z

Young Writers Society


12+ Language

All is Well, Perforce.

by skorlir


“Mmh. Toff-toff, Perforce! Where are you?”

The voice clatters upon the cobbled walls, seemingly unending.

Per-force?”

Again bouncing waves, mischievous and light, spill out; unanswered. The halls bear weakly forth a scurry, and a grunt, inaudible to their demander.

“Eh you, Perforce? Hear me? Your head! I swear.”

Trilling lightly, the halls return: “Coming! I am, I am!”

“And about time.” A sort of relief bolsters this, an outburst less tenacious than before, and the walls echo it soft. Were Perforce of a mind to think such things, he’d hear a grumbling. But some pleasures can be kept only where the mind has left them ample room; “a man per force” is, after all, the cook’s term for a fool. So Perforce, meek but brave, gives no altercation to the tone, replying:

“Yes, and only half-a-turn past the sun. You are early risen today, ser. You have dressed already, ser?”

“Yes…” Gruff, nearly tremulous words, woven behind a brown-red dappled carpet of any woodsman’s envy, slowly work into the air. “There is much to to-day, Perforce. You know that?”

Perforce’s mind gives his legs pause. Forgetful shadows draw down around his brow.

“Know, ser?”

A thick laugh. “Yes, Perforce. To-day. You do know it?”

Relieved, Perforce quickly sighs: “Ah— Why, to-day is any other day, but it is bathing day. And also riding day. Shall I have your crop, suh?”

“No, Perforce…” Another slight chuckle. A measured, beard-dampened speech rings lightly off worn teeth. “I shan’t be needing a crop for such a day. Think, Perforce — Or does it hurt you so?

"Then know, now — Are you hearing me?

"Know, as I do, this:

"This day is a moment, Perforce. A moment you, your kin, every sort otherwise, shall always know; the meek and the damned alike shall know. Momentous is a word dedicated to moments, Perforce.”

Perforce had seized his master’s gaze, and had begun to welter.

“Mind now, Perforce, all is well. All is well as hens and eggs, you see.” Perforce trembles, lightly, softly – he hopes in agony for reprieve from such heavy speech. His fingers itch with the burn of idleness. His tongue is swelling, escaping his mouth.

“Please do not… Do not say such things, sire… I shall get your riding crop, suh. Your crop. You shall need it, ser—“

“Damnable fool, Perforce! Stop yammering.” Ruddy bristles alight on a knobbed fist, and Perforce’s eyes, wide and unseeing eyes, meet the eyes perched upon that aquiline nose. Perforce squirms and squeaks quite meekly once, settling agitated upon his heels.

The knowing eyes sink deep, aware how ignorant their keeper, how much there is to see. Perforce, whose ignorance is boundless; his eyes are shallow, empty.

“I shan’t be riding today, Perforce. That is all. I just shan’t be riding. I —“

Perforce’s weltering, sullen face halts the thought.

“Perforce…”

The cobbles and wooden beams that make up the walls breathe down on them, the two: master and his fool. The fractures in the stone soak in the silence, holding it, protracting this shallow, stupid moment.

“Bring me my staves, Perforce. I must select a proper staff for this day. We shall simply give the horses a break; that is all. I awoke to poor aspect this day, Perforce. I am not aligned.”

Perforce lingers momentarily.

“My staves, Perforce; I am misaligned today.”

Perforce is relieved of his thoughts, and his paralysis. His feet scurry with relief, tapering off down the hall.

The silence he leaves behind stretches long. But the deep eyes do not fade, nor feet shuffle, nor head droop. At once a horrible growling stirs deep in the room; it makes the empty air burn around the wise face, framing parted lips and cupping ringing ears in flame, driving the slightest silence from the estate as it swells.

The silence returns twofold. Burnt ears capture whispers on the air:

"Misaligned, he says?"

"Bother, check the damn dogs again! I swear I heard them; look in the fields."

