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Young Writers Society


12+

Cullet Castle (Part 1)

by Rook


"So how's your castle going?" Avery asked, sucking rat blood off his fingertips.

I told him about the wall  I was adding, and how I was debating what color of cullet-- the broken glass that’s recycled into new glass-- I was going to use. He nodded, and his half-smile would match his eyebrows for a split second.

"Any chance you're ever gonna let me see it?"

I shook my head with a shy smile. No one had ever been to my platform or seen my castle. Once, I caught someone following me to see where I slept. I just led him on a wild goose chase, eventually losing him in the labyrinth of rooms. He came back six days later half-starved, and more-than-half-crazy. We had to send him back on the cart: he was blabbering about demons and screams and shadows.

The cart was used mainly for sending supplies and glass orders up to us. In return, we sent down the finished glass. We couldn’t get another shipment of supplies until we completed the previous glass order. Sometimes that took longer than our supplies lasted, so we had to eat the rats that scurried around in the walls.

The only way we knew of to leave the Factory was on the cart, and that route was left for the dead and insane. If you tried to escape on the cart without fitting one of those two criteria, they sent you back, your tongue cut out, your pinkies cut off, and a polite note that said, "damaged wares: return to sender."

“Mmm. I get it. Maybe you’ll show me one day, when we escape.” Avery turned away from me, and I got a good view of his profile. His features were sharp, almost as if they too were made of glass.

It wasn't a secret that Avery wanted to escape. Everyone knew. It was hard to keep secrets in the Factory. Words had a way of echoing around corners to the nearest ears. That's why I liked my platform so much. It never echoed. I had many secrets to keep. For one, my glass castle wasn't really a castle. I was building a miniature model of the Factory. However, the glass sparkled so regally that I couldn't help but think of it as a castle. Only Avery knew about it. I kept it hidden up in my platform.

Avery and I parted ways after a scant dinner of rats. I listened to his footsteps retreating down the passageway. In the Factory, every footstep crunched. It was no mystery why they did: the ground was covered in coal slack and glass shards left to cool and shatter in the cracks of the floor. The slack came from the coal we used to fuel the furnace. Turning the furnace off would damage it, so we burned onwards, squandering hundreds of tons of coal daily, increasing the cloud that hugs the earth and blocks out the sun. Who cares about the sky? Money is much more attainable anyway.

---

"Luke!" called a voice from far away. I woke out of my half-sleep, startled to hear my name. Most people just call me Lurk for my habit of hiding quietly in the shadows and startling people. I didn't do it on purpose: it just happened to be shadowy wherever I stood, and I was careful with my feet because I didn't own any shoes. That had been a problem the first couple years I was here, but eventually my feet grew so hardened against the cutting glass that I couldn't even feel the sharpest pieces of glass on them.

"Luke!" the voice called again.

It must be Avery, I reasoned. He was the only one who called me by my real name. I delicately set down the piece of cullet I had clutched during my slumber and jumped down from my platform.

I found Avery wandering in the hallway looking edgy. When he noticed me, visible relief flooded his face. "I'm glad I can always find you somehow, Luke," he said, ruffling my dirty blond hair.

"Your voice carries in a way no one else's does. It pierces my brain somewhere. I think it's called the 'would-you-shut-up-already nerve.'" I grinned.

He gave a little chuckle, which seemed out of character for him. Usually, when he laughs, his smile takes over his whole face until the laughing attacks his lungs. I looked up at his glass-green eyes and saw they were clouded with worry.

We neared the passages that spiraled out from the main furnace room. It was eerie how quiet everything was. Usually there were people rushing back and forth to fetch something from another room; sounds of glass breaking and machinery pumping; and voices that shouted, laughed, and sang. But the only thing I could hear then was the furnace. And even it didn’t burn with its usual scream. It just moaned like a mourning mother.

The light quality changed. Instead of warming from a dusky yellow to a warm orange as usual, the light soured into a sickly green. Dread settled into my stomach, the same color as the light.

