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NeoGAF Creative Writing Challenge #101 - "Relative"

Status
Not open for further replies.
Theme - "Relative"

Word Limit: 3000

Submission Deadline: Friday, July 13 by 11:59 PM Pacific.

Voting begins Saturday, June 30, and goes until Monday, July 16 at 11:59 PM Pacific.

Optional Secondary Objective: Nostalgia vs. The Unknown

Make your protagonist experience both something they’re very familiar with and something they’ve never experienced before. Could involve an object, a setting, an emotion. Can these two opposite things be contrasted? Or perhaps they share more similarities than expected? Who knows…

Submission Guidelines:

- One entry per poster.
- All submissions must be written during the time of the challenge.
- Using the topic as the title of your piece is discouraged.
- Keep to the word count!

Voting Guidelines:

- Three votes per voter. Please denote in your voting your 1st (3 pts), 2nd (2 pts), and 3rd (1 pt) place votes.
- Please read all submissions before voting.
- You must vote in order to be eligible to win the challenge.
- When voting ends, the winner gets a collective pat on the back, and starts the new challenge.

NeoGAF Creative Writing Challenge FAQ
Previous Challenge Threads and Themes


The Entries:

 

Jedeye Sniv

Banned
Hmmm, the comedy idea I had last week won't fit with this one so back to the drawing board! I appreciate the longer wordcount, although if we have as many people as last time it could take even longer to read and comment on all these! But an embarrassment of riches is nothing to be balked at :D

Definitely want to approach this with a much quicker pace to the story though, and fun. I need fun in this.

Let's do this!
 

Jables

Member
Congrats on your last win Mike! Going to have to really invest some time on this one. I've got nothing off the top of my head right now.
 
Question for you guys. How much research do you usually do for an entry? For example, Cyan's last entry on game theory seemed pretty comprehensive. I'm thinking about trying to write on an obscure topic rather than just firing off the first idea in my head.
 

Cyan

Banned
Question for you guys. How much research do you usually do for an entry? For example, Cyan's last entry on game theory seemed pretty comprehensive. I'm thinking about trying to write on an obscure topic rather than just firing off the first idea in my head.

Depends on the topic. At least enough to sound knowledgeable. If I have time, I like to do a bit more than just sound it, though.

In the case of my game theory entry, I'm not an expert, but I'd been reading up on it recently out of curiosity. Sort of had it on the brain--hence the entry. So I didn't have to do too much research, mostly hitting a few wikipedia pages to clarify things I wasn't entirely sure of.

If it's an obscure topic, you might get away with less research, but you never know. I wrote a story set on a submarine a while back, and while I did what I thought was sufficient research, I still got called out on a few inaccuracies.

If it's something that interests you, can't hurt to do a bit of reading!
 

Ashes

Banned
If that was me, sorry about that cyan. That submarine story, it was a good story though. I think it still is the only story set in a submarine I've read on gaf, so there's that as well.
 
Good news, everyone! /Farnsworth

So as I mentioned in the last thread, I am in the possession of a few pages of fiction workshop sheets which I've been using religiously for the past year.

At least a few people in these threads have been hesitant to critique and have asked for help and advice on the subject, and while I was unsure about whether or not I could post what I use online, I just go the go-ahead from my professor today!

So the question is, should I make one big post dedicated to the craft of workshopping in this thread, or should I post it in one of the other main writing threads on GAF?
 
Mike Works’ Mega Workshopping Post

“Effective criticism requires both absolute honesty—which is a sign that you respect the writer—and absolute tact. You want the writer to leave the workshop with a feeling of possibility rather than failure. Be excited about the potential story you can glimpse in what the writer has done so far. Challenge the writer to ask more of the story, and convey your belief that he or she is up to the task. If you offer insincere praise for fear of offending someone, you’re lowering the bar and encouraging mediocrity. Assume the other person wants to grow, not be patted on the back, and offer your comments accordingly.”

- Kim Addonizio, poet

As the quote above alludes to, workshopping can be tricky business, but an invaluable skill for any writer. I’ve said this before, but I think critiquing and workshopping someone else’s story mainly benefits you more than it does them; once you gain enough confidence to properly dissect and discuss someone else’s story, you start to gain a harder and wiser eye when it comes to evaluating, and even creating your own writing. It’s like fucking magic. Clap your hands three times and let’s begin.

1. Where to begin?

Sometimes the trickiest part to workshopping is knowing where to start. In the university workshops I’ve participated in, each student is assigned 2 (out of 30) stories to “introduce” – that is, before the roundtable discussion begins, they have to break down the story for the class and summarize the plot.

Here’s the checklist we have to go through:

When summarizing plot, identify:

~precipitating event (what happens to set the story in motion)
~main character's goal(s): the explicit goal/desire and its subtextual counterpart
~rising action: what stands in the way of her/him attaining those goals
~climax
~falling action: is the ending closed or open, goal attained or not
All fairly standard stuff, right? I mean hell, we recognize this stuff all the time when we’re reading stories. I know I do!

