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Young Writers Society


16+ Language Violence

The Worst Night.

by housecat


Warning: This work has been rated 16+ for language and violence.

I haven't gotten into the habit of writing for quite some time, but this idea popped up when I was taking a walk. Be as critical as you'de like :p I welcome it.

It was the kind of night that wraps around your mind when you’re on the subway, or trying to fall asleep. Each moment within the memory blends together—and yet, that mural of memories still manage to stain you. Your day could be going great, but the simple reminiscence of it drains the blood from your body. The visuals ambush you, ensnare you, and force you to recall them with a distubing definitive.

I was at a bar with a few buddies. They thought I was there for the same reason they were—to find a whore and to forget about my job, or maybe just my life in general. But to be honest, I was there to people watch. I love watching people. I could do it all day. And when I’m drunk, it makes it all the more interesting.

So we were sitting at a table in the corner. Jeremy was ordering rounds of Jim dean, and we each gulped them down, cringing with satisfaction. I was watching people dance. Their movements were slurred and rubbery, like a flag on a windy day. I could hear the guys talking heatedly about something—maybe politics or an argument with their girlfriend. It was strange, watching people dance so offhandedly, despite being surrounded by tension.

My ears shifted towards the music. The band’s deep wail embodied every inch of the bar, but the majority of people were completely oblivious to it. The music was bluesy—instrumental. I could hear a saxophone, a patchy voice, and… a piano.

Yes, a grand piano. But there was something different about the sound of it. I recognized that sound. The way the dynamics rose and fell with disturbing precision. I could visualize ten dainty fingers colliding on each key with an effortless passion. It was too easy to see it in my head, because I’ve observed those fingers too many times in reality.

I wanted to stop listening. I could feel my stomach writhing within me, my eyes straining to stay on the sloppy dancers. I already knew that it was pointless—I had to look up. The possibility of ignoring that sound was not only unrealistic, but also impossible. And let me tell you, when I looked up, the night was already shattering around me, on the brink of collapse.

There she was, that foolish girl. That foolish, beautiful, compelling thing of a girl. She was in the corner of the stage, trying to remain unnoticed. But that was ridiculous—how could anybody not see her? Her passion and mystique would swell until the whole room could feel it. It curled around each body in a thick mist, dilating their pupils and running down spines. I hated it. I loved it. I missed it. And I wanted nothing more than to forget about it.

She was wearing a green dress. She always told me green was her best color. It favored her hair—a deep, and golden auburn. Although she was sitting, I could still see it wrap around her figure, creating an alluring hourglass. It scooped down her neck in a heart-shaped line. Her collarbone and shoulders were porcelain under the bar light.

I felt myself getting up. My thoughts were racing—my mind begging me to sit back down. I had to get closer, and the closer I got, the more pain I felt. The punctures were poignant and demanding, but they made me feel alive. So alive. And so I kept inching forward, closer, the sound getting louder and louder, the visual of her fingers getting increasingly vivid. I drifted past the dancers and nearly found myself merging into their apathy. Their legs syncopated with each other, but they didn’t seem to notice how my footsteps interrupted the atmosphere. Nobody noticed me.

I finally found myself at the front of the band, a statue against boundless movement. Although I was surrounded by warmth, I felt completely frozen. I gazed at her, swaying into the piano. It was almost as if she were a part of it. And suddenly, I could see us. Entwined like two circles. I could feel her breathing against my chest during several midnights. Her eyelashes fluttering against my cheeks when we kissed. I swear, I was so frozen that even the softest touch would have shattered me.

She looked right at me with those big doe eyes. They burned into me with scorn. I could hear her fingers drumming on the keys harder, faster, angrier. It was clear that she was seeing red. All the passion that once swelled into the air had vanished—and all because of me.

My heart didn’t stop beating; it disappeared. The contrast between our emotions devastated me. I loved her. And she absolutely despised me.

She despised me because I am a blueprint of my father. Our relationship, once placid and raw, begin to spiral into a chaotic reverie. Like her hatred, my drug addiction morphed me into something unrecognizable. I treated her like an object, rather than a person. Just like how my father treated my mother. I covered her in spots of black and blue. I want to give you a reason, to tell you why, but I can’t. I don’t know. I really don’t know why I did it. Maybe it was her innocence, or her helplessness. To see those doe eyes watch me with alarm, a deer in the headlights. I thought she’d be like my mother, vulnerable and timid. But there was something black and steady within her. She eventually snapped.

