Lost in the Shadows

Hello! It has been a while since I last posted anything. I had been toying with this story idea for a while, and finally sat down to write it. I'm sorry if it's too long-I have a new version of Microsoft Word and can't find the word count feature! :)

They were arguing again.

Their voices were loud and angry, the words discernible even at my distance. I pushed back tears, burying my head into the coarse fabric of my old dress. The ground I was sitting on was wet, as was the house that I learned back on, but I didn't even notice the moisture. The mud didn't matter; what mattered were the words.

They were the same that I heard hundreds of times, but this time was different. This time there was a threatening finalness to the words, a note of desperateness that had not been there before. Something was wrong.

But what? There were a hundred things that could have gone wrong. Heck, the stupid cow could have stepped on his foot this morning and from that grievance alone he could have decided that now was the time to kick me out. Of course, something far worse than that could have happened. Our fields were muddy ponds thanks to the relentless rain that had poured down on us for days. What if all the seeds we had planted were gone? The loss in crops would be devastating-and getting food to the table would be even harder. I quickly pulled out a thin piece of paper from where I had hidden in, secretly placed in between the layers of my dress. Staring back at me was my mother. She was beautiful, even though the picture was devoid of any color. The patterns of black, white, and grey, painted out her beauty, her shy smile, her warm eyes. There was a little girl on her lap. The child was young, perhaps only two years old, and her mouth was open, caught in between a laugh and a smile. Her eyes were up, at the women.

I pushed back tears that threatened to fall at this picture of the past. What could have been, what never will be. What the picture didn't show was what had happened, six years later. There was no foreshadowing of the horrific outcome of the seemingly innocent family. Quickly, I shoved the picture back in my pocket. There was a loud slam of the door, and I got up, brushing off the dirt from my back. Creeping to the edge of the house, I peeked around the corner. Aunt Mabel stood in the doorway, the door still slightly moving, and the cause was seen as a dark form headed off into the forest. My uncle, if such a loving word could be used for such an unloving man.

"Dania, what are you doing here?" Aunt Mabel asked. I expected her to be mad, but I could only hear tiredness in her voice.

I tried to think of a coherent response. Apparently my silence was enough of an answer.

"Did you hear us?"

My eyes fixed on the ground beneath my bare feet, nodding slightly. My aunt sighed.

"It's for the better you know," she said suddenly.

"For the better?" I echoed, disbelieving.

She nodded quickly. "Yes, it's really for the better. You know, you'll get an actual education, and, well-"

"And you'll have one less mouth to feed," I said. My voice was harsher than I had intended it to be, and I saw her flinch slightly.

"Dania, you can't expect me to ignore the obvious. We just don't have the food for everyone."

My voice stayed silent, though my mind screamed accusations. They were my guardians, after all, they had promised to my mother that if anything ever happened-not that anything was-they would take me in. At the time it had been an almost thoughtless promise, an automatic response. After all, Mother was young and healthy-what could ever happen?

But the unthinkable happened, and they were suddenly called to make good of their promise. Out of the blue, yet another child had been dropped on their doorstop, one too many it often seemed. There had been many nights under their care that I had gone hungry, though that blame could not solely be cast upon my aunt and uncle. It had been my choice-one night without food would not kill me. I found that if I forwent my food, then everyone would get just a little more, and that worked fine with me.

"It's, it's worked for this long," I protested weakly, pushing a damp stand of hair that dangled annoyingly in front of my face.

"Dania, it has barely-just barely-worked until now. This flooding, well, it's just the last straw. You're not the only one, you know. We have to send Joshua away as well." She turned, looking into the forest where Uncle had stormed off.

I thought of Joshua, his sweet young face, his big dreams of learning-becoming something more than just a farmers son.

"I bet he is...happy," I said softly. Happy did not cover it in the least, and as soon as I said it I wish I could take it back. Happy? Happy to be ripped away from your family because they don't want to sacrifice enough to let you have a meal every night?

My aunt shrugged. "He's trying to be at least."

"Are we going to the same place?" My voice was tentative, the soft question nearly whisked away by the relentless wind.

She fell silent, wiping her hands on her apron which hug around her waist. Her eyes carried the trouble of the family, gazing off into the rain, her lips pressed into a thin, hard line.