But do you recognize it when analyzing and critiquing? Ahh, that’s the big question. After reading a short story, we can feel one of a dozen ways; perhaps the story was really good up until the end? Or maybe the opening was a bit boring, but it picked up steam in the middle? Maybe you liked the main character, but not the story itself? Maybe the opposite? The big question is: why?

And that’s what the summarizing plot exercise above kicks into motion. I mentioned that my classmates and I had to address those questions only twice in a semester, but I can tell you that I used the above checklist when workshopping every single story in those classes. It’s a great, great tool for identifying early on what clicked for you in the story’s structure, or perhaps what didn’t. And best of all, it’s usually very easy. And if it isn’t easy? Well hey, you may have just discovered a vital weakness in the story.

Which leads us to…

2. The Questions
• What do we think this story is trying to become? What are its distinctive features? What seems to be the writer’s main interest while writing this?

• Where has the story succeeded? What are its strengths? Where can the writer feel a good job has been done?

• Where has the story so far missed the mark? What are its weaknesses? Where does the writer need to do more work? What more has to be done if it is to reach its potential? What advice would you give for improvements?
Above are three paragraphs, and you’ll notice they each have a separate line or viewpoint of questions.

The first paragraph contains questions that help to orientate you, the reader, as to why you felt this story was attempted in the first place. Every story is written for a reason. Every writer has a voice and has something they want people to read, whether it’s to entertain, intrigue, propose questions, etc… Answering these questions will help not only your attempted understanding of the piece, but will also help the author in seeing how people interpreted his or her work.

The second paragraph is filled with positivity, and this is vital (re-read Addonizio’s quote at the top of this post if you like). Listening and reading people workshop and critique your story can be absolutely brutal for a writer. It’s tough; you’ve taken the huge step of sharing your work with others, and it’s about to get criticized. People are about to tell you how you’ve failed. So you know what? You need to hear about how you’ve succeeded first. Because every story succeeds in some way.

And then we get to the lovely third paragraph. You need to hear about the issues or shortcomings in your stories. If you don’t, then there’s a very good chance that they won’t improve and become the fucking amazing story they’re destined to be. We’ve all shown our work to friends and relatives and received the standard, “This is so good!” Getting praise feels good, and there’s no harm in it! But you need to have your work critiqued if you want it to improve. Don’t get me wrong, you can go back and edit a first or second or fifth draft and make it better… but there are simply going to be so many things that your own eyes will not catch that are there. Every single professional writer I’ve spoken to gets their work critiqued by at least two other professional writers that they know and trust (this isn’t including their editors). It may feel difficult and harsh to tell someone where their story is lacking, but if you do it honesty and tact, you will help make their story better. And ultimately, they should appreciate that.

3. Three quick sentences
Your story is about…

At first I thought…

But then I realized…
This is another great little technique for figuring out where a story has succeeded or come up short in its attempt.

Finish the first sentence with something overreaching: if you were talking about Jurassic Park, you wouldn’t say, “…dinosaurs ripping shit up!” You’d want to come up with something more like, “…whether or not man has the right to play God, and the consequences of doing so.”

Finish the second sentence with your honest first impression, perhaps the one you got while still reading the story for the first time, perhaps the impression you formed right after you finished reading.

Finish the third sentence with how that initial impression changed or evolved after finishing the story, contemplation, and perhaps re-reading it. How were you able to reach this ultimate conclusion? Did the story earn this depth? Perhaps your initial impression didn’t change at all? Is that a good thing or a bad thing?

This is just a small little exercise to get your brain ready for…

4. Ze Details!

So you’ve got a firm grasp on what generally is and isn’t working with a story, but now you want to dive into specifics. Perhaps you think there’s an issue with the characters, but you’re not exactly sure how to explain it? Maybe something feels off (or on!) with the dialogue, but how do you summarize that?

Here are the 7 different components I analyze in every workshop:

Plot and Structure [consider: placement of scenes and proportion of scene vs. summary; climax, flashbacks; also: does this story need to be told, is it original or does it deal successfully with an old story in a new way?]

The narrator and the narrative Point of View [consider: whose story is this and do they bring something important to the telling of it; the pros and cons of the chosen point of view; voice and its consistency]

Characters [consider: are all characters suitably complex; is the main character shown under circumstances that reveal texture and contradiction in character; are these original, interesting, detailed and believable people?]

Dialogue [consider: is there enough; too much; is the dialogue sufficiently ‘literary’ or does it sound like conversation or a play; does the author provide enough breaks to describe setting and give rhythm to the dialogue]

Setting and Details [consider: all the ways that setting appears in a story: natural world, cultural milieu, characters’ possessions etc.: are details used consistently and often; does the author’s choice of detail show us the world in an original, evocative way]

High Points [consider: what makes this story unusually powerful, moving, inspiring to other writers? If it has none of these qualities, say so.]

