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Cat Steps (1.0)



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Sun Sep 11, 2011 5:10 pm
Rosendorn says...



I wondered if this was how souls felt, waiting for judgment after death.

Only, instead of Fate deciding, it was my parents.

I waited by the door to their private rooms, trying to hear anything through the sound ward. My magic fought against the cold, solid surface to try and find a crack I could exploit, but the ward was perfectly smooth. I couldn’t even get impressions of the conversation going on behind, driving my fingers into the physical wall I was leaning against. I was glad it was limestone and not wood trim or the door.

Frustration would drive my magic to take chips out of any surface it could. Thankfully, I wasn’t anywhere near strong enough to take chips out of stone.

It’s not like I needed to know the exact words. With my sister moving to get married, they’d been debating whether or not I would accompany her for protection. It should be my duty to protect the most important heir from harm, as the family’s bodyguard. I had been protecting her almost exclusively the past three years.

But with a recent assassination attempt on my uncle— poison, in his usual midmorning tea. I’d stopped him from drinking and found who ordered the attack— they were wondering if I wasn’t more useful here.

The thought of leaving her made me want to punch something.

Only after I’d been reduced to pacing the waiting room, to use up extra energy in the hopes I wouldn’t punch something without reason, the ward cracked just enough to let me hear a bell.

That was normally the servant’s summoning.

I did not like the sounds of that.

Behind the door I could see my parents’ profiles as they sat behind the desk. The desk never faced the door in reception rooms, to allow for as much control over somebody entering as possible. But there were no servants or guards when I entered the room, while they were usually there to ensure my parents’ safety. That was my job. I was the only one they completely trusted to keep the family safe.

They weren’t even standing to greet me. They only did this when they knew which side I stood on an issue, and planned to take the opposite side.

I didn’t bother hiding a curled lip as I stalked in.

“Kerani,” my father began.

I leaned against the back of the chair. “Just tell me.”

Both of them stood to be taller than me, my father’s hands slamming down on the desk. “You will sit down to show the proper respect to your parents.”

There was no answer to that. They outranked me in age, status, and power— and could do whatever they wanted. They owed me no respect, while I owed them all of mine.

But with my magic boiling under my skin, causing a very uncomfortable fire in my ribcage, I did not want to break anything. Inside, at least.

Despite my best efforts, or maybe in an attempt to calm me down, my magic began flowing along the chair I was leaning on. It completely saturated the stained wood, but I forced it to keep flowing down and not crack the wood— now that my magic had begun dissipating, it would be very difficult to stop it. Better to try to control the dissipation.

I could still feel a crack begin to form at their continued prompting that I sit down. Anger fueling anger. Theirs that I was disrespecting them, mine that this meeting was drawing out any longer than necessary.

My mother’s eyes widened. Most people believed I got my magic from her. She put her hand on my father’s arm to calm him and said, “You are required to stay behind when Ranya leaves for he capital.”

Even expecting that news, I couldn’t stop my hand from tightening around the back of the chair. I just barely managed to keep my magic in check by looking away and letting the fire of anger be replaced by shock— total numbness. Frozen.

The lacquer on their chair became crackled.

My father inhaled. There was more to say, more to determine, more to clarify… but my shock was melting. This was another state where control was difficult to achieve. Only, instead of going outward, my magic was twisting on itself in confusion. I would need to discharge emotions later, to regain a balance. I had simply bought myself more time before I had to.

Magic was beginning to overwhelm my senses. I could only feel. There was no shivering from cold and no tears. Outside impressions were beginning to drop away.

Thank the Phoenix my father prompted me with an intention to speak long before he said, “Do you wish to tell her the news, or should we send a servant?”

“Let me,” I said, not managing to keep my voice even. Without another word I turned and walked towards the door. I was in no mood to back out of the room.

“You are dismissed,” Mother said with a small amount of sympathy.

I stopped and turned my head slightly, looking at the floor while still letting them hear my voice. “Thank you.”

Walking away just reminded me that I would be summoned again, even though I could recite the reasoning in my sleep. Leaders of the province couldn’t hold a large enough army to overthrow the Emperor by law. But it always left us under protected because one standard guard could only do so much. It made bodyguards, especially those who were magically inclined, a necessity. It made me a necessity.

