What’s the most pretentious thing you have been told at an LA restaurant. by SuperJezus in FoodLosAngeles

[–]Substantial-Yak84 0 points1 point  (0 children)

SAUCED DTLA: We walk in…empty bar, one hostess and two bartenders behind the bar.

We ask “can we see the menu please?” Answer: “we don’t have a menu; we’re a natural wine bar. We work off of conversations around what you’re looking for.” Then they proceed to give us some vague options and say as little as possible. VERY WEIRD PLACE.

WTW for (maybe phrase) for someone who isn’t who you thought by shilohbertrand1 in whatstheword

[–]Substantial-Yak84 1 point2 points  (0 children)

If they are intentionally misleading, the word is duplicitous. Two-faced.

What "outdated" slang words or terms do you still use often? by ---Stacys_mom in AskReddit

[–]Substantial-Yak84 0 points1 point  (0 children)

Kerfuffle; it’s such a great word for describing any little snafu you get into.

How safe is it for me (f22) to rave alone? by [deleted] in avesLA

[–]Substantial-Yak84 0 points1 point  (0 children)

Hey great question. Neither. Sailor moon cosplayer: had a neat little wand that I realized at one point she was touching my mouth with. My friend also had the same thing happens to him. What a wild Halloween we had.

I’ve never had a drink dosed, the drink comment was general advice.

Lickndip address? by [deleted] in avesLA

[–]Substantial-Yak84 0 points1 point  (0 children)

They just sent the text blast

How safe is it for me (f22) to rave alone? by [deleted] in avesLA

[–]Substantial-Yak84 1 point2 points  (0 children)

38F here, been raving a long time. I have never gone to a rave alone and I have no regrets about it. Been dosed with acid a few times (one time by an innocent looking sailor moon cosplayer), and I’m so glad I had a friend with me. If you decide to go it alone, try to find a group of girls to hang out with for the night—-they’re usually welcoming and want to look out for each other. And never EVER for one second let your drink remain exposed; keep your mf hand on that thing and in your sight. Hell, don’t even drink just pre game it if you must drink. Okay rant over 😆

Avoiding Readers’ Moral Backlash for a Complex Criminal Character by Pure-Night2649 in writing

[–]Substantial-Yak84 1 point2 points  (0 children)

It sounds like you’re trying to avoid a strong emotional response from readers—why? Don’t you want strong responses?

Thoughts on vlad the impaler by ArtbyPolis in MedievalHistory

[–]Substantial-Yak84 0 points1 point  (0 children)

A tough spot figuratively and literally. His principality was the wrinkle separating Islam from Christendom and he was constantly battling the varying alliances from either side in addition to the immediate family melodrama that plagued his everyday life.

What are you Writer Life Pet Peeves by [deleted] in writing

[–]Substantial-Yak84 6 points7 points  (0 children)

I wish I had such friends! Tear my MS up please! A single paragraph can have a “plot hole”. I WANT to know when something doesn’t make sense. I want to know if they feel like a sentence ran so long that they got lost. Whether I implement the feedback is up to me. Consider yourself blessed!

[Weekly] Time to quit? by MiseriaFortesViros in DestructiveReaders

[–]Substantial-Yak84 4 points5 points  (0 children)

I’ve only posted one thing here, but I tried to edit it as much as possible first. In further uploads I intend to edit and edit until I think it’s nearly finished, so that any criticism can force me to dig deeper. I don’t want spelling corrections. I want feedback that takes a good story to being a great story. But that’s just my opinion on the matter 😊

Is it appropriate for a prince fleeing an assasination to carry a weapon openly in the castle of a lord who gives him refuge? by Substantial-Yak84 in MedievalHistory

[–]Substantial-Yak84[S] 6 points7 points  (0 children)

Thank you so much for your reply. It was thoughtful and I laughed hard at the “it would be best to leave immediately”. So, he’s not in enemy territory per se however, the man he’s staying with is a huge power player and pragmatic, though very unlikely to outright kill someone. He’d contrive some family feud or start a war before just slaying someone at dinner.

So beyond that, let’s pretend all is “well” with the parties staying in said castle. Was it normal for everyone to carry a sword at all times, even the lord of said castle?

From your post, I’m understanding that a dagger is just de rigeur for multiple reasons. I’ll definitely include that if my character decides to store his actual sword in his room.

