Caste of the Spider

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it was really good u have amazing description and i like how you show emotion and how the mood is set. its great!

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*

For a moment he felt that he was seven, waking out of a three-day coma after Girec’s beating.


I felt that this could be reshaped a little by chaning a few of the words, right now it was awkward to read. Something like: ... waking (up?) from a three-day coma after Girec’s beating.

I’m sure you can come up with a better sentence than my suggestion.

He pressed his palms to the dirt floor and pushed himself up.


Just a typo, ‘dirt’ = dirty

Émon smelled the distinct odor of mud and yarrow, a salve that eased the pain of slow-healing wounds.


I’m pretty sure, or I may be wrong, that ‘smelled’ ought to be ‘smelt’.

Beyond the tree stood a maze of over a thousand gray shacks, rag doors rippling in the breeze.


That goes a little overboard. Maybe: ... a maze of thousands of gray shacks ...?

His mother coughed, and Émon crawled to her side. “Morning, Momm.” She smiled weakly. “You feeling any better?”


I know this is Émon speaking but with ‘She smiled weakly’ it seemed as if his mother had spoken. Maybe change it around a little?

He collapsed [s]to[/s] on? hands and knees, sucking breath through his teeth.


^^^ See quote

He was alone on the muddy bank except for a few children further down; most of the other Untouchables [s]were[/s] had headed to work by now.


^^^ See quote

He turned to start for home.


^^^ See quote

Émon retreated a step and made his mouth smile. “Didn’t see you.”


XD You should just go for: ... and smiled.

He picked it up, took a few bites, spat out the fur, and headed home, hoping the man wouldn’t seek revenge and kill him.


I agree with ’Sari. Would his teeth be able to bit into the rat and pull the flesh/fur out so easily? What about the blood? Surely he would want to cook it first, skin it and also leave some for his mother.

He jerked upright from where he lay, slumped across the stack of bricks he was loading.


Adding to ’Sari’s suggestion, perhaps: ... slumped across the stack of bricks he had been loading.

Émon licked his busted lip and tasted blood.


‘busted’ is informal and here it didn’t really fit (or maybe I just hate that word). How about ‘throbbing’? Or ‘sore’?

She turned slowly and strode away.


I think you should replace the ‘strode’ with ‘walked’, just my opinion. After getting a critique from Jack I realize it is sometimes better to use ‘walk’ etc.

“Emperor Feron-Shious, may his reign endure forever, has decreed that brick-working camps have to increase their production by a fourth.”


I’m just a little unsure here but would the Emperor really trouble himself with bricklayers? Wouldn’t there be some sort of a guild that deals with different sectors, lays down rules and just has the Emperor approve it rather than think of it himself? The Emperor has far more important things to deal with than worry about a few brick workers.

“Well, he’s thirty-four now.”


20 + 15 = 35 unless the Emperor’s birthday hasn’t passed.

The [ ? ] glared at his chart as Émon approached. “Number?”


^^^ Something missing there.

He laid slumped against her cot for nearly an hour, staring at nothing, thinking of nothing.


‘laid’ = lay

Something inside his heart broke.


Somehow that seems ... wrong. Usually it is the heart breaking and not the inside ;)

A huge knot formed in Émon’s throat. “I miss her,” he whispered.


I don’t think ‘I miss her’ would be right just now. His mother has died, probably when he was working, so he would be more likely to think ‘I wasn’t here with her,’ or ‘I’ll never speak to her again’, etc. Maybe the next day or a few hours later he will miss her. It is like when a family or friend is away, you don’t miss for for a few hours and then realize there is an empty feeling and you connect it with missing so-and-so.

The tear-trails on his face were already evaporating.


Maybe ‘drying’ or ‘making his face sticky’?

*

About the ‘Momm’ thing. It is always so awkward to see the double ‘m’. I wouldn’t want you to change it but perhaps you could, make it look a little familiar otherwise it looks like you deliberately spelt ‘Mom’ wrong (and I’m sure some others will think this).

Now on to Émon. He has been whipped and it really hurts yet he is able to dodge past an Untouchable that wants his rat, then is attacked by the same man and he can’t lift a load of bricks(?). Later, after his mother has died, he runs to Traistal’s house/shack when earlier he had to keep up with the elder man. Try keeping track of Émon’s day on a separate sheet, that way you know if he had been limping in one scene so you can continue his limp in later scenes.