The man was dressed in modest clothes, and looked woefully unprepared for the torrent of rain that washed down on him. He glared up at the heavens, as if communicating with nature herself. After momentarily pausing for the silent conversation, he continued on his way, angrily stomping down the mud path. Suddenly, his boot splashed into a hole, mud splattering up on his pant leg. Grumbling, he shook the leg, though the mud was persistent, clinging to his pant legs. More grumbling. Shivering as the wind tore through his soaked frame, he glanced up, at the small house before him. It was a modest, wooden house, and he pulled out a scrap of paper, and glanced back up at the house. With a shrug, he pushed the paper back into his pockets, and approached the door. He quickly rapped on the door, shivering even more as the wind continued to push against him. The door opened slightly, a suspicious women glaring out into the night.

"Well, hello there. My name is Arthur, can I come in for a minute?" He said with a cheery grin.

The door didn't open any wider.

"Please? This is very important." Still no response. The man sighed. "It involves the possible monetary gain for your family.

The door swung wide open. He stepped inside, hating that at the mention of money, he had been invited in-well, more or less that is. Oh well, whatever worked, he supposed.

"What do you want?" The women asked directly, the deep lines on her face describing a life that had had its full share of hardships.

Before he answered, his eyes quickly scanned the small room. There was a fireplace on the opposite wall, and gathered around its light was a handful of children, most of them young. She was sitting half to the fire, half to the door. Her eyes were of the flames, and that gave him a chance to quickly look her over. Yup, she was the one.

"Well, I come as a representative from the Academy-" The look on the women's face stopped him short. Fine. If that's what she wanted... "I come from that big school in the huge city. Know the one I'm talking about? Good. There's this really important guy at the really big school over in that really big city. That really important guy hires me to go out to families and tell them that their child has been accepted into that really big school."

"But we didn't-"

"You don't always have to apply to the school to be accepted-" He was stopped short by a laugh from the fireplace, coming from the girl. Great. Like mother, like daughter.

"That doesn't make any sense." She was a teenager by the looks of it, her eyes darting from the women to him. "Being accepted into a school that you didn't even apply to?" Her bravery was shot down by one look from the women, and she turned her gaze back to the fire.

"Well, let me see if I can explain," he said with a sigh. It looked like it was going to be a long, wet night. "There are two types of students. Those that apply, and those that we seek out. There. That was rather simple." It had been easier that he had though it would be-perhaps there was a warm fire place in his very near future.

"So you want one of my children to go to your big school?" The women asked doubtfully.

"Yes."

"Who?" This question was asked by the same girl around the fire. She stood, slowly walking towards him. In her eyes was a terrible hope, hope that was more like despair than wistfulness.

"Well," he looked away, quickly digging into his pockets, even though he knew by heart that name that would be on there. Still, he drew the paper out, his eyes scanning over the name. "I've come to tell you that one girl named Dania has been accepted into our school."

The hope was slowly replaced with a curious mixture of disbelief and relief. "Wait, just me?"

He frowned down at the page. Of course, just her. "Yes, just you I guess."

"Are you sure?"

He raised his eyebrows. "I'm quite sure."

The girl, Dania, glanced back at the fire place. "Isn't there room at your school for just one more?'

"Dania." The sharp voice came from the women.

"No, it's quite alright." He looked at the girl in front of him. Her dress was muddy, her hair a

mess, though her defiant eyes shone clearly. It didn't take much to realize why she had been sought

out. He could practically taste her unbridled power from where he was standing.

"You see, it's just my cousin, he, he's also getting sent into the city-" The look of confusion on his

face stopped the girl short.

"That is why you're letting me come to your school, right, because I-" she stopped, a look of confusion on her face. She glanced at the women, though the women remained silent.

"Never mind," Dania said uneasily with a quick shake of her head. "You see, my cousin is a very good student and, well, perhaps he could come with me."

He was already formulating the nicest way of telling Dania 'no' when a young boy got up from the fire to join her. He was younger than the girl, his frame thin, presumably from the lack of food-he could tell the countryside had been hard hit.

As the boy drew nearer, the man's eyes widened, a look of disbelief coming over his face.

Oh boy. The headmaster was going to be very surprised.

