To Escape A Dream, Pt 1.

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The Great Hunt

Buildings, tall and dark, towered above him; graphitized messages screamed at him, glowing in the night. Sam’s breath misted in the air and he clutched thin arms around his small chest, shivering. The harsh glare of the moon shone down on him, turning his tousled blonde hair a silvery white. The houses, empty and broken, watched him through shattered windows. His bare feet nimbly avoided the shards of glass that littered the ground, touching upon slimy metal pipes and grilles. The alley tapered to a tight point further up, and through it, in the middle of a field of light, stood the dark spectre of a man.

The man’s back was to him, his head glancing down from the side, a picture of melancholy. Sam felt no fear, only a mild curiosity; he’d had this dream several nights running. Always, it would stop before he reached the man, and he would awaken, feeling vaguely unsatisfied. As he continued to approach the figure, the buildings around him shuffled back, clearing a path and Sam realized then that this dream was not going to be like the others. His pulse increased with his excitement and he quickened his pace, eager to see the man and know what ailed him.

There was a flutter above him and he jumped, glancing up, fearful of some shadowy monster; but there was nothing there. He could feel his face heat up with shame and he knew if his brother Tory was here, he’d have been mocked and called names for a whole day and night. Sam straightened up, determined to be brave. Nonetheless, his fear increased as he slowly inched his way closer. A warm breeze blew past him and he noticed then, that the air about him was getting increasingly hot and steam rose from the ground. Wincing, he had to shade his eyes to try and make out the now hazy figure.

So it was that he arrived at the border of light and darkness and he stared fearfully at the man, who remained as still as a statue, noting now the dancing lights that swarmed about him. Heart thudding painfully, he lifted one pyjama clad white leg, and placed it gently in the light.

Instantly, the man’s head snapped around and Sam froze. A gold mask, cruel and angular, glinted and gleamed in place of a face; out of it, two red rubies glared at the intruder.

A high, musical voice lilted in the suddenly fraught silence; ‘Welcome,’ it said, ‘to Nightmare.’

There was a rush of wind that ripped and tore, while around them the field of light suddenly fragmented and began to break apart. Great cracks clove through the ground, plumes of flame and steam shot into the air, and the man remained still. Sam, frozen by fear and shock, suddenly realized the danger he was in and retreated quickly back into the comforting shadows.

There was a roar, and unthinking, he ran; little legs pumping as much as they could, heart pounding madly. He didn’t look back, plunging without thought into the warren of alleys and dilapidated buildings. He could hear a panting, breathless laugh, and the skitter of claws on cement as they sped past corners full tilt. Sam could feel a scream building up inside and he glanced back, though he knew he shouldn’t, but saw only shifting shadows. It was with a sudden, dull smack that he slammed into a wall. Dazed and confused, with darkness swimming around him, he kicked out feebly in front of him, hoping to catch his attacker.

There was a light patter behind him.

‘I’m right here, little boy,’ an amused voice said, from behind. A thick arm snapped around him, covering his mouth and muffling his screams. Cold steel brushed against a chubby cheek of innocence. ‘But this is no fun,’ the voice taunted, ‘It was far too easy. And intruders should be made to pay.’ The man giggled then, and the vibrations shook Sam’s body. He leaned forward, taking a deep lick of the boy’s sweat soaked neck and head; fear was a delicacy and he was the connoisseur.

'You’ve been a very naughty boy; creeping up on me during such a private moment,’ he said, clucking in reproof.

‘No, please,’ Sam gasped, as the hand lifted briefly, ‘it was an accident; I’m sorry!’

‘Ah, but this shall not do, no, and not at all,’ he said, voice suddenly low and hissing, ‘First you sneak upon me, and then you lie. To me. In my kingdom.’

The situation was getting worse by the second and Sam gasped as the heat of the person holding him increased tenfold. He tried desperately to salvage it, ‘Sir, please, you’re wrong –‘

He stopped suddenly as the hand –pearly white, and perfect in form, despite the ends being mangled by anxious teeth –slammed onto his chest, searing him. ‘The effrontery of you!’ the creature screeched (for it could be no man, Sam was sure now) ‘To name me liar! How dare you!’

Sam could say nothing to this, lips flapping uselessly in terror.

‘Still,’ it continued, calming down. ‘You are the first to reach me, and it has been ever so long. So I shall make this interesting for you and we shall play a little game. It’s called the Great Hunt; you’ll be the hare and I’ll be the fox. You get ten minutes head start and one piece of advice: dreams are what you make of them,’ said the fox.

