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A Questionable Drink (Rated 12+)



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Sun Jan 02, 2011 7:54 pm
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Button says...



http://www.flickr.com/photos/kookoosabz ... /contacts/



Wine-stem fingers, elegant and delicate, cast off their pretenses of the evening and grasped my shoulder with white knuckles and a frenzied intensity. “Roger, you don’t understand.” Her voice was hushed, hissed, and offered an awful melody to the violins pouring out to the balcony from the party. A marble cherub watched from us the corner.
“Margaret, I understand perfectly.” I sighed, long and tragic, making sure she knew the depths of my understanding before I continued further. “You’re afraid of an old man, because he has lots of money and you’re afraid you might lose a bit. But that’s okay, darling. You have plenty to spare, I’ve made sure of that.” I gently patted her arm with a practiced condescension, took her ringed claw from my smarting shoulder, and moved to rejoin the party. I managed to take a sip of my champagne before she grabbed my hand again. I didn’t even turn to her, though I could imagine her big-eyed and terrified behind me.
I lowered my voice into a vicious whisper, hoping to deter anymore nonsense. This was beginning to be absurd. “Margaret! Please stop this ridiculous behavior. It’s verging on barbaric.” She was beginning to be a pest, almost too much trouble for someone who was, essentially, a trophy wife.
“Your father is forcing you out of your own company. If you don’t take some serious action, it is entirely plausible that you will lose everything! Can you not take this seriously for one fucking second?” She had never sworn in front of me before. She was a shrewd woman, and rarely let emotion carry her this far. I turned back to her, and her erratic state was more evident than I’d thought possible. Her large brown eyes were wide and wild, and coupled with her designer gown, she looked like a drug addict who’d stumbled into a Chanel store. I jerked her back to the side of the balcony, where none of the normal people inside might see us. It was a bit rougher than I had intended, and she stumbled and scarped her hand against the wall. But I wasn’t the crazy one, and she obviously wanted to talk. And maybe a little pain wouldn’t hurt the situation. The cherub still watched us from its perch, and I felt like it was judging me. I sent it a glare and dropped her hand, and turned towards her with a snarl.
“Listen up, you little bitch. I’m going to go back into there, and we are going to pretend that we never had this conversation, and you are going to go in there and smile like you’re supposed to.” I tore myself away from my manic wife, and stepped back into the ballroom before she could respond or follow. It was soothing in there, familiar and easy to adapt to. All was well in the world of wealth. I quickly threw myself into the mass of elegantly dressed people, busy with their smalltalk and business maneuverings. They were scavenging wolves, but in the right attire with the right hair, and they were easy enough to manipulate and impress. The domed ceiling and marble columns did the latter well enough.
I finished off my champagne and straightened my bow tie, and placed business in the lines of my face once again, before gliding over to a couple of esteemed clients crowded next to a column, who had been invited to the party because of their obscene amount of wealth. It almost matched mine. Almost. We spoke for a few minutes, but I was still distracted- Margaret had entered the room again, and was making the rounds as well. I found my eyes wandering from their dull faces to her slim form again and again as she wove between the little circles of people that had accumulated. I remembered the conversation after a moment, and because they didn’t matter, I left without much of a goodbye. They understood; they’re mere being allowed here was an honor.
Margaret looked fine for the most part, though her eyes still looked a little feral, and I could see her makeup was smeared just a little bit. Perhaps some tears? That would be good; they’d probably rid her of all that nonsense. Sometimes, it seemed, women were just crazy. A good cry by themselves seemed to do the trick: good to get that out of her system now. I left the almost-wealthy people, and hunted down a waiter with another glass of champagne. Usually, I limited myself to one, but after Margaret being so ridiculous, I felt that I deserved another.
I glanced at her again from my gold carbonation, and saw that she looked a little more recovered. She had moved to another group, and looked to be finishing up a conversation. I thought about going to talk to her, and see if she was feeling better, but decided against it. If there was even a remote chance of her sparking another scene, then I would take measures to ensure that we did not interact with one another before leaving again. I made my way over to another pompous looking waiter, and allowed myself some food, but strayed from the meats and cheeses. My doctors were concerned about my cholesterol, and I wanted to be here for a long time to keep my money from Margaret, even if I had to eat some rabbit food for that to be possible. A couple of vultures descended on me while I finished off my small morsel, and we spoke of golfing for a few minutes, before I excused myself. Margaret had found her way over to my father, which I’m sure had been her plan ever since I’d left the balcony. She was happily chatting and touched his arm, nodding, smiling, laughing; she looked recovered from the earlier incident.
I weaved through crowds of tuxedos and ballroom dresses, quick as I could while still remaining at a decent speed. Some people, unused to the wealth around them, stared up at the paintings below the domed ceiling, mouths hanging open in awe like uncultured children. They blocked my path, and I had to move around their idiocy. By the time I’d made my way across the room, glitter covered the front of my tux where I’d brushed a couple of tacky women, and half my glass of champagne was gone. I sidled up to Margaret, and took her arm. My father looked enchanted by my wife, which was quite commonplace, when Margaret decided to make it be. His blue eyes gleamed and glanced down at his drink, smiling.
Margaret was smiling too, and doing that small, lilting laugh that made her seem deceivingly young, when she was actually quite old for a trophy wife. She was almost my age, and dyed her hair brown, because she was going silver: almost too old for this behavior now. Her eyes had lost their wild edge, and I relaxed. My father had tried to joke, and I realized it after taking in Margaret’s condition. I laughed belatedly and forcedly. They both glanced at me, looking a little confused. I felt my hand begin to sweat, and I let Margaret’s arm drop back to her side. They were discussing a dinner we’d attended last week, when I interjected, determined to lessen Margaret’s speech. Who knew what she would bring up next, after soothing him into a false security? I didn’t want any financial trouble just because she was being stupidly irrational. My father was my business partner, and I had no doubt that he would use any opportunity he got to push me out. Especially not with all the deals that had been made recently- he was already edging me out, slowly and steadily. Best to remain pleasant at all times.