I told her it wasn’t me. It was the drug. But her reply is still haunting, and I drag it around heavily each day. Don’t you see? You are the drug. And you won’t accept that, so that’s all you’ll ever be. A slave to it. A fucking addict.

She left like a moth, so soundlessly. And as I watched her at the bar that night, I didn’t know who I was looking at anymore. She ripped off her wings and let that once small black spot consume her. I’d never seen so much hate.

I stared, entranced, as band stopped playing, and someone new shifted onto the stage. I stood by the entrance of it, attempting to remain transparent. I just had to see her face up close—just one more time. Everybody appeared before me in slow motion. I waited for what seemed a lifetime, and I would give anything to have never done that.

She came out the entryway, her arm looped around the saxophone player. And let me tell you—she was looking right at me. Her once innocent eyes were now grinning maliciously. I finally found myself shattering, and whatever remained of me dashed back to the table in the corner.

The guys still didn’t notice my presence. They weren’t arguing anymore—just laughing. I realized how much rounds they must’ve had while I was in my trance. I sat down quietly and waited for the next one. And the next one. And the next. I was silent the whole time. Especially when I watched her walk out the bar door with him.

We stumbled out after midnight. A few of the guys had giggly girls wrapped around them like skin. It was raining, but we still waited for the cab. One of them asked me if I was okay.

“ Yeah, fine man. Just tired.” Frozen air leaked out my breath in a mist.

He observed me unconvincingly. “ You sure? You’re pale as a ghost.”

I nodded. “ Yeah, I’m fine.” I repeated. I don’t remember his reaction to that response anymore—I was in a complete daze. By this time, everything had already collapsed around me. The buildings, the faces, the sky—they were crumbling before me, becoming part of the several lost values within my life.

When I got home I couldn’t sleep. So I pulled a dusty bottle of vodka out of the cabinet. The drunkenness was nothing compared to the rush of shooting up, but I was too broke, let alone exhausted, to reunite with my dealer. When I fell asleep, I had nightmares. She was entwined around me again, but rather than the feel of those soft lips against my navel, I felt teeth. Biting me. Eating me. And what agonized me was not the pain, but the knowledge, even in that nightmare, that she wasn’t really there. She consumed me, leaving bloodied sheets and yellow bones.

She still consumes me to this day.


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Sun May 26, 2013 11:15 pm
megsug wrote a review...



Hi House Cat,
Quick review. I apologize for the wait. I haven't been very efficient recently.

I loved your ending, very unexpected that. Sad endings aren't normally the expected, and you ended yours so prettily with that beautiful final paragraph.

Now, for the criticisms, I apologize if I repeat what others have said. You have been blessed with very thorough reviewers on this piece. I've skimmed through them, but I can't promise to remember everything that was mentioned before.

I feel that it’s useful to mention that I’ve known a lot of awful nights. I grew up in an abusive household. My father was a heroin addict, so the majority of our income seemed to go towards his drug addiction. Even when I have the most sincere gratitude in mind, my childhood is still defined by bruises, arguments, and angry fist-shaped holes in the wall. I know anxiety and hatred and confusion, but what I’m about to tell you provokes a feeling with no name.

This makes me roll my eyes. It's the old pity party story. Addicts, abuse, all the normal stuff, and it's in this far too long paragraph of complaining. Either reduce his history down to a passing sentence or cut it. It's not a bad thing to blame a character's problems on a character's mistakes.

Her once innocent eyes were now grinning maliciously.

Are you sure she wouldn't be pitying him? Pity might hit him harder than hate ever could, perhaps. It's just a thought, and the character you're describing in the flashbacks doesn't seem to be the kind to hate but pity.

I'm sorry for the short review. I'm kind of cramped for time. However, I really couldn't find much else. I think you did a marvelous job. It was a touching short story.

Keep writing.
Megsug




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Sat Apr 13, 2013 2:28 am
Wherethewindgoes wrote a review...



Salutations! I have finally come to review!

Firstly, I apologize greatly for the delay! I got a bit occupied, and could not find time for this, but now I have!

Anyway: On to the story.

It was the kind of night that wraps around your mind when you’re on the subway, or trying to fall asleep.


