A/N: This is for a literary competition that closes at the end of the month, eastern Australian time so let's say I need to submit it by Sunday. I have been long listed for this prize for the past two years and I really want to push this year for the shortlist or better.
What do I need?
- Nitpicks and general criticism.
- I need someone to say what didn't make complete sense to them, what jarred them from the action, would could read a little more fluently.
- I need someone also to say that commas do not go there and that's a run-on sentence and that's not the right word.
Also, incase you are experience deja vu, an early version of this story was published a couple of months back.
Any help would be much appreciated.
And where exactly is it that we're heading?
There
was a brittleness in the way Katie sat, holding the wheel with both hands and
her arms straight. Paul had driven the entire trip, and she had said she would
help with the driving, so she was.
“Are you certain this is the way?” she said.
“I’m certain.”
“Alright,” she said. “But can’t you just check?”
“I’m certain, trust me. And do you know how much data roaming costs are?”
Paul’s book lay face down on his lap. He lightly drummed the hard cover with his index finger; he turned it over and looked at the words, hearing them one at a time in his head though his concentration slipped. Even if he could read, it would probably annoy her, he thought. The book closed in his hands with a thud and he straightened his back in the car seat. He let his eyes travel from the book to the clock in the dash, which showed 1:21, and then to her eyes, which flicked down at the speedometer. She held a corner of her lower lip between her teeth. Everything she did was automatic, breathing, blinking, braking, pulling the wheel half a turn one way, letting it center again. The white line at the road’s shoulder passed beneath him, sliding ahead like a fuse.
“I’ve
been so tired this whole trip,” she said. Her mouth stretched open. “I just
wish I could have stayed up a little later.”
“It kind of died down after you left.”
“It doesn’t matter, we’ve come all this way. Least I could do was stay up for
Glen and Tui. Oh,” she said taking one hand from the wheel and thumbing the
vertical lines from her forehead, “I didn’t get a proper good bye.”
He shrugged. “They’ll come over soon enough, I’m sure.”
It was like this when they both had a hangover. The sensation of something
growing inside, unfurling and pressing on the rope of intestines, lifts slowly
as the day goes on. Had they been back at home in the apartment, she would fall
into inertia. With only her face uncovered, she would peer out from beneath a
blanket at the laptop screen, running old episodes of Seinfeld. In those times, he rushed to the fridge for chilled
coconut water, and he fetched damp facecloths to place across her forehead. It
seemed to him, he loved her more, when they were hung-over.
“I
can drive, whenever you are ready to switch,” he said.
“It’s fine. I just need to take it slow. I don’t remember it being this windy
when we came down.” She had the look he knew, her brow knitted, a knot at the
kink of her jaw.
“We came down the other way,” he said, “remember? Dad said to avoid going this
way. Apparently it’s faster though.”
She
didn’t say anything for a moment, though she opened her mouth. Then she said,
“I just don’t know why we are in such a rush.”
“I really want to see Lisa, Darling.”
“Okay,” she said.
The gorge, a wound hacked into the land, was nothing like the clean austere
incisions they were used to driving. The road was crude, hideous. They
descended, winding along the narrow shelf in the grated cliff face. From the
depths of the gorge, sprung coiled ferns, undoing themselves, clutching at the
car. When the road curled outward over the gully, an anemic river came into
view.
“You
know,” she said, “that food was really bad.”
“It’s a Maori thing,” he said. The
word Maori came out slowly. Its first syllable rose gently as his mouth shaped
like a landed trout. Then came the harsh r,
falling of his tongue like a stone.
“What?” she said.
He was suddenly self-conscious. He felt the colour rising in his cheeks. “You
know, it’s a Maori traditional thing.” This time, the r came on softly. The mao,
a sneer.
“No offense, but it tasted like dirt and salt. And the smell. God, it was like
eating unwashed potatoes soaked in diesel.” The saddle of freckles across her
cheeks contracted as she crinkled her nose.
“Yeah,” he said, looking down at his hands. It hadn’t tasted of dirt to him. It
tasted like the end of season break up at his father’s rugby club. It tasted
like twenty-first birthdays in the tired wool shed up Seymour’s farm.
“If people are paying hundreds of dollars to come over for a wedding, you would
expect them to put on a better spread.”
“I guess,” he paused. “Most people that were there probably live in Whanganui
anyway.”
“Still,” she said.
