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The Tattoo Engineer - 1.1 (Revised)



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Fri May 06, 2011 3:49 pm
ultraviolet says...



JOIN THE CLUB =3

A/N: Name changed from "The Deserter".

I shake out and close my umbrella at the doorway, almost dropping my packages in the process. Rebalancing them in my arm, I enter the back of the cafeteria building of Kilnstone Academy For Girls.
The rows of tables are nearly empty, most of the students in their afternoon classes, but those that remain are, like all the girls here, anywhere from two to nine years younger than me. When I first started working as the Headmistress’s assistant, I would get glares and scowls, because how else would young ladies of favorable lineage treat a girl they assumed was an Adair? But now that I’ve been here two years, they for the most part ignore me as I hurry through to the adjacent main office.
I greet an unmoving Saisha, the secretary, as I cut through her office and tap on the large wooden door to Headmistress Whitley’s office. After a curt “Come in” I push the door open and am about to lay the packages on the desk, but I stop. As does my heart.
I meet his chilling eyes; recognition is painted on his face. Obviously I’m the reason he’s here.
He clears his throat. “Headmistress, I need some privacy with… Miss Ceil.” It isn’t a request, but a command. Just like everything that’s ever come from his mouth.
I can feel Whitley looking towards me, perhaps looking for some sort of assent, but my eyes don’t leave him, and I make no movement. Finally, she just leaves on her own. Because she has to, even in her own school. Even in other countries, he has to be obeyed.
He gestures to a chair in front of the desk. “Sit.” Another command.
I stand.
Shaking his head, he reclines into the Headmistress’ seat, parading his obvious power. “You always were stubborn, weren’t you, Lilly?” He doesn’t look angry or confused by the fake name. More amused than anything. Amused at what I’ve had to do to survive on my own.
In response, I sit on the large windowsill. The shades are drawn and outside the stifling island rain continues, so no natural light brightens the dreary office.
“I’m assuming you’ve hear about Father’s passing.” That’s a nice way of putting it - Father’s passing - no remorse in his tone. Like he didn’t die. He wasn’t killed. He just… left.
“Yes,” I say. Same as him - no emotion. Because that’s what he wants, to soften me. Feed on my compassion. But I won’t let him. Not anymore.
“No one knows who did it yet,” he says, not hurt, not angry, not vengeful. Only making conversation. “He was too young. And now I’ve inherited the country…” He trails off.
“Get to the point.”
He sits up. “The point, Adah, is that I don’t want to do this alone.” I cringe when he says my real name - the name I haven’t heard in two years. “I want you to come home.”
No, you don’t. That’s my first thought when he says that. Because it’s true. He never wanted me home before - was all too happy when my parents banished me, back before Mother had a heart attack and Father was killed - and now that he’s the king there’s even less reason to have me home. If he accepted me back, I’d have claim in the kingdom if ever he was unable to run it. If he became sick or injured, or if someone killed him. If I remained banished, I’d get nothing.
“Why?”
He looks hurt I’d question his motives. As if he doesn’t already have this all planned out.
“You’re my sister, Adah. Doesn’t that count for anything?”
“Not the last time I checked.”
Taking a deep breath, he says, “Can I say I’m sorry?” You never have before. “I should have supported you. I should have stood up for you. But you know as well as I that if I had, I would have been banished too. Then we wouldn’t be here.”
Yes, we would. My parents loved him, adored him. He could do no wrong. And they needed an heir. Needed someone to take control after they died, someone they trusted, someone they knew would carry out their preformed plans. The plans which I so much opposed.
“Unfortunately,” I say, “you didn’t. It’s a little late now.”
“Ada-”
I cut him off. “I’m not coming h-” I catch myself. That place isn’t my home, not anymore. It never will be again. “Back there,” I finish my sentence. I refuse to meet his eyes. Mostly because mine are tearing up. “No matter what you say.”
“I‘m sorry you feel that way.” He rises and circles the desk to where I sit; I turn my head to face the window. “But before you make up your mind completely, there are some things you should know. If you came back, things would be different.”
Something angry stirs inside me.
“Different how?”
I jerk my head around and find it a mere foot from his, tears slipping out, like they always do when I’m angry.
A shiver runs through my spine as I realize, despite our age difference, just how far our resemblance carries. His hair’s thicker than my golden-orange waves, with a twinge of brown in it, and his eyes are darker than my hazel ones - but we both have unrealistically light skin, large eyes, and slight features. Neither of us is large, but not quite petite. A safe middle. Only on him, this all adds to the affect of compressed power, a fatal trait. Something we don’t share.
He doesn‘t react to my anger. “You wouldn’t resume your lessons. Instead, I want you to become my military adviser.” I raise my eyebrows. “Not right away of course,” he hastens to say. “You’d have to train to be a soldier first, and go through several camps before it’d be taken into serious consideration. But if you complete those, I can think of no one more fitting for the job.”
I have to check to see if he’s lying. But I can’t tell - it’s a skill he’s too well mastered. Still, why bring it up if he wasn’t sincere?
He notices my quizzical expression and, reminding me to keep my face unreadable, says, “I understand that you’re skeptical. But believe me, with Father gone, there have been considerable changes. Things will be better for you.”
I want to believe him, I really do, but I know he’s lying - either that, or there’s a catch. He’s never strictly honest.
“Well maybe I don’t care,” I say. “I’m not leaving.”
His face softens, turns rueful. Looks sorry. That’s how I know it’s an act. “And there’s nothing I can say to change your mind?”
“No.” I’m adamant.
“Adds,” he says, using his pet name that’s too familiar for comfort, “I know I was horrible before. But I’m trying to make up for it now. I miss you. Everyone at the palace misses you. Even that boy still comes around asking about you - what was his name? Gavin?”
My chest tightens. Gavin was my best friend, the person I could tell anything to. The one person who actually liked me, and not because I was a princess. Right before I left, a small romance even sparked between us, something we’d never admitted was possible, and for a few short weeks my life was perfect.
Until, of course, I was banished. That completely ruined it. I haven’t had contact with him since.
“I’ve already arranged for you two to commence training together, as partners.”
All our childhood we dreamed together of the intense training, the heroic battles; a life in the military. And entering the Combat Zone. We never could wrap our minds around that, even though for me it was never really a possibility.
“But if you don’t show up, I guess he won’t be able to train. All the other recruits have already been paired.”
I narrow my eyes, and even he must find it hard to side-step my contempt. Gavin is the general’s son - to not join the military now…
“Adds.” He can‘t help looking triumphant. “I only have so long. My ship leaves tomorrow. I need an answer.” He says this because he knows he’s won. He wouldn’t force me into a decision unless he was sure I’d choose what he wanted.
Resisting the urge to slap him, I curtly say, “I’ll be in the main hall at seven.” I exit and don’t look back.

