God's Mistakes (Part 1)

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This is Part one of two. It was written for lilymoore's contest. Rip it to pieces :)
~peanut~

“Killing kids isn’t my forte, Rae, I told you that before.” Ember Harrows flicks her lighter open and slowly lifts the trembling flame to the edge of her cigarette. Slowly her feet carry her down the steps away from the house. If Rae argues she knows it will get loud; wouldn’t want to wake up the owners. She leaves the flashlight on the banister, the beam shining on her as she leans against the siding of the steps.
“Come on, Em? Have a little fun! Jackson’s gonna expect us to do something. They’re just little rats anyways.” The cigarette stops, hovering in front of Ember’s open mouth. She thinks about it, they don’t know what they are missing, they are little anyway, Jackson’s voice whispers in her ear. She thinks about the light in her hand, the one Jackson paid for. If she doesn’t do this he might stop buying them. She shakes away the thought and looks up; taking a drag she stands up straight, looking Rae in the eyes.
“Okay, I’ll do it,” Ember whispers, keeping the cigarette in her mouth. When the smoke burns her lungs she breathes, releasing everything that has built up inside her. She can see now, see the light that is pouring down on her from the flashlight she carelessly left on the railing. The streetlights aren’t like a bokeh picture anymore; she can see the light bulbs instead of just splotches of brightness.
Ember notices a gasp of relief escape Rae’s lips, but she doesn’t look at the girl in front of her; she looks past Rae, with her bleached and ragged hair, at the street. She winces when a car’s headlights burn her gray eyes.
“Shit, Em! They are pulling in the driveway. We’ve gotta go.” Rae whispers frantically, pulling the cigarette out of Ember’s mouth. She knows that’s the only way to make Ember comprehend what is going on. But Ember doesn’t run toward the trees, she walks slowly up the porch steps, almost in a daze. Rae watches as the girl steps toward the flashlight that she had left there. A beam of light flitters on the green-black ground turning it an odd shade of yellow.
The car is skidding on the gravel, swerving itself closer to the house by the second. Ember jumps and curses as the flashlight bangs against the concrete side of the porch and the light bulb shatters. It is dark, the only light coming from the car that doesn’t need to see her. She runs.
There are woods behind the house. They stretch for acres behind the property and that is where Ember finds Rae. She is crouched behind a tree at end of the yard, barely under cover.
“They’re drunk,” Ember says laughing at Rae who hides. Ember doesn’t even bother; the two people who get out of the car aren’t paying any attention to them. She watches them while they stumble and scream at each other. But then the littler one shrieks. It’s not like the yelling that flowed from her mouth when they got out of the car, she’s in pain. “Oh God.” Ember whispers. She knows what happened. Her eyes travel down to the ground where the girl is crying, then to her own hands. She can feel the blood oozing from shallow cuts on her palms, but she can’t see it, it’s too dark.
Glass from the broken flash light broke through the skin of the girl’s foot. Why she is barefoot Ember can’t even begin to fathom.
“What did you do?” Rae hisses, a hand grabs Ember’s shoulder and she is pulled back behind the trees.
“Broke the flashlight.” Ember mumbles, thankful she can’t see the look on Rae’s face. “Do you have your phone? Because I’m not walking through these woods with out a light, call Jackson.”

Rae calls, and Ember listens on the speaker, careful not to breathe. Jackson wouldn’t like it if he knew they were both in on the conversation. He tells Rae that he will meet them at the end of the driveway in twenty minutes and that they better be down there or he will leave them there.


“Get in.” Jackson’s voice is cold as Rae slips into the front seat of his van. Ember yanks the hand on the sliding door and waits for it to move. Jackson taps on the steering wheel, waiting impatiently for her to get in. She pulls it again and this time it slides to the left allowing her to get in the back. Once she’s in she hits the lever on the inside and the door slams shut.
There are no seats in the back of the mini-van. They were all ripped out; more room to put “stuff” in, Jackson said. Ember sits in the floor, her back against the door and her feet stretched out behind Jackson and Rae’s seats. As soon as she is seated Jackson floors it, getting them as far away from the house as possible.
“Can I smoke?” Ember asks, waiting for permission. In the rearview mirror she can see Jackson roll his eyes then smile down at her, his silent way of saying yes. Ember reaches her hand up behind her, twisting a little bit as she fumbles to find the button to operate the window. Her fingers find it and push down, the gears in the door whirl beside her ear and the glass falls slowly down.
“So what’s the plan?” Jackson asks. Ember hopes he is talking to Rae as she takes a drag from her cigarette and leans her head back against the leather siding of the door.
“We strike tomorrow night,” Rae tells him. “Ember agreed to do the honors this time. And I know how to get in.” She says it matter-of-factually like she’s in school bragging about something she can do better than everyone else. Jackson is the boy she’s trying to impress. Ember sighs and takes another drag. She waits for it to clear her mind, to take away all the anxiety she has about this plan.
“You ready for this, Ember?” He is talking to her now. She extracts the cigarette from her lips and tries to form words. But nothing comes out; this is what she was afraid of. “I’ll take that as I yes?” Ember looks up at him; his elbow rests on the console between him and Rae. In his hands he is holding a cigarette, unlit and perfect. Slowly he twists his fingers around it, crushing it into pieces.
There is a light in you, a Vision in the making with sorrow enough to extinguish the stars. I can help you.
~And The Light Fades


