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This is a piece that I put together recently for a contest, the same one that I submitted Sorry to last year. The submission date for this is May 31st, but I'd like to get as many reviews as possible for this before submitting.
I must warn you, though, that this is a very odd piece, and I'm not all too sure that it's a good one. Please comment and review.
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“Miss Pyrite! How do you feel about…?”
“Miss Pyrite! Your critics say…”
“Miss Pyrite! Over here, please!”
Joan Pyrite turned towards the last speaker, who was holding his camera high and at ready, and smiled brightly, her perfect teeth glinting in the late afternoon sun. The bulb flashed, muted by her sunglasses. “Thank you, Miss Pyrite!”
She nodded and continued on, heedless of the swarm of reporters struggling with her entourage. The noise was nearly unbearable, a solid wall of sound crashing down like a wave, crushing all smaller sounds and taking them into itself until anything one said was simply part of the dull roar. Eventually she made it into the limousine, and her secretary Cindy climbed in after her, slamming the door. The noise continued, heedless of the glass and steel between Joan and the reporters, but it was muted and tame.
Cindy brushed back her brown hair and reached into her ears, pulling out a pair of pink earplugs. “I don’t think I’ll ever get used to them,” she said ruefully, stowing them in her purse and rubbing her ears.
“You’d better, if you want to keep your job,” said Joan, smiling faintly out the window. “Tell Brian that I’m going to be a bit late for lunch,” she continued before Cindy could reply. “I want to make a quick stop at the new store.”
“Yes ma’am,” replied Cindy, reaching for her cell phone.
“Oh, not now,” said Joan, “he’s got this freaky way of knowing when I’m nearby. Call him once we get to the store.”
“Yes ma’am,” said Cindy again. She leaned forward and rapped on the partition separating them from the driver, which lowered with an electronic buzz. “Miss Pyrite wishes to visit the new store,” she told the driver. He nodded, his black cap bobbing, then the partition buzzed back up.
Joan sat back and brushed her platinum blond hair back behind her ears as the limousine left the press behind. “What’s happening after lunch?” she asked Cindy, and stared out the window as Cindy laid out her life for the day. When she had finished (“…and Howard’s moved the matinee ahead to nine, so you’ll see that and be home by around midnight.”) Joan nodded and waved a perfectly manicured hand vaguely in her direction. “All right. That’ll be all for now.”
Cindy nodded and sat back, closing her eyes. Joan continued to watch out the window. The limousine was passing by one of the universities now – one of the big, important ones…she couldn’t remember the name – and there was a small crowd of people standing outside of it, waving billboards and shouting slogans. She leaned over and tapped Cindy on the shoulder, who sat up. “What’s all that about?” she asked.
They had passed the crowd by that point, so Cindy turned around and squinted at them from the rear windshield. “Oh, that,” she said. “Something about the war.”
“Oh, right, the war,” said Joan. She had a vague memory of visiting a base in the middle of a desert somewhere and visiting the troops, who would be a great deal sexier if they weren’t so filthy. She made a mental note to catch them after they’d gotten home and had a good long shower – sweat was a turn-on, but the dirt and sand that stuck to it definitely wasn’t. “Who’re we fighting again?” she asked Cindy, who shrugged and leaned back again. “I dunno,” she said, “bad guys.”
Joan nodded.
* * * * * * *
“McDonald’s? You’re such a romantic.”
Brian took a bite out of his hamburger. “Dear me, no,” he said, chewing, “I’m simply supporting our ever-so-brave boys on the front by upholding our American culture, darling. Eat up, and maybe our boys’ll fight those nasties a little bit better.”
Joan took a bite of his hamburger as well, watching Brian. She had known Brian for a few years now, and had never seen him act the same way more than once – he seemed to change personalities like clothes, and she often imagined that he had a walk-in closet full of faces: Manic, macho, depressed, neurotic, and so on to the end of the closet. Today he had chosen effeminate.
Brian’s house was a frightening affair, vaguely reminding Joan of her first experience with LSD. Psychedelic colours floated through the walls, floor, and ceiling like tendrils of thick multicoloured smoke, twisting dizzily about the visitor’s eye and sliding into his mind, permeating his thoughts with thick yellow and violet and green. The rooms refused to adhere to the usual standards of construction, some boasting floors that undulated like the ocean and others interrupted by the ceiling stretching down to claw at the carpet. Not a single room in the house was completely square, random polygons and circles and combinations of both somehow managing to fit perfectly together, a mad jigsaw created for a deranged puzzle enthusiast.