So, is this version better? Do you follow things better/are more things explained, and what do you still have questions about? Does her giving in and leaving make more sense? And I guess, all the other things I've wanted in the past, like pacing and descriptions, etc. Thanks in advanced, all you lovelies. =)
Last edited by ultraviolet on Mon Jun 20, 2011 7:00 pm, edited 2 times in total.
"Blah blah blah. You feel trapped in your life. Here is what I am hearing: happiness isn't worth any inconvenience."

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Fri May 06, 2011 9:27 pm
silentpages says...



" “You always were stubborn, weren’t you, Lilly?” He doesn’t look angry or confused by the fake name. More amused than anything. Amused at what I’ve had to do to survive on my own. "
Good! This is much better. Less confusing on the name thing.

"“I’m assuming you’ve hear about Father’s passing.” That’s a nice way of putting it - Father’s passing - no remorse in his tone. Like he didn’t die. He wasn’t killed. He just… left. " Again, this is a good change. It reveals a lot more about why he's here, without stating everything flat-out.

"That’s my first thought when he says that. Because it’s true" That first sentence is a bit odd... And obviously it's her first thought, if it's the first thing we here. Maybe something like this would be smoother? "I only think the words because they're true." Or something. XD

"Taking a deep breath, he says, “Can I say I’m sorry?” You never have before. “I should have supported you. I should have stood up for you. But you know as well as I that if I had, I would have been banished too. Then we wouldn’t be here.” " I think this could probably be divided up a little more. At first I didn't realize that she wasn't speaking aloud, and I think it would be easier to see if that line was a paragraph of its own. Although I realize that such things don't float every person's boat. ;) Also, since it's second person, directed at him, I think it should be either italicized or the 'You' should be changed to 'He'.

"The plans which I so much opposed" Sounds odd. Especially the 'much' part. Cut that out for sure. "The plans which/that I so opposed." To be honest I'm not sure what the rule is regarding which/that.

I definitely think there's been an improvement here since the first draft. Things are a bit easier to follow, and I think I enjoyed this draft a lot more. :) Good job.

I'm still wondering a little bit about the setting, and what kind of time period this place is in, but maybe that will become more clear later on.

I also must confess, I'm not crazy about the new name. It's a bit more mystical than The Deserter, but... I don't know. It sounds a bit odd. I think it's at least partially the words Tattoo and Engineer together (and yes, I realize that's the whole title. xD). Are they terms that usually go together? I'm just not sure they work together in this case... Maybe a word besides Engineer? *thinks* If I come up with any suggestions, I'll let you know.

Again, nice improvement in this. :)
"Pay Attention. Pay Close Attention to everything, everything you see. Notice what no one else notices, and you'll know what no one else knows. What you get is what you get. What you do with what you get is more the point. -- Loris Harrow, City of Ember (Movie)
  





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Sat May 07, 2011 11:12 am
Wolferion says...



Ohayou Violet! Former team member here to review :) I've put your story into spoilers, my comments are below paragraphs to give you a comment in specific places.

Spoiler! :
I shake out and close my umbrella at the doorway, almost dropping my packages in the process. Rebalancing them in my arm, I enter the back of the cafeteria building of Kilnstone Academy For Girls.

The rows of tables are nearly empty, most of the students in their afternoon classes, but those that remain are, like all the girls here, anywhere from two to nine years younger than me. When I first started working as the Headmistress’s assistant, I would get glares and scowls, because how else would young ladies of favorable lineage treat a girl they assumed was an Adair? But now that I’ve been here two years, they for the most part ignore me as I hurry through to the adjacent main office.
- Reminds me of some animes and stories where one race is below anothers, our own history. Quite a bit known, but still touching.

I greet an unmoving Saisha, the secretary, as I cut through her office and tap on the large wooden door to Headmistress Whitley’s office. After a curt “Come in” I push the door open and am about to lay the packages on the desk, but I stop. As does my heart.
- Well, I think it could've been written a bit better, but it works just fine as it is.