He patted his chest, beating from it a quiet burp. “God, I’m paying for it
today. I might take a night away from the booze – you know, get a good night’s
rest,” he said.
She rolled her eyes quite deliberately.
“It’s such a waste of a day being hung over. I never used to feel this crap
after a session.”
“Darling,” she said, her voice descending in a way it might if she were
patronising a child. “We will just see how you feel later, you might be tired.”
She turned away from the road with a small smile, and then turned back. “At
least you had a good night.”
“You really didn’t miss much. The guitar came out and that was about it.”
“Oh, I can imagine. It’s just awkward when you don’t know anyone. It feels like
I was the only person at the wedding who was out of place.”
“You know Tui and Kate.”
“Kate’s pregnant,” she said. “She left before me.”
“Well, I didn’t know anyone.”
“It’s different though,” she said, gently pressing the brake to take a hairpin
bend. “You were drunk,” she cleared her throat, “and you fitted in.” She
accelerated as they crossed the single-lane bridge at the gut of the gorge,
passing over the river. He liked the way his hands felt when he rubbed them
together. The tips numbed, the nails lifted and dirty, and the pillows between
the joints hardened. He replayed the laying of the hangi. Pairs of brown hands
building a tower of crate pellets to set alight, pairs of brown hands turning
the glowing stones with shovels. The laying of the damp sacks of potatoes,
kumara and legs of wild pork with the sharp black hair. The salt and tin smell
dripping wild pork. He brought his fingertips to his nose, he smelled them. They
smelled of nothing.
“I
had never been to Whanganui,” he said, at last. “That was the first time.”
“I know. I didn’t mean it like that.”
He
nodded. She was wrong, but he knew what she meant in a way.
She said, “I just meant you’re more, I don’t know, like th-“
“-what was that?” he said.
Something snatched his attention. Upon the grass, near the stones at the river’s
edge something stood. An animal. A cow. It was white.
Glimpsed, through a passing aperture in the limbs of trees and prongs of ponga,
it appeared for a moment like a huhu grub nestled in an empty knot of wood. Its
head rose.
“I
think,” he said, turning back to look. “I think I just saw a cow.”
“A cow?” she said. “Out here?”
He shrugged. “I think.”
“What is a cow doing in the middle of
the bush?”
“Do you want to pull over and go back for a look?” he said.
She laughed. “I’ve seen a cow before.” Then she looked at him, the hard lines
of her face softened. “Oh, look at you. You’re so cute.”
“Why can’t we stop?
“I thought we were in a rush, Darling. We can’t stop to look at cow.”
“It doesn’t matter,” he said. “Do you think it’s lost?” he said.
They crept from the gorge, the engine
grating. The cliff face dropped away and where it had been, a fence line rose from
the hem of long grass, which leaned away from the car as they passed. The sky
stretched out in a single grey, meeting the horizon. To one side, the green
native bush plumed, to the other, neat combs of grass crept, and beneath them
the black road slid, taking the gorge with it.
The flat straight road helped to settle his stomach; he blinked away the foaming
nausea in his gut. Along the strait, a Ute with a wood-pallet roofed cage,
swung out and roared past. Wet-eyed dogs stood and watched them from behind the
chain-linked diamonds.
“Jesus,”
she said.
“What?”
“What in God’s name is that?” She
watched the cage as the Ute diminished slowly into the distance.
“Pig dogs,” he said.
Her face was slack. “Can you take over?”
She
eased the car onto the gravel shoulder of the road. He walked around to the
driver’s seat; she climbed over the centre console, pulled her shoes off and
tucked her feet beneath her, then they continued. He took it easy around bends,
letting her sleep against the window.
***
As
they drew close to Paul’s sister, Lisa’s home, he pulled the rental into a park
beside the beach. The moon was half lidded, though out in the darkness he could
see the white tide. Whilst he waited for her to smear her cheeks and nose with
make up, he watched it perpetually sweep in, turning the shells and grains of
sand then it draw away. As it retreated, the shoreline broke into an
ever-widening grin.
They crossed the road and walked to the front door. Pulling Lisa into a hug,
all hands and shoulder blades, Katie said, “I’m sorry we got here so late, we
underestimated the power of hangover a little this morning.”
“Oh, don’t worry about it,” Lisa said. “How was the wedding?”
Cam and Paul shook hands, and Lisa
poured two glasses of red wine and pointed out the beer fridge for Paul. Then
she said, “Barbecue,” to Cam and handed him, a plate of meat.
