Maharaj the Magician - 3

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A/N: Probably the last chapter I'll post for some time, definitely need some help. This was incredibly tricky to write and I'm not sure if it came off well..

---


III.

Stories have to begin somewhere.
There are so many now, everywhere –
So similar, so different, walkingdrivingswimmingflying;
Surrounding us, formless, liquid dreams. Where did they come from? We are
trapped within, locked, criss-crossing through a multitude of others,
some known, some not; rippling in countless concentric cascades [imagined].
Follow the threads, follow them back.


I came to.

It was as peaceful an awakening as I could remember. No grogginess, no tiredness, no lazy resolution of imagery – everything was crystal clear. The cracked ceiling grinned down at me. Light crept into the room on unsteady feet, wavering. Silence carpeted the house. I knew instinctively that it was late, maybe midday.

I stretched, a shuddering yawn ripping free.

Got up, tip-toed to the bathroom and began to wash up. I took my time, movements slow and careful. I thought about the past few days as I scrubbed my teeth –Dad drunk. Tess distant, face grossly over-painted.

I spat out a gob of mouthwash, mixed with red.

Vertigo flirted with me; I threw on a shirt and went to make myself a bowl of cereal. I rooted around in the sink for a usable spoon. Outside, heavy clouds floated – black ships against a mostly light background. Squinting, I brought my gaze back down to earth and saw Sam sitting in the street. Her back was to me but I knew it was her, that distinctive orange-blonde bob and slight shape was unmistakeable.

I walked out to see her, screen door banging carelessly behind me. She didn’t turn. The pathway was warm and wet against my bare feet.

‘Hey,’ I sat down beside her. ‘How long you been here?’

‘Not long,’ she said.

‘What’s up?’

She shot me a glance and I felt it like a punch to the chest, breath suddenly lost.

‘Could ask you the same thing. There’s a reason you have a phone, you know, you should try answering it sometime.’

I looked down at my toes wiggling in the gutter.

‘…it was off, you know.’ I cut off her exaggerated groan, ‘and besides, what did you want me to do? Call and say “hey, Sam I had a mini-breakdown and punched Mickey in the face?”’

‘Is that what it was? I mean, we get it --’

‘I don’t even know anymore.’

She sighed. ‘Did your Dad flip out?’

I made a face. ‘He doesn’t know – he was passed out by the time I got home; Tess took the call. She’ll cover for me.’

‘Okay.’ Sam sniffed, carelessly brushing a strand of hair behind her ear. Her hair reached just below her shoulders, tucking it back only made her big ears stick out. She was staring at me with an odd look; I blinked, coughed.

‘You alright? You look a bit crook.’

‘Oh, yeah,’ she mumbled, averting her eyes. ‘Must be somethin’ going round.’

‘So you skipped school, huh?’ I grinned.

Again, the odd look, the sadness. ‘It’s Saturday, Jake.’

I
stared.


My world tilted. It’s Saturday. It was Saturday. The Saturday. The day.

Of course, it made perfect sense. My head hung between my knees; my nails needed trimming, there was black muck gathering beneath them. Sitting in the gutter wasn’t as comfortable as it used to be, that was for sure. I lay back, small patch of grass cushioning my back, tickling my hands. The bloated remnants of the last storm had moved on, leaving a mostly clear sky streaked with wisps of white.

It wasn’t just the grass – Sam’s hand was clenching mine. Had she been saying my name? The events of the past few days began to rush together in a seamless jumble and I could see it now, lying beneath them all (Maharaj; the fight) a thread of unease that led straight to this day, to Mum. How the fuck had I forgotten? But no, that’s not quite right. I knew – I’d known all along.

The house is empty.

I’m standing, staring at its cavernous face and gaping black holes; it is immense and yet dwindling in size. My feet register the rough sensation of skin on tarmac, Sam’s distant concern presses down on me. It fades but doesn’t vanish; the wind is whipping at my face, stealing liquid from my eyes and I have the briefest thought – is she following me, chasing me as we did once so long ago on sunny carefree days? – the streets blur into meaningless forms but I know where I’m going.

Past the local creek, over a bridge and through dense foliage, gasping up the steep hill on the other side to face a huge arching entranceway. Green fields dotted with tiny white T’s and slabs of gray spread out to the horizon. The cemetery’s gate was oddly grandiose, given the out-of-way location. Weeds crept into the cracks and up, meandering through the cobblestones that lined the fields ahead.

