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Caste of the Spider



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Mon Oct 23, 2006 4:09 am
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Shafter says...



RATED PG-13 FOR VIOLENCE AND DISTURBING IMAGES



CHAPTER ONE-- UNTOUCHABLE

The thump of footsteps on the cold ground made Émon’s head snap up. Despite the frosty weather, sweat slid from his forehead down his face like tears. But the sound came from a fellow laborer, limping by, bent under a load of bricks. Émon watched him. His almond-brown eyes fixed on the man with his usual intensity; he always looked at people. Really looked, never glanced.

Their gazes met. Émon smiled. The man’s face hardened as he turned away.

Émon rubbed his shoulders, reminded yet again of the crime he’d committed earlier that day and the inevitable consequences. He drew a deep breath and ran his fingers through his hair, pushing the dark locks out of his eyes. He forced his stomach to unknot. Why didn’t an overseer just confront him and get it over with?

Heart beating a little quicker, he picked up another mud-and-straw brick and fitted it snugly between two others on the load in front of him. The bricks formed a large cube, tightly stacked on the burlap sheet.

Émon frowned at the load for a moment, retucking his tunic into his sash to hold it in place. What do I care if the bricks are stacked right? Most of the other workers just piled the bricks in a heap.

He didn’t know why he felt the need to do a good job. He tried not to care.

Émon sat back on his heels. Once again, he would hoist the hundred and seventy pounds to his back. Once again, he would trudge the ninety yards from the brickyard to the storehouse. Two hundred and sixteen steps. Émon had counted.

He touched his breastbone, running his fingers over the spider tattoo that marked it. The picture was a sign to everyone in Naryen-Mair. Stay away—this creature is defiled! A few drops of ink beneath his skin had cursed him as an Untouchable and chained him to a work camp since his birth.

He stood and stretched his arms, hearing the joints in his back pop. Again he heard footsteps and pivoted to face the newcomer. Every muscle tensed, then his shoulders slumped in relief. “Hello, Traistal.”

Traistal, black-haired and sun-browned, always kept his chin up as if he were nobility instead of a slave. Though twenty years older than Émon, he had been Émon’s only friend in the past two years. He set down his load of bricks, shaking his head slightly. The somberness in his gray-green eyes made Émon’s heart sink.

“They know it was you,” Traistal said.

“Is someone coming to—?”

“Yes.”

Émon rolled his shoulders, and felt the scabs that striped his back wrinkle. They’ve just begun to heal, too. He tried to speak calmly. “Should I expect a bad beating?”

“They’ll lay your guts open for this one.”

“Oh.” Émon could never fault Traistal for being too optimistic.

Traistal spoke offhandedly. “Afraid?”

Émon cleared his throat. “Traistal, when am I going to learn to stop getting myself in trouble?”

“When you allow the overseers to break your spirit.” He laid a firm hand on Émon’s shoulder. “If I can keep going at thirty-seven, I think you can at seventeen.”

“Sixteen,” Émon corrected.

“Your birthday’s tomorrow.”

Émon’s heart sank further. “Oh.” He gazed into space, the pale gray sky above the walls that caged him in the work camp. Suddenly, he remembered the dream he’d had last night. “Traistal, about tomorrow—”

Traistal shook his head, and Émon read in his eyes what his mouth wouldn’t say. You might not be here tomorrow. Traistal bent to pick up his load. “I’d better get back to work before an overseer catches me dawdling.”

“Traistal, it was another dream about Eiamar.”

Traistal straightened, raised his eyebrows. “And?”

Émon hesitated, remembering the image from his dream: a muscular, blue-eyed man standing on a fog-shrouded hill. “He was gazing up at the stars, I don’t think he saw me. And I just… felt this voice.”

Traistal’s face settled into an expression Émon had never been able to decipher in the two years he’d known him. “What did the voice say?”

“‘Behold, it is Eiamar. He is the answer, the key to the Untouchable’s freedom.’” Émon shivered as he remembered the chilling whisper that had haunted so many of his dreams. “Then the voice faded. And I knew, I don’t know how, that something wonderful or horrible would happen tomorrow.”

Traistal knelt beside his load and absently ran his fingers over a small white scar along his left temple. Émon waited for him to comment, but he didn’t. At last Émon said, “Traistal, why won’t you tell me about him?”

“Haven’t I already?”

“All you said was that you two were friends and then you split ways before the camps were formed.”

“That’s all you need to know.” He touched his scar again. He always did when Émon mentioned Eiamar.

Émon sat down heavily, cross-legged, and massaged his bare toes for warmth. “What does it all mean?”

“It means you have to live through this beating.”

Émon sighed. “Why can’t you tell me?”

“What makes you think I have something to tell?” He heaved up his load. “I’ll be back to gather up your remains after your overseer’s through with you.”

“You’re encouraging.”

“When am I not?” Traistal smirked. “If the advantages of your work outweigh the disadvantages of your rebellion, you’ll survive.”