The hands dropped away and Sam stumbled forward, coughing. He stared back in horror at the giant red fox that sat, calmly licking its paws. It looked up, grinned, and said, ‘Run.’

Sam bolted; a white flash against the dark green of the forest which had suddenly sprung up about them. He pelted forth, leaping and twisting, fear eating at him. He was quick and desperate, and he covered much ground, but the scenery never changed and the hare felt a rising sense of dismay. It stood, quivering, on the verge of hysteria, in a small clearing, little nose twitching. He didn’t know which way to go, didn’t know how long he had left before the fox came after him. There was a rustling behind him and he dashed forward, squeaking, blind panic kicking in.

Leaves and twigs brushed past and snapped on his face, or else flew up in small plumes from the impact of the leaping bunny. Sweat coated his flanks, and exhaustion pulled at him. The fox was cunning and devious and had anticipated this, had in fact, planned on it. So it was a very relaxed looking fox that bounded into the clearing in which the boy-hare had collapsed.

It circled him, the gleam of triumph clear in its luminous eyes.

There was a horrible moment then, as Sam felt the certainty of death loom. His lungs were constricting painfully, crying out for the relief of his inhaler. Eyes watering, the lilting words came back to him; Dreams are what you make of them. Could that mean…? Hardly daring to hope it would work, he closed his eyes and imagined himself as something small, incredibly quick, something that knew how to hide…

Shift.

At that moment, the fox ceased to circle and lunged, expecting to rip into the soft, furry white throat; to delight in the hot, metallic blood and gurgle in victory. But it was an outraged yowl that split the night air as its snout hit nothing but dirt. A small, brown mouse was already speeding away, tunneling beneath leaves and roots. Not to be outdone, a dark grey cat was hot in pursuit, red eyes burning, and steadily gaining. The world had faded to blacks and grays and the mouse found it was not immune to terror in this form, and that exhaustion had not faded.

Sprinting, the cat ran up a slightly raised monstrous root, launching itself into the air. Midway, its form shifted and blurred, becoming a swooping falcon that swiftly caught the mouse, breaking its back in its cruel claws. A harsh hunting cry pronounced its victory to the world, before it dropped the pathetic bundle of bone and fur. Curled on the floor now, covered in sweat, lay the boy. Groaning, he got up, aching.

The golden mask swooped down, close enough that fetid breath covered Sam’s face, to ask in a querulous tone, ‘Are you okay?’ His parody of concern was twisted to behold and the boy felt hatred, black and boiling rise to the surface. This was far worse than anything his brother could conjure he thought belatedly.

This close, Sam could see that what he’d taken for a mask was in fact welded to the man’s skull. Even now the golden lips curled in a smile; wild black hair encrusted in filth and leaves fell around his shoulders. ‘In the Trial of Cunning, you have been defeated. Now, stand and face me in the Match of Arms.’

A thousand questions swirled in Sam’s mind, dulled as it was by fatigue, but his lips were already moving and the question asked, ‘Who are you?’

‘I am the lord and master of this realm,’ the creature promptly replied.

‘What’s –‘

‘Uh-uh,’ he said, ‘one question per round I’m afraid.’

‘But I didn’t know—‘

‘Enough! Stand up.’

And he stood, limbs moving of their own accord. He felt himself changing then; his fear had subsided and the logical part of his mind kicked into gear: this was a game, he realized, and he was good at games. The forest bled away, the buzz and chirp of insects and birds replaced suddenly by a cool silence but for the whisper of air that breezed past the tall, swaying grass. His limbs were encased in armour, and a massive charger, flanks heaving, stood beside him.

‘This will be a competition of three jousts,’ said the already mounted golden knight. ‘Mount your steed.’

He had never ridden a horse before, but he found himself mounting it easily, jousting stick suddenly at hand.

‘You shall have a one point lead. And one piece of advice; dance without strings.’

And he spurred his horse forward, an eerie shriek emitting from his visor as he did so. Unwilling, Sam found himself hurtling towards his opponent, bouncing awkwardly in his saddle. It lasted an eternity and was over in a moment; the thunder of hooves continued, but Sam was no longer connected to it. There was a searing pain in his shoulder, and an awful absence beneath him that even now rushed up to meet him. With an awfully noisy crash, he fell to the floor.