My sides were heaving, ears ringing. I walked into the cemetery, down the slope with its litany of names and dates glaring at me from both sides, the judgmental dead that never rest. The sun is shining on the slabs; it is hard to look directly at them. The first time I came down this way, I didn’t notice the names, the graves, or their state. The second time, I paid particular attention, noting and reciting the dead and their years as though it mattered – I could construct stories for those fading ghosts with tombstones that were already beginning to forget, losing identity by the consonants.

Other times I would note the differing structures, some ostentatious with gold lettering and gleaming marble, others huddling closer to the dirt in humble shame and I wondered about the families of these neglected souls – had they put flowers, candles, some token of sentiment? It always surprised me to see, on those rare occasions one encounters other living people in the cemetery, which grave belonged to which person –you would never pick it.

Just ahead, a slight figure was kneeling before a black tombstone. Her auburn hair flickered in the breeze - she was crying. I halted– should I just walk on? Something about her tugged at me, some sense of familiarity. She turned briefly. It was Jenna. We stared at each other in mutual shock.

‘Jake?’ Jenna wiped hurriedly at her face, sniffing. ‘What are you doing here?’

The wind nipped at me with chilled teeth, despite the mostly clear day. I shivered, a wave of gooseflesh rising up and with it the realisation that I was still wearing the shorts and singlet I’d woken up in. ‘Uh, hey. Visiting Mum,’ I said.

‘Oh, do you always…,’ she trailed off, looking me up and down.

‘No, I…I’d rather not talk about it actually. Sorry, I didn’t mean to disturb you or anything.’

I began to shuffle around her, burning with shame.

‘No, no, it’s cool. You can stay if you like. I mean, if you want,’ she said, looked down.
‘Dad would appreciate it. He never gets any visitors aside from me.’

Increasingly anchored in the now, I felt more and more ridiculous in my shorts and singlet – I sat down next to her.

‘How long’s it been?’

‘Eight years, four months and thirteen days.’

Quiet pooled.

Jenna flicked her hair back. ‘What about you?’

‘It’s been…’ My breath caught. ‘Uh, three years. Three years today.’

‘I’m so sorry.’ She slung an arm around me.

Warmth radiated down my neck and I involuntarily leaned closer into it.

‘I forgot. I can’t believe I forgot.’

‘Hmm?’ Her breath tickled my skin, we were so close. I could lean in, tilt and kiss those lips. Awkwardness slipped over us and we moved away. The wind pickled the absence of her arm around me.

‘Uh, I should go.’

‘Okay.’

A little disappointed she didn’t argue, I began to walk. ‘I like what you’ve done with your hair, by the way,’ I said offhand.

She grinned, crooked teeth flashing. ‘Thanks.’

I smiled back. ‘See you at school, okay?’ Not waiting for a reply, I continued on, feet slapping on stone in rhythmic applause. Mum wasn’t too far away, a few twists and turns later, I stood before her plot. It was at the edge of the cemetery, hemmed in by the gate. A huge tree on the otherside loomed above, casting its fragmented shadow across her face. Pots of flowers were artfully arrayed around her, colours of red, white and green shone vibrant and glossy.

It looked well-tended. Now I knew why Dad had been so off for the past week, why we all had, and could see why the house had been empty this morning. At least they were switched on. Ashamed of my lack of contribution, I looked away.

‘I’m sorry, Mum.’ At least, that's what I wanted to say, but I couldn't. The words shrivelled up inside, became dead weights in my gut. I sat there in the quiet, with the breeze whispering lazy tunes through dangling leaves and tried to be content. Thousands of angels, statues, and idols stared at us; from above, below and all around. It was really creepy.

I hunkered down.

The funeral was still fresh in my mind, almost brighter than everything else. The sun shone so bright that day, defiant, ugly in its radiance. The shadows had fled into the gaping hole in the ground. It was so dark and black inside. And we were just going to put Mum in there? I couldn’t believe it. For an insane moment, I wanted to stop everyone, stop everything and say wait, just wait a minute. She’s going to need to see.

She’s going to need light.
Mah name is jiggleh. And I like to jiggle.

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




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Hey Jigs! I read chapter 2 and I'm still not quite sure what's happening. It's very disjointed! You ended with Maharaj. It just seems strange.

