(AUTHOR’S NOTE: hey Juke here! this novel is multi-POV, switching from third person to first, depending on the character. I recently finished writing the full manuscript, yet all of it is still in editing and the plot is wonky, so the days i post chapters will vary. Please bear with me as i make changes. Anyways, enjoy! Welcome to Sora … make sure you bring a coat or two, because this world is cold.)
1
IKARA
I never wanted to be a thief.
Someone pious would blame the gods for the way things have turned out; someone practical would blame fate. There’s a saying that us Sorans love to use: May the storms turn in your favor. Some people add another line to it—unless fate finds you first. I could apply either line to any situation in my life and come away with a more-than-accurate picture, depending on where I’m standing.
Up until my father died, my childhood was a normal one. We were never rich enough to live in luxury, let alone board the trains that run through Siang like a metal network, but we got by. Pater worked with other Kijra merchants in our city, even a few Yulai, if he got lucky. Most of the time he came home with supplies both foreign and native that were similar only in their sustenance. There was always a Zhenguanese rice sack curled in the corner of the sitting room, always a Geujinese scroll painting hung up by the hearth, praising gods he didn’t believe in. My father’s job gave the illusion of abundance, but supplies faded quickly with seven mouths to feed—at least until seven became six.
Ikorin and I were the oldest of our parents’ five children. The two of us caused enough mischief to last a lifetime, sneaking off when the rest of the house slept to share stolen candy in hidden alcoves we called hideouts. I never used the word stolen, only borrowed, even though none of those borrowed items made it back to their owners. We danced around the topic like we were avoiding fire, convinced that every leaping flame was there simply to entertain us.
Then one day, Iko just . . . disappeared. I went to sleep with his back against mine on the mattress we shared, but when I awoke from a muddled dream, he wasn’t there. He did not come back, no matter how I called for him until my voice was almost hoarse from imaginary yelling, my hand pressed to my mouth to stop myself from waking the others. None of my family—not even my siblings, who had favored him over me because of the sweetmeats he snuck them—mentioned him again, as if he’d always been gone, as if he’d never been there.
As if they’d forgotten him.
Things only really fell apart six months later, when my father died. I say died like it is a solid, time-hardened fact, when really he just left one night and never returned. We didn’t forget him the way my family forgot Iko, but none of us were brave enough to talk about him, not even in the places where his absence swelled in too-long nights and too-loud silences. We wanted to make him a Haniwa, but my mother—who couldn’t get out of bed for weeks—regained her sense long enough to say that there was nothing to bury.
And besides, she’d said with a valiant attempt at a laugh, he’s not an ancient emperor or ancestor. He is a man, just like anyone else.
And men could die, all right.
One day when I was barely ten, standing by a prominent corner of the market where beggars usually sat, a Yulai man happened to pass me. There was a half-open coin pouch secured to the belt on his hip that caught my eye. When no one else was looking, I slipped between the crowd of bodies and made my first steal. By the time I emerged, the leather pouch was clutched roughly between my fingers and the man, oblivious to what I’d done, had already been swallowed by the crowd. No one in my house went hungry that night.
Eventually I got good at it. It started with stealing simply to feed, but then I moved up to stealing to trade, and then trading to feed. Every day when the cycle was done, whatever I’d stolen originally had been swapped for something much better; something I could bring home.
So I became a thief. I didn’t want to, but for the last seven years, I have been one.
My rucksack is empty now, but when I run my hands along the coarse fabric, I can imagine the contents it will soon hold. The house is nearly quiet this time of day but for the sound of laughter trickling through the window shutters. Our old place was in the Kijra district of the city and looked just like any other, but this one is in the Xi Qeh district, where the Dominance had rows upon rows of square houses built on every street in lieu of the traditional style—all in the name of innovation. These houses look more like the ones in the other two Realms—probably Ether—with flat roofs and ‘modern’ changes not many of us are fond of, my mother included.
“We’ll never be able to navigate these new appliances,” she grumbled the first day we arrived in the neighborhood.
I’d looked at her. “It’s better than nothing.”
She hadn’t replied, but the way she pursed her thin lips told me of her displeasure.
Avairis and Ether—the other two Realms—call us the modern Realm, yet to us, modern is just anything we haven’t seen before, anything we can prod and marvel at. We are a Realm of glass and ice and steel, of tech and art and wind, but it barely shows in our district. After all, us lowers don’t have the privilege of innovation.
