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Creature (approx. 4700 words)



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Tue Aug 30, 2011 10:40 pm
Dreamworx95 says...



Creature

by Fatima Al-Shemary




As soon as I open my eyes, I know that I’m back in the home. I recognize the scum-stained floor and the dingy bathroom walls. I'm in the rusty bathtub, which is filled with cold water. My arms are shackled above me. I know Mother is here, but I don’t look at her.

“What were you thinking?” is the first thing she says. “Someone could have seen you, it was almost sunset!”

I don’t answer her, but look down at my slimy white body, at my long, floppy fins dangling over the edge of the tub. They are shackled as well. I see my reflection in the still water. My enormous blue fish-eyes stare back at me from my scaly face.

“How did you find me?” My voice gargles, but Mother understands what I’m saying.

“I didn’t. Someone brought you to me. A fisherman who recognized you as my son.”

“I got caught in a net,” I whisper.

“What you did was dangerous,” Mother exclaims. “You could have been killed!”

“Maybe that would have been better for both of us."

“You don’t mean that,” Mother says. “I’m barring your window, for your own good.”

I finally look at her. She sits next to me in an old wooden chair, her gray, tear-filled eyes surrounded by dark billows that suck them into her pale, bone-thin face.

“You treat me like a prisoner,” I say. “This is happening because of what you’ve done.”

She ignores me and reaches out to the sink, where a wooden bowl sits at the edge. “You’ve been unconscious for a few hours. When they dropped you on the boat you landed on your head. You need to gain your strength back. I made you some soup.”

The soup is grey, cold and slimy. Octopus legs. Raw seafood is the only thing I can eat in this form.

“I hate you.”

She feeds me the slime.

I hate you.” I flop, splashing water over the edges of the tub. “Do you hear me?”

“You don’t mean it,” she hisses. Her eyes are fiery and crazed, like the first time I tried to leave her - when I was a normal boy.

“I’ve thought about killing you before, for doing this to me. I’ve thought about murdering you just to free myself.”

She doesn’t look threatened.

“Don’t worry, I may be a monster, but I’m not nearly as grotesque as you are. I’ll find another way.”

“Eat your soup,” she states, feeding me the next spoonful. We don’t speak. When I’m done, she takes the bowl and stands up.

“I love you, Will,” she says. She kisses my head. “You love me, too. I know you do.”

She turns the lights off and leaves me in the dark.

* * *

I awake when day breaks and find myself in bed. Faint white daylight outlines the closed curtains on the opposite side of the room. I’m human again. My arms and legs are shackled. I feel the cold, hard iron bracelets locked around my wrists and ankles.

The locks on the door jingle. Mother walks in with a tray of food. Her fine black hair is swept up into an elegant bun, and she wears a white satin dress with long sleeves and silver buttons down the front. Around her neck is the pearl choker I’d made her years ago, before I was a monster. I’d spent an entire summer swimming in the ocean looking for those pearls.

“You’re awake,” she says brightly. “Good. I made breakfast.”

She puts the tray down in front of me. There’s a glass of milk, French toast and eggs. My stomach grumbles.

I look up. She smiles brightly, clearly determined to forget everything that happened.

I’m so sickened by her, despise having to accept her services. I take the fork; the chains tying me down are long enough for me to move my arms and legs, but not long enough to let me out of bed.

Mother looks pleased when I begin to eat. She goes to the window and draws the curtains apart. Dismal morning light fills the room, streaming in between the iron bars that are now fixed over the window.

“It’s a fine day, isn't it, Will?” Mother says. “I’m going to the village to buy a few new books. I’m sure you’ve read all of yours by now. If you’d like, I can bring some new ones for you. How does that sound?”

I don’t answer.

“I suppose I can just pick some out myself. Oh! I forgot to tell you, I bought a new chessboard yesterday. We can play a few rounds when you’re done with breakfast. Wouldn’t that be nice?”

This is what my days are composed of. Playing games with Mother. Or drawing pictures with her. Or listening while she reads to me. Or sitting in silence while she plays her violin.

When I don’t say anything, Mother smoothes out her dress and sits next to me. She takes my hand.

“Will, I know you’re angry with me, but I think it would be best if we just forgave each other and put this all behind us. Don’t you agree?”

I just drink the milk and pretend she’s invisible. She sighs.

“All right then, I’ll just wait for you, I suppose. You’ll come around.” She goes to the door and walks out, locking it behind her.

The glass shakes in my trembling hand. I stare at the bars on the window, then throw the glass at the space underneath it. It shatters into a thousand little shards, and the milk splatters all over the ugly, brown striped wallpaper. It leaves a long white stain as it streams down to the dark floorboards.

Mother doesn’t come back, but I know she’s heard it.

I spend the rest of the morning staring at the ceiling, trying to think of ways to escape now, but between the bars on my window, the shackles binding me down to the bed, and the locks on my bedroom door, any thought of escape is pointless.

It’s around noon when I hear the creaking of the front door as it opens. Mother must be back from town. I wait dreadfully for her to come up. But she doesn’t.

Someone has come with her. I hear two voices drift up through the floorboards. One is mother's, and the other a man's. I don’t recognize his voice, but I can hear what they are saying:

“What about the boy’s father?” the man says, continuing a conversation they’d been having.

“Dead for nearly a decade,” Mother answers.

“Ah, I’m deeply sorry. That must be hard on you and your son.”

“We get along just fine,” Mother says, indifferent.

“And how long has he been...this way?”

“Around the same time his father died.”

“Oh.”

“He was lost at sea,” Mother says. “He was a sailor.”

We have not had a visitor in years. Mother makes sure to keep everyone out - away from me. Everyone in the village thinks I’m insane, so naturally, they stay away.

I don’t spend much time wondering about today’s exception.

I slam my back against the headboard of the bed so that it slams into the wall. I do it again, and again, and again, causing a ruckus to alert the man, whoever he is.

Help! Help me!” I cry out. I keep knocking the bed into the wall and screaming. “Help me! Help me!”

I keep screaming, even when Mother bursts into the room moments later.

