Like Broken Glass

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When I stare at something long enough without blinking my eyes get blurry and everything's out of focus. It is happening now. Still, I keep them open, counting the seconds away in my head: thirty-seven-mississippi, thirty-eight-mississippi...I blink. Damn. My eyes focus again but I'm still looking at the same thing, the back of our familiar blue front door.

The paint is chipped now. It comes off in pieces in my hand when I touch it, leaving behind the naked, exposed beige of the wood. It's the kind of thing I wouldn't notice but you would run off to the hardware store in a second, trying to find the exact same shade of sparkling sapphire so you could patch it up. I knock my hand against the roughness, not enough to cause serious pain, but just so it bleeds a little. The red blood coats my fingers, more than I intended, contrasting beautifully with the blue when I hold my hand against the door. I study the colours for a moment before fetching a band-aid from under the bathroom sink.

Someone is knocking. There's a bell, but it's broken, and everyone who comes over tries to ring it for five minutes before they realize it's stuck. If they're knocking it means I must know them. I know it's stupid, impossible, but until I open the door I think it's you. The reality slaps me in the face.

Lauren, my best friend, comes into the front hall like she always does, full of purpose and urgency. "What's going on, Anna?" she asks. "I left you a dozen messages."

I shrink back into the stairwell. I really didn't want to see anyone but you. I only want to spend my days waiting for the click of your key in the lock, or the angry pounding on the door when you realize you've forgotten it, but she doesn't seem to be leaving.

"Is this what you've been doing all day? Waiting for him?" she says, not unkindly, but I can't answer because she's right: I have been waiting for you. I lean against the banister, willing myself to disappear into it, to fade away, because I haven't wanted to live ever since you...

"He isn't coming back," Lauren says.

"They never found a body." It's a lame attempt and I know it, but it's also the only thing that's keeping me alive.

"It was a bomb, Anna," she says softly. "He's dead."

Crash! I've pushed so hard against the banister that the picture of us, which I had perched there after you'd gone, has shattered on the floor. I want to dive for it, rescue you from the shards of broken glass, but Lauren quickly picks it up and sweeps all the pieces into a neat little pile with the toe of her shoe.

"I know," I say, and I can see the tears blurring my vision, can feel them rising up into my eyes and spilling over. "I know...it's bad...it's so bad but..." I wipe my eyes with the back of my hand and shake my head. "I'm sorry."

"Don't be stupid."

"I'm...I feel awful...and I keep waiting but he won't come. I can't do anything else, it feels like the grief is crushing me, all the time, because I had got used to being happy, and now it's all so..." I lean back into the stairs, feeling the steps dig into my back. Maybe, if I try hard enough, the physical pain will take away this cavernous, endless pit of emotion that I've fallen into. "Shit, Lauren, I wake up and I forget that he's not here because the idea of being without him is so ridiculous. And I'm angry, I'm fucking furious that it was him and not someone else...it was so random. And now he's gone..."

I sit down again and look up at Lauren who is crying and hiccuping now as well. I am finished speaking. I think: nothing matters. Since you died, all I want to do is lie down and let the life drain from my body, but every second my heartbeat keeps reminding me that I'm alive.Forty-mississippi, forty-one-mississippi, forty-two...

Lauren sits beside me, hugs me, says that as long as I need her she'll be here. I bury my face in her hair and inhale the sickly-sweet fruit scent of her shampoo.

Do you know what I'm supposed to do with all this love for someone who's not here? Do I repress it? Do I lose it? The idea of giving it to anyone else is hideous.

Because I'm still existing, and so is my love, and the door is staring at me. Its decaying blue paint screams: you are not here.

{for Cal's Some Kind of Chorus contest.

word: 015 calamity

song: My Doorbell by The White Stripes - lyrics}
Last edited by Mars on Sun May 31, 2009 5:49 pm, edited 3 times in total.
'life tastes sweeter when it's wrapped in poetry'
-the wombats


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I like the emotion of the writing and it was intriguing enough to keep me reading. However, I was a little confused by the door part of the story. Is she looking at the back of the front door? Okay, moving on.

My face is wet and I can feel the makeup melting off but it doesn't matter.

I don't think someone who is grieving and has been trapped in the house for a month would bother putting on makeup. I know this maybe a silly criticism but it just struck me as odd. Other than that small detail I thought was piece was really good and I'd like to see where it goes.