“So Father, how has your health been?” I kept my voice cool, and acted as if nothing was out of the ordinary. Margaret sent me a quick glare, and her full lips went flat in a disapproving frown. I had to keep from triumphantly smiling.
My father, used to games, decided to ignore what was going on between my wife and me. “Fine, fine, Roger. I may be approaching seventy, but I am still faring quite well. You know our family, sticking around for longer than our family wants us.” He winked, and I gave him an embarrassed smile. His father had been 99 before he finally died of old age, and his grandfather had been 97. I checked Margaret’s expression, and she looked fine— still smiling
We all chatted a while, before my stomach expressed its concern for my eating habits. When my father expressed no desire for food, I said my goodbye, took up Margaret’s arm again, and gently pulled her away from the conversation before she could open her mouth again. We glided through the room, exchanging quick, condescending smiles with the attendants, and then I hailed down another waiter for another glass of champagne. I was feeling the tiniest bit tipsy, but it was a pleasant little buzz that made small talk easier. We still hadn’t directly spoken since I’d left her standing on the balcony. I was about to tell her how pleased I was that she had decided to be somewhat decent again, when a sound across the room interrupted me.
It was a cough. Not an anomaly, as we were in a rather large ballroom filled with many people, but I recognized it as my father’s booming cough that had left me in awe when I was a child. And it was hoarse, as if he was choking. I quickly made my way over, towing Margaret behind me, back to my father. He was a large, sturdy man, and was now bent over with his hands grabbing his knees. His knuckles were white and his body was racked again and again with a booming, throaty cough. He gasped for breath in between fits, but soon those stopped too. I went around to his back and smacked it hard with my fist, trying to dislodge whatever was stuck in his throat. Upon realizing that it was futile, desperation crept into my heart.
“We need a doctor!” My voice cracked, I looked around at the circle that had formed around us, looking for someone to step out and take control of the situation. But, my father continued to cough, and no one stepped out to be a leader. I hugged him from the back and tried the Heimlich maneuver to no avail. Soon, he staggered, coughed, and then fell over, like a behemoth column collapsing with a loud thud and then the room was dead silent. The erupting coughs had stopped, and it seemed that no one dared breathe, as if trying to save the room’s oxygen for him. The finality was horrible.
I jumped to him and put my fingers in his mouth, but I couldn’t find anything blocking his breathing. I put my crossed hands on his chest and pushed and pushed until I thought my lungs and shoulders would collapse. Nothing changed the still state of the big, burly man. I couldn’t breathe, just like my limp, broken father lying on the ground. I stood up and still couldn’t look away from him. There must have been something that we could do.
A weight slid off my chin and landed on my shoe. I could feel it through the leather. I felt a vague warmth on my arm and I looked up, right into Margaret, who looked at me with sympathy in her eyes. She was calm. She turned from me back towards the crowd who all stared at my father, shocked. She knelt down beside him and placed her fingers on his vulnerable throat for a moment, an action where he would usually swat away the hand that dared to care and roar, “I am no woman!” But she held her fingers there until she just barely shook her head and stood back up.
Her voice was steadier than my breathing- than my heart beating. “Would anyone care to call 9-1-1?” Her voice was almost a drawl, but held authority in it all the same. She looked around intently, and eventually Mr. Brogard, a stocks broker that we occasionally consulted, recovered enough to pull out his phone and make the call. His voice shook, and he stepped back from the scene to speak to the operator.
It wasn’t until I heard his fading words that I registered all that had happened, the implications of my father, dead, on the ground like a bag of trash.. “Hi, there’s a man here who just choked; he’s passed out and hasn’t been breathing for several minutes.... No, no, I don’t think he has a pulse.”
I finally breathed, and all my breath came whooshing out in a loud sob and a yell. More heavy weights descended from my face, and I inhaled until I thought my lungs would begin crying too. They rattled and shook as I wept, and pulled and dragged and carried me down to my knees. He was gone; the man who taught me everything I knew about anything was gone. The man who I had worked for, had tried to make proud, who never offered praise but for the occasional lack of insult: gone. I felt my hands grasp his arm, which was stiff now, and my body bend about and continue to pour out tears. Margaret helped me up and sat me down in a chair across the room, as I numbly continued to cry and still felt my father’s cold skin against my palm—I couldn’t shake the sensation.
The paramedics arrived several minutes later, took a look at my father, and then pulled a black bag from the ambulance without any further hesitation. There was no need for confirmation; the situation was obvious enough in his drying skin. My hands wiping away my tears made it hard to see, but my breaths deepened and shuddered as he was lifted up by three of the men and put in the white and yellow car.
Margaret came over later and steered me towards our driver, helped me into the car, and calmly sat beside me. She crossed her ankles and primly held her knees with a perfectly straight back, looking as composed as ever, while I loudly wept beside her. I felt like a broken man. She kept coldly to her side of the car, and offered me no more comfort; a couple of times she glanced at me, as if surprised at my extreme reaction, and looked disdainful. The drive seemed to take forever, and my part of the car was steeped in salt and water. Margaret let me get myself out of the car this time, quickly escaping the despair with which I had filled the car. I sat in the car and my face was raw; soon, the tears stopped coming, and I just blankly stared ahead, thinking of my father when we were both younger: the rough way he had taught me business with a scotch in his hand, and the way he never let me have anything easily. It all worked in my head, right up until his death. Then, my face completely dry, I left the car. The driver left before I did, and it was dark outside before I got in the house.
I walked through the front door and stood there, still lost in thought. Margaret came down later, still wearing her black gown from the party, too much like she was in mourning, and gave me a cold look. Her voice was stone and her face was cruel. “I thought I’d married a man who could give me some sense of security. You’re lucky you married a woman who can take care of yours.” She paused for a moment. “I’ve arranged for your father’s cremation.” I wondered what she meant as she walked away. I heard glass bottles clinking from the other room, and figured she was getting something to drink. I continued standing at the door, curious, thinking, calculating what had just happened and then I vaguely remembered her being so close, her hands on his arm, so close to his drink… It wasn’t long before I wished that I’d ordered an autopsy.