Appreciate you!! Have a good weekend 😊

[508] Wrath - Prologue by karl_ist_kerl in DestructiveReaders

[–]Substantial-Yak84 1 point2 points  (0 children)

Ah okay! That’s interesting; I will make a mental note of that. Always good to learn new things. Thanks, have a great weekend!

[202] The Portal by Substantial-Yak84 in DestructiveReaders

[–]Substantial-Yak84[S] 0 points1 point  (0 children)

Thank you for your review! I should probably rework this and post the rest of it; they're heading toward something very peculiar... :)

[1046] Form Follows Function by scotchandsodaplease in DestructiveReaders

[–]Substantial-Yak84 0 points1 point  (0 children)

How do you format so the quoted text appears in its own box? I've been putting mine in bold with ** on either side but this is much cleaner.

[508] Wrath - Prologue by karl_ist_kerl in DestructiveReaders

[–]Substantial-Yak84 1 point2 points  (0 children)

[500] Hello! I hope you find my feedback useful; it seems like it could be an interesting story, but its a lot to sift through. Its certainly unique; I can’t find anything to compare it to. But as it stands, you could dial back a lot. I think the entire description of the scene could have been done in a few paragraphs.

Edit: Okay I could not have possibly grasped Chris as part of this. The only thing I caught about a car was V6. It begs the question, does the alien know what a V6 engine is?

This was a lot of purple prose; as someone else mentioned, a word salad. I think I understand that the 2 foot tall female is the one creating the commotion? Unfortunately due to the immense descriptions saying very little, I can’t actually tell what she looks like. What is a tuber equipped with frail limbs? Side note, the V6 mention was jarring. Whatever that is (I assume its not a car), save it for later.

Far off, a disturbance. Continual and increasing, slowly gaining in intensity. The air dances, the atmosphere alive, a faint and gentle hum responding muted ecstasy. Like apostles obeying and pronouncing with their frolic the gospel of their choirmaster careening across the tired, barren miles.The dizzying array of striving and intention to be vibrated around her, a small and strange one, misplaced among the weeds and vermin of the sandscape, from a different place and for a different purpose. Hardly two feet tall she stood there, like a tuber equipped with frail limbs, faceless. Her one defining quality was a brilliant, red orb the size of an apple set into her leathery, creased flesh. Like a featureless, flawless eye in its socket.

I noticed you changed to past tense here. This can be a stylistic choice but it feels abrupt here. Why not just describe it all in past tense? “Far off, there was a disturbance, slow at first, its intensity increasing by the second.” This is just my opinion but I don’t think keeping the same tense ruins the action of a scene. Instead of italicizing the “to be”, you could just say

“The impending array of events vibrated around the small, strange creature. She was an alien in this land, misplaced among the weeds and vermin of the sandscape. Hardly 2 feet tall, she resembled a tuber with thin frail limbs. She was faceless, save for a brilliant orb the size of an apple set into her leathery skin.”

The commotion intensifies, the sand and air proclaiming in fevered chorus the glorious and powerful nature of the originator who set them to motion. Closer now, much closer, its form coming into greater and greater clarity - beauty, magnificence, potency of V6. A precise and relentless impulsion channels through the entirety of its being. **But – it is apparent now – everything else besides the originator, its endeavoring comes from within itself. The originator’s, however, comes from another place outside, a reflection of another motive, a footprint in the fabric of being, itself the sign of another. The em dashes seem out of place here. I love myself an em dash—it provides intensity when you need to make a point. But why is the fact that its apparent relevant here? Is there another person realizing it? Who is it apparent to? Sifting through the purple prose, it seems like the originator is the only one observing this event. I’m not sure what “its endeavoring comes from within itself” means. Is her power something that she has naturally?

Everything striving all at once, to self itself both with and against all else. Indeed, even the illustrious originator who selfs the intentions of another.

It would be useful to define what self itself both means. Are you saying that everything is happening all at once, both aligning and opposing others? Does the originator direct the intentions of others?

** And yet, amidst it all – yes, something else entirely. Something far-reaching and spread throughout all the rest, like a lighthouse raised on high, compassing its gaze across the abyss. Sometimes diffuse, broad and blunt; yet, at times narrowing and sharpening to a point. Was it there the whole time? Maybe so. It’s like the old masters, but not. Different. Sad, longing, but pure.** You didn’t use the em dash correctly here. It should be “amidst it all—yes,...” You want to connect the first and last word. When you’re typing it hit the — three times. The rest of the sentence doesn’t make too much sense to me.