And that takes me back to the rat. These are humans and I think most people wouldn’t eat an animal without it being cooked (or nearly cooked as best as possible). When Émon gets home it is ‘half-eaten’, what happened to skinning the rat or whatnot? I don’t know, this is coming from a vegetarian, I’ll move on before I’m sick.

I really like the Traistal scenes. I always imagined him older than 38, at least 50 or something. What will they do when they escape? If Untouchables are outcasts will they expect sympathy or shelter? Where will they go? Is there someplace that allows Untouchables?

Sorry if this was explained in the first chapter, my memory of that is not too great which is why I’ll be re-reading.

If there is anything you want explained from my critique (or anything else you want looked over) then PM me. :mrgreen:

-- Myth
.: ₪ :.

'...'




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Thanks a million for the crits, Myth and Elein!!! I hope to have an edited version of C2 posted "soon." (You know me and the word "soon." ;))
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I loved it!!! :D :D :D :D :D

I was so absorbed in the story that I didn't notice any errors!!

More, please!! :wink:




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I'm really enjoying this! Sorry, I know we're supposed to crit and be constructive, but I'm pushed for time now, and the whole thing was great anyway!

-ST
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All right, Shafter, you asked for it... :D

I'm just going to go through this the way I reviewed/edited it. Top to bottom and then some overall stuff at the end.
One last note, I realized as I was editing that I get really, um... sarcastic might be the right word, when I edit, so if some stuff seems a little harsh. Well, it probably is. :oops: Ah well. Here is the review, take it or leave it.

The thump of footsteps on the cold ground made Émon’s head snap up. Despite the frosty weather, sweat slid from his forehead down his face like tears. But the sound came from a fellow laborer, limping by, bent under a load of bricks. Émon watched him. His almond-brown eyes fixed on the man with his usual intensity; he always looked at people. Really looked, never glanced.


This needs a little reworking for clarity. I did not realize until perhaps my third overall read-through that Emon was initially afraid. Also, I first thought he was asleep, not working.
Good description and detail about both the eyes and the character. But I would prefer if you did so in a more subtle manner only because listing physical traits can tend to diminish characterization as the character may have a tendency to become just that, a list of physical traits. One more thing, I like this fact about the character, but if it does not come up again in the story, or is unimportant, then it needs to be nixed.
Needs to be "their" because you are talking about his eyes and they are plural.

...pushing the dark locks out of his eyes.


Again, physical description. I like being able to visualize a character, but I'm just warning you that if a character is merely what he looks like and not who he is, then he is not a character. So I'm just pointing out the places you use physical description, whether it be for good or ill.

Heart beating a little quicker, he picked up another mud-and-straw brick and fitted it snugly between two others on the load in front of him. The bricks formed a large cube, tightly stacked on the burlap sheet.


When I first read this I thought he had been asleep a few moments ago and this did not make any sense. I understand it now, but it could be made a bit clearer.
This seems like unnecessary detail. However, when taken in context it does make sense. Not sure how I feel about it, just pointing it out.

Émon frowned at the load for a moment, retucking his tunic into his sash to hold it in place.


I don't think this is the right pronoun, but I'm not sure. I think it should be either its sash, talking about the tunic, or else it should be the sash, just talking about sashes in general. Don't know.

He didn’t know why he felt the need to do a good job. He tried not to care.


...and? This is an interesting, kinda cool, detail about the character. Something about the way it's conveyed doesn't sit well with me. I dont know if you are either too blunt in telling us this, or if I am waiting for you to explain why he cares. If it's the latter then there is no problem, because I don't expect you to explain everything about the characters in the first chapter.

Émon sat back on his heels. Once again, he would hoist the hundred and seventy pounds to his back. Once again, he would trudge the ninety yards from the brickyard to the storehouse. Two hundred and sixteen steps. Émon had counted.


How does he know all of these precise measurements?
This helps to explain the above section, as well as unify the paragraph into a nice theme about monotony and all. So... the paragraph is a keeper, I just want to know how he knows the precise measurements of pounds and yards.
(How about wondering why they are using pounds and yards in the first place? Ever think of that, Mr Editor?)

He touched his breastbone, running his fingers over the spider tattoo that marked it.