Still, his legs rose to the task, and he found himself standing. He could only stare at the knight in confused pain. Logically, he shouldn’t be able to continue. Perhaps sensing Sam’s puzzlement, the figure spoke, ‘No mortal ailment can stop you now, for the rules bind you as much as they do me. Even dead, you would walk and talk until all was said and done.’

Sam wondered briefly, as he mounted his steed, if it mattered that he didn’t know the rules. It occurred to him then, that he could never win—gone now was the previous conviction, for it was obvious the game was being dictated and that he, here, was nothing more than a puppet. But could he defy the strange entity across from him? He knew that somewhere beneath that human shape, a monster of terrifying cut and hew lay waiting.
The words, spoken so softly before, through a swirl of confusion and pain, swam back into his focus: Dance without strings. So it was, when the word, ‘Go!’ was spoken, he screwed up his courage and charged.

But not forward.

Instead, he spurred the horse out and away from his opponent, fleeing with all his might. A terrible scream of fury ripped into the night then—‘Coward!’—seeming to nip and bite at the heels of Sam’s horse. It reared, whinnying with fear, then shot forward madly, leaving Sam to hold on as best he could. The thunder of pounding hooves gradually gained on them, and Sam urged it onward but the tired beast couldn’t go any faster and eventually, couldn’t move at all, slowing to a trot then a walk.

He slipped off it, panting, the rush of adrenaline fading to leave him feeling wretched. He stood, resignation cloaking him, facing the burnished knight that rode toward him, lightning sparking at the hooves of his terrible beast. He had thought by now that he’d be too tired to care, too exhausted to be afraid, but the opposite was true: he felt fresh waves of terror engulf him, and he wished for nothing more than to live…to escape… And something surged inside him. His superhuman effort failed, however, sputtering to a halt. He had no energy left.

Shift.

Two arms punched through the air beside him, even as sure death rode closer, grabbed him and tore him away.

The scene blurred, and he spun, delighted to find his home street facing him. The enraged sound of horse and master shrilled as their quarry escaped. He had hardly taken two tottering, disbelieving steps before something small and hard slammed into him and he was rolling, a flurry of limbs and yells as he attempted to escape this new foe. A distant, observant part of him noted that his opponent was distinctly feminine.

Finally, his head was cracked against the pavement, and the girl was able to get up. ‘Would you stop?!’ she panted, ‘I’m trying to save your life!’

He groaned. Every part of him ached and throbbed, angry remnants of tears still glimmered in his sky blue eyes. But he managed to summon some spirit, ‘How?’ he spat back, ‘By killing me?’

Lora tossed her short, dark hair dismissively. ‘Get lost, it wasn’t that bad.’ She appraised him briefly, as if finding bewildered, dirty twelve year old boys in the middle of the night was an everyday occurrence. Sniffing, she extended an arm, which he took gratefully and raised him to his feet. ‘We have to hurry,’ she urged, ‘there’s not much time left.’

She took off, dragging the reluctant boy behind her. As they ran, she told him her name, explaining that she had come to rescue him. He said nothing, trying to concentrate on not collapsing as they leapt fences and crept past dark windows. Finally, as they peered fearfully out at the street from the shadows, he grabbed her shoulder, twisting her to face him.

‘Just tell me what’s going on, ?’ he said, a plea for understanding in his eyes.

She sighed. ‘It’s much worse then I feared. You’ve lost two Trials—‘

‘Hey!’ he protested, ‘I only lost once—‘

‘And you forfeited the other,’ she finished grimly. ‘It’s not fair, but we don’t make the rules. As it stands, one Trial and one question remain open to you.’

A thought came to him then and he felt a chill. ‘What happens if I lose?’

She stared at him for a long moment. When she finally did speak, it was in a fierce whisper. ‘That’s not an option. If he takes another…,’ she looked away then, voice rough.

‘Who is ‘he’?’ he whispered back, just as quietly.

‘The Sandman,’ she said. And in her mind, she added, Father.
Last edited by Jiggity on Thu Aug 02, 2007 4:51 am, edited 3 times in total.
Mah name is jiggleh. And I like to jiggle.

"Indecision and terror, thy name is novel." - Chiko




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Very good! :D

What I would have liked better is a more defined ending. It's too open; I want to know how Sam did in the last Trial, and about Lora being the daughter of the Snadman... or have I got it wrong? Is his meeting with Lora the last Trial?

