After reading this piece, I'm afraid I'm going to have to disagree with the others. >.O" However, I do believe this deserves to be on the front page, among the most liked.
Don't get me wrong. This piece isn't half-bad, and it has the one thing I find missing in most works I review: voice. You nailed it here. Sometimes it's a bit awkward, and at other times it's a mite dreary, but the foundation of your voice in this piece is solid, and it'll only take a little sweeping to clear it.
The piece itself, I'm afraid, is plenty flawed. In the beginning, the voice is fresh and engaging, but the story moves slowly. That's okay. I can forgive that. Then in the second paragraph you go and blow the fourth wall. That I can't forgive.
The fourth wall is not something you blow unless you're extremely talented, and even then, it's still a huge gamble. That destroyed my decent first impression of the piece, but I figured you didn't mean it that way, so I read on. Just remember - you don't want the reader to realize this is just a story, or that someone is telling him all this. The best stories drown you in their worlds and make you want to refuse oxygen in favor of staying underwater, under the writer's spell.
I agree that sometimes, very rarely, it's possible to blow the fourth wall and get away with it. But it bears repeating to say that you don't do this unless you're so talented the sky is jealous of you, okay? Or unless you're so confident you're willing to risk it. It's just safer not to.
In the beginning of this piece, you get coy, particularly in the fourth paragraph. This, however, is a subjective thing. I dislike it, but obviously, the others don't mind it. Just be careful with coyness. It can come off gimmicky sometimes, and to me, this felt pretty gimmicky. Then again, I have pretty low tolerance for this kind of stuff, soooo. >>"
Your prose has a rhythm to it, and that's good. It has decent flow - not the best, but passable. You'll want to read this again, because there are some spots that stick out. Read it out loud so you can catch the areas that feel stiff.
Your problem lies in your love affair with descriptions, and the emotions present in this piece.
Descriptions are difficult to handle - there has to be enough of them for the reader to love, but not too much as to suffocate the reader. I felt suffocated here, and I think you overdid it when you rambled on for about a paragraph or two about the old man. It gets repetitive. You tell me this, then you show me, then you tell me the same thing again, then you show it again. It's a little tiring. You can cut down a good number of words if you simply avoid telling. Trust me; you don't need to tell. You show enough. It's odd how others only tell, but you're likely to reinforce your telling with showing. I promise - your prose will lose nothing if you take out the sentences that tell. For example, you don't have to tell us that the old man is jolly. You do a wonderful job of showing it later.
Your emotions are lacking. This is cleverly covered up by the quirky voice of your piece (see how magical voice is? =D), but the truth is this didn't make me feel anything. My eyes actually glazed over at one point, and I got bored. A quirky voice can only hold a sagging plot for so long. Your conflict doesn't feel real; it's not tense at all. Give me something to work with here. You don't seem to give a clear view of the stakes.
For the old man, it's obvious what he wants: he wants to move on. Problem/conflict: the shop is in his way. I need to feel this. I'm not sure why he didn't sell it earlier. You have to make me feel why his inner conflict, or at least give me some sense of it.
For the narrator, I didn't feel his despair enough. You showed it to me, but it's still a little lacking. I couldn't feel my heart shrivel when I found out the shop was closing. It could be because of the telling. Sometimes you lean back on telling - you never let me feel the card's emotions. You could do this by actually describing more, or showing more thoughts. Scratch the describing more part. You gave me a good enough sense of the store; now, give me something that belongs to the card. It's strange how sometimes you seem so aware of what you're doing in this piece, but neglect to give me enough emotion. It's almost as if you're holding back.
Take my heart and crush it, okay? I'll appreciate it if you do.
Your dialog practically killed the last part of your piece. It didn't feel real. In fact, the last part of your piece felt awkward. You relied more and more on telling, and this roughed up the showing you displayed in the beginning of your piece. Step back and read. Your emotions aren't showing; they're being fed to the reader. Rewrite it so they show, and they're not told.
Finally! This is nitpicky, but you switched tenses there. It's not obvious, but I noticed you started the piece with present tense and ended with past. Tricky, but pick one tense and stick with it.
Your character development's good, and your plot's a bit slow (you can afford to speed it up, but I'm afraid it'll ruin your rhythm if you do), and overall, I'd give this about a six or seven out of ten.
Again, great job with the voice! If you work on this and revise it, feel free to drop me a PM asking me to read it. ^^ I'd love to. And if you have any questions about this review (or need a more in-depth one), just ask.
Sincerely,
Jae
Points: 8831
Reviews: 202
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