As far as the mother thing... um... yeah. That seems overly dramatic. I can't picture him at all. You would think that memories before this would come into him and he would think about her, but no... he has to go to the cemetery. And I don't know. It's seems like you're trying to build up that scene as completely emotional and it's falling on its face because that's not what the characters would do... if that makes sense. Which is probably why it's giving you so much difficulty.

I don't know... one time, I rewrote and rewrote this scene in FREAK, ever-so slightly tweaking it each time, but it never turned out right. Finally, I gave up on it and rewrote the scene when I was very tired and couldn't think very hard about what I wanted... instead it was all about the characters. (That works for me... and yes, I am insane.) Now it works. But it was because I was trying to force the characters to be overly emotional about something to such an extent that I forgot who they were. If that makes sense.

My suggestion (eek) is to let this go and rewrite it again... but differently. I think it'll turn out much better!
Ubi caritas est vera, Deus ibi est.

"The mark of your ignorance is the depth of your belief in injustice and tragedy. What the caterpillar calls the end of the world, the Master calls the butterfly." ~ Richard Bach

Moth and Myth <- My comic! :D




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Argh, I am having so much trouble with this. Third chapter is killing me >.< I've written it several times now, each in which something different occurs. The reason I think you're not sure of what's happening is because this chapter is too soon. I felt that the whole time I was writing it, I rushed ahead. There needs to be one or two chapters before this occurs, but it is meant to be very disjointed. It's not supposed to be emotional really, that's not quite what I was going. Shock. A sense of displacement.

The past week of events has essentially been building to the anniversary of his mother's death. The idea behind him as a character is that he's been frozen (emotionally) since his mother died or just before then, he has essentially been unchanging since then, he acts and moves and talks normally, as he did then but he can't really go any further. And it sits beneath the surface, unacknowledged. It's really difficult to write and get any of this across, but my project supervisor was telling me (as you did in 2 :P) to get things across sooner rather than later and I wanted to get his mother's death out in the open, so to speak...

*sigh*

Yeah. It's difficult. I think I might keep this (and work on it some more) but shuffle it back a few chapters. How's that sound?

Thanks for commenting! On part 2 as well. Tis appreciated.
Mah name is jiggleh. And I like to jiggle.

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




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Haha, no problem! ^_^

What if you hint at it? I mean, yes, it's under the surface, but it would probably surface out in other ways! I'm remembering this kid in one of my classes... his mother was killed in this awful car accident and he became completely withdrawn. It was awful to watch. But he closed up and stopped speaking and the most terrible blank look came on his face. He wasn't even really able to move properly after that.

If you give more details about how traumatized he is before he reveals his mother's death, it'll seem much more realistic.

Or... what if you go the opposite route and make it more dramatic? For instance, what if you have in this chapter Maharaj stand up and start walking and your hero follows him, but when Maharaj goes into the cemetary, he just. can't. follow. You don't have to even have him remember his mother's death... and you can make Maharaj seem really creepy by him saying, "What are you afraid of? She's dead." Or something!

Hahaha, my brain comes up with strange ideas. But play around with it... it's not right yet, but with enough patience and stubbornness, you'll get there. :)
Ubi caritas est vera, Deus ibi est.

"The mark of your ignorance is the depth of your belief in injustice and tragedy. What the caterpillar calls the end of the world, the Master calls the butterfly." ~ Richard Bach

Moth and Myth <- My comic! :D




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Hm. You're right, I think. At least, I'm not sure - mostly because of the dancing piggy! It keeps distracting me! >.< Haha, yes I think this is way too soon and not even proper as to what he would do. Keep the displacement, lose the cemetery. For now. I want to keep Maharaj out of this particular moment, if only because I want to avoid the inevitable linkage of him to the boy's subconscious.

Awesomely helpful Snoink! Thanks :D
Mah name is jiggleh. And I like to jiggle.

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




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So, I had my monthly meeting with my project supervisor aaand...She liked it. I was really surprised. I went in there with my proverbial hat in hand, ready for a lashing but she felt (reading the entirety of the piece through) that this chapter gave the piece a bit of closure, so to speak. In the sense that it made the opening of the novel complete - now you know all the elements in the novel, each factor has been introduced and you're now aware of the reasons behind his slight alienation from those around him.

I still think it's a chapter too soon, but the good thing about the chapter I'm envisioning is that it can go before or after this, it's just an exercise in strengthening the relationships and characterisations of his friends, so that you have a clearer picture of both the place and what's going on. So, I'm going to be working on that. This chapter still needs some work, maybe spending a little more time in the graveyard, I feel like maybe I could do a little bit more there. So, I guess I'm asking you --how did this fit into your idea of the novel? Did it give you the sense that now you know what's going on, it can move forward? If you read the first three chapters, what are you thinking now? Would you keep reading?

