FFS 3 - Dreams of Glory: Submissions

Nemopedia

Chaotic Lawful
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  1. One post per week
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  1. Adaptable
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Ding, dong, time is up! Nine entered, nine we present. The theme of this third run of FFS was:

Dreams of Glory

Along with the following prompts to help you on the road of seeking dreams and aspirations in life:

  • I came; I saw; I conquered.
  • Just as the sun set, so too did her ambitions soar.
  • Don't fly too close to the sun.
  • Our wildest dreams are just that: pure fantasy.
  • Best not to wake the Sleeping King.

And you delivered! Nine dreams and aspirations were entered, nine stories will be shared. However, remember there will be no public voting. The Flash Fiction Selection is meant to be a challenge to complete a story within a short time with a limited amount of words. Instead of winners there there will be Finalists, chosen and nominated by the judges. If one particular piece stands out a Grand Finalist will be announced, but a round may very well pass without one being chosen. The pieces of the Finalists and Grand Finalist will receive a special spot in the FFS Hall of Fame and the writers get snazzy ribbons under their usernames to show off! Though, always remember, you are a winner already for completing the challenge!

Your judges for this event are: @Turtle of Doom, @Nemopedia, @Holmishire, @Eru


    • You can still leave a review for the submissions if you like! Just because this isn't a contest and there will be no public voting doesn't mean that we will take away the fun of reviewing. To help you a little we shall reveal the judging rubric the judges use to choose the Finalists of this event in the 'Rubric' tab.
    • Please make sure to read over the rules under the tab 'Rules' before you leave and write your reviews.
    • Submissions may contain graphic material. Only entries with explicit sexual content are marked with NSFW.
    • Finalists will be announced later down the road after the release of this thread.
    • There will be multiple Finalists. It can also happen that the judges decides that everyone is nominated as a Finalist.
    • The title of Grand Finalist will be reserved for the one exceptional piece that the judges believe deserves some extra recognition and attention. However, not every FFS will see a Grand Finalist announced.
    • Unless the author explicitly expressed the wish for anonymity all entries will be published with the author's name attached next to it.

    • You are welcome to leave a review and critiques of the entries. However, keep in mind to keep it constructive and civil. Pointing out spelling mistakes, or grammatical errors is fine. However, downright insulting the writing of the author is a no-go.
    • You are encouraged to read every submission before reviewing. None of the entries exceeds the 750 word count, so they aren't exceptionally long. We know we can't enforce this rule, but try to give every piece the attention it deserves!
    • Not all entries are open for reviewing. These submissions are marked as 'No reviews' or 'Judge only reviews'. Please respect that wish and refrain from reviewing these entries.
    • We encourage you to lay down the strengths and weaknesses of the submissions based on the rubric instead of letter/numerical grading. This is because point/grade systems can vary in interpretation and understanding. We invite you to write out why you find it a hit (or miss) at certain points over lazily grading it.
    • The rubric provided is entirely optional for use. You don't have to follow it. It is merely to give you an idea on how the judges will review the submissions.

  • Cohesiveness
    • Did the author manage to bring a complete story to the table?
    • How did the entry match the prompts given? Did it fit, or did it feel forced?
    • Is there a clear beginning and end? Does it flow seamlessly from beginning to end?
    • Were there any lines, or details that you felt like unnecessary? Or did every line have its function?
    • How engaging was the story?

    Engagement
    • How did the author convey the emotion in the story? Did it sway you, manage to pull you in?
    • How engaging did you find the story to be as a reader?
    • Did the mood feel appropriate for the setting given? Did it make sense?

    Originality
    • How creative did you find the entry accompanied with the prompts given? Was the plot a refreshing take on the prompts, or did it show a lot of imagination?
    • What about the plot twists? Did the writer manage to surprise you?
    • Did the author make use of any literary devices (foreshadowing, euphemisms, personification, etc...)? What did you think of the execution of it?
    • Are there any underlying themes or subplots that you could find?