I would choose one of these similes and cut the other. The two of them together seem to take away from the meaning of the line, making it less direct and more repetitive. It's a really good first line, but I think only one simile would be best.

Yes, it was one of those nights.


I'm not sure that this line adds anything to the story, really. It doesn't give any information the reader doesn't know already, only repeats the first sentence.

I feel that it’s useful to mention that I’ve known a lot of awful nights. I grew up in an abusive household. My father was a heroin addict, so the majority of our income seemed to go towards his drug addiction. Even when I have the most sincere gratitude in mind, my childhood is still defined by bruises, arguments, and angry fist-shaped holes in the wall. I know anxiety and hatred and confusion, but what I’m about to tell you provokes a feeling with no name.


Here's an example of something I think should be cut down (there are some others, and I sort of summarize it below). Saying "I grew up in an abusive household" doesn't contain nearly as much meaning as "My childhood is still described by bruises, arguments, and angry fist-shaped holes in the wall". So I would cut out the first line. I might also cut out the first part of that sentence I just quoted ("Even when I have the most sincere gratitude"), because it doesn't really add to the sentence, and...I'm not really sure what it means, exactly.

I want to give you a reason, to tell you why, but I can’t. I don’t know. I really don’t know why I did it.


I think this should be cut to one or two sentences. This gets a bit repetitive. Perhaps just "I want to give you a reason, but I can't."

She left like a moth, so soundlessly. And as I watched her at the bar that night, I didn’t know who I was looking at anymore. She ripped off her wings and let that once small black spot consume her. I’d never seen so much hate.


Compared to to importance of this, that last line is a bit weak. Aren't there better ways to describe her hate than that?

I finally found myself shattering,


Just to note, you've used the imagery of shattering a couple times already.

and whatever remained of me dashed back to the table in the corner.


I feel as if "dashed" should be something like "stumbled".

I was silent the whole time. Especially when I watched her walk out the bar door with him.


How can one be especially silent? That implies being more silent at one time than another, which...means they weren't actually silent the first time.

I realized how much rounds they must’ve had while I was in my trance.


That should be "many rounds", because the rounds are a measurable quantity.

“ Yeah, fine man. Just tired.”


There shouldn't be a space here before between yeah and the quotation marks.

Frozen air leaked out my breath in a mist.


I don't think the frozen air would come out of one's breath. Perhaps "My breath turned to a mist of frozen air" or "Frozen air leaked out in a mist in place of my breath"?

He observed me unconvincingly. “ You sure? You’re pale as a ghost.”


Firstly, one doesn't really observe others unconvincingly, unless people think they are lying about observing someone. That should be "unconvinced", I think (with a comma before it).

“ Yeah, I’m fine.” I repeated.


There shouldn't be a space at the beginning of the dialogue, and the period at the end should be a comma.


Firstly, you seem to have some incorrectly punctuated dialogue. May I refer you to this?

Also, the story evidently has a lot of emotion here, and has the potential to transfer the feelings of the narrator to the reader. This doesn't live up to that potential, however, for a few reasons.

The writing style itself is too, say, indirect. It doesn't cut directly to the meaning of the story and the emotion of the narrator. Instead, there are a lot of lines that sound kind of repetitive, and the actually meaningful lines are diluted by the other, more basic ones. This narrator, who has gone through, and still is going through, so many hardships, should have a lot of emotion, especially when describing this. But that emotion isn't there, at least not in most of the story, and readers won't feel connected to the story, or care about the narrator, because of that. The story is short, so none of it should go without this sort of thing. Make the lines more concise and give them more emotion and meaning, and then the story will be a lot more meaningful to the readers.

Similes and metaphors are a great way to add this meaning, but here they...aren't exactly working. Most don't serve to enhance the meaning of the descriptions, and are kind of repetitive. Try to make those more meaningful. Perhaps have some sort of continuing metaphor or simile that progresses throughout the story?

And...the last thing that bothered me: the ending.

In a short story (really, in any story), there should be a, say, purpose. There should be movement, progression; the character should change somehow from the beginning to the end. Something could be realized, a fact could be reconciled with, a new goal could be discovered, something. But here there isn't anything like that. What did the character decide about the relationship with the woman? What is the character going to do to make sure this doesn't happen again? Is the character's life going to improve at all after this? There should be some kind of progression, some sort of change in the character. But there isn't, so the ending is a bit disappointing.