Spoiler! :
It's been a while since I've done prose. I was definitely out of my element in this piece- I've rarely used these types of plots, and this was longer than I usually write for short stories. More of a short story than a really short flash. It was inspired by the photo linked at the top, and actually first started out as a poem. I've always kept the title "Wine Stem Fingers" because that's the line that inspired it all, but I know it doesn't really seem to apply to the actual story...





So, I know this needs work- I don't know if you can tell, but it WAS a murder story type of thing.... I need to make that a bit more obvious I think, and develop the characters a bit more. That type of thing. Any thoughts so far, though?

Thanks for reading!
Last edited by Button on Thu Jan 06, 2011 6:05 pm, edited 5 times in total.
  





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Mon Jan 03, 2011 11:06 pm
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borntobeawriter says...



Hey there Coral,

Thanks for the request! Well, prose. I'm not sure how much I can help you with that, but I'll definitely give it a try. Might I also suggest asking Azila? She's quite good at these kind of reviews :D

But that’s okay darling. You have plenty to spare, I’ve made sure of that.” I gently patted her arm with apracticed condescension, took her ringed claw from my smarting shoulder, and moved to rejoin the party
there should be a comma between the words in bold.
Also, I struckout 'a' because it was needless.

I finished off my champagne and straightened my bow tie, and placed business in the lines of face once again
of my face?

and I wanted to be here for a long time to keep my money from Margaret, even if I had to eat some rabbit food that to be possible.
for that to be?

His blue eyes gleamed, and glanced at really quickly, smiling.
glanced at whom really quickly?

A weight slid off my chin and landed on my shoe. I could feet it through the leather.
feel?

I vaguely felt a warmth on my arm. I looked up, and Margaret looked at me with sympathy in her eyes


More heavy weights feel from my face, and I inhaled until I thought my lungs would begin crying too
fell

Ok, Coral; done with the nitpicks!

First of all, I want to apologise; this may not be as thorough as you'd like. You see, I wasn't raised in an english environment and some terms in english are lost to me. I had to look up 'prose'. So, yeah. I'll do what I can.