    Polish
    • Are there any spelling/grammar errors in the piece? If so, did they distract or add up in the story?
    • What about punctuation and sentence structure? Did they vary, or was the writer lacking in that department?
    • Were there any words that you would have replaced, or that confused you?
    • What did you think of the paragraphs? Were they properly formed, or perhaps too long? How did it affect the reading?





Neobendium, 747 words
"Best not to wake the Sleeping King." The warning rattled from behind the bars of the dark, cold room, and a young thief glanced over her shoulder to look at the legless old man occupying the cell next to hers.

"What?"

The man, long white hair falling over his gaunt and wrinkled face, leaned forward and gave her a toothless grin. His gums were so black, Xaria thought that perhaps maggots would start to crawl from his mouth if he didn't keep it shut. "The Sleeping King," he repeated, as if that would explain his ramblings. "At the top of the stairs."

Xaria frowned at him for a long few seconds before she shook her head and turned back to her lockpicking.

A few blissful moments passed in peace and silence, before he spoke again, his voice weak and cracking. "You never told me why you're in here, you know. Kids don't get thrown down in this hole."

She let out a frustrated groan before turning to glare at him. "If I tell you, will you shut up?"

He cocked his head to one side, still smiling, and slowly offered her a single nod.

"Fine." With a sigh, the teenager slumped against the wall farthest from the man and brushed her short, sweaty black hair from her face. "I stole the Duke's ring the night of his wedding to pay for my sister's school," she shrugged. "As one historic guy maybe said once, 'I came, I saw, I conquered.'" With that abrupt and vague explanation, she snatched her lockpick once more and knelt before the door, only to be interrupted again by the man's cackling, wheezing laugh.

"Seems more like you were the one conquered," he chuckled, finding her predicament quite funny.

She shot a cold blue-eyed glare over her shoulder before going back to ignoring him. Once more, silence fell over the pair, until, inevitably, he broke his promise. "So when you break out, are you going to get me, too? Considering we're best friends at this point, I'd think you pretty rude if you didn't."

Xaria grumbled under her breath, shut her eyes, and smacked her forehead against the grimy bars of the door. "I don't care what you think, and no," she snapped, before taking a short breath and twisting herself back around, the lockpick wriggling around desperately in the old, rusted padlock. "Besides...you probably deserve to be in here."

"Rude." The man's chains rattled as he scratched at his flea-infested, thinning white hair. He blinked at her a few times from dulling eyes. She didn't blink back, nor respond. Finally, he huffed as she pushed the squeaking cell door open and started to walk past his cell. "Kid."

Xaria was tempted to ignore him, but the desperation in his voice was enough to make her turn around. "What?"

"I'm going to be gone soon," He admitted. "Fulfill an old man's last wish?"

"Depends," the girl responded coldly. "What is it?"

"Just let me see the sunrise. I know the way out...I just need a pair of legs."

Xaria looked at the doorway, then to the man, and back, before she let out a heavy sigh and took her lockpick in hand once more.

The journey out of the prison was uneventful yet nerve-wracking as ever. As it turned out, the 'Sleeping King' was the Duke's guard dog- and the reason the old man was legless. But the dog had been dead for years, and thus was no longer a threat. Really, nothing was much of a threat anymore. The two lone prisoners, cast away in a rotting dungeon, were the only souls that stayed in the place for longer than an hour.

As they exited the decrepit, crumbling spires of the prison, the old man turned his face up to the lightening sky, and the sun that was revealing itself from behind the rolling hills. "It's beautiful," he remarked in a breath, his voice whispering and cracking.

"Yeah," Xaria mumbled, laying him down and propping him up against a tree so he could watch.

A few minutes passed in silence before the man glanced up at her. "Hey kid, do me a favor."

"Yeah?" the girl looked down at him with a small frown, noting how weak his voice had become.

"Don't fly too close to it."

With that, he was gone, leaving Xaria with wild dreams of freedom, hope, and justice that were nothing but pure fantasy in her shattered, unbalanced world.