And if not… Well, those were the terms. Émon and Traistal both knew it.

Traistal laughed grimly. “I hope to see you later.”

“You too.”

“Well…” Traistal paused. “Stay warm.” He turned and strode out of the brickyard. Émon swallowed bile and prayed he would live to see another sunrise.

* * *

An explosion of pain plunged Émon into the world of unconscious. He swam furiously away from it when he first passed out, then slowed when the coolness of sleep obliterated feeling. He sank deeper, savoring the nothingness— he wouldn’t wake, not for a long time. Just floating in the void, heedless… until he descended into a dream, a memory of nearly twelve years ago.

He was five, sitting on the floor and running his fingers over the dirt. Several other children near his age played together in a corner of the shack. Some sort of singing and hand-clapping game. A few of them were probably his siblings, but Émon was never sure. As usual, they didn’t include him in their game. Émon stared at the dirt, listened to their chorused rhyming, a ritual he would never be part of. The only time he’d ever tried, the other children covered their ears and yelled at him to stop.

Émon’s mother, Shaitha, sat cross-legged on the ground nearby, hugging to her breast a sickly baby whose only parent was working a late shift. The child tugged a lock of Shaitha’s silver-brown hair as Shaitha talked to another mother.

Émon didn’t listen to them much, too absorbed in the dirt, too distracted by the children’s game. Just fragments of conversation— something about incomprehensible concepts such as “freedom” and “the old days.” He stopped for a moment when he heard the other woman say, “We have our young emperor to thank for our chains.”

“Feron-Shious,” Shaitha breathed.

“Curse his name.”

Émon raised his head and spoke a rare comment. “Someday,” he said, “I’m goin’ ta punch Feron-Chious in the face.”

Both mothers laughed. Émon smiled, and somehow felt that everything was going to be all right.

With a flash of white light, he was torn from the comforting moment and plunged two years ahead, into a dream of dust, of sweat, of fear.

He was seven, a scrawny boy whose sunburned skin clung to him. He hunched over a tray of bricks molds and pressed mud into them with his hands. His stomach gnawed at him. Food… When will I get food… He glimpsed movement and turned to watch Shaitha kneel beside him. She ruffled his hair. “Rations soon, son. Just one more load and we can rest.”

Émon held up his palms. Blood seeped from raw scrapes where he’d run his hands over the rough mixture hour upon hour. His voice quavered. “They hurt, Momm.”

“I know, Émon, I know.” Shaitha embraced Émon and kissed his head. Émon snuggled against his mother, closing his eyes tightly. If only the pain would go away, the constant ache of his legs and arms, his stinging hands, the knot in his stomach.

Shaitha began to hum softly. A lulling tune, a sad tune, one that made Émon want to cry every time he heard it. Still, it was oddly comforting. Shaitha gently rocked him, Émon clung to her, soothed by the mournful melody.

At last she released him. “Be brave,” she whispered. Shaitha kissed him on the cheek, and her cracked lips left a bloody mark.

She stood. Émon missed the warmth of her embrace, nothing could hurt him when he was in his mother’s arms.

With a deep sigh, Shaitha stacked three sets of molds on top of each other and heaved the load up. She took a single step, wavered.

“Momm?” Émon said uncertainly.

Her breath came a little faster, louder. She quickly dropped to her knees, setting down the trays.

Émon sprang to his feet and bounded over to her side. “Momm— don’t— it’s all right, I can take one.” Hands throbbing, he lifted a tray. It weighed nearly as much as he did, but he vowed he wouldn’t fall.

“Thank you,” Shaitha gasped. She stared for a moment at the trays as if they weighed a thousand pounds, then slid her arms under the burden and lifted it again. “Follow me.” She shuffled toward the kilns. Émon trailed behind, gasping with the effort.

They filed through the gate to the brick-baking yard. A wave of heat blasted them as they entered. Shaitha staggered.

No, Momm. Don’t fall, don’t fall. Émon’s arms felt like they were on fire now, burning with effort. Don’t fall…

“Hurry up!” An overseer snapped his whip in their direction. This was the first day Émon had seen this young man. The new overseer’s face was hard, jaw set; some of the Untouchables were mocking him behind his back, others asking stupid questions and pretending not to understand. Even in his short time of work, Émon had seen this happen before— most Untouchables took great delight in pushing new overseers until they snapped.

A murmur of singing from a corner of the brickyard became intelligible: “Gi-rec, Gi-rec, son of a werak…”

So the new overseer’s name was Girec. Which rhymed with werak, mongrel. Girec turned sharply toward the corner and demanded who was singing. Shrugs, muttered comments, but no one had obviously been singing.

Émon followed his mother toward the kilns. He could feel Girec’s anger rising as the song broke out in another part of the area. It immediately silenced when he turned to face it, only to return, louder, in another corner.

Shaitha faltered again, slowed. Émon focused on her, trying to ignore Girec’s growing rage. Hurry, Momm, please hurry! Shaitha’s thin arms strained, sweat dripping down her forehead.