The table that they were eating at was no exception to the style of the rest of the house, a piece of furniture with three randomly-placed wooden legs with a surface that curved in and around itself with unguided glee. Joan was sitting at one end of it, trying to balance her fries at the crest of one of the curves, and Brian was sitting to one side, at an unexpected angle to her.
“But really, darling,” Brian continued, his burger dangling from a limp wrist, “nobody really understands how…how…” he paused, waving the burger randomly, “how self-defeating it is to grab onto the past with both hands and hold on for dear life. Tradition. It’s pointless. Take honour, for example.”
“Honour?” asked Joan, giving up the futile battle to balance her fries and watching them slide down towards the center of the table.
“Yes, honour.” He took another bite from his burger. “It’s the whole thing about spelling, you see, darling. The Canadians spell it with a ‘u’ and we spell it without, and everyone keeps arguing over the correct spelling, dear, when we should actually be spelling it without either. If the world kept up with modern times we’d be spelling it properly, and it would be so much easier on everyone.”
“‘Properly’?” asked Joan, finishing her burger.
“Yes, darling, we’d be spelling it A-W-N-E-R. Honour. If you try to say it the way it’s spelled now, dear, it sounds like ‘haw-nore,’ and that makes no sense, does it? We all have haw-nore!”
Joan laughed, then reached forward to try to snag her fries from their resting place in the middle of the table. Brian leaned forward a bit and batted them up the slope towards her, finishing his own burger.
“And that’s just one tiny little thing, dear,” he continued. “Take art. You remember when I was arrested for throwing a rock at The Last Supper, hmm?”
Joan nodded. There had been a hail of controversy over that, so much that her scandal was nearly covered up. Brian picked up his fries.
“All those stupid, entrenched pigs kept calling it ‘vandalism,’ can you believe it? ‘An attack on’…what did they call it? Oh yes, ‘a priceless piece of artistic history.’ Hello! Darling, that was a message. A…a call to let go of this stupid, outmoded graffiti that’s being embraced by the masses nowadays. Watch this.”
He set his fries down on the table, the yellow “M” on the package facing up towards the ceiling. “There,” he said proudly.
Joan leaned forward to look at the fries. “I don’t get it.”
“Oh, no worries, darling,” said Brian. He brought his hands together over the fries, hiding them from view, and then brought them apart like a magician pulling a rabbit out of his hat. “There,” he said triumphantly. “That’s art.”
There was a short silence. Joan sat back.
“That’s art,” said Brian, picking up the fries again and beginning to eat them. “Not that vandal Rembrandt or that barbarian Da Vinci, darling. They’re gone. It’s 2007, dear, they’ve been dead for nearly four hundred years. This is the future.”
Cindy came up behind Joan and tapped her on the shoulder. “We need to go now, Miss Pyrite.”
“All right, then,” said Joan. “It’s been nice talking to you, Brian.”
“Always a pleasure, darling,” said Brian, coming forward to kiss her on the cheek. “I’m unveiling a new masterpiece on Saturday. It’s beautiful, just beautiful; my best yet. I’ll send you tickets.”
“I’ll be there,” Joan promised.
* * * * * * *
The auditorium filled quickly with assorted reporters and fans of Brian’s work, filling the room with small talk. Joan shifted in her plastic chair, which creaked loudly. Brian had gotten her a place close to the front, and she had an unparalleled view of the stage. The stage was currently empty but for a large, wide, flat-bottomed pot and a large easel supporting a moderately large painting, which had been covered over with a sheet. A banner hung over the stage, proclaiming Brian’s stage name: Jesus Christ. She couldn’t remember when he had chosen it, but it had caused quite a stir, as Brian had undoubtedly meant it to do.
They were in the Museum of Modern Art, the biggest one in the city. By all accounts, even they didn’t know what Brian had in mind, but his fame as an artist since his beginnings was enough credit for them to give him a room and a crowd.
A loud creaking by Joan’s side alerted her to Cindy’s presence. She glanced at her, but Cindy said nothing, although she looked rather impatient. A pair of reporters sat beside her, eagerly discussing Brian’s work.
“…so if it’s really his best work, then this will really be worth it.”
