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This is Nikayla here dropping in for another review on this lovely Review Day! Finally feeling comfortable to come back and tackle this seeing as I'm a bit more excited to review this again. Gotta keep a balance between this and the Green Room.
Let's jump right in to this pool of wonder, Lima Bean. I'm not sure how I feel about the beginning of this chapter with the summary of what Kerani's life has been like over the last couple of weeks. I can see that the chapters might be more spread apart since there's a fairly medium-sized gap between this chapter and the last. That's okay though! The couple of paragraphs before we break into an actual scene again have the potential to be strengthened up a bit to become stronger. I find myself always enjoying this novel more when there's a scene going on and it's not Kerani's thoughts--not by a landslide are the thoughts week, I just adore seeing these characters interact.
There doesn't need to be a comma in the second to last sentence of the first paragraph for starters. The other part I wanted to note is that I love the standalone sentence that follows--made me giggle.
Have I mentioned before how much of a fan I am of her friends? I'm pretty sure I have, but they're lovely. I love how much they care for her and I love how much she cares for them. The whole group feels so tight-knit. I'm kind of wondering the backstory of how all of them met? That's kind of what I want to know more about eventually. How did they all meet? Were they friends from childhood? What happened to all of them that formed this strong of a bond? I love them, I just want to see a bit more done with their backstories so I hope that ends up being slipped in here and there. I'm glad that more of the plot is fleshed out in this chapter--I assume her friends are in the same business to be around her so much? They're all experienced in the area of work that Kerani is it seems.
I feel like hating the word 'Mmhmm' is a nod to yourself. You use it all the time! :p
How old are her friends anyway? Old enough to have kids apparently. Is the age of consent different in this world or are they just older than Kerani? That confused me. The idea of a third mommy is adorable. I also love that two mothers can be the norm in this world without needing a large explanation. This chapter seems to be more focused on character development than plot, which is fine with me!
There's not a lot that goes on and this takes a slower pace, but I don't mind too much. This is a little different on your part though because there's usually a balance between character development and the plot of either her future husband or the politics going on in this world (this is discussed in the beginning and middle but no action is really...taken?). Anyway, keep up the great work! c:
If you have any questions, don't be afraid to ask! I hope I helped and have a great day.
ohhidere.
You have an uber amount of super-duper awesome reviews on this already, and I'm 90% sure I won't really be able to build on them, so just to pre-warn you! (I know I say this in, like, every review, but I always feel pretty useless with you because tour writing is so lovely/your reviewers are so splendid). But yus, as an opening for chapter two, I liked this. We're figuring out what the heck is going on (or trying to) with Kerani, and you manage to make me feel like I'm involved in it, not simply a reader. Your dialogue at the beginning between Kerani and Sakari was amusing, and I very much enjoy their character dynamics. Vy and Isra are super sweet too, and their relationship seems like a genuine, real one. I was surprised (pleasantly) to see Isra returning in this 'form' (if that makes any sense whatsoever), so kudos to you for that. It shows a whole other side to her, which is awesome. So yus, as always, generally another wonderful extract!
I'm going to have to go for really
bitchynit-picky critiques here because I've no major qualms with this scene at all. One thing I find myself questioning is the reasoning behind Sakari being there. If she was just going to shy away and go to sleep/rest once they arrived at Vy and Isra's house, why did she join Kerani in the first place? Kind of seems like she may as well have stayed home. Even if she was desperate to find out what their thoughts are on everything, she surely could've waited for Kerani to return and inform her of this? Such a nit-pick omg, but it's one of those dumb things that popped up in the back of my mind while reading.The only other thing I can give you is that there's a tiny part of me that kind of want something else to 'happen'. I love your characters' interactions, delving into the political side of things e.t.c. but the only action scene we've had thus far is the opening one. Please add a heart disease inducing dollop of salt to this because I'm super impatient and want everything to, like, explode all the time, but on some level it feels like there's been a lot of talk with not much action since the opening scene. That was a really long-winded sentence, apologies. I won't go crazy on this or expand much further, but I figured I'd bring it up because
I can't think of anything else, and I don't want to look completely uselessit might be something worth thinking about.But yus, that's me done. I hope we get to more insight into Vy and Isra's relationship, and how it works exactly (like, how do they conceive a child that's biologically related to both of them?) because I find that stuff insanely interesting. It'd be intriguing to learn more about how society views their relationship as well, y'know, if it's considered completely normal or not (and all that jazz). You've certainly managed to maintain my interest into this second chapter, anywho, and I look forward to reading the next installment (as if I ever don't, duh).
Keep writing,
xoxo Skins
Sakari is there because of overprotective parents, should indeed make that clearer.

I hope to clear up Vy later on, but if that scene doesn't clear it up (I think it's in chapter 3) let me know xP
Oh, if that's your critique, you'll love this next part, then
Ah I see, in fairness, it's probably just me being dumb.
Ermhagerd, I'm excited already!