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Hiya, Mars! I'm Sunny, and I'll be your reviewer today! :) First of all, I'd like to say that I like this piece very much, and if can remember to do it, I'll give you a gold star after I'm done. Secondly, I think you ought to change the rating from G to PG, because of the swearing. 'Kay? :D Anyway, on to the review!

When I stare at something long enough without blinking my eyes get blurry and everything's out of focus. It [s]was[/s] is happening now. Still, I keep them open, counting the seconds away in my head: thirty-seven-mississippi, thirty-eight-mississippi... (This I think you can put in italics to separate it from the other thoughts.) I blink. Damn. My eyes focus again but I'm still looking at the same thing. My - our - familiar blue front door.

The first line to me does not flow. Here's my rewrite:

"After staring at something for a long time without blinking, my eyesight goes blurry and everything gets out of focus."


The paint is chipped now. It comes off in pieces in my hand when I touch it, leaving behind the naked, exposed beige of the wood. (Great descriptions.) It's the kind of thing I wouldn't notice, but you'd (I don't know why it stuck out to me, but I think "you would" sounds better than "you'd".) be off to the hardware store in a second, trying to find the exact same shade of sparkling sapphire (or whatever the paint can said) (What?) so you could patch it up.

NP>> I knock my hand against the roughness, not enough to [s]really hurt myself[/s] cause serious pain, but just so it bleeds a little. The red blood coats my fingers, more than I intended, contrasting beautifully with the blue when I hold my hand against the door. I study the colours for a moment before fetching a band-aid from under the bathroom sink.

Someone is knocking. There's a bell, but it's broken, and everyone who comes over tries to ring it for five minutes before they realize it's stuck. (Don't know why, but I love that.) If they're knocking it means I must know them. I know it's stupid, impossible, but until I open the door I think it's you. It's disappointing. (Wouldn't it be more than disappointing? Like a slap in the face with reality?)

Lauren, my best friend, comes into the front hall like she always does, full of purpose and urgency, her eyes full of pity as she looks at me. "What's going on, Anna?" she asks. "I've left you a dozen messages, I haven't seen you for a month, and you look as if you weigh three pounds."

I shrink back into the stairwell. I really didn't want to see anyone but you. I only want to spend my days waiting for the click of your key in the lock, or the irate pounding (the pounding of what?) when you realize you've forgotten it (forgotten what?), but my best friend has arrived and she doesn't seem to be leaving. (Just to be thorough, I think it would help if you were more specific in this paragraph. It might be me, but ti didn't make sense.)

"Is this what you've been doing all day? Waiting for him?" she says, not unkindly, but I can't answer because she's right: I have been waiting for you. I lean against the banister, willing myself to disappear into it, to fade away, because I haven't wanted to live ever since you...

"He isn't coming back," Lauren says.

"They never found a body." It's a lame attempt and I know it, but it's also the only thing that's keeping me alive.

"It was a bomb, Anna," she says softly. "He's dead." (The bluntness has great effect here.)

Crash. (This also you can italicize, and change the period to an exclamation mark, to show that in this case it's a sound.) I've pushed so hard against the banister that the picture of us, which I had perched there after you'd gone, has shattered on the floor. I want to dive for it, rescue you from the shards of broken glass, but Lauren quickly picks it up and sweeps all the pieces into a neat little pile with the toe of her shoe. (Again, another great part that I like a lot. :) )

"I know," I say, and I can feel the tears coming again. "I know...it's dreadful...just dreadful...and I keep waiting but he won't come...I can't do anything else...it feels like the grief is crushing me, all the time...because I had got used to being happy, and now it's all so...shit, Lauren, I wake up and I forget that he's not here because the idea of being without him is so ridiculous...and I'm angry, I'm fucking furious that it was him and not something else...it was so random...and I have to go on for another fifty years but his life was cut so quickly...I don't know how to go on...I miss him, I miss him, I miss him, but he's gone..."

I sit down again and look up[s].[/s] at Lauren, who is crying now as well. My face is wet and I can feel the makeup [s]melting[/s] sliding off, but it doesn't matter. Nothing matters; since you died, all I want to do is lie down and let the life drain from my body, but every second my heartbeat reminds me I'm alive. Forty-mississippi, forty-one-mississippi, forty-two... (Again, italicize if you want to, I think it would add greater emphasis.)

