Killing Butterflies: a tragedy [4]

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Chapter Two: (part one)

Roz’s house was one of those imposing beasts of a ‘suburban’ home. Roughly carved gray stones climbed two stories up to a round miniature tower. The entire residence looked like an English castle reduced in size twenty times.
We crossed the lawn to the great double doors which were the entrance, and without knocking Sasha pushed her way in, with us following.
Roz’s mom was sitting on the couch in the living room, which managed to be both welcoming and frightening at the same time, as if Anita hadn’t decided to go with nineteenth century cold, or family comfort. The brown leather couch was L shaped and curved around an antique table with carved claw feet. The couch faced a modest television, but stood next to a fireplace large enough for all of us to stand in comfortably.
Anita put her work down and stood up when we entered the room, warming up the room with one of the most genuine smiles a person could have.
“Girls!” she said, wrapping us in hugs like she didn’t see us close to every day. After my hug, she looked down at me, her intelligent eyes searching my face.
She looked back and forth between me and Charlie, her forehead wrinkled with thought.
“What’s happened?” she asked. We all followed her and sat on the couch with Charlie and me closest to her. We told her everything.
For Charlie that was everything about losing her job, her only way to pay for college and out of a life her family had destined to her. About how hard it had been for her to work up to what she was being paid, and worry’s about not finding a replacement.
I told her about John. About our breakup and about the things he tried to push on me. Things I wouldn’t even tell my actual mother. Sasha, Roz, and Charlie listened, because some of this was even news to them. Something I hadn’t wanted to voice because I would rather it disappeared in the wind. I only held back those delicate wings that flicked and fluttered low in my stomach as an almost constant buzz.
“Arion, don’t you ever let a guy make you believe that you should do whatever they ask. You are a person yourself, not a slave to their desires,” Anita said with more anger than I’d expected. More anger than even I had.
But was I even angry all? I wasn’t sure. I knew that I should have felt angry, even furious at the circumstances. I should have felt sad and lost, but I felt none of those things. None of those tried and true feelings, easily forgotten with a pile of burned memories or a pint of chocolate ice cream. Instead I felt numb, and underneath that cool nothing, there was fear.
“Arion?” Anita was staring at me sideways. I looked around the room and saw confusion and worry in four sets of eyes. Apparently I’d missed something.
“What, sorry?”
“I asked if you were okay, honey,” Anita said, smoothing her hand down my back in the motherly way that brought unexpected tears to my eyes. In two deep breaths the tears were gone. I was fine. I just had to keep breathing.
“I’ll be fine,” I said. It was the most diplomatic thing I could think of.
None of them looked convinced, even after I flashed a forced smile. They saw right through it, as good friends often did. Normally that would be a comforting thought, but now…now I was counting on the slight chance that their all-seeing eyes would miss the crucial detail that would bring down the house of cards and reveal the temperamental game I was playing.
Anita patted my back and I took an extra deep breath in response. “It seems we could use some cheering up all around,” she said, glancing at each of us in turn. Our somber expressions seemed only to further prove her hypothesis, because a minute later she was standing at the door with keys in one hand and her purse over the other shoulder.
“I’ll be back soon,” she promised us. “Why don’t you watch a movie?”
Roz and Sasha beamed at the mention of movies. To them it brought back the childhood memories of movie nights, popcorn, and falling asleep in safe arms. That kind of memory which seemed to give an invisible strength to urge us all on through the rest of our lives.
The two of them browsed through possible choices, studying each one in turn, comparing them, and moving onto the next. It was a slow and tedious process, one which neither Charlie nor I seemed to have the energy or the patience for.
We cuddled up together, wrapping our arms around each other like lifelines. To each of us, the shared comfort held different meaning. One as a reassurance, and the other as a form of closeness thought lost.
Just as Roz and Sasha finally decided on a movie- a romantic comedy- Anita walked through the door bearing bags of goodness. Anita set the bags down on another section of the couch and started to ruffle through them.
“I got something for all of you,” she announced. She held up skittles, and Sasha squealed, jumping up in her seat in such a way that the entire blanket covering us started to fall.
Anita tossed her the skittles, which she opened and began devouring with the same enthusiasm she had shown while picking a movie.
Next Anita pulled out a bag of fun-sized Reeses, which made Charlie smile. She took them without a word and opened the bag. There was a tin of chocolate frosting for me and cookie dough for Roz. Along with that there were glass bottles of cream soda with neon bendy straws poking out the small top.
We shared everything, making amazing concoctions like Reeses dipped in frosting and washed down with the soda, and some not so good combinations like skittles and cookie dough covered in frosting.
The movie took us all to that place of imagination and hope, deep-set in childhood by Disney movies and ‘G’ rated TV. That place where a helplessly beautiful girl who will never find love meets the unexpected man of her dreams. A man whom at first she hates, one who she is not supposed to love. It was the kind of movie that chased away all dark thoughts of life alone, and gave the child within a new hope. The kind of movie that chased away the butterflies, if only for a little while.
Somewhere in the movie we fell asleep, bags of candy still in our laps, and soda balanced precariously on the arm of the sofa. All I knew is that one minute I was warm and content, and the next I was dreaming.

