The Price of Magic

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Hi! Thank you for clicking this link.

Spoiler
This is the first three-and-some-change pages of my most recent project, which I'm calling The Price of Magic. If you'd like to give it a read, I would love to know whether or not it engages you in any way. Would you keep reading, maybe? Did I make you snore on your keyboard?

Thanks again for looking!

I’d like to think that my part in everything started when Sheila Atkins came to wake me up.

She opened my door precisely a half an hour before breakfast, which was something I knew because in our house, my mother arranged for the cooks to strike bells one hour, thirty, and fifteen minutes before a meal was served. She did this so that not only was there never any excuse for lateness, there also wasn’t one for arriving disheveled, or arriving just in the nick of time.

The bells were administered by the host-boys, who stood on the grand staircase at the designated intervals with the bells around their necks, and they would beat them with little hammers. The bells rang three times at the half-hour mark, and the third iteration had just died when Sheila walked into my room.

“I need your help.”

Apparently unconcerned with checking to see whether or not I was sleeping, Sheila sat down on the nearest ottoman and waited for me to answer.

Briefly, I toyed with the idea of pretending to wake up, but her businesslike manner made any kind of subterfuge seem like a bad idea—how had she known I was awake in the first place?

“What do you need?”

The ottoman she’d chosen was against the wall, to the left of my bed, and I turned in that direction without sitting up or throwing off my blankets. I knew I probably looked ridiculous, but I didn’t want her to see my pajamas. On some level, I recognized that as absurd (she’s walked in on me at seven in the morning; what else would I be wearing?) but Sheila was also one of my sister, Jane’s, many beautiful friends and she was four years older than me and probably well-versed in what adult men—men like my sister’s husband, Gerard Dupon—wore to bed. I didn’t want to fall short in any criteria of manliness if I could avoid it.

“You know how today is Gerard’s birthday?”

I hadn’t actually been aware of that, but I nodded against my pillow anyway. Probably my ignorance was my own fault.
“Well, Jane never had time to pick up his present yesterday, so she asked me to do it for her and then come by their room this morning and leave it in the foyer, right, so that he’d be surprised first thing when he woke up.”

“That’s…um, nice.”

Not knowing what else to do, I nodded again. Each passing second and each additional word out of her mouth was making me more and more aware of how much I disliked this situation: my sister’s friend (who before today had spoken to me precisely twice, once to introduce herself and once to ask me to move, please, I was blocking the bathroom) and me, wrapped up in blankets like a hybrid between a chrysalis and a swaddled child. Clearly, we should not be sharing breathing space.

It occurred to me that I might be dreaming, in which case the awkwardness would end at any moment, probably with my mother shaking me awake, up in arms that I’d slept through her breakfast bells. I looked forward to it.

Oblivious, Sheila kept talking.

“I did like she asked and went up to their room, but the door was locked, so I knocked, right, and for a while I thought they must have been asleep, because I couldn’t hear anything. I kept going, loud enough to wake anybody up—“

“Jane’s not a heavy sleeper,” I said. “She wakes up if you so much as sneeze.”

Unexpectedly, Sheila laughed, and I wished I hadn’t said anything because my previously blank expression had to have been preferable to the stupid look of unrestrained pride that took over my face before I could suck it back in.

“I know,” Sheila said, “poor Gerard, right? Anyway, I ended up putting my ear right against the door, trying to see if anyone was even in there, and when I did that I heard this noise.”

“What kind of noise?”

Sheila opened her mouth and then hesitated.

“I don’t know how to make it,” she said. “But I guess if I had to say…it was a wailing?”

“Wailing?”

“That’s the closest I can think.”

She was staring at me intently. For the first time, I noticed that she had a hint of a moustache. I wondered if Jane had seen it. If she had, why hadn’t she told Sheila to take care of it? I’d have to ask.

“So you’re telling me my sister wouldn’t open her bedroom door for you because she and Gerard were too busy wailing on the other side?”