“Go help,” Katie said, jerking her head toward the deck.
“Okay.”
“You must hate cooking at home,” he
said, setting a spare beer down for his brother-in-law.
“I used to, just ask Lisa. When your Dad
would come stay with us, Lisa used to make me put on a banquet. I hardly ever
cooked at home,” he said. “But I don’t mind so much these days.” He put his
beer on the hip of the barbecue.
“I kind of wanted to be a chef when I was younger.”
“Yeah?”
“Yeah, I used to have this job, when I was at school. I was a kitchen hand.”
“You made the right choice, trust me.”
He shrugged. He imagined himself handling an oil dripping eye-fillet. The pop
of the grill as he dropped it on.
“Doe’s Katie mind if I cook her veggie patties on the grill?”
“No, she will be fine. Just make sure she doesn’t see them touch any meat.”
Cam laughed.
After
dinner, Lisa looked at the wall clock and said, “Well, I don’t know about you
two, but we’ve got work in the morning.”
“Okay,” Paul said, rising from the table. “We won’t keep you up.”
“I’ve made the bed up in the spare room,”
Lisa said.
They lowered themselves upon the blow up mattress as though they were climbing from the safety of land into a sliding dinghy. As she was dozing off, he leaned over and kissed her.
“Why
didn’t you tell me your sister had such an amazing house?” she asked, not
turning to face him.
“It’s alright, I guess.”
“I never knew” she said, yawning and talking at the same time in a way her
words all joined together. “It doesn’t feel like a holiday yet, all we have
done is move from one place to another.”
“I know.”
“I can’t wait to get to the beach and just relax.”
“Yeah,” he said.
He thought about the cow. A living, breathing cow out there in the bush.
“It’s weird being back here. It feels like this country has changed, you know?”
She didn’t answer. She was asleep.
They spent the last of their holiday at the beach, reading in the sun.
***
The apartment had been well kept; he opened the fridge to a full tray of eggs and a bottle of fresh milk. Upon her pillow, Katie’s sister Claire had left a note.
Hope you two had a wonderful trip thanks for letting me stay x
Weeks passed, his tan faded beneath his shirt and tie. They had dinner with her parents. Just the four of them gathered around a too small table at the centre of a bustling restaurant. The kind of trendy place that didn’t take bookings and the staff could have each walked off a catwalk somewhere in the world. Do they serve steak, at least? Tim, her dad, had asked when she had suggested the place. Yeah, organic and grain fed, she had joked.
“So how was your trip?” Tim asked, and then he sucked a draught of beer.
“It was good, except it didn’t really feel like a holiday at first,” Katie said, twirling her red wine by the stalk of the glass. “I mean the wedding was in the middle of nowhere. We got lost on the way down.”
Paul
dipped his head, his eyes travelled about the table before him as though the
white cloth were a map, the basket of flaky bread, the bowl of olives, the
salt, the pepper, all towns.
“Some parts of New Zealand are really feral. I mean the wedding was at this old
school or something,” she said. She tore a piece of bread, dipped it into the
oil and ate it.
Tim let out a short laugh that sounded as though he was forcefully clearing his throat. “You’ve lived in the city too long.”
“No,
honestly. You don’t understand what it was like,” she looked to Paul then to
her mother, “Like there was this town where people were riding horses on the
main stretch. Literally on the road
like the stone ages.”
“That doesn’t sound so bad. Imagine that, dear,” he said to his wife. The waiter
appeared.
“Medium,” he said. Tim raised his hand. “And rare?” Paul nodded and the waiter
lowered the plates before the two men.
He eyed the meat before him: the criss-crossed black lines sunk into the flesh,
the rose stain seeping in the scoop of mash potato.
He realised her hand was on his forearm. He looked up, met her eyes, all of
their eyes.
“Are you okay?”
***
He
had waved away his colleagues when they invited him for a beer. Taking the
train home, he pulled his hands back into the sleeves of his coat before taking
his grip on the handrail.
By the time she got home, she found him in bed reading.
She sat down and drew the hair away from his eyes with her fingers.
“Oh, look at your nails,” she said, pulling his hand into her lap. He shuffled
on the pillow, to hold his book with the other hand.
“I’ve always bitten them,” he said with a defensive barb in his voice.
“I’ve never noticed.”
