Lonely Road

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I have decided this piece - with a little tweaking - will be used as my entry into the New Zealand National Short Stroy Competition. I therefore would greatly appreciate critiques and reviews, micro, macro, hell whatever I just want to sharpen it up. I am happy with the theme and characters but I would still welcome any suggestions.

Please excuse typo's, poor syntax and grammar. Please understand I am hopelessly out of practice. Reviews both kind and harsh are welcomed.

(Edit: I have done my absolute best with the punctuation and edited out a few typos. I have also tried to make some awkward areas flow better and break up the description.)

***
Lonely Road
This place reeked of her, Eddie thought as he glanced up from his book. Olive skinned families were shuffling down the aisle and, eddie noticed, amongst the locals was a young blonde thing. She moved with short side steps and held in her arms a large black camera bag.

The bus gave a jolt and she fell into her seat beside Eddie, who raised his brow and dipped his head, tacitly acknowledging her before continuing his book. She shifted a moment in her seat and placed her bag between her feet.

Movies with spanish subtitles screened as the bus rolled over sandy plains and through dusty red towns. Eddie spied a huge wooden crucifix as the bus ambled through its great shadow. Some time passed and the clear night sky was dotted with stars and a half moon. The gears were grinding loudly as the huge bus wheeled into the station. More passengers climbed aboard.

Outside the window Eddie watched two prune skinned folk under bright dirty rags hanging from the crown of their head to the dry earth. They smiled at the bus and he smiled back. His pupils shined blue between his half closed eyelids. All the creases of his face became deep lines tracing around the corner of his lips, up his cheeks and across his forehead.

"Empañada o gaseosa?" A round faced, olive skinned man with stained clothes stood over the girl. Eddie watched her eyebrows rise, her bottem lip roll over her top and her head shake."Chica, empeñada o gaseosa?"
She plunged into her camera bag and pulled from it a small blue phrase book. She flicked back and forth through the pages until Eddie interrupted.
"Would you like a soft drink or a pie?"
"Oh, umm no thanks." She said turning her attention between the two.
"No gracias. Señorita no habla español."
The man left, and his spiel rung down the aisle
"Thanks." She said timidly.
" Oh its fine, don't mention it. Where are you from?"
"I'm a kiwi."
" Is that right? I´m from Invercargil. Eddie's the name." The old man extended a caloused open grip which wrapped her soft pale hand almost to the wrist.
"Paula," she said with a soft smile. " You speak very good Spanish."
"Thanks, I guess that's what happens when you live with a Spanish speaker for 50 years"

He reopened the page of his book, read for a while then eventually sleep came.

When he woke Paula sat next to him, wide-eyed and watching the amber creased horizon. Eddie scratched his neck and tensed his chest but it came. Thick, wet, choking coughs. He produced a handkerchief from his sleeve and covered his mouth as blood came like a sawn-off shotgun. He wiped his mouth clear then spoke a morning croak voice.
"So are you having your gap year?"
" Yeah something like that, I am actually visiting my mum"
"She lives in Cordoba?"
" Well in a small village beyond Cordoba, I haven't seen her for a while." Paula closed her eyes and ran a hand through her straight blonde hair and over her ear.
"I bet she's excited to see you?" Paula looked Eddie in the eye.
"Well, she doesn't actually know I am coming, its a long story."
"Paula, we have a very long time at least a few more hours before we reach Cordoba." Eddie spoke with a sly happy grin and quarter-moon eyes. He pronounced Cordoba with a chesty 'cor', then a rolling 'r' then the last of his breath was pushed out, tongue tapping top teeth then lips meeting and opening again 'doh-bah'.

Paula paused, her eyes moved around and she rubbed one arm, even though inside the bus it was warm.

"It's complicated," she began "My mother was once a photography teacher at my high school then one day she disappeared. There was no incident or fight she was just gone."

Eddie grew curious, his thick dark brow almost converged over the bridge of his nose and he ran his tongue over his dry lips.