Those few moments of silence were pure torture. His eyes were shocked, and all of the sudden, I feared that I had asked too much. Did I break some protocol by asking that Joshua come with me? Whatever I had inadvertently done couldn't warrant this much surprise. After a second or two, Arthur shook his head, as if to shake the surprise off his face.

"Um, yes, he, well, your cousin. I, uh, I do believe that we will be able to work out something at the school." He struggled before regaining his previous loquaciousness.

I blinked, taken aback. That was the last thing I expected to hear. What I was expecting was a polite-or even an impolite-'no'. But a yes? I didn't know what to say. Luckily, Joshua wasn't in the same predicament.

"Thank you, sir," Joshua said humbly.

Arther nodded, a small smile on his face, and turned to Aunt Mabel. "Now, about that monetary gain I mentioned. It is normal for the school to recompense some families, especially if we feel that taking the child away to school will lesson the amount of work the family can do."

"When do they leave?" For all her even tone, one glance to Joshua, assured me that she cared more then she let on.

"Well, as soon as you can spare them, I suppose. The school year is about to start, and it would be nice to get them settled in. They'll be staying at the school, of course."

Aunt Mabel nodded. "How about tomorrow?"

Beside me I saw Joshua flinch slightly at the almost uncaring tone of her voice, and the sudden proposed date. I hugged him slightly with one arm, to remind him that at least we would be with each other. He glanced up with a small smile that didn't quite reach his worried eyes.

"Tomorrow? Well, I, sure, that works perfectly for me. If you two pack your bags, I guess I can pick you up tomorrow at mid-day, and take you to the school."

With a smile and slight nod, Arthur turned, and opened the door. He hesitated slightly at the sight of the pounding rain, but then left, letting out an annoyed sigh as the rain immediately drenched him. As soon as the door closed, Aunt Mabel whirled around to face me.

"What was that for?" she cried out.

"What do you mean?" I exclaimed. "Everything will work out now!"

"It wasn't supposed to!" she shot out, stopping suddenly, her eyes closed, a look or regret on her face.

I glanced around. The room was deserted. Aunt Mabel and Uncle's children knew when to make

themselves scare. The only brave-or stupid-souls left were Joshua, who was crouched down by the fire, and I.

"What?"

"Joshua wasn't supposed to leave-"

"But you said..." I broke in, weakly.

"That's your uncle said. I was going to change his mind-to convince him that Joshua should stay.

Now, knowing that he'll get paid for Joshua's absence, he'll be the first to shove him out the door," she explained bitterly.

"But-" I stopped, having no words to convey how I had only meant to help, not make things worse.

"I'm sorry," I finally whispered, the sound harsh against the silence.

"Don't be." Joshua stood up, a weak smile on his face. "I'll get to learn-that's what I always wanted, you know."

With one last nod, as if to convince himself that the words weren't a lie, he entered the adjourning room where all us children slept.

Aunt Mabel sighed, turning to face the fire. I glanced at the door. Uncle hadn't been back the whole day, maybe he didn't have to know...

"Aunt Mabel, maybe Uncle doesn't have to know-"

She turned suddenly. "Do you really think that'll work? He'd find out eventually, and then it would just be ten times worse."

My only idea shot down ruthlessly, I had nothing else to offer, until I remembered by confusion earlier.

"Aunt Mabel, I thought that the guy came because he knew that I would be going into the city."

Aunt Mabel laughed hollowly. "Diana, we were going to send you to an orphanage, not some high-grade school. I don't know why he came now of all times."

An orphanage? Her words echoed numbly in my mind. Wordlessly, I turned, slowly entering our, the children, bedroom. The room was pitch black, and I stumbled to my bed. Taking the thin sheet, I curled up in a ball, and softly cried myself to sleep.

I didn't want to say anything before you read the story, but I really don't like how this story turned out. (of course just is just the very beginning) I don't know why, but for some reason I just didn't think it turned out very good. I figured if I wanted to make it better, I would have to expose it to the crocodiles first. =D

Have at it!

Thanks.

EDIT: I finally found where the word count was (it was at the bottom of the page the whole time!) and I realized that my piece was reallllly long. So, I cut out a part in the middle where Diana talks to Josh. Not much happens there, and I was thinking about cutting it out anyway.