This was "grammatically sound" and the only thing that could be improved would be to stop saying "such and such a thing pulled at him", "such and such a thing ate at him", "such and such a thing tore at him". There's nothing wrong with your descriptions, it's simply the "at him" that you keep repeating.
"TV makes sense. It has logic, structure, rules, and likeable leading men. In life, we have this. We have you." -Abed Nadir




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Ah, but you see, its not an eding at all. I was etting tired of writing it, and seeing so much writing so I put the first half of it up here on a whim, lol. I'll take a look at that repetition you mentioned. I treid to give it a folklorish feel, in terms of style, but I'm not sure I managed it.

In any case, thanks for your comment. I'l put the rest of it up soon.
Mah name is jiggleh. And I like to jiggle.

"Indecision and terror, thy name is novel." - Chiko




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Oh nice... lol. I quite liked that, and obviously look forward to the rest. As you know, if you can recall who I am =] I've seen your work, this I like best so far.


Small criticism, in the first couple of paragraphs you repeat "the man" and while techinically sound, it begins to sound stilted in the mind, the repetition that is. Then again, maybe I'm wrong. =]




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Intriguing, to say the least. I must first compliment you on your use of sentence structure and words choice to create a truly frightful adventure.

There was a flutter above him and he jumped, glancing up, fearful of some shadowy monster; but there was nothing there. He could feel his face heat up with shame and he knew if his brother Tory was here, he’d have been mocked and called names for a whole day and night. Sam straightened up [s]then[/s], determined to be brave. Nonetheless, his fear increased as he slowly inched his way closer. A warm breeze blew past him and he noticed then, that the air about him was getting increasingly hot and steam rose from the ground. Wincing, he had to shade his eyes to try and make out the now hazy figure.


This is an example of overuse. Then is not a needed word and drags the story. I noticed you used a large number of words when fewer would have worked just as well.

So it was that he arrived at the border of light and darkness and [s]he[/s] stared fearfully at the man, who remained as still as a statue, noting now the dancing lights that swarmed about him. Heart thudding painfully, he lifted one pyjama clad white leg, and placed it gently in the light.


It may a difference of places, but I thought it was Pajamas. Again, you didn't need the he. The descriptions are simply gorgeous but you use far more words than you have to.

I strongly suggest reading through it a paragraph at a time and disposing of the pieces that you don't need.

Characters are developed, even though the boy is dreaming you have included small parts of his real life person to help make him more real. You may want to include more personal thoughts. You have a great deal of depth already but a few thoughts from inside Sam's head will only help it become more real.

He leaned forward, taking a deep lick of the boy’s sweat soaked neck and head; fear was a delicacy [s]to him[/s] and he was a connoisseur.


This was a very powerful line. To help increase it effect I suggest removing the struck through words and perhaps replacing a with the.

‘Ah, but this shall not do, no, [s]and[/s] not at all,’ he said, voice suddenly low and hissing, ‘First you sneak upon me, and then you lie. To me. In my kingdom.’


[s]And[/s] Sam could say nothing to this, lips flapping uselessly in terror.


The situation was getting worse by the second, and Sam gasped as the heat of the person holding him increased tenfold. He tried desperately to salvage it, ‘Sir, please, you’re wrong –‘


A note, when using connecting words such as and a comma is not needed. You should either remove the and and keep the comma(preferred) or keep the and and remove the comma.

[s]So[/s] Sam bolted; a white flash against the dark green of the forest which had suddenly sprung up about them.


I am sure you understand what I mean by unnecessary words.

The use of logic and rules in the dream world is very clever as the dream realm is meant to be void of rules. Very interesting. It reminds me a great deal of Nightmare on Elm Street, save the lack of plot and senseless violence.

I have enjoyed this a great deal and do hope the suggestions aid you in editing it. I shall now continue on to the next part.
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Hi Jiggy!
You asked for it, and so here it is.

Buildings, tall and dark, towered above him; graphitized messages screamed at him, glowing in the night . Sam’s breath misted in the air and he clutched thin arms around his small chest, shivering. The harsh glare of the moon shone down on him, turning his tousled blonde hair a silvery white. The houses, empty and broken, watched him through shattered windows. His bare feet nimbly avoided the shards of glass that littered the ground, touching upon slimy metal pipes and grilles. The alley tapered to a tight point further up, and through it, in the middle of a field of light, stood the dark spectre of a man.

Firstly, it would be better if you did only one “x towered above him/glowed at him” type sentence. Repetition minimizes impact. I also think that describing Sam twice in the same sentence - thin arms then small chest - is a little bit...overkill. Choose one and remove the other from the sentence. If it's absolutely necessary, include it somewhere else.