"Staves, staves... Staves..."

A rapping comes on the door, and Perforce enters, intrepid.

“Sire? Your staves, sire… Your staves are ready.”

A timid voice braves to interject.

“Is Lord Rohncroft—The commotion, is he— I-I say… Is he hale?”

Perforce rounds forcibly, slamming tight the hefty door. “Silence! Insolence! Staves do not speak!” Looking up at the rest, he whispers angrily: “The staff - does not - speak! Make like the staff!”

At once, a woman catches Perforce’s glance. Entering the hall, she walks purposely forward, her thin ankles revealed with every stride, looking stiffly up, determined, long hair flowing recklessly behind her.

Perforce and the staff make way instinctively, straightening against cold walls. Staves clang lightly.

“Mada —”

The men stifle greetings as she brusquely pushes forth the door. Leaping stiffly over the threshold, her mouth already forming words, she seethes:

“Rohncroft.”

The ruddy beard shakes wearily; Rohncroft’s stiff neck begins to loosen from its roaring pose. His mouth closes and opens. His fists unclench and fall to his sides.

“What compels you?” She asks.

“Dearest…”

Her glance meets his deep eyes, and channels forth her unkempt spirit, her vengeful soul. Rohncroft waits.

“You are a man, Rohncroft. And what of a man?”

“A man is as he does.”

This, uncertain. The wit of Rohncroft’s wife is sharp; he is not used to its blow.

“Your son, Rohncroft —“

“I have no son.”

“Would you subject your son to outbursts, to rage and fury? Would he not cringe, would he not be enraged? Would he not join your roar, and bring down upon our heads all stone and mortar? Do you shake the earth with men, Rohncroft, and let it fall around them?”

“I have no son.”

Rohncroft pauses.

The flowing, silky gown lies still and listens, intent.

Goading, almost, the silence beckons forth his forced, confused reply. “But no. I would not take such anger with my son. I could not, my dear… I could not.”

“And what of woman, Rohncroft?” Her body lowers to its heels. Her eyes well.

“What of your wife?”

Rohncroft chokes, “Serenity…?”

Serenity turns abruptly, trailing agony and passion as it falls from her eyes, making forthright to the door.

Rohncroft moves and sits upon his armchair. His eyes lower. His head droops. His lips mutter; he tries to sigh.

“Sire?” Perforce enters again.

“Perforce… Oh, Perforce… My Serenity has left me; there is no peace in this man’s heart. No staff can uplift my soul, Perforce. No body can I bear; no feet may I remove myself upon. I am dead, Perforce. There is no more.”

Singed papers crackle lightly. Perforce’s eyes lower. “I have neglected your feet of late, sire. I am sorry.”

Rohncroft’s eyes lighten weakly, though his aspect stays. “Perforce, it was nothing of your doing. It is not you, my boy. It is not you.”

“But sire?”

“All is well, Perforce… All is well.

"This day followed as the stars have gestured; it has danced with the madness of the world, and it has collapsed upon its ass. And here it is, Perforce. Here is this day, sitting before you. Here it waits for redemption, for life. Here it lays, it lays…” Rohncroft trails off.

“But Perforce.”

Perforce looks up again, and his face is placid. His uncertainty betrays itself in his shifting legs, his weakly stamping foot.

“Perforce… Dearest Perforce. All shall forever be well, Perforce. All is ever well…

But you must leave me now.”


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Sun Jul 28, 2013 5:19 pm
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OliveDreams wrote a review...



Hello there! Here to review your work on this very fine review day! I will review as I read so that it will make much more sense for both me and you. I tend to ramble otherwise, get mixed up and generally forget some good points that I've been saving up. (SEE! RAMBLING!)

I've been reviewing for a pretty long time now so I quite fancied something to cheer me up and keep me typing! You are the chosen one.

HERE WE GO!

Why do I love the name Perforce so bloody much?