"Usually she would give me a ride to school in the morning but that day I woke and she was gone, no note, no good bye, nothing." Paula's cheeks went from pale to rose.A tight smile stretched across her cheeks. She continued, " So she was gone without explanation, my father lied and told me she had gone to visit my Grandmother. A few days later he confessed he didn't know what happened to her, she just packed her clothes, took some money and left."

Eddie eyed her with small dark eyes his face hung long and droopy, he nodded and she continued. "He told me she left, he told me he didn't know where she had gone or why. Weeks past slowly, then months and finally years. A new woman began to visit and eventually she moved in. She was nice at first and Dad and her seemed to get on well but she became demanding and scolded me when any opportunity presented itself. I began to abandon hope of seeing Mum again. My days were long and I changed schools. I worked hard but no longer pursued a career in photography, I lost it. Then it happened. Late one night I heard the front door close down stairs at our house. At first I just assumed Dad and his new girl were coming in but my alarm clock read 2 am and that seemed too late."

Eddie's eyes were narrow with concern. He could feel a cough coming on but he swallowed hard and nodded Paula on.

"I heard people talking. Dad's voice and another man's voice. I opened my bedroom door slowly with a long whiny creak then I gently moved down the stairs. I listened to the other man's voice and followed it to the door of the lounge. I peeped through the crack and discovered a tall lean gaunt figure beneath a cowboys hat sat under the dim light of the lounge.

His dark eyes were on my father and he spoke, 'I am getting close, it was Paris last Summer and I have evidence to suggest Cairo is next.' The man placed a cigarette between his chapped lips. My heart beat almost drown out the conversation in the lounge. Dad pointed to the corner at the smoke alarm and the man placed the cigarette back in the pack and handed him a dust-brown envelope and said 'Here, this is all the information I have.' Dad thanked the man and watched him leave. He Then took the envelope and placed it in the middle of his set of drawers in the lounge."

"The next day before I went to school and after Dad had left for work I went into the drawer and I found, hidden beneath the facade of old power bills, a dozen blank envelopes," She paused and Eddie drew a sharp breath through his nose and his eyes grew wide and wandered then fixed narrow again. "Some of the envelopes were old and tattered, some crip and new, but invariably inside every envelope I found a letter, all hand written and often accompanied by receipts or flight ticket stubs. The letters explained everything, Mum had been to Tokyo, Istanbul, San Francisco and Paris. I was still in school but I knew when I finished I would find her; track her down and have all the questions answered. I waited two years and most days checked the drawer, read over old letters, studied her travel patterns. The letters came once every two or three months. Finally no more letters were added to the drawer about six months ago.”

“ The last letter explained she had bought a property in Alta Garcia, a small town outside of Cordoba." Paula reached into her bag. She pulled from it a small leather bound journal, opened the first page and out fell a square photograph." And the letter was accompanied by this photo."

Eddie accepted the photograph and he studied it. In the center stood a tall slender woman dressed in light jeans, a thin white hanging shirt and a long black cross with a long black beaded necklace. She smiled a subtle peach smile and her maple eyes were vivid contrasted against dark mascara. Her hair was pulled tight, tied at the back and came down over one shoulder. Around her stood a hand-full of dark skinned children the oldest no older than 10. They were laughing and grinning and staring into the lens. Behind the people was a dusty maroon clay shanty.

"Your mum, she's pretty"
"She looks very different, she used to have short hair and thick lipstick, and the cross, I had never seen her wear a cross at home, she just seems so different, I guess she just changed."
Eddie sat a moment, he locked his fingers together and brought them to his mouth. He drew a long breath through his nose, turned to Paula and spoke."I have lived 78 years and I am yet to see anyone change, I have seen their face change, their hair change, their location and ocupation change, but, from the day someone opens their eyes til the day they close them, at the core they remain the same, circumstances change but people; Hell, people don't ever change." Eddie watched Paulas eyes flash painful for a moment as though she was staring into the sun, then her gaze fell to the floor. Her shoulders dropped slump. Her painful look warped confused and ponderous, musing then, with a long nasal breath, relieved.