The people down here are our zombies, who should be dead or not exist but do.
~Away From What We Started


P.S Got YWS?




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Hey,

I was hooked from the first line, it sounded like my kind of piece. :pirate2: :mrgreen:

It feels like it is moving way to fast though, i think it needs to be slowed down and some description to be added.

Hope this helped

~Retro Disco666
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~Francoise Sagan




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Saaaaaaarah. This was on New Works and, well, you know me. I stalk you- just a little bit.

I. NITPICKS

Slowly her feet carry her down the steps away from the house. If Rae argues she knows it will get loud; wouldn’t want to wake up the owners.


Maybe a "she" before "wouldn't?"

The cigarette stops, hovering in front of Ember’s open mouth.


Wait, where was it? I'm confused.

The streetlights aren’t like a bokeh picture anymore; she can see the light bulbs instead of just splotches of brightness.


bokeh?

“Shit, Em! They are pulling in the driveway. We’ve gotta go.”


She's frantic but still says "They are"?

“I’ll take that as I yes?” Ember looks up at him;


Paragraph before "Ember," methinks.

Alright.

II. UH... RIGHT...

So this is pretty good, I'm going to give you that. Your style's matured a lot, and it's such a pleasure to see :). My question is, wtf is going on? (phrased exactly that way). They're in a house by some woods. She's called Ember. She smokes a lot. She kills for funsies/work? The problem is that you haven't given us any backstory whatsoever. I mean, don't give it all to us. But what age is she? Why does she kill, or even why do they want the kids killed? It's really good, but it's so bizarre that it can't just stand by itself.

Also, she needs him for cigarettes? Really? They're not that expensive, or so addictive that she'd go to measures this desperate. Couldn't she just get a job as a waitress like normal people. Or is there more that we just can't see? Who is Jackson, what does he want?

I'll give it to you, you've intrigued me. My worry is, you've intrigued me too much, and you're going to have to delineate it all in a rush in the second half, which probably isn't a good thing.

III. OVERALL

Interesting, to say the least :)

Hope I helped, drop me a note if you need anything!

-Stella x
"Stella. You were in my dream the other night. And everyone called you Princess." -Lauren2010




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Hey there, S'getti! Mizzle here, as promised. ;)
Overall, I think this is a very nice piece. It has a ton of potential, and I can't wait to see what you are going to make this into. I would say I agree with Stella when she says you leave us so intrigued, a little too much curiosity, even. I think you leave just a tad too many questions unanswered.
My top five questions (there are many more than these xD):
1.) Who are these people, really?
2.) Why does she need Jackson for cigarettes? They're pretty cheap things to buy...
3.) Why do they kill kids?
4.) How old are they?
5.) Why do they need these kids, specifically, killed?
I think you should fill us in a tad more than you did, because this leaves part two to be a jumble of explanations.
I think Stella covered most of my nitpicks. One thing to remember is to indent when someone is speaking; every time some one speaks, it makes a new paragraph.
Still, very nice job. Just be sure to fix the things Stella pointed out, besides that, I don't see any other issues that I haven't mentioned.
Bravo!