What I’m getting from this paragraph is that Sam is waaaay too passive. Everything else is acting upon him, and he seems disconnected from his surroundings. Much of the description is unnecessary and should be condensed. It might also help to try rewriting this in a more active voice (which you just know I'm going to do for you, because I'm evil like that): “Sam stared up at the towering buildings, his breath misting in the air. The harsh glare of the moon highlighted his tousled blond hair, turning it silvery white, and illuminated the graphitized messages on the shadowy brick. Nimbly avoiding the shards of glass that littered the ground, Sam made his way through the alley, feeling the gaze of the empty, broken houses on his back as they stared at him through shattered windows. At the end of the narrow passage, the dark spectre of a man blocked the light.”

As he continued to approach the figure, the buildings around him shuffled back, clearing a path and Sam realized then that this dream was not going to be like the others. His pulse increased with his excitement and he quickened his pace, eager to see the man and know what ailed him.

The fact that this dream is different is important and IMHO it should be a distinct and short sentence, for better effect. The statement about Sam's eagerness is unnecessary; it can be inferred from his excitement and quickened pace.

So it was that he arrived at the border of light and darkness and he stared fearfully at the man, who remained as still as a statue, noting now the dancing lights that swarmed about him. Heart thudding painfully, he lifted one pajama clad white leg, and placed it gently in the light.

Phrasing is wrong here. How often do you “place” a leg? You’re disassociating the character from his body and his actions again. Correction = “stepped.”

Instantly, the man’s head snapped around and Sam froze .

I think "Sam froze" deserves a separate sentence.

A high, musical voice lilted in the suddenly fraught silence; ‘Welcome,’ it said, ‘to Nightmare.’

This is too much after the last paragraph. I think it's better rephrased as “Welcome,” he said in a high, musical voice. “to Nightmare.”

There was a rush of wind that ripped and tore, while around them the field of light suddenly fragmented and began to break apart. Great cracks clove through the ground, plumes of flame and steam shot into the air, and the man remained still. Sam, frozen by fear and shock, suddenly realized the danger he was in and retreated quickly back into the comforting shadows.

I dont think "clove" sounds right somehow **ponders** but it may just be me. I also think it sounds better as "but the man remained still" or "yet the man remained still."

He could hear a panting, breathless laugh, and the skitter of claws on cement as they sped past corners full tilt. Sam could feel a scream building up inside and he glanced back, though he knew he shouldn’t, but saw only shifting shadows. It was with a sudden, dull smack that he slammed into a wall. Dazed and confused, with darkness swimming around him, he kicked out feebly in front of him, hoping to catch his attacker.

Comment about corners and speed is unnecessary - Sam wouldnt know the creature was turning a corner; plus, it makes it sound like the claws are racing after him on their own 0_0 Better to remove that part, methinks. I also recommend changing "hoping to catch his attacker" to "hoping to strike/hit his attacker" or similar. Catch seems...wrong.

‘I’m right here, little boy,’ an amused voice said, from behind. A thick arm snapped around him, covering his mouth and muffling his screams. Cold steel brushed against a chubby cheek of innocence . ‘But this is no fun,’ the voice taunted, ‘It was far too easy. And intruders should be made to pay.’ The man giggled then, and the vibrations shook Sam’s body. He leaned forward, taking a deep lick of the boy’s sweat soaked neck and head; fear was a delicacy to him and he was a connoisseur.

First, seperate out your dialogue. Second, "a chubby cheek of innocence"?! Excuse me while I giggle. I dont think that...quite...works...I like that last line; I agree with CCF that "to him" should be cut.

‘The effrontery of you !’ the creature screeched (for it could be no man, Sam was sure now) ‘To name me liar ! How dare you!’

Erm...somehow this dialogue doesnt work for me. No offense, but it smacks of an author trying to sound Olde-Worldey without actually knowing how. Try to work on making it more realistic.

‘Still,’ it continued, calming down. ‘You are the first to reach me, and it has been ever so long. So I shall make this interesting for you and we shall play a little game. It’s called the Great Hunt; you’ll be the hare and I’ll be the fox. You get ten minutes head start and one piece of advice: dreams are what you make of them,’ said the fox.

"said the fox" is unnecessary.

He pelted forth , leaping and twisting, fear eating at him. He was quick and desperate, and he covered much ground, but the scenery never changed and the hare felt a rising sense of dismay. It stood, quivering, on the verge of hysteria, in a small clearing, little nose twitching. He didn’t know which way to go, didn’t know how long he had left before the fox came after him. There was a rustling behind him and he dashed forward, squeaking, blind panic kicking in.