Shhhhh!” she hisses, frenzied. She covers my mouth tightly with both her hands. I bite her palm. Her face twists into a pained grimace but she doesn’t let go, even when I begin to gnaw on her flesh. She grits her teeth and reaches into her dress pocket. She pulls out a small vial with a cork. Pulling the cork out with her teeth, she drags my head back and tries to force the sleep medicine into my mouth. I turn my head away and spit it out, coating the white bed sheets with the brown liquid. Mother flusters and brings out a handkerchief from her other pocket. She ties it around my head, gagging me with it. My screams turn into muffled cries.

“Be quiet!” she whispers. I stop screaming. She rushes out of the room. I listen intently when she returns to the anonymous guest.

“I’m so sorry about that,” Mother says pleasantly. “He doesn’t like visitors.”

“Is he all right?”

“He’s fine. Gosh, that must have frightened you, but there’s nothing to worry about.”

“You completely silenced him. What did you do?” The man’s tone is abashed and full of accusation.

Mother is quiet. I can imagine the impassive, deadly look on her face.

“I know how to take care of my son, Gordon,” she finally answers.

“That’s questionable,” he says. “Given that I caught him unconscious in my fishing net yesterday.”

The fisherman.

“You don’t have a right to come into my house and judge the way I look after my son, no matter what you’ve done,” Mother says venomously.

Gordon hesitates. “Forgive me...but I’ve never heard anyone cry out like that. Is that normal?”

“As I said, Will doesn’t like visitors. Having strangers in the house makes him upset.”

He doesn’t respond to that.

“I think it would be best if you left now.” Mother’s shoes clack against the hardwood floor, then the front door creaks open.

“I’m sorry,” Gordon says with some reluctance. “It wasn’t my place to judge.”

“Goodbye, then,” Mother says blankly.

“Goodbye,” Gordon returns.

The door creaks and slams shut. I hear her loud footsteps as she comes upstairs. She walks into the room, seething.

“What were you doing!” she cries. “You almost ruined everything!”

The handkerchief is still gagging me, so I can’t say what I want to say, which isn’t anything very pleasant.

“Whatever it was you were trying to do, it can’t ever happen again, understand?”

When I don’t answer, my silence ignites her. She rips the handkerchief from around my head.

“Do you understand?”

“I understand.”

She stares at me with those crazed eyes, panting as she tries to get a hold of herself. She smoothes her hair and her dress, then walks back to the door without looking at me. The room shudders when she slams the door behind her.

* * *

I don’t get any food for the rest of the day. By the time the sun sets, my stomach is growling, but it’s easy to ignore it, knowing that I’ve alerted someone of what Mother is doing to me, I don’t feel so helpless anymore.

Mother doesn’t take me to the tub after sunset, so I’m trapped in bed all night. The scales on my skin dry up and start to burn. My throat constricts and my breath comes out in raspy wheezes. The gills under my ears tighten painfully. My entire being yearns for water.

She’s left me like this before, when I’ve angered or upset her, to teach me a lesson. To teach me who is in charge.

I just stare out the barred window, waiting for the mercy of the sun. When it finally rises, my scales weave together to form my human skin again. The transformation is excruciating. I swallow painfully, my throat parched.

Mother comes up then, entering the room with a look on her face that implies that I am the one making her suffer. She is holding a long pitcher and a glass.

“Thirsty?” she says, eyeing my gaze. I nod.

She pours a few drops of water in the glass, then holds it up to my lips. The water is only enough to moisten my dry lips. Mother pulls the glass away.

“You don’t know how much I hate doing this,” she says, looking pained. “Why do you make me punish you this way?”

I try to swallow. “Water. Please.”

She pours me a small amount of water in the glass, then holds it out to me. I take it and gulp the feeble amount down.

“You really break my heart sometimes. You know that, don’t you? I give you everything. Food, shelter, love, and you still fight me.” Her gray eyes fill up. “Why can’t you just be happy?”

“Mother,” I start, my voice still hoarse. “All I want is for you to let me go. Is that really so much to ask for?”

“You’ll leave me.”

“I won’t leave you,” I say desperately. “I’ll come back. I’ll visit you all the time. And when I’m gone, I’ll write you letters every day.”

But I’m pulling at strings too far to reach. Her face is blank. I sink back in the bed, staring at the bars on the window.

“How am I supposed to live my life like this?”

“You’ll leave me,” she repeats. “Just like your father. I can’t let that happen.”

I say nothing. I’ve tried to rationalize with her before, but it’s useless trying to reason with someone who is so beyond reason. I hold the glass out. She watches me gravely, then fills it all the way up. I drink it down and hold out for another. A third.

“Thank you,” I say without emotion. She leaves the pitcher and the glass on the desk by my bed and stands. I watch her indifferently as she walks to the door. She stops with her hand on the door knob and looks at me.

“I just don’t know what to do anymore, Will.”

I turn to stare at the bars again. “Do what you always do, Mother, and I’ll do what I always do.”

She hovers for a minute, then leaves without a word. The door closes behind her without a shudder.

* * *

As dawn turns to day, everything goes back to the way it was. Mother brings me breakfast. She offers a game of chess, while I eat. I say yes, since I have nothing else to do. She beats me, like always.

“Why do you always win?” I mutter.

“I know all of your moves, Will. Try to change your tactic.”

I push the board away, annoyed by the lecturing schoolteacher tone she’s taken on. She sighs and puts the board back in the box, then stands and packs it away in the bottom drawer of my dresser.

“So is that fisherman ever coming back?” I ask, biting into my toast.

She doesn’t answer immediately. With her back to me, she says, “No, he’s not. I’ve asked him to stay away.”

When she turns back to me, her face is expressionless.

“He did save your life, however. For that, I’m grateful, and so I have to find some way to thank him.” She comes back to the desk by my bed. “I think a letter will do, don’t you?”

She opens the top drawer and pulls out a paper pad, an envelope, a pen, and ink. I watch her as she begins to write, an idea suddenly springing up in my head.

The letter only takes her ten minutes to write, and I wonder how truly heartfelt her gratitude could be.

“I didn’t finish shopping yesterday, so I’m going to the village again today,” she says without looking up from the letter. “I’ll likely be gone all day. I’ll give this to Gordon first thing. Hopefully he’ll leave us alone after that.”

She folds the paper in half and slides it into the envelope. Before she seals it, I say, as casually as possible,

“Mother, I’d like some more toast.”