Anyway. I hope this has been helpful. The story is good, and with some improvements could be made much better. Good luck with any writing in the future!




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Tue Apr 09, 2013 1:14 pm
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Trident wrote a review...



Hi housecat, here to help out! My thoughts:

It was the kind of night that wraps around your mind when you’re on the subway, or trying to fall asleep. Each moment within the memory blends together—and yet, that mural of visuals still manages to taunt you, burn you, stain you.


You have good potential here, the setting of a certain frame of mind that sets the tone and mood well. Unfortunately the wording is a little confused and not completely making sense to me. "The kind of night" is a bit dull. "Night" wrapping around your mind might make an interesting metaphor, but "kind of night" neutralizes that metaphor and is nondescript. Try to find another way to word this idea so it is more powerful.

Your day could be going great, but the simple reminiscence of it drains the blood from your body.

Yes, it was one of those nights.


Try to give us an example so we can picture this instead of being told of it. And that last sentence where is comes full circle can probably be cut since it's not THAT interesting of an idea to be repeated.

I feel that it’s useful to mention that I’ve known a lot of awful nights. I grew up in an abusive household. My father was a heroin addict, so the majority of our income seemed to go towards his drug addiction. Even when I have the most sincere gratitude in mind, my childhood is still defined by bruises, arguments, and angry fist-shaped holes in the wall. I know anxiety and hatred and confusion, but what I’m about to tell you provokes a feeling with no name.


Cut the telling and enhance the showing. Details are your friend! General statements are boring. A revision incorporating this might look like:

I might mention that I've known a lot of awful nights. My father used to hide his heroin money in a purple-and-blue Light 'Em Up cigar box; we all knew what it meant when he came home from work, ragged and drawn, and rushed over to that cash pit. The tired arguments, the holes punched elegantly into the plastered walls, the bruises. The bruises. Purple-and-blue. I hated that damn cigar box.

I was at a bar with a few buddies. They thought I was there for the same reason they were—to find a whore and to forget about my job, or maybe just my life in general. But to be honest, I was there to people watch. I love watching people. I could do it all day. And when I’m drunk, it makes it all the more interesting.


We have an interesting misanthrope character. But be careful. Firstly, where I am from going to a bar and meeting a “whore” are images that do not equate. Unless you add some qualifier or adjective to “bar” to make it less wholesome.

People watching. Yes, fun and very fun to talk about. But it’s been done before. It’s still a good idea, just don’t tell the readers that you love “people-watching”. It sounds like a bad first date where the couple doesn’t know what to talk about and has this awkward conversation about how they both like to “people-watch” and then they never talk to each other again.

Haha, sorry got a bit sidetracked. But just describe the people the narrator is watching, don’t go on about how much the narrator likes it. It makes them pretentious and unlikeable (and not in a good “he’s a badass” sort of way).

My ears shifted towards the music. The band’s deep wail embodied every inch of the bar, but the majority of people were completely oblivious to it. The music was bluesy—instrumental. I could hear a saxophone, a patchy voice, and… a piano.


Okay interesting and you have some good description. “Embodied” is a little off. I like wail, but more as a verb. The ellipsis is unnecessary.

I wanted to stop listening. I could feel my stomach writhing within me, my eyes straining to stay on the sloppy dancers. I already knew that it was pointless—I had to look up. The possibility of ignoring that sound was not only unrealistic, but also impossible. And let me tell you, when I looked up, the night was already shattering around me, on the brink of collapse.


You don’t establish the narrator’s need to gaze here. It’s a piano, which isn’t terribly exciting, so even if he suspected something, we should at least get a hint at why he was so drawn and perturbed.

There she was, that foolish girl. That foolish, beautiful, compelling thing of a girl. She was in the corner of the stage, trying to remain unnoticed. But that was ridiculous—how could anybody not see her? Her passion and mystique would swell until the whole room could feel it. It curled around each body in a thick mist, dilating their pupils and running down spines. I hated it. I loved it. I missed it. And I wanted nothing more than to forget about it.


Fun to read! And it makes the narrator sort of misogynistic, but endearing. Sort of this old noir feel to it.

She was wearing a green dress. She always told me green was her best color. It favored her hair—a deep, and golden auburn. Although she was sitting, I could still see it wrap around her figure, creating an alluring hourglass. It scooped down her neck in a heart-shaped line. Her collarbone and shoulders were porcelain under the bar light.