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asxz
Review
asxz wrote a review · Sat Jun 06, 2009 12:59 am

Okay, I'm back. Sorry I was late... again... but I do have to say that I enjoyed the story.

First of all, since Rosay has gotten all of the nit-picks, I will do a rview on your use of language... etc.

Well, you have some dashes in there, which I would suggest moving/getting rid of. Especially the way that you intergrate them into your story, a semi-colon [;] or a cooma [,] or a full stop [.] would work better. Also, when you use them you should leave a space between each word and the dash so it doesn't look like a hyphenated words. For example, it should be:

"That's what your uncle said. I was going to change his mind - to convince him that Joshua should stay.

Instead of:

"That's your uncle said. I was going to change his mind-to convince him that Joshua should stay.

Also, if you subsitute that particular example with a cooma, it works fine.

Another thing that you should be careful of when writing is your point of view. In this piece of work you are constantly changing from first person in Diana's POV to first person in Arthurs POV to third person in Arthurs MC POV. What i mean by MC POV is that your thoughts and views are centereda round how Arthur sees things, making Arthur the MC for that part.
When you pick a main character, you have to stick with it. You start as 1st person Diana as she sits outside the house explaining the situation. Then, when Arthur arrives you swap to Arthurs MC POV, meaning that you call Diana 'Diana' and Arthur 'the man', but get inside Arthurs head. Then, when the man leaves, you swap back to Diana as the fight unravels, calling her Diana at some point i think instead of the I that you should be using.

With me so far?

I would suggest that, presming the MC is Diana, you swap the conversation with Arthur to first person with Diana as the MC.

Also, another thing with your use of language in this piece is that you are constantly using old-english words in characters' speech. Which means that instead of saying:
'That's alright.'
You say:
'That is quite alright.'
It makes me wonder what time this story is set in, because it seems in the past from the way your characters speak. perhaps you could define the era more, and then it would be easier to make predictions on what woud happen int he book.

Well, that's me over and done with!

User avatar
asxz
Comment

Okay, this is long. i have to come bact tomorrow and review, but I will get there. Sorry for the wait!

User avatar
Rosendorn
Review

Hi Anna! First crocodile reporting for duty!

So, yeah, I got rid of that length guideline. I'm going to attack all of this.

(And let me make it clear right now I did enjoy this. But when I looked at it closer (and I read your note), I found issues)

I pushed back tears, burying my head into the coarse fabric of my old dress.


This description implies, to me, that she's not wearing the dress. I'd add in a mention of the fabric being stretched between her knees.

The ground I was sitting on was wet, as was the house that I learned back on, but I didn't even notice the moisture.


These lines cancel each other out, I find. If she's not noticing the moisture, why does she mention it? (Oh, the limits of first person)

he could have decided that now was the time to kick me out.


I'd add in some sporadic snatches of dialogue, or a rough sketch of what they were, before this line, so readers don't skim over this description so much.

The loss in crops would be devastating-and getting food to the table would be even harder.


~ This dash, and just about every other dash you use, reads as a hyphen. It makes thing hard to understand. Put a space after the dash so that doesn't happen. ^_^ (And, since this mistake is so consistent, I'm not going to point out every location.)

~ "Getting food on the table" makes me a bit confused. Does that mean they sell their crops for food, or eat their own crops, or both?

I quickly pulled out a thin piece of paper from where I had hidden in, secretly placed in between the layers of my dress.


~ "In" should be "it"

~ Her dress has layers? Or do you mean pockets? Explain please.

I pushed back tears that threatened to fall at this picture of the past.


I'd like to know if this is a black-and-white photograph or a pencil drawing. It would set the time-period a bit more.

What could have been, what never will be.


I'm not too fond of this line. Because you've said it was the past, finding out that this is what could have been makes me feel like the girl is a picture of a little sister or something, and the MC drew it from memory.

What the picture didn't show was what had happened, six years later. There was no foreshadowing of the horrific outcome of the seemingly innocent family.


I find these two lines just repeat the same idea. It can be a good effect, but, since we don't know her current situation it's hard to understand exactly what the "horrific" event was.

Creeping to the edge of the house, I peeked around the corner.


So she was outside? Exactly where this scene takes place isn't clear.

and the cause was seen as a dark form headed off into the forest.