Sentences and other technical matters [consider: strong verbs, effective and correct punctuation, tightening of sentences to eliminate weak words, concrete versus abstract, present participles, passive verbs, unnecessary repetition, typos, sentence variation]
This is a great list, especially when you’re not quite certain where a story may be lacking, but you know it’s somewhere. Go over this list and, most likely, you’ll find it. Hell, go over this list, and you’ll probably find a strong opinion you have with the story that you didn’t even realize existed! This stuff is for when you’re really ready to get into the meat and bones of a story, about what works and what doesn’t.

So there you have it. Those 4 sections are all I use every time I workshop a story. In our workshops, we’re required to write two pages of prose critique, and mark up a copy of the story with line edits. For context, I’ve randomly selected one of my workshop critiques from six months ago so you can see what a finished product might look like. Keep in mind that while this critique is given to the author to take home, the workshop classes are primarily discussion-based, and so while the “negative” may outweigh the “positive” in the text, that doesn’t mean it went the same way for the in-class discussion. And because I created this post mainly for online workshops and critiques, I’d probably include more of those positives in a written critique for one of these challenges.

Sample Workshop:

I’m going to jump head first into the narration of this story, because it’s a unique focal point for this class. Usually the major discussion topics in our workshops are structure and character or dialogue, but the use of the omniscient point of view in your story is an interesting decision. For the record, while I felt that the omniscient POV didn’t quite work in this draft of your story, I think it still can work. My issue isn’t with the fact that we know the thoughts of all of the characters, as there are some positives that you capitalize on early on in your story; by getting into the heads of all of these characters in the hotel, we get to know their motives and how they will potentially clash with one another. It’s incredibly intriguing. Usually the reader’s intrigue (in stories containing a third person limited POV) consists of trying to deduce what other characters are thinking and what their motives are. Here, we’re given their motives right away, so our thoughts turn to “how are these plain-set motives going to conflict and change.” And this is where I feel the use of the omniscient POV disappoints: for the vast majority of the story, all of the telegraphed motives actually happen. The POV takes away a lot of surprise we have for what these characters are thinking, which is fine, but that element of surprise if never filled in anywhere else. Examples of unsurprising or telegraphed events: Dawson coming to the hotel to get a servant girl (and getting one), Betty planning her escape (and escaping), Jim noticing his wife acting very suspicious with his meal before eating it (and getting poisoned to death), etc.

And while these are small, specific examples, I think it’s the strong opening premise that is let down the most by this telegraphing. The setup is intriguing: we get introduced to a multitude of characters one by one, almost all with different motivations, and with multiple conflicting expectations with what is going to happen for them. Despite this, very little conflict or tension is actually derived from this premise. Dawson is convinced he’s going to “better” the hotel owner to get what he wants, but as far as I can tell, he doesn’t really do anything special to earn this victory. Agnes is expecting to ensnare Dawson in her usual trap, but in what should be a surprising turn, she doesn’t, because… he’s different? We get told that she feels this way, but we never get any evidence as to why she feels this way. It doesn’t feel convincing. Jim’s decision to defy his wife should be a strong moment in the story, but I never really felt convinced of the importance of his character. He plays a very beta role compared to his wife, which could be okay, but then what’s the purpose or importance of Riley, who plays that role to an extreme? If this is a story that (partially) focuses on Agnes, a woman who dominates all men, getting bested by Dawson, then we really need to be strongly convinced that Dawson did something to earn his “victory.”

I think it’s good that our professor introduced “rate of revelation” so recent to the workshopping of your story, because I feel it’s the primary area that your revision can focus on. While an argument can definitely be made to switch this story into third person (subjective or objective), I think the omniscience call still work. We just need to be intrigued and have that intrigue pay off with surprise and substance.

In terms of setting, dialogue, and all else that pertains to the world of your story, I really enjoyed the choice of time and place. I’m currently reading a novel that takes place in the 1800’s in Oregon and California (called “The Sisters Brothers”, and I highly recommend checking it out at a library or Chapters before/when you work on your revision), and I was totally set on reading a western that takes place in Canada during that same time. Additionally, there are some great small details (the different Mile houses, the bricks tied to the dead bodies, the stack of hay Agnes had to sit on in jail), and I found myself wanting more of them. I think that part of the allure of reading historical (fiction) is the surprise and intrigue that comes with getting immersed in such a different time and culture. I’m not sure how familiar you are with Canada in the 1800’s (though I can almost certainly tell you that you know more than I do), but I’d suggest really going hardcore into research mode and use anything interesting that you think can help add to or at least flavour your story. While you did a nice job with setting and details, I found myself yearning for more historically unique dialogue. Apart from Agnes, the majority of the characters have fairly plain or common diction. While they do use non-contemporary terms like “missus” and “friend”, I felt that much of the dialogue could take place in contemporary times and, for the most part, fit. Riley’s dialogue sounds especially ordinary. Again, I’d suggest going into full research mode into historical literature (fiction or non) and examining their way of speech, sentence structures, etc. I think you might be surprised how close you already are to attaining this. I’d be remiss if I didn’t address Agnes’ dialogue. I’m not sure if it added anything to the story. If the narrative explained at the beginning that she had a thick or near-impenetrable Scottish accent, and then proceeded to present her dialogue in “normal” English, I don’t think our impression of her character would change at all. I actually felt that the single paragraph on the bottom of page 6 conveyed more about her character than all of her dialogue combined. Though there’s nothing “wrong” with giving a Scottish character phonetically-written dialogue, but I’d like to see it serve the story in some sense. As far as I can tell, none of the characters have any difficulty understanding what she’s saying, yet I often did. While this could perhaps be used as a means to convey how people in that time and setting were accustomed to the Scottish people and their accent (as opposed to the modern reader), I never felt like this was a point that was attempting to be made.