Lauren sits beside me, hugs me, says that as long as I need her, she'll be here. I bury my face in her hair and inhale the sickly-sweet fruit scent of her shampoo.

NP>> Do you know what I'm supposed to do with all this love for someone who's not here? Do I repress it? Do I lose it? The idea of giving it to anyone else is hideous.

Because I'm still here, and so is my love, and the door is staring at me. The decaying blue paint screams: you're not here.


Great job! :D The only thing I would suggest after reading it twice, would be to mention whether it's the front of the door or the back that she's looking at, because if it's the back, then you should mention it to be clear. If it's the front, you should say, "I study the colours for a moment before going inside fetching a band-aid from under the bathroom sink."

Anyway, great job! Gold star!

~Sunny




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Your writing is completely riveting. I love how you start off so mysterious and then gradually you reveal to the reader what has happened.


"I'm fucking furious that it was him and not something else..."

One question, do you mean "someone" rather than "something"? Quite a silly nit-pick, but it just caught my attention.

Your description is wonderful. I might agree with GreatEscape about why would she bother with make-up if she's so grieved she doesn't even eat properly, but i loved how you described the make-up as melting off, rather than just running.

Keep writing, you're amazing. :D

~ EmmaJane ~
Your = Possession. Your shoes are so sweet!
You're = Omission. You're quite strange...

If you are confused about which to put, simply say in your mind "you are" and see if that fits the sentence. If not, you are looking for your.

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Hello!
I think that beginning of the story done very good. It helps to imagine the atmosphere, makes reader interested in your story. I think, that if you said about makeup, it wqasn't mistake, you just show , that main character is so sad, that it doesn't matter for her, if her makeup melted. It is just detail, which expresses state of the character.
Antonina.




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I really like this post and think you have done really well at giving it an emotional edge. Despite this I think the main thing that I would change is the punctuation colons don't always work as well as semi colons and dashes. The words 'dreadful' and 'hideous' really don't feel to fit in with the rest of the language, they don't really work with your writing style. It would be an idea if you changed them to something a little more descriptive, less old (if you know what i mean).

Despite this i really liked this and it almost had me in tears, you could really understand how the main character feels throughout. I also really loved the picture falling off the wall and the meaning behind that.

Miriam :)
I'm English, and as such I crave disappointment - Bill Bailey, can sometimes be seen scurrying towards a fast food outlet.




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Hey Mars. ;)
Sorry this took so long.

Since you asked about the dialogue and character portrayal in particular, I'll focus on that. (And by the by, I love this song. ^_^)

"What's going on, Anna?" she asks. "I've left you a dozen messages, I haven't seen you for a month, and you look as if you weigh three pounds."

This sounds like too much of a mouthful. Almost as if it's an info dump - there are too many ideas you're trying to convey here.

1. Lauren has left several messages
2. She hasn't seen Anna in a month
3. Anna looks to be in poor health


This bit I just really didn't like. I don't think it aided this story in any way, and in fact made it seem too rushed. Because this is such a short piece, that's what it felt like you were doing - rushing.
Lauren's statement here is a pretty important part in this scene. Not only does she show the audience how reclusive Anna has become, but also how the tragedy has been affecting her health as well. While it may seem small, Lauren's assessment of Anna definitely needs to be fleshed out some more.

And on a side note: the dialogue here also sounds too formal. Best friends (of all people, lol) normally use pretty colloquial language when talking to each other. Having said that, you still need to be careful - while the dialogue here is too formal for the situation, it also needs to be gentle.
Lauren's best friend's husband(?) just died. After not seeing her for a month, she'd most definitely be concerned and careful to choose her words around Anna, but she most definitely wouldn't sound so uptight.



"Is this what you've been doing all day? Waiting for him?" she says, not unkindly, but I can't answer because she's right: I have been waiting for you. I lean against the banister, willing myself to disappear into it, to fade away, because I haven't wanted to live ever since you...


"He isn't coming back," Lauren says.


"They never found a body." It's a lame attempt and I know it, but it's also the only thing that's keeping me alive.


"It was a bomb, Anna," she says softly. "He's dead."