Questions, questions! I know. Sorry!

And thanks again. :)
Mah name is jiggleh. And I like to jiggle.

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




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I reread this piece again! It's not bad, really, it's not! And it does give us a better sense of who our hero is and it gives us a concrete foundation of why he is so scatter-brained and messed up... indeed, why the whole family is messed up! And it also gives a greater depth to the family, especially the father. So that definitely makes it more interesting! So yes, I agree with her.

So yeah! I think it's mainly a problem of Chapter 2 being so off. Fix the middle and it should be much better.
Ubi caritas est vera, Deus ibi est.

"The mark of your ignorance is the depth of your belief in injustice and tragedy. What the caterpillar calls the end of the world, the Master calls the butterfly." ~ Richard Bach

Moth and Myth <- My comic! :D




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Gorram that chapter two and it's boring school scenes! >.<

How do I make that interesting if, well, I'm not interested? Hm.

I think it needs to be destroyed. I shall do this and we shall see if I can connect 1 and 3 better. It seems we're having similar problems! Luls!

Thanks again :)
Mah name is jiggleh. And I like to jiggle.

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




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In a weird way...I understand the character more here and I'm less attached to the story/plot itself. Kind of like...I like that you are expanding on who the character is, and what he's like, and why he is the way he is - background, essentially - but it seems like the curtain has gone down and this is just a short break in between the REAL story - that of the magician. I definitely think the two need to be joined a lot better, as opposed to running alongside each other as parallel strands.

Stories have to begin somewhere.
There are so many now, everywhere –
So similar, so different, walkingdrivingswimmingflying;
Surrounding us, formless, liquid dreams. Where did they come from? We are
trapped within, locked, criss-crossing through a multitude of others,
some known, some not; rippling in countless concentric cascades [imagined].
Follow the threads, follow them back.


Just wanted to point out that I had no idea what this was about - and about two sentences in, I stopped reading and flicked to the actual story. Plus, I guess italics and I don't agree well. What was this? A dream, a message in a dream, a poem that popped into his brain while asleep, some kind of foreshadowing of what was to happen next, a prophecy??? Although it sounded poetic and mysterious, I didn't find it terribly enlightening.

I came to.

It was as peaceful an awakening as I could remember. No grogginess, no tiredness, no lazy resolution of imagery – everything was crystal clear. The cracked ceiling grinned down at me. Light crept into the room on unsteady feet, wavering. Silence carpeted the house. I knew instinctively that it was late, maybe midday.

I stretched, a shuddering yawn ripping free.

Got up, tip-toed to the bathroom and began to wash up. I took my time, movements slow and careful.


Brilliant opener - as per usual. You've got a thing for beginnings :P. So interesting, too - why did he wake up like that - yesterday, he had a crap day, beat someone up, had a good old chat with the magician, and some weird dreams...the only bizarre thing that might have caused him to wake up clearer than he had in years would be the chat with Maharaj - but nowhere do you indicate this, or build upon it. It's like the Maharaj is in a totally different world to the one he lives in.

My head felt wrapped in clouds, confusing and comfortable. Memories struggled to burst through as I scrubbed my teeth –Dad drunk. Tess distant, face grossly over-painted.


I don't understand. Just before, you've said the boy is increidbly clear-headed and attentive. Why is he now with a 'head wrapped in clouds, confusing...' and why do his 'memories struggle to burst through'? This is contradictory.

Squinting, I brought my gaze back down to earth and saw Sam sitting in the street. Her back was to me but I knew it was her, that distinctive orange-blonde bob and slight shape was unmistakeable.

I walked out to see her, screen door banging carelessly behind me. She didn’t turn. The pathway was warm and wet against my bare feet.

‘Hey,’ I sat down beside her. ‘How long you been here?’


Who is Sam and why have we not been introduced to her before? We didn't meet her when the boy was talking to his friends at school about Jenna; we didn't see her anywhere in the classroom, or in the fight, we haven't seen him pick up the telephone and ring her up - is she just a really good friend, or something...a bit more? But - she can't be, since he likes Jenna. And...I actually didn't like Sam much. She was cluttering up space in the chapter for me. She seemed like just another character put there to get something across. I'm sure you've got big plans for her - but the way she was introduced was too sudden; and I felt the conversation could have just as easily been handled by a scathing Tess.

stared
.
My world tilted.
It’s Saturday. It was Saturday.
The Satur
Day. The day.