She stops folding the envelope and looks at me, surprised. “You already had three.”

“Well, I’m starving, having skipped over lunch and dinner yesterday,” I say sardonically. “Some more eggs would be nice, too,” I add.

“I’ll have to make you some more. Can you wait ten minutes?”

“Yes.”

When she leaves, I snatch the paper and pen off the desk. With only ten minutes to write what I need to, I hastily write:

Gordon, this is Will.

Mother doesn’t know about this. I need your help. She is keeping me here against my will.

She’s going to shop in the village today. Come to the house. I don’t care what you have to do to get inside. Break down the front door - unless you know how to pick a lock. I don’t know where she keeps the keys to my bedroom. You might have to break that one down.

Please come. I’m not insane. She’s not just keeping me locked here. It’s so much worse. Please, Gordon. You helped me once. Help me again.

Please.

Will.


I fold the paper up and slip it behind her letter in the envelope so that it doesn‘t show, then place everything just as it was before she left the room. When she comes back, she has a plate full of eggs and cinnamon toast. She brings it to me and watches as I gorge myself. She gives me a strange look before she sits down and seals the letter.

“Are you still hungry?” she asks.

“No.”

I watch her put everything away. She glances at the clock. It’s nearly noon. I can tell she's eager to leave. Whenever we have a fight, she spends a day in the village or in the park, away from me, so she can get herself together.

“I’m going to the village now,” she says solemnly. “Do you need anything else from me?”

I put the fork down, having cleaned the plate. “No.”

She nods once, then leaves the room, the letter clutched tightly in her hand.

* * *

All I can do now is wait. I stare at the bars on the window, but I do not see them. I’m aware of the shackles holding me down to the bed, but I do not feel them.

A few hours after Mother is gone, I hear a creaking noise down stairs. Not the familiar creaking of the front door. It’s a high pitched squeal - followed by a thud.

I sit up intently, hope rising. I hear the heavy footsteps as they come up the stairs - no way they could be Mother’s. They come down the hall and right up to my door, then stop.

“Will?” the man’s voice is no louder than a whisper, but I can still hear it.

“Yes!” I cry. “I’m in here, Gordon! How did you get inside?”

“I climbed in through the window. Are you all right?”

“At the moment. Can you open the door?”

He pauses.

“There are so many damned locks. I don’t think I can pick through them all…hold on, Will. I’ll try to find the keys.”

His heavy footsteps drift away from the door. I can hear him rustling through the rooms. He’s back in ten minutes.

“I think I’ve got them. This many keys could only be used for this door.”

“Where did you find them?”

“Your Mother’s bedroom, I think, in a drawer by the bed.”

He struggles with the locks, but eventually he gets them all. The door swings open and
Gordon walks into the room with great caution.

He is larger than I expected him to be. Very tall and broad, with suntanned skin and dark beard stubble. His brown eyes widen as they appraise me, the iron bracelets, and the bars on my window.

“Dear god,” he exclaims.

“They’re just precautions,” I mutter bitterly. “In case I ever to try to leave.”

“I don’t have much experience with the…mentally unstable,” Gordon says. “But is this all necessary?”

I shrug. “I wouldn’t know. I don’t have experience with the ‘mentally unstable’ either.” Unless I count Mother. “I’m not insane, Gordon.”

“So you have been locked up in here for…”

“Two years,” I say. “Since I was fifteen. I was going to be a sailor…like my father…I wanted to go and find him, even though he had been gone for eight years. I didn’t believe he was dead - I still don’t. Mother begged me not to go, but I didn’t listen to her. And so she did this to me, so I could never leave.”

He stares at me, wide eyed.

“In your letter,” he starts. “You said it was much worse than her keeping you locked in here. What did you mean by that?”

“You would have to see that for yourself. I have to show you, but you have to free me, first.”

He stands there, unsure what to do. Desperately, I sit up and reach for his hand with both of mine.

“Please, Gordon! I can’t stand it! Being locked in this room, with no one to talk to except her, and turning into…please, Gordon. She is not sane. Believe me.”

He stares for a minute, then nods sharply and fumbles with the ring of keys in his hand.

“This is the only key that didn’t work on any of the door locks,” he says. He holds up a long black key and sticks it into the bracelet around my left wrist. I watch as he twists it.

The clasp comes free. He quickly goes to the other one and unlocks it. I rub my wrists where the shackles had tightened so constrictively.

I look up at Gordon to smile at him, then stop in horror when I see Mother standing behind him. She’s holding a large statue of the Virgin Mary in her hands, raised over her head, ready to strike him.

“Gordon, look!” I yell.

Gordon turns just in time. Mother shrieks viciously and tries to hit him with the statue, but he catches her by the arms and shoves her back. Mother tries to wrestle out from his grasp in the ensuing struggle. She reaches for his face, scratching at it. Gordon leans away from her.

“The key, Gordon!” I say. He tosses it to me.

“No!” Mother shrieks and tries to dive for the key, but Gordon wraps his arms tightly around her, like a straitjacket.

I quickly unlock the shackles around my ankles while Gordon struggles to keep Mother away from me.

“Why?” she shouts, slamming her fists against the fisherman’s chest.

I get out of bed, using the post for support. My balance is a little unsteady, but I manage to walk over to her without falling.

In reaction to my progress, Mother sinks to the floor in a heap.

“Why?” she whispers.

* * *

It’s close to sunset.

I stand at the far edge of the dock, staring out at the water, breathing in the briny sea air. It has been too long since I’ve smelled the ocean.

Gordon’s fishing boat floats next to the dock, tied down so it doesn’t go anywhere. I hear the fisherman approaching from behind, but I don’t turn around. He comes to stand next to me.

“Will, here.” He holds out a coat. “It’s pretty cold out here.”

“I won’t be needing it,” I say. “Thank you, though.”

We watch the sun slowly begin to creep to the far end of the horizon.

“So, er, where did you go yesterday?" Gordon says. "After we took your mother to the doctor?”

“I had to show the doctor something - alone. The same thing I’m going to show you. I was hoping he could help me, but he couldn‘t.”

“Oh,” Gordon says. “What are you waiting for, exactly?”

“Sunset.”

I don’t say anything further. Gordon coughs self-consciously.