“Oh, I agree. I wonder what he’s up to this time? Do you remember ‘Coke Can on Bare Sidewalk’? That was quite a masterpiece, and rather unexpected as well.”
“Well, at least we’re inside for this one. It was freezing outside last year.”
“Even more for him, I reckon,” laughed one of them. “‘Lawn Present’ must have been quite a shock for whoever owned that property.”
They both laughed, then fell silent as Brian walked onto the stage. The lights dimmed.
“Ladies and gentlemen,” he said dramatically. He had chosen a dignified, yet excited persona for this presentation, and the lights shone brilliantly off his white suit. “I would like to present to you what I believe to be my best piece of work yet.
“I call it ‘Progress’. It brings a tear to my eye to think about it. Therefore, before I break down in anticipation, I bring you my masterpiece…”
He yanked the sheet off the canvas, revealing a vaguely familiar painting. A dark spire stood over a small town surrounded by hills and trees, dominated by a swirling sky filled with bright yellow lights.
“This,” said Brian, tossing the sheet aside with the air of a magician tossing aside a hat that a rabbit has just appeared from, “is the original painting The Starry Night, by Vincent Van Gogh, purchased from the New York Museum of Modern Art for an astronomical price.”
He picked up the painting and placed it carefully into the flat-bottomed pot. “It’s not my masterpiece, however,” he said, pulling out a box of matches. “This is.”
He lit a match and tossed it onto the painting, which burst into large, bright flames. The room burst into tumultuous applause.
“This,” roared Brian, “is Progress!”
Joan, clapping wildly, looked around at the rapt faces of the audience, watching the flames dance in their eyes as Brian opened his white pants and proceeded to urinate on the flames. The applause grew even louder and wilder, and the crowd began to cheer him on.
“Who’s Van Gogh?” one of the reporters beside Cindy asked the other. “I’m not familiar with old artists.”
“I think he’s dead or something,” the other replied. “What a brilliant piece!”
Joan stood up and continued to applaud, the crowd following.
Interesting...
A few questions...
Is this written in a universe where Andy Warhol does not exist? The golden M on the fries, the Coke can on the pavement... this is all very Andy Warhol and all very old... so I think you need to clarify that reference in the text, because you are placing the piece very firmly in the year 2007.
Secondly, lunch scene with the oddly shaped table... is there a point to the balancing of the fries etc.? It seems that this may seem symbolic of something, but I'm not sure what.
As far as the narrative is concerned, the lunch scene and the art museum scene are very well written in terms of placing the reader firmly into the roll of an interested observer. But I didn't feel my role as reader/observer well defined in the limo scene... I wasn't quite "watching from the outside", nor was I fully involved from the point of view of the feelings of Cindy or Joan.
But a good read altogether.
Thank you for the note on the narrative. It's a point I never noticed before, but a very important one - probably because of that.
I never considered Andy Warhol, but I don't think it particularly matters. The message I was trying to get across in this piece was the degeneration of modern culture. The fact that Brian puts a packet of fries down on the table and calls it art adds to this because Brian did nothing to the fries. There's no particular ability involved. Andy Warhol painted his subjects, so there's talent involved, but if it's just put down on the table you have to agree that there's nothing particularly special about that.Originally Posted by Kotooshu
The Coke can is something I'm planning to take out so as to have more room to stretch out the ending.
I don't believe so. I suppose I was just making a point of how oddly-shaped the table was.Originally Posted by Kotooshu
Thank you for taking the time to read and reply to this.
My pleasure, Melon.
You seemed to take my pointed criticism well, so in all fairness, I invite you to take a shot, no holds barred, at my Nokozan Relic poem that you can find a few topics down...
I will. But first, here's a re-written version of the piece:
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“Miss Ribicha! How do you feel about…?”
“Miss Ribicha! What about…?”
“Miss Ribicha! Over here, please!”
Joan Ribicha turned towards the last speaker and smiled into his camera, her perfect teeth glinting in the late morning sun. The bulb flashed, the light dancing off her sunglasses. “Thank you, Miss Ri-” the man managed to say before the noise of the crowd cut him off.
It was a wonder that he had even made himself heard in the first place; a blanket of violent sound enveloped Joan and her entourage as they struggled through the sea of reporters to the limousine. The blanket spread out across the square, leaping off the surrounding steel and glass of the nearby buildings and flowing around the nearly forgotten memorial of a bloody war, the statue’s face unmoved by the hubbub going on below his lofty perch.