A bit of an odd collection of descriptors. I’ve learned that trying to hide them too much amidst the text tends to stick out, so with description, it’s best to just say it and be done with it. The word “porcelain” is perhaps not the best choice. It’s overdone and gaudy.

I drifted past the dancers and nearly found myself merging into their apathy. Their legs syncopated with each other, but they didn’t seem to notice how my footsteps interrupted the atmosphere. Nobody noticed me.


Oddly worded. “Merging into their apathy” isn’t translating. I do, however, like the “their legs syncopated” line and how that sort of juxtaposes with his own footsteps.

On Themes of Love and Unlove
Careful. Soppy writing can be swallowed in small doses and that can give great power/effect to your prose. But taken to the extent of three or four paragraphs really hampers the action, the events of the now. When you focus on this aspect too much, the sentences merge into each other and the reader starts glossing over everything. Not good.

She despised me because I am a blueprint of my father. Our relationship, once placid and raw, begin to spiral into a chaotic reverie. Like her hatred, my drug addiction morphed me into something unrecognizable. I treated her like an object, rather than a person. Just like how my father treated my mother. I covered her in spots of black and blue. I want to give you a reason, to tell you why, but I can’t. I don’t know. I really don’t know why I did it. Maybe it was her innocence, or her helplessness. To see those doe eyes watch me with alarm, a deer in the headlights. I thought she’d be like my mother, vulnerable and timid. But there was something black and steady within her. She eventually snapped.


More telling. Start to show! This exposition is tough to tread through. Drop words like “innocence”, “helplessness” and “vulnerable”, which take the narrator from endearingly and playfully misogynistic to terribly sexist and ignorant. And don’t be general! Details, details! Why should the reader care about this relationship more than any other? This could be written as a police statement which only states the bare minimum of events. Details!

She left like a moth, so soundlessly. And as I watched her at the bar that night, I didn’t know who I was looking at anymore. She ripped off her wings and let that once small black spot consume her. I’d never seen so much hate.


Terrific metaphor. Drop the last line; it’s unnecessary after the beautiful comment about a black spot.

Filler of the malicious kind

The next few paragraphs are filler, meant to create a buffer between the two conversations between the narrator and the woman/his friends. There are times when creating this air of time is a good thing, but it must be filled with something that will advance the plot or characterize. Right now, there’s just words. Example:

Everybody appeared before me in slow motion. I waited for what seemed a lifetime, and I would give anything to have never done that.


Blah, blah, no one cares. This is a story, not a nineties movie.

And the scene with the girl and the saxophonist didn’t elicit any emotion on my part. I didn’t even care that she was with some other guy. There should be anger or shock or something on the reader’s part. The lack of those emotions means that you have failed to make the relationship worthy of the reader’s attention, and that’s really what the story is about. So you need to really do something about that. These characters need to be people we care about and invested in. If we don’t care about their relationship , we certainly don’t care about the drama involved in their other relationships.

When I got home I couldn’t sleep. So I pulled a dusty bottle of vodka out of the cabinet. The drunkenness was nothing compared to the rush of shooting up, but I was too broke, let alone exhausted, to reunite with my dealer. When I fell asleep, I had nightmares. She was entwined around me again, but rather than the feel of those soft lips against my navel, I felt teeth. Biting me. Eating me. And what agonized me was not the pain, but the knowledge, even in that nightmare, that she wasn’t really there. She consumed me, leaving bloodied sheets and yellow bones.

She still consumes me to this day.


Okay, so a few things about this conclusion. The character is a drunk, so I don’t think too many of his bottles would be dusty. The drug thing wasn’t very interesting to the ending, and for some reason, I wasn’t really aware that he was still an addict. Perhaps I missed something, but the whole idea behind him wanting to be with the girl made me feel like he was trying to redeem himself with her, but that the redemption was too little, too late. The last several lines about pain and agony and biting are weighing down the story. Again, it’s telling instead of showing. The narrator should be doing something, not telling us about a deep feeling of “biting”. It’s lackluster.




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Tue Apr 09, 2013 1:10 pm
Trident wrote a review...






Trident says...


Ugh, tried to edit and it's an error. This has happened to me before. Good thing I saved the critique in Word!