“Why would I come all the way here to tell you that?”

I recognized the look on her face, but it took me a moment to realize that was because it was the same expression Jane used whenever I said or did something she deemed too stupid to deserve a vocalized response. It was a combination of a scowl and a glare, her lip curling enough to show off her teeth.

Staring at Sheila, I was reminded of the flapper girls I’d seen on movie screens. They all walked the same way, surefooted and slinking despite their pointy shoes, their long, long legs rhythmizing with each other.

How did girls do these things?

“Paul? Paul, I’m talking.”

Sheila was still giving me the look. I drew up my blankets until they were on top of the most of my face.

“Sorry,” I said through the wool.

“So, as I was saying, I could tell—or I guessed, I suppose—that it was Jane on the other side of the door, so I called her name and said, ‘Jane, it’s Sheila’ and for a while she didn’t say anything, and then all of a sudden—she was loud, she must have been talking right into the keyhole—she said, ‘Go away.’ ”

She stopped again, looking at me expectantly.

“So…uh. Did you?”

“No!” Sheila crossed her legs, looking highly offended. “What kind of friend do you take me for? I said, ‘Jane, darling, you sound upset, is there anything I can do?’ and there was this pause, right, no wailing or anything, and then she said, ‘Paul. Get Paul.’ ”

She paused again and leaned against the wall. I was almost certain she was finished, but out of fear of invoking the look again, I asked, “Is that when you left?”

“To get you, yes.”

“All right.”

I shifted beneath my blankets. Sheila continued to perch on the ottoman, her eyes on me. I felt like a zoo animal.

“Well?” she said. “Aren’t you going to go?”

“I…yes.”

“Then come on! Get up!” She jumped to her own feet.

“Can’t—don’t you have somewhere you need to go?”

I had made it this far into the conversation underneath my blankets, and I didn’t see why Sheila Atkins and I couldn’t part ways without me exposing myself. Also, I was fairly sure that if I got up now, Sheila would follow me to Jane’s room, and her story had made it sound as if Jane had already sent her away once. God knew why Jane had done that, but I never understood the tiffs Jane was heaving with her friends beyond the fact that they usually ended in tears and, more importantly, any advice that I gave that could be construed in any way as unsupportive of Jane would somehow get back to my mother.

I wasn’t surprised to see the Paul-isn’t-worth-words look settle back over Sheila’s face, but I drew the covers a little higher anyway.

“Are you telling me to go away?” she asked.

This was a trick. The truthful answer was yes, but saying that meant that Sheila could go around the rest of the day telling everyone how rude I had been to her. On the other hand, saying no was the same thing as giving her permission to stay, which I didn’t want to do.

Unfortunately, knowing about the trick didn’t mean that I knew how to get past it.

“I’m not telling you to do anything,” I tried. “I’m thinking about Jane.”

Sheila was very pretty when she was annoyed. I thought sometimes that this was a major problem with beautiful girls: they knew that they looked better when they were upset and they went out of their way to look like that.

“You should know that I’m not some tactless busybody,” Sheila said, glaring down at me. “Jane asked me to come here this morning, so I did. If anything, I think she’s the rude one, asking everyone to cater to her like this.”

“Why does anyone have to be the rude one?” I wondered. I thought this might be another trick, but Sheila ignored me.

“If you want me to leave, that’s fine. I have a lot to do today, anyway. I was only trying to be helpful.”

Usually I felt self-conscious when Jane’s friends were in our house and they didn’t speak to me, but I was beginning to believe that I could go the rest of my life without talking to a girl if they were all like Sheila Atkins. I sifted through my head for something to say to her, but all I could come up with were rails at Jane for unleashing this woman upon me so early in the morning. I stayed dumb as Sheila finally turned her back on me and exited my room without giving any kind of goodbye. This, at least, unfazed me; Jane executed at least five similar dramatic departures a week. My mother hated them.

“All right, Jane.” I threw back my covers, too awake by now to care about the morning chill. “What do you want from
me?”