This sentence feels choppy to me. I don't want to do any rewriting for you, but maybe something along the lines of, "He ran his fingers over the spider ta too that marked his breastbone." The sentence is shorter and flows a bit better.

Again he heard footsteps and pivoted to face the newcomer.


This word... it doesn't fit. I guess I would classify it as too "flowery" or something, but it doesn't fit. Simply using "turned" would work just fine.

Traistal, black-haired and sun-browned, always kept his chin up as if he were nobility instead of a slave. Though twenty years older than Émon, he had been Émon’s only friend in the past two years. He set down his load of bricks, shaking his head slightly. The somberness in his gray-green eyes made Émon’s heart sink.


Ack! This whole paragraph, while filled with great content, is just... clunky. First, you start with a physical description, now, I've already established my opinions on physical descriptions, but this one is particularly troublesome. The guy walks on stage and then it's as if you shout at him, "Freeze! Hold everything, Traistal. Now class, notice his black-hair and noble chin, isn't that interesting?" Meanwhile, the poor guy is sitting there with a load of bricks on his back, sweat dripping down his face, and before you get to finish with your dissertation about his appearance... he collapses. Please let him set his bricks down first, then tell us what he looks like.
Also, you give us a detail about Emon's and Traistal's relationship to one another that really is not all that important right now, and comes up later anyway. Plus, I don't think many slaves really care how old they are or how old they are in relation to one another, but I could be wrong.
(You probably are.)
Somberness in the gray-green eyes, fine, but the rest of the paragraph needs some work.
The fact that Traistal thinks of himself higher than his position, or whatever, is also a really neat detail. I think it could be worked into the paragraph, or the entire story, a bit more subtly, but it is an awesome detail.

...well, that got vicious.
(Really?)
I've still got plenty more notes, however. But I've got to get ready for class. I'll just post this up, let you digest it a bit, and then move on with the rest of my review.
I hope I'm helping. I don't expect you to accept or agree with all, or any, of my critiques, but there they are for you consideration. Well, they aren't all there yet, but it's a start.
Take care, and keep up the good work. I'll try to say a few more positive things next time. :D

That's all, for now...
-tjmk
"An absolute monarchy is one in which the sovereign does as he pleases so long as he pleases the assassins."
--Ambrose Bierce




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:D Very very good! :D

Chapter One:

His almond-brown eyes fixed on the man with his usual intensity…


Maybe I’m picky but I think it would sound better with their.

EDIT - Sorry about this repeat. It took me a while to post and someone else posted the smae thing.

Two hundred and sixteen steps. [s]Émon had counted[/s].


I don't think that part is necessary. Obviously he's counted if he knows the number. :P

Everything else has pretty much been covered… I’m a little late. :P


Chapter Two:

Émon retreated a step and made his mouth smile. “Didn’t see you.”


Forced himself to smile would sound better.

She started to leave, hesitated. “How’s your Momm doing?”


I liked the Momm thing when he says it. It seemed like a nickname or whatever for her. However it kind of lost that effect when other people said it. Also, If you use it alone as a name (without my, your, ect.) it needs to be capitalized but with my/you it doesn’t. Just a tip.

“I wanted to get bread rations for my momm.”


Like I said earlier, with the nickname thing. ‘for my mother’ or just ‘for Momm.’

“Well, he’s thirty-four now.”

Émon blinked. “That was fast adding.”

“I remember because I was eighteen when he came to power.”


You said 20 years. Wouldn’t that make him 35?

“Traistal, my momm will die without me.”


See above. Oh, and just so you know, when he’s talking to people he’s close to (like Traistal) I think it would be better to say Momm and around other people ‘my mother’.

I agree about the rat-eating thing. I know it shows how desperate they are but... still.

Keep writing!
If you have to ask me why I write, you would never understand...




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Right then, where was I?
Oh yes! The critique. :twisted:
(Here we go...)

Émon rolled his shoulders, and felt the scabs that striped his back wrinkle. They’ve just begun to heal, too. He tried to speak calmly. “Should I expect a bad beating?”


I think you should attribute this thought to Emon. Adding "he realized" or "he thought" at the end of the sentence for clarity and to help the flow. You may need to change the next sentence a bit then, but for some reason it feels off right now. Especially if you read it out loud. Almost seems as though Emon is speaking his thoughts, when the text clearly shows differently.