When we emerged into the furnace room, an unnerving sight affronted my eyes. The furnace glowed with a green light. All the workers were standing back from it, not saying a word. Then someone bravely grabbed a ladle-- the device used to carry molten glass-- and approached the furnace like it was a wild animal. He turned around and singled out his buddy who dutifully took up station as the tableman. I held my breath as the ladler pulled a ladle-full of glass. It glowed green rather than orange, like the furnace. He performed the hopping walk used to get the molten glass over to the table.

When the glass had been deposited on his table, the tableman flipped and mixed it with his two-pronged fork, relying on muscle-memory to get it done quickly. He then fed it into the machine with rollers that flattened it to one eighth of an inch thick. The machine sent it through the annealer to be cooled off. If glass isn’t properly cooled, it will shatter.

When the annealing process was complete, we gathered around to inspect the glass. It looked like any of the other glass sheets we made, but it was glowing slightly, and this wasn’t just glow from heat. The ladler carefully touched the glass as if he was afraid it would burn him, but it didn’t. It appeared to be just glass.

We all waited for the small group of supervisors to make a decision. Their heads were put together in a circle and they were whispering furiously. Finally, one straightened, faced the rest of us, and declared, “Take the day off. We’ll investigate this further. Be prepared to work again tomorrow.” The supervisors returned to their huddling and whispering.

The group dissipated slowly. I disappeared up to my platform and brooded over my glass sculpture, thinking about that green that burned so bright in the furnace. It was if my glass castle had become sick with this new presence within it.


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191 Reviews


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Tue Oct 28, 2014 2:04 am
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carbonCore wrote a review...



This piece is beautiful in a number of ways. It is a well-written, imaginative story that managed to capture me as soon as it got the chance to spread its wings and build up momentum. I like the weirdness of this work. It falls neatly into that niche in between fantasy and science fiction, being a bit of both (or seeming, at least) but not quite either. Much to my taste.

It is also a beautiful example of how telling less can be an incredibly good thing. Fort, you asked me to review this, so I'll talk to you directly: let's try something, for kicks. Try and forget that you wrote this story, read it, thought about it, or even vaguely know what it is. Now, begin reading your story from this line:

"So how's your castle going?" Avery would ask, sucking rat blood off his fingertips.


If you did this, you may have observed that your story now starts with far greater intensity than the way you started it. I always like to stress the importance of your title and your opening sentence, because those are your two biggest chances to hook your readers. I'll be honest: I did try reading this piece when you sent it to me at first, but I couldn't make it past your first 2 paragraphs. Look, I can see that you put a great amount of effort into them, but they're so boring. I don't care about the factory, I don't care about what's going on in it, I want something to happen! Now, we were to chop off the story up to the line quoted above, the very first thing the reader sees is some kid asking about a castle while sucking rat blood off his fingertips.

I mean, what.

That's a good what. That's the what you're going for, because now I have questions. What castle? Why is this guy licking ex-rat off his hands? What is going on? Now I am invested in the story. Then, a couple sentences later, we find out that the kid was being followed. My interested mind begins building scenarios: why was he followed? Why is this place dangerous? Who is this kid? Who followed him? What is going on?

This is where I am interested. It's almost as if you splurged out all your info-dumping in that monstrous blob at the beginning, and now it's not pressing on your shoulders and nagging at you to be written. Now you unleash tight and capturing action on the reader. If you tell me all about the castle right off the bat, I'm not going to care. If you imply there's a castle and it's connected to raw rat consumption, I now want to find out what this castle is. That's where you hook me, and drip-feed me information so I keep craving for more. Don't be kind and tell me everything. Be cruel to me, because you're a literary drug-dealer, you want me coming back again and again until the last page.

This applies in-story as well. The supervisors, I imagine, aren't stupid people; they are supervisors because they are good at controlling people, and they know that people cannot be controlled as easily when they are panicked. Admitting that the factory knows they have no idea what it is is more than likely to sow panic among the workers, and you wouldn't want a frightened mob, would you? So why not just say "Take the day off while our maintenance crews investigate the problem"?