Now the chant sounded in spurts from different areas. Girec seized his whip, turning from side to side, unsure who to attack. He was losing control, Émon could see it. He turned sharply toward the loudest chorus of the song— directly into Shaitha’s path.

Shaitha came to an abrupt halt, nearly crashing into Girec’s back. She tried to retreat, but her foot snagged on uneven ground. She lost balanced, stumbled sideways, crashed into a stack of bricks that were dry but still unfinished. Mud exploded everywhere, dotting Émon with clay. The pile of bricks toppled and shattered.

Girec whirled, his wrath focusing on Shaitha. “Idiot!” he yelled.

Shaitha lay face down on the ground for a moment, then struggled to her knees. Her blue eyes shone with terror. Girec seized her arm and yanked her up, shouting in his rage. “That was two hours’ work you shattered, bitch!”

“Sorry—” Shaitha gasped.

“I don’t make quota, I don’t eat! You realize that?” He flung her to the ground.

Émon didn’t breathe.

Shaitha staggered upright again. “I’ll work extra tonight, I’ll—”

Girec struck her with a blow that sent her sprawling to the ground. “Not good enough!” His whip was out now; Émon stared as the cord sang through the air, slashed her arm.

She screamed. Émon’s tray slipped from his hands, crashed to the ground. Momm! She screamed again— he dashed toward the overseer, seized his burly arm. “Stop!” he yelled. “Stop!” Girec shouted an obscenity and flung him aside. Émon hit the ground hard, stunned for a second. Another shriek—

Émon staggered to his feet, grabbed a heavy kiln-fired brick and threw it as hard as he could.

The brick hit Girec in the chest with a dull thud. The overseer stumbled back, gasping.

Émon didn’t hesitate. He ran.

Two, three, four bounding steps; Girec’s whip curled around his legs and sent him flying to the dust. Before he could move again, the cord lashed his chest, again and again, ripping his flesh, scattering drops of blood. Pain— blind, burning pain— He screamed until his lungs hurt, and then unconsciousness finally rescued him.
Last edited by Shafter on Fri Jan 26, 2007 11:50 pm, edited 7 times in total.
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Mon Oct 23, 2006 5:15 am
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gyrfalcon says...



w00tw00t!!!!!!! :D :D :D bird is happy, bird is very very happy!!! AT LAST! *sings* Caste is on YWS, Caste is on YWS!!! :-) Can you tell I'm happy?

And it was loverly, dahling, I was REALLY looking for flaws and found nothing, :-). But then, I am a little too close to this work to be of any real help anymore, but I wanted you to know that I love it, I think it does everything this chapter is supposed to do--it's brilliant! (I knew there was a sash in there somewhere :wink: ) Don't let anyone talk you out of the "momm" thing, it works, it really does.

*Announces to all of YWS* Shafter is a genious!!! Everyone should read this!!!
"In a sort of ghastly simplicity we remove the organ and demand the function...We laugh at honour and are shocked to find traitors in our midst. We castrate and bid the geldings be fruitful." ~C.S. Lewis
  





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Mon Oct 23, 2006 1:41 pm
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Sage says...



HOORAY and HURRAH!!!
*happy kitty dance*
So happy to meet the new Emon, dahling, although, as usual, your first chapter makes me wince...but I gather that was the point:-* :) Love it! I'll post a real crit later, K? Gotta go!
True friends stab you in the FRONT. (Oscar Wilde)
  





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Mon Oct 23, 2006 4:03 pm
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Shafter says...



Oh dear, gushing reviews... :wink: Yes, Gyr, you're definitely in no place to give me a good crit any more than my mom is, but thanks anyway. You started my day on a happy note! :)

Hopefully someone else will give me a real crit (no offense, Gyr and Sage). I'm from a family of writers, so please do not be easy on me!

Looking forward to the next crit...

Cheers! ~Shafter
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Mon Oct 23, 2006 5:16 pm
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Sage says...



Oh? Gushing reviewer, am I? *takes as personal challenge* I SAID I would do a real crit later…well, here it is. Please excuse my inability to use the ‘quote’ window; I haven’t yet figured out how to do that.

****Émon watched him, fixing his almond-brown eyes toward the man with his usual intensity. He always tried to look at people, really look, never glance.
Their gazes met. Émon smiled. The man’s face hardened in contempt and he looked away.****


This bit, about the way he looks at people, is good to know but it feels too much like you, the author, are telling us this. Maybe you could change it/add something he’d be more likely to think at that immediate moment, like ‘the habit had often gotten him in trouble’, or ‘he never realized until it was too late that he was doing it’. Is this something he consciously tries to do (which seems unwise, in his current position), or just a habit?

Also, ‘fixing his eyes toward the man’ is a little odd. On the man, maybe? And I don’t think you really need to say ‘in contempt’; it’s fairly obvious from the guy’s actions what his attitude must be.