This bit of dialogue feels unnatural. I think it's because he's speaking with a complete thought. If I were expecting a bad beating, yet was trying to be all cool and calm about it, I don't think I'd be speaking nearly as coherently. Just a thought.

Traistal spoke offhandedly.


1. We already know it's Traistal speaking as he is the only other person there.
2. Avoid adverbs in describing your dialogue. It could just be because I've read the chapter already, but I seem to think that we already know Traistal's kind of a casual fellow and doesn't take too much seriously. So this isn't needed.
Then again, I could be completely misinterpreting his character. Just my impression from this chapter.

“Traistal, when am I going to learn to stop getting myself in trouble?”


Eh... it works, but it feels kind of off. I think it's the proximity of two "to"s. And yeah, what I just said feels off, but that's my point.
Also, it took me a while to fully understand what Emon was saying, but that's just because I'm slow.
(That's for sure.)
{*ahem* I would advise that you not bother him while he is critiquing.}
(...right.)

“When you allow the overseers to break your spirit.”


Again, dialogue feels... off. Forced or vague or something. Took me a while to understand what Traistal was saying, but again, probably just because I'm slow sometimes.

“If I can keep going at thirty-seven, I think you can at seventeen.”


*waves hands frantically, clearly agitated by something*
I think this is the least graceful piece of dialogue you have in this chapter. It may or may not sound forced, I don't really know nor do I care because I'm too bothered by how... awkwardly you tried to feed us information. And on top of that, it's information that we already know.
Drop this, or drop the section earlier in the chapter about their difference in age. Better yet though, drop both of them and tell us their ages in some other way.
(I'm going to disagree with my gracious host here. He is forgetting one very important detail. Because Traistal says something about Emon's age here we find out about Emon's birthday, which may or may not be an important detail, but if you drop the age discussion here then you lose your vessel for bringing up the topic of Emon's birthday. So I would say keep it, if Emon's birthday is important, but it could probably use a little change.)

He gazed into space, the pale gray sky above the walls that caged him in the work camp. Suddenly, he remembered the dream he’d had last night.


What about it? Showing us the world, nice. Thank you. But you're either missing a preposition or you didn't finish your thought here, because it does not sound good at all.

Why? What caused him to remember the dream? Was it the sky? Maybe I'm missing some detail of the description that you see. Maybe I'm just slow again. But I don't see why he would remember his dream, aside from the fact that you need him to in order to advance the plot.

Émon hesitated, remembering the image from his dream: a muscular, blue-eyed man standing on a fog-shrouded hill. “He was gazing up at the stars, I don’t think he saw me. And I just… felt this voice.”


I could be wrong, but I think you should use a different word. I don't know, because I don't know the character, but I would advise describing him differently. Say big or something. There's just something about the word "muscular" that doesn't sit well with me.

Was it bright enough or clear enough in Emon's dream for him to see the man's eyes and discern their color? Also, as a general note, this is a lot of description again. However, because it's a dream and because it's dialogue I can accept it. Emon is trying to explain what he say, and if the things that stick out in his mind are the facts that this guy was muscular and blue-eyed, then cool. But...

Then the voice faded. And I knew, I don’t know how, that something wonderful or horrible would happen tomorrow.”


Wow. I have this whole paragraph marked up in all kinds of blue. Um... I think the general idea of what I'm trying to say is that I think Emon should have a bit more difficulty conveying what he's trying to say. Break up the conversation a bit, perhaps. Have Emon say a few things, stammer a bit, have Traistal ask questions to get Emon going again, things like that. I guess Emon is just a little too eloquent for my liking or something. Maybe I'll get back to you on this one.

...small white scar along his left temple.


Physical description!!!
Actually, this one is fine, it is both physical description and action description, so it's fine. Just pointing it out is all.
Course, now Traistal suffers from the "Harry Potter syndrome." :D

Oh bother. I have to go once more. Choir practice and all that.
I'll get the rest of the critique up tomorrow, perhaps.