“I went to see your mother today,” he says.

“How is she?”

“She’s…they’ll take good care of her.”

“I hope so. I do still love her, no matter what she did to me.”

“You’re not angry with her?”

I shake my head. “Not anymore. I guess I'm just giddy with the freedom.”

“What did she do to you, Will?”

“It was a long time ago,” I say. “Like I told you, I was going to be a sailor. I was eight when my father was lost at sea, and Mother was afraid she would lose me, too. She was desperate to make me stay, but I wouldn’t listen to her. The night before I was supposed to leave she made me some broth. I don’t know what she did to it, but it was bitter and disgusting, and I wouldn’t eat more than a few spoonfuls. That was when it happened to me, but it didn’t work like she wanted to. I guess I was supposed to stay like that forever, but I always changed back when the sun rose, so she just kept me locked in bed, or in the tub, day and night.”

Gordon stays silent. I can tell he has no idea what I’m talking about. The sky begins to turn orange. I start to take my clothes off.

“Er, what are you doing there, son?”

“Just watch,” I say, pulling my shirt over my head. I take off my pants and my shoes, tossing them aside, and stand naked at the edge of the dock. I feel the painful transformation starting. My skin starts to stretch, split apart and harden into little scales. The color of the scales lightens and shimmers in the sun. I hear Gordon gasp.

My limbs begin to soften and elongate, and I know I can’t stand for much longer before I simply collapse, so I quickly dive into the water.

This is the first time I’ve ever experienced the transformation in the water. It’s much less painful than it is on the surface, and instead of feeling weak and frail, I feel light and swift, like I can swim for hundreds of miles without getting tired.

The water drifts pleasantly around me. It feels good on my scaly skin. I wiggle my long legs just slightly, but the movement pushes me very swiftly and very far. I move my legs faster, ascending, and break the surface in less than a second.

Gordon is still standing at the dock, his mouth hanging open.

“Will?”

“It’s me, don’t worry,” I gurgle. I dive back into the water, deeper this time, then rise back up to the surface with shooting force and fly out in a long arc over the water, like a dolphin, allowing the fisherman to get a good look, and then fall back into the ocean. I float on top of the water, waiting for him to say something. But he seems to be at a loss for words.

“You see?” I call out to him. “This is why I had to escape.”

“She did this to you?” he finally speaks. “Your own mother?”

I shrug. “It’s not so bad if I’m not locked up. And I’m not anymore, thanks to you. I’ll never forget what you did for me, Gordon.”

Gordon stares at me, taking in my words, the meaning behind them.

“I get the feeling you’re not going to stay for very long.

“I can’t stay here. I have to find a way to turn back to normal.”

“But how?”

“Mother won’t tell me how she did what she did. She won’t tell anyone. And the doctor is no help. I’d rather not stay here and do nothing.”

“So where are you going?”

“To a bigger continent. Explore some big cities, see if I can find more experienced doctors who might be able to help me.”

“Are you ever going to come back?”

I hesitate. “I don’t think so. At least, not for a long time.”

“Well,” Gordon says. “I guess you do what you have to do. I’ll be right here if you ever need me, though.”

“Thanks, Gordon. You’ve already done so much for me. Can I ask you to do one more thing?”

“Of course.”

“Next time you visit Mother, tell her I love her, and that I forgive her, and that I’m not angry with her, and that I’ll send her letters as often as I can.”

“Absolutely.”

I smile at him. “I’ll try to write to you, too.”

Gordon snorts. “And I’ll try to respond.”

I laugh. “Goodbye, then.”

“Bye, Will. Be safe.”

I swim away from the shore, not even turning around to look at the fisherman one last time. I leave everything behind me and dive back under, feeling the water rush past me as I cut through it. Uninhibited, unbound.

Free.

* * *
Last edited by Dreamworx95 on Wed Aug 31, 2011 6:17 am, edited 1 time in total.
  





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Reviews: 32
Wed Aug 31, 2011 5:14 am
pettybage says...



This was a very good story, with strong characters and a quality story-arc from start to finish. Nice open-ended finish.

Gordon the fisherman needs to be described, to be given at least one feature when he enters the room as a savior, and when he looks at the kid transform and swim away.

A strong kind man as a savior in front of whom the protagonist gets naked in order to show 'the secret' is still a girl type of fantasy, presented through a boy protagonist it carries some homo-erotic overtones. As does Gordon rolling his eyes. I suggest you find a less female way for Gordon to show his emotion. Just don't have him grit teeth and clench fists, haha, you're better than that.

I'd appreciate at least a sentence with some hints of the type of world this is happening in. Are the bigger boats powered by sales, steam, or diesel? As the sun goes down, do gas lamps light up? Is this the past, the present, or a steampunk reality? In any case, the kid can't become a sailor at eight, at best he can aim to be a "deckhand", at worst a "stowaway".

Right, what else? I'll just enumerate some places where I think tweaking is in order. But as I said - this was a very, very good story in every respect.

I feel the cold, hard iron bracelets locked around my wrists and ankles – no need for “locked”

the pearl choker I’d made her years ago, before I was a monster – instead of “was” – “became”

There’s a glass of milk, French toast and eggs – might as well tell us what type of eggs – boiled, fried, scrambled…

I wait dreadfully for her to come up. – “I dread the moment she will come up”

I hear two voices drift up through the floorboards – either “through the cracks between the floorboards” or “muffled voices from the first floor”.

“What about the boy’s father?” the man says, (“obviously”) continuing a conversation they’d been having.

The man’s tone is abashed and full of accusation. – I say lose the “abashed”. Also, since they are not standing in the same room, unless there’s a hearing hole leading to them, remember that the nuances of the voices aren’t audible to our protagonist. At best he can say “I thought I heard accusation in his voice”

I’ve tried to rationalize with her before – to “reason” with somebody. To rationalize, in this context means to try to make your impulsive choice sound logical by cherry-picking facts and theories. Dictionaries aren’t much help in these case, but practice makes perfect. The more books read – the smoother the intuitive choice of words.

The door closes behind her without a shudder. – “without a sound”. I know you mean that this time there is no banging and no shuddering of the room, but it just doesn’t work this way.