I meet his chilling eyes; recognition is painted on his face. Obviously I’m the reason he’s here.
- Nice line, +1.
He clears his throat. “Headmistress, I need some privacy with… Miss Ceil.” It isn’t a request, but a command. Just like everything that’s ever come from his mouth.

I can feel Whitley looking towards me, perhaps looking for some sort of assent, but my eyes don’t leave him, and I make no movement. Finally, she just leaves on her own. Because she has to, even in her own school. Even in other countries, he has to be obeyed.
- I do not think there is a need to make Because into a new sentence. Finally, she just leaves on her own, because she has to, even in her own school, even in other countries, he has to be obeyed.

He gestures to a chair in front of the desk. “Sit.” Another command.

I stand.

Shaking his head, he reclines into the Headmistress’ seat, parading his obvious power. “You always were stubborn, weren’t you, Lilly?” He doesn’t look angry or confused by the fake name. More amused than anything. Amused at what I’ve had to do to survive on my own.
- Quite a powerful situation, +1.


In response, I sit on the large windowsill. The shades are drawn and outside the stifling island rain continues, so no natural light brightens the dreary office.
- +1 for descriptions.

“I’m assuming you’ve heard (Careful, mistypes are deadly) about Father’s passing.” That’s a nice way of putting it - Father’s passing - no remorse in his tone. Like he didn’t die. He wasn’t killed. He just… Left.

“Yes,” I say. Same as him - no emotion. Because that’s what he wants, to soften me. Feed on my compassion. But I won’t let him. Not anymore.
- Now I've noticed you've got that need to separate sentences in individual sentences. Alright, in terms of speech speed it works, but I still think , is better anyway. It makes us stop much less and enjoy the momentum.

“No one knows who did it yet,” he says, not hurt, not angry, not vengeful. Only making conversation. “He was too young. And now I’ve inherited the country…” He trails off.

“Get to the point.”

He sits up. “The point, Adah, is that I don’t want to do this alone.” I cringe when he says my real name - the name I haven’t heard in two years. “I want you to come home.”

No, you don’t. That’s my first thought when he says that. Because it’s true. He never wanted me home before - was all too happy when my parents banished me, back before Mother had a heart attack and Father was killed - and now that he’s the king there’s even less reason to have me home. If he accepted me back, I’d have claim in the kingdom if ever he was unable to run it. If he became sick or injured, or if someone killed him. If I remained banished, I’d get nothing.
- I kind of like these moments, they explain a lot, helps. Good job. +1

“Why?”

He looks hurt I’d question his motives. As if he doesn’t already have this all planned out.
- Quite an attitude to that person. These little details do a good job.

“You’re my sister, Adah. Doesn’t that count for anything?”

“Not the last time I checked.”
- It was quite a surprise to not see any descriptions as in reactions to this. You've had them everywhere before and now nothing? I wonder.

Taking a deep breath, he says, “Can I say I’m sorry?” You never have before. “I should have supported you. I should have stood up for you. But you know as well as I that if I had, I would have been banished too. Then we wouldn’t be here.”

Yes, we would. My parents loved him, adored him. He could do no wrong. And they needed an heir. Needed someone to take control after they died, someone they trusted, someone they knew would carry out their preformed plans. The plans which I so much opposed.

“Unfortunately,” I say, “you didn’t. It’s a little late now.”

“Ada-”

I cut him off. “I’m not coming h-” I catch myself. That place isn’t my home, not anymore. It never will be again. “Back there,” I finish my sentence. I refuse to meet his eyes. Mostly because mine are tearing up. “No matter what you say.”
- There is no need for dot between eyes and mostly, comma would do better.

“I‘m sorry you feel that way.” He rises and circles the desk to where I sit; I turn my head to face the window. “But before you make up your mind completely, there are some things you should know. If you came back, things would be different.”

Something angry stirs inside me.

“Different how?”

I jerk my head around and find it a mere foot from his, tears slipping out, like they always do when I’m angry.

A shiver runs through my spine as I realize, despite our age difference, just how far our resemblance carries. His hair’s thicker than my golden-orange waves, with a twinge of brown in it, and his eyes are darker than my hazel ones - but we both have unrealistically light skin, large eyes, and slight features. Neither of us is large, but not quite petite. A safe middle. Only on him, this all adds to the affect of compressed power, a fatal trait. Something we don’t share.
- Very nice descriptions here, +1.

He doesn‘t react to my anger. “You wouldn’t resume your lessons. Instead, I want you to become my military adviser.” I raise my eyebrows. “Not right away of course,” he hastens to say. “You’d have to train to be a soldier first, and go through several camps before it’d be taken into serious consideration. But if you complete those, I can think of no one more fitting for the job.”

I have to check to see if he’s lying. But I can’t tell - it’s a skill he’s too well mastered. Still, why bring it up if he wasn’t sincere?

He notices my quizzical expression and, reminding me to keep my face unreadable, says, “I understand that you’re skeptical. But believe me, with Father gone, there have been considerable changes. Things will be better for you.”

I want to believe him, I really do, but I know he’s lying - either that, or there’s a catch. He’s never strictly honest.

“Well, maybe I don’t care,” I say. “I’m not leaving.”