Anger again. That damn law. It was burning cold, forcing me to stop in an empty hallway and make sure there were no people around. Their energy, regardless of what emotion they were feeling, would just send my emotions into more conflict.

I wanted to be alone. And I knew exactly where to go.

Even in the cavernous stone halls, I didn’t make any sound. My teacher had drilled it into his students’ heads that a loud guard was a dead one. Even though most halls and secret passages were lined with carpet— both to dull footsteps and to keep sometimes freezing stone off bare feet— these were left bare. They’d been designed as dead space between an inner training yard and the Rajput’s most private rooms. It gave guards more time to react should an assassin make it this deep in the palace.

It always felt of total emptiness, these halls. Even over the centuries this palace had been built, and these halls barely renovated, there was no emotion caught in the stone. Those who’d been killed expected their death, and those who killed just followed their duty.

Sometimes, if I concentrated, I could feel the bitter tang of disappointment at being caught in the back of my throat. But mixed with it was the satisfaction of being killed by a worthy opponent in the center of my tongue, like sweet almond paste.

I didn’t concentrate today. Not on emotions, at least. Without the oppressing overtones of humans, I could feel the earth and air around me. If I closed my eyes, it felt like this hall was a cave— the ceilings arched above me at least fifteen feet, with guard alcoves so randomly placed it was easy to assume they were natural.

Knots in my chest began to loosen as the land’s magic absorbed my emotions, quenching my anger and pulling the tides of grief apart at the seams. I leaned against the smooth stone, smiling and keeping my eyes closed as I lost myself here yet again. Emotions released without any event to ground them in never stayed. Just releasing emotions never had an impact.

A few minutes later, I was able to pull back without feeling like I was about to lose control. The first thing I became aware of was the itch of somebody watching me from behind.

I sighed. “How long have you been here?”

Aryan, one of the guards I had trained with years ago, pushed himself off from the wall. “Long enough.”

I pinched the bridge of my nose. “Okay then, a better question might be how long I was out.”

I could sense the teasing that came with one of his lopsided grins. But it was touched with cool sadness. “An hour or two.”

“’Or two’?” I repeated, looking at him over my shoulder.

He nodded. “It was awhile.”

Aryan waited for me to answer his implied question of what happened. Curiosity always felt like I’d had strong tea and was feeling the effects— more energy. Whether or not that was a good thing depended on the situation, and this was leaning towards ‘not good.’

I decided my legs should move after so long of being stationary, and shifted so my back was against the wall. It was harder to move than I was willing to admit. At least the pain directed some of that extra energy, and therefore magic, to healing. “Parents pulled me into a conversation.”

More magical prompting. I exhaled and leaned my head back against the stone. “I’m staying here when Ranya goes to the palace.”

He felt a stab of grief for me, externally wincing. Despite receiving slightly-faded impressions of his pain, I gave him a crooked smile and looked at him out of the corner of my eye. “Since when does one of Lias’ students wince at hearing bad news?”

He chuckled weakly, going to cover his stronger emotions. The ward wasn’t perfect— I could still feel some of them— but it was something. “Since I didn’t get enough lessons.”

That brought back memories. I stared up at the ceiling and hooked my thumbs on my dagger belt. “Nobody did, really…”

He’d left too soon, my parents saying his students’ training was completed enough. And since his guards had always been the best, most of them had been sent out for bandit work. Only a few of us were left at the palace.

After awhile, I looked at Aryan. “Weren’t you on your rounds?”

He chuckled in his throat. “I passed the round off to somebody else.”

I tried to hold back a hiss of disproval, quelling it down to an intake of breath. “You know how my parents are! They hate me talking to guards unsupervised.”

“Oh come on,” he said, taking a step forward. “Would they really mess with you when you’re in this mood?”

I blinked and glared at him. His raised eyebrow and not-quite-innocent half grin very clearly said ‘I’m right and you know it.’

I shook my head and pushed myself off the wall. “At least they know what’s good for them.”

He grimaced. “I’m sure.”

I began walking down the halls, towards the inner training yards. Aryan jogged a few steps to keep up with me. “You’re alright?”