Of course, it made perfect sense. My head hung between my knees; my nails needed trimming, there was black muck gathering beneath them. Sitting in the gutter wasn’t as comfortable as it used to be, that was for sure. I lay back, small patch of grass cushioning my back, tickling my hands. The bloated remnants of the last storm had moved on, leaving a mostly clear sky streaked with wisps of white.


Firstly, I don't like the bizarre formatting. I don't really think a writer as accomplished as you needs to play around with formatting to get the sense of shock across to us. Secondly, why does his world seem to spin and go crazy when he realises it's Saturday, and then you have the line 'it all made perfect sense'? I KNOW instinctually the meaning of what you're trying to get across, but to a first-time reader, it seems really muddled.

My head hung between my knees; my nails needed trimming, there was black muck gathering beneath them. Sitting in the gutter wasn’t as comfortable as it used to be, that was for sure. I lay back, small patch of grass cushioning my back, tickling my hands. The bloated remnants of the last storm had moved on, leaving a mostly clear sky streaked with wisps of white.

It wasn’t just the grass – Sam’s hand was clenching mine. Had she been saying my name? The events of the past few days began to rush together in a seamless jumble and I could see it now, lying beneath them all (Dad’s drunkenness; Tess’s distance) a thread of unease that led straight to this day, to Mum. How the fuck had I forgotten? But no, that’s not quite right. I knew – I’d known all along.


Note that that all makes it seem like he passed out. 'Had she been saying my name?' certainly makes us think he has not 'been there' for some time. And that first line 'It all made perfect sense' is off with the rest of it.

The house is empty.

I’m standing, staring at its cavernous face and gaping black holes; it is immense and yet dwindling in size. My feet register the rough sensation of skin on tarmac, Sam’s distant concern presses down on me. It fades but doesn’t vanish; the wind is whipping at my face, stealing liquid from my eyes and I have the briefest thought – is she following me, chasing me as we did once so long ago on sunny carefree days? – the streets blur into meaningless forms but I know where I’m going.


I LOVE your one-liners. They're brilliant, and perfect. The description is somewhat heavy-handed here. And it annoys me that so long has gone by in this chapter with no mention of the magician. I keep on the lookout for him, but he never seems to be there. It's like the MC has put him out of his head entirely. And 'sunny carefree days' is cliche.

My sides were heaving, ears ringing. I walked into the cemetery, down the slope with its litany of names and dates glaring at me from both sides, the judgmental dead that never rest. The sun is shining on the slabs; it is hard to look directly at them. The first time I came down this way, I didn’t notice the names, the graves, or their state. The second time, I paid particular attention, noting and reciting the dead and their years as though it mattered – I could construct stories for those fading ghosts with tombstones that were already beginning to forget, losing identity by the consonants.

Other times I would note the differing structures, some ostentatious with gold lettering and gleaming marble, others huddling closer to the dirt in humble shame and I wondered about the families of these neglected souls – had they put flowers, candles, some token of sentiment? It always surprised me to see, on those rare occasions one encounters other living people in the cemetery, which grave belonged to which person –you would never pick it.


This is two paras of description on the cemetery. I really don't think you need them. It's beautiful...but predictable. Only bother describing what we cannot already picture - that image of the 'sun shining on the slabs, making it difficult to look at them' was the only one that leapt out at me.

Oh, do you always…,’ she trailed off, looking me up and down.

‘No.’ I blushed. ‘I…I’d rather not talk about it actually. Sorry, I didn’t mean to disturb you or anything.’

I began to shuffle around her, burning with shame.


OK, so this is meant to be an 'awkward moment,' right? Firstly, you don't need that 'looking me up and down' part - that sounds sexual, slightly. Secondly, the MC is a MALE - and the word blush sounds so off on him. And why is he burning with shame? What's shameful about having a parent die?

Increasingly anchored in the now, I felt more and more ridiculous in my boxers and singlet – I sat down next to her.


It was only after I read that part that I understood why he might have blushed, but that word still sounds wrong. Would he really have been crazy enough to run out in his boxers and singlet? What was the hurry? And why didn't Sam tell him he was wearing that? He doesn't come across as the emotional or sentimental type - plus, he woke up super-clear-headed - so it seems bizarre that he would have been so grief-stricken (esp after 3 yrs) to simply run out wearing very little.