That's all, for now...
-tjmk
"An absolute monarchy is one in which the sovereign does as he pleases so long as he pleases the assassins."
--Ambrose Bierce




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Well met, Shafter...and rather a later meeting here as far as my intention. ^_^"

Emon's story now. It's moving, isn't it? Rather quickly - but I think the sense of stumbling speed is more a matter of the hints and remarks you drop within the narrative...telling ones and sometimes superfluous. Sometimes it seems as if you repeat things, worried they haven't been said clearly enough. The narrative says it - then Emon confirms by thinking or worrying about; then the atmosphere confirms by mirroring bleaks moods... ^_~

Oy, it comes up a few times - not too badly. I'll note it as I go.

Émon slowly opened his eyes. For a moment he felt that he was seven, waking out of a three-day coma after Girec’s beating. No, that had been years ago. Now he lay on his stomach, cocooned in a pile of straw; his back pulsed dully. His gaze swept the room and took in the familiar lines of the ten-by-ten-foot shack. Shaitha lay nearby on a straw pallet, shivering in her sleep.


The Emon-interjection of 'years ago' sticks out like a nail in the polished maple dining table. Its brevity, and the way it falls really as more of a thought than part of the narrative... It could be its own paragraph, if needed. But you won't lose the meaning or implication without it.

Maybe the sky would threaten a winter rain, and he wouldn’t have to go to work.


They get days off then, for the mere threat of rain?

The sun wasn’t up yet, but a cold dew caught the faint light and sparkled on the bare branches of the small apple tree that grew outside their door. Beyond the tree stood a maze of over a thousand gray shacks, rag doors rippling in the breeze. No sign of rain.


I love the picture of the shacks and rippling rags. But the sentence preceding it may be a bit adjective heavy. You've 'cold', 'faint', 'bare', 'small' all in line. ^_^

“Y-yes.” Her voice was a broken whisper.

“The apple tree’s beautiful this morning.” He smoothed the hair from her pale forehead. “The dew looks like living crystals on the branches.”

“Spring is coming, yes?” she whispered.

Émon glanced toward the door and the gray January sky. “Soon, Momm. Very soon.”


The question of 'spring' is plaintive and poignant - it feels deeper than mere weather-chat, and adds that to the exchange.

But somehow, Emon's poetic response - so suddenly - describing the dew sounded out of place. He must be in pain, yes? He almost forgot what part of his life he's in - and then without a stutter he describes the dew as living crystals. It's fathomable, but circumstantially feels awkward.

What if it harked back to something else? For example, has Emon ever seen real crystal, or diamonds?

I could imagine Emon picturing the dew like tears; and changing it for his mother's sake.

Ah well - just some thoughts. ^_^

Shaitha tried to speak, but a coughing fit seized her [s]before she could[/s]. Émon tucked her thin blanket around her shoulders. “Stay right here, I’ll catch you breakfast.”


Above, your propensity to re-state things slips in, I'm afraid. ^_^ If the coughing fit seized her, we assume she wasn't speaking...and adding it just drags.

The poor tree had budded already, even though there were months of winter ahead.


They must live very far North? February is all that follows; and a bit of March?

Émon strode between the hovels until he climbed down to the bank of the Sa-trani River. Émon thought it looked like a pool of brown blood.


Double the proper noun - only one needed, all in all.

He was alone on the muddy bank except for a few children further down; most of the other Untouchables were headed to work by now. Émon halfheartedly searched for fish, but saw none.


'Further', generally, is meant to imply the furthering of an arguement, a remark, an idea. 'Farther' deals with distance.

As to searching for fish - how did he manage that? I can see the river; and the desultory children. But then 'searching for fish' sounds as if he might be looking behind trees or under rocks. Is he splashing in the water? Poking at it? Worried about getting his wounds soaked; or unreasonably disgusted by his impression of its bloody hue?

He sighed. Movement caught his eye, and he turned to see a rat scuttling toward the water to drink.


I think, "he sighed" would be more neatly placed in the preceding paragraph. It dulls the suddenness of movement catching his eye; sticks out there.

Again, I wonder if the rat is scuttling down an embankment, scuttling on stone. Where it scuttled will be more vivid for the reader, and how, than why here. Why has no bearing on the incident - if it were scuttling with the heroic intent to throw itself into the river after having disgraced its family and name, it couldn't much bother the storyline or Emon. ^_~


Émon dove for the creature, seized it and broke its neck before it could even squeak. He held up breakfast and frowned at it. Rats seem to be the only things that get fed around here. At least it was big enough for him to take a few bites without guilt. He turned to start home.