****Émon rubbed his bare shoulders, reminded yet again of the crime he’d committed and the inevitable consequences.***

Something we’re going to have explained in the next chapter? Cuz right now, it looks like he’s in trouble for smiling…

***He continued to stack mud-and-straw bricks onto a sheet of burlap.***

Unnecessarily wordy, I think; you could just say ‘burlap sheet’. But that just might be me being nit-picky.

****Once again, he would have to hoist a hundred and seventy pounds to his back and trudge the ninety yards from the brickyard to the storehouse. It was two hundred and sixteen steps. Émon had counted.****

I’m pretty sure I get what you’re trying to convey—he’s been doing this a long time. But it feels like an infodump. It would probably work better if you cut that first sentence into a couple of smaller ones, or change with commas, more like he’s thinking; even cut the ‘it was’ off of the next one. It would give greater emphasis to the fact that he had counted them, many, many times.

****Traistal, black-haired and sun-browned, always kept his chin up as if he were nobility instead of a slave.****
Traistal! *happy wiggle* I love how you describe him here; yep, that’s pretty much all we need to know about Traistal…for now…;)

***They’ve just begun to heal, too.***

Was he supposed to say this? I think you forgot the quotation marks…

****“They’ll lay your guts open for this one.”

Traistal shook his head, and Émon read in his eyes what his mouth wouldn’t say. For you, there might not be a tomorrow.

“That’s all you need to know.” He touched his scar again. He always did when Émon mentioned Eiamar.

Émon sat down heavily, cross-legged. “What does it all mean?”

“It means you have to live through this beating.” ****


Ah, mysterious foreshadowing and character development, all at the same time! Hooray! Please explain to us who Eiamar is, sometime in the more-or-less-near future. Please?

*** As usual, they didn’t include him in their game.***

Hmm. I’m interested. What’s so different about him; still got his monitor attached or what? (See: Ender;)

***She shuffled toward the kilns, her breath grew harder with each step.***

Another nit-picky thing: that comma should probably be a period or (better yet!) a semicolon; otherwise, maybe ‘her breathing getting harder’ would be better?

That’s all I have. And, in order to avoid any more gushing-reviewer allegations, I shall limit my closing remarks to this: Post More!
True friends stab you in the FRONT. (Oscar Wilde)
  





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Mon Oct 23, 2006 8:36 pm
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Cassandra says...



First and foremost, I am so glad you asked me to crit this. I usually don't go into the fantasy forums, so I wouldn't have seen this great piece of work.

They've just begun to heal, too.


Either you meant for this to be dialouge, in which case you forgot the quotations, or you momentarily forgot that you were in past tense, in which case it should be they'd or they had.

-----

My biggest pet peeve with this piece is sentence structure. Why? Because I consciously noticed that your sentences throughout the chapter were all very similar. Examples:

He was seven, a scrawny boy whose sunburned skin clung to his ribs. He hunched over a tray of bricks molds, pressed mud into them with his hands, and wondered when it would be time for rations to ease his cramping stomach. He glimpsed movement and turned to watch Shaitha kneel beside him. She ruffled his hair.


All of these sentences are rather...military-esque. They feel, to me, to be rigid statements, all very much the same.

She turned, stacked three sets of molds on top of each other, and heaved the load up. She took a single step, then dropped to her knees and gulped for air.


See what I mean? It helps to read it aloud: it's more noticeable. But obviously this isn't a huge problem; actually, it's rather insignificant. Just a nitpick I thought I'd point out. ;)

-----

"Is someone coming to--"


Put a question mark after the dash so that we know it's a question:
"Is someone coming to--?"

-----

^ And those, my friend, were the only problems I found in this piece! It's so nice to be able to read a story and not have to plow through loads of grammar issues. This was nice and clean.

"Oh." Emon could never fault Traistal for being too optimistic.

Traistal looked searchingly into his eyes. "Afraid?"

Emon cleared his throat. "Traistal, when am I going to learn to stop getting myself in trouble?"

"When you allow the overseers to break your spirit." He laid a firm hand on Emon's shoulder. "If I can keep going at thirty-seven, I think you can at seventeen."

"Sixteen," Emon corrected.

"Your birthday's tomorrow."

Emon's heart sank further. "Oh."


I love the repetition of "Oh" here. I don't know why. Just do. :D


One thing that's really great is that you made me love your characters right away. Everyone loves an underdog, not to mention a rebel! And I'm also very interested in learning more about this society you've created. It sounds unique.

Your dialouge was good: realistic, and, from what I've seen so far, in character.

I am just so impressed. Great work with this, and please, let me know when you post more!

--Cass
"All God does is watch us and kill us when we get boring. We must never, ever be boring."
-Chuck Palahniuk
  





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Mon Oct 23, 2006 11:24 pm
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luna_the_shiekah says...



I'm far too lazy to critique this simply because I find it extraordinary! So instead, I'll just comment on what I liked.

The dialogue was believable and as Cassandra said, in character. The detail was there, but not overbearingly so. I really enjoyed it and I eagerly await the next installment!