His face softens, turns rueful, looks sorry. That’s how I know it’s an act. “And there’s nothing I can say to change your mind?”
- You've got a quite need to seperate your sentences too much. At times, it's more disturbing than helpful though.
“No.” I’m adamant.

“Adds,” he says, using his pet name that’s too familiar for comfort, “I know I was horrible before. But I’m trying to make up for it now. I miss you. Everyone at the palace misses you. Even that boy still comes around asking about you - what was his name? Gavin?”

My chest tightens. Gavin was my best friend, the person I could tell anything to. The one person who actually liked me, and not because I was a princess. Right before I left, a small romance even sparked between us, something we’d never admitted was possible, and for a few short weeks my life was perfect.
- Oh what a twist. You planned his speech quite well.

Until, of course, I was banished. That completely ruined it. I haven’t had contact with him since.

“I’ve already arranged for you two to commence training together, as partners.”

All our childhood we dreamed together of the intense training, the heroic battles; a life in the military. And entering the Combat Zone. We never could wrap our minds around that, even though for me it was never really a possibility.

“But if you don’t show up, I guess he won’t be able to train. All the other recruits have already been paired.”

I narrow my eyes, and even he must find it hard to side-step my contempt. Gavin is the general’s son - to not join the military now…

“Adds.” He can‘t help looking triumphant. “I only have so long. My ship leaves tomorrow. I need an answer.” He says this because he knows he’s won. He wouldn’t force me into a decision unless he was sure I’d choose what he wanted.

Resisting the urge to slap him, I curtly say, “I’ll be in the main hall at seven.” I exit and don’t look back.
- Quite a twist in the dialogue, much better than if it was so easy and straight forward. Also shows us clearly that this guy is such a wicked mastermind. +1


In overall? I think this a good piece. Even though I must admit it's quite pretty simple, a bit unusual for me, it's still pretty good, especially since it's simple, it's not hard to understand things and know, same for remembering. You've used quiet a lot of descriptions and I think they were used well. I was quite disturbed by your need to separate sentences too much, you can notice more in my red comments in the spoiler. This story has a good potential, so best of luck :) I'll be looking forward to seeing more of your writings.

Kyou out~
~Don't beg for things, do it yourself or else you'll never get anything~
-Formerly Shinda
  





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Sun May 08, 2011 5:58 pm
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Shearwater says...



Hey there! I'm here to review this nice revised chapter of yours.
Now, since it's revised there's really not much that I can point out with this so this review is going to be a little short. ^^

Nitpicks & Comments


Because she has to, even in her own school. Even in other countries, he has to be obeyed.

As my opinion, I think that you could've mashed these two sentences together. Their separation gives some confusing feel to the sentence, actually. Maybe try something in the lines of, " Because she has to, even in her own school and even in other counties, obey him." Or if you were going for the fact that not just her but every one has to obey him then you can also reword this to something along the lines of this, " Finally, she leaves on her own. Because even here and even in other countries, he has to be obeyed."

Okay, I admit that's not the best rearrangement of words but I'm sure you can pull something out. Again, this is just my opinion, I stopped when reading that and lifted a brow at the construction of those sentences so I thought I might point it out.
“No one knows who did it yet,” he says, not hurt, not angry, not vengeful. Only making conversation. “He was too young. And now I’ve inherited the country…” He trails off.

I have mixed feelings about this line in particular. I feel like it's neat and different but I also felt like it was a bit confusing at first. However, I like it more than I dislike so I'd say to keep it. ^^

Okay so not many nitpicks at all so yay! <3


Overall


Alright so I liked this much better than the first one. I don’t exactly remember completely how the first chapter went but I know for a fact that this one reads more fluently and much more nicely than the other one. So, can I still ask you a question? Why did you change the name from “The Deserter” to “The Tatto Engineer?” I like the title, don’t get me wrong, I actually really like it. It’s interesting and I can’t help but feel like there’s actually some secret behind it, lol.

Okay, so back to the review. The opening, I see don’t have much of a change but you reel into the main part, meeting her brother, much quicker than before which acts like an anchor and captures the readers attention with this mysterious person who’s calling her by her real name and telling her to come home, a place where she’d been banished from. Overall, it’s a good start and the mystery and coolness of this second characters adds to the story but in some areas, he becomes even stronger than our protagonist. Since he’s also an important character, this is bound to happen and they’ll be playing tug-o-war.

One thing that I want to compliment you on however is how you make the two character’s interact. I like how you mentioned he was some to obey and then right after ward he tells the MC to sit down and she stands instead, not following his order. I thought it was a quite clever way to showing how these two will and have been interacting with each other and those little actions can show a lot bout the character’s relationship. So ten points for that? :3

Another thing, I find it interesting how you use present tense in here. There weren’t slip-ups and if there were, I wasn’t able to catch them, lol. I find present tense a bit difficult to work with so good luck on that!

In the end, this was better than the first. You changed some things here and there but it’s basically nothing much that I’d feel lost in. I enjoyed your dialogue, I thought it was quite powerful and interesting to keep pace with and I enjoyed your blend of action with the dialogue too. Your descriptions were drowning the piece to the point where I wanted to skip but you were able to keep some pretty good balance with everything so good job on that. Overall, it’s a pretty good first chapter. The introduction to our protagonist wasn’t very strong but you were able to get out the basics so that’s fine.

Well, good job! I feel like I’ve said this a billion times already, lol. Okay, well…if you need anything else let me know and if you have questions you know where to find me. I’m a quick PM or wall message away.

