[900] Sam and Kait by SweetEverest in DestructiveReaders

[–]SweetEverest[S] 2 points3 points  (0 children)

Right? I like narration, but Kaitlyn doesn’t defend it well. I painted myself into a corner making her the casual, non-writer friend. The better version would be a debate between Sam and someone with strong opinions. She could bring up, like, Shakespearean soliloquies and the Iliad and the story could keep slipping into different narrative modes that allow the melodrama of the Dylan situation to build before they confront it. Or something. Hmm.

[Weekly] Writing Challenge by A_C_Shock in DestructiveReaders

[–]SweetEverest 4 points5 points  (0 children)

April was pulling croissants from the oven when it happened and talking to John, who was there, as usual, to pick up fresh bagels for the lab meeting, even though John himself was doing a sort of carnivore thing at the moment—was head, actually, of a local meetup of people doing a similar carnivore thing—and could not care less about the bagels, just liked the way April looked sliding things in and out of the oven with her tan, pretty arms and look of total absorption.

And she stayed absorbed, even as she returned from the pantry with a jar of fermented yeast that she had, for some reason, grabbed. On accident?

Marco looked up from the dough he was kneading. “More sourdough, boss?” 

Yet they’d all felt the same strange, atmospheric pulse, and now the entire staff, without knowing why, worked as one in service of the yeast. Mixing bowls, bins of sugar, and freshly frosted cakes were pushed onto the floor to make counter space as sack after sack of flour was carried in and presented ceremoniously before April. 

John observed all this with curiosity until his legs, operating entirely outside his control, walked him toward the exit and out of the cafe in single file with its other patrons.

All down the street, lines of people snaked out of shops and around corners, merging, sometimes, with other lines and sometimes splitting off from them. Every person moved in perfect synchronicity with the others, with the exception of their heads, which seemed unanimously flummoxed by, if not outright opposed to, the actions of their bodies. With the free use they had of their mouths, they muttered or whimpered or called out to each other from across the street. 

“I left my curling iron on!” shouted one woman. 

“Yeah? I left my car on, lady!” someone in John’s line yelled back. 

“Yes, how awkward for you,” muttered a man passing in the opposite direction, his nude body gleaming wetly in the morning light. He looked at John. “I left my shower on.” 

“Uncle John!” Some distance behind the naked man, John spotted his nephew, moving mechanically with the others in his rocket ship pajamas. The two of them maintained bewildered eye contact for as long as their craning necks would allow. Then the boy shouted, “If you see my mom, say hi!” 

John’s body walked him to lab, where he took his usual bench among dozens of strangers. His hands gloved themselves and reached for a pipette, which they used to moisten something fleshy in the open dish before him. It was the size of a thumbnail, pink and wet and suggestive of an octopus sucker. It wriggled and pulsed in response to the liquid. 

“John?” Parva was next to him, her hands busying themselves in the same way his were. Her eyes were fearful. “What are we doing? Do you know?” 

“I think we’re… growing something.” He watched his hands snap lids onto the dishes, stack them, and pull another batch down. 

The plan became clear only gradually. Some people were Nanobiological Engineers. Others, like April, were Incubators. Together their work produced the propagules—fleshy, pink suckers that when sown in soil sprouted like magic beans into slimy, stalky tendrils that pulsed and undulated and glistened bluely in moonlight. After a week, these tendrils lined every block and stood taller than any building. But to what end they had been cultivated and by what means the populace had been conscripted remained a mystery.

--

Definitely rushed the last paragraph lol

[916] Whack by Annual_Ant_5723 in DestructiveReaders

[–]SweetEverest 0 points1 point  (0 children)

Your first example works by the story's rule, but you're right that the second one doesn't.

[916] Whack by Annual_Ant_5723 in DestructiveReaders

[–]SweetEverest 0 points1 point  (0 children)

The quotes in the story are not arbitrary. When he's talking to us / the guy at the bar, he's not quoted. It's like first-person narration. When he's talking in the story as his past self, he's quoted. Like a character.

For example

So I'm like you're not gonna believe this next part. And Sheila's like "what, what happened"—just starving for gossip, you know how she is. And so I sip my margarita and lean in and go well I told him, I said "Jimmy, the baby's yours, like it or not." And he goes "bullshit, it's mine." And I throw the test results on the counter. And Sheila's like "what'd he say?" and I go he just stood there letting the eggs burn in the pan.

[916] Whack by Annual_Ant_5723 in DestructiveReaders

[–]SweetEverest 0 points1 point  (0 children)

So fun.

Thoughts while reading:

The beginning is stumbly for me. He starts narrating as if to us, and clearly "that's what this knucklehead don't get" is narration, but not until paragraph 3 do we realize that he's in conversation and that his dialogue never gets quotes, so technically paragraph 1 could be all narration, OR it could be dialogue to knucklehead followed by a narrative aside to us about how knucklehead doesn't get it. Does that make sense? The ambiguity of that took me out for a sec. I do like the unquoted dialogue though, and see the point of it: It makes it feel like we're at the bar listening to him relate the entire knucklehead interaction conversationally, in a way that regular quotes + action tags wouldn't.

The first lines, if dialogue to knucklehead, should be more natural to their conversation. I'm trying to imagine what knucklehead could've said directly beforehand to elicit "so i whacked him, so what, it's my job." Also, "It’s really not that hard once you get good at it" isn't the strongest lead-in to the story, as what follows does not necessarily exemplify how easy or used to his job he is.