:)

LUNA
I cannot name this
I cannot explain this
and I really don't want to
just call me shameless.

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Tue Oct 24, 2006 12:29 am
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Poor Imp says...



Hullo Shafter...I'm here to remark on and courteously tear to pieces your bit of fiction. ^_~

The thump of footsteps on the cold ground made Émon’s head snap up. Despite the frosty weather, sweat slid down his temples. But the sound belonged to a fellow laborer, limping by, bent under a load of bricks. Émon watched him, fixing his almond-brown eyes toward the man with his usual intensity. He always tried to look at people, really look, never glance.
Their gazes met. Émon smiled. The man’s face hardened in contempt and he looked away.


Here, first paragraph--the use of action to begin it involves the reader immediately. Footsteps and Emon's head snaps up... There's already something happening.

But there's little or no tension in the rhythm of the sentences--all near the same length, a majority the same pattern, rather brief, nothing complex. Try reading aloud; then linking ideas, sentences, use a semi-colon, perhaps.

For example:
The thump of footsteps on the cold ground made Émon’s head snap up.
Despite the frosty weather, sweat slid down his temples [stinging his eyes? from apprehension as well as exertion? ] --but the sound belonged to a fellow laborer, limping by, bent under a load of bricks. Émon watched, fixing his almond-brown eyes toward [ on? ]the man with his usual intensity. He always tried to look at people, really look, never glance.

Their gazes met. Émon smiled. [sentence structure change here? ] [s]The man’s face hardened in contempt and he looked away. [/s] Face hardening, the man turned away in contempt


Merely some suggestions. You've got the elements in the beginning down well; use some language that implies it as well.

Then, (italicised) you have 'with his usual intensity' followed by an explanation of his intent to truly look at something. It's a good facet to give of Emon, characterises. Can it be shown rather than told?


Émon rubbed his bare shoulders, reminded yet again of the crime he’d committed and the inevitable consequences.


Apt hint--any reader will want to know what? It did catch my attention. ^_^

He drew a deep breath and ran his fingers through his dark, shaggy hair.


A very light note (something you've got to watch): character descriptions can easily help or hinder a narrative. Here, double adjective for Emon's hair, rather jumps out, as if you've pointed--dark hair, and shaggy, look!

Perhaps if it were tied back into the situation? You'll draw less attention to describing if it flows into conflict and action, and in this case, you could describe him as ragged, hair-uncut, black dulled by dust. Perhaps?

Why didn’t an overseer just confront him and get it over with?

He continued to stack mud-and-straw bricks onto a sheet of burlap. The winter sun filtered through the clouds and cast pale warmth on maze of scars on his back. He wore only trousers and a sash, the rest of his skin exposed to the elements.


Sentence structure again drifting into repetition. 'He continued...' -- 'The winter sun...' -- 'He wore only...' and the length of them is little varied.

But the description of the day weaving into a description of him is lovely, smooth from one to the other and gives an impression of more than one thing at once. ^_^

Émon put the last brick on the load and sat back on his feet. Once again, he would have to hoist a hundred and seventy pounds to his back and trudge the ninety yards from the brickyard to the storehouse. It was two hundred and sixteen steps.


Having him count, and the sentences repeat distance works very well in implying the dragging dullness, repetition of the work--and Emon's relation to it.


He was an Untouchable. The spider tattoo that marked his breastbone was a sign to everyone in Naryen-Mair. Stay away—this creature is defiled! It was the curse that had chained him to a work camp from the day of his birth.


Oy--out of nowhere--we get an explanation of something we hadn't yet known existed. Again, more complex sentences (and parapraphs) will help. Let this be assumed, let it be experienced, let Emon touch the tattoo and flinch, remembering.

Traistal, black-haired and sun-browned, always kept his chin up as if he were nobility instead of a slave.


'Tis a description that intrigues and paints both aspect and appearance. ^_^

[s]Even[/s] Though [s]he was[/s] twenty years older than Émon, [s]he was[/s] [had been a friend since...? acted how? ] Émon’s only friend.


When you begin to explain, you change style and become more passive, more vague. Don't. You've got a good language sense, some lovely description and characters who seemed ready to act. Don't tell!

On the other side, it is an apt introduction to a new character--and one is immediately fond/interesting in Traistal.

They’ve just begun to heal, too.


Meant as a thought, Emon's, in present tense? If so, ought to be italicised. If not--ought to be past tense. ^_^ (It would be perfect as a thought.)

He tried to speak calmly. “Should I expect a bad beating?”

“They’ll lay your guts open for this one.”

“Oh.” Émon could never fault Traistal for being too optimistic.


Cool inquiry met with Traistal's blunt reply and then the change to "oh"--I can hear it. ^_^

Émon’s heart sank further. “Oh.” He gazed into space, the pale gray sky above the walls that caged him in the work camp. Suddenly, he remembered the dream he’d had last night. “Traistal, about tomorrow—”


Weaving the place description in gives a needed distance and clarity to the piece. Again, "oh" says more than it is. ^_^

a muscular, blue-eyed man standing in an indistinct environment.