“Well,” he said. “I have.” He pulled his hand back, then after a moment he
said, “You know, I was thinking I might start trying to meditate a little.
Maybe we could do it in the mornings, before work?”
“Meditating,” she said, “Seriously?”
“Why not?”
“It’s kind of weird, isn’t it?”
“Weird?”
“Oh look at you, Darling. Don’t get upset.”
“I’m not.” He tried to straighten his frown out but realised he couldn’t.
“I will do it with you if you really
want me to.”
The following week, after breakfast they turned the morning show off and sat,
listening to each other breathing. When
the timer issued a double beep on his phone, she laughed, just a small laugh as
though she had been holding it in for ten minutes.
“It’s so strange, isn’t it?” she said. “I don’t know what’s supposed to happen.”
“It’s to clear your head. To make you think more clearly, I mean.”
“Did you read that online?”
“No,” he said. “A lot of high-level executives do it. You would be surprised.”
She sniffed.
“What?”
“You’re just funny.”
“What do you mean?”
“Well, imagine the guys at the wedding. What would they say if they saw you
now?” Her grin was getting to him. She always smiled.
“Who?”
“The ones who joked about your socks. You were different, you know. Even your
voice changed.”
“Oh, shut up,” he said.
“Imagine them all sitting round with their
legs folded.”She
threw her mouth open and laughter tore out. Genuine laughter, but it hurt him
all the same.
“I didn’t change,” he said. “I was just drunk.”
“Oh, It’s okay, darling,” she said. She pulled him gently, holding her hands against his cheeks. Resting his head in her lap, she turned strands of his hair about her fingers.
“We all do it.”
She pointed the remote and the breakfast show started, mid-sentence. “…money on things that just don’t work, if you want to look younger...” He looked at the TV, but he did not focus on it. He thought only of the cow, grazing beside the river. He thought, how did it get there? He thought, does it know where it is?
Points:
Time spent:
Canary word: Present
Possible AI signals:
Original Text:
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Your comment was posted, but it wasn’t long enough to count as a review. Reviews need about four complete sentences (at least 250 characters). Try writing another review that explains your thoughts in more detail — the author will appreciate it, and you’ll earn points for it.
Really quick, reading this a second time also, with some knowledge about what your purpose is with the piece, I totally picked up on some metaphorical intricacies I missed the first time round.
Anyway, best of luck, JP.
Yo, seems like cC got most of the small stuff but here's some more I found:
I don't understand why you're describing individual letters coming out of his mouth or why he got self conscious.
I might take a night away from the booze—you know, get a good night's rest
Tim, her dad, ....
No comma.
The ending was strong and seemed to bring into clarity some of the symbolism explored in earlier parts of the piece. Its isolation at the end of a massive stream of impartial exposition definitely magnified its shock value and perhaps its power. The last line was as moving as any last line I've read.
But I was bored throughout most of this. It often seemed rudderless and though I did have a vague idea of what the end goal was I really had no idea how we were going to get there until the very last stretch of the journey, or even if we were going to go anywhere at all. Obviously the end was sweet, but I can't help but wonder if this is due more to its objective strength as a conclusion or its juxtaposition with the sheer aimlessness of much of the preceding exposition.
I don't know, I'm conflicted. If your aim is to leave me a general feeling of revelation, then this doesn't need a lot of revision—maybe a bit more concision and directness at certain junctions. So for the purposes of the competition at hand, that's all I could hope to recommend.
I feel as though you could do a lot more with this, though. I'd love to see the cow become more of a focal symbol in the story rather than a passing attraction that is quietly forgotten. This might inject a bit more conscious purpose and direction into your story which the surreptitious allegorical scatter-shooting currently in place largely fails to accomplish. I also could see this being shorter, both in length and internal timespan.
Sorry if that's not encouraging, but it's still a quality piece and who knows, maybe other people will receive it better than I did. Good luck with the contest and keep sending me your writing. I enjoy reading it.
Kafka, thank you so much. I needed this. I've already thinned it out, cut out a lot of the extraneous/deliberately vague scenes and details. It's more focussed. I have woven the cow and it established significance throughout. I have removed the character conflicts and focussed instead on Pauls interior conflict. I have also changed the title back to "I'm fine, why do you ask?"
I basically did everything you suggested.
Thanks again
Have you written this before?
Yes.
The original, can be found here: I'm fine, why do you ask?