Keep writing,
-Pink
There are three rules for writing a novel. Unfortunately, no one knows what they are.
-W. Somerset Maugham
  





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Wed May 11, 2011 5:42 pm
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Sins says...



Hidere.

This will probably be more of a passing comment than a review because I always suck at reviewing edited things. This will probably just be full of compliments anyway... It was hard enough to find critiques before, so now you've edited it, I swear there's no hope. :P

Something you've certainly done successfully here is improved the whole mystery thing. I wouldn't say it's too mysterious now. Before, one of my main issues was the fact that a few things got confusing because you were really vague about them and such. There's still a good amount of mystery here, but not so much that it gets a bit annoying. What you were careful not to do though was go to the point of telling instead of showing. I've critiqued things before where I've advised the writer to be more vivid when it comes to details, but they've ended up being too vague. You didn't have that problem at all here, so awesome editing!

Something else that I noticed you did well was the way you edited the beginning. I like how it jumps straight into it all now instead of doing a bit of tip-toeing at the beginning. I think having the original beginning and then the scene with her Adah's brother actually added to the confusion thing because more was going on, ya know? So it's good that you've decided to cut a chunk out of the beginning.

The only thing that's still bothering me a bit is only something minor, plus I think it's partly just me and my paranoid self. The shortness of some of your sentences are still bugging me. It's totally fine if you have quite a choppy style, but you do have to be careful with it. Sometimes it can get a bit tiring for the reader. I'll show you some examples of what I mean.

Finally, she just leaves on her own. Because she has to, even in her own school. Even in other countries, he has to be obeyed.

What I'd write it like: Finally she just leaves on her own because she has to, even in her own school. Even in other countries, he has to be obeyed.

“Yes,” I say. Same as him - no emotion. Because that’s what he wants, to soften me. Feed on my compassion. But I won’t let him. Not anymore.

What I'd write it like: "Yes," I say in the same emotionless tone as him.
That's what he wants: to soften me, to feed on my compassion, but I won't let him. Not anymore.


No, you don’t. That’s my first thought when he says that. Because it’s true.

No, you don't. That's my first thought when he says that because it's true.

Like I've said before, it makes everything seem so... important. Short sentences are used for emphasis, and when you emphasize everything, it can edge on making the piece feel melodramatic. It gives off a monotonous feel too. Also, using conjunctions to start sentences is technically a case of grammar abuse. You start a lot of sentences with because and but. It's totally fine to slip in a sentence that begins with and, but, because e.t.c. here and there, but you do have a great deal of them. They're called conjunctions because they, well, conjoin sentences. Not periods though. ;)

Overall, a really good editing job here, my friend! That short sentence thing could be a bit more of a personal thing, but I do reckon you should think about it. So yeah! So far, so good!

Keep writing,

xoxo Skins
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Fri May 13, 2011 4:48 pm
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Azila says...



Ahoy there, Vi! I didn't forget about you after all. :}

And since I took so dreadfully long to get this to you I'm going to try and be especially thorough, though I'm really not sure there's much for me to pick at here. First off, there were a few nit-picky things I noticed that I'd like to point out. I only skimmed other peoples' nitpicks, so please excuse me if I repeat anything. Also, I apologize if some things are annoyingly nit-picky. I'm in a lethally fastidious mood just now.

I shake out and close my umbrella at the doorway, almost dropping my packages in the process. Rebalancing them in my arm, I enter the back of the cafeteria building of Kilnstone Academy For Girls.
There's nothing wrong with this, but seeing as it's the opening of the entire novel I'd like to see it be a bit more... special. It feels a little awkward and almost run-on-ish, and while it's not really all that bad I know you can do better. Openings are hard, but you're good at punchy, powerful sentences, so I think you're up to the challenge. I'm not going to give any particular suggestions, because I don't want to take over--just play with it a bit more to really make it shine.

After a curt “Come in” I push the door open and am about to lay the packages on the desk, but I stop. As does my heart.
This sounds a little odd to me. I think it should be "but my ______ stops," rather than "I stop" since technically, her heart is part of her so if she stops, so does her heart... syntactically, anyway. I'm not sure if I'm making any sense. >.< Basically, I think it would sound better to have it be something like "...but my hands stop. As does my heart." Then there's a nicer parallel, which makes the repetition a little more poetic, in my opinion.

Because she has to, even in her own school. Even in other countries, he has to be obeyed.
This repetition leads to a little confusion because it meshes "her" and "he" together. I'd change that to "Even in other countries, he is obeyed." It helps with the repetition and it's more powerful to boot.

“I’m assuming you’ve hear about Father’s passing.”
Heard? ;}

Like he didn’t die. He wasn’t killed. He just… left.
For some reason, I found this confusing. It might just be me, but I didn't realize for a little while that these were all sort of a continuation of one sentence. You might want to make it, "Like he didn't die. Like he wasn't killed. Like he just... left." But you don't have to, of course.

“Yes,” I say. Same as him - no emotion. Because that’s what he wants, to soften me. Feed on my compassion. But I won’t let him. Not anymore.
A bit too choppy, like Skins was saying. Maybe try and mesh this together a bit? You could try something along the lines of: “Yes,” I say, making myself be as emotionless as he is. He wants to soften me--to feed on my compassion--but I won’t let him. Not anymore."