That's your best bit of dialogue right there. This is what feels real; when you describe how someone says something, how conflicted the narrator is (in this case, obviously doubting her own claims), and the careful use of character names (people obviously don't use each other's names often, and when they do, it's normally used in a serious/sincere situation).

Use this segment as a sort of guideline for the rest of your scenes involving dialogue. It's emotional - but not cheesy, it smoothly moves the scene ahead, and it successfully shows a lot of Anna's feelings on the subject - without giving off the effect of insincerity.
I.e., she admits that her hopes are for naught but that she only hopes because she loves this man so much.



"I know," I say, and I can see the tears blurring my vision, can feel them rising up into my eyes and spilling over. "I know...it's dreadful...just dreadful..." I wipe my eyes with the back of my hand and shake my head. "I'm sorry."

"Don't be stupid. Get it out."

Forgot who mentioned it, but "dreadful" doesn't seem to fit the voice of the narrator.

Apart from that, this wasn't a bad bit either. Lauren sounds much more natural and you described Anna's actions correlating with her words very nicely. I especially like the "...can feel them rising up into my eyes and spilling over."
Nicely worded.



"I'm...I feel awful...and I keep waiting but he won't come...I can't do anything else...it feels like the grief is crushing me, all the time...because I had got used to being happy, and now it's all so...shit, Lauren, I wake up and I forget that he's not here because the idea of being without him is so ridiculous...and I'm angry, I'm fucking furious that it was him and not someone else...it was so random, and...and I have to live for another fifty years but his life was cut so quickly...I miss him, I miss him, I miss him, but he's gone..."

Urk. Too much!
But! This can be fixed. As far as word choice goes, this was well done. It didn't sound too formal or too casual - awesome. This is also probably the best part in the story for Anna because it tells more about her than any other part in this little scene. In this case, telling is a good thing.
Strike that - great thing.

However. You still need description. This rant lacks depth (but certainly makes up for in ellipsis). xD
While I've got it mentioned, let me just point out that you use ellipsis several times throughout this story, and even without this paragraph chock-full of them, it's very easy to spot. So, I think it would be wise (and easier on the readers) if you cut a few of those out and added full stops.
This leads me back to what I was saying before - the issue of depth in this monologue. While telling, in this case, is good because it's the best way to (ironically) show your character's feelings, you should also remember to use natural elements in speech.

When I say natural elements, I mean things everyone does when speaking... pauses, sighs, takes a deep breath, rubs their eyes, scratches their head, twirl their hair... anything! Just simple, normal actions that can turn your busy chunk of dialogue into a believable confession.
While Anna's ranting, have her stop for a moment to wipe away a tear or hiccup amidst her bawling. These small actions will add to the realistic affect as well as provide good, natural breaks in the speech.



On the subject of Anna's character (development isn't my strong point, but I'll just give my opinions), I felt that you did just fine. I wouldn't worry about it if I were you.
While we honestly don't know anything about her other than the fact that she is deeply in love and even more deeply upset by this man, that's just fine. That's all the audience needs to know - we need to know her sorrow, anger, and undying love for the mood of this piece to properly show itself.

Which you did. So it's all good.

And before I go, I think the end line could be stronger. I very much like the "Because I'm still existing, and so is my love, and the door is staring at me", but the last sentence just doesn't do it for me. I do like the idea, however, so maybe just a reword?
I dunno. That's just my say in the matter. XD
Other than that, I thought it was a sweet piece. Tugged a bit at my heartstrings. :(


So that's it! I'm probably not going to be as active on YWS for a while, but still feel free to PM me whenever you need a critique (email alerts; gotta love 'em).
Good luck in the contest!


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changing holds
cynicism the new norm...

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Red = My corrections or suggestions.
Bold = My comments.
Underline = What I’ll be commenting on.
[s]Red Strikethrough[/s] = Omit
= I started new paragraph.
When I stare at something long enough without blinking, my eyes get blurry and everything's out of focus. It is happening now. Still, I keep them open, counting the seconds away in my head: thirty-seven-mississippi, thirty-eight-mississippi... I blink. Damn. My eyes focus again, but I'm still looking at the same thingthe back of our familiar blue front door.