One of Joan’s entourage managed to grab hold of the door handle of the polished black limousine and threw the door open, allowing Joan’s perfect legs to enter the plush velvet inside. The door slammed as her secretary Cindy climbed in after her, but the noise continued unabated.
“I don’t think I’ll ever get used to the noise,” said Cindy’s voice a bit too loudly from behind Joan as Joan waved and smiled through the tinted windows at the crowd. She glanced back in time to see Cindy remove a pair of pink earplugs and stow them in her purse. “You’d better,” Joan replied, settling back in her seat, “if you want to keep your job.”
Cindy began to sputter excuses, but Joan cut her off. “Is there anything more we need to do before lunch with Brian?”
“No, ma’am,” replied Cindy, her professional air returning quickly, “the driver has been told to proceed directly to his house now.”
“Good,” said Joan. “That’s all I need to know, then.”
Cindy nodded and sat back, closing her eyes. Joan placed her chin upon the smooth, soft skin of her palm and watched out the window as the limousine drove sedately through the town. They were passing by one of the universities now – one of the big, important ones…she couldn’t remember the name – and there was a small crowd of people standing outside of it, waving billboards and shouting slogans. She leaned over and tapped Cindy on the shoulder, who sat up. “What’s all that about?” she asked.
They had passed the crowd by that point, so Cindy turned around and squinted at them from the rear windshield. “Protesters,” she said, “it’s the war.”
“Oh,” said Joan. “Who’re we fighting again?” she asked after a few seconds.
“Iraqi insurgents, ma’am,” said Cindy, “the President said a little while ago that he was sending another twenty thousand men over, which isn’t making the Democrats happy.”
“Oh,” said Joan again, and dismissed the issue without another word.
* * * * * * *
“McDonald’s? You’re such a romantic.”
Brian took a bite out of his hamburger. “Dear me, no,” he said, chewing, “I’m simply supporting our ever-so-brave boys on the front by upholding our American culture, darling. Eat up, and maybe our boys’ll fight those nasties a little bit better.”
Joan took a bite of his hamburger as well, watching Brian. She had known Brian for a few years now, and had never seen him act the same way more than once – he seemed to change personalities like clothes, and she often imagined that he had a walk-in closet full of faces: Manic, macho, depressed, neurotic, and so on to the end of the closet. Today he had chosen effeminate.
Brian’s house was a frightening affair, vaguely reminding Joan of her first experience with LSD. Psychedelic colours floated through the walls, floor, and ceiling like tendrils of thick multicoloured smoke, twisting dizzily about the visitor’s eye and sliding into his mind, permeating his thoughts with thick yellow and violet and green. The rooms refused to adhere to the usual standards of construction, some boasting floors that undulated like the ocean and others interrupted by the ceiling stretching down to claw at the carpet. Not a single room in the house was completely square, random polygons and circles and combinations of both somehow managing to fit perfectly together, a mad jigsaw created for a deranged puzzle enthusiast.
The table that they were eating at was no exception to the style of the rest of the house, a piece of furniture with three randomly-placed wooden legs with a surface that curved in and around itself with unguided glee. Joan was sitting at one end of it, trying to balance her fries at the crest of one of the curves, and Brian was sitting to one side, at an unexpected angle to her.
“But really, darling,” Brian continued, his burger dangling from a limp wrist, “nobody really understands how…how…” he paused, waving the burger randomly, “how self-defeating it is to grab onto the past with both hands and hold on for dear life. Tradition. It’s pointless. Take honour, for example.”
“Honour?” asked Joan, giving up the futile battle to balance her fries and watching them slide down towards the center of the table.
“Yes, honour.” He took another bite from his burger. “It’s the whole thing about spelling, you see, darling. The Canadians spell it with a ‘u’ and we spell it without, and everyone keeps arguing over the correct spelling, dear, when we should actually be spelling it without either. If the world kept up with modern times we’d be spelling it properly, and it would be so much easier on everyone.”
“‘Properly’?” asked Joan, finishing her burger.
“Yes, darling, we’d be spelling it A-W-N-E-R. Honour. If you try to say it the way it’s spelled now, dear, it sounds like ‘haw-nore,’ and that makes no sense, does it? Haw-nore! Haw-nore!”
