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Young Writers Society



Cedar Ravine: 6.3

by rosette


It had started to rain.

I could hear splatters on the roof, a plinking echoing above my ears and around the nearly empty front room I sat in.

The windows were closed, and the couch pressed hard into my legs. I shifted, moving my books off my lap, staring at the crinkled burgundy curtains. They already looked dusty. But the lighting was so dim, I couldn't tell.

Mama had turned off all the lights except the tall lamp next to Papa. It was only me and him awake, sitting across from each other. He deep in study, though occasionally I would see him stare off into the distance, and me trying to finish my school.

Everyone else had gone to bed. 

But I didn't want to sleep. 

And apparently, neither did Papa.

The refrigerator hummed in the kitchen, and the clock ticked above my head.

I stared at Papa, and noticed more than ever the receding hairline, and invading gray on his head. He looked tired, his whole body slumped into the dark recliner, motionless and quiet.

"Papa," I said, and he glanced at me. His eyes were dark and weary, with bags like bruises hanging underneath.

I fingered the hem of my shirt, pressing my fingers into the thick cotton. "Don't you wonder why the church people act the way they do?"

He looked at me a second, forehead crinkling.

"They're acting weird around us," I added.

He hesitated, studying his papers. "Just because people don't like us at first doesn't mean they're part of some... cult." His eyes drifted to mine, and my heart flipped a bit. 

So he did know.

"But Papa," I said. "They're not going to hate us for no reason."

"It's always difficult when a pastor takes over a church who's not familiar with him." His voice was so low, I almost didn't hear him.

"But Papa," I said. "This isn't just any regular church."

"Maddie," he began, and I held in a frustrated sigh, sensing an impending story. "When my family first moved to pastor in Nevada... people weren't friendly. They avoided us, ignored us, told their children not to talk to the new PK's. They'd disrespect my father to his face, and go against everything they knew he stood for."

He looked me square in the face. "It took some time to adjust. But in the end, it was all worth the struggle."

It was only natural Papa would bring up that story. I was surprised he hadn't already.

"But this isn't Reno," I said, tightly. 

Reno wasn't founded on a cult, and Reno didn't have less than 100 citizens. We had more people in our church back home than Cedar Ravine had in population. Of course the people would receive us differently.

But Papa was stubbornly refusing to hear anything about the town's history, and it was beginning to irritate me.

Fine, then, I thought. You'll figure it out, eventually. Find out what you needed to know later when it will probably be too late.

A hard pound sounded against the door, and I jumped, books crashing against the floor.

Papa's head lifted. He looked at my books, then at me. There was a question on his face, and a hint of unease, that I felt sure only mirrored my own.

He eased himself slowly to his feet, and to the door, cracking it open just the slightest. Then wider, peering out into the dark. 

"Hello?" he called out.

But the only response was the rain, beating onto the house.

I sat up straighter on the couch. "There's something on the door." 

It looked like a white envelope taped to the wood.

He pulled it off, shutting the door after one more careful survey. "No one was out there," I heard him muse.

"They just left that?" Kentucky stood in the entrance to the hallway, eyes fixed on the Papa's hands. The knock must have awakened him - his dark hair was tousled, and his T-shirt rumpled.

Papa didn't say anything, didn't even seem to notice him, only sat back in the recliner, and opened the envelope, pulling out a folded piece of paper.

"What is it?" I asked, curiousity awakening.

I watched as he unfolded the paper, and his eyes scanned the page. Almost immediately a strange expression darkened his face. His mouth grew taut. "This isn't - no."

"Papa?" I frowned at him. "What is it?"

Kentucky moved to stand behind him, and with one glance his face twisted into nearly as strange of an expression as Papa's. 

He stared at the paper.

"What is it?" I slipped off the couch, and made a move to get over when Kentucky spoke: "It's a letter of termination."

"A what?"

Papa's face was tight. He set the paper down on his lap, everything about the movement stiff and rigid. "They want to get rid of us."

I froze, staring at him.

If Papa could have read my mind, he would have been horrified. Horrified at the spark of joy that ignited inside me. If they got rid of us, we could leave. If they got rid of us, I could go back home. No more Cedar Ravine. No more of this mess.

But then a flood of anger washed all happiness away.

"They can't do that," I said, sharply. "That doesn't - they can't. It's not their decision!" What was the deal with these people, anyway?! "Just because they hate us? That's why they're doing this?!"