I dislike "pelted forth". I also think "It stood" should be "He stood" because nowhere else is the hare referred to as "it". Also - do hares squeak?

There was a horrible moment then, as Sam felt the certainty of death loom .

I think this reads better as "Sam felt the certainty of impending death."

He knew that somewhere beneath that human shape, a monster of terrifying cut and hew lay waiting.

Er, what? Never heard of "cut and hew"...sounds odd.

So it was , when the word, ‘Go!’ was spoken, he screwed up his courage and charged.

I appreciate that you're going for the folksy atmosphere, but say "so it was" again and I will have to hurt you >.<

Every part of him ached and throbbed, angry remnants of tears still glimmered in his sky blue eyes.

Gary Stu alert! No offense, but "glimmered" and "sky blue" are kind of overkill. "tears still prickled his blue eyes" is more than enough, IMHO.

When she finally did speak, it was in a fierce whisper. ‘That’s not an option. If he takes another…,’ she looked away then, voice rough.

This, to me, feels way to obvious. I can practically hear the orchestra going DUN DUN DUN DUN! in the background LOL. I've seen this used by writers WAY too many times and I think it's lost any charm it may have originally possessed. Do something different.

Overall, I’d say it’s interesting. I definitely want to read more and I’m looking forward to getting to the second part. I think your main problem is the same one that I have – you indulge too much in description and the use of fancy words/phrasings. A lot of your paragraphs, not to mention sentences, are loaded with adjectives and are far too long, particularly those that deal with the action scenes. I’m still learning this the hard way, but if you want your story to work as an actual story rather than just as an exercise in prose and imagination, you need to be very careful what you put in there. One thing I remember being told by my Creative Writing teacher is that no matter how good it sounds, if you don’t need it, don’t include it.

Basically, treat the story as you would an essay. Only include those things which are directly relevant. If it is necessary for us to know that Sam is walking down an alley, for example, then by all means describe the alley. Even better, impart to the alley a sense of menace to foreshadow his encounter with The Sandman. However, it isn’t necessary to describe everything in the alley, or repeatedly emphasize the darkness/spookiness/whatever. You see what I mean?

So far as editing goes, I’d say go through with a red pen and be really ruthless. Cut out what isn’t strictly necessary or relevant. Then go back and double-check all of your sentences to see if any of them could be reworded to make them shorter and simpler. I’d also suggest making Sam more directly involved in the story and his actions. You seem to enjoy disassociating body parts etc. and while it's OK once in a while (when used for dramatic effect) too much can make the character seem pretty flat and incapable.

Once you’ve simplified your sentences, try some experiments with length and cadence to vary the tone. The action scenes should be short, intense, direct. The opening scene, slow, menacing, full of creeping shadows. Sentences do more than just make up paragraphs; they also dictate the speed and tone in which the reader “hears” the story and can create atmosphere. Reading it aloud can help. At this point, I personally feel that the sentences are too uniform and dont really help the story at all.

One last thing: I know you want it to sound folk-tale-esque, but I personally think it would sound so much creepier if it was intended to be realistic. Maybe it's because I'm becoming cynical in my old age, but the folksy thing makes me take a story less seriously. It also makes me wary, as I look out for the "message" that generally comes with old wives' tales. For this to be given the credit it deserves, I suggest you approach it seriously too. Using time-honoured fairytale conventions is all very well, but they tend to dull the originality a bit. Just my 2 cents.

I'm also hoping that I come to understand why The Sandman is so evil and why he chose the three challenges, and why Lora saved Sam, and so on. I cant say more without reading Part 2 but right now both Lora and her father seem very underdeveloped characters.

Whew, hope that gives you something to work with, anyway. I’ll crit the second part tomorrow or the next time I get the chance.

Cheers,
~bubbles
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Lol. First off, thanks Bubbles, for the effort. I understand what your saying completely, in reagrds to the folkishness of it, and how it would work better - as a creepy story; reality would seem dissasociated to the say the least, but... thats what I was going for!! Lol, the whole fairytale-esque style was quite deliberate, regardless of the implications to the style and pace - I did it not only for the Faerie/Myth contest this was written for, but also as an experiment to see if I could write in such a different way.