So, I know this needs work- I don't know if you can tell, but it WAS a murder story type of thing.... I need to make that a bit more obvious I think, and develop the characters a bit more. I wanted the main character to be unlikeable, and I want to develop Margaret as a little more cunning and a little more desperate. That type of thing. Any thoughts so far, though?


Ok, you wanted to make your mc unlikeable. I'm afraid you didn't quite pull it off. I found his wife unlikeable, but the fact that you're writing this in first pov, you'd really have to show through his actions what a creep he is. As of now, I disliked his wife, because he disliked her and it was obvious. Which means that to make him a jerk, you'll have to show us something about him. Like, bumping into an old lady, or being mean to someone without any justification.

I was confused about the fight between Roger and his wife. I couldn't get what it was about, couldn't grasp why it mattered and why the father would -ultimately- end up dying. Making that a little more clear would help, I think.

I don't think that you have to spell out the murder; I loved the way you ended it. Except, it isn't too late to call for an autopsy; maybe that should be his first thought. I don't recall if the father had a glass or something: how did she administrate the poison?

I'm already a fan of yours and I loved this piece. I wasn't bored at any time, except maybe when he was going around, drinking and eating. Then, drinking and eating some more. I was thinking, "Ok, so what, move on!" haha. It wasn't that bad but I would definitely change that a little.

Also, I loved Roger's emotion, the way you portrayed it when his father done. Very nicely done, my friend.

Well, that was it. If you have any other questions, let me know.
Hope this helped!

Tanya :D
  





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Wed Jan 05, 2011 12:22 pm
AngerManagement says...



Hey Perse, Anger here as requested.

You know how much I love your work, so I won't waste too much time gushing about how amazing a write and poet you are *slightly envious* and get right on with the review.

I didn't quite like the opening. Why? Mainly because there were a couple of things that threw me off and really confused me, I also don't think you have defined the scene quite well yet. Below are examples of what threw me off.

Her voice was hushed, was hissed, was horribly concerned and contrasting to the violin song pouring out to our balcony from the party we’d just left. A marble cherub watched from us the corner.
I really don't like the bits I've highlighted in a colour I can't seem to remember...but you'll notice. I understand that you need to make her seem like she's extremely nervous, but I think it just makes your work jumpy and a tad choppy.

cast off their posh of the evening
I have no clue what this means and it really threw me off while I was poring through the opening of this story, care to explain it further?

Next, Conflict which in this story I think is positively delicious, especially at the end. The hostility between your MC -Robert- and his wife, plus the other one between Robert and his father, I think is what really makes the story. You have made it believable, and I think he's reacted accordingly- not too over the top, or like a stone statue which I like. Only nit-pick is that you keep hinting that Margret looks wild so much that it kind of kills the surprise.

Dialogue- I think you have a bit of a problem with dialogue, it doesn't flow the way it should. Reading screenplays, watching movies, and watching people around you talk should take care of that. And it's not that much of an issue, your dialogue isn't the worst in the world.

And Last, Characterization- Normally if I encountered a character like Robert in a story I would feel inclined to hate him, but the way you put him up with Margaret, it makes him a tad likable, but only when we find out what she's done. And even then I don't think I hate her that much, she is my favorite character of this piece, because of the way she reasons and how real she is.

Hope this helped,

Anger. :D

PS I loved it.
Dont tell me the moon is shining, show me the glint of light on broken glass.

Anton Chekov
  





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Wed Jan 05, 2011 7:38 pm
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Azila says...



Hello!

Thanks to you for requesting a review, and thanks to Tanya for recommending you do so! I'm flattered. ^.^ Anyhow, I'm going to start with nit-picks because there were a few awkward phrases and typos that I'd like to call to your attention before I move on to more major topics.

Wine-stem fingers, elegant and delicate, cast off their posh of the evening and grasped my shoulder with white knuckles and a frenzied intensity.
Firstly, since I saw the picture before reading the story, I loved that imagery because there was a momentary confusion (the good kind!) as to whether you were saying that fingers were like wine-stems, or wine-stems were like fingers. I love that. But I have to agree with Anger: the "posh" part doesn't make any sense at all. I really have no idea what you're trying to say there.

Her voice was hushed, was hissed, was horribly concerned and contrasting to the violin song pouring out to our balcony from the party we’d just left.
I think you need to work on setting up the scene from the very beginning, and this sentence isn't helping. saying they'd just left the party implies to me that they are going home. So maybe say "...the party we'd just stepped out of," or even just "...the party."

