z

Young Writers Society



Untitled

by TheEccentricScribe


This is a writing exercise I've been working on for a week or so. I hope you like it.

Chapter 1

The gates to the fence were quite impressive, heavy granite pillars with iron bars anchored between, and welded onto that entryway was a magnificent crest. The creature depicted was fantastically real-looking, with spiraling horns, hooked talons and meticulously fashioned fangs. It was not, however, a scary dragon. In fact, though if encountered in real life such a creature would indeed inspire unquestionable speechlessness, it looked more on the side of good-natured than menacing.

Nonetheless, the little girl in the back seat of an approaching automobile stuck two fingers in her mouth at the sight. Dragons, after all, inspire feelings in children and the childlike which more cultured and ‘grown-up’ folk remember to forget with an almost infallible consistency. For the moment, the dried tears on her cheeks were forgotten as her less than inexperienced yet still largely innocent mind surveyed the massive gate and its surrounding environment. On one side of the road leading through it grew a dense, rather ominous-looking forest. Not, of course, the way the newspaper is ominous, but ominous in a lightly dark sort of way, where the fears are imagined, and at least partially known to be so, and it is more fun than anything else to be thusly scared.

On the other side was something of a beach, and closer to the gated property a bit of a cliff. The ocean itself, to use a rather obtuse word simply for the fun of being obtuse and for using such words, was scintillating with the light of the noonday sun, its surface in a rolling flux, like a grand, liquid mirror. The little girl had not been to the ocean; at least, not having been old enough to remember going to the ocean, so seeing it was for her quite marvelous, in spite of everything.

Rolling slowly to the gate, the middle-aged driver stopped, whistling, his bushy and peppered mustache bouncing about as if dancing in a rather ungainly fashion to a tune mostly out of key – such mastery of musical talent as to be unable to whistle a tune being a rather sad result of taking oneself too seriously.

The little girl heard her driver speak with someone, and then that magnificent gate drew apart, admitting the vehicle and its passengers and then closing once more. Gasping with delight, the child could not believe the marvels of the fine estate.

In the very center of the winding drive was a most wonderful fountain. It had many levels, and at the top stood a jovial looking gargoyle, spouting water that sprayed high into the air and fell like a shower of ribbons. The sparkly water crashed into the bowl beneath the gargoyle, and spilled into the larger one below that, which drained into an even larger bowl under it, and so on. The fountain’s base was carved exquisitely, with images of birds, fairies, dragons, unicorns and other creatures. It was a most splendid fountain to the little girl.

Beyond the hedges on the drive was a garden filled with a dazzling assortment of flowers, trees and benches in the shade. These benches each afforded a lovely perspective of the fine garden, and the child wanted very much to sit on those benches and explore the fine garden.

Birds tittered in the branches of trees, and a warm, pleasant breeze carrying comely fragrances filled the automobile. There were traces of that pristine sea-smell typical of such estates.

The house itself was more of a small mansion, with three floors and wide, open windows, and one of those white-washed porches that wrapped about the entire dwelling. The little girl hoped that she would be allowed to run about that porch; it did look like a lovely place to run.

It came to her attention, which tended to be quite scrupulous, that tiny creatures were fluttering about, sparkling in the sunshine. They would have been mistaken for butterflies by the dull perspective of most any adult, but the girl certainly knew better. Why, these were fairies! Of course, being a wise little girl, quite in the way little girls tend to be, though perhaps a little more than usual, and knowing adults to be far too boring to see fairies even if such a creature were to pinch their noses, she did not bother to point this obvious truth out to her driver. You see, he was a very nice, kind man, but by no fault of his own he was old, and therefore unable to see what the little girl did. No matter, she thought, for this way she could have the fairies to herself, her own little garden-secrets.

“Well now, my dear Natasha, we are here! Oh, but please do stop your daydreaming, now. It would be dreadfully impolite of you to drift off while your goodly grandfather is welcoming you into his home. Come now.”