It's unclear what the cause is talking about. Is her aunt standing outside because of the uncle, is the door moving because her aunt just came outside, or is the door moving because of the uncle?

My uncle, if such a loving word could be used for such an unloving man.


I see what you're trying to do here. You're trying to build up our view of the uncle before we actually meet him. A good thing to do, it builds suspense, but because we don't have a good idea of her situation at the moment, this line can be a bit dramatic.

anything ever happened-not that anything was-they would take me in.


I'd add "going to" after "was" to make it clearer.

Out of the blue, yet another child had been dropped on their doorstop, one too many it often seemed.


Exactly how many kids do her aunt and uncle have? You never give us a number.

I found that if I forwent my food, then everyone would get just a little more, and that worked fine with me.


I like this line a lot. It shows us that she's selfless. A good trait to have in a character. ^_^

pushing a damp stand of hair that dangled annoyingly in front of my face.


~ Where did she push it?

~ "In front" is a bit redundant here, but it's nothing major.

We have to send Joshua away as well."


This line is contradicted late on, when you say Aunt Mabel wanted to keep Joshua at home. "We have" is the cause of that. Rework this line so that doesn't happen.

than just a farmers son.


"Farmer's" son.

as if communicating with nature herself.


"Nature" should be capitalized here, since it's referring to a being.

Suddenly, his boot splashed into a hole, mud splattering up on his pant leg. Grumbling, he shook the leg, though the mud was persistent, clinging to his pant legs. More grumbling. Shivering as the wind tore through his soaked frame, he glanced up, at the small house before him.


Almost every sentence here begins with a gerund. It makes things a bit repetitive. I liked the "more grumbling" line, though.

It was a modest, wooden house, and he pulled out a scrap of paper, and glanced back up at the house.


"And" is a bit repetitive here.

With a shrug, he pushed the paper back into his pockets, and approached the door. He quickly rapped on the door, shivering even more as the wind continued to push against him. The door opened slightly, a suspicious women glaring out into the night.


~ "The door" is a bit repetitive here.

~ I haven't mentioned it before, but about every time "and" shows up in a sentence you use a comma. A lot of those commas aren't needed and are just creating unnecessary pauses. I didn't mention this issue before is it sort of works, but here it gets to be a bit much.

"It involves the possible monetary gain for your family.


~ Missing a quotation mark at the end of this line.

~ With him having to explain things after, I don't think "monetary" is a good word to use. It just seems to be too complicated a word to use compared to how much Arthur had to dumb things down after this.

Her eyes were of the flames, and that gave him a chance to quickly look her over.


I find this line confusing. I had to read it twice to get it completely. I'd make the part after the comma a gerund clause to enhance clarity. (Ie- giving him)

"I come from that big school in the huge city. Know the one I'm talking about? Good. There's this really important guy at the really big school over in that really big city. That really important guy hires me to go out to families and tell them that their child has been accepted into that really big school."


This sounds so modern, and it's almost out of place, but gosh is it funny!

Great. Like mother, like daughter.


I'm a bit unsure what you mean by this. I assume he means she interrupts?

"That doesn't make any sense." She was a teenager by the looks of it, her eyes darting from the women to him. "Being accepted into a school that you didn't even apply to?"


This is a total change of tone from Dania's first-person view. It made me think Arthur was in a different house and you had randomly changed location. I'd (slightly) change the tone of the first-person segments and the tone here so the fit together better.

It looked like it was going to be a long, wet night.


How can it be a wet night if he's inside? (The line that implies he's inside is when he scans the room. You never mention he scans the room behind the woman)

There. That was rather simple."


I don't think this fits with somebody professional at all. Remove it from the dialogue please.

"So you want one of my children to go to your big school?" The women asked doubtfully.


Uncapitalize "the" after the dialogue. (And check out this article for tips on how to punctuate dialogue. I see that this issue comes up once or twice more)

"I've come to tell you that one girl named Dania has been accepted into our school."


I'd replace "one" with "the." "One" makes me think that they've only accepted one person this year.

Of course, just her. "Yes, just you I guess."


"Of course" and "I guess" sort of cancel each other out. (Along with "quite sure" later on). Is he sure of himself or not?

He could practically taste her unbridled power from where he was standing.