This was beginning to just be stupid..
Firstly, this sentence confused me. Saying "beginning" makes it sound very formal... but "to just be stupid" makes it sound very conversational, and you say "beginning" in the next sentence (after the quote) so I think you should take it out. Plus, "to just be stupid" is awkward wording, don't you think? It doesn't sound very natural to me. Maybe try "This was getting absurd." or something like that. Secondly, why are there two periods? ^.~

She really was beginning to be a pest, almost too much trouble for someone who was, essentially, simply a trophy wife.
Adverbs. O.o

I sent her a glare and I dropped her hand, and turned towards her with a snarl.
I'm a little confused by this. First he sends her a glare, then he drops her hand, then he turns towards her? Don't you have to turn towards someone in order to shoot them a glare? :/ Also, since you were just talking about the cherub (which I love, by the way) in the sentence before, I was a little confused when I got to this line because I wasn't sure at first if "she" was the cherub or Margaret. Maybe just delete this sentence? It doesn't seem strictly necessary to me. But even if you don't delete it, I think you should modify it at least.

I tore myself away from my manic wife, and stepped back into the ballroom setting before she could respond or follow.
What does "ballroom setting" mean? And why not just say "ballroom?"

I finished off my champagne and straightened my bow tie, and placed business in the lines of my face once again, before gliding over to a couple of esteemed clients, who had been invited to the party because of their obscene amount of wealth. It almost matched mine. Almost. We spoke for a few minutes, but I was still distracted- Margaret had entered the room again, and was making the rounds as well. Because they didn’t matter, I left without much of a goodbye. They’d understand; they’re mere being allowed here would be an honor.
This whole part feels a little choppy and rushed. It feels like you're telling rather than showing: you tell us how he prepares to go back to the ballroom, tell us that he engages in a conversation, tell us what his thoughts are of the people he's talking to, tell us that he's distracted by his wife, tell us what she's doing, tell us that he leaves the conversation. The reason you're doing this (I think) is because it takes longer to show than it does to tell, and you're trying to keep the piece from lagging. I'm not sure how to correct this, but here's the situation as I see it: you can either expand this section with imagery and descriptions and "show-ish" stuff, or you can get rid of this section and change Roger's action slightly, maybe making him almost enter into conversation but then be distracted and excuse himself. It just feels like there are a lot of actions here in a very little amount of narrative and it's easy to skim over them while reading.

That would be good; they’d probably completely rid of all that nonsense.
Do you mean "rid her of all that nonsense?" Plus, I think "probably completely" sounds awkward. If I were you, I might take out the "completely."

If there was an even remote chance of sparking another scene, I would make sure it would never happen in the midst of everyone else.
Firstly, I think that should be "...even a remote chance..." not "...an even remote change..." because it sounds less awkward--but that might just be me. Secondly, I don't understand the structure of this sentence. The way you're using the conditional doesn't seem to make sense. I think it should be something like "If there was even a remote chance of my talking to her sparking another scene, I would have to steer clear of her for the rest of the evening." That's just an example, obviously, and probably not the wording you want--but do you see what I'm saying? The sentence is structured in an "if ______, then ______" kind of way (even if "then" isn't actually in the sentence: "If there was an even remote chance of sparking another scene, [then] I would make sure it would never happen in the midst of everyone else.") so you need to make the _______s match up and make sense with each other. I don't think I explained that very well, but this paragraph is getting a bit too long... please feel free to send me a PM or write on my wall if you want me to (try and) clarify a bit more. ^.~

She was laughing and touched his arm, nodding, smiling, laughing; she looked recovered from the earlier incident.
Repetition of "laughing." Also, I think that should be "She was laughing and touching his arm..."

I weaved through crowds of tuxedos and ballroom dresses, quick as I could while still remaining at a decent speed. By the time I made my way across the room, glitter crowded the front of my tux where I’d brushed a couple of tacky women, and half my glass of champagne was gone.
I have two nit-picks about this. 1) the repetition of "crowd" and "crowded" is a little distracting. 2) I think that should be "By the time I had made my way..." so that it's in the right tense.

My father was my business partner, and I had no doubt that he would use any attempt he got to push me out.
This is very nit-picky, but that seems like an odd use of the word "attempt" to me. Maybe try "chance" or "opportunity."

His father had been 99 before he finally died of old age, and his grandfather had been ‘97.
this is quite nitpicky, but why is there that apostrophe before 97? I think it's just a typo, but it makes it seem like you're referring to a year, like 1997 or 1897 or something. ^.^

We all chatted a while, before my stomach expressed its feeling of neglection again.
In some writing, I'm all for making up words--but it doesn't fit with the style in this piece. I think you mean "neglect." ^.~

I was about to tell her how I pleased that she had decided to be somewhat decent again, when a sound across the room interrupted me.
Do you mean "how pleased I was," or something like that?

I quickly made my way over, towing Margaret behind me, back to my father. My father, who was quite a large, sturdy man, was bent over with his hands grabbing his knees.
Repetition! Maybe try making the second sentence be "He was a quite large... (etc.)"