He led her up the stairs and to the doorway – a very beautiful door, with shiny, lion-head shaped door knockers and cracks like the wrinkles of an old, kindly mouth. The whole house seemed to the young girl like the face of a friendly, sleepy grandparent, beckoning one inside warmly.

The driver knocked on the door three times with the shiny doorknocker – Oh, how she wanted to touch one! But she kept quiet, remembering well her lessons of politeness and most likely being herself a rather courteous individual. While they waited for an answer, the kindly driver fussed over Natasha, wanting her to look presentable before the aging man who lived her.

“Your grandfather is quite the man, you know,” he said, nodding and smiling but looking over her and away, dialoguing more with himself than with her. “Yes, quite the fellow – A genius, in fact, they say, though of course he would never call himself that. An esteemed scholar, an authority on many sorts of knowledge . . .”

The door opened, and in the gaping portal stood the rigid figure of a man of uncertain age. His hair was slicked back, his nose long and wide and out of place on his smallish head, and he wore what must have been a dreadfully uncomfortable tuxedo; at least, Natasha thought so, if it made him stand so very tight and stiff.

“Ah, good sir,” said the driver, “I bring here Natasha, Professor MacDonald’s granddaughter. Is he here, that is, is the master of the house available?”

“Doctor MacDonald,” replied the man crisply, “is not here. He is a busy man, with many affairs with which to attend. Natasha was expected, of course.”

“Ah, good, good. Well, now, Natasha, I hope your stay here is pleasant!” He turned to leave, but she tugged on his pant leg. She would not speak until he lowered himself to her.

“I wish you would stay here with me, Mr. Brooks,” she whispered.

The driver’s eyes filled with tears, but he blinked them away quickly. They hugged, and he patted her back.

“I am sorry, Natasha, but I must go.”

Natasha did not cry as she was handed over to the doorkeeper’s care, but her lips did tremble and her eyes were very shiny. Not terribly mean or harsh, the doorkeeper was nonetheless rather unaccustomed to children, and likely had forgotten that he himself had once been a child. So he led her to a fine anteroom stuffed with pillowy furniture, and tried to question her in the nice way one makes a child feel welcome, yet it was a manner of speaking most clumsy t the man. So he left her, sitting daintily on a cushioned chair, her hands folded on her knees.

Waiting for the next caretaker, sitting still as she had been told, Natasha studied her surroundings. There were big, fluffy couches covered in fancy embroidery and chais of similar make in abundance, and several end tables upon which sat reading lamps or picture frames. A coffee table sat in the middle of the room, with a glass surface, and a thick, springy carpet covered the floor. A single light bulb above her lit the room, accompanied by the daylight streaming through a window.

In the garden outside, Natasha could see the fairies dancing about, playing tricks on one another or kissing the flowers; she knowing such things to be typical of fairies. It made her smile to watch them play, and the things which made her little heart heavy were momentarily lightened.

“My dear, why are you smiling?”

The voice was so sweet and loving that Natasha thought at first it was her mother, though she knew that could not be so, her mother being very sick back at home. Had the little girl thought better of it, she would have not spoken so truthfully. She hated to lie, of course, being a very good girl, but she was quite aware that it was best not to speak to adults of what she knew was real. As was mentioned, however, she had been taken by surprise, and so her answer was rather unguarded.

“Why, I was looking at the fairies in the garden.”

In that instant, Natasha regretted her answer, and she turned to see a nice-looking woman in plain clothes smiling sweetly at her. The woman chuckled the ‘knowing’ chuckle, thought Natasha with a repressed groan.

“Ah, I see,” she replied astutely, though the little girl knew that she was not believed. “What are the fairies doing out there?”

Natasha, being well raised, did not sigh or roll her eyes as is common among rude children, though she did feel a sickly knot of frustration welling up in her little belly. Children, you see, have an acute attachment to honesty, being novices yet at the subtleties of the tongue, and so are generally quite distressed to be patronized, even if it comes in the dressings of good intentions.

“I really do not know,” replied the child sweetly.

“Perhaps one day you shall. My name is Theresa; you are Natasha, right, sweetheart?”