“I’m thinking,” I muttered back.

“I’ll take that as a ‘no’.”

I pushed my lips to the side. He was half exasperated, half worried. I didn’t stay unstable unless it was something major, but none of my male training partners ever got this unstable in the first place.

The training yard was a welcome distraction. The scuffle-laden yard had just enough dust to mildly cushion blows, but wouldn’t let us sink unless it was early spring and the snow had been heavy.

I didn’t even give Aryan a warning before walking straight to ‘my’ corner of the yard. It was reserved for mages, but I used it the most often. I stopped in front of a punching dummy, raised my fist to my hip, and closed my eyes.

The next instant, there was a loud thump as my fist met wood. Straw from the now-empty dummy fell like snow. That was probably going to bruise tomorrow, from the force I’d added with my magic.

And that was why I hated it when my parents took too long to get to the point.

Spoiler! :
Another version for you guys to chew over. Point/counterpoint stuff? What have you liked in past drafts that doesn't show up here? Also, this scene was wicked long so I had to break it here, else it'd be about 3.4k...
A writer is a world trapped in a person— Victor Hugo

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Sun Sep 11, 2011 9:43 pm
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GryphonFledgling says...



All righty now... Ready for the big Nine-Double-Goose-Egg?

I wondered if this was how souls felt, waiting for judgment after death.

Only, instead of Fate deciding, it was my parents.

Nitpicky, but from how the example and wording play out here, it sounds like she has already died and is waiting to be judged by her parents. Maybe a little further exposition (not much, like a sentence or two, tops) on the fact that they're deciding her future life, rather than sending her soul on? I dunno. Really nitpicky, but I noticed it, so...

But there were no servants or guards when I entered the room, while they were usually there to ensure my parents’ safety. That was my job. I was the only one they completely trusted to keep the family safe.

Wait, there were no guards at all in the room? What if they had been killed while Kerani was outside? Could she have gotten in fast enough if they dropped the wards? Also, why are there no guards in there if clearly they are going to be delivering bad news. I mean, she's going to be upset with them, so I imagine her abilities could be impaired. Not to mention that it's apparently hard for her to control her magic, so what if she were to lose control? It seems to me that a back-up of some kind would be nice.

Mmmkay, so this might be entirely personal-style-bias talking, so take whatever I say with a grain of salt. I've noticed that you tend to exposit far more than I do in my writing, so I might just be going at this from my perspective, as if I were writing it, as opposed to it being your story, with you writing it. Also, I've only been reading the beginning of this story multiple times, so obviously stuff's going to happen in the future that can be game-changers/actually get the ball rolling beyond the events I have read. Some of my frustrations and comments might just be frustration at the repetition of events because my brain is stupid. Just keep that in mind.

That said, this felt dumpy to me. I mean, the stuff about her being a guard and whatnot. We hear about her protecting her family and being necessary, we hear about how strong she is, etc. etc., but we aren't seeing much of it (beyond the introduction to her magic, which, by the way, is well-played).

This is one reason why I miss the assassin beginning of earlier drafts. I think I like this one a bit better, seeing as how it gets us to the point of Ranya leaving and Kerani being left behind much quicker, but at least in that beginning, we got to see immediately why they keep Kerani around. Again though, this is only the beginning of the story, a couple thousand words. Stuff can happen soon that fixes this.

If Kerani is so important to their security, why are they willing to treat her like they do? I mean, sure, maybe they don't owe her any respect in their culture, but it seems like they might want to consider her feelings a bit more? I mean, clearly she's powerful. I would imagine they wouldn't want her to, I dunno, defect or something. Or run away. If they're used to her being defiant and that's the reason for their immediate defensiveness, well, that's a bit harder to convey objectively from Kerani's POV, but I feel like that needs to be communicated a bit more. Are they taking her for granted? It doesn't seem like they're treating her power-potential lightly (what with how much they're depending on her, apparently), but . I mean, they seem to be trying to get it over with quickly, but if they know she's going to react badly, why are they bothering to try to enforce things that they know are going to make her more angry?