She looked around intently, and eventually Mr. Brogard, a stocks broker that awe occasionally consulted, recovered enough to pull out his phone and make the call.
I think you mean "we." ^.^

It rattled and shook as I wept, and pulled and dragged and carried me down to my knees.
What rattled and shook? :/

I walked into the front door and stood there, still lost in thought.
This sounds to me like the door was closed and he...walked into it, as one might walk into a wall. >.< I don't think that's what you meant though. So maybe say "I walked through the front door..." to clear up that confusion? ^.^


...and there were a few other typos and such, but I can't find them right now and I have very little time--so I'll just finish this up as quickly as I can.
------------------------------------

Overall, the characters seem (to me) to be the main focus of this piece, and you've done an excellent job of developing them! They are complicated and interesting and certainly not black-and-white. Roger is greedy and selfish and cold, but you still manage to make us feel for him by showing him at his weakest and by letting us into his head with the first person and allowing us glimpses of his thoughts. It's like not only have I met him... I've been him. So I really feel like I know him. I also liked Margaret's character; at first I pitied her, thinking she was a poor, meek woman who wasn't treated like a human by her husband. But then... well... as the story developed, I realized she was a little more sinister than I had anticipated. Anyway, good job with the characters! They really make the story come alive.

Your descriptions were also very nice, for the most part. But my problem with them was that they were too localized. You gave descriptions of little things (emotions, the cherub, the champagne) but you didn't give much overall description. I have no idea what the ballroom looks like, or where the balcony is in reference to the ballroom, or what kind of balcony it is (does it go outside?). More description of the setting would make it easier to imagine the scene in my head, I think.

Also you say that you haven't written prose in a while--and I can actually tell. You have a lovely way with words, but there are a lot of awkwardnesses as well. Some of the things I noticed you doing were 1) repeating words. You really need to be careful about this, because it can really make passages sound choppy. And I'm not saying you need to use a thesaurus--usually simple rephrasing can get rid of repetitive wording. 2) adverb and verb order. In a few places you say things like "triumphantly smiling" when I would have said "smiling triumphantly." It's probable just a matter of opinion, but I think having the adverb first sounds awkward. I pointed some of these outin my nit-picks, and I suppose I could have pointed out all of them, but that would have been very tedious (for me to write and for you to read) and I'm not sure if it's necessary. I think the best thing for you to do to this piece would be to read it aloud or under your breath. I think it's a great exercise and it really helps me find stumbling blocks and awkward phrases. Once you've found them, fixing them is (of course) another issue all together. ^.^ If you need help correcting any sentences just give me a shout.

The other issues I had with this were with the plot. Firstly (and most importantly): why did Margaret kill Roger's father? I think you tried to develop this in the argument in the beginning... but I didn't understand that either. I didn't get what the tension was between them, so even though the emotions were portrayed excellently, I didn't understand why those emotions were there. Why were they arguing? Margaret wants Roger's father's money, right? But why was she scared of him? I may just be being daft, but I found this hard to understand. The other thing is pretty minor, I guess, but why didn't anyone call 911? It's supposed to be modern-day, right? So wouldn't they all have their iPhones and everything? It's hard for me to imagine someone keeling over and dieing in the middle of a party and everyone being too shocked to do anything. Maybe someone should call, but the medics don't come until it's too late? That may be more realistic.

The last thing I'll ramble talk about is Roger's reaction. Doesn't it come a little too soon? Wouldn't he have some moments of not believing his father is dead... or at least trying to convince him that the impossible was possible? Also, once the grief did set in, I think you did very well--but it was a little tell-y. Once again, you could work on showing rather than telling. You've done very well up until here with portraying his emotions by allowing us into his head, but here's where it changes. You talk about his physical actions (years, screams, etc.) but you don't really show us his emotional reaction. You tell us he's thinking of memories from when he was little, but you don't show us what those memories are. Frankly, I am a little surprised by Roger's reaction, because I don't see any indication of any kind of a loving relationship between him and his father. Some flashbacks might help on this front.

Anyway, I think I've rambled on long enough now... and I need to go, so I'll spare you more of my opining. ^.^ Let me know if you have any questions/comments/requests/etc.!

I hope this helps.
a
  





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Sat Jan 08, 2011 8:24 pm
Sins says...



Coral!

I'm finally here. :P I'm so sorry it's take me ages to get to this. I've been attacked by a little thing called homework lately. I really hope you don't mind... Better late than never, I suppose. Mind you, by the loks of it, I'm going to be completely useless. GodAzila has already given you one of her epic reviews, and so have Tanya and AM. I'm determained to help you out though!

Okay, as a whole, I liked this, Coral. It involved death, so yay! One thing I will say is that your writing is very pretty. It's not hard to tell that you're a good poet because the imagery you create and descriptions you make are wonderful in this piece. Like Azila said, you built your characters up very well. Despite the ac that this was a short story, I still felt like you let us get to know your characters well. They were interesting characters too, so that's another huge plus.