"You never told me what you came over here for?"
He glanced outside and caught glimpse of another religious relic - a large wooden cross set on a hill over looking a small village. A smarting pain flashed in his chest and his face felt warm. He swallowed and answered quietly, "I promised my wife I would visit this place this place. I promised I would visit her family."

The dusty milieu was changing around them. Cacti became lamp posts and the vast flat horizon was lost at first behind shops, shacks and fences, then dull buildings of the commercial model. Colour and character yielded to the cold city and occasionally a towering cathedral would pass by but sky high sleek office buildings, for the most part, owned the city. The people were no longer toothless bearded village folk in rags and barefoot children hoofing a makeshift football. This crowd walked with hurried strides, detached expressions; barking down their cellphones and sipping from their paper cups.

Eddie and Paula sat silent and still. The bus slowed and swung beneath a high steel roof and into the bus depot. The bus exhaled and the doors swung open.
"This is my stop." Paula stood to let Eddie pass into the aisle. He reached into the overhead storage and pulled down a brown leather duffel bag with worn handles and 'Gisela Lopez' embroidered in mustard lettering; tastefully and discretely placed in the bottom left corner.

"It was nice to meet you Eddie."
"You too kid. Good luck finding your mum."

Paula smiled and glanced down at the photograph in her hand. Eddie walked with a stiff leg, he eased himself through the door clutching a handrail in one hand and the brown bag in the other. He pulled from the bag a tattered square map and hobbled along. He breathed heavy and coughed up a little more blood. He glanced down at the cold pavement beneath his dust brown leather shoes. The sharp pain in his chest came again and he realised his heart was still broken.
Last edited by joshuapaul on Tue Jul 20, 2010 2:37 am, edited 12 times in total.
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Hello there

Well, you are right about the errors in there but they are not critical :) . Wow, I love the way you write. This was a very cute story and wrote it in such a way that I was drawn in until the end. I was kind of looking forward though to actually reading about the actual meeting with the mum but I can see you decided to leave it to the reader's imagination.

Paula shuffled down the aisle with short side steps. The bus gave a jolt and she fell into her seat beside Eddie, who glanced up, paying the young blond girl a moments notice before continuing his book. The bus rolled over sandy plains and through dusty red towns. Paula spied a huge wooden crucifix, casting a long shadow across the small village.

An hour passed.

The gears were grinding loudly as the huge bus wheeled into the station. More passengers climbed aboard. Outside the window Eddie followed an old couple in rags. He smiled, his pupils shined blue between his half closed eyelids, and all the creases of his face became deep lines tracing around the corner of his lips, up his cheeks and across his forehead.

Gosh, I just loved the way you described the sitaution here. Even through out the story, there was great imagery.

Well written piece. Good job
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Hi there! Esther Sylvester is here for her one hundreth review. Huzzah!

This was very good! Nice pace and imagery, with an ending that left the reader wanting more.

The grammar wasn't horrible, but could be much improved to make this look cleaner. You have a tendency not to finish your quotations with periods so they look like this: "Hi, my name is Bob", which isn't correct. However, I'm not a grammar person so I won't pick that stuff out.

Eddie's character was facinating, and your descriptions were great too. I have a feeling like I missed part of the story somehow though, because at the end I wasn't quite sure what happened. Perhaps if you break the girl's story down a bit more and make it more succinct that would help the readers out.

My favorite part of this was the imagery, which you don't need to improve here.

Overall, good job. I like your writing style. I feel like it could be more succinct though, and prove a point a little bit more. With some minor editing, this will be perfect. Keep it up!
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I felt the story was interesting and it did indeed hold my attention.
There is a lot of little stuff that could use cleaning up, just rereading/rewording. For example I felt this line "An hour passed." was a bit unnecessary. I would personally have gone with something along the lines of "A time later the gears ground loudly as the huge bus wheeled into the station." Ummmmm.... There is lots of little stuff like that, but it might just be me, I would spend some time reworking it. There were times I felt your dialogue was overly descriptive "I heard people talking. Dad's voice and another man's voice. I opened my bedroom door slowly with a long whiny creak then crept down the stairs one gentle step at a time. I moved toward the lounge, toward the source of the sound. I listened to the other man's voice. I peeped around the corner and discovered the two sitting on wooden chairs under a dim light. The man was tall, lean and clean-shaven with dark eyes and a serious long face under a cowboys hat.   It doesnt sound like the way a person would talk in real conversation. I also felt like there could just be a lot of trimming down, some unnecessary sentences and words and whatnot. Thats just my two cents, really I enjoyed it though. Keep up the good work.