Sure, there is that concession at the end and I have to keep in mind that this is Kerani we are watching and her emotions and frustrations that we are feeling, but I feel like maybe we aren't supposed to view the parents as the bad guys entirely. Maybe we are? Are we supposed to be this frustrated and angry with them? If so, I'm going to need more reasons to do so than just because they are separating Kerani from Ranya or that they want some respect from their child when their culture apparently dictates it.

Again, this doesn't have to come here. It can come later, when we see how close Kerani and Ranya are, how big of a deal it really is for them to be being taken apart from one another, but it needs to happen. I want to see how seriously Kerani takes her job, as opposed to just her frustration with her parents. I imagine that she does take her guarding duties seriously. Why? Only for Ranya's sake? Or is there a sense of duty there? I want to see her going along with her duties and the expectations of her without protesting, as opposed to the sort of resentment we are getting right now due to her anger at her assignment. I want to see that this is normal, rather than some exception. Make sense?

A few minutes later, I was able to pull back without feeling like I was about to lose control.

This is the only indication of time in her cool-down period, so it seems like she is there for only a few minutes total. But then, she has the conversation with Aryan immediately afterward and he says that she's been out for an hour or two. Inconsistent time indication confuzzles me.

Only a few of us were left at the palace.

Again, why? This seems really dangerous. What if, knowing that all the best guards were out on bandit duty, an assassin were to strike? It seems like they're putting a lot on Kerani's abilities. Not to mention, why did they send Lias away? Did they consider him a bad influence? If they want the best protection, why didn't they let the training continue? Do they not understand it? It seems to me that these parents are really, really bad at self-preservation.

I tried to hold back a hiss of disproval disapproval (?), quelling it down to an intake of breath. “You know how my parents are! They hate me talking to guards unsupervised.”

I know I've asked this question already multiple times, but why? I mean, she has to work in conjunction with them. Wouldn't that have to involve conversation occasionally? And why didn't she bring this up earlier, like at the beginning of the conversation? This seems like a stupid objection and if she's willing to flaunt it already, why bother bringing it up?

I shook my head and pushed myself off the wall. “At least they know what’s good for them.”

Based on what I've seen? I beg to differ. I realize, though, that I *am* seeing this through Kerani's POV. But again, here is that resentment again. I get that right now she is going through a rough time and is angry with them, but this is our first impression of her relationship with her parents. If she is so resentful of their influence, why does she continue to work for them?

I began walking down the halls, towards the inner training yards. Aryan jogged a few steps to keep up with me. “You’re alright?”

I would like to know why she's going for the training yards instead of for her sister. I understand it's still more of a cool-off period, but since there has been so much information between hearing about Ranya (who we still haven't met yet) and her departure, that it feels like that is no longer a priority for Kerani. Why is she taking this detour? To continue cooling off? Why not say so? Like, Aryan asks her if Ranya knows yet, Kerani says no, but realizes that she's not quite ready to go see her sister. Still needs some time to vent off frustration or something. Otherwise, it's like "Dude, Kerani? You know you still have to tell your sister, right? Leave off the poor dummies." We don't need a lot of explanation, just a reminder.

Aaaand, there you go. Again, a lot of this is likely to clear up once the story gets rolling. We do get decent impressions all the way around in this beginning of who we're going to be working with and the world situation is beginning to take shape already.

Questions? Comments? "Seriously, Gryph, get with the program"s? Spam my wall or PM me!

~Gryph
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Mon Sep 12, 2011 12:08 pm
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StellaThomas says...



Yo.

I. NITPICKS

I wondered if this was how souls felt, waiting for judgment after death.


As interesting a starting sentence as this is, as far as I'm aware, souls aren't always dead. At least, I hope I have one... Also, as soon as you get into the story, you're raising a philosophical or theological question or something.

it was limestone and not wood trim or the door.


But she could be leaning against the door if she wanted so why is she glad that the wall doesn't... happen to be the door?

With my sister moving to get married, they’d been debating whether or not I would accompany her for protection.


I think there needs to be more indication of how she knows this is definitely what they're talking about.

But with a recent assassination attempt on my uncle— poison, in his usual midmorning tea.


But with it... what?

I did not like the sounds of that.


sounds?