'Indistinct environment' is terribly indistinct. ^_~ It's a dream--was it vague round the edges? Fog-laced, dark, blurred, distant? It's not needed, but Emon seems like one who would have a strong way of putting what he'd seen, this dream in particular, even in vagary.


And now I'm out of time. Your pardon. I'll reiterate the good--you have a strong sense, it seems, of your character and even of the place, certainly of drawing a reader in. But your sentences, remaining simple or structurally unvaried, hinder the tension getting through.

All right--I will be back to finish. ^_^
ex umbris et imaginibus in veritatem

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Tue Oct 24, 2006 2:35 am
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Karma says...



luna_the_shiekah wrote:I'm far too lazy to critique this simply because I find it extraordinary! So instead, I'll just comment on what I liked.

The dialogue was believable and as Cassandra said, in character. The detail was there, but not overbearingly so. I really enjoyed it and I eagerly await the next installment!


A-yup! My feelings exactly!
My Karma Ran Over My Dogma
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Tue Oct 24, 2006 3:18 am
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Shafter says...



Thanks a billion for the crits! :D Especially Sage, Cassandra, and Poor Imp-- EXTREMELY helpful! It makes me so excited to revise! I love editing! :D *does a happy dance*

Ahem, anyway. Just wanted to let you know that I really appreciate you taking the time to crit my stuff. I'm going to work on the first chapter now. Bye!

Cheers! ~Shafter
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Wed Oct 25, 2006 12:35 am
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aeroman says...



Hey bud! Well I made a promise and I always keep my promises, because you must always keep your promises if you want to keep your friends! Lol and plus I love your story anyways so I will enjoy critiquing it :wink:

Notice Before I Start: I will be concentrating mainly on things like plot, characters, and those types of elements of your story. It looks like grammar mistakes, etc.. have already been caught and I think you're very capable of catching those yourself.

Chapter 1 Critique

Blue Italics = Comments on quotes above the actual comment.
Red Wording = Just random thoughts that I will mention while critiquing on stuff I like in the plot, characters, etc...

Ready?

The thump of footsteps on the cold ground made Émon’s head snap up. Despite the frosty weather, sweat slid down his temples.


I really like your beginning; it has instant immersion, in that you show us that Emon is on edge by how he snaps up and he sweats even though its cold. It shows us that he is nervous and ready to spring. I already have the question why is he like this? Good job!

Émon watched him, fixing his almond-brown eyes toward the man with his usual intensity. He always tried to look at people, really look, never glance.

Their gazes met. Émon smiled. The man’s face hardened in contempt and he looked away.


The thing I like about this is how you show us that Emon has compassion for people (very good trait in a main character) and really cares about them.

Émon rubbed his bare shoulders, reminded yet again of the crime he’d committed and the inevitable consequences. He drew a deep breath and ran his fingers through his dark, shaggy hair. He forced his stomach to unknot. Why didn’t an overseer just confront him and get it over with?


Okay, lets just say this...your opening paragraphs are amazing, you have already given us two questions to ask about the main character and have shown a lot about his character.

One thing I'm noticing is that your sentence structure is mostly the same (I think Poor Imp mentioned this as well) the whole way through and it actually starts to take away from the piece. Try to vary your sentence structure. For instance...He continued to stack mud-and-straw bricks onto a sheet of burlap. The winter sun filtered through the clouds and cast pale warmth on maze of scars on his back.... Maybe try, He continued to stack mud and straw bricks onto a sheet of burlap as the winter sun filtered through the clouds, casting pale warmth on the maze of scars along his back. (also you had two on's and that didn't sound very good.) Most of your sentence structures are very similar and take away from the story at times, so try to vary a bit more.

the scabs that striped his back wrinkled


Good visual.

Dialogue is very believable as well as the characters. Great job!

The Mother and Son portion is heart-wrenchingly beautiful.

I'm sort of questioning the ending; I found it a little redundant how he got beaten and was unconscious and then the dream/flashback ends with him going unconscious again, it kind of ruined the impact for me, but thats just me.

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Okay, well I'm afraid I couldn't find anything much wrong with it lol. I loved it! I'm excited to see the next portion! It was phenomenal! Hopefully this critique helped, see ya!

~Aero
They haven't invented the missile that can kill an ideal.
  





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Fri Oct 27, 2006 1:53 am
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Emerson says...



He touched his breastbone, running his fingers over the spider tattoo that marked it. The picture was a sign to everyone in Naryen-Mair. Stay away—this creature is defiled! A few drops of ink beneath his skin had cursed him as an Untouchable and chained him to a work camp from the day of his birth.
this bit hear about them being defiled and everyone staying away is all being told to us, why don't you show us that he is this horrible creature?

“Good-bye, Émon.”