“Perforce’s mind gives his legs pause. Forgetful shadows draw down around his brow.” - Hahaha this really made me laugh. It's as though he can't do two things at once – especially using his brain. This is very well written.

“he hopes in agony for reprieve from such heavy speech. His fingers itch with the burn of idleness. His tongue is swelling, escaping his mouth.” - OH MAN! You've literally made me fall in love with him.

I can't find any mistakes in your grammar, spelling or general writingness. I do not care where you're going with this – I just love perforce. I love the language they use and I love they are it's all in dialogue. It's different and refreshing!

Good luck! Keep writing and I look forward reading more soon!

HAPPY REVIEW DAY!

Olive <3




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Sun Jul 28, 2013 7:33 am
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Iggy wrote a review...



Hello. One of Santa's Elves here, to deliver a review you never received.

First off, I am confused. About, well, everything. What is going on? What time period is this set in, because it sure seems like a fantasy setting, by the way they talk and act.

Perforce. Who is he and what is his relationship to Rohncroft? Because it sounds like Perforce is the slave and Rohncroft the master, or something vastly similar. I think you could explain that more, let the reader know straight up, because I can't make heads or tails of the situation here.

"This day followed as the stars have gestured; it has danced with the madness of the world, and it has collapsed upon its ass.


I definitely feel like this is out of character. They speak so old fashioned, so different then we do, so unless there are talking about a donkey, ass just doesn't for in here. I definitely suggest you rewrite that sentence.

I agree with ArcticMonkey on being confused. You threw the characters at us, with no background information or anything. We don't know who the two men exactly are and therefore, it's hard to relate to them.

You do have a nice grammar structure here. A pretty steady flow, so kudos on that. I found no mistakes, so either I'm wrong, or you're just that good. Overall, nice work!

Keep on writing!

~ Iggy.




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Fri Jul 12, 2013 6:57 pm
ArcticMonkey wrote a review...



Hi skorlir- here to review, sorry about the delay!

Right well this certainly was interesting. I mean it's not really like something I've read before, which is a good thing as well as something slightly concerning (I'll talk about that later.) I guess the good thing about this is the originality, I mean nobody likes a once upon a time they lived happily ever after type of story we've read three thousand times, so well done for that! Now for some improvements...

Firstly, it isn't really that engaging. I'm assuming this is the first part of a novel and you want the readers to be at the edge of their seat- wanting to read more and more. However, I'm slightly concerned that this is sending your readers to sleep. One of the issues is your sentence structure, although you have good grammar, all the sentences are far too long and not very varied. Remember, for short action-y bits, you want loads of short sentences. And these kind of sentences are suited for an opening of a novel, we don't want tons of beautiful, long sentences yet (that comes later).

Secondly, what's actually going on? I was quite confused the whole time of reading this. Okay, so there were no introductions to the setting or characters, they were all just sort of thrown in there which makes the whole piece quite confusing. Remember, you need proper, they can be brief, introductions to stuff so the reader stays on top of this. I mean, are they robots? Who are the characters? Where exactly is this place? I have these questions and more that I'd like to be answered, preferably in this chapter.

Also something that was a bit of a concern was how much of this piece was dialogue- something else that added to its confusing-ness. Dialogue should be used at a very minimal, it is far more effective that way (most things are). I mean this whole piece just seems to be loads of dialogue of things I don't understand, and I'm just really not understanding it. Instead, maybe try and use some imagery/descriptions for characters and settings to show what's going on a bit better.

All in all, this was quite an interesting read- however this was all a bit too confusing so I think things need to be better explained. I hope this review helped, PM me with questions or if you'd like another review.

Keep writing!
-Arc x




carbonCore says...


I disagree about keeping dialogue to a minimum. Have you read the book "Ishmael"? It's entirely all dialogue, and it was a very good book. Lots of well-written dialogue can be much more effective than blocks and blocks of descriptions. It's not the size, it's how you use it, eh? c:

@ArcticMonkey @skorlir



ArcticMonkey says...


