At night she kept her bedside lamp on until three or four o’clock in the morning, a book on her knees. Sometimes her pillows stood upright forming a throne around her shoulders; sometimes she rested her head softly on her horizontal cushions, often falling asleep with the book open, spine flattened against her chest. Her stomach rose and fell steadily in her sleep and her lips were often curved into a smile, her subconscious feeding her pretty images as she lay in blissful sleep.
In summer, she often read even deeper into the night, without the threat of waking up early for classes the next morning. Sometimes the book was a collection of short stories and she told herself, “only till the story ends, then I’ll turn off the light.” More often it was a novel, and she only stopped when the page count reached a hundred, two hundred, three, four. Frantically, she flipped. When the light finally switched off, she settled uneasily into sleep, afraid to be separated from the story. Only in dreams did she find solace.
Midsummer, and Marianne found herself trapped within a story when she heard a soft tap tapping against her window. They were only moths, attracted to the square of soft light that was her window. She tried to ignore the noises, but they were dragging her into reality, and she didn’t like it. Carefully, noiselessly, she pulled back her comforter and set her little feet on the hardwood floor. She took soft steps to her window, pressing her face against the black glass.
Below, on the dark lawn, stood a young man, dark-haired and broad-shouldered. His smile was sweet and bashful as he tossed pebble after pebble at Marianne’s third-story window. She called to him, pushing her dark hair behind her ears demurely. Though she did not open her window even a crack, she knew he’d hear her.
“Prince,” she declared confidently. “Why do you disturb me at this hour?” But despite her pomp, she smiled even wider. The man smiled back. But she didn’t know what he’d say back. Would he try to climb up to her window? Should she let him in? Then what? Her book was still waiting for her on the bed, a bookmark tucked carelessly between the leaves. She looked at it, then back down at the yard. The man was gone. “It’s just as well,” she thought. “I didn’t know what to make of him.”
Marianne’s gaze suddenly caught her own reflection in the glass. She was plain-faced, having washed off her makeup hours before. Her hair, naturally wavy, was tangled and wild from contact with the pillowcase. She stared. She tried to tilt her chin up, close her eyes slightly, open her lips just like that—and maybe she’d look prettier. If she thought hard enough, she might be an actual princess. Or a beauty queen. Or just maybe a little braver, a little more confident. Marianne wondered what she’d be like when she was older, out of school, and looking for a career. She didn’t know what she was good at. She didn’t know what she wanted. And she didn’t know where to start.
Marianne would be nineteen in the fall, starting a new semester at the local college, where she commuted. She didn’t know many people. But that life didn’t seem real right now. The only thing that was real to her right now was the lateness of the hour, and herself as a desirable maiden, a prince at her window. But he’d disappeared. And where did that leave her?
“Enough with this,” she thought. It was fine diversion, pretending that there was a prince on her lawn, but she was on page 357 of her book, and it was two forty-five already. She had to get to page four hundred before she went to sleep. So she walked back to bed, not caring to make her footsteps delicate this time. She hugged the book to her chest as she settled back under the heavy blankets. Though it was summer, she always grew so cold in her sleep. She was exhausted, but she pulled out the bookmark just the same, creaking the book open to her place.
Marianne didn’t stop reading until the turned the very last page. By then, the sky had begun to turn a vague navy, the sun promising to rise in an hour or so. She looked at the view through her window thinking, “if only I could travel to the sky.” She smiled sadly, but she believed it was possible. Closing the back cover of the now-exhausted book, she rested her head on her pillow with relief. She wished for a good dream. But she didn’t turn off her light. After all, the dark was hardly comforting.
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Thanks for the suggestions, you have several good points. Soon I'll go back and polish it.
The first two paragraphs feel disproportionately out of place. It's two paragraphs of a very careful, slow character portrait and then we're abruptly given action in the third paragraph.
Two ways to fix this:
1) Segue slower out of this heavy description of past/intangible events and move slower into the story's action.