"No," said Papa, and his voice was soft. He didn't look angry. Or upset. Now his face looked drained a little, as if life were beginning to evaporate from him. "They can't do that. And they know it."

"Then why - what?" I couldn't make sense of anything in my head.

"It's a threat," said Kentucky. His eyes moved to the window beside me, as if he expected to see something through the curtains, lurking in the shadows.

My chest tightened. It felt nearly as taut as Kentucky's face looked.

But Papa - Papa looked drained

I didn't like that look on his face.

------

Someone was pulling urgently at my arm. I heard muffled sobs, the crinkling of sheets around me. "Maddie... Maddie!" I recognized that girlish voice. "Maddie - I'm - scared!"

She was trying to crawl into bed beside me, pulling the blankets away from my body.

"What the -" I sat up, groggily, rubbing my eyes. My vision was blurry, and my mind felt hazy. "What are you doing?"

The moonlight lay flat on my quilt in pale stripes, illuminating the darkness, faintly. Enough to see the little figure of my sister burrowing into my side.

"I - I had a bad dream." Her entire body was trembling, shaking my bed. "J-Jackson died." She sobbed louder, "Jackson died!"

Chills pricked my skin, and I shuddered, almost instinctively. "No. No." I managed to wrap an arm around her, pulling the blankets around her. "No, it was just a dream, Kiley. It was just a dream."

"But Maddie," she cried. "He died. I'm scared!" She was clinging to me so tightly, I almost felt as if I couldn't breathe.

"Hey, hey," I soothed, shifting backwards to lean against the headboard. "It's okay, it's gonna be okay. Jackson's not going anywhere."

But there was an uneasy feeling that had seemed to awaken inside my stomach, and when I rested my chin on top of her trembling head I wished my heart didn't feel so heavy. 


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Sat Jun 09, 2018 3:18 pm
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mellifera wrote a review...



Hey Wonder Woman! *spins shield around* Cap's back for another review! :D


a plinking echoing above my ears and around the nearly empty front room I sat in.


This is more of a personal preference, but it reads a bit funny with two 'ing' descriptions following one another. I think 'a plinking echo above and around me in the nearly empty front room I sat in' would sound nicer? But that might just be me too.

They already looked dusty. But the light was so dim, I couldn't tell.


Since the second sentence in more of an addition to the first, I would change that period to a comma?

He deep in study


'He was deep in study' and 'I was trying to finish my schooling'?

His eyes were dark and weary, with bags like bruises hanging underneath.


I really like this description <3

"Just because people don't like us at first doesn't mean they're part of some... cult."


So based on Maddie's reaction to this ('So he did know'), does he also know that she knows? This seems like an odd thing to say if he didn't think she knew.

books crashing against the floor.


Personally, I would prefer if it was 'books crashing to the floor', but that's not very important haha.

and a hint of unease, that I felt sure only mirrored my own.

He eased himself slowly to his feet,


It's sounds a little repetitive to use 'unease' and then 'ease', even though the lines are split up. Maybe 'he lifted himself slowly to his feet'?

I sat up straighter on the couch. "There's something on the door."


Who says this? I'm guessing it's her father, but I'm also not sure?

It looked like a white envelope taped to the wood.


How can she see it from the couch? Or is the couch a lot closer to the door than I'm imagining? Or does Maddie just have very good vision? xD

"They want to get rid of us."


now, I wonder who was just talking about this...*taps chin thoughtfully*

On a more serious note, I love the transition here! It has an almost spooky vibe, and it's a little intense when her father said "This isn't - no." so awesome job with that!

But Papa - Papa looked drain


So you already mentioned he looked drained, so I would either cut this part out or change it to something else? Resignation? I'm not sure, that would be up to you (also, you're missing a period at the end ;) )

And for the sake of not adding in an unnecessary quote, I think I'd like it better if the line after this one was something describing Maddie's stomach churning or her gut squirming or something, instead of just saying she didn't like it.


"J-Jackson died." She sobbed louder, "Jackson died!"


THIS BETTER NOT BE FORESHADOWING YOUNG LADY D:<

and I shuddered, almost instinctively.


Was she...shuddering on purpose then? I would think she is shuddering instinctively, not 'almost instinctively'.

But there was an uneasy feeling that had seemed to awaken inside my stomach, and when I rested my chin on top of her trembling head I wished my heart didn't feel so heavy.