That’s my first thought when he says that.
I don't like the repetition of "that." I'd either take out the underlined bit completely or make it something more like "That’s my first thought once my mind has processed his words."

If he accepted me back, I’d have claim in the kingdom if ever he was unable to run it. If he became sick or injured, or if someone killed him. If I remained banished, I’d get nothing.
Again, choppy. And kind of confusing. I'd make it something more like "If he accepted me back, I’d have claim in the kingdom if ever he became sick or injured, or if someone killed him. If I remained banished, I’d get nothing."

His face softens, turns rueful. Looks sorry. That’s how I know it’s an act.
I think you could play this up a bit more. Go into how he never looks rueful. Describe the glint in his eyes...

Right before I left, a small romance even sparked between us, something we’d never admitted was possible, and for a few short weeks my life was perfect.
This sounds a bit too info-dump-ish for my liking. Maybe make it something more like "something changed between us"? Make it less obvious. Maybe?

We never could wrap our minds around that, even though for me it was never really a possibility.
I found this sentence confusing. I would make a suggestion as to how to clarify it, but I'm not sure what you're trying to say, exactly. :/

Gavin is the general’s son - to not join the military now…
Same here. I'm one confused turtle.

Okay, enough with the nit-picks now. My head is spinning. @.@
--------------------------------------------

Overall, I like this. I think there's a lot of improvement over the last draft. For one thing, it seems a lot less Hunger Gamesish, which is a big bonus. :] I also like that you're jumping right in to things. That whole "you're not in trouble, are you?" conversation in the previous version wasn't really necessary, so I'm glad to see you've cut it. Other than that, this isn't too different, so I'm not going to rattle on about all the positive things because most of them are the same as the last version.

I'm going to agree with silentpages in that you could do with some more description. I don't really have a sense of what the setting is like at all. You don't have to go over the top with it, but just a bit of imagery here and there would go a long way. For example, when she turns her head towards the window you could mention what's outside--just a little mention, in passing. I know you want to get things moving with the plot, but knowing what the setting is like will help get the readers rooted in imagining the story, so it's pretty important.

Also, I think the beginning (before the conversation with her brother) feels a little like an info-dump, since you've made it shorter without taking out any of the information. I'd suggest you think about what you're trying to accomplish: is this information (that she's an assistant to the Headmistress and that the other girls are hostile towards her) information that the readers really need right now? If it's not, I'd suggest waiting 'till later and mentioning it in retrospect. If it is something you want your readers to know, then I'd suggest spending a little more time saying it--maybe you could open with a longer sequence of her walking through the school? Then you could show us the hostile glares rather than tell us about them.

And I agree with what Skins said about your short sentences. Remember when I told you that you have a way of writing that makes it seem like you're putting a lot of importance on every little detail? I think this is where that comes from. It's great for building suspense and it's really powerful, but be careful not to use it too much because what it's doing is putting emphasis on something, and if you put emphasis on everything then... well... that's sort of like putting emphasis on nothing, because the emphasis loses its power. Do you see what I'm saying? It's not bad so far, but it's just something to watch out for.

Oh, and one little nit-picky thing: did she ever put the packages down? You said that she was about to when she saw her brother, and I assumed she put them down at some point but I don't think you ever actually described her doing it.

EDIT: Aaaah! I almost forgot to say: I love the new title. There's something almost steam-punk about it... it makes me think of black leather and aviator goggles and a drafting compass. I can't wait to see how it ties in with the novel!

Nice job, overall! I'm glad to see you editing and incorporating suggestions. c: I hope this helps! As always, please PM me or post on my wall if you feel like it.

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Mon May 16, 2011 5:26 am
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RacheDrache says...



Hi Vi!

I haven't read the original version of this, so this is going to be a review not taking the whole 'revised' part into account. Obviously, it's polished, as if it's been revised, and that's a good thing. What I guess I mean is, instead of comparing this to the original and saying, "Yeah, 'tis better. You hath doneth good work," I'll see what I can come up with to make this even better. Sock-blowing-off status.

...that was probably incoherent. Whoops. Anyway.

First, in regards to comments from previous reviewers. I agree with Skins and Azila (and possibly others) on the nature of your short sentences. I didn't notice them while I was reading at first, but I realized once they pointed it out. It wasn't so much a problem from my perspective--possibly because I have a flare for the dramatic myself--but the habit could lead you into trouble down the road.

This was a dramatic scene, with lots of tension and the like. Short, clipped sentences and fragments are great for that. But, I highly doubt this is the most dramatic scene in your novel. My point being that if you use all your tricks now, they'll be old news by the time the even more intense scenes come into play.

The short, clipped sentences also make the narrator seem intense. Given her refusal to obey her brother, and her snappy departure, I'd say that's an accurate word for her. But, again. If she's this intense now, what's it going to come to later?

And, continuing on with the intensity thing, segueing into the character zone... I want more. I'm a glutton for dialogue dripping with character richness, as well as a glutton for sibling relationships. From what I've read here (and vague memories from my time on YWS before my leave of absence), I think you've got the writing chops to upgrade from characters who are part of the plot to characters who are the plot, they make stuff happen, the conflicts are theirs.

You've got an interesting dynamic to explore here with the brother and the sister. You hinted at it when she calls him on his bluff for wanting her to come home, but you didn't dive into it, and I'm thinking you should. Does she want to go home? Does she want him to want her to come home for nice, brotherly reasons?