Mother sinks to the floor in a heap of tears. – I suggest you end with “heap” and transfer the “tears” to the next bit where she asks “Why”
  





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Wed Aug 31, 2011 6:06 am
Dreamworx95 says...



Thank you so much for the detailed critique, pettybage. To be honest, I wasn't expecting to get a review on this so soon. I appreciate the quick response on this long story. I'm glad that you're satisfied with the story arc. I worried about the climax a bit, feeling that I had rushed it a little, but so far, everyone has told me it's fine the way it is. And that's just how I wanted the ending to be - finished but open. This piece is complete, but there's a lot more that I want to explore.

I thought I described Gordon's appearance enough so that the reader got a general idea of what he looked like, and looking back on it now I'm not sure what else to add. What kind of detail is missing there?
A strong kind man as a savior in front of whom the protagonist gets naked in order to show 'the secret' is still a girl type of fantasy, presented through a boy protagonist it carries some homo-erotic overtones. As does Gordon rolling his eyes. I suggest you find a less female way for Gordon to show his emotion. Just don't have him grit teeth and clench fists, haha, you're better than that.

Haha, I try to avoid those cliche "clenched fists" and "gritted teeth" as much as possible

I appreciate the input. I don't really see that there are homo-erotic overtones, or that Gordon rolling his eyes is too "feminine" but I can change those particular details easily.
I'd appreciate at least a sentence with some hints of the type of world this is happening in. Are the bigger boats powered by sales, steam, or diesel? As the sun goes down, do gas lamps light up? Is this the past, the present, or a steampunk reality?

This is the biggest issue people have with this story. I imagined this taking place sometime in the 1800's, in a coastal area, most likely an island, because near the end Will mentions going to a bigger "continent." I left it vague because I didn't want to get into it and then have get my facts all wrong. I just wanted to tell the story, you see. I know, it was really lazy of me to not do the research, but I plan to do that now that the story is out of my system.
In any case, the kid can't become a sailor at eight, at best he can aim to be a "deckhand", at worst a "stowaway".

If you read again I only said that his father went missing when Will was around eight, and close the end Will says he wanted to be a sailer at fifteen.

All great nits. Thank you again for taking the time to leave such a great critique. I appreciate your honesty and helpfulness. I hope to talk to you again and let me know if I can return the favor.

Dream.
  





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Wed Aug 31, 2011 7:28 am
DSF6647 says...



So… wow. That was actually really good. I was surprised when I saw how long it was, and I almost didn’t read it but you did great at drawing me in and capturing my attention. Well written. I like the view point you used, and your writing style. Here are some things I noticed…

I’m so sickened by her, despise having to accept her services.


This sentence doesn’t really make a whole lot of sense. I think you meant to say, “I’m so sickened by her, and I despise having to accept her service.” Or something like that.

The locks on the door jingle. Mother walks in with a tray of food. Her fine black hair is swept up into an elegant bun, and she wears a white satin dress with long sleeves and silver buttons down the front. Around her neck is the pearl choker I’d made her years ago, before I was a monster. I’d spent an entire summer swimming in the ocean looking for those pearls.


Just a great description, and I loved it. You could really picture her, all prim and proper like.

I spend the rest of the morning staring at the ceiling, trying to think of ways to escape now, but between the bars on my window, the shackles binding me down to the bed, and the locks on my bedroom door, any thought of escape is pointless.


This is a VERY long sentence. I would shorten it up a bit, and stick a few periods in there.

Mother flusters and brings out a handkerchief from her other pocket.


This sentence sounds a little odd to me. “Mother flusters” doesn’t really flow. I would try something like “Mother was flustered and tried to bring out a handkerchief from her other pocket.” Or something like that, just an idea .

“I think it would be best if you left now.” Mother’s shoes clack against the hardwood floor, then the front door creaks open.


I just really liked the above sentence. It flowed well and I could picture the entire thing in my head, well done.

By the time the sun sets, my stomach is growling, but it’s easy to ignore it, knowing that I’ve alerted someone of what Mother is doing to me, I don’t feel so helpless anymore.


Just another long sentence in my opinion. You could probably shorten it up a bit.

Anyways great job. Like I said I enjoyed the whole thing, but I would also maybe add a little bit to Will and Gordon’s relationship. Kind of happened fast and it made me wonder why he offered to write Gordon letters, or why Gordon even cared so much. You could maybe add he was an old family friend, and maybe he knew Will’s dad before he disappeared, or connect how he knew what Will looked like and how he was able to return him to his mom the first time. I don’t know I just felt like there should be more there.

So up to you, great story and I loved how you portrayed the mother. How she loved Will and was really doing all of this for his sake. How she cared for him and just wanted the best for him. Hahaha it was great, so cheers. And all the above is just my opinion, so take it or leave it is your choice 
  





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Wed Aug 31, 2011 7:55 am
pettybage says...



Hey Dream, glad you liked the nits. As to research; first you don't need it for this story, just one vague sentence about an electrical lamp or gas lamp, or sailboat vs stemboat will be enough for the reader to weave additional shades in his mind.

And second, if and when doing something that would require showing more details of the surroundings - that's why lazy researchers invented steampunk, alternative worlds and fantasy setting - because there you use whatever you want to in whatever combination you want to, as you long as you don't break the internal logic of your story.

Anyway, if you ever feel that you've just finished a piece which needs my eye, whistle. Over the PM.
  





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Thu Sep 01, 2011 1:51 am
Master_Yoda says...



Hi Dreamworx,

I hadn't read your writing in ages before this. You still write a fluid prose, focus strongly on character conflict, have a bunch of interesting imagery and metaphors in your writing, and have great word choice.

Since I last reviewed anything of yours I have learned a lot about writing, I think, and I want to talk about what I don't like about your storytelling.

To put it simply, it's generic, unsurprising, and lacking in hook. In other words, you write far too simply. I'm not talking about your word choice and prose when I say this, but rather about your content itself. You never surprise me as you take me through the archetypes of a character who is being oppressed by a mother who tries to hold on to him. The Mary Sue-esque forgiveness of the character towards his mother's oppression is unrealistic and fairytale-like. The hero who rescues him is not a character but a tool. He has no personality worth mentioning.