I finish lacing my boots and tug my parka farther up my shoulders. Pater gave it to me when I was six; it was way too big for me then and the hood fell over my face anytime I wore it. Ten years later, though, it fits me well enough. At least the hood stays over my head, at any rate.
As I stand, a flash of motion catches my attention, and my gaze drifts to the mirror hung up by the hearth. In it I am reminded, once again, that I inherited most of my mother’s features, save the slanted eyes my father passed to me—they’re a dark green shade that is almost black, its true color slipping through only beneath light, like shining a lantern across thick foliage in an otherwise dark jungle. Besides that, I look like my mother, down to the same light ash-brown skin and silver hair.
They call Yatahama the snow-touched nation. All of Sora is covered in shivering, unyielding winter, but it shows in the Yatahamans the most: pale hair, dark depthless eyes like the deepest waters of a frozen pond, and tilted accents. Even our language is flat-tongued, bare as the barren windswept plains scattered across our Realm.
Another laugh draws my eyes away from the mirror and toward the front of the house. Pulling my gloves on, I pad toward the door and swing it open, poking my head out into the cold.
My younger siblings, Ahnyuki and Kkaidvin, chase a few neighborhood kids around the deserted street, kicking up loose stones as they run. Kaddy looks exactly like my father, and Abby like my mother. The only difference is the fact that they’re kannikkai, part winter-goat. They lack the telltale hooves of their Otherrealm equivalents, satyrs, but they definitely have the nubby horns and fur-tufted tails—and all the mischief. Our ancestors must have had some strong kannikkai genes for them to show so prominently in these two, especially since their kind are rare nowadays, and for good reason. If my people were captured, enslaved, and then slaughtered all in the course of a decade, I wouldn’t fancy claiming to be one of them.
“Abby,” I begin, raising my voice to be heard over the children’s squeals of fright. I address her first because she’s probably gonna be the hardest to settle before I leave. “Kano hei jindoru, wa to.”
My little sister screws up her face when I tell her to come back inside in our native tongue, Hantake. She loves to speak in Geujinese, the tongue of Geujun’s people, whenever the chance arises. I don’t teach her anything related to the enemy country if I can help it, but she picked up on a few words my father taught me years ago and hasn’t forgotten them since. So I’m not surprised when she stops running long enough to shake her head and reply in Geujinese, “Ezdan.”
I raise my eyebrows. “A naki!” Now!
Abby pouts, looking for a moment at the neighborhood kids as if they will object, but they’re too nervous to. She stops running and comes toward me at a slow trot, Kaddy following close behind. My brother is just as mischievous as his twin sister, but he is shy enough to wait until I’m gone to wreak havoc on the house.
Or to get us into the Xi Qeh neighbors’ bad graces. I grimace. Again.
The spring cold drifts into the room and traps itself inside as I close the door, melting when I flick my hand toward the fireplace without looking at it and murmur, “Nadriék.” Bright yellow fire roars to life in the hearth, spurred on by the touch of magic. The incantation is a Geujinese one, and so is its countercommand, Drikaoldus, but the words themselves hail from the ancient Soran tongue.
I watch the flames apprehensively, biting my lip. As a Kijra, I am not supposed to possess such magic, let alone use it. By law, only the Yulai—and the ones above them on the hierarchy—are allowed to use it. The Yulai use their abilities for practicalities or display, though more of the latter than the former. Twin washi fans adorned with balls of light that streak and twirl whenever the dancer holding them moves; long pink ribbons bewitched to trail the heels and frothy kimono sleeves of Yulai women like serpents of silk; water statues guided by the hand of their enchanters, adorned in lilies and draped in pearl-studded shawls of seaweed; and a singer enchanting her voice so the actors around her can feel the lyrics of her song resonating within their bones before they hear it are only a few examples of how the rich choose to use their magic.
At least, that’s what the Dominance calls it. They only use the word magic when it comes to the ones who deliver heavily on their taxes: the ones who pay generously for new roads in their city quadrants and fresh Otherrealm fruit deposited neatly in their unblemished palms. When it comes to our side of the political throng, they call it danger. The word raises bile to my throat.
Then again, I don’t even know where my own magic originated. My parents are Batsu—Sorans without magic—and so were my grandparents. And if my father wasn’t spinning tales when he told me, storm magic is an ability that hasn’t been seen in centuries. He taught me the two incantations, Nadriék and Drikaoldus, for defense, but more often than not I end up using them for minor things such as lighting fires—which confuses me, as lightning has nothing to do with fire.