But yeah, what I’m hoping you take away most from this critique is the importance of surprise and intrigue developed by the narration, and the incredible importance of having it pay off.

Congrats on the first draft and good luck with your revision!
While it’s unreasonable to expect this detailed a critique for 20+ GAF stories every two weeks, I think we can up our effort in helping each other with our writing (and inadvertently improving a critical eye for our own work). So don’t be afraid! If you’re writing stories for others to see, you’ve already accomplished the hardest part. Critiquing and accepting criticism can be difficult, but it’s a worthy endeavor for any writer.

If you have any questions, feel free to ask.

Let’s make our writing better.
 

zethren

Banned
Sorry I didn't end up voting in the last one guys, I feel pretty bad about that. :p

I did have a lot of fun writing the piece though, and I do appreciate the feedback I got from it. It was the first bit of creative writing I've done for a while too, so that's something. Heh

I'd like to participate again this time, and hopefully not goof and remember the voting deadline.

Edit: Mike, great looking workshop. Reading over it now, thanks.
 

Cyan

Banned
And speaking of upping our effort, I came across this from David Farland:

David Farland said:
Too often, it seems to me, new writers forgive their own faults instead of trying to fix them. For example, they might put in a long description that breaks the flow of a story and tell themselves, “Well, I don’t see an easy way to blend this information in.” Or maybe they’ll write a bit of dull dialog and think, “I know that this is kind of boring, but people will read through it okay.”

So little by little, such writers sabotage their own work.

Often when reading a new writer’s work, I’ll point out a flaw and say, “You should fix this,” and I’ll find that the author saw the weakness, thought about fixing it, but instead decided to forgive it.

Don’t forgive yourself while in the writing process.
Hits kinda close to home. I do this all the time. In particular with my weaknesses, like description and imagery.

Trouble is, I just can't focus on everything all the time. It's too much for my brain. So I think I'm going to go back to doing sort of tertiary challenges, where there's some aspect of my writing that I'll focus on for a given story, and see if I can't nail it.
 

Tangent

Member
Badass! Thanks for posting, Mike!

Here, here! That was FANTASTIC, Mike. Very, very helpful. And your passion for writing is contagious. Can I ask where you are taking this writing workshop?

Also congrats on the win! (I know, late congrats on my part... I was caught up in hanging out with a billion cousins.)

And speaking of upping our effort, I came across this from David Farland:
Too often, it seems to me, new writers forgive their own faults instead of trying to fix them. For example, they might put in a long description that breaks the flow of a story and tell themselves, “Well, I don’t see an easy way to blend this information in.” Or maybe they’ll write a bit of dull dialog and think, “I know that this is kind of boring, but people will read through it okay.”

So little by little, such writers sabotage their own work.

Often when reading a new writer’s work, I’ll point out a flaw and say, “You should fix this,” and I’ll find that the author saw the weakness, thought about fixing it, but instead decided to forgive it.

Don’t forgive yourself while in the writing process.


Hits kinda close to home. I do this all the time. In particular with my weaknesses, like description and imagery.

Trouble is, I just can't focus on everything all the time. It's too much for my brain. So I think I'm going to go back to doing sort of tertiary challenges, where there's some aspect of my writing that I'll focus on for a given story, and see if I can't nail it.

I hear you. I sometimes feel like I'm redigesting barf when I go to my really early challenges, but it's time to step it up!
 

Cyan

Banned
Man, was having a tough time coming up with an ending for this one. Just outlining right now, but nothing I came up with really held up when I thought about it. But I think this one will work.

I'm trying something slightly different this time around, outlining first using story beats instead of individual scenes.
 

Jables

Member
Thanks for posting the work shop Mike! That'll be very helpful to me moving forward. Unfortunately though, my family has been visiting from out of town the past week and while I thought I might get a few minutes to myself to submit something, I've been unable to do so thus far. I may have to bow out of this week's contest and wait till I have my house back to myself.
 

Dresden

Member
Wrote something last night, I'd like to put it up here, but how do I use that tinypub thing? No idea what it is.
 
Yeah, I almost certainly won't have a submission for this challenge (moving is fun!), but I'll definitely try to find the time to post some critiques!
 