2) Tone down the first two paragraphs.
As (1) would tend to add fluff to the story (when editing, it's often better to take away than add-in add-in add-in to make it make sense, because it's easy to ramble), I would suggest (2).
So here are suggestions for (2):
All that is rather unnecessary. Just say that the pillows were like a throne (I imagine that's important, since she fancies herself royalty) and that she would sometimes fall asleep with the book open and she smiles. The rest is rather slow and wordy.
Also wordy. Consider chopping it down. Perhaps "the next morning" is unnecessary. Or the threat part. Whatever.
Since it's the "multiple-of-100" rule she follows later, this tidbit of information is lost and useless. Consider cutting.
That would suggest that she longs to reach the end as quickly as possible, but we know this is not the case. She savors the story, right? Even if she's trying to beat the sunrise, you would think she appreciates the story more than time.
You've given us so much before this, but now you leave us with only this. What is it about dreams that's comforting? We can imagine it, maybe, but at least give us something.
Repetition of "her window" makes itself very apparent with this sentence structure. In this case, you could probably cut out "that was her window" and we would understand.
"and she didn't like it" is unnecessary. We gather as much when she's trying to ignore them.
Kind of a cop-out. Such an isolated incident that has no meaning. And furthermore, you give it no significance by even commenting on it with any depth.
"suddenly" is a really poor word. The word has so much more immediacy than is appropriate for almost any context it is used. "Suddenly he said, 'Hello.'" "Suddenly, she dropped the pillow." "I suddenly turned my head left." In short, get rid of the word. It's way too much for the paired action.
Wordy. A lot of words to say, "She didn't have on makeup. She had bedhead."
She tried? Did she fail? Is it difficult? Imagine the synonym "attempt" in its place and you'll see that "tried" is inappropriate.
So I read this and wondered: "At what point did we learn she wasn't pretty (enough)? At what point did we learn she wasn't brave or confident (enough)?" We never learned about the girl's personality, so why bring up how she wants to improve herself now?
And "she didn't know what she was good at...what she wanted...where to start" is a rather shallow examination of the self. It's very small, insignificant, and disappears as quickly as it is said. There's nothing to think about, nothing truly moving. Consider dwelling on her thoughts and fleshing them out.
"where she commuted" is unnecessary.
Is that a good thing? Let us know how. In a word or a sentence or a paragraph, let us know about her dreams. And capitalize that "if."
So that's it. You have a clarity of thought and you want to convey something deeper, but you're getting caught up in using too many words and you're only skimming the surface. Take a second, think about your ideas, develop them, and tell them to us without fillers.
If you have a question on what's a filler, ask yourself, "Is this information relevant to
1) How we perceive the character's or the setting's important traits?
2) How we interpret the story?
3) The plot events?"
If you answer "no" to all three, then it's filler. Take it out.
So, for example, I ran these phrases through that test:
"...where she commuted." It doesn't matter to the personality, the story, or the plot whether or not she commutes.
"sometimes she rested her head softly on her horizontal cushions...her stomach rose and fell steadily in her sleep." I gather that the cushions-thing might be kinda like royalty, but the throne comparison just prior was much more solid so this one is just vague and bland. And we don't need to talk about her stomach rising and falling because we know what people look like when they sleep. Unless it's particularly noteworthy, don't worry about it.
Lemme know if you have any questions.
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Oh right! I get it now.
PM if you enter another story, i'd love to read what else you have written.
Thanks for the review! The man was fake; she imagined a prince on her lawn to distract her from her reality, which isn't sufficient to make her happy. When her imagination fails her, she returns to other people's stories, in another attempt at escape. Maybe I'll go back and make that clearer...Thanks!
I really liked this !
You have a real way with words, and i was captured right from the very first sentence. One question, was that man a figment of her imagination or was he actually real ?
You are a very good writer, keep it up!
Born
p.s - sorry, i'm not very good with reviewing someone else can help you with your grammer and what not.