“Yes. I am pleased to meet you, Theresa.”

The woman smiled again. “You are so very polite! I am your grandfather’s aid, one of them, and he has asked me to take care of you while he is away on business, which he shall be on most of the week. Come with me; I shall show you to your room.”

As Natasha walked beside her guide, she thought that the house was a very quiet, dull affair. Certainly, ordinarily such a spooky, creaking mansion with dusty books and hidden rooms would capture a child’s attentive imagination, but fairies were the muses of Natasha, and none lived indoors here, and in fact many preferred not to be inside most of the day. This is excepting brownies, of course, teeny little sprites who loved to clean, as if there was more fun to be had in a duster or a mop than any party, or certain miserable mischievous gremlins, who liked to snatch keys or break things at the most inconvenient of times. But children did not live in this house, ordinarily, and everyone knows that even the grouchiest fairy wouldn’t stay indoors to play only with grown-ups. This, you see, is why even good little children seem to bring mischief in a house: Fairies follow, and while most of them are kind and mirthful and want only to sing, dance and play, a few are mean, and would often try to get good little girls and boys into trouble. Natasha hoped that those kinds of fairies weren’t around.

And her hopes were safe ones, for the stuffy, civilized members of sophistication that served her goodly grandfather were evidently so stiff and boring that while the gardens burst with glowing fairies, not so much as the tiniest sprite showed its face indoors. This, though, was as disappointing to her as it was relieving, for surely none of the nice pretty fairies would enter the household to play with her. So, well before even reaching her room, the little guest of the old home resolved to find her way outside.


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Sun Feb 17, 2008 11:48 pm
Pickle810 says...



Well, I know it's certainly been a while since you wrote this story, but I'd like to let you know that I really like it. It sort of feels like someone's reading it to you, or like it's one of those old classics that doesn't get boring.




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Sat Sep 29, 2007 9:14 pm
where_are_my_shoes wrote a review...



Hi!
I don't have much to add except that it might be nice if you made the first time she sees the fairies a bit more interesting, you know? Maybe a better description? Maybe she could be more impressed by them?

It came to her attention, which tended to be quite scrupulous, that tiny creatures were fluttering about, sparkling in the sunshine. They would have been mistaken for butterflies by the dull perspective of most any adult, but the girl certainly knew better. Why, these were fairies! Of course, being a wise little girl, quite in the way little girls tend to be, though perhaps a little more than usual, and knowing adults to be far too boring to see fairies even if such a creature were to pinch their noses, she did not bother to point this obvious truth out to her driver. You see, he was a very nice, kind man, but by no fault of his own he was old, and therefore unable to see what the little girl did. No matter, she thought, for this way she could have the fairies to herself, her own little garden-secrets.

If I were a little girl who had just seen fairies, I doubt I would be thinking about my driver.She barely seems to notice them.

other than that I think it's pretty good!I like the style if only you would bring it down just a notch.

ok,so,I hope I was helpful and I'm sorry for wasting your time if I wasn't!
I feel bad criticing everyone's work when it's so much better than my own... :?




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Thu Sep 27, 2007 8:15 pm



Now, see, ShadowTwit, that is a perfectly legitimate comment. I want to know that you don't like the story's style. I'm glad that you can state that as "I don't like this style," as apposed to "this style is wrong," and I also like that you can say "This is where you've gone wrong."

Patronizing? Hmm . . . I guess I could see where someone would get that, but I'd have to say it's an erroneous reading. It's an authorial intrusion, a writerly aside, and the comment's purpose drives to the themes of the story.
. . . Actually, in reconsidering this, I'd have to say that there is definitely some patronizing going on here. However, you assume it's directed towards the reader . . . Maybe it's directed towards someone else?

Rather pompous . . . I dunno. I have a hard time writing those sentences any differently in this story. I'll think about it further, though.