We were driving through a strange town, and we were lost. John’s jeep traveled the streets easily as we flew through red lights and nearly ran people over. Something about him was rushed, scared. A sweat was forming on his brow.
“Slow down!” I screamed as a lamp post scraped against the side of the car, tilting it in a stomach churning kind of way.
He didn’t slow down, and he didn’t answer me.
“John! What are you doing?” We turned so sharply that I was nearly thrown out of the car. It was luck of the dream that kept me tight in the seat.
“I’m saving you,” he said, driving faster yet as we flew onto the freeway.
“From what?” I asked. “Nobody’s following us!”
Then it started. With a faint flutter as blood rushed to my chest, compressing it. My airways constricted and I couldn’t breathe, making my heart thud with each attempt to beat. We were going too fast. He was going to kill me.
“I have to save you. Save you.”
He repeated the words, again and again. Each time they got louder and more rushed, more desperate. I wanted to scream. I wanted to tell John that he wasn’t saving me, he was killing me. That the wings inside were ripping and tearing and there would soon be nothing left to save. I couldn’t tell him, and I couldn’t scream as he drove into the center divider. I couldn’t cry as the sirens wailed and the world went black. And then the only thing left was a screaming I wasn’t sure was mine.
But that is not the question. Why we are here, that is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing alone is clear. We are waiting for Godot to come. -Beckett




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Hey JC.

Anita put her work down and stood up when we entered the room, warming up the room with one of the most genuine smiles a person could have.


I don't particularly like this. It's rather vague. How can you tell if someone's smile is genuine or not? I think you would be better off using actions to show that she's genuine.

After my hug, she looked down at me, her intelligent eyes searching my face.


This is also vague. How can you exactly tell that someone's eyes shows intelligence?

For Charlie that was everything about losing her job, her only way to pay for college and out of a life her family had destined to her.


Rephrase this. You tripped me up right here.

Overall impressions:

I think this wasn't as strong as your previous chapter. It was decent, but quite a bore to read. I think the highlight of this chapter would have to be the italics bit. It does well in showing to the reader as to how John is irresponsible as a boyfriend.

1)Too much telling

I think there's too much telling in the piece. The narrator's issues and conflicts are expressed in such a blatant manner, it leaves very little for the audience to search for. It reads more like a blog entry rather than a novel. I think you would be better off showing those conflicts rather than telling them to make the narrator seem more convincing and leaving more for the audience to search on.

2)Lack of characterisation

There isn't much characterisation of characters. You barely mention about one character before the narrator goes to talk about something else. For example, when Anita tells the narrator to not be a puppet of men's desires, you state that she expresses anger then talk about something else. Why was Anita angry though? There surely has to be certain factors involved here. We need more detail. You have only described them briefly, it isn't enough to make them seem like real people to the audience.

3)Needs more specific detail

I thought the piece seemed like a generalized version of a sleep over / hang out. There doesn't seem to be anything specific to help distinguish this sleep over from numerous other sleepovers/ hang outs. I think drawing more on your experiences and using them in this piece would help greatly.

But yeah, it's quite decent at the moment, but it lacks that JC sort of style that I've been quite a fan-boy of for quite some time. I think spending more time on this piece would be of great benefit.

I hope my critique has helped. Take care JC.

Andy.
"To the edge of the universe and back. Endure and survive."