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Thanks for the helpful reviews. Edited once. I still alot of punctuation and things I am unsure about, I need a nitpick...
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I'm going to give this a detailed, specific review first, and then talk about the bigger picture. I think I'll just do this in the order the story is told, for ease.

Paula shuffled down the aisle with short side steps.


Not that every first line has to begin with a flashbang effect, but have a think about whether this is really the best opening line in the world with which you could begin the story. To be honest, it doesn't draw the reader in; it hints at no kind of mystery, something needing resolution, perhaps a conflict or much character. It's plot-oriented, yeah, and perhaps that is what makes it so mundane. In a short story competition, you can't afford to have something this dull as the beginning line - sort of makes it look like you don't particularly care what the judge's first impression will be of the story. I am quite certain the KMA competition - as heated as it gets - is rather harsh. I daresay they do not even bother reading all entries.

The bus gave a jolt and she fell into her seat beside Eddie, who glanced up, paying her a moments notice before continuing his book.


I am being rather precise here, because I feel you need to get this. Who is your main character? Paula or Eddie? Firstly, you lead us to think it is Paula because you begin the opening line with her. However, you later have Eddie introduce himself to her. If she didn't know him to start off with, then she wouldn't have known his name in the second sentence. And skimming through the later bits here, I notice that you are sort of keeping an omniscient viewpoint to the extent that both Paula's and Eddie's thoughts / actions / perceptions are portrayed in the same manner. You need a focal point. You need someone the reader can attach themselves to, identify with. The story rather messily breaks that convention of writing.

Paula spied a huge wooden crucifix, casting a long shadow across the small village they ambled through. Some time passed and the clear night sky was dotted with stars and a half moon. The gears were grinding loudly as the huge bus wheeled into the station. More passengers climbed aboard. Outside the window Eddie watched two prune skinned folk under bright dirty rags hanging from the crown of their head over their hunched shoulders and down to their cracked feet on the dry earth.


See what I mean? First you say something about what's happening from Paula's viewpoint, then from Eddie's. There's an obvious lack of consistency here, and it's not looking good. It seems like you couldn't really decide who to say it from so said it from both. Decide who's story you want us to follow - this will help you with stronger charactersiation; I'm not getting a good idea of what either character is really like here, so that is stopping the story from any depth whatsoever at this point. Also note that the second bolded sentence is ridiculously long - I forget what it started off with when it ends. Shave some imagery off it. (By the way, the sentence that follows this is too long as well.)

"No gracios, Chica no habla español." Eddie interupted.


Eddie does not know Paula at this stage of the trip. How would he know whether or not she talks in Spanish? You need some indication of him noticing her blank expression. Oh yeah, and since I speak Spanish, I'm going to comment on that as well: It should read 'No gracias. No habla español.' Exactly that. You need to send this through spellchecker - I won't point out every spelling error - but 'interupted' with only one 'r' is not looking nice.

"Yep I sure do, where are you from?"


I'm not the type to comment on every punctuation error, either. But since this is the first time, I will: it should read 'Yep, I sure do. Where are you from?'

"Paula," she said with a sift smile.


A sift smile? Really?

He reopened the page of his book, read for a while then eventually, like a gentle tide rather than a heavy wave, sleep came and when he woke the night had been and gone.


Avoid run-on sentences like the plague. Break them up. And I do not like the time lapse - it should be more subtle. Don't parade it in our faces.

And the dialogue is not particularly exciting or original. In fact, I almost think it redundant. It adds nothing to our perception of the characters. I don't feel like I know them any more from what they say. It's so bland that it's generic. What is the defining spark to the characters? What makes them stand out? What sets them apart /is their point of difference? A story cannot run on plot alone - you need characterisation as well. And I'm not seeing that here.