It’s hot as fire, I think, and vice versa. I suppose I’ll never know.
“Are you going to Kaguri?” Abby asks me after a moment, having pulled her seal plush, Yugi, out from under the couch on which Kaddy dangles his short legs.
As a matter of fact, I am. Today’s trip will be the farthest I’ve gone from Siang, the capital. One of the Yulai men Pater used to work with, Danyu Hiunjie, has offered a few sacks of essentials in exchange for a dress that will go to his wife, Kkaitlin; I’m supposed to drop the clothes off at his shop. I know he wants an excuse to give me the items for free, but I turn him down every time he slips the notion in. My mother wouldn’t let me live it down, and neither would my own conscience.
Speaking of my mother. Mater comes into the room holding my baby sister, Vladya, on her hip, with Koda clinging to the other. I find it odd that of her six children, only her three oldest—me, Ikorin, and Ahnyuki—have Yatahaman names. Her younger three—Kkaidvin, Nekkoda, and Vladya—were given Geujinese names. Abby and Kaddy are the same age, but in terms of maturity . . .
Even though war has whittled Mater down, she is still beautiful. Her mouth is flat, but even now it crinkles with laugh lines, and her silver eyelashes are Yulai-long.
“Yes,” I say in response to Abby’s question. I reach over and flick her nose, causing her to laugh, then ruffle Kaddy’s hair. “Just for a few hours. I’ll be back before you can blink. They should be opening the gates soon,” I add over my shoulder to Mater, turning to face her. “If I get going now I could be there before a line starts.”
“Then get going,” she says, reaching up to push my hair back. “Give Danyu my greetings. And remember: if you give little, expect to receive little. If you give much—”
“—expect to receive much,” I finish, almost exasperatedly. “Right, well, I’ve learned that lesson.” I think of my siblings, then add, “Make sure they eat breakfast, alright? And you too. You’ve barely eaten today.”
She raises an eyebrow. “Neither have you.”
“Don’t worry about me. I’ll be fine.” I lean down and kiss her cheek, then straighten—I’m not exactly tall, but my mother is a short woman—and smile to tamper her concern. It doesn’t exactly dissipate, but she does nod in acquiescence, agreeing we’ll continue this discussion when I’m not in such a rush.
“Zaoshin hei,” I say in Hantake, assuring them I’ll be back. Out of the corner of my eye, I see Abby screw her face up again, and this time I really smile. But my mouth returns to a pursed line the second I’m out in the cold.
That’s the thing about being a thief. We never steal to feed ourselves.
End of chapter
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Hello!
Armed with a good, thick sweater, I embarque on this journey to Sora! Aka, hi, I'm back to review Chapter 1...
Ok, this first sentence is a really good hook. It's the perfect start to a long explanation on why the character is a thief, which the reader of course immediatly assumes, and they're also expecting that long explanation: we want to know! You don't keep us waiting and start explaining:
This is a good part too: "My father's job gave the illusion of abundance"... it made me think. You used the word "illusion" to show that there's wasn't really abundance, and it is kind of sad in a way how the reader then knows that everyone thinks the narrator and his family are rich and wealthy, but they actually don't really have much. "Supplies faded quickly with seven mouths to feed" adds to that well, and "at least until seven became six" is yet another hook to make the reader continue. Obviously, someone has either died or left, and the reader wants to know everything! Well, at least, that's how it is for me: when a writer drops a question bomb, I must know every tiny detail of why and how and when and where and who and everything else in perfectly meticulous nanometer-close detail before I accept to set down a book. I'm curious an annoying in that way.
But also, too many mysteries of that sort all dropped at once and unsolved, or solved too fast, is worse than none - so it's good that you didn't do that and your text is nice to read =D
Oooooh this seems like the start to the thieving later on! (Well. I've read the whole chapter, so I know it is. But shhhhh it sounds better this way!) Very nicely phrased, I'm especially fond of the "made it back" part. Not actually, of course, thieving is wrong - I just like the litterary style!
It's also well-thought-of how the narrator doesn't want to acknowledge the fact that they're stealing - good job for that!