So why repost? Because I have changed it a lot and I am about to submit it to a competition and I'm too lazy to do my own proofreading and I want to make any final fixes before I send it away.
As you asked for nitpicks, I'll get them out of the way first.
Should there be a comma after 1:21? As it is now, the sentence reads as if the clock is showing 1:21 only to her eyes at that point in time; presumably it shows 69:69 to anyone else who looks at it.
I feel that comma shouldn't be there. The sentence describes a sensation that's growing inside, nothing else; there's nothing to separate with that comma.
Sounds off / awkward. "At those times, he did the little he could do..." could be better, maybe.
YMMV, but I dislike the word "seemed". It's vague. To whom did it seem? To her? To him? "He felt he loved her more when they were hung-over", maybe?
How does one look as though there was someone to blame? The sentence doesn't sound right to me. "She looked as though she was blaming someone for the lay of the land"? Also, what does "lay of the land" mean? If it's a common expression, my apologies, I do not know of it. If it isn't, consider rewording, as it's not clear what it means.
I don't think there should be a comma after gorge.
Going a bit overboard with adjectives here. I would pick either anemic or toiling.
Comma after God.
All the skin? This is the image that immediately came to mind:
Spoiler
Probably not what you were going for.
Not sure who's speaking here. I assumed it was the lady, but she speaks immediately after this. If it's the gentleman, why is he talking about it being a waste if he's the one to initially suggest spending the day drinking?
This doesn't sound good to me. Doesn't sound conversational. Perhaps change the comma after "night" into a period, see if that works better.
I don't know why, but I absolutely adore this bit. Gave me a bit of the old shivers.
Engines moan? The imagery doesn't work for me here.
Skies are generally assumed to be endless. This adjective does not add anything to the sentence. I'd be more surprised if the sky ended at some point. Rather than endless, I'd add more to the colour. Metal-grey?
Roared past.
Another delicious raisin in the rice. I like it.
Again, not sure if the word "endless" adds anything here.
Cheeks.
I'm assuming, "Oh, don't worry about it"?
I giggled. Good.
Can't say I understand this bit. Did you mean "mussels", the marine animals?
If they saw you now?
---
I feel as though I had just read a life. Not a diary -- a life. There's a wandering feeling to this piece, a floating feeling. It's not really going anywhere, it is where it is. And yet, I can't say I found it boring. Nothing about the writing stood out, but this is a good thing here, because no part of it was more or less exciting than any other part.
A disclaimer: I haven't read much literary pieces, and I don't consider myself a particularly deep person, so if there's more to this piece that I don't see, I apologize. As I was reading it, my thought process was thus: "well, this is certainly not bad, but where is he going with this?" ... "huh, that's an interesting ending" ... "--huh. That's a really interesting ending." And so it was. As I said, the piece, while no doubt full of nuances and fineries, felt merely like a life to me. Paul felt as though he was floundering about, or going along with the stream. This does not make for an exciting story.
And yet... the ending punctuated this existence. The story isn't meant to be exciting, it is meant to be a life, and 99% of the time, lives are not exciting. Dust in the wind, it makes me think. All we are is dust in the wind. We have no idea how we got here, nor do we know where "here" is.
I don't know. I don't feel like the curtains of life have been peeled back for me; I don't feel like I've learned some grand truth. Yet the ending sticks in my head. I'm as lost in the story as Paul is in his existence. Did you mean for this to happen? I sure hope so, because if the ultimate purpose of this story was to make me feel, it certainly succeeded. If it was a literary monolith where every atom is a subtlety about the human condition, then it failed, mostly because I don't tend to look for subtleties in every atom. But it definitely left me with a feeling. Most certainly.
This review is rambly. I'm not sure what else to say, really. Maybe the journey to the ending was too long, but maybe not, because it feels just the right length. Maybe some parts were unnecessary, but maybe not, because their unnecessarity (?) was part of the point for their existence in the story.
So, having said that, I'll cut myself off here, before I devolve into an even more disjointed ramble. I hope my review will be of at least some help to you. Do I love the story? I don't know. I love the feeling it left me with. The story itself, I'm not so sure about, but if the feeling was the goal, does my opinion of the story really matter?
Your cow,
cC
This is more than I could have hoped for, thank you CC. There's always nitpicks, spelling errors, grammatical errors I miss. It doesn't matter how many times I run my eyes over the text, fresh eyes seem to always find them.