Still, I will change some parts you pointed out. I rather thought that sticking to the fairytale theme, and yet incorporating the horror/dark elements within it would have made the whole effect creepier. I was workin on the thought of an old grandfather reading out an ageless tale to a group of kids -- with this being the tale. The effect, I think, would be profound. Whereas if they were expecting to hear a horrorific story, the effect would be lessened somewhat. Nevertheless, they were all relevant points you raised.

As for the 'trying for the Olde-Worldy but not achieving it' -- Of course I was!! I've never done this before and its an experiment. Really, Bubbles, I love you and everything but you frustrate me sometimes. Its like someone saying, 'Now, I know you were going for this -- But I want you to go the completely opposite direction.'

Nevermind, eh. Lol, the passive folk tale was very much what I wanted. I think its wrong for you to say I'm not taking something seriously by using an old technique for a contest based on said technique/story style. I would in fact say thats quite ridiculous. I disagree-- but appreciate your opinion nonetheless--about the straight out realistic horror. I can do, and have done it before; if I wanted, I could easily do so again. This whole piece was about trying to work within the constraints of fairytale and I personally--being a frequent writer of horror -- think its far harder to convey terror in fantasy, with impact, then it is in realistic stories. All of this, however, is personal not technical. Comes down to the person.

Lol, still you've given me quite a bit to mull on, so I'll be tinkering away for a while.

Thanks again Bubblygoat,
Cheers
Mah name is jiggleh. And I like to jiggle.

"Indecision and terror, thy name is novel." - Chiko




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Hey Jiggity! Here's one-half of your critique. Nice piece by the way. :P I said I would give an "in-depth" critique, so I thought breaking it up would help accomplish that:

TECHNICALLY:

Sam’s breath misted in the air and he clutched thin arms around his small chest, shivering.


I'm not sure why, but this choice of word sounds awkward. Maybe it's because you usually clutch something with your hands, and the way you words this makes it seem as if you're using the verb differently. Just something to think about when polishing this up.

His pulse increased with his excitement and he quickened his pace, eager to see the man and know what ailed him.


I think having his pulse quicken would give a better and more vivid image than increased. I understand that you're probably using increased for the sake of avoiding repetition, but it just isn't a great word to use in that context.

A gold mask, cruel and angular, glinted and gleamed in place of a face; out of it, two red rubies glared at the intruder.


This is in third-person limited, no? But when we arrive at the bolded text, you are completely omniscient, which breaks the flow of narration. I think saying "two red rubies glared down at him" would be a better alternative.

A thick arm snapped around him, covering his mouth and muffling his screams.


Again, this is a weird verb choice to use in this context. It doesn't make much sense when you stop and think about it.

Cold steel brushed against a chubby cheek of innocence.


I understand what you're trying to do with this sentence, but it's not coming off as well as it could. Simply using the word "innocence" makes the meaning behind the sentence so completely obvious that it actually distracts from the story. Tone this down just a bit, and get the meaning across in a more subtle way.

The man giggled then, and the vibrations shook Sam’s body.


Are you trying to make this guy just plain disturbing, or dark and frightening? If it's the latter I would consider changing this word.

fear was a delicacy and he was the connoisseur.


This part isn't really needed. Saying it's a delicacy is enough, since it implies the rest of the sentence.

he felt fresh waves of terror engulf him, and he wished for nothing more than to live…to escape… And something surged inside him. His superhuman effort failed, however, sputtering to a halt. He had no energy left.


Why have something surge inside him, and waste time explaining why it's surging, only to cut it down and make it have no real relevance to what's happening? Just say he wished for escape but had no energy.

‘Just tell me what’s going on, ?’ he said, a plea for understanding in his eyes.


"Just tell me what's going on," he said, a plea for understanding in his eyes.

And in her mind, she added, Father.


You switch perspectives here, which again is distracting.


PLOT-WISE:

As for the plot, it's an interesting cat and mouse chase that you have set up here. Although it is exciting and filled with cool-shapeshifting and what-not, you fail to establish enought to engage us in what's happening.

At the beginning we're not really sure what's going on, or why that boy is there. All we know is that he's in a dream, and there's this weird dude standing in front of him. One reason you fail to engage us is when the gold-mask guy is so quick to be completely furious with the little boy. This gives a sense of being overly dramatic and pulls the reader away from the story.

You need to justify everything. Why is he having this dream? Why is the bad guy putting him through these random trials? Thier goal aren't clearly defined, which makes me wonder why I should care about what's happening.