Aaaaaaaah this part makes me so sad!!! Why does the family act as if nothing happened? Noooo I don't like that! *starts crying for the forgotten side-character* ToT
Don't worry Ikorin, HMMHhehe the potato hasn't forgotten about you, unlike your horrible family! Well, excepting the narrator I guess. But I expect a very long chapter about how Ikorin is extremely happy and wealthy and the rest of his family is suffering! Or, they're his servants. Or, Ikorin was the lookalike of the prince from the prologue, and he gets to be a king later on. Mwahaha hehehe
Aaaaand then the father dies. Ok, maybe I can say 'poor family' now. Hm. I'll have to think about it. Good plot twist though!
Aaaaah no why did you do that??? At least it keeps the family alive so I can continue reading. But still: bad main character! Well, no: great main character because you gave them faults and fears and stuff, which makes them more human and relatable and less 'plastic doll character' - so I'm just scolding them for stealing, not saying that you invented a bad character, because they're great. I can imagine sticking with them till the end, even if you mentioned that we might not at the start. If you want to change you mind on that you can, but I havn't yet seen how it is when you switch so maybe it's also good? I just can't really imagine a switch in that way to go smoothly. Changing characters yes, but not really from first to third person... but again, I havn't seen how it looks like, so maybe it's great! I think you should try it out, at least.
Hmmm I didn't really understand that part. They moved to some moderny place they don't like - why? I don't get it, I think you might want to try being a bit clearer here.
I wouldn't have used the word 'touched' for this, since the word implies gentleness and small additions. But if I understood correctly, what you mean is that Yatahama is harshly cold, and completely covered in unyielding layers of ice and frost? Maybe try another word, or you could leave it like this, it's up to you!
Nice little entertaining detail that doesn't have to be important for the story but does make it better. A few of those sprinkled all around a text can work wonders, I think! Good job with that too, I really like your writing style. It feels balanced, exciting, entertaining, comfortable, mysterious... Respect, especially for the balanced part: I have a lot of problems making my texts in that way: they're overly mysterious for a whole part, than extremely detailed and boring for the next... Anyways, this is to say that you really do this well, so great work and keep writing! Also, no pressure, just do it how you feel like doing it.
I kinda stared at the text after reading this. Wait. What. The kids are part goats. Um.
Ok, this kind of weirded me out and made me reread everything you ever mentioned about them twice. The kids are half-goats!!?? I found that a bit strange, but as this is a fantasy piece I guess I shouldn't - I think the way you dropped it like that made it weird, whereals if you'd made it a bit smoother maybe I wouldn't have found it so strange.
It's fitting that the next thing that happens is the narrator performing magic - though I do really like that part. I always love when the main character has special powers hehehe...
Aww no, that's so unfair! Sounds like a good problem for the narrator to fight and stand up against in later chapters. Good idea! It's always good to have a problem/injustice for the oc to solve, and it's also good to embed it into the story at the start so as to make it more natural, as opposed to saying "Oh no I just realised that there's this one problem *explains, explains*" right before making the character solve it. That just makes me annoyed, whereals if you talk about the problem at the very start, and then towards the very end make the protagonist/someone solve it, it looks much, much better. So yeah, great job!
I like this part, too. And it seems that "Yulai" are maybe nobility or rich people; coming back to the earlier quote,
And then the end line:
Ending with a slightly philosophical thought in two short sentences using full stops was a great choice. Hooking the reader into chapter 2 before it even started! It would be unfair if it weren't a great idea - technique. Again, I wanted to skip immediatly to Chapter 2: Ikara, but I had to first stop by and make this review as thanks for sharing this incredible story!
Please continue writing, beleive in yourself, and of course have a wonderful day
- HMMHhehe the potato
Hello there, human! I'm reviewing using the YWS S'more Method today!
Shalt we commence with the jinxed S’more?
Top Graham Cracker - Ikara never wanted to be a thief, but after the disappearances of her brother and father, she has to be for her family, but not herself. Never herself.
Slightly Burnt Marshmallow - I have no recommendations to make as of right now, but if you would like to edit this, you may.
Chocolate Bar - I like that Ikara is trying her best to care for her family while also wondering what happened to Ikorin and her father. She’s helping her loved ones and is still haunted. I also like the detail of her being confused about the fact that she uses her powers to light fire. Like she was supposed to do great, extraordinary things, but now she’s just trying to survive.
Closing Graham Cracker - Overall, a lovely first chapter! I have enjoyed reading this and I will be certain to read the other chapters that come after this. I hope Ikara will be okay and…
I wish you a glamorous day/night! ^v^
So… I sometimes feel like I harp on the most useless details. And… I feel like your book should speak for itself when you present “multi-POV” right? So why would you need to tell us in an A/N?