You need to become bold. Instead of writing about insane mother squandering victim child and generic hero rescue, you should be exercising your creativity. Make your hero darker. Give him some personality. Let the victim try to defend his mother.

Then there are the weird parts of the story which don't seem to have any impact. The dolphin transformation is irrelevant to Will's character. Stop focusing on it and start building some weird story around his true character. This little arc feels a little disjointed and unattached to the story itself.

Next, while it is essential to write invisibly, this does not mean you cannot write aggressively. Passive writing is only so effective. It tells about what is and what isn't, but your narrator has know personality. When you give your narrator personality it makes the prose far more gripping. You'll find that the best narrators in the world had voices. From Alexandre Dumas to Jeffery Archer, some of the greatest storytellers in history have written proses that have had narrators who actually make the story more interesting. These narrators give out information in interesting ways so as to maximize the exposition. I suggest you try this.

Finally, while I think you begin in the right place in the story, you want to increase the speed with which you leave it. To maximize tension you want to enter the story as late as possible and exit as early as possible. When the story is over there's no point dilly dallying around. You want to cut to the chase and let us loose. You need to minimize the unnecessary interaction between Gordon and Will. Some of it tells story but some of it is simply following up. In the words of Shakespeare, brevity is the soul of wit. In the words of Yoda, the more you write, the less you say.

Don't get me wrong, your story is very well written and very well structured. I do think it could definitely be streamlined, though. I also think that it would benefit by a more aggressive narrator.

I'm sorry this review took so long and I hope that it was worth the wait. You're still a fantastic writer.

Keep well!
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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Thu Sep 01, 2011 3:07 am
Dreamworx95 says...



DSF6647, thank you for braving through this even after you saw the length. My intent was to capture the reader's attention in that first scene, so I'm glad that worked. I had considered writing this from the view point of the fisherman - I thought that the suspense and mystery would be stronger there - but I felt much closer to Will and so it was easier to write from his perspective. I'm happy that you liked the story from Will's eyes.

Great nits to consider. I never realized that I have such long sentences. I can see now that I do from the ones you pointed out. Could stand to lose some commas there.

You make a great point about Gordon and Will's relationship. I know it's not very much established, but I have to admit, like Master Yoda has stated, I only used Gordon as a tool to set Will free. I can see now that I could do so much more with him, and that's an absolutely brilliant idea about making him an old family friend who knew Will's father before he disappeared. I don't know why I never thought of that.

It was surprisingly easy to portray Will's mother. I don't think she's much different from other mothers, to be honest. Moms can get a little crazy when it comes to their babies. :)

Brilliant thoughts. Thank you so much for your time and suggestions. I hope to hear again from you soon and of course if there is anything you want looked at just let me know.

Dream.
  





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Thu Sep 01, 2011 3:12 am
Dreamworx95 says...



Hello again pettybage. Good suggestions about the lamps or sailboats. I know I don't need much research for detail in this story, as Will just spends most of the time locked up. I'll definitely need research for future stories, when he's out and about and free.

Thank you for stopping by again. :)
  





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Thu Sep 01, 2011 5:11 am
Dreamworx95 says...



Master Yoda,

This story is probably my most favorite thing I've ever done and I'm very proud of it, but your thoughts have humbled me and brought me back down to earth. Thank you very much for being so honest.

Another person has commented that the story lacks an element of surprise. I do have a way of trying to write simply and getting the story across as naturally as possible. I had some trouble with the scene where Will was trying to figure out a way to get in touch with Gordon, and I decided to just go with the most simple and believable thing. After that, it all just came very easily, and I see now that is a problem.

I also had trouble pinpointing Will's feeling towards his mother near the end. I definitely understand how he comes off very Mary Sue. To be honest, I feel like I misread his emotions, and that's something I need to go back and figure out. And I definitely do not want Will to be that flawless ideal of a hero. Thank you for pointing this out to me

And I can't deny what you say about Gordon being a tool. He pretty much is. I was very focused on Will and his mother, so I didn't bother really fleshing Gordon out as anything other than someone who helps Will escape.

You need to become bold. Instead of writing about insane mother squandering victim child and generic hero rescue, you should be exercising your creativity. Make your hero darker. Give him some personality. Let the victim try to defend his mother.

I think it's odd that the people who have read this so far see Gordon as the hero - I never thought of him that way. I mean, I guess he is, technically, but I feel like Will is his own hero. He saved himself by not giving up even after he was so close that first time. Maybe that's part of the problem - maybe I should make him struggle more.

I like the idea of a darker Will - that's something I would be glad to accomplish.

I have to disagree with you about the fish transformation. I'm not sure why it's so weird to you but I think it's very natural to the story. I don't see where it's disjointed or unattached to the story. I don't think I would even have a story without that part, to be honest. It is relevant to Will's character and the relationship between him and his mother. You may not see it, of course, because it's all up to reader's interpretation. I had written this in mind of the relationship I sometimes feel like I have with my own parents. Sometimes they try to make you something you don't want to be, and you have to fight against it, or it can have a very negative impact on both of you. This story is obviously a very literal take on that, but the relevance is there. For me, anyways. The fishy side of Will is a key part to things I have in mind for the future, also. Plus it's something that I enjoyed imagining and writing for myself, and I thought readers would enjoy it as well.

You also keep saying that Will has no personality, and it's hard for me to understand where or how he comes off that way. I could easily see the Mary Sue thing when you mentioned that he was too forgiving of his mother, but it's not like he has absolutely no personality throughout the rest of the story. He's determined, smart and obviously willing to fight for his freedom even if the odds are against him.

I'm sorry if I'm coming off defensive, but I feel like I owe it to Will to defend his character. He is a part of me, after all. :) I do see what you're saying about making Will more aggressive. I just felt like you saw him as an absolutely bland personality.

I'm sorry to hear you say that Gordon and Will's conversation at the end was slow paced and unnecessary. That's probably my favorite scene out of the whole story. I completely understand that you wanted to be let loose - I always feel that way near the end of a story, but I don't really want to change much of that scene other than what you mentioned about Will's very Mary Sue-like response about forgiving his mother. He's not Mary Sue at all, and I'm going to work on that, and work on making him more "aggressive."

Thank you for an awesome critique and the brilliant suggestions. It was very well worth the wait. You're still a fantastic reviewer. :) Let me know if I can return the favor.