Red

Member
Mike, just wanted to say thanks for posting that workshop guide. I wrote responses for plenty while I was in school but it's nice to see such a thorough refresher.

not enterin tho
 

John Dunbar

correct about everything
The Last Hurrah of Malcolm Heathercomb
(3,000 words)

A stranger from a strange land, perished from some unknown sickness: an ailment more of mind than body. His remains were found at the edge of the Forlorn Forest, near the town of Woodsprite. This noble race of men, their only sin the occasional inbreeding, a practice not only natural but necessary in such a small and insular community, had never seen a creature quite so peculiar. His face and physique revealed him to be a human being, but his clothes were strange to behold. He was dressed mostly in dark colours, and there were layers. His black coat covered a white shirt, and on his feet were brown, heavy shoes that covered the toes. The feet also seemed to be covered with some kind of tubes that were mostly hidden by the trousers, both of which were uniformly black. Around his neck hung a crimson cord. This was the suspected cause of death at first, but it was loose enough to place fingers under it, and no marks of strangulation graced the throat.

“I told you he was here! I wasn't fibbing!”

“No, you were not,” said Malcolm Heathercomb, the mayor of Woodsprite, to Rudolph Waxtree, the eager youth who was anxious for everyone to recognize his find. Malcolm studied the corpse with great curiosity. A cold carcass seemed so out of place amidst the full bloom of summer, but it was not the poetic reminder of mortality that he contemplated. It was the cadaver's clothes he admired as his fingers coiled around the handle of his cane. How wonderful those shoes would look if you scrubbed the mud from them, he thought, now looking at his own bare feet, his toes wiggling in new-found disgust over the soft grass. How shiny and sophisticated.

“What a ghastly beast,” said Margaret Blossombirch, the town dressmaker. “A man without a beard. And so much black. It's unseemly.”

“Now, now, Ms. Blossombirch, do not be so hasty to judge,” Malcolm replied amidst the muttering throng, rubbing his own thick beard. “No doubt to him it would be us who appear savages.” Because we are, he continued in the privacy of his thoughts, and examined the body more carefully. There was something more around the dead man's neck, something shiny glittering beneath the red noose. The light it caught ignited a long-dormant desire within him, and he knew what he had to do. “But I agree, we do not know what killed it. We must bury it at once.”

“That's my thinking likewise, sir,” said Harold Oakenbloom, a stout fellow with a jolly face. “I brought us a shovel and I can rid us of the thing in a blink.”

“No, I will do it,” Malcolm declared, grabbing the shovel. Although your heart attack would be most welcome, we would feast for weeks. “As the mayor, it is my duty to, hm, deal with this find in a suitable manner. You all go back to town.”

“What about me, sir! I found it!” Rudolph protested.

Malcolm looked down on the young man as if he had just been slapped and the palm print was still red on his cheek. What manners! he thought, but then stopped to consider the body again. He does looks rather heavy.

“As you wish, Rudolph,” he finally said. “You shall assist me.”

“Spirits protect you, sir,” the receding crowd murmured as they took a last look of the corpse, then turned their lowered heads away, glad to leave such a gruesome sight behind them. Margaret Blossombirch gave Malcolm an encouraging smile before following the townsfolk.

Left alone with the corpse, Malcolm and Rudolph grabbed it and carried it deep into the Forlorn Forest, the end of the known world. No man had ever been known to cross that chasm of civilization and live to tell about it, and their unfortunate guest was no exception. When they found a patch of soft ground, they dropped the body and Rudolph took the shovel.

“Begin digging a grave for our new friend, Rudolph. Let no one say that the people of Woodsprite do not provide appropriate accommodation for their guests. I will go back to the forest for a moment.”

“Nature calls, eh, sir?”

"What, no...” Malcolm began, until realizing that explaining himself to a whippersnapper such as Rudolph Waxtree was beneath him. “I will have none of your vulgarity, do you understand?”

As Malcolm Heathercomb backtracked his steps, the thought occurred to him that Rudolph had not been entirely wrong. It was nature that sent him back into the forest, only not biology but psychology. He had been the mayor of Woodsprite long enough to be familiar with the nosy side of the community, and the last thing he needed was a lot of them snooping around, concealing their curiosity under the guise of offering a helping hand. Fortunately no one could be seen, and Malcolm returned to his fellow undertaker. For once they had the good sense not to poke their noses where they don't belong.

When he arrived back at the burial site, Rudolph had finished digging a shallow grave in the soft soil.

“You can leave now, Rudolph,” Malcolm said, reclaiming the shovel. “I'll take care of the rest.”

Rudolph headed back for the town, a tad too willing to part with his find for Malcolm's liking, but the mayor was too engrossed in his task to care. He waited until the young man vanished and the last rustle of undergrowth died in his wake. Then, planting the shovel into the ground, he approached the body.

*

The next morning the corpse clad in black and adorned with a bizarre red noose was the talk of the town. Men and women alike talked, whispered, theorized and gossiped all around Woodsprite, until all fell silent. The mayor strutted down the main, and, as it happens, the only, street of Woodsprite, his head held high and his cane marking the the earth with tiny holes as he went. Long after he had gone his merry yet dignified way, the village seemed to find its voice, and almost as one they gasped: “He's wearing the dead man's shoes!”

