealed Alfred to be gay, but you did nothing to hint at his sexual orientation earlier in the story.

In fact, Alfred came across as such a minor character that it doesn't seem right that he should be the cause of the failed wedding. We need to see more of Alfred throughout the story, include subtle hints in order to suggests that he's not as into the ladies as Alicia thinks he is.


Also, I wanted to talk about the voice, which was the main obstacle that kept me from getting into this story. Your narrator is not a very convincing 26 year old woman. Her thought process is too bogged down by seemingly trivial details and exaggerated (and often disproportionate) emotional outbursts that made her seem more like a 14 year old girl than an adult.

This is gonna sound sexist (and in all fairness it is) but when it comes to writing in the voice of the opposite sex, guys just aren't very good at it. The most likely reason is that, until recently, most of the famous English works have been written by men due to long standing biases against women. This does, give women the advantage when it comes to writing though, because they are often more familiar with the male POV than we are with the female POV. Unless done carefully, 1st person female narrators written by men are so laden with stereotypes that they become unbelievable. I'm not saying that you can't write from a female perspective, but you need to make yourself familiar with that type of writing before you attempt it.

Another thing I wanted to mention was the stream-of-conscious narrative mode. The fact is stream-of-consciousness doesn't work well with 1st person narrators because most people don't talk the way they think, and the whole purpose of that style of writing is to mirror people's thought processes. I strongly urge you to rewrite this story in 3rd person. You'll find it easier to pull off the narrative mode, your female POV will be more believable because it won't be in Alicia's exact words, and it will be more realistic if you decide to stick with the present tense.

Also, make sure you show more of Alfred, but especially his mother. I got the sense that Alicia's resentment toward Patricia was unjustified, because we never really see her doing anything to spite Alicia. I got the sense that this supposed hatred Patricia has for Alicia was all in the narrator's head. Maybe that's what you're going for but I'm not sure.

Leave me a wall post or a pm if you have any questions. Good luck and keep writing.
First you will awake in disbelief, then
in sadness and grief and when you wake
the last time, the forest you've been
looking for will turn out to be
right in the middle of your chest.




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You're smart for this! ;) You got it the idea and I love you for that.LOL

Azila wrote:Patricia's character is really well-developed -- the best of all the characters in the piece, I think. I had the feeling for most of the piece that she hated Alicia for race and/or class issues, and that made me dislike her because I thought her a bigot. But now I think she wanted to warn Alicia, but she didn't want to stop them from getting married. She knew that it was a bad idea all along.



THANK YOU SOOOO MUCH GUYS! I'll make sure I update this before 24. =)))))) And so, I knew it was going to be a drag...cause it was rushed, but thank you so much for the time! I'll rewrite it as soon as possible. =))

Oh man! so many typos! Sarreh...made me laugh at my own mistakes, you see I wrote this after practice (instrus). Maybe I was just too tired.

Bad, ;) I love you for this...hahha

Badnarrator wrote:This is gonna sound sexist (and in all fairness it is) but when it comes to writing in the voice of the opposite sex, guys just aren't very good at it. The most likely reason is that, until recently, most of the famous English works have been written by men due to long standing biases against women. This does, give women the advantage when it comes to writing though, because they are often more familiar with the male POV than we are with the female POV. Unless done carefully, 1st person female narrators written by men are so laden with stereotypes that they become unbelievable. I'm not saying that you can't write from a female perspective, but you need to make yourself familiar with that type of writing before you attempt it.
“I believe in Christianity as I believe that the sun has risen:
not only because I see it, but because by it I see everything else.”


—C.S. LEWIS


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Hello there Jashy!

I'm here to review, as one of the judges for the contest. :3

I think I've probably said this to you, on your piece I've reviewed last. And that is how you rely on adverbs... a lot. Like I said before, adjectives are just there to help you and make your readers understand of what you're trying to narrate to them. I don't really want to say that using them many times in your story is a bad thing, maybe just try to refrain and show it. Let your words be independent.

For example, how do you show this?:

"You look beautiful,” Patricia #FF0000 ">dispassionately says,


“The make-up artist is good,” she #FF0000 ">satisfactorily says as my smile fades into a humiliated gaze.


I tell you again, one or two adverbs on a page is about right. :wink:

So, I'm not going to be nitpicky. It's not that I'm not in the mood or something, it's because you have two good critiques before me. And I think what they've said are enough and quite informative.


Second of all, is the theme or the concept of the story. So it revolves around a woman and her mother-in-law to be? Well, the type of conflict you have here is almost cliche', like the movie "Monster-in-law" if ever you've seen that. Just perhaps try to spice this up. Gives us something compelling about this. Though I know you're complementing this to the postcard you've chosen, just maybe make this somewhat unique. It's because the fight between in-laws are just commonly happening around.

Speaking about the story plot, I think it has potential. However, there are just some things that made me confused. the first one is your verb consistency. Not that I'm disappointed about it, maybe a why question popped into my mind. I know you're struggling well with it, but with those experiences that your main character is retelling it seems a bit confusing. To the point that I feel like you're puzzled to choose which verb tense is easier to use.

And about your characters, the thoughts and opinions that came from your MC's perspective are good actually although some of it are a bit confusing. But sometimes you should try to show more. The fiance' looked less important in the story and about him being gay is a bit anti-climatic. I mean, that's an unexpected reason from him. If ever he's gay then why would he even proposed to Alicia? What got into him to marry her in the first place? And the mother's unrealistic, she actually didn't tell Alicia about his 'gay' son. I mean, it feels like a random idea, just for your MC to get hurt, no offense, or just for your story to end. The scenes just don't really connect well enough for us to experience your MC's joy, sadness and everything. Let the London Bridge connect us to your main character.

And this is just a small thing, the dress looked insignificant. Maybe making the dress more 'obvious' and stand out a little bit more? It's because first of all, why would Alicia let Patricia take a look on her dress? Give its importance.

All in all, this really has potential. And before saying goodbye, I would like to thank you for participating in my contest. I really appreciate it, sis. Hope I helped and PM me for questions. :D

Good luck,
Yuri
"Life is a poem keep it in the present tense." -Sherrel Wigal




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yuriiko wrote:And about your characters, the thoughts and opinions that came from your MC's perspective are good actually although some of it are a bit confusing. But sometimes you should try to show more. The fiance' looked less important in the story and about him being gay is a bit anti-climatic. I mean, that's an unexpected reason from him. If ever he's gay then why would he even proposed to Alicia? What got into him to marry her in the first place? And the mother's unrealistic, she actually didn't tell Alicia about his 'gay' son. I mean, it feels like a random idea, just for your MC to get hurt, no offense, or just for your story to end. The scenes just don't really connect well enough for us to experience your MC's joy, sadness and everything. Let the London Bridge connect us to your main character.


but...but...but... I was about to update this, and I've figured out so many things. LOL kidding, no I havne't

my drafts suck...and you said 24th...so I didn't expect you to review this at once. LOOOOOOOOOOOOOOOOL Anwyay, thanks. hahahahah...I'm editing now...
“I believe in Christianity as I believe that the sun has risen:
not only because I see it, but because by it I see everything else.”


—C.S. LEWIS


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But sometimes a hypocrite is nothing more than a person who is in the process of changing.
— Dalinar (Oathbringer by Brandon Sanderson)