I love your interpretation. It's pretty close to what I was after, but it makes me realise I haven't quite got there. I wanted to cultivate a sense of helplessness, a model of determinism(if a writer can be so ambitious) I wanted readers to see that Paul is approaching something, like he is about to make a big change because without realising it, he has slowly transmutated into something foreign, and at the conclusion to the story he's approaching this epiphany (Snarky creative writing teachers might call this type of denouement a 'suspended epiphany' or a 'withdrawn epiphany').
Too-clever-for-their-own-good literary types also love vague symbols. See the cow that is lost, see the waves that endlessly change the shore line grinning at anyone who cares to stare long enough to see the change, see the road aka 'the journey', see the two sides of the road, one representing his feral upbringing of hangis and rugby clubs, the other domesticated/pasteurized side representing the breakdown of heritage/nativeness(sp?). And finally, the cow, makes its grand return. He is the cow, although the cow is an unnatural thing, the product of a farm and artificial insemination in a feral environment fending for itself, where he is the opposite a once feral thing transposed into the height of civility, the modern city apartment where everything is so detached from it's origins, no more so than the steak served at a trendy restaurant. Ta-da! The crowd stands, politely expressing their admiration with the patter of applause. But really... I hate the fact that to get any attention in these competitions you have to pander to the obscure preferences of finicky literary types with their specks pinched at the tip of their long rat-like noses. But once a year for a couple of months I become the type of writer I normally hate, because if by sheer luck I win one of these things the money and the credentials, would make it worth it.
So again, thanks a lot CC. You've outdone yourself and your 'rambling' is just what I needed
The original, found here: I'm fine, why do you ask? involves a little more idle banality between the Paul and Katie. The title is a little less leading so I really don't know which I prefer.
As for the lay of the land, I think its sufficiently well known, but in saying that it probably doesn't fit the diction level of this story.
Thanks again,
JP
It's my pleasure as always.
Having re-read the story again, I definitely see what you're saying about the transformation aspect of it. The bit with the hard "r" in Maori, was that there before, or did you just add it? Because that was part of what really drove home the point that he was a forest-creature who was slowly being tamed into a city rat. Nono, he wasn't a MaoRi anymore, he was a Kiwi, which (as I understand from previous knowledge and from the way the story portrayed it) is the city term for native folk. It feels emasculating, almost. Is he doing all this for the woman he's with, or because it's the "right" thing to do, to advance in civilization? (I'm thinking #2 , that also kind of plays into the determinism you were talking about). Either way, I'm getting a feeling of tragedy.
And yes, the presence of all the symbols was definitely felt, even though I couldn't pick out what they actually were. I didn't even notice the fact that they were eating a *steak* in the restaurant, where I should have drawn the comparison between it and the cow. But, again, I suppose this is where my talents end, and I can judge the story only as it appears to me from the first glance. Personally, considering that this is a genre piece, written in a genre that I'm not used to, and it *still* left me with a mental sliver to carry around, I think the story is a great success. While I get that you're disappointed that I didn't get the "true" meaning of the story, I'm a strict believer in death of the author -- the story must stand on its own merits, and its message is equally valid, no matter what it may be, to every individual reader. So, again, by my metric, the story is a success.
Great job on fixing up the bits I mentioned. I'm glad you didn't adopt my straight suggestions for some of them, because in retrospect, my suggestions sucked, and were mostly useful as an example of what I meant. It's like Neil Gaiman said about literary criticism: if they say it doesn't work, they're almost certainly right; if they say exactly how to fix it, they're almost certainly wrong. But yes, I wasn't able to find anything that caught my eye on this read-through. Maybe Kafka will have something else for you.
Best of luck with the competition!
Hello. KatyaElefant here to review! You said you wanted nitpicks. Some may be simple but you want to submit your best work. Well here you go!
NITPICK 1:
Spoiler
Right here you forgot to separate in and case. Probably a typing error.
NITPICK 2:
Spoiler
You misspelled patronizing here.
NITPICK 3:
Spoiler
Here I am just confused on what a hangi is. Is this a word? Can you explain? XD I don't know
NITPICK 4:
Spoiler
Separate edge and something here.
NITPICK 5:
Spoiler
Misspelled color. XD(I also almost misspelled misspell)
NITPICK 6:
Spoiler
Just because I have OCD, I have to point out that you need to make a space where the parentheses are.
NITPICK 7:
Spoiler
I thought that poodles are nice, not spoodles.