Dream.
Last edited by Dreamworx95 on Thu Sep 01, 2011 7:53 pm, edited 1 time in total.
  





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Thu Sep 01, 2011 7:04 am
pettybage says...



Hi there, Dream.

Now I personally when reviewing try to not judge the plot, the characters and the narrative voice, because the reaction to these is highly subjective. There are millions of people out there who believe the King's plots are imaginative, the Clancy deals with complex psychological processes, or that Twilight's characters are interesting, and who am I to argue with that?

Indeed, if I were to judge plot, characters and narrative voice, this would mean me trying to make the writer conform to my tastes, which I don't think is really right. So what I look at is basically whether the sentences work, and whether the internal logic of the story holds up, and if the descriptions are OK.

The soviets discovered a revolutionary film technique in the 1920's - the actor would show very little or no emotion. This enabled the viewers to unconsciously project their own emotions on the actor and then feel that the actor's performance was highly realistic and engaging. For us amateur writers the lesson is the following - the more white spots of emptiness in the narrative - the less control we have over the reader's reaction; the less white spots of emptiness - the more we control the reader's reaction.

Now the amphibious boy in your story is pretty withdrawn and with subdued emotional reactions, so you have very little control over how we interpret him. Just like the reader's mind would build a whole world around one casual mention of a gas lamp or an automobile, so does the reader build a whole personality around say two verbal and one non-verbal reactions. So keep that in mind. The more details you sprinkle around, the more control you have of the reader's reactions, the less details - the more we draw out wildly differing subjective conclusions.

Now I found the kid shy and passive in a feminine way, Master Yoda found the kid a Mary Sue, and I think that this is in part due to the aforementioned lack of subtle reader manipulation and in another part due to a lack of rigid gender stratification in this tale. The kid is half-human, has been a prisoner for two years, he could be a passive gay for all we know, and yet even if he was a creature born and bred on Sirius Five, still we simple earthling readers would feel comfortable and engaged in a 'realistic' story, if the kid answers at least partially to our biased expectations, and if he doesn't we fell that 'something's wrong'. So you have to take that into account. Readers have certain psychological makeups and social and cultural influences, which is why alien tribes in Avatar behave like Earth premodern tribes, and the republicans and imperialists in Star Wars also behave like toned down Earth equivalents - if these were all 'truly' alien, no one would understand or care, except for a minority of weirdos.

Thus, the biases of our society make us (at least the male readers) expect the kid to be resentful, to be able to forgive only much later on, maybe never, maybe only after the mother's death, maybe he will 'realize' she was a saint and will become a serial killer, haha, anyway, either make him and others slightly more stereotypical, or provide tiny details like dropped words or thoughts around which we the readers may build our own convincing explanations of why the person does what he does.

:)
Last edited by pettybage on Mon Sep 05, 2011 4:18 am, edited 1 time in total.
  





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Fri Sep 02, 2011 10:11 pm
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Master_Yoda says...



Hey Dreamworx and Pettybage,

I've been really busy and have a little time to respond now, so here goes.

Firstly, DW, I want to make it abundantly clear that I don't dislike your story. It dealt with strong emotional matter and was swarming with character conflict. As such you should definitely not feel humbled by my review. What you might want to do is take to heart some of what I've mentioned and consider it and apply it in the future if you agree with it.

Will is definitely not the hero of the story as you told it. He is simply the princess of your story who has been locked in the tower awaiting her prince. To turn him into a hero, you will need his actions to be heroic. But more importantly, he will only be a hero when he acts for the good of others at his own expense. It is not ability that defines a hero, but choices. In my opinion selflessness is characteristic of all the greatest heroes of all the greatest tales. It is precisely this that makes Gordon a hero in your story.

To respond to your question about the fish transformation, I will only say that the tale for me was about Will's escape. To pollute it with what seems to be irrelevant to his captivity and acts only to bring about the mystery element of what his mother has done to him seems a little gimmicky to me. It's your story though, and if you think it fits, don't change it.

When I say that Will has no personality to speak of, I meant precisely that. He has no personality "to speak of". Essentially this is merely a way of saying that his personality is Mary Sue-ish and boring. His personality comes through vividly.

What I dislike about his conversation with Gordon isn't that I don't want to read it, so much that I think it makes the real story come off as more of a precursor to this conversation. I prefer the real story. If however you like the conversation so much, than it is your real story. It is a story with no conflict really, hence my dislike of it. Ultimately, though, it's up to you.

In response to pettybage's comment about trying not to judge the plot, characters or narrative voice, I agree entirely. I am not judging you, DW but reviewing you. I am giving you my opinion on these, and you must decide for yourself. The last thing I want is for you to take what I say as though I'm trying to steamroller your creativity. I am trying to give you a new perspective, however.

Keep well!
#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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Sat Sep 03, 2011 9:54 am
Blues says...



Hi Fatima!
Wow. What can I say? That was a great story - absolutely brilliant! I loved it from start to finish.

Things I liked
Apart from everything...

As soon as I open my eyes, I know that I’m back in the home. I recognize the scum-stained floor and the dingy bathroom walls. I'm in the rusty bathtub, which is filled with cold water. My arms are shackled above me. I know Mother is here, but I don’t look at her.

“What were you thinking?” is the first thing she says. “Someone could have seen you, it was almost sunset!”

This instantly grabs my attention. I wanted to know straight away what was wrong with Will being seen and what was so important about him not being seen at sunset.

I finally look at her. She sits next to me in an old wooden chair, her gray, tear-filled eyes surrounded by dark billows that suck them into her pale, bone-thin face.

Lovely description! I can imagine her really well.

This is what my days are composed of. Playing games with Mother. Or drawing pictures with her. Or listening while she reads to me. Or sitting in silence while she plays her violin.

His mother is intriguing me here. Why is that all Will's doing with his mother?

All I can do now is wait. I stare at the bars on the window, but I do not see them. I’m aware of the shackles holding me down to the bed, but I do not feel them

I wonder why his mum imprisoned him...

He is larger than I expected him to be. Very tall and broad, with suntanned skin and dark beard stubble. His brown eyes widen as they appraise me, the iron bracelets, and the bars on my window.