I'd like more description on this line. What does her power feel like? Since we don't know what the magic is, and this seems to be a rather strange sensation, it would be nice to get something more on this line.

"That is why you're letting me come to your school, right, because I-" she stopped, a look of confusion on her face.


With a lack of a question mark in the dialogue, it's hard to see that she's confused. ^_^ (I'd put one in after "right")

"You see, my cousin is a very good student and,


This line has me craving more world and character description. How old is her cousin? Where does he study? How many people study, for her to know a good student?

He was already formulating the nicest way of telling Dania 'no


I'd replace "he" here with a proper name, since you haven't said it in awhile.

His eyes were shocked,


I'm not liking "shocked" as a description. One, you used it before when Arthur saw the boy, and two, it doesn't seem like an outsider's description of things. I'd replace it with a more physical description of his eyes, unless seeing emotion is part of her power-- and if that's the case, I'd like to know more about her power.

For all her even tone, one glance to Joshua, assured me that she cared more then she let on.


Not sure what this tag means. Who is glancing at Joshua?

The school year is about to start, and it would be nice to get them settled in.


It's the spring (or, at least, it's implied that it's spring) and the school year is about to start? That seems strange to me.

Aunt Mabel nodded. "How about tomorrow?"


Another line that contradicts her hysteria at Joshua leaving. She seems eager to get rid of them.

I saw Joshua flinch slightly at the almost uncaring tone of her voice, and the sudden proposed date. I hugged him slightly with one arm,


"Slightly" is repetitive here.

With a smile and slight nod, Arthur turned, and opened the door.


And this line contradicts the lines before when it seemed he was outside.

"That's your uncle said.


"That's what your uncle said" sounds better, methinks.

"Aunt Mabel, maybe Uncle doesn't have to know-"


You're repeating the idea of the line before with this dialogue. Also, what was she planing? I can't really see what not telling him would have done.

"Aunt Mabel, I thought that the guy came because he knew that I would be going into the city."


I find "guy" to be a bit modern. Maybe replace with "man"?

slowly entering our, the children, bedroom.


"Children's"

*

Fill in the blanks: I find there weren't quite enough bits of backstory for me to really understand the beginning. What happened to her mother? (If that's a main part of the plot, just give us a hint) How does her uncle treat her normally? How many times have the threatened to send her away before? What does she do each time?

Hmm, that was more questions than I intended. What I'm trying to say is I don't have enough history, or hints at history, to have a full grasp as to what is happening.

Characters: Between the tone of the first person and the MC's dialogue in Arthur's part, I thought they were two characters. Diana has some good bones, but there needs to be more consistency for things to flow better.

Aunt Mabel also seems to switch personalities also. She gives no hint that she wants Joshua to stay, then suddenly it's revealed that she does. Put in more hints to that change, please.

Arthur seems a bit unprofessional to be sent from the Academy. His dialogue, with the additions of lines that he seems to question, is mostly what I'm talking about. His thoughts and prose are good and funny!

Grammar things: Your dashes are the big grammar things. They look like hyphens as you're reading. Make sure you put a space after them so they don't look like that. Or you can use the double-dash trick. That's when you put two dashes in a row and a space afterwords. When you type in the next letter, the dash turns longer. It's a nice trick.

Your commas are the second thing I noticed. You used a lot, and most of them could be gotten rid of. Read this out-loud (behind closed doors, when nobody is home, if you don't want anybody to hear you) and pause every time you reach a comma. If the pause sounds good, leave it in. If not, delete that comma.

Overall: At first glance, I wondered why you didn't like the way it turned out, but after reading it again I saw what you meant. Clean up the character tone, first, then work on filling in some blanks.

Questions? PM me.

~Rosey

OMG!!!!!! This story is amazing! I lovethe way you illustrate Dania's world. Thee drama really sets in as you read. Your use of vocabulary also helps with the amazing picture i get from this. You should definately continue with this one. The only corrections i have are your use of dashes. Instead of using a dash all the time, try using a period and make it a sentence.
Ex:he had been invited in-well, more or less that is.
try: he had been invited in. Well, more or less that is.
Keep writing!
-EmeraldCutey51396



pain is that feeling when you are feeling hurt, but it never goes away leaving me hurt. oh it hurts.
— Dragonthorn