I leaned against the back of the chair. “Just tell me.”


I have a pet peeve. When people suddenly do an action that suggests they're sitting/standing when they were standing/sitting in the last sentence. Unless she's standing leaning on the chair? If so- what chair? You haven't mentioned a chair yet.

"You will sit down to show the proper respect to your parents.”


Oh right okay. But still. xD Mention the chair.

Anger fueling anger.


I recognise the word "fueling" has different regional spellings. Just curious if the Canadian one is this or "fuelling." Not a big thing.

“You are required to stay behind when Ranya leaves for he capital.”


the.

The lacquer on their chair became crackled.


I love the word "crackle." I'm pretty sure it's one of my favourite words (heck, my MC is Mirzi Crackledawn). But I'm not so sure it's what you want here- did you mean cracked? Or really crackled?
Even in the cavernous stone halls, I didn’t make any sound.


I think you'd be wise to change cavernous to echoing or something to show that it's hard to do this.

Even over the centuries this palace had been built, and these halls barely renovated, there was no emotion caught in the stone.


This sentence doesn't make sense to me.

He nodded. “It was awhile.”


A while.

And that was why I hated it when my parents took too long to get to the point.
[/quote]

Why what? I'm not following at all...

II. KERANI'S RELATIONSHIPS

I've read a whole lot of versions of this and what I'm not liking about this one is that I'm not feeling it's exhibiting any of her relationships very well at all. We get this coldness associated with her parents- and that's fine, they can be cold and I know that they treat her as an employee but later when she recounts how they don't like her talking to guards unaccompanied- well, that's much more filial. My problem here is that she goes into their room as if they're simply employers, I feel absolutely no sense of what their relationship is beyond that when it's clear that there is some relationship.

What I liked about other drafts was seeing Ranya and seeing how Kerani and her interact. While you've chopped this, I sincerely hope that Ranya is coming. Hers and Kerani's relationship is my favourite bit and I think that you do need to expand on it- not by using Kerani's stream of consciousness but by letting us see Ranya. But as I say, I hope that's to come.

Then the last thing is Aryan. I... eh, I've had problems with this in the past yet never voiced them. The way Kerani introduces him as someone she's trained with from years before puts me under the impression that she hasn't spoken to him in years. She's constantly formal while Aryan is casual. And maybe that's a character thing but if she were the daughter of the people on top and I was a guard and she had never shown me any hint of cordiality then I wouldn't be hanging around outside her room and jibing her. As with her parents you need to define this relationship. Are they friends or are they not? Is Kerani normally open to some banter or is she always a closed book?

III.OVERALL

As with Gryph, I'm missing Ranya! The way Kerani just goes off to train is a little... I don't know. Weird. But then she's a weird girl, I guess. I think what this draft needs is definitely a re-smoothing and re-defining of her relationships since they are very much what define both people and characters.

Hope I helped, drop me a note if you need anything!

-Stella x
"Stella. You were in my dream the other night. And everyone called you Princess." -Lauren2010
  





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Mon Sep 12, 2011 1:11 pm
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Bickazer says...



All right, time I took a crack at this!

Gryph and Stella have already given you excellent reviews, so I won't spend too long touching on the same points they did. Nonetheless, I agree - this opening just feels a bit weird, not quite there. And I do think it's the combination of Kerani's relationship with her parents and the lack of Ranya.

It has a bit of a "cold" feeling, I have to say. We get a ton of introspection from Kerani, but at the expense of showing her relationships with other people. And I think one of the first things a novel should do is establish the protagonist's relationships. Now, these relationships can change quickly and don't need to be delved into in much depth, but they still need to be there. Nobody really likes to read much about a protagonist who's constantly lost in their own world. Well, there are protagonists like that, but they aren't often the leads in action-fantasy stories!