Not taking any chances, I went to my closet and picked out a dress shirt, slacks, and a pair of long socks. I frowned as I pulled on the thick cotton pants, watching the spring sun make glaring patterns on my window, but I had no idea where my warm weather wardrobe was stored. Also, Jane always made fun of my shorts. Apparently I had hairy knees.

“Better than smooth knees,” I said to nobody, giving one a rub through my trousers as I opened the door.
RachaelElg: ...we should take a trip to Home Depot while you're here




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Hi, Quasi! You did such a lovely review of my piece that I thought I'd return the favor :]. Let me start by saying you have an excellent opening line. It definitely sets the tone and draws the reader in. I love it when the opening statement gives what I call the Eyebrow Reaction. Because if the eyebrow is raised at the end of that sentence, it's probably worth reading, which was the case with this first installment. Great use of appositives as well. I adore them a little more than I should, and I was glad to see I'm not the only one that likes them as much :]. As for the actual action of the story, I definitely think you did a very excellent job of creating a suspenseful tone that was simple and direct: Something's going on with Jane, and nobody knows what it is. Word choice was phenomenal, by the way. Seeing subterfuge made me swoon just a bit :D. What else can I say without repeating myself? Ahh, what the hell. This was lovely! Looking forward to the next part! Great job!

- Jace.
You give me fever,
When you kiss me,
Fever when you hold me tight.
Fever, In the morning.
And fever all through the night.

Fever, 'Till you sizzle.
What a lovely way to burn.
What a lovely way to burn.
What a lovely way to burn.
What a lovely way to burn.




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Hey there!

I’d like to think that my part in everything started when Sheila Atkins came to wake me up.


This is a good, catching line, but whenever I read it, I somehow tripped over the words though I knew they were good. I couldn't figure out why, until right before I clicked "Reply," then it hit me: the tense. Though yes, this piece is in past tense, this beginning is not, as we can see when you use "like" (present tense) as your second word. Which makes the "I'd" rather out of place. It's like saying "I would" but it reads as almost past tense. And anyway, it's awkward anyway. If you just change it to "I" then the line will be a lot more catching. (And I apologize immediately for what I am sure will be a rambling review, if my over-explaining beginning has anything to say about it.)

“Better than smooth knees,” I said to nobody, giving one a rub through my trousers as I opened the door.


Okay, this is probably just me, but when I read this I imagined him sticking his hand down his pants to rub his knee - and of course, I double checked it and realized what you mean. I think if you change it to "Rubbing one as I opened the door," it'll read as a lot more normal. (It's like when you say something like "rubbing my stomach" or "kicked his shin" - if we know he's wearing clothes to cover that, we'll just assume that the clothes are in the way. "Through" makes it seem like it's touching it, skin to skin, even if that doesn't really work in context.)

Okay, so those are my only line-by-line things - and I mostly only pointed them out because they are the first and last sentences, which generally hold the tone of the piece and are what we remember the best, and are therefor pretty much the most important, as any single sentence goes.

My other comments are strictly general.

How old is Sheila and his sister? Because I'm a little uncertain about that.

Paul himself sounds at least fifteen, most likely older, which would make the girls at least twenty. Which would make sense considering his sister is married. But the way Sheila talks and acts, it's pretty high-schoolish. Don't get me wrong, I get that you're pulling out her characterization, but I think that you can do better. Right now, she's in the character mold that seems like it's a unique character, but it's really not, not really. I want her to sound just a tad more mature, and I want her to have personalized feelings and reactions and such. She's not far from being a truly unique character; it's like she's on the line and she just needs a shove in the right direction. But unless you shove her, she's going to stay as is.

Also about Jane, why is she in the same house as Paul if she's married, and why does she have friends over (unless it's just for daytime visits or something - otherwise it seems almost immature)? I'm just not getting a solid feel of what position Jane is in, and it's kind of annoying me as I like to know these kinds of things.