I love this whole bit very much??? And wow, what a perfect line to take a break on. But agh, the cliffhangers :O


-So I have the usual little nitpicks about splitting your lines up, and how there isn't as much description, but besides that, I loved this chapter <3 It got spooky in the middle there, and you held on to that tense atmosphere straight to the end and that was amazing?? I definitely think this was one of the stronger chapters, and even with all the things that have been going on, I hadn't really expected a threat was going to be issued towards their family. Yikes, but also, awesome xD


That's about all I have for you today, but let me know if there's anything else you'd like comments on. I know you won't be posting for a while, so good luck with getting the rest of the novel written! :D

I hope you have a wonderful day <33




rosette says...


Thank you for reviewing, dear Captain! I'm gonna miss these reviews *sniffles*
You have a wonderful day, as well. <333



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Fri Jun 08, 2018 5:41 pm
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LanaOverland wrote a review...



Hey-o,

Sorry if I'm walking in on the middle of your plot, but I think I grasp the basics. The daughter of a pastor? moves to this cultish town that doesn't like the cut of their gib, and she seems to be the only one seeing it, but her dad does too.

Right off the top, a few things to note in your style. "I could hear splatters on the roof, a plinking echoing above my ears" I understand what you're going for here, but one you could go in greater depths to establish the mood of this scene (i.e. really going into detail about how the rain sounds off of the tin roof--deeper than you think. By sticking in and describing this with more detail you will get a slower pacing which I think is what you want in this section and you will establish this mood) two you could use some better words here. This is more of a later edits thing, but choose words with a sound that matches the tone that you want to establish. splatters is a more high energy and harsh sounding word, and it tends to break up the immersion. So when you're editing try to keep an eye out for how the section sounds and how that meshes with your tone not just how accurately it describes the scene. Which, speaking of accuracy, you tend to go into too much detail in small sections like: "crinkled burgundy curtains," and "and around the nearly empty front room I sat in." I get the instinct to try to give the reader as much information as possible--believe me it's my number one edit on my own work-- but when you're going back through really interrogate these sections with lots of adjectives, you might find that the details are unnecessary, interrupt the immersion, or muddy up the flow. For instance just getting rid of "burgundy from earlier has a real good alliteration and it gives me the detail that the curtains aren't fancy without over packing adjectives. As for getting these details in you may find that slowing down and adding more personal description like how the sensation of listening to the rain makes her feel will give you space to add details without having to rush through them in lists of adjectives.

In summary: tone down adjectives, get in the body for description, don't be afraid to just go on a "tangent" to establish the mood before getting into the plot details.

Quotes that made me stop:

"It was only me and him awake, sitting across from each other. He deep in study, though occasionally I would see him stare off into the distance, and me trying to finish my school." This sentence is confusing.

"Everyone else had gone to bed. 
But I didn't want to sleep. 
And apparently, neither did Papa."
This section is redundant and breaks up the pacing and the tension you're building between the two characters.

"The refrigerator hummed in the kitchen, and the clock ticked above my head." So this is a good start, but like I said earlier really talk about why this matters. I get that you're trying to add a pause in between their dialogue to increase tension (like how in a movie you'd cut to a shot of a ticking clock) but because this is so short I just sped past it without paying much mind to it. What might help is getting into her body--by which I mean how does she feel about the background noise, is she sweating, what happened to the rain? This will give you the pause you want and help you get across to the reader that there is tension happening here.

"It was only natural Papa would bring up that story." Obviously I don't know your story, but I didn't get the significance of this story. What emotional response does this story muster from the characters? Does it not bring out the expected reaction from the girl? Is it a story he tells them every time he does any kind of lesson?

"A hard pound sounded against the door, and I jumped, books crashing against the floor."
Again it's unclear to me what's going on in this section, where were the books? I also think you could establish the shock better. Like if this is in an instant, maybe she doesn't realize where teh sound is coming from and that makes her jump, obviously it's breaking up the calm atmosphere from the rain so maybe showing how everything was quiet earlier would help. The pacing here just makes me skip over this sentence and you really want it to stick with me becuase it's a turning point in your scene.

"It looked like a white envelope taped to the wood" Or maybe it is one.

"But then a flood of anger washed all happiness away." This is too sudden, I get that she's expecting one reaction, but finds herself thinking something else, but that needs to be clearer.

Overall the plot was sensical if rushed in some places.




rosette says...


Thank you for your review :)




I wish literally anything else I ever said made it into the quote generator.
— CowLogic