@carbonCore I totally agree with you there actually, having a dialogue based story would be very interesting- but it is if it's used properly. I guess it's just something I'm not realy used to, and in this particular case I don't really like the majority of it being dialogue. Just my thoughts-



skorlir says...


@carbonCore @ArcticMonkey
You're both pretty. :P



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Wed Jul 10, 2013 6:51 pm
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carbonCore wrote a review...



I'm not sure where you were going with this. Things start out well enough, when we are introduced to a lord and (presumably) his page. The lord is old and life-weary, the page is not the brightest tool in the shed, but brave and devoted. The lord clumsily avoids exposition for a while by not telling Perforce (and, by extension, the readers) why the day is important, and it looks as though they are about to go ride somewhere (to bathe?).

Then suddenly there is a revelation that Rohncroft will not be riding today. Alright -- the way the story has been set up so far, I had guessed that perhaps they will be taking out the old dragon gathering dust in the garage for a spin, or perhaps Rohncroft and Perforce will take a long walk through the gardens where Rohncroft will reveal to Perforce that he is dying and that he, childless, seeks someone to take on his mantle. Or something along those lines.

Instead, a random wife drops in out of nowhere, leaves Rohncroft, and the story ends. Is there a deeper level I had missed that was gathering steam during the beginning of the story? If this piece is about a divorce, then why is Perforce necessary as a character in the first place?

I've re-read this work a few times, and I'm still not sure what the plot exactly was. Try to be a little more clear with what's going on. A story can be the greatest story in the world, but it's all for nothing if nobody can understand what it's about.

Your page,
cC




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Wed Jul 10, 2013 1:18 pm
StoneHeart wrote a review...



Hey Skorlir, Black here for your requested review!


Okay! So this was really good. Your grammar was EXTREMELY amazing, with virtually no mistakes that I was able to find (truly exquisite work on this part), your spelling was dead-perfect, and you have a really great way of writing. You have a nice formal, if long-winded style, which, when used a bit more sparingly would do EXTREMELY well. Overall? I'm interested as to where this goes. It was interesting. Good work!

For those pesky problems though . . . and yeah, you have them. Actually you have one. One that kind of buries all the other ones because it's simply so HUMONGOUS. Okay, that sounded a bit harsh, but it really is a big problem. Read this piece to me, out loud, right now. Tell me what you thought? Well this is what I thought: Slow, boring, terrible pace, and miserable style. That's some pretty tough criticism, but to tell you the truth it's a lot less complicated of a problem than it looks.

What you're doing is simple: You're being too complicated. If I had to assume something, then I'd assume that you're someone who knows writing pretty well but has only recently gotten into the whole novel-writing business. You can do plot, you can do grammar, you can do spelling, you can do spelling . . . but you have some false illusions on what writing should be. Luckily these things can be fixed! So here goes!

Your problem: Overcomplicatedness. That's it, but not exactly. You're using a lot of adverbs and pronouns in your writing. You're having someone do something or say something, and you're then adding on all these fancy verbs and nouns to expand on it . . . and let me tell you; it gets slow, really, really, dead boring slow! And let me warn you, if a reader is bored by your writing then they won't recommend your book to their friends and you WILL NOT SUCCEED. Let me give you some precise examples of what I mean:

Perforce lingers momentarily.
“My staves, Perforce; I am misaligned today.”
Perforce is relieved of his thoughts, and his paralysis. His feet scurry with relief, tapering off down the hall.
The silence he leaves behind stretches long. But the deep eyes do not fade, nor feet shuffle, nor head droop. At once a horrible growling stirs deep in the room; it makes the empty air burn around the wise face, framing parted lips and cupping ringing ears in flame, driving the slightest silence from the estate as it swells.