Another thing: what exactly is the setting? From the first few paragraphs I got an almost olden days/future, but more rural/undefined fantasy vibe (which, in my mind, are all fairly similar, and the distinctions come out later with the rest of the writing). But the way Sheila talked, it didn't match any of those. I can only classify it as modern day, which I'm not really sensing from anything else. I guess, I'd just like a little clarification - though it doesn't have to be a lot, and can be further confirmed later - just so long as I get a hint toward it and the hint isn't conflicting with everything else, as it is now.

My last comment is, why isn't Paul a little more curious as to what the "wailing" is? And why isn't Sheila? It doesn't really seem like the kind of thing that's exactly normal, especially if Jane sends away her friend and requests her brother. Again, you don't need a lot, but just a few small thoughts/narration whatevers would really help this.

Okay, so if my review makes it seem like this is chock full of problems, it's not, not really. Beyond all that, the narrator himself was captivating, and I definitely want to read on. Just at least think about the things I said, and I'll only want to read more. I'm not really the kind to gush out praises, but just know that this is good - one of the better things I've read. Then again, what I've read lately has been particularly good. Though that may be since what I've read has been by RachaelElg and Skins. And now you.

So... I guess this is bye. Sorry for rambling. If anything doesn't make sense or you want me to elaborate, post on my wall; I'd love to hear from you. And anyway, I love talking characters/plot/writing in general, so yeah, don't feel like I'm only being polite.

loveness, ultraviolet <3
"Blah blah blah. You feel trapped in your life. Here is what I am hearing: happiness isn't worth any inconvenience."

~asofterworld.com




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Hey Quasi,
just like to say, great piece! I really only have two points i'd like to say. One: there might have been a previous installment but this is great on its own.(haven't read previous installment if there was any.) i think it might just be me or a gender thing, because i'm a girl and i got a third of the way through before i realized the main character was a guy. I find that happens alot with written work when you've never met of even know the writer of the piece. so, really no big fault of your own. and Two: your form of writing seems slightly casual and the more comprehensive words sort of got lost. I felt that they were a little forced and i had to stop and reread the sentences with them in it for it broke up the general flow of the text. Over all though, I absolutely am enthralled and completely want to know what happens with Jane. Look forward to your next post!
P.S. Good Job on having no Mary Sues!
~When life hands you lemons, make grape juice and have everyone wonder how you did it!

~Taking imagination to a whole new level




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Hi, my lovely. I'm finally here to review for you. I'm glad I waited. Frankly, I didn't think I'd have anything to say. Knowing your writing as well as I do, and loving ickle Paulie as much as I do... I mean, what the heck was I going to say? "Oh, your comma's out of place?" That's not how we have ever rolled. At least not recently. And besides, I didn't see any commas out of place, so I'd just be lying.

You already know all the things I love about this chapter. First and foremost is Paulie's adorable voice. That makes me giggle. Here's where I'm biased, since I know what happens with Jane, and I know the future in store for Mr. Ickle Paulie, and I know all about his footsie pajamas (primarily because I made them).

I guess first, I disagree with UV (sorry, Vi!) about the opening line. While I see where she's coming from, I think the "I would" is absolutely crucial. It's a conditional, and so that means his liking to think that his part began then is conditional upon something. There's the implied, "I'd like to think that it was this way, but _____" which I like. At the every least, it makes Paulie seem even more uncertain of himself, because his liking to think that is conditional upon something (*cough*hismother'sapproval*cough*) [/overanalysis]

I do agree with UV about the last line, though. I read it twice as well though frankly I'm surprised his mother didn't lay out his outfit for him lest he commit a grievous fashion error and it could use with some reconsideration, perhaps.

In the White Void department... you're going to have to ask someone else about that, as I'm helpless this time around. I know too much and my imagination is biased by that knowledge, right down to the staircases and the carpet runners and a particularly gaudy chandelier in the foyer.