Paula next to him sat wide-eyed, glaring across him at the amber creased horizon.


So, they have a real short conversation, a meagre introduction (from which I assume they will get along), he falls asleep and then she glares across him? That's a bit harsh. Change the verb. Again, you're telling us what one character does, and then another - there's no focal point to the story. At this stage, I don't particularly care what happens to either of them. That's not good - that indifference. Make me care. Make me want to know what's going to happen.

He whiped his mouth clear then spoke a morning croak voice.


Ahem. 'Wiped,' not 'whiped.' And I really hope this is the last spelling error. Please send it through spell-check or read it more thoroughly before you post. These glaring errors are just embarrassing - for both me and you.

" Yeah something like that, I am actually visiting my mum"


Full-stop at the end of that sentence needed. And 'Yeah, something like that. I am actually visiting my mum.' (Note the commas, full-stops.) And the line is boring anyway. Characterisation is needed.

" Well in a small village beyond Cordoba, I haven't seen her for a while."


Okay, I am going to say that this is definitely the last punctuation error that I'm going to comment on. "Well, in a small village beyond Cordoba. I haven't seen her for a while." Critically note the commas and full-stops. I'm betting you're going to need them later on.

'duh-bah'.


*clears throat* Shouldn't that be 'doh-bah'?

Paula paused, contemplating the hours of daylight that would pass either in silence or in conversation, she decided the later would see the hours pass like the street lamps that came in the night, or the hill top holy symbols that came in the day, silence would see the trip go like slug across the continent.


Too long. Clip it. And all this description you're throwing in is doing nothing for the story itself.

---

Actually, I don't think I'll carry out doing a line-by-line critique here. I've identified systematic errors that I'm going to state in some overall paragraphs instead. That way you'll get a summary of issues and you can go look for them yourself. I shouldn't really need to tell you.

Style

Perhaps even more important than content, one might say. It determines how your piece will come across. And currently, it's bland, it's dull. There's little setting it apart, moreover, with the run-ons sentences and redundant descriptions, it is even more sluggish to have to read. It could be so much tighter, smoother. One major issue is the description. Yes, I have read Spanish authors, and I know they have a heavy, rich, drowsy and overwhelmingly descriptive style of writing. However, this is not in any way told in that form, and yet you are still trying to pack in descriptions at odd parts with no warning. They appear useless. They do not add to my perception of the characters or plot and do nothing more than to fill up space while you think of something else to say. A few are fine. But you do not need to toss in a simile or metaphor at every turn, just to remind us that you can do it.

Dialogue

It's overused and not well-written. The first introduction of the two characters to each other is shocking. There's nothing that sets the dialogue apart, that makes it important. It is almost as if you have used it for the sake of using it. Spice it up a little. Add natural quirks of the characters to it; make them say something characteristically NZ-ish to each other, have them talk about something meaningful. Right now, all I'm getting is background radio. I don't see any immediacy in the dialogue, no reason to continue reading it. And one major complaint I have is the way you use it to tell the girl's story to the old man. This is simplistic. No one likes to be told something secondhand. I want to actually see it as it unfolds - in snapshots, or whatever you want (flashbacks to the past, even) - I want to feel it and breathe it. I don't want to be tossed a dog-eared ratty-covered book that tells me the story like the dialogue here does. I want to be a part of it. I'd suggest rewriting this without dialogue entirely, actually. In fact, I don't even see the purpose of Eddie, other than someone who listens to her ramble - but more on this later.

Narration

Reading through to the end tells me this is Paula's story. Who is she really? You give a lot of plot, a lot of back-plot (in dialogue), but this in no way tells us about her as a person (or, more appropriately, [i[shows[/i] us). I don't really sypathise/empathise/identify with her. This is primarily because she only does things the way everyone else would; her actions do not hint at her character. But in this section, I want to talk to you about narration, yes. This is Paula' story. Not Eddie's. So, give us what happens through her perspective and hers only. Hell, even make it in first person, if that's what it takes! Currently, it appears as if you are trying to force Eddie into the narration mix as well (see above) and it looks sloppy, since you more or less forget him later on in the story.