I don't exactly know what to tone down, I guess. I mean, I know the characters aren't brilliantly developed, but then, it is only the beginning of things, as it were. I don't feel rushed to disclose everything about the characters immediately. Perhaps, and I could be wrong about this, the reason you feel distanced or estranged from the authorial voice is maybe your initial presumptions are different from mine?

Let me explain. Readers have expectations, and writers have agendas. My agenda might not be what the readers expect, and sometimes when we don't get what we expect, we don't like it for that reason. Do you think, maybe, I am purposefully doing what the reader doesn't generally expect, to push him/her into thinking more deeply about what my agenda might be?

I sincerely would like your thought on that. Should I tone down my style, when in fact it's the style that I am using as a device to make a point?

That the point is missed doesn't necessarily mean it was poorly made. I seldom write stories that are exhibitory. I believe in a very intense, active kind of reading, and so try and create prose that is engaging and necessitates that the reader does some work with me. Not everybody shares that standard, I agree.

But regardless, thank you for the review. I really appreciate your thoughts.




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Thu Sep 27, 2007 1:08 pm
Twit wrote a review...



Personally - this is just me, so don't change it - I don't like the style of narrating that you've chosen. The distance from the reader and the character is too far for my liking. And it can get a bit much - too patronising. It's like in old children's classics, where the narrator talks to the reader. It's too watered down.

Like here:

Children, you see, have an acute attachment to honesty, being novices yet at the subtleties of the tongue, and so are generally quite distressed to be patronized, even if it comes in the dressings of good intentions.


That bit made me cringe. :(

And here, frankly, it's rather pompous:

It was a most splendid fountain to the little girl.


“Your grandfather is quite the man, you know,” he said, nodding and smiling but looking over her and away, dialoguing more with himself than with her.


Dialoguing? It's too stiff and doesn't read right.


But some of this is just me - when I read something, I like to get to know the characters, and having a telling that's closer to the people in it.


It does read very smoothly, and some of your descriptions are good. :)

I like this bit:

The ocean itself, to use a rather obtuse word simply for the fun of being obtuse and for using such words, was scintillating with the light of the noonday sun, its surface in a rolling flux, like a grand, liquid mirror.



--


I know you prefer to write in classical style, and that's all well and good. It can be very enjoyable if you do it well, but just make sure that you don't over do it. Here, in places you have.

But mostly, this was very good. You just need toning down a bit. :)




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Tue Sep 25, 2007 9:59 pm



It's taken me a while to reply to this post, mostly because I've been thinking about it a lot. Lately, I've come to the novel Joseph Andrews, by Henry Fielding, arguably the first true novel in the language. And it's in reading that where I've come to my answer to one comment by the beloved PImp: A lack of urgency.

I don't want to make commercials. Writing is fast becoming as commercially packaged as any other business, and I won't buy into it, even at the risk of being labeled as behind the times or old fashioned. I respect other peoples' literary preferences, but personally, I don't feel that good writing needs a sense of urgency (certainly, good literature often does have it, and it can be what makes it good, but I don't think it's strictly necessary). There was a time, before TV and video games, when people read the Bible as their entertainment. Whoa. Imagine that.

Now, we are here a group of writers. It's an odd thing, to be a writer in this day and age, you know? We're essentially what people otherwise move away from nowadays: linguistic thinkers who use one of the most archaic modes of communication next to the spoken word to express our ideas. Writers don't seem to be a dying breed, but to survive it seems we've had t give up something, or might have to in the nearing future.

I don't think I'll be doing that. I want to write stories that take their time, that ramble, that enjoy themselves. If you want me to get to the point, well, sometimes I will, when I'm writing stories that want to get to the point, like my "Sword Saint" series. But I don't always feel like getting to any points at all. Sometimes I just feel like writing. And that doesn't really include a very deep sense of urgency. I find that many of my favorite writers don't have that sense at all.

I don't presume to be effective at my style, mind you. I'm still working at it, and far from having achieved any station of realization at it, I'm aware of that. Nonetheless, if the worst thing someone could say about my writing is that it lacks urgency, I don't think I'd be overmuch distressed by that. I think urgency, in my writing, is one of the things I'd like to move away from.