Sheila, Sheila... I was so taken by little Paulchen that I didn't pay all that much attention to her. I also got this air of her being not that important in a broad sense. Sure, she's immediately important, but only because she's there in the room, applying the conflict and the pressure through a series of deft and practiced looks and glances. I imagine her blond, with gloves, dressed up to the nines even though it's early. A cute hat that she's not wearing. French braids because she's true to her Oregon Trail roots. And for some reason I think her family owns a ranch, because I see her riding horses.

But, still... I see her presence has having the imminent of importance of a high school's most popular girl talking to the little wittle kid with the rolly backpack and the freckles. All-consuming for the time being. But, of course, momentarily.... *snickers*

I think this is the part where I sing a song that goes, "I know something they don't know, I know something they don't know." But that'd be cruel and entirely unhelpful to you.

...why does he have wool blankets? You said it was spring. I can assure you that if it's March, wool is entirely unnecessarily. (And how dare you insult Ophelia's household by implying its furnace is insufficient...unless, of course, Ophelia must make sure Paulchen has absolute warmth lest he catch his death with that rotten 'flu.

Would it be a 'movie' or a 'talkie' by then? I know there are the newsreels beforehand. 'Tis a great setting-placer, that comment. 'Talkie' would be even better. But still....clicking this link has nothing to do with you and everything to do with me and my various linguistic obsessions one of which is slang and therefore mainly just had me curious and is in no way a reflection of what I thought about your terminology use... seriously

Responding to something else UV said, I'm wondering how much 'placing' you want to do... Obviously, unless you do a full-blown deconstruction of a bunch of period diary entries and such, it might come across as too fake or forced or researched, which'd be bad. Which was why the idea you had a few weeks ago about...er...modifying the particular city in question was great, because you take the weight off researching to the point of organicness.

And it's not as if The Great Gatsby was racking it up on the slang. Just with the people getting drunk.

Awww, Paulchen drunk. Poor boy.

Here I may be stuck on previous incarnations, but I imagined Paulie as older, and it was only when Vi pointed it out that I thought of him as possibly fifteen... but it fits if I read it that way. Fits really quite well, right down to the fascination with Sheila, and also why Gerard is in the household, though women suffrage passed, and the ERA was floating about...I digress.

Anyway, I can also read it with Paul's actual intended age and that fits fine too, and makes Paul even more sympathetic and giggle-worthy in a way because that's just how it goes.

...rubber duckies...

You know, it's kind of funny. Sometimes, when I'm watching a movie, for instance, and there's an awkward scene, I always cringe. I can point out exactly one character's verbal error and figure out what they should have done instead. Even when it's funny and intended comedy, I cringe. She's The Man springs most readily to mind because it's one of the few movies of that sort that I tolerate, but it's full of those moments.

But, even if I realize how awkward Paul must be imagining the air, and how strange Sheila must find this unsocialized boy, I wasn't cringing here. It wasn't even until I started reading through backward that I started figuring out what Paulein should have said to make all the awkwardness go away. I don't know why I'm mentioning it, other than that I'm grateful. I don't like contrived awkwardness. Awkwardness in real life is hard enough when it's you that made the social blunder, but for some reason I find it almost unbearable when I'm watching it, as if I should be looking away, embarrassed--

I'm rambling. That's why you love me. *continues*

I don't know what else to mention now, though. I find this all shades of loveliness, and admire your word choice, the tightness of this, the degree of polish. I want to huggle it. And I can't wait for what's to come next. You do such a wonderful job of showing Paulie to us.

You continue to rock my socks. Even my mismatched, vibrantly-colored toe socks.

You know where to find me if you have any questions.

I'm sorry this review was lame, by the way. I had such grand visions of making it indecipherable.

OW.YCAGWYW.MWSJMEL.MEL?

With love,
Ribbit

(....and Rach.)
I don't fangirl. I fandragon.

Have you thanked a teacher lately? You should. Their bladder control alone is legend.



If you have a dream, you have a duty to make it come true.
— Marco Pierre White