Having said all that, there are some nice bits in the intro. As I said, cannibalize and regurgitate in other places. The bit about glass crunching under your feet was particularly delightful.

One last thing: dragons. First, I'm not sure exactly what role dragons take in your story, but I assume they are not like pigeons in our world (that is, a common, uninteresting sight that's only notable for occasionally ruining statues). So why was Luke's first explanation for the green light the glow of a sick dragon? That's like if I saw a man in a suit near my house and assumed it was Barack Obama, because he also wears a suit. It's just such a strange simile that has no basis in reality, you know? Are dragons even real in your world? I've no idea at this point, and it jars me out of the story and confounds me.

Second, I'm sure you already know that dragons are incredibly cliche. With that, the burden is on you to make them interesting for me. Which means that I'd probably show the reader a dragon before ever calling it a dragon, so that they know exactly what they're dealing with. As I said, I don't even know if dragons are real or not in your story, much less what they look like (or how they glow, at that).

Try to avoid things like this:

to the castle I was building/ am building/ will continue to build


Slashes look out of place in a novel. They belong in accounting papers, not in stories.

Besides the things I said, very good start. Remember that withholding information is how you keep a reader interested, and try to base your writing around that. Feel free to splurge more info-dumps, just don't forget to cut them out before publishing.

Your cullet,
cC




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Sun Oct 26, 2014 9:31 am
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BrumalHunter wrote a review...



Salutations.

I find it extremely ironic and humourous that the person who started the Green Squid trend is not on the Wicked Squids. It does fit though, because it shows just how much the members of the green team admire the members of team black. Nevertheless, let us give them something to admire!

When it comes to a short story, brevity is of the utmost importance. Your setting alreay creates the atmosphere of the short story, and it also serves as a very descriptive and symbolic introduction.

The second paragraph provides the necessary background which the reader requires to make sense of the story, but you ensure that it is only the most significant of facts which are mentioned. We are also given an indication of the time frame in which the short story takes place.

Then, with the third paragraph, the story really begins. The narrator of the story, who also happens to be the protagonist, is faced with the dilemma of what his or her purpose is in life. It is difficult for somebody to be truly alive if they do not know their identity - who and what they are.

Later in the story, we learn of the protagonist's little glass castle. We do not know why it is so special, but we know it is of some significance if it claims the title of this short story. I must also interrupt myself here to say: you have an excellent writing style. The story thus far flows smoothly, and my must constantly remind myself to review through the reading as well. Having said that, I shall now return to the review.

Your little bit of humour about the "would-you-shut-up-already? nerve" provides much needed light to the story. Not only does it prevent the mood from becoming too depressive, but it also provides very subtle characterisation concerning the main character, who we now know is named Luke.

The developement where the glass suddenly turns green is quite unexpected. I wonder how this will affect the protagonist, as you ahve done an excellent job of letting the reader grow attached to him. Such is the power of the word, that it either make you love, or hate.

When I had visited your page sometime ago (it was in relation to our interview - thanks, once again!), I read a post which said that you planned on writing a short story about a glass factory, since you had visited one. I feel foolish for only realsing at the beginning of this paragraph that this is that short story which you had mentioned.

Your storytelling skills are outstanding. I cannot wait to discover what happens next, so without further delay, I shall sign off this review, congratulating you on a fine work and clicking submit.

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Sun Oct 26, 2014 9:29 am
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Rydia wrote a review...



Hello! Thought I'd take a look at this :)

Specifics

1.

In the Factory, every footstep crunched. It was no mystery why they did: the ground was covered in coal slack and glass shards left to cool and shatter in the cracks of the floor. No one ever swept. It would have been useless to try. The Factory had always been there, and the floor had always gathered up the scraps and bits and chunks that no one wanted. The Factory as a whole seems to do the same to people. I suppose that’s why I was there.
The use of 'seems' really pulled me out of the story because everything else is in past tense so I think that needs to be as well. I can kind of understand that you was having the speaker make an observation and that maybe the factory does still exist so it technically should be present tense, but it's better to not break tense.