Joan laughed, then reached forward to try to snag her fries from their resting place in the middle of the table. Brian leaned forward a bit and batted them up the slope towards her, finishing his own burger.
“And that’s just one tiny little thing, dear,” he continued. “Take art. You remember when I was arrested for throwing a rock at The Last Supper, hmm?”
Joan nodded. There had been a hail of controversy over that, so much that her scandal was nearly covered up. Brian picked up his fries.
“All those stupid, entrenched pigs kept calling it ‘vandalism,’ can you believe it? ‘An attack on’…what did they call it? Oh yes, ‘a priceless piece of artistic history.’ Hello! Darling, that was a message. A…a call to let go of this old, outmoded ‘art’ that’s being embraced by the masses nowadays. Watch this.”
He set his fries down on the table, the Golden Arches on the package facing up towards the ceiling. “There,” he said proudly.
Joan leaned forward to look at the fries. “I don’t get it.”
“Oh, no worries, darling,” said Brian. He brought his hands together over the fries, hiding them from view, and then brought them apart like a magician pulling a rabbit out of his hat. “There,” he said triumphantly. “That’s art.”
The fries, Joan reflected, looked exactly the same as they had before he had put his hands over them. But he was the artist. She sat back in the short silence that followed.
“That’s art,” said Brian, picking up the fries again and beginning to eat them. “Not that vandal Rembrandt or that barbarian Da Vinci, darling. They’re gone. It’s 2007, dear, they’ve been dead for nearly four hundred years. This is the future.”
Cindy came up behind Joan and tapped her on the shoulder. “We need to go now, Miss Ribicha.”
“All right, then,” said Joan. “It’s been nice talking to you, Brian.”
“Always a pleasure, darling,” said Brian, coming forward to kiss her on the cheek. “I’m unveiling a new masterpiece on Saturday. It’s beautiful, just beautiful; my best yet. I’ll send you tickets.”
“I’ll be there,” Joan promised.
* * * * * * *
The auditorium filled quickly with assorted reporters and fans of Brian’s work, filling the room with small talk. Joan shifted in her plastic chair, which creaked loudly. Brian had gotten her a place close to the front, and she had an unparalleled view of the stage. The stage was currently empty but for a large, wide, flat-bottomed pot and a large easel supporting a moderately large painting, which had been covered over with a sheet. A banner hung over the stage, proclaiming Brian’s stage name: Jesus Christ, a name that had given him unparalleled publicity for years after he had chosen it.
They were in the Museum of Modern Art, the biggest one in the city. By all accounts, even they didn’t know what Brian had in mind, but his fame as a brilliant, though provocative, artist since his beginnings was enough credit for them to give him a room and a crowd.
A loud creaking by Joan’s side alerted her to Cindy’s presence. She glanced at her, but Cindy said nothing, although she looked rather impatient. A pair of reporters sat beside her, eagerly discussing Brian’s work, but stopped when Brian suddenly walked onto the stage. The lights dimmed.
“Ladies and gentlemen,” he said dramatically. He had chosen a dignified, yet excited persona for this presentation, and the lights shone brilliantly off his white suit. “Before we begin, I’d like to spend some time to thank everyone that’s been kind enough to work as a sponsor for this presentation.”
He proceeded to name and thank each of these sponsors, most of them large and important companies that had come aboard Brian’s ship for the publicity. Each of his displays of gratitude was punctuated by a round of polite applause from the audience, and after a few minutes he was finished.
“And now that we have that out of the way, let’s move on to the real thing. Ladies and gentlemen…I would like to present to you what I believe to be my best piece of work yet.
“This piece is the epitome of my career, the pinnacle of my beliefs and values as an artist. It has cost me a considerable sum of money to bring it to fruition, but I truly believe that it is more than worth the cost.
“I call it ‘Progress’. It brings a tear to my eye to think about it. It presents a message that I have tried to make so many times with my previous pieces, but this one makes the message so beautifully that I may break down and cry if I hold off any longer. Therefore…”
He turned and yanked the sheet off the canvas, revealing a vaguely familiar painting. A dark spire stood over a small town surrounded by hills and trees, dominated by a swirling sky filled with bright yellow lights.