The first thing I want to bring up is about the whole murder thing. Well, I'm assuming it was murder. Basically, the fact that Roger's wife was the murderer didn't shock me really. I guessed from the moment the father started dying that Margaret (My nan's name... :lol:) had killed him. I'm not sure if that's what you wanted. To be honest, there wasn't anyone else it could have been anyway, but if you didn't want to make the fact that Margaret was the murderer as obvious, I'd suggest trying to adding in some other possible suspects. I get the feeling that you didn't try to hide the fact that it was Mrgaret though, so I won't pres too much on this.

I continued standing at the door, curious, thinking, calculating what had just happened...


This is something else that bothered me. Take this example. You used three different words when you could ahve used one, and it would have been more effective. The problem is that I noticed that at quite a few points, this piece was rather wordy. You have a lot of words in here that don't really add to the piece, thus making some parts sound awkward. This sentence above woud sound so much better if it was simply I continued standing at the door, calculating what had just happened... If you wanted to add in that Roger was curious, you could do that too, but in a subtler way. You could add a sentence saying something as simple as this: I was curious about what Maragret had just said and what those words had meant. It just sounds a lot less awkward than if you put it all in one sentence, using single words.

*Reads back* Pretend that made sense... xD

I think this might just be me because by the look of the other reviewers and what they've said, they disagree with me. It's just that while the father was dying and whatnot, I didn't realy feel many emotions. By that, I mean I didn't see Roger being as emotional as he could have been. Later on - whe they were in the car, for example - you got the emotion down perfectly. It was some parts before that which bothered me. I'm also not going to press too much on this either because I seriously think this is just me... If you do happen to agree with me, all that you need to do is to expand the emotions when the father's dying, and for a short moment after he dies. One thing I suggest for you to do is actually add in some denial. It sort of feels like Roger just accepts that his old man is dead...

Oh, before I forget, there's a little nit-pick that I'd like to mention. This might just be me being paranoid, but there was one thing in this that I thought ou phrased weirdly. Here it is:

A weight slid off my chin and landed on my shoe.


More heavy weights descended from my face, and I inhaled until I thought my lungs would begin crying too.


In all honesty, it took me a while, and a reread, to understand exactly what you meant here. That may be due to my lack of brain cells, but I did see a few instances similar to this around. There's nothing wrong with the word tears. ;) What I mean by all of this is that, at times, I found you using more complicated ways of saying things, when the simpler way would have been more effective. I think this may be slightly due to the fact that you do write a lot of poetry. In poetry, simplicity doesn't often work well. I'm not sure if you get exactly what I mean by all of this, but I do hope you understand where I'm coming from.

Overall, I like this, Coral, I really do. With a little bit of editing, this could be even better. Oh, also, thank you for reviewing the start of my novel. I'm especially glad you quoted the area of the fight you found confusing because I knew there was one part of it that didn't make sense, but I couldn't quite figure out where it was. I'll leave you a more detailed comment about it on your wall! Good luck with this piece, Coral. And also, I apologise for any typos in this review... dodgy laptop and no spell checker. ¬_¬

Keep writing,

xoxo Skins
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Thu Jan 20, 2011 10:22 pm
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Master_Yoda says...



Oh, erm. Hi there. I'll be with you in a second.

Okay, sorry about that. I'm with you now. Firstly, welcome to the green club. Secondly, I'm sorry, I'm late. Thirdly, let's get the review rocking.

I enjoyed reading the story. Your narrator's tone is interesting enough and your character tension is great. That said, I do have what to remark.

I believe in starting with the most important. For you, that is this: nothing in your story makes it particularly special. It's vaguely memorable, but not really. It's sends a chill down your spine, but not really. I think the reason for this in your case is simply the fact that your story is almost completely devoid of real emotion.

Your persona is a caricature of a rich, selfish, chauvinistic, arrogant man. This is not particularly problematic, as your story will be readable. Just don't expect any emotional investment from our side. I care nothing about your persona, for the good or the bad. I simply know him as another one of them. His relationship with his father during life is not strong enough to make me sympathize after death. His breakdown after his father's death is humane enough to salvage him from disgust. More than this, I don't even feel a contrasting disgust and sympathy. The disgust you are aiming for is generic, and so is the sympathy. Who wouldn't cry over a lost father? There are a load of rich businessmen who are a bunch of bigheads. I'm, in short, almost completely apathetic.

So, if you want to deepen the emotional investment in the story, you can do a couple of things. Firstly, work out the emotion or emotions that you want to draw from your reader. Once you have done this, ensure that your character deserves the emotional response that you seek. Then, and since you are writing in the first person this is much easier, penetrate your character's mind and portray the thoughts that warrant the sympathetic or antipathetic response. These need to be exaggerated virtues or faults that might be admired or abhorred.