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I really, really owe you a review. :P So here goes.

The entire residence looked like an English castle reduced in size twenty times.


This would read a lot better if you switched 'size' and 'twenty times' so it read, 'The entire residence looked like an English castle reduced twenty times in size.' It just makes more sense to me.

We crossed the lawn to the great double doors which were the entrance, and without knocking Sasha pushed her way in, with us following.


Hmm, bit of a clunky sentence as there's too many clauses. I've broken it up here:

We crossed the lawn to the great double doors which were the entrance. Without knocking, Sasha pushed her way in, us following.

Anita put her work down and stood up when we entered the room, warming up the room with one of the most genuine smiles a person could have.


The repetition of 'room' sounds a bit off, so I would get rid of 'the room' after 'entered,' so it read, 'Anita put her work down and stood up when we entered, warming up the room with one of the most genuine smiles a person could have.'

“Girls!” she said, wrapping us in hugs like she didn’t see us close to every day.


'Close to' makes this sentence a bit unintelligible. I would replace it with 'nearly.'

“What’s happened?” she asked. We all followed her and sat on the couch with Charlie and me closest to her.


'With' should be replaced with a comma.

For Charlie that was everything about losing her job, her only way to pay for college and out of a life her family had destined to her. About how hard it had been for her to work up to what she was being paid, and worry’s about not finding a replacement.

I told her about John. About our breakup and about the things he tried to push on me. Things I wouldn’t even tell my actual mother. Sasha, Roz, and Charlie listened, because some of this was even news to them. Something I hadn’t wanted to voice because I would rather it disappeared in the wind. I only held back those delicate wings that flicked and fluttered low in my stomach as an almost constant buzz.


I personally think that this should all be told through dialogue. You don't have to narrate it all, but at least have a bit of dialogue, showing how people interact and their different reactions to what is being said.

None of those tried and true feelings, easily forgotten with a pile of burned memories or a pint of chocolate ice cream.


None of those tried and true feelings? I'm not sure how 'tried' fits in, maybe you're missing/mispelt a word?

Instead I felt numb, and underneath that cool nothing, there was fear.


Nothing = nothingness.

“What, sorry?”


Switch round these two words. 'Sorry, what?' sounds better.

Anita said, smoothing her hand down my back in the motherly way that brought unexpected tears to my eyes.


You can't really smooth a hand down someone's back. I think it would be simpler to say, 'stroking my back with her hand.'

Anita patted my back and I took an extra deep breath in response. “It seems we could use some cheering up all around,” she said,


Rephrase this piece of dialogue as, 'It seems like we could all use some cheering up.' It sounds less clunky.

Our somber expressions seemed only to further prove her hypothesis,


Rephrase as, 'Our somber expressions seemed only to prove her hypothesis further.'

We cuddled up together, wrapping our arms around each other like lifelines.


This simile is off, as you don't really wrap yourself round lifelines. 'clinging to eachother like lifelines' would make more sense.

To each of us, the shared comfort held different meaning.


Insert 'a' before 'different.'

One as a reassurance, and the other as a form of closeness thought lost.


The second part of this sentence really doesn't make sense.

Just as Roz and Sasha finally decided on a movie- a romantic comedy- Anita walked through the door bearing bags of goodness.


'A romantic comedy' is irrelevant, nix it.

“I got something for all of you,” she announced. She held up skittles, and Sasha squealed, jumping up in her seat in such a way that the entire blanket covering us started to fall.


Nix the comma after skittles.

Anita tossed her the skittles, which she opened and began devouring with the same enthusiasm she had shown while picking a movie.


I know I'm being OCD-ish, but replace 'skittles' with 'packet.' Because you can't really open skittles. Unless it was capitalised. Okay, I'm being OCD to the extreme now. xD

Next Anita pulled out a bag of fun-sized Reeses, which made Charlie smile.


This is irrelevant, but I'm a Brit, so what exactly are Reeses?

The kind of movie that chased away the butterflies, if only for a little while.


This was a nice place to insert the concept of your title.

Somewhere in the movie we fell asleep, bags of candy still in our laps, and soda balanced precariously on the arm of the sofa. All I knew is that one minute I was warm and content, and the next I was dreaming.