CHARACTERISTICS:

At this point I haven't really got a sense of Sam as a character, since there isn't anything that really develops him. He's essentially running for his life, yes, but we're still not really sure why we should care. Flesh him about a bit more in the opening paragraphs, let us really get inside his head to the point where something is revealed that makes us geniunely interested in his character.

As for the villain guy, he comes off as way past overly dramatic. I mean, what the heck's his problem? First he's yelling and seething and then giggling and whispering and then he licks the sweat off the boy's neck? I know he's evil, but come on.


OVERALL:

All in all this was well written. Your diction is great and your style almost always flowing beautifully. You do a really great job of immersing the reader in a dream-like state during the trials, and things seem to blur and spin while still staying quite coherent, just like in a dream

Another think I really loved was how you flawlessly introduced the shape-shifting aspect, in how it was something we just had to accept rather than stop and think about. Nice job on that part.

Again, your characters and plot need a bit more justification for the fear of losing your reader half way through the action scene. But overall you have a great thing going here. I'll try to get to part two soon. :)




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LOL I didn’t know you’d written this for the fairytale/myth contest. You neglected to mention that part so you can hardly object that I didn’t read it with that in mind :P

As for the 'trying for the Olde-Worldy but not achieving it' -- Of course I was!! I've never done this before and its an experiment. Really, Bubbles, I love you and everything but you frustrate me sometimes. Its like someone saying, 'Now, I know you were going for this -- But I want you to go the completely opposite direction.'


LOL I can see where that would be irritating. To be fair, though, what I meant by that statement was that the dialogue was not realistic Olde-Worldy dialogue. As in, I could see that was what you were going for, but I felt it didn’t work - I just can’t imagine anyone talking like that, then or now. So I thought you should try to make the dialogue more realistically Olde-Worldy. Like, by studying how people actually spoke then (or roughly the equivalent), and how they phrased their sentences, and what words they used. And stuff. Because right now the line kind of sticks out and rings false in my head, and it bugs me XD

Nevermind, eh. Lol, the passive folk tale was very much what I wanted. I think its wrong for you to say I'm not taking something seriously by using an old technique for a contest based on said technique/story style. I would in fact say thats quite ridiculous.


Oh! I’m sorry, it does sound a bit mean when you put it like that, LOL. Still:

1. I didnt know this was for the contest.
2. There's no need to be so defensive :) If that's how it's meant to be, then clearly you succeeded.

I didnt necessarily mean "realistic horror", by the way. Just something with more ... I dont know. Character-world interaction. Realism. But if you were going for the whole "a tale told by grandad" narration thing then it seems to have worked. I guess I just dont like fairytales that much XD

Glad I gave you something to think about, anyway.

Cheers,
~bubbles
Got a poem or short story you want me to critique?

There is only one success: to be able to spend your life in your own way, and not to give others absurd maddening claims upon it. (C D Morley)




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Ahhh, okay. I see now what you meant by the realistic dialogue comment. Apologies. *hugs bubbles* Topic description "For Myth/Faerie contest" lmao :wink:

I'll definetly think about revising it; I'm not entirely happy with it atm. The problem with this piece was that there were so many hundreds of possibilities, at literally every point, which has never really happened before. Its usually clear to me but this story overwhelmed me somewhat.

MM--Thanks for the crit.

Why have something surge inside him, and waste time explaining why it's surging, only to cut it down and make it have no real relevance to what's happening? Just say he wished for escape but had no energy.


For one: that's just lazy. Secondly, I'm a better writer then that. Too often you hear in stories, and see in movies, the hero seemingly overcome everything thrown at him. That piece was necessary in the sense that it showed he tried but failed, to have him succeed would have been cliched. To have done nothing but express a wish wouldnt have been realistic enough and just doesn't cut it. Thanks for the suggestion.

As to the why's and wherefores of everything, tis explained in the second part. I'm not sure your too familiar with the concept of the Sandman, but he is, in fairytale and folklore a very flamboyant, and dramatic character. At the same time, modern day pop culture depictions of him have been very dark, so I merged to two to come up with a kind of Joker-like Sandman on crack. The crack being grief, as explained in part two.

Thanks for the crit, twas appreciated. Ultimately there was so much to work on and with, so many possibilities and storylines that I discarded and perhaps a history I would have done better to explain. I'll be revising this soon enough. Cheers.
Mah name is jiggleh. And I like to jiggle.

"Indecision and terror, thy name is novel." - Chiko



The words you speak become the house you live in.
— Hafiz