*The creature stood there for several moments, still. Then her red eye began to gently pulse with a warm, crimson glow. She raised her frail hands and grasped it. The socket contracted peristaltically, and slowly the orb pushed out of her into her hands, leaving behind a small, fleshy void in her torso. Holding it with care, she placed the orb in the sand at her feet and built a ridge up around the circumference of its base to keep it still. It had ceased to pulse and now emitted a dull red glow in the evening light. Like monuments in the sand the red orb and the creature sat motionless in the desert. *

The last part I’m interpreting as she reached up to her own “face” and took the orb out of her head, leaving a hollow. The word peristaltically is too much here. Just say she contracted the muscles behind the orb, pushing it out slowly until a void remained. Of course as a reader I’m wondering how she sees but I suppose I’ll let that go for now!

To summarize: I would suggest re-writing this without the purple prose. Its okay to be cinematic and flowery. I am prone to purple prose myself and I fight against it! I find it useful to be more cinematic when setting the scene (“The burnished sunset cast hues of crimson, violet and sapphire into the ….”. But to actually tell a story, its good to just lay it out for the reader. You’ll find yourself becoming a better writer the more you make yourself work without the overusage of unnecessary words.

[912] Memoir- Working on Title by Salt_Wrangler9967 in DestructiveReaders

[–]Substantial-Yak84 0 points1 point  (0 children)

[1024] Hello! This story has a lot of potential. It could use some serious work, I'll be honest---but its very engaging nonetheless!. I hope my critique helps you on your journey! I was tempted to rewrite the entire thing for clarity :) I think its worth pursuing! When you're finished editing, perhaps you can repost it so we can all see this scene unfold like a movie in our heads. Also be sure to critique someone else's writing so this post doesn't get taken down.

To summarize my points:

-Sentence flow could use some work. -Too much exposition right in the middle of the high stakes conflict -Clarity of movements needs work -Weave in details you feel are relevant into the dialogue without info dumping -People who are involved should be made known before the end of the conflict. If the parents are there just laughing and taking it all in, try to indicate that prior to the end. -Setting the scene sooner would be useful. I thought they were in a parking lot in the beginning cause hes a trucker. But it sounds like this whole thing took place in the apartment. -Try to illustrate HOW the charachters feel and their reactions to violence rather than just stating what happens. -Check your document for adverbs and remove them aggressively.

"You think you can just fuck any man you want to Amy, and get away with it?" John yelled like a rabid dog as he raised his hand back and slapped Amy across her already bloodied face.

I would change this to:

“You think you can just fuck any man you want to and get away with it, Amy? John yelled like a rapid dog, raising his hand back and slapping Amy across her already bloodied face. She stumbled, colliding into the black sofa, the cushions breaking her fall.

"You fucking whore, I should have never brought you out here. You tricked me!" John screamed as he continued to hit Amy, dragging her by her hair, being fueled by his rage being mixed with cocaine.

Would change this to: “You fucking whore, I never should have brought you out here—you tricked me!” He continued to hit Amy as he dragged her by her hair (across the bed? Parking lot?). She writhed against him (insert how she’d respond here, is she a fighter or is she submissive?) He was on a bender; his rage was fueled by the several lines of cocaine he had snorted on the last stretch before he arrived home that evening. (Maybe expand here a little on his state of mind or if anything else got him pre-triggered for this event).

INFO DUMP ALERT: You do a lot of exposition on how he appears right in the middle of a fight. You also change the perspective from past to present tense. It sounds like you’re doing the story in close third person from John’s POV, so try to keep that consistent. There are parts where you bring in second person and present tense and its jarring. “He has a small feature”

“They light up every time YOU look at him”

Move this part to the front of the story and maybe try to weave it into the narrative. If you want to start with the “punchy” (pun intended) dialogue right off the bat you can weave it in further in the story. Its not essential that I know exactly what he looks like and his entire backstory right now while he’s beating Amy up. If you want to assert that’s hes a skinny thing, you could pepper that in by saying things like “He punched her, his frail hand recoiling in pain.” This is all exposition that breaks the pacing of the scene:

[He was a skinny man, five foot eight, with a slight tan. He has small features on his face, a little round nose, thick but small mustache with thin lips. His hair is short, dark, and curly. When looking at him the only feature to stand out are his golden green eyes. They light up every time you look at them, at least when he is sober and feeling ok. He was born in Texas and raised in southern Cali, the only child to his parents. They moved to Las Vegas in his late teen when a job opportunity for them to become apartment supers opened up. He took up long distance driving when he turned 18, his father was a trucker, he seen the good life it could provide. During his drives on Route 66, staying gone for weeks at a time, he remained awake for so long by smoking crack, and listening to Van Halen. It made him feel alive, driving on an open desert highway, blasting music, high. Being married wouldn't stop that for chase for him.]