Mizz
"Chase your dreams, and remember me, speak bravery,
Because after all, those wings will take you up so high."
-- Owl City, "To the Sky"
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Comments in red.

peanut19 wrote:This is Part one of two. It was written for lilymoore's contest. Rip it to pieces :)
~peanut~

“Killing kids isn’t my forte, Rae, I told you that before.” #FF0000 ">In my opinion, this is an opening sentence that tries way too hard. It's not grounded and therefore it repels the reader rather than drawing him in. Revise. Try to come up with something less extreme. It might attract kids who are fascinated by assassins and such, but it will make everyone else raise their eyebrows, even older people who like assassins. Ember Harrows #FF0000 ">I'm not entirely pro authors introducing their characters' last names right away. I feel like everything should operate on a need-to-know basis, and we don't really need to know about her last name right away, do we? Don't mention it unless her last name has popped up before. flicks her lighter open and slowly lifts the trembling flame to the edge of her cigarette. Slowly #FF0000 ">Word repetition. her feet carry her down the steps away from the house. #FF0000 ">This visual isn't quite working. It's weird, but then again I was never a fan of the whole "feet/legs carried me far away" line. Revise. If Rae argues she knows it will get loud; wouldn’t want to wake up the owners. #FF0000 ">This is a fragment, not a sentence. But that might be because you forgot to add in punctuation. Maybe you meant, "If Rae argues, she knows it will get loud. Wouldn't want to wake up the owners." She #FF0000 ">She here refers to Rae, so the POV has just shifted from third person close Ember to third person close Rae. Be consistent. Pick one character and stick to her. leaves the flashlight on the banister, the beam shining on her as she leans against the siding of the steps. #FF0000 ">This means she left it there, but while she was leaving it there the flashlight's beam was already shining on her and she was already leaning against the side of the steps. Confusing? Yea.
“Come on, Em? #FF0000 ">I'm not sure a question mark is the right punctuation mark to use here. Have a little fun! Jackson’s gonna expect us to do something. #FF0000 ">Personally, I think "Jackson's expecting us to do something" is a better alternative. They’re just little rats anyway.” The cigarette stops, hovering in front of Ember’s open mouth. #FF0000 ">The way it's phrased gives it a comical effect. Use different words. Hover and open mouth don't quite work for me. She thinks about it#FF0000 ">.

T
hey don’t know what they#FF0000 ">'re missing#FF0000 ">. They#FF0000 ">'re little anyway, Jackson’s voice whispers in her ear. #FF0000 ">People tend to use contractions in dialog unless they're having a very formal conversation. So use contractions when you can. Also,. the last bit is awkward and stilted. Revise.

She thinks about the light in her hand, the one Jackson paid for. If she doesn’t do this he might stop buying them. She shakes away the thought and looks up;#FF0000 ">A semicolon is tricky, and I think it's used to connect two related sentences. These two sentences are not really related, so I think that semicolon is misused. But I can't be sure, because like I said, they're tricky. taking a drag she stands up straight, looking Rae in the eyes.
“Okay, I’ll do it,” Ember whispers, keeping the cigarette in her mouth. When the smoke burns her lungs she breathes, releasing everything that has built up inside her. She can see now, see the light #FF0000 ">[Deleted that is] pouring down on her from the flashlight she carelessly left on the railing. The streetlights aren’t like a bokeh picture anymore; she can see the light bulbs instead of just splotches of brightness. #FF0000 ">So far the conflict has been weak and I'm kind of sleepy, actually. The story is moving very slowly.
Ember notices a gasp of relief escape Rae’s lips #FF0000 ">I don't know why someone would gasp in relief. Sigh, maybe. Also, it would be better if you cut the "Ember notices" part. Since this is in third person close -Ember, we automatically assume she notices anything you mention unless you state otherwise., but she #FF0000 ">She here refers to Rae. Be careful of your antecedents. doesn’t look at the girl in front of her; she looks past Rae, with her bleached and ragged hair, at the street. She winces when a car’s headlights burn her gray eyes. #FF0000 ">Winces? Doesn't cover her eyes? Doesn't do anything but wince? A weak reaction. And also, the way this reads, I'm thinking that the car is headed straight for Rae.
“Shit, Em! They#FF0000 ">'re pulling in the driveway. We #FF0000 ">[Deleted have] gotta go.” Rae whispers frantically, pulling the cigarette out of Ember’s mouth. She knows that’s the only way to make Ember comprehend what is going on. #FF0000 ">But isn't Ember the one who saw the headlights? Unless the lights are facing Rae, there is no way she'll notice since her back is to the light. But Ember doesn’t run toward the trees, she walks slowly up the porch steps, almost in a daze. #FF0000 ">At this point I'm confused. I don't know where the house is nor can I visualize everything as well as you can. You revealed things to me bit by bit, but it wasn't pulled off effectively and now I'm wondering where the hell they are.Rae watches as the girl #FF0000 ">Why not just call her Ember? At first I thought there was another girl involved. steps toward the flashlight #FF0000 ">[Deleted that] she #FF0000 ">[Deleted had] left there. A beam of light flitters on the green-black ground#FF0000 ">, turning it an odd shade of yellow.
The car is skidding on the gravel, #FF0000 ">It would be stronger if you just put, "The car skids on the gravel." The be verbs tend to slow prose down so get rid of them when possible. swerving itself closer to the house by the second. Ember jumps and curses as the flashlight bangs against the concrete side of the porch and the light bulb shatters. #FF0000 ">So she drops the flashlight? What happened isn't very clear. It is dark#FF0000 ">. The only light com#FF0000 ">es from the car that doesn’t need to see her. She runs.
There are woods behind the house. They stretch for acres behind the property and that is where Ember finds Rae. She is crouched behind a tree at #FF0000 ">the end of the yard, barely under cover.
“They’re drunk,” Ember says#FF0000 ">, laughing at Rae who hides. #FF0000 ">The last bit was awkward and not really confusing, but still weird. Revise. Ember doesn’t even bother; the two people who get out of the car aren’t paying any attention to them. #FF0000 ">I'm assuming they're assassins or something. Based on this assumption, I'm gonna go ahead and say this: she's a crappy one. She cannot afford being seen, whether it's by drunk people or high teenagers. She watches them while they stumble and scream at each other. But then the littler one shrieks. It’s not like the yelling that flowed from her mouth #FF0000 ">This is another awkward visual. Revise. when they got out of the car, she’s in pain.