“Good-bye, Traistal.”
If you must know only one thing about dialogue, it is that dialogue is to always serve a purpose. What does this do for the story? Nothing. But we know that they said good-bye. and not only that, they repeat each other, which is unneeded. And lastly, they call each other by name. I read in an article that you should only call a character by name when it is most important.

Émon swam furiously away from the pain when he first passed out, then slowed when the coolness of sleep obliterated feeling.
to me, this sentence makes no sense. It's too...abstract.

Some of them were probably his siblings, but Émon was never sure.
I don't like the use of the word probably in this sentence. I think its because the were in front of it. It's me being picky, but I think you should say "Some may have been his siblings, but Emon was never sure."

Shaitha kissed him on the cheek, and her cracked lips left a bloody mark.
I'd liked to point out how I loved the bloody-mark detail :-) That was perfect!

It's a good story, but it feels like its a slow start and doesn't jump us in quickly enough; but you soon have the reader on a leash of emotions with the second half. I only have one comment to make, about the names. It may just be that I don't read fantasy, but real obscure names are hard for me to read, I connect less to the characters because I can't pronounce them. But I might be alone in this. So there is your requested critique :-D
“It's necessary to have wished for death in order to know how good it is to live.”
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Mon Oct 30, 2006 10:17 pm
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Poor Imp says...



Hey again, Shafter. ^_^

The new draft is definitely tightened--near the beginning a bit more clear; and the sentences vary somewhat more.

Émon swam furiously away from the pain when he first passed out, then slowed when the coolness of sleep obliterated feeling. He floated in the void, rested in the knowledge that he wouldn’t wake up for a long time. Slowly he descended into a dream, a memory of nearly twelve years ago.


Here, as far as sentence structure, you have a the tone, feeling vague--but you're repeating again. Emon--he--slowly HE... It tends towards listing events, rather than experiencing or being in them.

In something like the above, you have the chance, the freedom certainly, to fragment sentences. You're in Emon's experience, afterall. Begin a sentence where you wouldn't usually, perhaps. In the middle. For presence, start with present progressive sometimes -maybe? For example: "Resting in the knowledge that [...] he floated in the void--he wouldn't wake soon..."

Don't, by any means, think you've got to write like me or my example. ^_^'' But do change-up the sentences still ^_^

He was five, sitting on the floor and running his fingers over the dirt. Several other children, near and below his age, played together in a corner of the shack. Some of them were probably his siblings, but Émon was never sure. As usual, they didn’t include him in their game.


A good summary of events--not passive, but distant enough; fit well for memory and dream. The detail of the finger in the dirt, Emon's solitary distance--all good. It gives some past, and characterises.

Émon’s mother, Shaitha, sat cross-legged on the ground nearby, cradling a sickly baby whose only parent was working a late shift.


Not entirely necassary--but I wonder how was she cradling the baby? Tells a lot about a woman. ^_^ Awkwardly, wearily?

silvery-brown hair as Shaitha talked to another mother.


Is it silver-streaked then, too soon grey? Or is it like elm-bark, silver-brown, grey?

The two women had known each other before the Untouchables had been enslaved seven years ago.


Telling here, telling--and does it add anything to narrative? Does it apply to the tale whether she knew her or not? If not, but you still want the detail of familiarity, I'd suggest describing how they spoke, easily, old friends, familiarly, rather than telling that they'd known eachother.

Émon raised his head and spoke a rare comment. “Someday,” he said, “I’m goin’ ta punch Feron-Chious in the face.”


'Tis good background; and shows Emon was rather precocious for a quiet child. ^_^

Émon smiled, and somehow he got the feeling that everything was going to be all right.


Rather...conversational, more informal there. Fewer words and a clearer sentence maybe, if you drop 'got'. So--"...and somehow he felt/had the feeling that everything would be all right."


“I love you, Émon.” Shaitha kissed him on the cheek, and her cracked lips left a bloody mark.

She stacked three sets of molds on top of each other and heaved the load up. She took a single step, quavered.


I'll reitereate--bloody-cracked lips, a good detail.

Second bit there--'quavered'. It tends to describe a sound. 'Quivered' is shivering. 'Wavered' is hesitated. Perhaps 'waver' is closer to what you meant?

Émon ran to her. “I can take one.” He bravely lifted a tray.


Oy, 'ran' wavers on the edge of being dull, to say the least. A reader will gues what Emon does--how does he do it? Rather than 'ran to her' could he 'start up'? Stumble? A suggestion again--your thought and choice.

Slowly, she slid her arms under the burden and lifted it again.


"Slowly" you use quite a bit--and like to begin sentences that way. ^_^'' Watch the tendency; perhaps use 'sluggish', 'painstaking'...something more vivid.

Her words were cut short as Girec slammed his knee into her head. She collapsed on the bricks, sprawled like a corpse but still conscious.


Again, a word you use as a connector--"but". Try weaving "though" and "yet" in maybe; in some case, no connector needed at all.

Her words were cut short as Girec slammed his knee into her head. She collapsed on the bricks, sprawled like a corpse but still conscious.