‘How long’s it been?’

‘Eight years, four months and thirteen days.’

Quiet pooled.

Jenna flicked her hair back. ‘What about you?’

‘It’s been…’ My breath caught. ‘Uh, three years. Three years today.’

‘I’m so sorry.’


Some perfect dialogue, here, with some good interspersing of talking and action. :D

She slung an arm around me. Warmth radiated down my neck and I involuntarily leaned closer into it.

........

‘Hmm?’ Her breath tickled my skin, we were so close. I could lean in, tilt and kiss those lips. Awkwardness slipped over us and we moved away. The wind pickled the absence of her arm around me.


Why the romance, all of a sudden? One moment he's clear headed, the next he's confused, the next he's grieved by his mother's death, the next he's mad enough to run around town wearing what he slept in, the next he's shocked to see her there, the next he's embarrassed, then he's nostaglic ('quiet pooled' - they're remembering, right?), and then, he's thinking about how much he likes this girl in a freakin' graveyard on the anniversary of his mother's death??? That is just too unbelievable. I wouldn't have had him meet J in the graveyard in the first place. And I've given up on looking around for Maharaj to pop out of the bushes - so I'm incredibly annoyed about the fact I haven't seen him yet. Your novel seemed so cool and upbeat from the attitude and interaction btw MC and Maharaj; and all this almost soppy, family-trouble stuff just turns it into something too normal, too predictable. I love the Maharaj, and I only wish I saw more of him. And a better tied up storyline.

I coughed. ‘I should go.’

‘Okay.’

A little disappointed she didn’t argue, I began to walk. ‘I like what you’ve done with your hair, by the way,’ I said offhand.

She grinned, crooked teeth flashing. ‘Thanks.’

I smiled back. ‘See you at school, okay?’


'Coughed' was too obvious, and now he's disappointed, but also sounds rather gentle. It seems like he's totally put his mother out of his head. That seems rather shallow to me. But then the para continues on to when he goes and visits his mother. What the heck? If he really cared that much, he would have seen her in the first place.

‘I’m sorry, Mum. I’m so fucking sorry.’ At least, that's what I wanted to say, but I couldn't. The words shrivelled up inside, became dead weights in my gut. I sat there in the quiet, with the breeze whispering lazy tunes through dangling leaves and tried to be content.


I have no issues whatsoever with swearing in a text. I just think it should be done in the right places. And this was totally inappropriate. What is he sorry for, anyway? What happened? The ending is too subdued, like the rest. You always begin with a bang, and end with a calmer, less cliff-hangerish line, that doesn't really make me want to turn the page much (ahem...the virtual page).

Overall

Across the board with the three chapters, I would say work on structure to clarify the character and the plot so much better. You're writing skills are great - a good eye for detail, nice dialoque, good hooks at the start of chapters etc - but each chapter seems disjointed from all the rest, like Snoink said, simple because the magician theme (or any theme, for that matter) is not really tying it all up. The story comes out stronger if yo've got some overall intention in mind...so, just think about it.

Thank you for the read, and I hope that has helped! As you know, I love this magician, and I'd be interested in seeing how everything turns out. Keep writing, and edit like crazy! :D PM me with questions, discussion, arguments, everything. And I WANNA KNOW THE HIDDEN MASTER PLAN OF YOURS (mwahahahaha).



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Ooookay.

First off - you're awesome. Just to start off and thanks very much for the effort! :P

So, yes, he wakes up clear-headed. As though the slate has been wiped clean. Subconsciously, this is because he recognises that its the anniversary of his mother's death and since he's existed in an almost frozen state emotionally and mentally since then, it's the closest he'll come to true normality, when things can come out that otherwise wouldn't. Then he begins to think about everything that happened in the previous week and understandably is a little confused and muddled.

I introduced Sam in the first chapter when he and his friends talk about Jenna. You can go back and check for yourself. :) And yes, I do have big plans for her.

A lot of your commentary is about how disjointed everything is and you seem to think this is a bad thing. If I were writing a typical novel, I would agree but I'm not. I aim for this to be disjointed and displacement is a major theme. There are definite and deliberate inconsistencies in Jake's perspective, sometimes he's not quite there in his head -- time is fairly relative here. I'm putting a lot of faith in the readers to begin to slot things into place on their own. While at the same time fairly obviously spelling things out --

The subconscious unease that's threaded through the previous two chapters becomes realised in this one when he is forced to acknowledge that its his mother's anniversary, so to speak. He was already outside, yes, in his boxers and singlet, so no I don't particularly think after a shattering revelation (in his mind) that he's going to go inside, get dressed and spruce himself up for a visit. He just runs.