I love this description! It's really, really good!

“Next time you visit Mother, tell her I love her, and that I forgive her, and that I’m not angry with her, and that I’ll send her letters as often as I can.”

What I love about this is that Will doesn't hate his mother even after all she did. I like that and it really shows his character. It's really good.

I swim away from the shore, not even turning around to look at the fisherman one last time. I leave everything behind me and dive back under, feeling the water rush past me as I cut through it. Uninhibited, unbound.

Free.


The ending is brilliant! Perfect! It provides a great contrast from at the beginning when he wasn't free and now when he is free.


Things that could be improved :)
Not much really! I didn't see any typos or anything.

The sunset seems to be important in this story. I think that there could be a little bit more description of the sunset - say a sentence or two. Your other descriptions were great I have to say.

I'd also like a little bit more description (only a sentence) of when he's a fish. What colour are his scales? What about his fins?

Overall
Brilliant! This was great. It's perfect the way it is, but I hope the suggestions for improvements help. I love your characters, your plot... pretty much everything!

Before I go, can I ask if you're Arab? I'm only guessing by your name :P Please don't be offended if you aren't!

Keep Writing!
Ahmad aka Mac
  





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Sat Sep 03, 2011 6:47 pm
carbonCore says...



The words "complete story" caught my eye, but it seems as though I was a victim of false advertisement. This seems less a story and more a prologue. I will explain.

Other reviewers before me pointed out that this is a story that is focused on character interaction and development, and I agree completely. However, to me, the best parts of this story are the ones that weren't written -- the first letter Will sends to his mother, the mother's reaction to it; her reaction to when he found a doctor, her reaction to when he was cured. Her explanation of why she did what she did, and what exactly it was that she did. Will making friends, Will getting his first girlfriend (or boyfriend -- I have to admit, the character *is* kind of effeminate).

As Pettyface pointed out, this story leaves a lot (possibly too much) up to the reader's imagination. I appreciated the description of his bed, the multitudes of locks and the chains. It really characterizes Will's mother more than it does anything else, which is a nice touch. However, as a whole, the setting wasn't really clear to me. Was it dark? Was it bright? Did it smell like old newspapers, or cotton and medicine? Of course, here the trick is not to say "it smelled like old newspapers and medicine", but to drop little clues here and there that would imply this information.

As a whole, I enjoyed this story, though I wish it didn't end when it did. Ideally I'd like to see you go somewhere else with this story, and turn it into a novella, for instance. For a character-based story, there really isn't enough character development going on.

Your dolphin,
cC
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Sun Sep 04, 2011 1:53 am
Dreamworx95 says...



pettybage, good to see you again. :)

You raise some very interesting points that I would love to discuss. I'm going to keep my reply brief however so that the thread doesn't stray off topic.

I agree with you. When I'm reviewing a writer's work, I also keep in mind that what may not appeal to me may appeal to other readers. So when I come across something that doesn't fit my tastes, I also tend to judge just the writing and the logic of the story.

I really wasn't aware that that's how the kid comes off in the story. But since everyone has made a point about that, I may be blind to how I've portrayed him. It's probably time to put this story in a drawer for a while and come back to it when I have clear eyes.

Thank you for reading, and great advice about the details.

Master Yoda, thank you for replying.

I wasn't under the impression that you disliked my story. But if you did, that is your opinion and you are absolutely entitled to it.

You may be right about Gordan being the hero in that sense. He's the classic hero. Right now, I don't really see Will being that kind of person. But obviously this isn't a "heroic" story, and I won't claim that Will is a hero at all.

In response to pettybage's comment about trying not to judge the plot, characters or narrative voice, I agree entirely. I am not judging you, DW but reviewing you. I am giving you my opinion on these, and you must decide for yourself. The last thing I want is for you to take what I say as though I'm trying to steamroller your creativity. I am trying to give you a new perspective, however.

I'm not new to receiving critiques. I've taken what I need from you and I greatly appreciate the rest. You've given me a new perspective to think about. This story isn't your thing and I, of course, respect that.

Thank you again for stopping by.

Ahmadblues, thank you for enjoying the story.

I'm so glad you liked the descriptions and the characters so much. I think it's really cool that you were as intrigued in reading the fish transformation as I was in writing it.
I'd also like a little bit more description (only a sentence) of when he's a fish. What colour are his scales? What about his fins?

I imagined his body being white and silver, slick with blue-tinged scales and fins - still resembling a human form, kind of like a Zora from LoZ.

Thank you for reading! I appreciate the enthusiasm and the encouraging comments.

To answer your question, yes, I'm Arab. Family is originally from Iraq. I was born in Saudi and came to the US when I was very little.

Carboncore, thank you for reading.

I'm sorry about the false advertisement. I did feel like this was the complete story of this particular chapter in Will's life, which is why you hit it spot on with saying it was more like a prologue. I have plans for Will and other characters in the future. This was kind of the "breaking free" point, but the character still has to go out and find what he thinks will make him happy and figure out who he is. I'm so glad you said the best parts of the story were the ones that weren't written - those are the ones I am most excited for.

I understand I need to drop more clues about the environment that speak about the characters. I tend to write the bare minimum on the first go, then go back and add in all the little details.

This probably will end up as a novella. So I probably shouldn't have said it was a complete story. Maybe just "Part one."

Thank you for the wonderful thoughts.

* * *
  





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Mon Sep 05, 2011 4:34 am
pettybage says...



Master_Yoda wrote:Will is definitely not the hero of the story as you told it. He is simply the princess of your story who has been locked in the tower awaiting her prince.

Very well said, I wish I had said that:)

Master_Yoda wrote:To respond to your question about the fish transformation, I will only say that the tale for me was about Will's escape. To pollute it with what seems to be irrelevant to his captivity and acts only to bring about the mystery element of what his mother has done to him seems a little gimmicky to me.!

Ah, gimmicks... where would we speculative writers be without them? We'd be forced either to become real authors or real sci-fi writers like Greg Egan or something. I'm certainly not ready for either yet.

carbonCore wrote:Ideally I'd like to see you go somewhere else with this story, and turn it into a novella, for instance.
Absolutely. A bit too early to go for a novel, but a novella or a story cycle would just the thing to force this Dream into the next level.
  








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