Your story is really good. I enjoyed it a lot. I am sorry if I was really harsh about grammar. Keep writing! Good luck and I hope you win!
Hope you win bro!
Hello.
Well first thing is: I don't remember reading the original story so I can go into this with fresh eyes. Second thing is: this is realllllllllllllllllllly long. I hope it's supposed to be long. I noticed, as I scrolled through it (before reading) that your description and dialogue sections are exactly that: sectioned. I take it segregating those parts of the work for the sake of the competition is what you're supposed to do? eg. Most of the dialogue is at the bottom.
I think, this work is very predictable, especially when you get to the ending. It is a safe journey and you carry it with safe words:
eg.
This section of dialogue for example was very dull. It's conversational yes. But does it stand out as a conversation that should appear in a novel (or just a story)? No.
I could sit here and nitpick at some of the little details, but I won't. In general, I just think you've taken the safe option. You have writing talent, I would want to see you take risks with it.
Keep writing.
And good luck.
I don't normally make it a habit of responding to reviewers, but since you took the time to consider my work, I feel I should at least point out one or two things concerning the short story form. When tasked with reading short stories by teachers and later lecturers and tutors, I held a similar position that you have expressed in your review. Though when I learned to appreciate a well crafted short story I soon changed my tune.
Here's a couple of keynotes:
- Short stories typically range from 500 - 10000 words. Most competition and literary arts magazines call for submissions generally between 2000-5000 words. This is about 2500, which puts it at the low end of the scale.
- This is a(n attempt) at a literary short story, genre fiction is a different kettle of fish. Literary short stories do not call for a great deal of typical action, in fact it's shunned, escorted from the building in the arms of brutes. The reason being, literary work draws attention to the craft itself. People read it to appreciate it and to appreciate the writing itself. Literary short stories should reveal some insight into the human condition, they should be heavily reliant on small interactions and conflicts. 'Risks' or conventional action, are eyed with suspicion and often labeled gimmicks.
- As for the dialogue, it's not at all supposed to be dry or lacklustre. I certainly hope you took something from it. The few lines you have pointed out were painstakingly drawn from me, reworked, rewritten and glossed to a high sheen. That is to say they are deliberate and took a great deal of time to get to where they are. It's supposed to be a nuanced exchange designed to convey pieces of back story (e.g, the fact she left early, why she left early, the relative age of the characters as one of their friends is pregnant, the fact he didn't know anyone and seemed to have a good time) Believe it or not, it's not something that just came to me. I acknowledge it's not breathtaking or high paced, but the same could be said about the dialogue in Sons and Lovers, by D.H. Lawrence. Or that of Ray Carver, for that matter. I'm not suggesting there is any comparison between my self and Lawrence, I'm just saying that not all dialogue is exclamation marks.
As for the format, I think you might find that it's a formatting fault. It's double spaced so when I copied it from word, it seemed to expand. The dialogue, as it should be, always begins as a new paragraph. But in the copying and pasting, new paragraph seem to be spaced broadly.
As for the ending, I hope it's not too predictable. I get the sense that you may not have read the entire piece, and I don't blame you, it doesn't seem to be your sort of thing. But if you genuinely found this predictable, if you knew the protagonist would begin to question where he is heading in life, if you knew early in the story that by the end he would be beginning to understand the irresistible press of time and the equally overwhelming sense of change, then please let me know. If you have read the entire text and haven't drawn either of these conclusions, than I'd also like to know because it would require urgent attention.
JP
I don't write reviews for works I don't read. I read the whole thing. And I am now wishing I hadn't. I understand this work is important to you and that is why I was trying to give you some constructive criticism. I read a lot of things; and in your story's case I saw the ending coming. It does require attention because (although I wouldn't word it like you have) it was pretty obvious this was another "revelation" story. Please don't be so short with me when addressing a writing issue. I'm here to help and your response was practically just a rant.
Like I said, I don't normally make a habit of responding to reviewers. And I don't want you to think it was just a rant. Look, if you want to help someone, atleast consider what they are trying to achieve. Familiarise yourself with the form, the genre. Avoid saying things like "it was pretty obvious this was another 'revealation' story." Thats criticism, if you added a reason why you felt thay way it would be constructive.
Errr, you can't just expect everyone to love what you write. I did give constructive criticism in the review in the first place. And not making a 'habit of responding to reviewers' shows someone being rude and ungrateful.
No issues here brother