Three words: THIS IS BORING. These here three paragraphs (or a paragraph and two lines) cover only a few seconds of time. The Lord says something and Perforce breaks his hesitation to begin walking down the hall. It's just a few seconds, really unimportant seconds too, mind you. If these were the moments between when the hero raises his sword and then cuts of the evil villains head, then you could take this long . . . but these are two very unimportant seconds. Only a few words are needed to describe them.

“My staves, Perforce; I a misaligned today!”

Perforce shook himself out of his moment of hesitation and turning, headed down the hall, his shoes clacking on the marble floor.


That's more than enough . . . Really: Why take more time? Why do more? This is far more interesting and entertaining to a reader than your really long, boring, horribly worded paragraphs. I mean, look at all your descriptor's. 'deep eyes', 'stretches long', 'feet shuffle', 'head droop', 'horrible growling', 'stirs deep' . . . just to mention a few. And they're miserable ones as well.

Okay, look, your problem is simple, but it's effect is huge. You're completely crashing your story into the dirt by simply over complicating things. You're putting a LOT more detail into things than you need to, and you're making things really boring. Reader's want action. Now you can have boring action . . . if you word it out too much. So let me be more precise: READERS WANT FAST PACED ACTION. If it's not action/ dialogue/ monologue/ feeling then they won't really appreciate it that much (mind you though you can't just use these things, you have to spread out to be great), but if you take these things and slow them down too much then they're worse than nothing . . . they're skipping material.

I'd say cut these 12/15 hundred words down to five or six hundred. Get rid of all the fancy, over-complicated fluff, work it out! And then go on and make sure you fix your style itself (when you write). Think about the best books you know of. They don't have style's like this . . . drawn out, with super-fancy wording. Of course, you don't want to be a follower . . . but it's good to learn from other's mistakes and successes.

Anyway, your next problem is that you don't really do anything in this chapter . . . you don't introduce your character's (really well), and nothing really happens. You need to try to make more things happen. That doesn't just mean action . . . introduce your character's in whatever setting you want (or your story world) -that's the first step. Then you can start moving the plot forward.

Also, the Lord's wife . . . it doesn't make sense that she should leave him like she did. It doesn't make any sense at all.

“I have no son.”
Rohncroft pauses.
The flowing, silky gown lies still and listens, intent.
Goading, almost, the silence beckons forth his forced, confused reply. “But no. I would not take such anger with my son. I could not, my dear… I could not.”
“And what of woman, Rohncroft?” Her body lowers to its heels. Her eyes well. “What of your wife?”
Rohncroft chokes, “Serenity…?”
Serenity turns abruptly, trailing agony and passion as it falls from her eyes, making forthright to the door.


If you ever have paid any attention to how couples act, then you'll know that they get in arguments all the time. If a marriage was this easy to break apart then it would be a useless formality. Try to be logical! Try to think of what it would REALLY be like in this situation. Also, gown's can't listen and you stretch forth a really slow silence . . . using miserable words. Try to be simple . . . to the point . . . and logical!

Okay, you asked for a review, and there it is: I really hope it helps. You have the base skills to make a great writer, all you need is a bit of practice. You just need time. Every writer had to start somewhere . . . and work their way up. You do to! Just take your time, don't let yourself be put out, and try to be easy with criticism. Also, a quick hint on your reviews: If you noticed I didn't work on your grammar here much . . . I tried to focus on more general things: I think it helped more overall.

So, remember: KEEP WRITING -I guarantee you will improve!

(P.s. If you really wanna be nice to me then drop by my review thread and post your thoughts on this review, rating it on a scale of one to twenty . . . thanks! Good luck! You're really doing great!).


~Black~





Why should Caesar just get to stomp around like a giant while the rest of us try not to get smushed under his big feet? Brutus is just as cute as Caesar, right? Brutus is just as smart as Caesar, people totally like Brutus just as much as they like Caesar, and when did it become okay for one person to be the boss of everybody because that's not what Rome is about! We should totally just stab Caesar!
— Gretchen Wieners