After his stroll, and after everyone had got a gander at his new footwear, Malcolm headed for home, the Heathersprite Manor, a three-storey mansion carved into the trunk of a colossal cypress tree. The estate had passed down in his family for generations; the current mayor was in fact the 15th Malcolm Heathercomb, and the sole living male progeny of his family.

Inside he placed his cane into a wicker basket and dragged in the dirt and grass stuck in the soles of his shoes with pride. In the hall he admired his latest acquisition in the full-body looking glass, to see the sight the whole town had just enjoyed. With a satisfied smile he rubbed the coarse stubble on his face: it had taken half the night and many painful cuts to rid himself of all that hideous facial hair, but he was rather pleased with the results of his first effort.

He then went into his study, in the corner of which was mounted a block of wood on a post. On it hung the black jacket and trousers, the white under shirt, and the red noose. Malcolm stood in front of it a moment. He had decided not to wear the whole ensemble at first, to allow the uncultured townsfolk time to adjust to his new style, and had accordingly only worn the shoes and the peculiar tubes that go on the feet before insertion. Of course he had also worn a pair of very short pants that the dead man had been wearing beneath all his clothes. No one could see those, though, so wearing them could cause no harm. Malcolm could not understand how he had lived before he had found this soft fabric to cradle his manhood, all firm and snug. Just the idea of all that dangling and flopping now made him feel sick.

Malcolm moved to the bookshelf and opened a secret compartment. Inside he found a long wooden tube. He tipped it over his desk and then unfolded the old leather parchment. It was a map, and at its centre was Heathersprite Manor, and around spread the Forlorn Forest, with lakes and rivers and valleys. Faded, but so vivid in Malcolm's eyes, were arrows that pointed towards strange sounding places, civilized places. They were a guide to a world that awaited him and his illustrious family which misfortune and fate had cast down to govern over this small, insignificant nook of nothing beyond all human knowledge.

“Son,” he recalled his late father's words. “The Heathercombs are not small world people. Some day we shall take our place in society.” He knew that to be true, for what was there for him in Woodsprite? Get married and start a family? Condemn another generation of Heathercombs to suffer amidst these rural buffoons? Not to even consider that the only viable candidate for marriage was Margaret Blossombirch, and he had long since rejected that prospect as a folly fit for a fool, but not for a true Heathercomb.

While daydreaming about the glory that no doubt awaited him now that he was dressed for success, there was a knock at the door. Swiftly he rolled up the map and hid it back into the tube: the world was no concern of the locals. He had expected a visit or two after his promenade, but was still taken by surprise by what he saw when he went to answer the door: almost the entire village had gathered at his manor. The awaiting crowd stood in a semicircle, and standing on the threshold of the manor made Malcolm feel like a lowly performer on the stage of an amphitheatre. Whoever it was that had summoned up the courage to come knock at the door had lost it almost as fast and had already returned and blended back into the ranks.

Knowing that the best defence was a good offence, and that nothing could be gained by letting the rabble see him rattled, Malcolm assumed a casual air. “Yes, is there something you require my assistance with?”

Glances were exchanged, nudging and shoving, a cough here and there, yet no one spoke as Malcolm's forefinger impatiently tapped the handle of his cane which he had prudently recovered before opening the door: a true gentlemen is never seen in a state of undress.

“As delightful as I find such a thoughtful visit, and you know my door is always open, but regrettably I am a very busy man, so if that's everything...”

“Your feet...,” someone who was certain he could not be seen volunteered amidst the crowd.

“Yes, what about them?”

Margaret Blossombirch shouldered her way through the throng and pointed at Malcolm's feet.

“Those are the hideous shoes the dead man wore!”

“While I'm sure you know a thing or two regarding hideous clothing, Ms. Blossombirch, I'm afraid you are mistaken. These happen to be the most elegant footwear available.”

“Look at yourself!” she wailed. “How can you wear shoes that won't let you relish the moist green grass after a summer rain?”

“How can you you live with filth under your toenails and and dried mud lodged between each and every toe?”

Malcolm's retort was no met kindly, and the crowd began to shout, their voices united in unintelligible babble that nonetheless conveyed the intended hostility. The mayor could do nothing but observe and wait for the uproar to pass: his words would have been lost in the cacophony. Naturally he had expected his new flamboyant flair to be controversial amidst the peasantry, but he had severely underestimated their resistance to progress. Their unwillingness to embrace culture bordered on the barbaric.

So this is how it's going to be, Malcolm thought as the storm of complaints swelled all around him. To think there was a time I entertained the possibility of marrying that trollop Blossombirch, but it's ever more clear that no amount of Heathercomb blood could have washed away the stain of her family. And there's Harold Oakenbloom, face all aflush and corpulent body quivering with indignation. And even Rudolph is here, but at least he has the good sense to keep his mouth shut. He does seem even more awkward than usually, fidgeting around like...

That thief! Malcolm had been so excited by all the his treasures that he had almost entirely forgotten the enticing glitter that had lured him on in the first place, going as far as to think that it had been some supernatural sign to guide him on his quest, but there was no mistaking the glint his eye now caught, tucked away inside Rudolph Waxtree's collar, and slowly but surely the mayor felt himself ready to burst with uncontrollable rage that clouded his judgement.