“Oh God.” Ember whispers. She knows what happened. Her eyes travel down to the ground where the girl is crying, then to her own hands. She can feel the blood oozing from shallow cuts on her palms, but she can’t see it, it’s too dark.

Glass from the broken flash light broke through the skin of the girl’s foot. Why she is barefoot Ember can’t even begin to fathom.

“What did you do?” Rae hisses, a hand grabs Ember’s shoulder and she is pulled back behind the trees. #FF0000 ">You don't need to say "a hand". We know it's Rae, and saying it's a hand implies there's a third party dragging Ember into the trees.

“Broke the flashlight#FF0000 ">,” Ember mumbles, thankful she can’t see the look on Rae’s face. “Do you have your phone? Because I’m not walking through these woods with out a light#FF0000 ">. Call Jackson.” #FF0000 ">Look. If she's an assassin she's a pretty annoying one. She's too picky about things and she's careless.

Rae calls, and Ember listens on the speaker, careful not to breathe. Jackson wouldn’t like it if he knew they were both in on the conversation. He tells Rae that he will meet them at the end of the driveway in twenty minutes and that they better be down there or he will leave them there. #FF0000 ">How can they go out there when there's a bleeding girl and a guy around? oo"


“Get in.” Jackson’s voice is cold as Rae slips into the front seat of his van. Ember yanks the hand#FF0000 ">le on the sliding door and waits for it to move. Jackson taps on the steering wheel, waiting impatiently for her to get in. She pulls it again and this time it slides to the left allowing her to get in the back. Once she’s in she hits the lever on the inside and the door slams shut.
There are no seats in the back of the mini-van. They were all ripped out; more room to put “stuff” in, Jackson said. Ember sits in the floor, her back against the door and her feet stretched out behind Jackson and Rae’s seats. As soon as she is seated Jackson floors it, getting them as far away from the house as possible.
“Can I smoke?” Ember asks, waiting for permission. In the rearview mirror she can see Jackson roll his eyes then smile down at her, his silent way of saying yes. Ember reaches her hand up behind her, twisting a little bit as she fumbles to find the button to operate the window. Her fingers find it and push down, the gears in the door whirl beside her ear and the glass falls slowly down.
“So what’s the plan?” Jackson asks. Ember hopes he is talking to Rae as she takes a drag from her cigarette and leans her head back against the leather siding of the door.
“We strike tomorrow night,” Rae tells him. “Ember agreed to do the honors this time. And I know how to get in.” She says it matter-of-factually like she’s in school bragging about something she can do better than everyone else. #FF0000 ">I don't know why this is the simile you used because it doesn't fit with the piece at all. Jackson is the boy she’s trying to impress. Ember sighs and takes another drag. She waits for it to clear her mind, to take away all the anxiety she has about this plan.
“You ready for this, Ember?” He is talking to her now. She extracts the cigarette from her lips and tries to form words. But nothing comes out; this is what she was afraid of. “I’ll take that as I yes?” Ember looks up at him; his elbow rests on the console between him and Rae. In his hands he is holding a cigarette, unlit and perfect. Slowly he twists his fingers around it, crushing it into pieces. #FF0000 ">I don't get why he crushed the cigarette.


