Hello! Here as requested! (Sorry for the delay.)
Let's get started
Big picture wise, I thought you were okay. I really liked the piece in the middle with the flashbacks. I thought that was done really well because it gave me some really interesting insight into your characters (why the MC made the choices he did), and humanized them (it really helped them feel more real.
That being said, the plot wasn't really my cup of tea. I liked it at first - the struggling guy trying to provide for his family so he makes this desperate choice that turns out to not work out. But then he turns into the commando assassin and kills a bunch of people and lives happily ever after. That didn't work for me. There were no consequences for his actions. He did something wrong - he was supposed to pay back this guy and he didn't. True, the loan shark wasn't exactly an upstanding citizen, but he guy still had a debt to pay. He didn't pay the debt, he just killed all of the people he would have to give money to. I know he got beat up and they were going to kill him and his family and everything, but I still don't like all of the killing. (But I'm sort of a pacifist, so... :p) It might have been better (at least for me) if there had been some consequence for everything he's done. I mean, he killed a bunch of people and the ending makes it seem like he just rides off into the sunset. I have a hard time believing that he wouldn't get caught. Someone had to see him walking out of there. He probably had to go to the hospital to get treatment for all of his injuries and they would have asked him what happened (or put the pieces together themselves).
But, you had really vivid descriptions, the writing was very rich, and the characters felt real (other than my personal problems with the MC :p). And other than my personal problems with the plot, the only other thing that stood out to me was that it gets very wordy at times. I'll point out those instances (and probably some other things) in the following nitpick.
And before I get too deep in, remember that everything I say is subjective and at the end of the day this is your voice and your story (And I don't have any experience with literary magazines, but I've spent a great deal of time trying to get the attention of a literary agent. As I'm sure you know, it's all very subjective, so you can never take a rejection or anything personally.)
I recoiled from the stiff uppercut to the gut and my stomach threatened an exodus of its contents. My vision doubled and my lungs evacuated, coming out in a powerless retch.
This is all a bit too much for me. The parts in bold are what I'm really struggling with. For an opening, I get that you're trying to get our attention and give us a really vivid description, but to me it sounds like it's trying too hard. You don't to re-invent the wheel here. Sometimes simple works just fine
The underlined part confused me a little. The narrator's lungs "evacuated" (I'm guessing that means all of the air went out), and that's "coming out in a powerless retch"? What's coming out, the air? You can retch air?
The thug stepped back across the hideous green and gold carpet and I dropped to my knees, cradling my belly and fearing something had ruptured in there.
I think you could make this two sentences. It starts to get a little wordy for my taste.
"...hideous green and gold carpet, and I dropped to my knees, cradling my belly. I feared something had ruptured in there because [why]."
After a moment, I caught my breath and began heaving air in and out.
This type of transition is kind of a pet peeve of mine. The moment will happen without you telling us the moment happens. (if that makes sense... :p) You could try something like "I manged to catch my breath..." or "A few heaves later, I caught my breath" You can experiment with that.
I looked over his wide and garishly ornate desk at him.
New paragraph at the start of this line because you're switching focus - Lars to what the narrator is doing.
And I think you could change up the word order here for greater clarity. "I looked at him over his wide and garishly ornate desk."
That's when I realized I was out of options.
This line didn't do much for me. It's retrospective and so far this hasn't been retrospective. It also doesn't tell me much. How does he arrive at that conclusion? What's he feeling?
They'd had enough of breaking my nose and giving medeep purplebruises and broken ribs.
I slashed that little part because I think it would be cool to have alliteration with "bruises" and "broken".
They were going to take everything from mein orderto send a message to any other would-be borrowers - pay or die.
Slashed because it's not necessary.
A look of devious intent came over Uthor's face that made my stomach harden.
What exactly does this "look of devious intent" look like?
I think this could be two sentences - what Uthor's face looks like and then his reaction to said face.
I'm also not really feeling his reaction. His stomach hardens? Like he's flexing his abs to prepare for battle?
I tried lurching to my feet.
What prevented him from doing this?
A something rigid and cold impacted my right temple.
"impacted" is a little much for me. And I'm not sure it's saying what you want it to say. The way I read it the first two times, it sounds like this object had an effect on his temple. I suppose it could also mean it dented his temple. But neither of those feel like the description you're going for.
Remember, sometimes simple works just fine
His arm was outstretched and he was wearing brass knuckles.
He's just standing there with his arm still outstretched, post-punch? That seems a little weird. At least a few beats have passed since he was punched and I feel like this guy would have already put his arm down.
Removing them from their belongings and making them mine will be easy enough. I have people for that. Then, I have people who will remove the life from their bodies."
He has a weirdly formal manner of speech, but I think it works for his character.
Feintness washed over me andI came close to collapsing as desperation dissolved into bitter regret.
Wordy. Slashed because it's not necessary. You convey the same information without it.