Now, I feel a little conflicted, because part of the reason there's so much introspection this time around is because of the way you've set up the magic system. And I love what you've done with the magic here. Love it love it loveit. For the first time, I've finally gotten some understanding of how the magic works. I get to understand how Kerani connects to it. The use of synaesthesia is pure brilliance, because it helps give solid, relatable qualities to otherwise extremely abstract concepts. I mean, emotions. Can't get more abstract than that. Satisfaction as sweet almond paste, a watching person's gaze as an itch from behind, curiosity as a strong tea, grief as something that needs to be pulled apart seam by seam...it now feels completely grounded. I get this sense of the magic as being fully natural to Kerani, integrated so well into her daily experience that she doesn't have to think about it, and I also get the sense of it as a fickle entity that works according to intuitive, not rational, ways. Wonderful job showing how it flows and gets redirected and absorbed. It's a very, very unique system that has little to do with "mana points" and shooting lightning and fireballs, and I would love to read more about it, find out more about it. And I think you've got a great way of holding the reader's interest by making the magic into synaesthesia. We would want to keep reading just to experience the world in the wonderfully strange way that Kerani does.

I can't...really articulate why this pleases me so much. It just does. A lot. I also feel that the descriptions in general have taken a step up in this draft: for the first time, I can get a clear picture of (at least a little part of) the palace. I do wish I knew a little bit more what the people look like, but I'm sure physical appearances will get introduced later. Still, the prose feels a lot tighter and overall more 'fun' to read.

That being said - because Kerani's magic is based on emotions and closely tied to her own emotions, this does force her to pay a little more attention to herself and less to others. This might also end up contributing to that aforementioned coldness problem. I don't think you have to sacrifice the way you describe the magic...perhaps if you had Kerani use her magic primarily to focus on others' emotions (okay I'm not sure I don't know exactly how the system works XD) that would enable you to use those wonderful synaesthetic descriptions while also not making Kerani seem so wrapped up in herself. She is trained as a bodyguard, after all, and that necessarily means paying close attention to the people around her.

This is also a bit of a slow jaunt as an opening. I don't know if I want to see that random assassin reappear, though. Actually I have always been a tad bothered by how obsessive this culture seems about assassins, because I'm pretty sure that historically assassins have been comparatively rare. But this may be a personal gripe more than anything.

Just a few things:

I couldn’t even get impressions of the conversation going on behind, driving my fingers into the physical wall I was leaning against.


Sentences like this have a formal name, but I forgot what it was. Pity because that would make it so much easier to talk about. Namely...as it is, this sentence doesn't work. The implication seems to be that the "conversation" is driving fingers into the wall. Which is probably not the image you are going for. I feel that you would get a stronger impact by separating these two thoughts into different sentences, because as it is they are barely connected -and I think that's my main problem. The construction of the sentence requires a strong logical and/or causal relationship betwen the clauses, which I am not seeing.

poison, in his usual midmorning tea. I’d stopped him from drinking and found who ordered the attack


Sorry, but I still don't like this. It's the period. It makes it choppy and strange and I didn't even realize that all of this was supposed to be an appositive. I'm wondering if you shouldn't just make it its own complete sentence.

Magic was beginning to overwhelm my senses. I could only feel. There was no shivering from cold and no tears. Outside impressions were beginning to drop away.


Was, was, were. There's too many of the buggers here and I think that interferes with an otherwise strong and evocative description.

Leaders of the province couldn’t hold a large enough army to overthrow the Emperor by law.


The way the sentence is constructed implies that it's possible to overthrow the Emperor, just not by law. I think that if you moved the "by law" to the front of the sentence it would make more sense.

Anger again. That damn law. It was burning cold, forcing me to stop in an empty hallway and make sure there were no people around.


All right, I promised I wouldn't go completely nitpicky on this like I did last time, but this is really bothering me. I think it's the "That damn law." Inserted where it is, it's rather graceless and does not connect well to the other thoughts. In particular, I had to read the last sentence twice to realize that the "damn law" was not "burning cold," but rather, Kerani's anger was. I mean, I can see what you're trying to get at here, but I don't think you succeed very well.

He felt a stab of grief for me, externally wincing.


This has the same problem as the first sentence I pointed out, namely that the sentence implies that the "stab of grief" is wincing, when I think you mean Aryan is wincing. It strikes me that an easy fix would be just to move the "externally wincing" to the front of the sentence. There would be no confusion as to who is wincing then.

I didn’t stay unstable unless it was something major, but none of my male training partners ever got this unstable in the first place.