The paint is chipped now. It comes off in pieces in my hand when I touch it, leaving behind the naked, exposed beige of the wood. It's the kind of thing I wouldn't notice, but you would run off to the hardware store in a second, trying to find the exact same shade of sparkling sapphire so you could patch it up. I knock my hand against the roughness, not enough to cause serious pain, but just so it bleeds a little. The red blood coats my fingers, more than I intended, contrasting beautifully with the blue when I hold my hand against the door. I study the colours for a moment before fetching a band-aid from under the bathroom sink.

Someone is knocking. There's a bell, but it's broken, and everyone who comes over tries to ring it for five minutes before they realize it's stuck. If they're knocking, it means I must know them. I know it's stupid, impossible, but until I open the door, I think it's you. Then reality slaps me in the face.

Lauren, my best friend, comes into the front hall like she always does, full of purpose and urgency. "What's going on, Anna?" she asks. "I've left you a dozen messages, I haven't seen you for a month, and you look as if you weigh three pounds."

I shrink back into the stairwell. I really didn't want to see anyone but you. I only want to spend my days waiting for the click of your key in the lock, or the angry pounding on the door when you realize you've forgotten it, but she doesn't seem to be leaving.

"Is this what you've been doing all day? Waiting for him?" she says, not unkindly, but I can't answer because she's right; I have been waiting for you. I lean against the banister, willing myself to disappear into it, to fade away, because I haven't wanted to live ever since you...

"He isn't coming back," Lauren says.

"They never found a body." It's a lame attempt and I know it, but it's also the only thing that's keeping me alive.

"It was a bomb, Anna," she says softly. "He's dead."

Crash! I've pushed so hard against the banister that the picture of us, which I had perched there after you'd gone, has shattered on the floor. I want to dive for it, rescue you from the shards of broken glass, but Lauren quickly picks it up and sweeps all the pieces into a neat little pile with the toe of her shoe.

"I know," I say, and I can see the tears blurring my vision, can feel them rising up into my eyes and spilling over. "I know...it's dreadful...just dreadful..." I wipe my eyes with the back of my hand and shake my head. "I'm sorry."

"Don't be stupid. Get it out."

"I'm...I feel awful...and I keep waiting, but he won't come...I can't do anything else...it feels like the grief is crushing me, Remove comma all the time...because I had got used to being happy, and now it's all so...shit, Lauren, I wake up and I forget that he's not here because the idea of being without him is so ridiculous...and I'm angry, I'm fucking furious that it was him and not someone else...it was so random, and...and I have to live for another fifty years, but his life was cut so quickly...I miss him, I miss him, I miss him, but he's gone..."

I sit down again and look up at Lauren, who is crying now as well. I am finished speaking. I think: nothing matters. Since you died, all I want to do is lie down and let the life drain from my body, but every second my heartbeat keeps reminding me that I'm alive. Forty-mississippi, forty-one-mississippi, forty-two...

Lauren sits beside me, hugs me, saying that as long as I need her, she'll be here. I bury my face in her hair and inhale the sickly-sweet fruit scent of her shampoo.

Do you know what I'm supposed to do with all this love for someone who's not here? Do I repress it? Do I lose it? The idea of giving it to anyone else is hideous.

Because I'm still existing, and so is my love, and the door is staring at me. The decaying blue paint screams: you are not here.


Seriously emotion piece - I love it. I also really like how you don't throw information out there by having the reader say everything to us, but you slowly reveal through the dialogue and actions.
The bit about the door is also really nice, and really gives depth to at least a little piece about personality. Even "he" was developed, and he wasn't even there.

I think everybody else has already pointed out things I would've said... namely the big chunk of rant you've got there.

Oh, and ad for the makeup thing, in a way it'd make sense to me she'd keep applying it... after all, she is, somehow, waiting for him to show up... it only seems logical she'd try to look her best - even if it does end up running five minutes later.

»Sam.
"The power of accurate obeservation is often called cynicism by those who haven't got it." - Oscar Wilde.

If I could only see right to the end, I'd know just where to begin, and I could put together all the little pieces.




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I like it! You put a lot of emotion into it and even if the grammar isn't perfect its still pretty good.




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It's as though you threw real emotions into it. And you did it very well. :cry:

Bravo
~C.N.

"Out here, I believe in everything. Every leaf, every flower. Birds, the air. Just a feeling that I cannot explain."Green Mansions(1959)



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