“That's enough!” Malcolm shouted, all the while wringing his cane like the neck of his worse enemy. “I will not listen one more word of this nonsense! Get away from my home! Go! That's right, go back to your sad little lives and stop pestering your betters! NOT YOU RUDOLPH!”

The stunned townsfolk retreated from the manor, shocked by their mayor's outburst. But none was more dejected than Rudolph Waxtree, who lurched in with downcast eyes while Malcolm held the door open for him. “In my study, Rudolph.”

Rudolph seated himself, and Malcolm took his place behind the desk. For a moment he observed the young man over steepled fingers.

“Is there anything I can get you, Rudolph? Perhaps some tea? Biscuits?”

“I'm good, Mr. Heathercomb, sir.”

“Oh are you, Rudolph? Good, that is. Good people don't steal, Rudolph.”

“I haven't stolen nuthin'!”

“Don't lie to me!” Malcolm struck the desk with his fist. “I will not be lied to by pond scum like you! I know what you stole from the dead man! I saw it!”

“I found him! It's no stealing to take what you find!”

Malcolm stood up, and walked across the room to the the wooden block acting as a mannequin. He took the red noose and ran it through his fingers. “I do not want to argue about this, Rudolph. Just show me what you took.”

Rudolph hesitated, then slipped his hand in his shirt. What he revealed made Malcolm's eyes spread wide open. It was a yellow, shiny necklace. The design of the amulet was elegant in its simplicity, two lines running perpendicular to each other. Malcolm knew instantly, by what secret source he could not tell, that if he only had this amulet, everything would work as he planned, nothing would stand in his way.

“I think you should give that to me, Rudolph.”

“I found it!”

“I am the mayor, Rudolph. I have to do what's right for our town, and what's right for the town is me having that necklace.”

“Why should you have everything!”

“Rudolph, Rudolph,” Malcolm pleaded. “Be reasonable. Give it to me, and I will, I will, I will give you this!”

Malcolm snatched the red noose and offered it to the young man, his eyes glazed with lust.

“I don't know...”

Rudolph couldn't finish before he was already being ushered in front of the looking glass in the hall. Malcolm forced the noose around his neck, and made him admire its reflection.

“Look how stylish it is!” Malcolm gushed. “Just magnificent! Why would you want a tiny trinket when you can have something so beautiful?”

Rudolph was torn, but only for an instant. The noose was clearly bigger, but it did not shine. Not like his trinket. He shook his head, and said “no”.

While Rudolph struggled to get the crimson cord off him, Malcolm was seething. He lunged at the young man, trying to snatch the necklace. He could not reached it, but got hold of the noose instead. Rudolph yelled and tried to run, but Malcolm was furious and helf on tight: he pulled the noose so hard all the voice went out of Rudolph, and then pushed him on the floor. With his heavy shoe firmly placed on the back of the hapless youth, Malcolm pulled the noose ever harder. When Rudolph moved no more, the heavily breathing Malcolm, as if he were now drawing breath for the both of them, saw a horror-struck face in the glass looking back at him, and he could not reconcile the joy he felt with that miserable face, until he realized what it was exactly he was seeing. Malcolm Heathercomb was looking at the face of Margaret Blossombirch in the window.

*

Dawn came, and the whole town had gathered to bid farewell to their deposed mayor. The tears that flowed on the occasion where not those of parting but of grief. The only face in the crowd that remained unperturbed belonged to Margaret Blossombirch, the sole witness to the dastardly deed. At the time of the act, the horror she saw had been mirrored in her countenance, but now she observed Malcolm Heathercomb with uncaring, emotionless eyes.

Malcolm himself was dressed in the full costume of the dead stranger, save for the red noose that snuffed the life out of poor Rudolph Waxtree which would be used to fan the flames that would give the final caresses to Rudolph's body before it nourished the town. The former mayor turned his back on the people of Woodsprite for the last time and faced the Forlorn Forest, one hand resting on his cane, the other clutching the amulet through the white under shirt. With his head held high, Malcolm Heathercomb was finally ready to step out into the world.
 

Cyan

Banned
Ward, how do you come up with your titles? Mine are always so... bland. I need a better way of titling stuff.
 

Ward

Member
Ward, how do you come up with your titles? Mine are always so... bland. I need a better way of titling stuff.

The short answer is avoid one word titles... or even two word titles. =)

A few more words adds interest.
 
Sorry, I gotta type up these mini-crits in a room with a bunch of people watching TV (impossible to concentrate), so they're gonna be brief. I did read the stories and jot down notes earlier though, so here we go:

Ward - "Will We Die Today?": This piece almost felt like two halves of two different stories. Both halves have clear conflict: a protagonist having to perhaps choose one of two women, then a protagonist having to fight for his life, but they didn't seem to really fit together. In terms of technical details, I think the protagonist could have benefited from a name (or perhaps the POV could be switched to first person), as the pronoun overuse became noticeable early on. As for the climax, the action felt a little too over-explained; I find that a move-by-move breakdown works great on screen, but perhaps not so much in fiction. Lastly I found the ending confusing, as I was hoping it would tie the two halves of the story together, but didn't seem to resolve either.