Quite a curious little tidbit you've introduced, and I'd like to see some elaboration on it later, if possible. I wonder if this is just some internalized sexism on Kerani's part, or if male and female magic is fundamentally different.

And...I think that's all I have to say. I'm sorry, I know you must have written like a dozen of these new openings by now (XDD!) but I do not believe that this will be the definitive opening of Cat Steps. You have some elements in here that ought to stay in further drafts, though - especially the descriptions and Kerani's vivid magic. It's just the human element that needs more work this time. Keep it up, because each draft brings you closer to figuring out exactly where you ant to be, and remember I'm always there if you want to send a PM. ^^
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Sat Sep 17, 2011 2:39 am
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Dreamwalker says...



Rosey, Rosey, Rosey, you are my 300th review. That being said, this old instructor is cracking her knuckles and getting ready to crack this piece in half (if that's even possible). In any case, I'm going to rant about pretty much everything including the goods and bad's. So get ready for this xD.

So why don't we start by a run-down of the sections in this piece, ne?

You start the beginning off by catching the reader right off the bat with plot. So much so that you end paragraphs in ways that would make it seem like you were going to follow it up with some form up dialogue between the parents - like the original copy - but what I found is that, as readers, we get shunted and cut short. You try and connect little bits of info where the dialogue would usually be so the paragraphs above it don't seem to cut-off but at the same time there is definitely a jump. That being said, think about adding the information in later. Have a little bit of dialogue (not too much) in there so that the reader's attention remains with whats going on so that the information doesn't really appear to be given at all. More like its apart of the action itself.

That being said, I did enjoy your descriptions. I liked the way in which you explained her frustration.

A sentence structure that might not have made complete sense up there was this one;

Frustration would drive my magic to take chips out of any surface it could. Thankfully, I wasn’t anywhere near strong enough to take chips out of stone.


Now, the first line makes it seem like if she got angry enough, she would be capable of terribly chipping to any surface, whether or not the 'it could' follows it up. The reader will automatically think that her magic is capable of such a feat. When you follow it up with the line after it, it makes it seem contradictory, as if you decided against your prior thought. So I would take 'any' out of the first sentence.

Continuing on!

Here's a line that might need to be reworded;

But with a recent assassination attempt on my uncle— poison, in his usual midmorning tea. I’d stopped him from drinking and found who ordered the attack— they were wondering if I wasn’t more useful here.


Now, you put a period in between the two dashes. Dashes are usually put in place for comma's so that we get a more interesting visual effect that comma's can't give. When you put a period in between them, you cut it off so that we get two sentences that don't really look to be well-formed. That being said, I think you should change the period to 'which' or some connective word.

That was normally the servant’s summoning.

I did not like the sounds of that.


I noticed you are heavy with one-liners. Those impacting ones that are usually in place to make the most important of things stand out. The problem with doing this is that if you do it too often, those lines lose their effectiveness. I would add these two lines together only because of the fact that though they are important, it will still give a strong enough effect.

The desk never faced the door in reception rooms, to allow for as much control over somebody entering as possible.


The comma doesn't work quite as effectively as I'm sure you'd like. It merely cuts two different thought processes in half so it comes across as being a spliced comma, whether it is or not. That being said, I would simply take that comma out completely. If you want to help this line out further, change the wording as well to 'so that they' instead of 'to allow for'. You'll find that your line-structures will make a little more sense if you do so.

They only did this when they knew which side I stood on an issue, and planned to take the opposite side.


Another case of a wonky sentence structure. I get the image that she's actually standing on an issue. This could easily be fixed with a bit of rewording. Keep it natural, Rosey! You'll find yourself having an easier time with this as long as you keep it natural.

I leaned against the back of the chair. “Just tell me.”


Now, up until this point we had no idea that there even was a chair. I suppose it could be expected but at the same time, the reader should be informed of everything that the character does or feels. A good way of making this line make a little more sense would be to change 'the' to 'a' chair. It introduces the chair without you having to go into specifics about everything else until you feel that you want to.

Both of them stood to be taller than me, my father’s hands slamming down on the desk. “You will sit down to show the proper respect to your parents.”