“This,” said Brian, tossing the sheet aside with the air of a magician tossing aside a hat that a rabbit has just appeared from, “is the original painting The Starry Night, by Vincent Van Gogh, purchased from the New York Museum of Modern Art for an astronomical price.”
He picked up the painting and placed it carefully into the flat-bottomed pot. “It’s not my masterpiece, however,” he said, pulling out a box of matches. “This is.”
He lit a match and tossed it onto the painting, which burst into large, bright flames. The room burst into tumultuous applause.
“This,” roared Brian, “is Progress!”
Joan, clapping wildly, looked around at the rapt faces of the audience, watching the flames dance in their eyes as Brian opened his white pants and proceeded to urinate on the flames. The applause grew even louder and wilder, and the crowd began to cheer him on.
“Who’s Van Gogh?” one of the reporters beside Cindy asked the other. “I’m not familiar with the old artists. Impressionist?”
“Don’t think so,” the other replied. “Landscapes or something. What a brilliant piece!”
Joan stood up, the crowd following, as Progress burned onwards.
Hrm...you know, I’m not exactly sure what to make of this piece. It’s definitely strong in terms of mechanics and such, and there’re some very good phrasings and passages here. However, it feels a bit like the message was rushed, and I didn’t really get a good sense of either Joan or Cindy as characters; while I understand that you’re working with a length limit and they may not be the central elements here, this felt a little empty to me as it is. Some specific comments:
It could just be me, but I thought the opening of Joan and Cindy making their way through the crowds and such felt awkward, in the context of the rest of the story. From what I could tell, it feels misleading, as it focuses attention on the fact that Joan is also Miss Ribicha, a powerful and popular figure, when you don’t really make much use of that fact later. This built up some expectations regarding Joan for me, and the piece’s ending felt a bit unsatisfactory when those elements didn’t come up at all. More generally, you start to hint at some character details but don’t present enough to give the reader a solid image, it seems as if you’re going to finish building on them later, which would be quite reasonable; when it turns out later that Joan and Cindy seem like observers who aren’t personally as important as what they represent, this makes the ending seem unfinished to me. I’m not quite sure what to suggest in this case, since I usually like character development, but here, the development almost doesn’t seem to matter.Originally Posted by The Last Melon
Of course, I could just be missing the point.
It’s a minor detail, but “cut him off” seems like the wrong expression here, since he’s probably still speaking anyway. “Drowned him out” or something along those lines might be better.Originally Posted by The Last Melon
I’m not sure if the “blanket of violent sound” image works here, since blankets aren’t nearly as active as you make the sound out to be in this sentence and in later phrasings. It’s a bit of a subjective call, though, so this may well work fine as it is.Originally Posted by The Last Melon
This felt a little too heavy-handed to me. Some of the other war references are useful for placing the story within a time period, but the only reason I can see for this is to hint at the current situation in the Middle East. That’s not necessarily a bad thing, but if it doesn’t sound natural, you risk distracting the reader from the matter at hand.Originally Posted by The Last Melon
The first part of this sentence seems a bit wordy to me, so I’d suggest making some of the phrasings (such as “managed to grab hold”) more direct. Also, I might use “interior” instead of “inside,” since as it is, it could be read as if her legs are entering plush velvet that happens to be inside the limousine.Originally Posted by The Last Melon
I think this should be two sentences, with the comma after “said” becoming a period. As far as I’ve learned, if there’re two pieces of speech and the first part could stand on its own, it shouldn’t be in the same sentence as the other part. That may not always be correct, as I’m not entirely sure that it always holds, but in this case, I think it’s worth setting “it’s the war” off on its own for emphasis.Originally Posted by The Last Melon
See above comment, with regard to the period after “Cindy.” This one feels like a bit too much of a mouthful to make one sentence, though that could just be me.Originally Posted by The Last Melon
See above comment, with regard to the period after “chewing.” At this point, though, I might just write instances of this off as a stylistic thing or an oddity in someone’s teachings somewhere.Originally Posted by The Last Melon
I think that should be “her hamburger,” unless these people are weirder than I think they are.Originally Posted by The Last Melon
Nice image. I don’t think “manic” should be capitalized, though.Originally Posted by The Last Melon
There should be a comma after “Today.”Originally Posted by The Last Melon
I might try to make the transition into this paragraph a bit cleaner, because it seems rather abrupt to me as it is. If that’s something you’d consider trying, then maybe having Joan look around or something for a moment would work as a lead-in to this.Originally Posted by The Last Melon