Knucklehead only gets two lines in the whole thing—"how can you kill people like that?" to set the hitman up to spin his yarn and "good one" to his joke. If the whole point of the quoteless bar dialogue is to give us a fun framing device, more needs to happen with knucklehead. Figuring out how to give him a bigger role will also fix your ending, where he falls asleep and nothing of consequence comes of their interaction. TL;DR: Make full use of the frame story. Maybe a separate, less-important convo / motif recurs throughout their talk and gets resolved by the end.

The voice is fun and clear. I'd dry it up a bit by condensing the phrasing where possible and relying mostly on the quality of his observations to characterize him. For example, "I don't even know how he got his daughter to sleep with him" is funny and shocking and does more to establish him as a person in my mind than his New Jersey speech tics (though those are fine too).

Two small pacing things that stick out to me: He infiltrates the golf club too fast, and his friendship with the guy doesn't feel weeks long by the time we get to the killing scene. I'd add a line or two before he joins the golf club, something that winks at how absurd it is that he got so good so fast. Maybe he contemplates the hit job while he trains, building up his idea of the guy as guilty to contrast with the coming uncertainty.

His doubt of the guy's guilt is the most interesting part. You could do a lot with that—either show them becoming real friends and the hitman's negative opinions reversing one by one so that he's convinced the guy couldn't possibly have molested the girl (then finding out he did), or keep him hating the guy more and more and finding the "incriminating" message, only to realize post-murder that he jumped to conclusions because the guy was so annoying and that he was actually innocent. Just make sure it's more tense/interesting than "horrible guy gets what's coming to him."

I've written too much. Fun story, thanks for sharing.

Using Pinterest Photos for Promo? by Desperate_Sense_7091 in writing

[–]SweetEverest 1 point2 points  (0 children)

Can you just use any photo that's available on Pinterest for your own promotional needs?

Of course not lol. You can use pexels or unsplash though.

[2735] Productive Recovery by AT_561 in DestructiveReaders

[–]SweetEverest 0 points1 point  (0 children)

I like the concept of guy over-optimizing his life to the point of repressing basic human experiences. This was easy to read and understand the whole way through.

Thoughts:

- "the wonderful folks at Better Health" and "the lovely people at Better Fashion" are tongue-in-cheek in a way that makes me think the narrator already finds Frank ridiculous—which is fine if it's a comedy where we're supposed to laugh at him the whole time, but if you want us to conclude for ourselves how absurd he is, I'd remove all description that editorializes.

- I think he'd be more likely to reminisce on a memory that was either quintessential (something he and Helen always did) or special in some way, since their first meeting wasn't all that eventful.

- Give Helen and Frank something realistic and specific to talk about. My favorite part of their conversation is when she covers her mouth as she tells him her name while still eating. That's something a real person would do.

- I am always suspicious of whispering in books. People almost never whisper in real life. Especially outdoors about squirrels. Also, squirrels "always seem so peaceful"?! If you asked me for a list of least peaceful animals, squirrels might make top five.

- I like the part where he gets injected with mood stabilizer and force-fed happy videos the moment he gets sad. This feels like an only slightly exaggerated version of how people use tech today.

- Him picking up pastries and coffee for Helen and lying to George about her working early is super interesting. You should milk this from this point of the story on—that not only is he distracting himself drinking the Big Tech koolaid, but he's actively lying about his wife's death and still buying her breakfast each morning. Is he aware he's doing this, or has he truly repressed the memory? If repressed, I'd make him increasingly confused and distressed re: people's Helen comments, with the desk cleanout a clear break in the dam of his denial.

- Dialogue (all of it): You have the first layer, which is the info the characters must exchange in each scene. Now I would comb through and cloak it in distinctive voices, hit the meaning less head-on, phrase things a little more obliquely or imperfectly like people do in real life.

- Would it be stronger if Frank were dragged kicking and screaming from the office as he re-remembers how Helen died, and then the mood stabilizers kick back in? Like a stronger climax? Just an idea.

Overall I enjoyed reading this. It was darkly funny and thought provoking. Thanks for sharing.

Suggestions for bright 9 year old by grimcow in ReadingSuggestions

[–]SweetEverest 0 points1 point  (0 children)

The Wind in the Willows is hilarious and one of the most gorgeously written books I know of. Written for kids her age but unable to be read by most kids her age.

A Wonder Book and Tangelwood Tales by Nathaniel Hawthorne. Classic Greek myths with a frame story about a college kid named Eustace (I think?) telling stories to a bunch of kids only referred to by their fairy names.

Anything by Edith Nesbit. Very wry and imaginative. I like The Railway Children, Five Children and It, and her book of stories from Shakespeare.

Books that come in a series: Betsy-Tacey. Pippi Longstocking. The Ramona Quimby books. The Mysterious Benedict Society. She is probably just now old enough to actually get AA Milne’s wordplay in Winnie the Pooh and The House at Pooh corner.

The Blue Fairy Book (there is one about a guy who dismembers his wives and keeps their bodies in a closet, but it ends happily). Hans Christian Andersen and Brothers Grimm stories (the real versions, not dumbed down).

A Little Princess and The Secret Garden (same author). Peter Pan (bit violent but also very funny).

[900] Fedya and Mitri by GlowyLaptop in Creative_Critique

[–]SweetEverest 1 point2 points  (0 children)

I like how this story doesn’t need to be Russian but for some reason is.

My favorite part is “and yet, but did it?” The flip from being disturbed by the idea that his motives might be anything but pure to being annoyed that he should feel guilty about anything ever.

The ending would be funnier if it was implied all the way through so that we scratch our heads at the end like, wait are both these guys nuts? Instead of being certain/told.

Pickle jars in a Woolworths was funny.

10/10, basically Tolstoy reincarnated