Ok, here I am just confused abt whether she actually called for him or not.I wonder to whom Ikara is addressing this internal lecture on idioms?
It would be like me, to myself, going “Yes, us Germans, we love to say ‘Make it good’ when we head out and some other Germans like to add ‘Make it better’ to it” and… can you see how this sounds a little strange?
OHHHHHHHH is this where Vrin stole the child from?
Hmm I feel like the beginning isn’t really working as you intended. You hand out a lot of exposition, nothing really happens, we learn so much STUFF that doesn’t really seem relevant… All the things you tell us are, on their own, interesting. That her dad was a merchant with lots of different goods COULD be interesting. That her brother just straight up got erased yet she REMEMBERS could be interesting, that her mother is still there, but her father “died”/”vanished” etc it all COULD be interesting. But isn’t. Because you just mention it in one huge info dump. I feel like this would work so much better if you had a SCENE where all this information is gradually revealed. That she steals something and someone asks for her parents and she can think abt her dad and how he’s gone but not GONE and that this is part of why she has to steal now. Or someone asks for her brother and she flinches back because she remembers that they are talking about the wrong brother. Anything to make us care about Ikara and her situation through ~action~ not telling us all about it in a long paragraphs of nothing happening.
I really feel like you could weave a lot of this info into a scene where our MC is actively stealing something and succeeding or maybe having a quick close call, where in her moment of doubt she thinks abt how she didn’t wanna do all this in the first place etc, but then it works out—for the moment?
That too feels so… exposition-y and now you have just confused me o_o What even is MODERN? @.@
I like this phrasing!
*blinks at the mention of the goat children* oh. Okay…. I … kinda would have expected you to… *blinks again* Yeah that surprised me. Is the MC also part goat? What is happening???
Whyyy do you have such interesting things just thrown out in boring exposition sentences? I wanna know more about that, Ikara hasn’t done one interesting thing so far, only talked about other ppl being way more interesting than her o_o
Awww and also hah! =D
Love this sentence! What a great description!
Ok I don’t get it. How can it be both Geujinese and Soran?
What. Then why have such a casual display of power for absolutely NO reason? The way she used the magic didn’t give me the feeling that this was forbidden or a secret?
Okay and again you exposit, exposit, exposit. Nothing is happening other than that she illegally used magic so far!
Here f.e.: Why is this relevant RIGHT NOW? Why do we have to know this RIGHT NOW? I know you are brimming with excitement over your worldbuilding and want to talk about it but there is a time and place for everything @.@
Hmm but she steals to afford the dress that she will drop at his place, right? So were exactly is the morality there?
While I like this closing line, I don’t rly understand what this is in reference to.
I like your world, I like the mystery surrounding Iko but the exposition is really, really dragging down the story so far ☹
Well hello there, Juke! Let's get to it.
'First impressions:
This is very well written from start to finish, and the characters feel unique, instantly identifiable, and very well written. It's obviously inspired by East Asian, maybe South East Asian, terminology and that's pretty cool! The sentence construction and prose throughout is very mature, and of a much better standard than many first drafts I've read. All that being said, I have one real major gripe: there is nothing here to fuel imagining your world! But we'll get to that.
As I Read:
Very, very effective opening - puts in the characters head, and gives us enough of their backstory to inform their colouring but not so much to overwhelm a reader. But... where does this happen? What does the world look like? What are the colours, the smells, the sounds? An inner monologue is all well and good, but what of the outer? You don't have to be specific, either. Vivid but obfuscated brushstrokes are okay, too! Read... anything by William Gibson, or the Earthsea series by Le Guin. Not much specificity, but there's so much to imagine!
Personal Note:
I personally don't care about character inner monologues being introductions to the world. I think it's a perfectly serviceable way to start a project, but it's just... I don't care about your characters yet! Show me how they interact with the world, how they perceive their surroundings, how they are treated by those better and worse, and how they treat others. That matters much more. BUT a lot of modern YA/YA-adjacent stuff begins with tragic backstory that idgaf about... so... fine? I guess? But again, this is personal opinion, not a critique of your writing.
This is slightly awkwardly written. I know that incorporating world-building into your text is very difficult, but you can do a much better job of it! You've done it in other places in ch.1.
Very, very cool way to end. Only note: you say that's the thing about being "a thief", and the next sentence begins with we. It's better to write "That's the thing about thieves; we never steal to feed ourselves."
Looking forward to ch.2!