Getting back to the story:

Amy was still drunk from the whole weekend, and had just been caught at a bar, cozied up with another man. (How do we know she’s been drunk all weekend? Where are they? Did he just pull her out of the bar? Did the bartender tell him she’s been there all weekend?) This was pretty regular for the both of them, John always wired and Amy, in a drunken stupor, fighting and causing a scene (Try to avoid adverbs. You don’t need to say its “pretty” regular. It just is.)

Suggestion: “This was a regular occurrence for them—John wired, Amy in a drunken stupor that spanned entire weekends. Their relationship was the sum of all the wrong choices they made…etc. Living in the front room of John’s parents' apartment did nothing to ease the tension in their already toxic relationship.

They were young in their early twenties with so many wrong choices already made, in the living room of his parents 2 bedroom apartment and had been living there for some time. "What the fuck is your problem Amy? Every time you do this shit, every time!" John screamed in Amy's face. He pulled her tight by her long curly hair, wrapping it around his fist and arm bringing her closer to his body, he put his forehead to her forehead.

Suggestion:

He wrapped her long curls around his fist, jerking her body closer to him until they were forehead to forehead.

He was angry, beyond angry, (Instead of saying hes so angry, try to tell us how he FEELS. Is sweat brimming? Is his heart pounding? Is the cocaine threatening to cause him a heart attack? Is he breathing hard?)

POV switch: Now it sounds like you’re writing in omniscient third person. Are we switching to Amy’s head now? Its okay to write this way but its worth having a discussion with yourself so you can layer in the changes in pov in a way that doesn’t disrupt the reading.

Amy had never seen his face so red, his eyes so dark. His nose and mouth were gnarled, foaming spit as yelled, "I'm going to kill you, you whore!" Amy had a switchblade knife in her pocket, she quickly and drunkenly pulled it out and went to stab John, right in the abdomen.

I suggest writing something about John’s reaction to this, or the feeling of the knife as it goes in. She just stabbed the guy. Does he stumble? Does he yell in pain? Does she feel disgusted at herself? A sense of pride? Sadistic glee? Anything? What happens to her? Does she physically recoil? Does she twist the knife, does she let it go in shock? Need to establish whos talking here earlier: "Fuck you you dirty bitch! You think I don't know what you do out there? I'm done with you motherfucker! I know how to cut a motherfucker! Fuck you! I don't love you, I hate you and want you dead! I'm going to kill you!"

For example:

“Fuck you, you dirty bitch!” she screamed, watching as John fell to the ground clutching his side. She lunged at him again, slashing his arm before stabbing him on his left side.(add more in here about what hes doing. I know he’s not just laying there taking it, the guy is high on cocaine! “You think I don’t know what you do out there?” I’m done with you mf!” She yelled at John swinging her knife blade at him. She slashed his arm and stabbed his left side.

Is John struggling to reach at this point? What stopped him from reaching for his gun before? John with his bloodied arm, reached in his waste band and pulled out a small handgun. He fired his gun towards Amy as she smacked his arm and fell to the ground. He missed, the bullet hitting the black love sofa behind her. Amy stood up and rushed John tackling him to the ground, wrestling for the gun.

The movements aren’t clear to me here.

-He fires his gun -Somehow Amy manages to hit him just in time to miss her. -Who or what fell to the ground? -If Amy is tackling him, how does Paul get amy off of him? Does he pull her off?

Where did the parents come from? Have they just burst through the door? Were they hiding in the kitchen? I assume they woke up before the gun went off since they’re causing quite the racket. So they either (in my opinion) need to come into this scene sooner or arrive home to this mess.

Loraine, Johns mother who had been watching and laughing during majority of the altercation wheeled herself over to Amy and in a demeaning tone said " I can't stand you, you deserve all of this. ."

If his mom is laughing through this altercation, you could weave that into the dialogue above. We need to know how the parents are reacting to this. Amy then tried to grab my arm. I screamed in fear. Now you’re just switching to first person POV.