Hello, darling! Sorry it's been so long between reviews, of course.
There's no body-sense here, no sense of Kerani interacting with her environment in any way, and that last line of description is redundant as literally one sentence later Kerani asks three colors which are—if I ignore that line of description and go off inference—the colors of the study rooms. There are enough Green Rooms and Red Rooms and such in European Fantasy World castles (and real life castles) that I'm pretty sure the average reader would understand, perhaps with two words of clarification: "Which one, blue, green, or yellow?" (There are better ways to work that in, that's just a quick fix.)You still have the same syntax problem that I noticed in the earlier part; I noticed it especially in the conversation between Kerani and Sakari, where you repeat "I [verb]ed" and "She [verb]ed" a lot at the beginning of paragraphs. However, since I've already touched on it, I'll leave that for the time being.
Actually, one of the issues I have with this comes directly after that. You have Kerani's last line in there with the "I'll be surprised", and then you go straight into her thoughts without as much as a segue, and you have about two full paragraphs that are between-the-scenes exposition with not much else going on. I wouldn't normally mention that, except it feels so abrupt to go directly from her dialogue into "this is what you missed in the scene break". Maybe even a sentence of "I was glad to have this much free time" or something like that, just to bring the reader out of her conversation with Sakari and into her thoughts on what she's done throughout the last week.
You go into the dry syntax again the moment you have a conversation, even though it was much better in the interlude thought—actually, what caught my eye this time was this exchange:
Kerani knew Bahij wasn't getting everything, so how does she feel about this? I get the faint feeling of resigned exasperation, but that may not be the emotion you're trying to convey with her interaction; it's sparse, and it could use a little something more to tie the dialogue into the world, and into the humanity of the piece.
I don't know, there's something human that's just not really here in this part. It's almost there when you have Kerani actually interacting emotionally with the world around her, at the end with Vy and Isra and Chakor, but for the rest of it... I feel (and my feelings have not always been the clearest or the best) like it's honestly the narrative, and Kerani has turned from someone with involvement in this world into a narrator that simply looks through the eyes of her body and dictates that to an invisible secretary. I know, it's strange, but even stiff narration would be better than this lack of nearly all narration.
A simple sentence that bothered me, to end on, because it's probably an easier fix:
See, I can actually feel a little emotion coming through the dialogue, but without punctuation in the sentence, I have to read it three times to understand what Kerani's talking about and how she feels about it. It's not exactly the phrasing that's weird, but even just one comma or so would clarify it.
hello i am here! finally!!
i’m on the fence in terms of how this chapter opens; i think the content is good but something about how it’s written is falling a bit flat for me—the second paragraph in particular kicked me out somewhat. (on reflection, that might just be because it’s a pretty incredible run-on?)
anyway after about the third paragraph i was fully engaged. i liked sakari and kerani’s banter about fish/nobles/stink quite a bit on its own merits, and i also appreciate the world-building it entails wrt class structures and the habits of nobility.
“Unless, of course, the pattern was ‘everybody’, at which point, that was already extremely well established.”
i have to admit, i giggled probably more than was necessary at this line. kerani’s snark is my favorite, always.
it’s cool that sakari’s still wiped from doing magic a week ago! i’ve been under the impression that the power/energy exchange was a lot less severe, so seeing that recovery takes this long is a bit of a surprise, but in a good way—i think the world feels even more real than it did before because of it?
“Even though I could, in theory, sense everybody within this house at once, the Rat put fairly thick wards on their properties and I preferred not violating their trust for something I could easily ask.”
i think this sort of detail is very important, character-wise, to counter-balance kerani’s complete lack of love for her family—it really drives home the point that she’s not just acting out because she’s a teenager and that’s what teenagers do, she’s responding to being treated badly by her family. and it’s always nice to see protagonists pay respect in return for respect.
“Helped deter snipers and protect those inside, even if somebody did try every few months.”
i’d consider rephrasing this; i’ve read it three times and while i’m pretty sure i know what you mean, i’m still not 100% certain.
and ohhh, the reveal of the extent of the looming threat is handled so well i just. the progression of action and kerani realizing how much information she’s been missing is perfectly timed. the only thing i’d suggest is elaborating a bit more on what all the colors mean—i could pick it up through inference, but it took just enough work to get frustrating towards the end. the necessary information is all there, i think, but it’s in a slightly odd order that makes understanding it as a reader more difficult than it has to be.
and i can’t remember if i’ve mentioned this before but the whole… emptiness thing is REALLY creeping me out. add to that the fact that it’s not a consistent tell?? gahhhh.
vy and isra are really cute.
i’m sort of glossing over large chunks of this because it’s really good and i feel like if i try to talk about it it’ll just be an endless loop of “i really liked this and this and this.” suffice it to say that all of the dialogue between vy, isra, and kerani is wonderful—it feels natural and it’s just *dripping* unstated emotions.
and i love this line so so so much: “This always happened when I remembered people could separate home and work. The line had never been clear, for me.” because of course kerani would have that problem. poor girl.
generally i feel like this section started out kind of weakly—not bad, just… uninspiring i guess?—and then rapidly got better the further it went. the strongest part i think is definitely the plotty reveals, and then the rest is a nice slow ease of tension without actually *losing* the sense of lurking threat.