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Mon Dec 04, 2006 6:55 pm
Poor Imp wrote a review...



Now I've read a few things of yours, Eccentric, and, of course, always 'tis a pleasure. You've an even understanding and familiarity with the forms that I think keeps things all within the parameters of story-telling. There's a place, character - no glaring grammatical confusion. ^_^

What, I think, sometimes jars the presence of the story is a lack of urgency. It's all there. But it keeps the same pace, similar paragraph length... One doesn't feel quite as involved because it present anything uncertain, anything awkward or offhand - it so beautifully smooth. ^_^ Which seems a terrible thing to complain of. In the end though, some changing up would benefit it all.


Near the beginning, an example...

Nonetheless, the little girl in the back seat of an approaching automobile stuck two fingers in her mouth at the sight. Dragons, after all, inspire feelings in children and the childlike which more cultured and ‘grown-up’ folk remember to forget with an almost infallible consistency. For the moment, the dried tears on her cheeks were forgotten as her less than inexperienced yet still largely innocent mind surveyed the massive gate and its surrounding environment. On one side of the road leading through it grew a dense, rather ominous-looking forest.


'Dragons, after all, inspire...' is a sentence that moves back into an omniscient narrator--which is well applied to telling. In fact, it serves the tone. But it is also so distant. Dickens narrates omnisciently. But he's constantly exclaiming (perhaps too much, admittedly), interjecting and feeling his tale.

The remarks about dragons, childhood, childlike, feel distant and nearly patronising.

Not, of course, the way the newspaper is ominous, but ominous in a lightly dark sort of way, where the fears are imagined, and at least partially known to be so, and it is more fun than anything else to be thusly scared.


Final sentence, above, is good in length and more present. I love the description, and the voice feels more familiar--as if it's actually involved with me, the reader, rather than reciting quietly to a sleeping auditorium.


The ocean itself, ( to use a rather obtuse word simply for the fun of being obtuse and for using such words ), was scintillating with the light of the noonday sun, its surface in a rolling flux, like a grand, liquid mirror.


Oy, word games. ^_^ A little vague again, distracting - but only for punctuation this time. It would fit the flow, and the narrative style better, if it were put in brackets/parentheses.


With all that in mind, I've got to finish this now (and come back to go over the rest of the text soon ^_^).

IMP




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Wed Nov 29, 2006 5:47 pm
Sureal wrote a review...



Hello ^_^.

‘The gates to the fence were quite impressive,’

- The gates to the fence? Gates are typically on the fence: ‘the gates on the fence‘, or ‘the gates attached to the fence’?


‘In fact, though if encountered in real life such a creature would indeed inspire unquestionable speechlessness, it looked more on the side of good-natured than menacing.’

-I found this is a rather confusing sentence, and I had to read through it a couple of times before I understood what you meant. You may wish to rewrite it.
- I’d (personally) rewrite it as something like: ‘If encountered in real like it would undoubtedly inspire speechlessness, and yet it was clearly a good-natured creature, rather than the menacing beings of lore.’ Of course, that it just a single way to do it - there are many different, countless ways for you to write this sentence, and so I’ll leave it up to you.


‘On one side of the road leading through it grew a dense,’

- Reads awkwardly. Would read better as: ‘On one side of the road - leading through the gate - grew a dense rather ominous-looking forest.’
- I replaced ‘it’ with ‘the gate’, as it’s not entirely clear what ‘it’ is.
- I also added in dashes to separate the ‘gate’ subject matter from that of the road.


‘yet it was a manner of speaking most clumsy t the man.’

- Typo - ‘t’ = ‘to’.



I really enjoyed the narrator’s voice in this - the humorous little comments really appealed to me. However, much of this is description and I found myself skimming parts of it (which is a shame, as some of the descriptions are really nice). More action (dialogue in particular - no one ever skips past dialogue) would keep the reader glued to the story :).

Keep on writing 8).




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What we do for ourselves dies with us. What we do for others and the world remains and is immortal.
— Albert Pines