The thug nodded and reached into his Armani suit coat,under his armpit,and produced a small black pistol.
Slashed because it's an unnecessary detail.
At 6'2", my body normally wasn't an easy one to manhandle, but this guy had no trouble at all. Stress and anxiety had taken their toll.
I'm not feeling any of this. I think it takes away from the suspense that's been building and you could take it out. The narrator's size doesn't really matter, and we already know how he's feeling.
There's a common misconception, I think, that if you have a gun pointed at you and you know you're about to get dusted, that you would fight back.
I'm not sure why this suddenly slips into second. Can you rephrase it without the 'you'?
None of that was going through my head as I was led out of the office, through a narrow hallway lined with glass-hooded luminairesand pretty wallpaper, down a short flight of stairs and into a dingy cellar.
This is kind of a wordy sentence. I slashed a little because the "pretty wallpaper" is a weird contrast to the suspense and the darkness that's going on. I would think about ways to get this down a little more though.
It was beyond unfair - I was a kid, just out of college, and I was going to die. If I had let Jessica talk me out of borrowing the money, I wouldn't be in this grimy cellar with a well-paid assassin who liked pumping iron. I thought of how I wanted to apologize to Jessica, to my unborn child, to my family. My eagerness had gotten us all killed.
I thought all of this was a little odd. It breaks up the suspense and the way things have been driving forward. I'm sure "what ifs" are a common thing to think about when in the face of death, but experiment with how much of his thoughts you really need to put in here. Take this out and see if you like how it flows and then if you think it needs something start with a minimalist perspective and go from there.
I had always doubted the idea of one's life flashing before their eyes when staring death in the face, but it's as close to a description as I can come to of what happened then.
We slip into a weird retrospective thing again here. (Same as the last time this happened.)
It's cozy and it's ours."
Comma before "and".
"If we're gonna go through with this,
What is "this"?
Shady people in dingy clothes and hoods stood on every other street corner, and scantly clad women patrolled the sidewalks, blowing kisses to passing motorists.
This is a long, wordy sentence.
"I'll tell during pillow talk."
I'm not sure why the conversation needs to break. This doesn't feel realistic to me. Unless he's mad with longing or something, I feel like they would continue the conversation and then have some sort of intimate moment if they felt like it. I feel like the bedroom part was thrown in to add excitement in the conversation or as a way to show their love or something. I'm all for a good sex scene, but I'm not sure if it's needed here. I think they should continue on with the conversation and they can show intimacy in other ways (like when he moves her hair off of her back). If you really want to put some sex in there, I would do it after the conversation is over. I can't imagine breaking a conversation this way in real life.
I told her that right up until two days ago,
I would do a new paragraph at the beginning of this line.
He offered an invitation that was really a threat and I got in.
Show us this.
Half an hour later I was in a dark cellar with a nine millimeter pointed at my head.
I think it might be cool to change the memory order. Start with when he was a boy and that whole memory with the lion and then do the memory with his girlfriend. He talks about meeting her in college at the end of that lion memory and then it would naturally progress into the memory with her.
I also just love this line and I think it would be really snappy to have this as the line that transitions back into the present time cellar stuff.
They are tools for killing.
I wasn't a huge fan of this description. It sounds like sort of an awkward way to describe it, but maybe I just don't know the character well enough.
and it made me feel awed.
Is "awed" really the best way you can describe how he feels?
I thought about my dad as a child, and it made me feel closer to him.
This felt a little weak to me. What about his dad's story makes him feel closer? Is it the similarity? Simply knowing something new about his dad?
a deep and ungulating roar that made me simultaneously look around in surprise and wet my pants.
The description of his reaction fell a little flat to me. I believe I mentioned this somewhere else - I think you could have one sentence for what he observes and then a different sentence for his reaction. That way you have a little more room to develop the reaction.
By the time I saw it, it was latched onto my dad's arm.
I think you could break up this long paragraph. Shorter paragraphs and shorter sentences add to the tension and suspense because the reader will be reading quickly. I think the beginning of this sentence is one place where you could break the paragraph up. See if you can think of other places. Think about what will build suspense and quicken the pace.
There's also a lot of repetition of "the lion" in this paragraph. You could change some of them up with "it" or assign it a gender (if you decide to use he beware of pronoun confusion with the dad and the lion).
I understood thatI didn't have to run away, to(and) leave my dad in the jaws of this maniac creature.
I slashed that first bit because I didn't feel it was necessary, and I think "and" instead of "to" flows better.
I felt a cold sheath surround me, and knew total awareness.
Huh?
It felt somehow righteous in my hand, a dealer of death to those who had it coming.
That's disturbing....
I looked at the lion. It had released its deathgrip on my dad's arm and was lunging for his throat. I took the revolver in both hands and pointed it just ahead of where the lion's head was. I didn't aim, just held the gun where I felt was right and pulled the trigger.