The whole “visitor’s eye” part here felt confusing to me, especially since you later use “he” for the visitor when Joan is a more obvious example of an outsider’s point of view on this house. Is this a reason you didn’t just use Joan’s perspective for this, out of curiosity?Originally Posted by The Last Melon
I like the imagery here, though “usual standards of construction” does sound a bit stiff. I might try to make that a little less technical-sounding, but that’s just me.Originally Posted by The Last Melon
The last bit here is quite good, I’d say, though “the style of the rest of the house” seems repetitive to me and could possibly be trimmed down.Originally Posted by The Last Melon
Since you italicize the names of artworks in later parts of the story, I’d do the same here.Originally Posted by The Last Melon
It may just be me, but I think the end should be “had been nearly covered up.” I’ve never been entirely sure on these sorts of cases, though.Originally Posted by The Last Melon
Since you use the rabbit-out-of-a-hat image again in this story when Brian introduces Progress, I might try to use a different bit of description either here or in the other instance. After seeing you use it here, it felt a bit dulled to me when it showed up again later.Originally Posted by The Last Melon
The comma after “dear” should be a period or a semicolon, technically.Originally Posted by The Last Melon
I’d try to replace or remove one form of “to fill” here, so that it doesn’t seem repetitive.Originally Posted by The Last Melon
This seems a bit repetitive, what with all the instances of “large.” I’d suggest removing some of them, perhaps the one modifying “painting” or the one describing the pot.Originally Posted by The Last Melon
Minor nitpick: I think that should be “...but they stopped when...”Originally Posted by The Last Melon
I think the comma after “dignified” is unnecessary.Originally Posted by The Last Melon
That should be “...everyone who’s been kind enough...”Originally Posted by The Last Melon
This felt a bit dry to me, personally. Also, “come aboard Brian’s ship” seems a bit colloquial for narration to me, so I might switch that with something more proper. Then again, it’s really your call, as always.Originally Posted by The Last Melon
I might try to end this with something a bit more vivid than “after a few minutes he was finished,” because the transition from this to the following dialogue doesn’t seem as smooth as it could be, I think.Originally Posted by The Last Melon
I’d italicize “Progress” here, if you want to be consistent with your conventions.Originally Posted by The Last Melon
Since it’s unclear from whose perspective you’re speaking when you call the painting “vaguely familiar,” I might just drop that part and combine this sentence with the following one, moving right to what the audience sees: a painting of a tower, a town, the stars, et cetera.Originally Posted by The Last Melon
That should be “...a hat from which a rabbit had just appeared...,” I believe, though that may be a bit technical.Originally Posted by The Last Melon
So, in conclusion...I’m unsure what to conclude about this piece, exactly. There are definitely some well-written passages, no doubt, but the characters didn’t mean much to me, in that they felt unnecessary except for their roles in the set-up; it seems to me that, with the exception of Brian, you could have pulled this off with very different characters in almost every respect, and the story would not have been grossly different. Even Brian, who has some notable quirks and descriptions, seems a little like a standard iconoclastic, controversy-bait artist. Since there’s a definite sense of criticism regarding current attitudes and events here, I suppose that facelessness could be seen as an asset, but if you’re going for that, then I’d say that it’d worth trying to distill down the piece some to focus more on the presentation scene itself. In fact, my sense of this is that this story could be told in just that one scene without losing too much, so long as it absorbed a few things elsewhere and perhaps added a little more (though that’s also rather subjective.) I’m also not sure if the title fits as well as it could; I can see a possible connection between it and what people think in the story, but it does seem a bit distant.
If you’ve any further questions, feel free to ask and I’ll see what I can do. Good luck with the contest, and thanks for posting!
Udorim's post got eaten by the forum rollback, so here it is again:
Originally Posted by Udorim
Thankyou. =)
And thank you for your feedback, Udorim. There's much more "productive" stuff in your post than your comment on unparalleled.
I agree whole-heartedly with Joan being a flat character - a lot of people have mentioned that before. I'm planning to delete the first section entirely and focus on the second and third section, and the extra space will almost certainly give me room to write in your suggestions.
And thanks for the review, Rev. Sorry for mentioning you as a sort of an afterthought, but I read your post a little while back but didn't get around to replying to it. I'll give a more in-depth reply on it later.
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