Siblings have a way of reducing each other to a base form. No one can aggravate me quite like my own siblings can--and we have a normal, usually happy relationship with each other. Your two characters... think of all the things that they are beyond just brother and sister. Think of the power disparity between them. On the one hand, he's king and she's just a princess. That's the official power level. But on another, he's in her turf, which gives her a one up. But he's a reigning monarch and she's an exile. But she has something he wants, and that gives her another point.

The entire conversation is one big power play, and I guess I'm eager (being a linguistics junkie) to see that power structure at work. I like her attempt to maintain power by setting the time at the end, and leaving. That was a good move. But, more! I want more.

Think of every word they say to each other having a precise purpose, a job to accomplish some goal. He wants get to come home--and what else? How does he want her to come home? He lays out his plan for her without much prompting. Is that a cover-spiel to mask ulterior motives? Or does he just want her back, for those reasons, and there isn't that much of a power play going on on his head?

Or would he deal out those chips one at a time. Here a mention of Gavin, there a mention of a military life. Think of Gandalf at Bilbo's door, going from one dwarf to a couple to several and so forth, being so very sly. What he has to offer her to come home... those are his chips, his cards. Watch how he plays them.

And the sister, the narrator! She has only one bargaining chip, but it's a big one. And she wants to know why he's here, why he wants her to come home, etc. She wants that information, and she knows her brother in a way no one else does (that special sibling thing again) so what if she got just as sly about it, and said, "No, you don't." to his face instead of asking "Why?"

Those are just suggestions, to get you thinking, because in the end there's no right or wrong way to go about this business. It's just something to think about. But a dialogue is one big game in situations like this. How successful the characters are at playing...that's something particular to each character, something you can only get to know by knowing them. But people rarely say what they exactly mean. Just think of the friend who always chooses the right words for you when you're feeling blue--words that connote happy times--or the person who aggravates you who can always succeed in pissing you off.

Loaded words. One big sly, devious game. Bargaining chips. Verbal poker.

I hope to goodness I didn't just overwhelm you. I couldn't resist, though. There's so much potential between these siblings, and I want to see it bubble all over the page. Or screen, I guess.

I have two other comments for your consideration. One is that the narrator is very aware of her audience, and that was sort of disorienting. She knew exactly what to explain, and while that was nice as a reader initially, it meant I didn't get to know her as well. What things does she notice, find particular important? They might not be the things the reader's looking for, but they speak volumes about the character. A great character makes up for a little bit of lostness any day.

And my last comment is on the fact that she's the assistant to a headmaster. I'll be straightforward about it and just say that that kind of bugged me. I guess I just was expecting exile to be different than this. Perhaps I just don't know enough about the nature of her exile. Mainly, I hope there's a solid reason she ended up as the assistant to a headmistress. Does the headmistress know who she is? How much hiding is she doing?

And how is that affecting her conversation with her brother? Hrm? Hrm?

Sorry to keep egging you on that. I should make it clear right now that I thought your dialogue was good, and I'm in no way saying that it or the characters were bad. Heck, I usually wouldn't be mentioning something like this at all and just be giving you the big thumbs up and a grin. And if my rant there was overwhelming, by all means, ignore it and keep doing what you're doing. But the potential is there, and if you cease it... well, soon you wouldn't have to rely on syntax tricks to get all the tension. It'd come organically from the dialogue and the action itself.

Please, please let me know if you have any questions. I'd be happy (more than happy!) to clarify anything I said in here, or to help you with teasing apart all the ways people try to one up each other verbally (I'm writing my big, fat term paper on it!), or anything.

...and I guess I should also mention that I tend to think of review spewage like this as a sign that my subconscious really likes a piece of writing.

Keep rockin' on, Vi.

Rach and Ribbit
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Tue May 17, 2011 11:24 pm
Quasi says...



Hello, hello!

You gave me a hell of an intriguing review just now, so I'm going to try my best to return the favor.

I haven't read the first version, just this one, so I won't be able to weigh in on the subject of improvement...I'm skimming the previous reviews, though, and reading a lot about your short sentences. You know, I didn't even notice them while I was actively reading. I picked them out after I knew to look for them, but...my inner prose Zen says that if I wasn't struck on the initial read, then it's not a problem for me. You're writing a relatively close first-person narrator and thus have some stylistic leeway. If your narrator is thinking in this snipped, waspish way, then I would stay true to that. I can tell you that as a reader, I bought it.

And while I'm on (or hovering around, at least) the subject of the intimacy of the narrative...what didn't align in this piece for me was the informality of the speaker juxtaposed with the narration's choice of detail exploitation. And geez, that sounded pretentious. What I mean is: while the character of Adah came across as uncouth, emotional, and real, her viewpoint itself didn't always reflect that. You rely very heavily on emotion or explanation as telegraphed by flat description:

He looks hurt I'd question his motives.


He notices my quizzical expression


which is jarring, because quizzical expressions and hurt looks are abstract concepts; as the reader, I don't know what that looks like, and I also don't know how Adah is so sure about it, either. One of my favorite things about a first-person narrative is that it gives you the ability and the obligation to color every moment of exposition-- but that means that flat, objective statements stand out, because you don't have omniscience to explain them away, you know? I'd even stretch this to the statements like:

Something angry stirred inside of me.


recognition is painted on his face.