In the time it took for you to describe what Arthur does with the gun, the lion would have already had the dad by the throat. (A cat lunging really doesn't take much time).
The lion's maw
Huh?
When he was sure he wasn't dead,he rolled the lion off of him and clambored over to me.
Unnecessary preposition.
He slowly grasped the revolver and attempted to remove it from my hand.
I think "grabbed" would sound better than "grasped".
I resisted for a moment - not out of shock or fear, but simply because the gun had felt so good in my hand. It had allowed me to protect my father and myself. It was powerful. I relented and allowed him to take the gun. The feeling of cold surety left me, but the memory of it never did. My dad comforted me, but I really didn't need it. I felt good.
I suppose now that I'm reading this a second time, a little more carefully, I get why he could kill all those people at the end. This kid has the makings of a sociopath the way he thinks about this gun....
Years later, after I'd moved to Michigan to attend U of M, before I met Jessica, I bought a revolver and took it to the range whenever I felt I needed a release, and it always worked - dealing lead, even to a paper target, put me in a trance-like state, where the world fell away and I hit my target with every pull of the trigger.
Back in the cellar, staring death in the face. Those flashes had stirred something in me. I looked at this gun and realized that if I could get a hold of it, I could do it again. I could defend myself and someone close to me.
Everything in bold is one sentence....
And now I'm thinking about what I said earlier about changing the order around. This transition works really well too and flows really nicely. So maybe experiment with which way you like better.
I brought my arm back and aimed my fist about half a foot behind the thug's testicles. I thrust my arm forward, twisting my body into it, and nearly made it to my target. I thought I felt something rip or give way under my fist, and knew I didn't hear any fabric ripping.
This is a really long paragraph, and I would think about where you can break it up. Same as what I said before. Think about what will quicken the pace and build suspense.
And one little content thing - he says he "nearly made it to my target" which makes me think he somehow missed this guy's balls. But then in the next sentence it's clear he actually hit the guy.
I got my feet under me, grasped the gun with one hand and shot up, pointing the top of my head at the thug's face.
I still like "grabbed" better than "grasped".
That cold sheath surrounded me once again, and I knew what had to be done.
Still confused about this "cold sheath".
The man's right eye disappeared into his skull and a pattern of blood sprayed the door behind him.
This might just be me, but I'm not really a fan of the vivid descriptions of what people (and animals) look like after he shoots them. I feel like I'm listening to a deranged serial killer.
The man cupped his gut,
New paragraph at the start of this line.
I was calm, I remember, but beyond that I don't know. I think my mind was a blank, focused on nothing and seeing everything.
Huh? This feels a little retrospective again.
Concepts of remorse, hesitation and consequence left me and I simply knew what had to be done.
I would take out the "and" and make this two sentences.
The second shot was better - it impacted the left side of my abdomen.
Did we talk about "impacted" somewhere else? Same here.
The pillar directly opposite me, across the room.
This sentence is a fragment - it needs a verb.
Also, this whole paragraph - same as what I've said about other long paragraphs.
In the center drawer, the one over the kneehole, I found a red button and a hand grenade.
Well that's convenient...
Fake wood paneling from wall to wall, with some real shrubs set at regular intervals.
Fragment - you need a verb.
I gut shotted him.
"gut shot him" or "shot him in the gut"
"Try me, shitstain".
This paragraph - same as the other long paragraphs.
Ithenrealized that I had no idea how long the fuse was on a hand grenade.
I remember a shocking concussion, felt my eardrums rupture, then blackness.
You don't remember a concussion or feel a concussion. You could remember hitting your head or something but a concussion is what happens after that.
That cold sheath had left me and I felt vulnerable sitting there.
Still don't really get that "cold sheath".
And the long paragraph thing.
but I'm alright at reading lips and caught the last part
"all right"
I couldn't think of a thing to say to that, because the truth was, I thought he was right. I don't believe in hell, but I believe I am damned nonetheless.
You switched into present there at the end.
I'm not sure if any of this is was necessary. I think it would have more punch just with Lars's comment. I don't really care about the MC's thoughts about it.
I walked out of the office.
New paragraph here.
That's when I remembered the pack of Sparrows I'd taken off the would-be assassin.
I thought this was kind of a weak transition. Can you show this more than telling?
I dropped the pack and lighter to the sidewalk and continued towards home, smoking that trophy cigarette. I never picked up another.
Really don't like the idea that he thought of this as a trophy... Like this is some sort of reward for killing people... It doesn't send the best message and I honestly think of this narrator as some sort of sociopath. Like I'm concerned for Jessica and his unborn child....
Everything was very vivid and you have really rich language. Be careful that you don't spend too much time describing. You don't want the time it takes to describe to take longer than the time for the action to happen. And beware of adverbs. I didn't point them out in the nitpick section, but I noticed them, and I think you could use stronger language.
Best of luck with the lit mag submission!! Let me know if you have any questions, want me to elaborate anywhere, or if anything I said was confusing!
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