2.
The Factory made glass of all kinds: you name it, we made it. The furnace had to run all day because to turn it off would be to damage it beyond repair.
So the furnace runs all day and all night? Or just all day? If it's just all day this seems to be an over exaggeration because it clearly doesn't damage it beyond repair if they then turn it on the next day. If you just add all day and all night then it will make sense and most factories do run through the night.

3.
There was a roof that kept out most of the rain that burns when it hits your skin.
Maybe simplify this to 'There was a roof that kept out most of the burning rain.'

4.
I was building a castle out of cullet. Cullet was the broken glass that we recycled into other glass.
This is really awkward phrasing. I think you need to switch it around to: 'Cullet was the broken glass that we recycled into other glass and I was building a castle out of it.' That would also have a nice play on the recycled comment.

5.
I knew every little nook and cranny, shortcut and hidey-hole of the areas in the Factory that immediately surrounded the furnace.


6.
It wasn't a secret that Avery wanted to escape. Everyone knew. It was hard to keep secrets in the Factory. Words had a way of echoing around corners to the nearest ears. That's why I liked my platform so much. It never echoed. I had many secrets to keep.
You have a lot of short sentences in this block and I think you need to shake it up a bit so you get the emphasis on the proper lines. Maybe:

'It wasn't a secret that Avery wanted to escape. Everyone knew. It was hard to keep secrets in the Factory, words had a way of echoing around corners to the nearest ears. That's why I liked my platform so much; it never echoed and I had many secrets to keep.'

7.
We all waited for the small group of supervisors to make a decision. Their heads were put together in a circle and they were whispering furiously. Finally, one straightened, faced the rest of us, and declared, “We don’t know why the furnace has changed, or what it could mean for the Factory.Take the day off,
You're missing a space between the full stop and take.

Overall

Very nicely put together. You've got a wonderful setting, good characters and you create a great sense of atmosphere and this world of the factory without it feeling clunky or overbearing. There's a nice subtlety to the way you slip in information about the glass making process and it really helps to authenticate the characters and the location. I don't really have any criticism for the story overall - I enjoyed reading it.

All the best,

Heather xx




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Sun Oct 26, 2014 9:11 am
MarbleToast wrote a review...



First off, I really like the entire context. A big ol' factory that makes glass all day. That really seems cool. I was entertained throughout, and when the furnace became sick, that was a really interesting point. The main selling point for this is the mystery, and the questions that surround it. Where is this? How big is the factory? Is there anything in the other rooms? How did they get there?

A couple o' things I didn't like much:


Not that I had seen much of the Sun, or lack of it.


What? I think you're trying to liken the furnace to the sun, but for someone as dense as me for when it comes to written language, I had to reread that several times. If you could change it so that if you are likening the furnace to the sun, it could reflect that. Or bite the end off, if you aren't.

Factory.Take the day off.


Nitpick, but a space is needed after the full stop.


And that's literally all I could find wrong with this. I really enjoyed it, and I'll now go and continue to Part 2, if you don't mind.




Rook says...


I was referring to the actual Sun when I said Sun.



MarbleToast says...


I though the statement contradicted itself. It just wasn't worded well. "I had not seen much of the Sun..." I thought that he hadn't seen much of the Sun. "...or lack of it." He had a lack of not seeing the sun much?



Rook says...


He had not see the sun... but oh wait, I just said that you can't see the sun from all those clouds from pollution and stuffs. Regardless, he had not seen the sun, or the lack of it (as in he hasn't seen the pollution clouds either).

Does that make more sense?



MarbleToast says...


I guess so, once you explain it. But I'd say anyone who hadn't known this would be easily confused.




Between living and dreaming there is a third thing. Guess it.
— Antonio Machado