From this piece, I really believe that you know a lot about who Adah is and how she specifically reacts and feels. I think it would be awesome to see that bleed into the exposition.

Along the same lines, this particular transition bothered me:

I jerk my head around and find it a mere foot from his, tears slipping out, like they always do when I’m angry.
A shiver runs through my spine as I realize, despite our age difference, just how far our resemblance carries. His hair’s thicker than my golden-orange waves, with a twinge of brown in it, and his eyes are darker than my hazel ones - but we both have unrealistically light skin, large eyes, and slight features. Neither of us is large, but not quite petite. A safe middle. Only on him, this all adds to the affect of compressed power, a fatal trait. Something we don’t share.


Maybe this is subjective, but I don't think I needed the block paragraph of physical description in that moment. It goes to not believing the the narrator (who, after all, knows well enough what she looks like) would be spending her interior time defining herself and her brother in this way, in that moment.

One of your other reviewers said something about how brother and sister dynamics are typically personal and definitive-- I definitely agree with that, and think it's something to play with as you keep writing. This scene would be so jarring, and would pull at a reader's sensitivities, if they were constantly reminded of how well these two must know each other. And that in itself doesn't have to be stated so much as shown-- she remembers this about him, he knows exactly what to say to push her buttons.

You asked about pacing...maybe it's a cop-out to praise pacing, but I really do believe that was a strength. I liked that you didn't withhold information from the reader, because it would have been incredibly frustrating to be strung along on the question of who the guy was, why he was speaking to her, etc. A revealing opening that introduces a fundamental conflict is much more compelling, in my opinion.

...And that's the end of my first impression. I hope I made some sense. And please, if you have any questions ask away! (I'm not just saying that, either. :) )
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Sun Jul 31, 2011 1:19 pm
Spitfire says...



Hey there Ultraviolet!!
Judge Spitfire here for the First Chapter Contest ;)
On to reviewing!!

ultraviolet wrote:Because she has to, even in her own school. Even in other countries, he has to be obeyed.
He gestures to a chair in front of the desk. “Sit.” Another command.

The fact that you already mention he never asks anything, we can easily understand he would keep commanding things of people. So no need for that last part.

ultraviolet wrote:“I’m assuming you’ve heard about Father’s passing.” That’s a nice way of putting it - Father’s passing - no remorse in his tone. Like he didn’t die. He wasn’t killed. He just… left.


ultraviolet wrote:Taking a deep breath, he says, “Can I say I’m sorry?” You never have before. “I should have supported you. I should have stood up for you. But you know as well as I that if I had, I would have been banished too. Then we wouldn’t be here.”

This part should be in italic as it is her thoughts.

ultraviolet wrote:I narrow my eyes, and even he must find it hard to side-step my contempt. Gavin is the general’s son - to not join the military now…
“Adds.” He can‘t help looking triumphant. “I only have so long. My ship leaves tomorrow. I need an answer.” He says this because he knows he’s won. He wouldn’t force me into a decision unless he was sure I’d choose what he wanted.

Here we have a beginning of her wondering if she should go, but you don't continue it. She simply says that it would be bad for him to not join, then all of a sudden she's willing to go with her brother?? We need a little more that that. Have her think it over more, explain to us why it's so bad he wouldn't join now. Is he too old? Do you only have one chance to join? Will his father disown him if he doesn't complete this? These questions need to be answered (not exactly in this way but you get the idea) and explained.

Okay, nit-picking done.

Contrary to the others who've read the first version of the chapter, I'll be basing myself on this chapter alone. So here are my overall thoughts:

Description:
There isn't much description given in this chapter. You describe the cafeteria a little, so that's okay. But the most important place, the Headmistress' office, isn't really described. You say there's a desk, a chair, a windowsill and that it's dreary. That's it. We need more. How big is it? Is it a creepy or lovely room? Vaguely where is everything placed? How's the room decorated? Etc.

Also, you need to describe the main characters more. All that's said about the MC and her brother is their hair and eye color, and their shapes. Which isn't a bad thing, but as it's all compressed into one paragraph, it makes it feel as though there isn't much description throughout the rest of the chapter. Can you give us a little more? LIke the shape of their faces, the extra finger in his/her hand, the shape of their ears, what they are wearing, a bump on their knee, and so on. These are just examples, but you could mention these sorts of things here and there.

For example: "I don't believe you," she stated, straightening her robes.
This kind of small detail helps the reader imagine the characters. Because as of now, I have troubles imagining the two of them despite the descriptions you did give.

Character relationships
The brother-sister relationship is well done, I've got nothing more to say about that.

The assistant-others relationship, however, seems a little off. You say all the students didn't like her at first and now just ignore her, then the secretary completely ignores her, and the Headmistress his curt with her. Why? Why is everyone mean to her? Do they know she's a princess and that's why? If yes, then I don't understand why absolutely everyone dislikes her. Yes she was banished, but there ought to be someone in there who thinks it cool to meet a princess, no? I think it would only be if she was a mean person or did a terrible thing that people would dislike her. The way it is now, I find it hard to believe they unanimouly dislike her. You're going to have to check up on the details and clear them up.

Overall thoughts
This was a good chapter. I thought it started off a little quick, but once it got to the scene of her alone with her brother, I really enjoyed it. I liked how you brought us into the story without having to do flashbacks or having the MC tell her story in the middle of the chapter.

And that's about all I have to say. Good chapter and keep it going ;)
Spitfire
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