It is incredibly difficult writing this character. His mental state is incredibly complex and its hard getting anything across with realism. So, you didn't think it realistic that teens could have an inappropriately sexual moment in a graveyard? A simple hug can be enjoyed as such for about three seconds, before his thoughts would begin to turn -- remember, his mind naturally shies away from thinking about his mother, even in the actual graveyard --to something sexual. This is the girl he wants to be with after all and life is littered with innocent moments that become awkwardly tense in such matters.

Confused. Disjointed. A little surreal. These are the things I'm going for. So that's good! What isn't good is my having to explain these things -- my fault, not yours -- and your right about some of those lines, so I'll definitely be having a look at that. There is NOTHING that doesn't need further editing in this world, haha, that's my philosophy so this is by no means a polished product.

Thanks very much for your extended commentary! It's been incredibly helpful. My own advice to you would be to stop looking for Maharaj! Haha, this novel is about Jake and his family - at its heart, its supposed to be an exploration of one family's grief and the way they each deal with it. Maharaj becomes more and more involved (and things get more and more surreal and extreme and weird) but he is by no means necessary. If I don't put in the work for the other characters, the novel will never be able to stand on its own two feet. Never fear, I have a fairly detailed plan for everything :)

Thanks again!
Mah name is jiggleh. And I like to jiggle.

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




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It's good to know you know exactly what you're doing with this. If disjointed is the effect you're going for - well done - you've done it! Just note that you've got to be careful not to go overboard with it, either, otherwise we're going to get majorly confused.

However, I meant 'disjointed' not in terms of time - I have very little issues with the way you jump around from one event to the next and leave the jump for us to figure out. I think this is really clever, in fact. And I have read quite a few novels where they bounce around, and it's good fun trying to figure out where the characters are and what they're doing. Plus, it saves us from the monotony of an incredibly long scene - kind of like finishing it off whenever there's really not much point in continuing, you know? I like authors that know when it's a good time to stop.

The 'disjointed' actually more referred to the stories themselves - the plot, if you will not the time. In a way, I totally agree with you that we, as people, slide into different aspects of our lives without much thought for how the OTHER aspects might be affected - for example, when I am playing the piano in the music room, I rarely think about what happened in gymnastics, or the chem test we just had, or what's happening at home, or how my friend's guinea pig died. I just think about the music, and that's pretty much it.

For the purposes of a story, however, I wonder if it is going to be effective to write like that. In such a disjointed manner - in terms of his parallel lives running past each other - Jenna, home, school, the magician - love, family, education, magic more or less. I would love to see them brought together in a marvellously stunning way - thrown together irrevocably. And it's good to see you have a plan for that.

With regards to Maharaj...just wanted to say that the freaking TITLE is 'Maharaj the Magician' so I obviously am going to assume that the story is about the boy and what happens and changes in his life after he meets this crazy magician :D. That's why I keep looking round for him, Jig. And I like him; I like the way the MC acts when he's around him; I like the whole surreal atmosphere of everything when they're together; I like the possibility of something bizarre happening, of magic when they're together - put it simply, I think the story is stunningly electric when the Maharaj is in the picture, and loses its glory when he's not, becoming something more 'normal.' So...that's why I want to see more of him.

And thanks for clearing up the rest of those things for me! I'll admit; they weren't major issues - but it's good to know that you CAN explain the character and the plot so well. I look forward to the rest - or any edited versions. And DO SOMETHING about those endings - spruce them up to stunners, like your beginnings! :D




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No worries, I get that too. I wasn't just referring to time - if the protagonist's viewpoint is disjointed, it's going to affect everything, not just time. But that's why I intend to write this book in five parts, five major viewpoints that intersect and really show how skewed one person's perspective can be. :)

But you know what I realised? I opened my project in Word just now, so I could keep going on, and saw that I'd already changed the ending. It may even clear up some of the things I spoke about just now...or not. Haha, I'll put it up in a sec. ^^
Mah name is jiggleh. And I like to jiggle.

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



Who's the more foolish, the fool, or the fool who follows him?
— Obi-Wan Kenobi