Characertisation

Most of it I have covered in narration above, but there's things I need to add. A story is not just something we see played out and have no reactions for. It is something that we, as readers, actively participate in. We feel what the characters feel, we think as they do. I'm not getting that here. I feel rather indifferent to Paula, and that's such a shame, since I can see the story had such potential to make her a stronger character. Not strong in the literal sense - just in the intensity of our focus on her. In the strength with which we perceive her as being real, an actual, three-dimensional person. One big thing stopping you from doing that right now is the dialogue that tells her story. Show it to us; don't tell it. Telling is boring. It makes me yawn, sigh. I feel no sense of belonging in the story if I have it told to me. But if I, instead, experience it, then I do. Flashbacks may be a good idea here.

On that note, I want to ask you why Eddie is even there. He serves no other purpose than to act as the other NZer and to listen to her story. He is redundant, in every sense of the word. He is robotic, almost. Predictable. There for the sake of being there. Hence, I'd vote him out, personally. The story would do just fine without him; better, in fact. Now we can have all the focus on the girl, Paula and her thoughts in the here-and-now, as well as her past in the flashbacks you might have to make things sharper, cleaner.

Plot / Content

I've already said the way this is told is not working - the dialogue narration. This is further not working in terms of the plot. Currently, the major plot is a bus-ride and the subplot is the girl's story. I believe it would be far more effective if the main plot was her story and the subplot was the bus-ride - a reversal. And, for all the issues I have pointed out so far, I still feel that this has the potential to be a rather striking piece due to what it is essentially trying to say. A runaway mother. A daughter in search of the childhood she never had. A travel overseas, estrangement due to culture and separation. These are not ideas to be tossed about lightly. They could have so much more gravity, depth, if only you let them revolve and rise more in the piece. Content/plot-wise, I think this could do with some heavy reworking. You have the bare bones of the story; this is the first draft. Now, instead of telling us things, show them to us. Perhaps have back-and-forth switching sub-stories of the girl in the present (bus, on her way there), and the girl in the past (while experiencing what it was really like). I think the strongest ending you could possibly have is one that ends on a beginning - the actual meeting of the girl and mother. This could invoke such a strong reaction from the reader, such a powerful emotion, and it would mean the story would end with a bang, rather than trailing off somewhat uselessly into the hazy distance like it is now.

Spelling/Punctuation

Basically. Fix it. Everywhere. No run-ons please, watch the commas and actually read your work carefully before you post it here. It's much more pleasant to read that way and makes it look as if you actually care about what you are putting up.

---

Not terrific. Not an absolute shocker, either. I like the idea - I just do not appreciate the execution as it is right now. You still have two weeks to fix this, though. So. Good luck. And PM me if you have any issues, or would like me to look over a rewrite. Honestly, the best advice I could give is to read some awesome short stories - as a starter, you could read the past winning KMA BNZ ones on the site, and then get a collection from the library. That'll sharpen this up.




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Damn, the reviewer above me shredded this in detail. I'll try my best to add what I can.
Oh its fine, don't -- it's

there's alot of moments where you forget to end dialogue with a period, or use a period ibstead of comma or forget to break apart adressing a person with a comma ("how you doing, jack?" not "how you doing jack?")

This reads like an older piece for you. The description of the characters and their actions feels stiff, and there's one to break up every line of dialogue that I never got a true sense of flow throughout. There's line after line of he did that, he looked like that, their clothes were this, etc.. There's no indirect description of movement that brings them to life, don't just flat out tell what they're doing, show it.


I did find your charactersnunique and well defined, as always, and despite some stilted dialogue the vast majority of their words and actions are fairly compelling.
So this is a solid piece, as always, it just doesn't quite reach up to wat I usualy enjoy from you




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Yes I should have buried this one out the back with the dog. It never really got off its feet, I never came back to it and it never really stayed with me. When I wrote this I was writing much better work, I guess this is one of those things where despite how much you want to love it and nourish it, you simply can't.
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grammar is hard and i dislike it immensely
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