Back into repetition. First, Emon thinks its kind is the only thing that gets fed. Then the narrator makes the comment that it's fat enough to for Emon to eat and his mother. Why not - 'Rats seem to be the only things that get fed here, he thought - but it wasn't as rotten a thought as it could have been; at least it was big enough he could eat without bringing home mere bones.'

Don't mind me making it longer and impish. Write it your way, by all means - but tie the things together or say them one way. ^_^

A note: He's eating a rat, raw? Tearing filthy fur off it with his teeth? Do Untouchables have natural stores of anti-biotics or some such thing in their biological make-up? 0o]

An Untouchable nearly a foot taller than him blocked his way.

Émon retreated a step and made his mouth smile. “Didn’t see you.”

The man grinned. “Thanks for bringing me breakfast.” He held out his hand.

Émon imagined how easily the hand could fit around his neck. “It’s for my mother.”

The grin disappeared. “Give it over.”

Émon took another step back. “You know, I don’t have much energy to spend in a day. You’re not worth it.”


You have another tendency of putting dialogue between action, almost never tags and rarely un-accompanied. The tension and pace might benefit from some talking left alone - it speeds things beautifully. Set up the scene - here especially - and then let the words work themselves out until the crisis - and there pull things together with narration again. ^_^

“Good to know.” The man shoved him hard, knocking him into the shallows. “The rat. Now.”

Émon gained his footing in the icy water, trying to hide the pain that raced down his back. “No!


As in this bit. Where's the tension? It all comes at the same pace. Sentences take similar length. Structure remains.

How does the man posture? His speech really doesn't change up, casual to threatening - at least not in the way it's written.


Émon gained his footing in the icy water, trying to hide the pain that raced down his back. “No!”

The Untouchable lunged at him. Émon threw the rat as hard as he could over the man’s head and dodged to the side. He kicked him in the back of the knees to fell him, then ran, flinching whenever another spasm seized his legs.

He found the rat in an alley. He picked it up, took a few bites, spat out the fur, and headed home, hoping the man wouldn’t seek revenge and kill him.


Apart from any sentence structure: Emon, at the beginning, nearly collapses - falls down in agony - from his wounds and standing up a bit quickly. How he throws a rat some yards(?), has spasms, but manages to run...? I assume he escaped by a good sprint and dodging.

Émon rolled over onto his stomach and pulled himself up again, joint by joint.

This is not going to be a good day.


Oy, quite an understatement, isn't it? ^_^''


Anyhow, that's as far as I've gotten and can go now. Time runs. I have a few notes to add.


Character & Dialogue:

You have interesting characters and situations. But Emon, as an example, doesn't have much of a voice, obviously distinguishable as his - his diction, his speech pattern. (Traistal does - very nicely.) Then there's the Untouchable fellow who knocks him, threatens, etc. He has nothing about him at all.

In short, as I noted about the way dialogue is presented, change it up a bit. Emon ought to have some verbal quirks. All the side characters - whether as obscure as the Untouchable who drops in and out, nameless - or recurring side characters, ought to be people. The scene with Emon and the rat could have been deftly tense. After all, Emon is starving, beaten, trying to get anything to eat for his mother and maybe, for himself - and now some brute wants to take it away? He'll either be a lie-down, pathetic, resigned sort - or he'll be furious - whether overtly or otherwise. Yes?


I hope that makes some sense. I'm intrigued by the story thread...rather like poor Emon as well. ^_^ Good luck, Shafter. I'll get the second part of the chapter eventually.



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I'm ba-ack! :twisted:

Moving right along then...

“All you said was that you two were friends and then you split ways before the camps were formed.”


I would say this "the two of you" as it sounds a bit more pleasing to the ear, but if it's an aspect of the character that he doesn't always speak with the most proper form and all, then that's fine.
(Just don't let him talk much.)


“That’s all you need to know.” He touched his scar again. He always did when Émon mentioned Eiamar.


"And that's all you need to know." Again, that's what I would say, it sounds less formal, more like friends talking.

Tell us it's Traistal, for clarity. Sure, we're smart, but just to make sure we don't get lost, tell us it's Traistal.