You're having a bit of a problem with the parents dialogue, I've noticed. In the original copy, it was the dialogue between the two parents that pulled it down. You're still struggling, I feel. That being said, I want you to concentrate on getting in their minds. Really understanding them. People aren't completely evil nor are the completely for themselves. That being said, if we get a level of 'natural' to this, I think I might have a bit more respect for them.

That being said, I think the best thing you could have done here is kept that outburst in for a little bit until she provoked it. The line above it wasn't all that 'provoking' but it was enough to get a small comment such as 'don't be difficult' or something like that.

There was no answer to that. They outranked me in age, status, and power— and could do whatever they wanted. They owed me no respect, while I owed them all of mine.


Not just that but they are also her parents. I feel that this off-handedness is kind of... not really realistic. There has to be some form of emotion here. Some form of 'this isn't what parent's should be like'. The fact that she doesn't think at all about them as parents is rather discerning, though believable to a degree. I think she should be angry at them not because they are saying no but because they don't know how to be parents. That kind of anger leads to good character development.

“You are required to stay behind when Ranya leaves for he capital.”


You're usually the most meticulous person I know. A typo ;). In any case, we all make mistakes once and awhile. I make them like crazy. Just thought I'd point it out for you, though!

I just barely managed to keep my magic in check by looking away and letting the fire of anger be replaced by shock— total numbness. Frozen.


Now, I thought that she already knew what she was expecting from them. That she was going in the room knowing how to deal with what they were saying. I suppose she could become a bit numb seeing as as much as we try to convince ourselves something is so, until it actually turns out to be that way, we can't really make ourselves know or understand. This, though, kind of felt thrown in as if you wanted to make your character more well-rounded. I would take the numb out. She's fiery and spunky so keep going with that!

I would need to discharge emotions later, to regain a balance.


Unnecessary comma. You add a pause that isn't necessary ;).

It always felt of total emptiness, these halls.


I personally love lines like this! Very Yoda-like. It gives a different texture than simply stating 'The halls felt of total emptiness'.

Curiosity always felt like I’d had strong tea and was feeling the effects— more energy.


I personally don't like single dashes on their own. I don't see the point in them other than replacing a piece of punctuation that could be easily used in its stead. By that I mean the semicolon which purpose is where that dash is. I suppose you could say I'm the type to use the dash only when I need a good inner thought effect or a bit of background information. Other than that, this seemed a little out of place.

He felt a stab of grief for me, externally wincing.


This is first person, now. We need to remember that one cannot simply know what another is thinking or feeling. Yes he winced but one cannot assume it was because he felt a stab of grief. It could have been a stab of empathy, or even a physical gut problem. That being said, try to stay away from presuming what other character think even if you know as the writer. You're in Kerani's skin now.

He chuckled in his throat.


Interesting word choice. Generally when someone chuckles, its in their throat? Is it supposed to be a deep chuckle? I'm not really following on this one.

Now, onto my opinions in a more reformed manner!

Overall

This was jumpy for me. The last bit where she randomly goes off to train seemed a little... random next to what had just happened. Then again, she is a rather introverted soul just like her writer so I wouldn't put it past her to want to be alone in such a time. So I'm not going to go to into that.

The rest of this review is my praise!

I loved the character development. I loved the conversation between Kerani and Aryan. I loved your descriptions and the great amounts of detail you put into magic and the thought process. All in all, I thought this was a win, plot-wise and character wise.

The only thing I think you need to work on is your diction and your writing style. You are a meticulous person to begin with and it shows in your writing. Keep it natural, Rosey. Keep it real and flowing. Sometimes the best kind of writing is the kind that you simply sit and let it all go. Not all these drafts or different ways of doing things. Stop spending so much time on what you think should improve in your writing and just let it happen. If you do that, you'll find that your writing will only get better and better.

Changes and ideas will come and go. Don't waste them in efforts to make this story meticulously good. Make it good because its from the heart.

~Walker
Suppose for a moment that the heart has two heads, that the heart has been chained and dunked in a glass booth filled with river water. The heart is monologuing about hesitation and fulfillment while behind the red brocade the heart is drowning. - R.S
  








You can't fool me! I listen to public radio!
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