John Dunbar - "The Last Hurrah of Malcolm Heathercomb": This story had a nice sense of whimsy to it, though it felt a little muddled with the human aspects... I was never quite clear what universe the story was taking place in (one where characters full names must be spoken at all times it seems!). I enjoyed the visual transition of Malcolm "turning into" the dead man from the beginning, but I think the piece can do a better job at making that emotional transition stronger. I think we needed the nature of his character to be established more at the beginning, so his gradual change becomes more prominent. The depth of the piece could also be improved by delving more into why he wanted these new items (apart from the fact that they were shiny)… it felt very LOTRish, but the shoes didn’t seem to have that same symbolism that the one ring did, and the cross wasn’t introduced until near the end.

Tim the Wiz - "Emptying the Zoo": Very nice humor, though the structure of the piece felt a bit too loose. I felt that we could have been closer to the story and its characters, rather than sweeping over so fast in summary and exposition at times. I think the restrospective nature might be the right fit, but perhaps a slower, more focused pace would aid the story. Or maybe just more of it. Still, it was a unique read.

Tangent - "The Long Memory of Penton Teervet": Very nice setup and clarity in terms of conflict. However, I’d suggest altering the rate of revelation (which is something I’m obsessive about in stories): I think it would be better if we learned the “5 stages” first and the suicide conversation second. The tone shifts from light to serious back to light again in a sort of unnatural way in its current order. Apart from that, I felt that Laura’s character felt too hollow; like she was just there to bounce the meaty bits of the conversation back to the protagonist. The climax was admittedly a bit of a letdown; we’re anticipating what Penton is going to say after all these years, and after all of that wait, it basically boils down to: “Hey remember when you said that horrible thing? So do I. Okay, bye.” The fallout or falling action falls a bit flat too… there’s just very little surprise or resolution, which is unfortunate since the whole suicide sentence felt quite invigorating when it was first introduced. I’d reexamine that climax and the setting it’s in and ask yourself how you enhance the drama of that situation.

Ashes - "lie with me" : As usual, I enjoyed the emphasis you placed on dialogue, Ashes (though per usual I felt the piece might be a little skimpy on the exposition, though not as much as previous entries!). I actually printed this story out so I could read it in the park, and since I had a physical copy in my hands, I wanted to rip out the final few paragraphs and place them at or near the beginning of the story. Those paragraphs introduce the internal conflict of the protagonist at the very end of the story! I enjoyed the emotional resonance and all, and I appreciate wanting to reveal the past and display how people can mask what’s going through their heads, but the problem is we’re following this guy as the main character, and we’re not really given much of anything else to latch on to in terms of conflict (until the end). There are aspects of it there; how he’s a little awkward around others, how he’s single, but the majority of the story is him coasting through a quasi-interrogation with little-to-nothing at stake. I think the next edit on this one should primarily be a structural one, but one worth approaching.

Cyan - "Family" : Fast fast fast fast is the pace of this story. Next hallway, next scene, go! Is this a bad thing? Not necessarily. But I think I wanted it to be slower, at least initially, in order to do a stronger job of establishing the world and setting up the characters more. I have no idea who these two main characters are, what their relationship is, what they’re doing on this prison-type station, who the other commoners are, etc… I know there’s a lot to get out in under 3000 words, but I think you’re going to need to beef up some aspects, and whittle down or kill off others. I like the idea behind the ideal-shifting conversation with the guard (cogs), but it didn’t feel true or earned. It’s going to be tough to pull off. My main issue is that the real heart of the story (whether or not we should be able to choose our family), is used as more of a light skeleton than, well, a heart. It’s lightly touched on by a couple characters, but it felt like the true, important question the story (should) revolve around. I’d like to see the question really expanded upon, and truly integrated into the story. It’s kind of there right now, but I’d like to see the protagonist struggle a lot more over the question (and thus whether or not he should bother saving his sister… perhaps she can be charged for something like murder, only to have it later revealed in their conversation that she didn’t do anything wrong, that she was being set up by her ex?). Decisions decisions!



Votes:

1. Ashes - "lie with me"
2. Cyan - "Family"
3. Tim the Wiz - "Emptying the Zoo"

hm: Tangent - "The Long Memory of Penton Teervet"
 

Tangent

Member
Okay, I'm so ready to use the suggestions of how to crit that MW gave us. But.... I am having some culinary challenges that need to be solved before tomorrow morning. But I WILL provide feedback tomorrow!

For now, here are votes. After the 1st, it was hard! Everyone's writing is getting better and better.

Votes:
1. Ashes
2. JD
3. Cyan
HM: Tim the Wiz
 

Cyan

Banned
Votes:
1. John Dunbar - "The Last Hurrah of Malcolm Heathercomb"
2. Tangent - "The Long Memory of Penton Teervet"
3. Ashes - "lie with me"
 
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