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Fri Apr 05, 2013 8:52 pm
indieeloise wrote a review...



Hi, cat! (I love kitties, btw :3) Here to review, as requested!

I’m going to tell you about the worst night of my life.


Hmm. Not the best opening line. I think you could just jump right into the second line with something transitional like: “It was the kind of night that wraps around your mind..” and it would hook the reader right in. You first paragraph or two is very capturing, and this first sentence just kind of underestimates it.

and yet, that mural..

and yet, the simple reminiscence..


Teehee. I have this tendency to use this dramatic phrase as well. Only necessary once, though. I’ll suggest removing it from the second instance and rewording the sentence to: “Your day could be going great until the simple reminiscence of it drains the blood from your body.”

angry fist holes in the wall.


Maybe reword this to something like “angry, fist-shaped holes in the wall,” just for clarification. Other than that, I really like the way you worded this paragraph. I’ve never really been a huge fan of introducing a story with “here’s what I’m gonna tell you,” etc., but you pull it off rather nicely and I have no complaints.

I was at the bar


The bar? What bar? ‘The’ is usually used when talking about specificity, but so far you have indicated none. What bar was it that the narrator made a vague attempt at being specific about? Or you could just say, “I was at a bar”; your call.

cringing with indifference.


I understand you’re trying to add a little fluff to the typical college-guy-out-with-friends--on-a-weekend bar scene, but this phrase simply does not work. When one is feeling indifferent, they do not cringe because they feel nothing to cringe about.

I was watching people dance.


Rather bland sentence. Consider meshing it with the next, where you seem to jazz up the scene a little more. I like the “flag on a windy day” image a lot - but it’s not something I would relate with the words “slurred” and “rubbery.” Maybe erratic and loose? Or something similar.

It was strange, watching people dance so offhandedly, and yet, being surrounded by tension.


I was enjoying this sentence so much - especially ‘offhandedly’ until we got to the inevitable “and yet.” Vary your conjunctions!

Yes, a grand piano.


This paragraph was so lovely. Really appreciated it, as someone who plays piano. Very nice. Though, I would consider replacing “pounding on each key” with something more graceful like “colliding.”

I hated it. I loved it. I missed it. And I wanted nothing more than to forget about it.


Ooh. Oooh, ooh, ooh!!! I love the narrator’s voice. Very realistic and enthralling.

because she said green was her best color.


This is a bit awkward. Maybe, “She was wearing a green dress - she always said it was her best color.”

Nobody noticed.


I think this might fit better after the sentence about the thoughts racing and such.

And yet, I was in a trance.


Really I think this sentence could just be eliminated; it’s kind of unnecessary.

I swear, I was so frozen that even the softest touch would have shattered me.


Comma isn’t needed. This sentence is lovely.

Let me tell you why.


Eh, don’t need this here. Just go from saying that she despised you, to something blunt like in a new paragraph like: “I am a blueprint of my father.” And, oh, wow. What comes after that is completely unexpected. Did not see that coming at all! Which is a good thing. :)

She left like a moth, so soundlessly. (...) I didn’t know who I was looking at anymore.


Aww. Jeez, so beautiful. This whole paragraph is my favorite part of the whole thing.

The band stopped playing, and someone new shifted onto the stage.


Eh. Disappointment. This whole paragraph sounded like writing, not the character’s thoughts.

were now grinning maliciously.


The verb tense here is incorrect; it should be “Her once innocent eyes now grinned maliciously.”

Bart asked me if I was okay.


I don’t think you really need to use a name here, since this Bart really had no role in the entire scheme of things. I mean, the girl the speaker was in love with wasn’t even given a name. You could just say, “One of them..”

out the cabinet.


Think this should be “out of the cabinet.”

She still consumes me to this day.


Ba-dum-tss. This is the end. No need for the following sentence.

~

Overall, I really liked this. But the ending was too vague to really be considered an ending, especially with the perspective he tells the story in - as if he’s in some point in the future, looking back. You don’t give any inclination to where the narrator is now, and so there really is no reason to tell the story in this perspective. If you do decide to expand on this a little, I think it would add more of a resolution to it.

I really like your writing style, as well. Keep it up! :) It was a pleasure to review.

~Indie.





"And what is the use of a book," thought Alice, "without pictures or conversations?"
— Lewis Carroll, Alice in Wonderland