Fluorescence

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This is something that came to me a bit ago. It's a rough draft and I know it's not perfect, but I'd much prefer honest criticism to cankerous little nitpicks, so please try to avoid those--I'm sure if you just tell me to read over it again, I can find them myself. I know it doesn't seem to be any sort of romance yet, but you'll just have to wait and see, won't you?

The cold fluorescent light shone down onto a single plastic table, where two hands lay, one on either side. The first pair was darkened and manicured, in a manly, coarse sort of way, while the other pair was small, pale white, the fingernails dirty and broken, and a puckered pink scar across the back of one, a black-inked number across the other.

“Miss Rebecca Marx,” growled a voice, “date of birth, January twelfth, fifteen nine oh four seven six. Sex female hair brown, blah blah blah. Who are you really, Marx? And how do you expect us to believe you are what you say you are?”

“It wasn’t my fault,” mumbled a tiny voice, “none of it. Jake said—”

“—Jacob Anseril is the goddamn mayor’s son, if you will pardon my Udenese, Marx. And Mr. Anseril was in no way implicated in this crime, except on that side of the law that you will never see, the side that prevents crime, as opposed to perpetrating it. This, Marx, is what you will say at the trial tomorrow, if you value your pathetic life.” The growly voice was raised just slightly, still cold and stiff, but all at once commanding, as it had not been before.

“That’s what you want me to say? To lie under oath for the sake of some jerkoff’s son from the better side of town?” squeaked the tiny voice, horror in every word it spoke. “Never. Never, and you can’t make me.”

“Can’t I,” muttered the deep voice, and the coarse hands twitched, twirling a ballpoint pen around idly, its metal sides glinting in the ugly light. “Marx, if you understood the law as I do, perhaps you would be a bit more compliant.”

“I don’t think so,” the small voice said, a bit braver-sounding, if anything. “I didn’t do anything, and I shan’t say anything more than that, tomorrow or any other day ‘til the one I die on.”

“Hah,” said the deep voice, “perhaps that won’t be so very far away as you think.” A silence followed in which the only sound was the tip-tap of the pen on the plastic table. Then a grunt, like the noise a cruel revelation makes, or would, if it could. “Marx? Have you ever heard of cellblock 4A?”

“No. Should I? I’m n-not exactly studied-up on the layout of this horrid place.”

“Don’t try to get clever with me, kid. I’m not half as tolerant as you seem to imagine.” A slight pause. Tip-tap-tip-tap-tip-tap. “Cellblock 4A is where we keep the particularly depraved ones, the sort whose moral compasses not only do not point north, but probably are triangular-shaped and lack any sort of arrow at all—not getting any of this? Let’s just say the people we put in there for…disciplinary reasons don’t usually come out as they went in. Remember that woman a couple years back – what was her name – who refused to give the government any information about Hirslek VII’s plans for war against Cervero?”

“Maria Greshull? ‘Course. She was all over the news, right up until she…wasn’t,” the small voice said. “Wh-what are you getting at?”

“We put it off until it was our last recourse; that’s the general rule, with 4A. But she still refused to give us the information we required, so she spent a night in cellblock 4A, cell six, and d’you know? All that information we needed just came right out, next morning. In a bit of a mess, honestly.” A chuckle, the sort no one ever wants to hear from another sane human being. “Understand that due to your young age, it would be a bit of a liability to put you in there, but ah well, there are exceptions to every rule.”

“I don’t understand,” the tiny voice whispered, and it was a lie, as much as those three words ever could be.

“Yes you do, of course you do, and guess what, Marx? I’m giving you your last chance, now. Promise to admit it was you who committed this terrible crime, promise to insist that Jacob Anseril had nothing whatsoever to do with it, or I’ll just stop by cellblock 4A on my way out at five-thirty, and toss you in the door as I’m going past. Is that what you want, Marx? Are you really willing to subject yourself to whatever horrors lie in wait for you there, just for the sake of a relative truth?”

“It’s not a ‘relative truth’! It’s the truth, the only truth, and goddammit, I won’t lie for Jake or anyone else. Besides, it isn’t as if I’ll benefit from lying—what do I get, twenty years in prison? Don’t pretend it isn’t true, Mr. Ferd, I’m not that stupid. Jake doesn’t deserve to be saved, not if he’s willing to let me take the fall for this.” The little voice was trembling, but determined, and the small, pale hands came back onto the table, clenched into fists and not shaking a bit.

“Hmmm,” the deeper voice grumbled. “You leave me few choices. Think just for a moment more, Marx—just a moment more. This is what you want? I cannot guarantee in the slightest that you will come out unscathed in any way, shape or form.”