So, that's the main point. The rest is mostly minor. If you want to stop reading here, you may do so without offending me.

I'm going to suggest trying to kill the fanciness in your prose. It often fails and is distracting from the story. Besides, saying complex words when you could use simple ones, or metaphors in the place of a literal terms is melodramatic and looks slightly, though in your case not overtly, pretentious. Great writing is like great acting: Great acting looks like it's not acted. Great writing looks like it's not written. If you want to read one of my favorite pieces of writing that illustrates this beautifully, try this link: (EDITED IN: http://www.williamgtapply.com/iw.html

Also, I'd tone down the description of minor details to what is necessary to the story. Think about it this way: if you were your persona and had to tell someone else his story, what would you describe? Once you have that, you can add a little here and there for effect. Not much, though.

Finally, you're repetitive. Watch that.

That's it from me.

You write well, and I enjoyed reading. Hope I could be of assistance.
Yoda :)
#TNT

The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
-- Robert Frost

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Tue Jan 25, 2011 9:41 pm
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Tigersprite says...



Tiger here to review (actually, suggest)! I apologize for getting here so late, I really do.

So I've read this several times, and I like it. Roger, despite his obnoxious narcissism--which complemented perfectly his actions--was a very likeable character. Very likeable. Actually, he's the sort-of person I love to hate in a novel.

My main nitpicks for you would be the times you deviated from his personality, and (as I think has been mentioned before) the fact that this isn't much of a murder mystery.

Personality Deviation

-This is particularly apparent when he notices that his father is choking. From statements like this:

where none of the normal people inside might see us.


It almost matched mine. Almost.


The reader is given the impression that the MC is a standard aristocrat: wealthy, pompous, proud, and always putting on a mask in front of others who are rich. Now I don't think that just because his father is choking (a father whom he seems to have a rival-esque relationship with, and who plans to take over his business) he would lose his mask and forget to hide his true emotions from the crowd. I think that even if he was distressed, he would be 'smooth' enough not to show it on the surface, like how the crowd was (scared, uncomfortable, but they didn't really show it). Emotionless, almost.

Plot Oddities

Margaret helped me up and sat me down in a chair across the room, as I numbly continued to cry and still felt my father’s cold skin (1) against my palm—I couldn’t shake the sensation.

The paramedics arrived several minutes later, took a look at my father, and then pulled a black bag (2) from the ambulance without any further hesitation. There was no need for confirmation; the situation was obvious enough in his drying skin.


1) I don't think his father's body would have gotten cold so fast. He'd only be dead for what, fifteen minutes to half an hour? If I'm correct (I may not be, of course ;)) it takes about eight to nine hours for his body to cool, maybe longer seeing as he seems to have a large frame, is probably dressed well and warmly, and a few other factors.

2) It does wonders for dramatic effect...but is it really very realistic? Or professional? And his death was suspicious enough (seeing as there was a lack of an object for him to choke one) that the police should have been called, an investigation started, witnesses questioned, etc.(Or you know, I might have just watched too much CSI...)

And what exactly is Margaret upset about in the story's beginning? You've not made it very clear, nor is it that clear why exactly she killed Roger's father.

The Problem With the Suspense

There wasn't any. The only characters we've been introduced to are the MC, his wife, Margaret, and his father. That's it. Obviously the MC didn't do it, as we were seeing through his eyes and we would have noticed. Obviously, the father didn't kill himself. Obviously, Margaret did it.

Because this is a murder story, give us at least a little suspense. Introduce other characters with motives as red herrings (something you could have done instead of the paragraphs of description you wrote), so that the suspense is there and the reader can believe that someone else killed him. Or even if you don't want to do that, give Margaret an alibi, even if we know she is the murderer, and end the story in a way that tells us that the case is closed, Marge got away, the MC is screwed...(yes, I've definitely been watching too much CSI) In a way you've done this, but you also haven't--the thing about the father's death being examined should take place, I think (does it matter whether or not the MC wants this?), and the poison should be discovered whether or not Marge's fingerprints are also found on the father's cup. So maybe she can get away with it for a while, but not, I think, for too long. At least, the story would have ended on an almost hopeful note (in that Roger knew she'd get caught soon).

Ah...so that was a useless review, even after all this time.

But negatives aside, I really like this story. Especially Roger and his personality. It is somewhat clear that you haven't written prose in a while (the plot is sort-of strange and not too clear, sort-of like a poem ;)), but it's still very good. Maybe define the plot, add some red herrings, and BAM! You've gotten back your touch. ;)

Hope this helped,

Tiger
"A superman ... is, on account of certain superior qualities inherent in him, exempted from the ordinary laws which govern men. He is not liable for anything he may do."
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