I liked the original take on 'And then we fell asleep.' Refreshing to see you aren't using cliches.

A sweat was forming on his brow.[/i]


A word's missing between 'a' and 'sweat'. Maybe you mean 'a film of sweat'? A layer of sweat? Or maybe you simply need to nix 'a'.

“Slow down!” I screamed as a lamp post scraped against the side of the car, tilting it in a stomach churning kind of way.


Explain how it was stomach churning.

Overall

I
Like Squall said, it wasn't as strong as your previous chapter, but I still was okay with reading on. I think that it could have been a bit more eventful, however, and maybe you need to take out the whole description of the movie, and what food they ate before watching it,and the different concoctions they made. The reader doesn't want to know redundant, insignificant details like that, they want to learn more about the plotline, about the character. Work in more of the character's memories and her flashbacks while the whole mundane hang-out thing was happening, because then you'll be developing it more, and adding an original edge to it.

II
The characterisation was alright, in this chapter. I liked the flashback at the end because it showed us more of your character. Okay, I hate talking to you about characterisation because I feel like a huge, huge hypocrite. So just try to forget that mine is so lame, for the time being. xD I think you needed more conflict in this chapter between your main character and the other characters. It doesn't matter whether it's large scale, personal or inter-personal, you just need a way of showing your character's personality through other characters. Show your MC interacting with different people, seeing the world through their own perspective, having their inner monologues, contradicting themselves(yet make sure these contradictions apply consistently and make sense). I like the way your MC's coming along, though I think you could speed up the developement a bit.

III

There was a problem with Telling instead of Showing. This is really common, and easy to solve, if you have the right guidelines. The rules I tend to use are

1. Use Dialogue It allows the reader to experience a scene as if they were there, and can give your reader a great deal about character, emotion and mood. I noticed you were telling a lot of the dialogue passively, instead of having it happen actively, which is what you should be doing. It would also help a lot with your characterisation problem.

2. Use Sensory Language In order for readers to fully experience what you’re writing about, they need to be able to see, hear, taste, smell and touch the world around them. Try to use language that incorporates several senses, not just sight.

3. Be Descriptive. I’m sure everyone remembers learning to use adjectives and adverbs in elementary school. When we’re told to be more descriptive, it’s easy to go back to those things that we were taught. But being descriptive is more than just inserting a string of descriptive words. It’s carefully choosing the right words and using them sparingly to convey your meaning. Take basic information and paint a picture with it, maybe using figurative language. When using description, it’s important not to overdo it. Otherwise, you can end up with what I call “police blotter” description. For example:
He was tall, with brown hair and blue eyes. He wore a red shirt and jeans, and a brown leather jacket. That kind of detail, the reader doesn't want to know, like your details about the food the girls ate.

4. Be Specific, not Vague Vague, fuzzy language tends to just frustrate the reader. Take the time to try and describe what that feeling was, and then decide how best to convey that feeling to the reader. Your readers will thank you for it. This isn't actually one of your biggest problems,as you have clever ways of describin gfeelings. Just try to keep it consistent.

IV

Okay, so overall, this wasn't bad at all. I'm already developing a fondness for your main character, which is good. Just try to show instead of tell, be more specific, and show more description. This is potentially great.

Good luck!

-Sarah
Had I the heavens embroider'd cloths,
I would spread the cloths under your feet.
But I being poor, have only my dreams,
So tread softly, for you tread on my life.




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Thank you both very much. I knew I needed a lot of work, especially with this chapter.

I really see what both of you mean about the whole showing vs. telling thing.

Now, I have a semi-important question: Should I take this scene out? Do you feel it has any effect on the story, or is there a better way of showing the friendship between these girls. It needs to be strong.

Once again, thank you all very much. I really appreciate it!

-JC

(PS: A Reses is a wonderful peanut butter and chocolate kind of candy bar. It's delicious. And if you don't have them, I am deeply sorry.)
But that is not the question. Why we are here, that is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing alone is clear. We are waiting for Godot to come. -Beckett



Russets and tangerine shades of old gold flushing the very outside edge of the senses ... deep shining ochres, burnt umber and parchments of baked earth—reflecting on itself and through itself, filtering the light.
— Guildenstern (Rosencrantz & Guildenstern Are Dead by Tom Stoppard)