Final thoughts:

Characterization of Ember is strong, but I doubt it's the one you're going for. As of now Ember is a terrible assassin - she acts like a princess, whines, is clumsy and smokes. Not very good. If she's an assassin her character seriously doesn't fit with her job. If I were her boss, I'd have fired her a long, long time ago. In fact, I'm not even sure why she's working as an assassin, and why she's so nonchalant about it. Rae is a psychopath because she's doing it for fun. FUN. I'm 100% sure only psychos do it for fun. And if we go this way, then Rae ought to be a lot more dangerous than she seems. Right now she's feeble and not all that dangerous. If you were going for psycho, she would have attacked Ember for screwing up. If not, then you should show that she's feeling a little guilty or have her try and justify what they're doing.

Second, the realism of this is way off. It's not clicking, and this ties in with Ember's characteristics. The inconsistencies littered all over the piece don't do much to help it either. My suspension of disbelief was broken early in when she leaves a flashlight on the banister. It's not sane to do that. They might have gotten caught. Also, the girl's being barefoot was senseless and out of nowhere. It's like it happened solely so Ember and Rae could get out. You need to fix this because with each inconsistency you're losing your reader.

The pace of the story is terrible. It's so slow, and I actually felt the seconds tick by. All the vague description that slows it down. I don't know why, but the description is strange. You describe everything but you fail to tell us the positions of things, so we can't imagine much except for the little bits you say. We see only a certain part of a room at a given time. We can never truly see the whole thing until you got to the forest behind the house part. So work on it. Find a way for the description to stick, and try not to be too slow. In fact, if I'm right, your actual story starts the night after this. I have a feeling your story will survive fine without this part.

The character dynamic is flat. There's no depth to the relationships we're shown. Only in the last part do you give us a glimpse of what it's truly like - Ember is slightly annoyed by Rae. But other than that we don't really know what they think of each other. You don't show us any thoughts. Even body language is weak. They don't really move when they talk, apart from smoking cigarettes. Body language is extremely important so you need to focus on that more. It provides a ton of insight to the characters.

For example, let's take a part of your dialog and add body language to it.

“Come on, Em. Have a little fun!" Rae's eyes tore into Ember, who shrank away. -- Here, Rae is trying to intimidate Ember.

“Come on, Em. Have a little fun!" Rae laughed and tugged on her friend's hand. -- Here, Rae is playfully coaxing Ember.

There's a marked difference between the two. What Rae is doing while she says it helps characterize her and defines the relationship between her and Ember, so try to use it a lot more.

Next, thoughts. You should have more of them there. Ember doesn't seem to think anything. Neither does Rae or Jackson. Ties in with body language.

Your use of language is beautiful. Still, work on having it stick and being clear. Your vagueness killed the piece. Beautiful doesn't always mean vague, so figure out some way to mesh the two together.

Anyway, that was my two cents. PM me if you have any questions about this review.

Sincerely,

Kara
"The moral of this story, is that if I cause a stranger to choke to death for my amusement, what do you think I’ll do to you if you don’t tell me who ordered you to kill Colosimo?“

-Boardwalk Empire

Love, get out of my way.


Dulcinea: 2,500/50,000




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Hey, beanut! :P Here as I promised I would be!
First of all, I have just a couple of nitpicks that I wanted to point out.

“What did you do?” Rae hisses, a hand grabs Ember’s shoulder and she is pulled back behind the trees.


I’m afraid to tell you, but this is a run on. I would make it two different sentences at the comma seeing as how the actions here are unrelated.

As soon as she is seated Jackson floors it, getting them as far away from the house as possible.


After “seated,” I feel this really needs a comma. I keep reading it out loud and I pause naturally there. Usually, this means that a comma is needed.

Ember

Ember really shines in this piece. She’s interesting and because of the way she acts, it makes me want to know what makes her tick which is one of the most compelling aspects of this piece.

What in the worlds is going on here…?

That might sound like a bad thing but it’s not. You pulled this off perfectly I think because this is the second most compelling aspect of the story. You gave just enough detail to grab my attention but you didn’t give so much away that I was like “Okay, I know what’s going to happen so I don’t need to read the whole story.” That is amazing.

And now I must run and read the next part to find out what is going on.

~lilymoore
Never forget who you are, for surely the world will not. Make it your strength. Then it can never be your weakness. Armor yourself in it, and it will never be used to hurt you.



Every first draft is perfect, because all a first draft has to do is exist.
— Jane Smiley