The first lash of the whip struck her arm and she shrieked in pain. Émon’s tray slipped from his hands and crashed to the ground. He raced toward the overseer, grabbed his arm. “Stop!” he yelled. “Stop!”

Girec shouted an obscenity and flung him aside. Émon hit the ground hard, stunned for a second. Shaitha cried out again.

Émon staggered to his feet, seized a heavy, kiln-fired brick and threw it as hard as he could.


Paragraphs above all start (I believe) in subject/verb. This is the action here. If anything could use variance, this could. ^_^ Short sentences. Fragments interspersed with long?


--

For now, that's all. The question of what and Untouchable is, and why, is still there--but in a way in which it keeps the reader asking. ^_^


IMP
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doubt_all says...



Seeing as you asked nicely, here's my crit.

First of all, I have to say bravo - and this is not a sarcastic bravo. It's rare for me to find anything as immediate and visceral as this by writers our age. Fantastic.

Your strength (and ironically your weakness) definately lies in three things. 1) Specificity. 2) A quickly paced, active voice focused on action. 3) Solid, real dialogue with a brevity that makes it genuine.

In terms of specificity, little details like, "Two hundred and sixteen steps. Émon had counted." work well. They make the reader's experience more immediate and personal. And there's a flare of cynical undertone there that adds nicely. Throughout, there are many details that at least give the impression of a fleshed-out world. Names, world-specific lingo etc.

However, you run the risk of overloading the reader with so much detail and action in such a short space. You want to squeeze the action out sparingly, drop by drop: make the reader beg for those explosive moments. If you want to build tension, the pace needs to actually be brought down a notch, which is a lot easier than it sounds. It's certainly easier than kicking the pace up a notch.

The key to keeping good pace in terms of plot and action, and what may be a help to your 'repetetive structure' problem is spending a bit more time on the development of the main character. To me - and this is just me - Emon fell a bit flat. While there are hints of a human poking out from the text, I didn't get a really good gauge of Emon as a person, just as a symbol: beaten down slave. Character is, of course, especially important at the beginning of a book. That said, you don't want to just toss in background for the sake of background, or you'll overload the reader in another way, but you do want to drag out the scenes a bit more. Give Emon a few more choices that show the reader who he is while not deviating from the plot you've set. Even the most mundane of actions and details (at least, mundane as far as Emon is concerned) can make the story and characters seem more real. I know that's probably what the Momm scene is attempting, but for that purpose the scene is too explosive. What may help is, not adding more scenes, but fleshing out the existing ones. You want the action to slowly rise. Have some more casual interplay between Momm and Emon. Make us dread her being beaten when we see it coming, and delay the abuse for as long as possible, until the reader can't bear it, then make us care that these characters are being violated. (And caring starts with the initial groundwork of making them human.) I can't tell you how to do that because it's not my story, but hopefully you can come up with some ideas.

In terms of the actual sentence structure and repetition/pacing etc. It looked alright to me. There were a few trouble spots, ie. right at the beginning: "Their gazes met. Émon smiled. The man’s face hardened as he turned away." All of these sentences have the same simple sentence structure. Noun verb. Noun verb. Noun verb as noun verb. Just add a dependant clause somewhere in there and presto. (Do not add an adverb!) Because... in some places there's just a few too many adverbs. Cut a few adverbs, add a few metaphors, play around a bit with sentence structure. Really it's just trial and error. Take pleasure in playing with sentences, and if you need inspiration, read an experimental piece like Lolita.

And finally, there's one specific little nitpicky thing I noticed:

"Everything within Émon said Run! But fear rooted him to the ground"

Might read better with a simple change. Something like: "Everything within Émon said - Run! - but fear rooted him to the ground"

Gotta go curl now. Keep up the good work.
"Every man is born as many men and dies as a single one." - Martin Heidegger

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Mon Nov 06, 2006 4:07 pm
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Sage says...



Ahhhh....muchmuch better. And yet here I am, nitpicking again... 8)


Shafter wrote:He stood and stretched his arms, hearing the joints in his back pop. Again he heard footsteps and pivoted to face the newcomer, every muscle tense. His shoulders slumped in relief. “Hello, Traistal.”


He hugged her with his bone-thin arms as if it was the last time he’d ever see her.


On the first bit, that was the paragraph where the repetetive 'He' really jumped out at me. Technically, there were a few other, small bits where it was, too, but I didn't find them distracting.

On the second bit, where he's hugging her and thinking that he'll never see her again, I'm not so sure because I don't know if your intent is foreshadowing or just a simple statement of how he felt. If it's how he felt...well, then. *knowing smile* But if it's supposed to foreshadow, oh, do take it out. It's not necessary.

That's all I've got this time, dahling. :) Oh, and I'm so happy that you were able to edit the convo with Traistal without sacrificing any of his Traistal-ness. That was...*gropes for helpful, descriptive word*...cool. :wink:
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Remember: the plot is nothing more than footprints left in the snow after your characters have run by on their way to incredible destinations.
— Ray Bradbury