“I won’t lie,” the tiny voice said stoutly. “That’s the only decision I’m making, and the only one I can make.”

“Say what you like, little girl. I do not think you will be so very courageous, come morning.” There was a sound like a chair squeaking against linoleum, and then a squeal and the coarse hands caught the pale ones. The clatter of a struggle against the wall, the slam of a door, and the room was empty.

The fluorescent lights buzzed, flickered, buzzed. All was quiet once more.
Well, I can't eat muffins in an agitated manner. The butter would probably get on my cuffs. One should always eat muffins quite calmly. It is the only way to eat them.

--Algernon, The Importance of Being Earnest




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Hi, i couldn't find any mistakes anyway, so no problems there. Is this part of something longer? I know you said 'you'll just have to wait and see' but you didn't actually say whether you were planning on making it longer.
Anyway, i really like it. The contrast of the hands at the beginning is a nice touch. You expect the manicured hands to be from someone kind and gentlemanly, and the dirty, scarred hands to belong to somebody a bit more sinister, but it soon becomes clear that it is the complete opposite.
I like both of the characters. The girl comes across as really timid and helpless, but strong too, in how she refuses to lie at the trial.
There was one thing i didn't understand.

And how do you expect us to believe you are what you say you are?


I'm not sure what he's getting at here. It sounds like he's implying that she's not human, and she's only disguised as being human. Or does he mean innocent? If so, why doesn't he just say that?
And when he says 'Who are you really?' it makes her seem like some kind of secret agent. But the rest of the story doesn't fit with that, she's too timid.
I like that it's mostly dialogue. Their personalities seem to come out more this way, and i don't think you need any more description of the place they are. It's starker this way.
I look forward to reading more.




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This sounds like a really, really good start to a story. I hope you get the next part up soon so I'm not in suspense for forever!
First: I like your premise. It's a solid place to start your story.
Second: Why all the mystery? Do we not get to find out what the two of them did that was so horrible?
Third: What's the black-inked number on the back of her hand? A lucky number? The number the jail uses to identify her?
Fourth: "date of birth, January twelfth, fifteen nine oh four seven six." What do those number mean? Is it her year of birth? If so, jsut write it our in numbers (1590746) (wow, that's quite a time period... I doubt it's her birthyear now that I see it. Please explain what it is, though, because it is pretty confuddling.)
I hope this helped! PM me with questions or whatever!




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I just want to read more and more and more to be honest with you! Please continue this piece!

I was captured by your title
Fluorescence
as it is very unique and different compared to the other romantic stories I have read. It captured my attention and I love that in a piece of writing.

I always think the title is so important because it draws in your audience!

What did they do that was so horrible? I am curious! Give me a clue at least.

“I don’t understand,” the tiny voice whispered, and it was a lie, as much as those three words ever could be.


That is my favourite part of this piece! Please continue this!




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That was certainly an entertaining read. The characters were fantastically portrayed and you can get an essence of their relationships within the first few paragraphs - you've got talent, en bref. What I did notice that I think could use work (you did invite cantankerous criticism, honey) was your way of writing dialogue. It seemed to follow the same pattern each time and it made the story predictable, even if you weren't sure of their exact words. It seemed to be something like [half sentence] description of their location/tone/body language [Ending or new sentence]. I don't think this is a bad way of doing it, in fact it's quite mature. Being able to link your speech is a good skill to have, but I think some variation in this case would be a good idea. Here are some tips that I've stolen from about.com

Don't Overdo Dialogue Tags.
Veering too much beyond "he said/she said" only draws attention to the tags -- and you want the reader's attention centered on your brilliant dialogue, not your ability to think of synonyms for "said."

Listen to How People Talk.
Having a sense of natural speech patterns is essential to good dialogue. Start to pay attention to the expressions that people use and the music of everyday conversation. This exercise asks you to do this more formally, but generally speaking it's helpful to develop your ear by paying attention to the way people talk.

Not Exactly like Real Speech.
But dialogue should read like real speech. How do you accomplish that? Alfred Hitchcock said that a good story was "life, with the dull parts taken out." This very much applies to dialogue. A transcription of a conversation would be completely boring to read. Edit out the filler words and unessential dialogue -- that is, the dialogue that doesn't contribute to the plot in some way.

I hope I've not been too harsh, and I really do hope you keep writing! Your story is fun to read because it's interesting, so I hope you keep that up in pieces to come.

~OphelieLiv



gonna be honest, i dont believe in the moon
— sheyren