Did he ever stop touching his scar? Yeah, I know you shouldn't have to put down every jot and tiddle of what the character's do, and you don't have to. I'm just pointint out that, to me, it seems odd for Traistal to mess with his scar when he did the same thing not two seconds ago, give or take.

“When am I not?” Traistal smirked. “If the advantages of your work outweigh the disadvantages of your rebellion, you’ll survive.”


Eh. Sounds funny/odd/awkward. And we already know that Traistal dosn't have an aversion to contractions, like a lot of my characters do, argh. So there's no need to be so poetic/proper. I would rephrase it.

Nice principle. Now that I understand it, that is. It took me a little while to understand what he was trying to say. You may want to clear it up a bit.

And if not… Well, those were the terms. Émon and Traistal both knew it.


What about everybody else? Does everyone else know it? Why do Emon and Traistal get to be in a bubble? Do they not know that everyone else knows it? Is it "hidden knowledge"?

Traistal laughed grimly. “I hope to see you later.”


Why? Usually when someone I know laughs grimly it's because the person they're talking to doesn't understand them or they're about to make a threat. I don't see Traistal doing that here. So I am wondering why he laughs thus, unless I'm completley misunderstanding the concept.

An explosion of pain plunged Émon into the world of unconscious. He swam furiously away from it when he first passed out, then slowed when the coolness of sleep obliterated feeling. He sank deeper, savoring the nothingness— he wouldn’t wake, not for a long time. Just floating in the void, heedless until he descended into a dream, a memory of nearly twelve years ago.


Ah... poetic narrative. *ahem*
First section. "passed out, then slowed" and all the stuff relating to it. It works, but just felt funny to me. Sorry I can't offer more about it.
Second section. "n't wake, not" First off, don't use contractions in narrative. There may or may not be a rule about this, but regardless, there should be. Contractions are fine and even necessary in dialogue, but please do not use them in narrative. Second, having a contraction of the word "not" so close to another instance of the word "not" where you spell the whole word out... that feels really awkward. I think eliminating the contraction is all you need to do with it. But that's just me.
Third section. "..." Elipses, elipses, elipses. ;) Yeah, I know you love them, but this one is not needed here unless you really wanted to slow down the pacing of this paragraph. Which is already comes across pretty slow as it is.


...a memory of nearly twelve years ago.


He was five...


Really?

He was five, sitting on the floor and running his fingers over the dirt. Several other children near his age played together in a corner of the shack. Some sort of singing and [s]hand[/s]-clapping game. A few of them were probably his siblings, but Émon was never sure. As usual, they didn’t include him in their game. Émon stared at the dirt, listened to their chorused rhyming, a ritual he would never be part of. The only time he’d ever tried, the other children covered their ears and yelled at him to stop.


First section is self-explanitory.
Second section. Put an "and" between these two words.


Okay, I'm going to stop there for now.
Don't worry, I'll be back with the rest of it. Eventually... :twisted:

That's all, for now...
-tjmk
"An absolute monarchy is one in which the sovereign does as he pleases so long as he pleases the assassins."
--Ambrose Bierce




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After so many different people have nitpicked this through for you, i don't have much to crit on!!
Very good. I really enjoyed this, and hope to read more of it soon! Although the end of the scene is somewhat predictable, considering the circumstances you've set up for them to live in. I can live with that, considering it's just a flashback.
I like how you've created original names that sound foreign. It all really reminds me of World War II, but less ... traditional. I hope to hear something magical in this. Some more explanations on the spider tattoo, which I'm sure is to come, would be good. Although that might be left for later explanation.
The only things I really have to nitpick are small.
1. Why does the boy not remember if he has siblings, but remembers his mother?
2. "She lost balanced, stumbled sideways, crashed into a stack of bricks that were dry but still unfinished. " I don't think you meant balanced, i think you meant balance.
I've got high hopes for this. It's coming along very nicely!
Good job!
--Claire
life is multifaceted: some people see it as hell, some as heaven, and... some just don't give a damn.




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This is amazing! I can't find anything wrong with it, but I wasn't really looking for anything wrong with it... Still, this is amazing!
Before you judge someone, walk a mile in their shoes... Then who cares? You're a mile away and you've got their shoes.



I don't care what the miserable excuse is for showing the death of books, live, on screen. Men, I could understand; but books! -
— Edwin Morgan, From the Video Box 2