(and geez, i’m sorry for taking soooo frigging long to actually review this thing! i’m going to try to get to the other two tomorrow or sunday, since i have a lot of free time then, and then actually keep up with you for future installments)
Salutations.
So, you are YWS' illusive Unicorn of Rainbows and Roses? *bows* It is an honour to finally review one of your works.
I must apologise for not reviewing this part of your chapter without having read chapter one first, but I am sure I shall catch on quickly enough. Also, I do not know what type of reviews you prefer, so I shall try to give you a summary of everything. Oh, and I use colour every now and then, so you can expect that as well.
My legend:
Red - corrections
Orange - suggestions
Green - additions
Blue - removals
Your first paragraph indicates that the protagonist has suffered several injuries - from what, I do not know, naturally, but the knowledge of said injuries is sufficient for the moment. Also, while I am discussing your first paragraph, I should add that it is flawless; I cannot think of a single way how you can improve it.
Whoa, okay, sensory overload - hands off the sugar pot. While your previous paragraph was flawless, this one needs a bit more work. Firstly, I would advise identifying all of the clauses and ensuring that flow smoothly from the one to the other, whether it means using different punctuation marks or simply starting a new sentence.
After we have done that, I would advise rephrasing that first clause, since it is ambiguous at the moment: is Janani more tired of being cooped up at home than the protagonist is, or is he physically above the protagonist (on the top bunk of a double bed, for example) and just happens to be tired of being cooped up at home as well? When read in context though, it seems both are equally tired. Some clarification would be nice.
Alright, so here is how I would rewrite the quoted text, but as long as you deal with the above-mentioned issues, you can write it however you want to.
Spoiler
The part where your protagonist and the character named Sakari traverses trhough the docks are quite entertaining, what with Sakari's constant complaints and the protagonist's witty retorts. I am glad to see someone isn't afraid of using a little humour in their works, though I am a fine one to talk, seeing as my work tends to be serious as well. Nevertheless, it is refreshing.
The preposition for is not an appropriate choice when the text is read in context. Also, big is such an overused word, so while it is not incorrect to use it, finding an alternative is not a bad idea.
So, the protagonist's name is "Cat" and this sinister organisation seems to be called "the Rat" - if there isn't a connection, I'll eat my hat. (Or rather, since I don't own a hat, I'll show you a picture of another YWSer eating a hat.)
The preposition towards is redundant, so I would remove it. Furthermore, these two sentences can be connected as one, though if you don't like the dash, you can always use a semi-colon in its place.
What an ingenious way to describe what the tea contains.
That he is indeed.
Your story is one of the best I have read in quite some time. (It is so good, in fact, that I shall review it from the beginning - after Review Day is over, of course.) The setting has not been described that much, but I am sure there will be plenty of time for that later. The plot, however, seems to be steadily progressing, and the characatrisation is outstanding.
Your reputation precedes you, but it is certainly a well-deserved reputation - and an accurate one. May you have a happy Review Day!
Thanks!
"Janani above" is the exact same wording as "god above"%u2014 Janani is a deity in this fantasy world. She is not a character and shows up in a few swears here and there. I was hoping the location would tip people off, but it trips me up so I'll probably make it "Gods above" for clarity.
Oh, I understand. Thank you for the clarification.
Hey there Rosey! I should totally be nano-ing... But then I saw the sad panda on the main page and couldn't resist. So, here I am.
First off, I have not read the previous chapters so I'm going on this content only.
This felt very long and I was winded by the end of it. Especially since I kept trying to figure out exactly how to read it. I'd say the last part, following that last comma, was where I struggled most. Maybe throw in another comma, before 'but'? (I'm no expert in this, so if I'm wrong, no worries lol)
This bothered me a bit, because they took a good walk across town and didn't seem winded, and Cat wasn't itchy or trying to pull at her scabs (or making an effort to resist!) and suddenly mentioning that she was tired from using magic well . . it seemed sudden. *grimaces at repetitive word*
OOOOOOK. Done with this review. And I even wince at the idea of 'submitting' it, because who I am to tell YOU anything's wrong here; you're much better at this than I am.
Well, *maybe* you missed something. Or maybe I'm just being nitpicky.
I usually dislike reading chapters without reading the previous ones because I'm so utterly confused about what's happening and it makes for a 'harsher' review. I'm confused and it shows. But . . . I didn't feel this way about this chapter. I thought the information was well blended, I wasn't confused for one moment. I right away got a sense of this political/magical story, and usually, I am not a fan of politics . . but this I like. A lot.
I'll probably come back and read the previous chapters when I get the chance. Thanks for the great read, Rosey!
Tanya