RJS, 674 words
She stood on the hill, tears tracing pale streaks onto her soot-blackened face as she looked down on the town that had once been her home. Smoke still wreathed the streets, dark and menacing as the tents that lay across the river from it. The roars of laughter did nothing to hide the wails that emanated from there. Her family. Her friends. Everyone. All dead, or facing an even worse fate.

She had been lucky. When the gates fell, when the panic hit, she had tripped. A sharp pain in her chest had plunged her into blackness, and she had awoken crushed under suffocating weight. Clawing her way out past the judging stares of faces she had known, she eventually emerged from the heap of corpses she had been covered in. She had run around the city, desperately seeking a friendly face, yet the only ones she found were glassy eyed and slack-jawed. Charred wood and charnel pits were what the town had become.

The army of the rebel Duke Artemis had turned up two weeks prior, demanding allegiance and tribute. The burgomaster had refused and barred the gates, awaiting the arrival of the King's Army to relieve the siege. Those had been a tense few days, the occasional rain of arrows keeping people inside, and those who had to move about town did so with fearful haste, one eye on the sky at all times. They weren't prepared for a long siege, having just depleted their winter stores, and the situation rapidly became worse.

The Duke swiftly proved the allegations against him to be true. Rotting carcasses, severed heads and worse rained down once the catapults were constructed, and towers rumbled up to the walls full of men intent on replenishing their ammunition. She had run, caught in the panic of the others as the slaughter, looting and burning began. She had been lucky. In the panic, she had tripped. Shortly afterwards, as she had struggled to her feet, a sharp pain in her chest had plunged her into blackness.

She had awoken who knows how many hours later, crushed under suffocating weight. Clawing her way out past the judging stares of faces she had known, she eventually emerged from the heap of corpses she had been covered in. She had run around the city, desperately seeking a friendly face, yet the only ones she found were glassy eyed and slack-jawed. Charred wood and charnel pits were what the town had become. So she had climbed to this hill, drawn to one thing and one thing alone.

She raised her eyes from the town to the horizon, watching as streaks of blood-red oozed across the sky. The sun slowly slid deeper beneath the horizon, and she breathed deeply as the last glimmer of its light vanished. The stones behind her began to thrum, pulsating with energy that everyone in the village had been warned to stay away from. An ancient site of unholy power so strong that even the mightiest of priests had failed to consecrate it. She had stumbled into it as a child, had heard whispers, mutterings, promises. She had always been confused why it was dangerous, since she had returned safely from it. Now she knew why. Breathing in deeply, drawing the power into herself, before breathing it out over the streets so far below.


The streets stirred into life. Figures that had lain lifeless crawled to their feet and began to lurch towards the gates, heading in a straight line for the camp. The sun had set on her for the last time. She would never again see the light of day, but her vengeance would ring eternally. The sun set on the world of the living, and her ambitions for the dead were just begun. She looked down once more at the bloody wound that she bore, dried blood caked around the hole in her chest. First the Duke. Then the King. Life was, after all, an unreliable thing - fleeting and brief. Death was much more reliable.

Greenie, 570 words
There were three of us that day, staring up at near possible death with just our meager armour, weapons and spells at hand. None of us had expected this small expedition would end up with our paths crossing goblins, giant snapping turtles, bandits, and now out of nowhere, a large and clearly upset ferocious bear.

We had travelled together frequently. I liked to think myself the brains of the group, but I'm sure the others would disagree. The others included Cramer, our resident tree-hugging magic hands, and Morin, ax-wielding dwarf extraordinaire. We'd been relaxing in the local tavern, having a drink for old time's sake, when lo and behold a shady fellow in a dark hooded robe came over to us and offered a treasure map in exchange for five gold pieces.

Naturally we all coughed up what we had. Adventuring was what we did, and treasure was what we wanted. Besides, what was the worst that could happen?

Well, you've already read what up above.

So there we stood in front of a bear's den, beaten and bruised, each tethering on the brink of health. Ironically it was our magic hands healer Cramer who was the closest to collapsing- the dude didn't seem to realize that support meant keeping himself safe as well as keeping us alive while Cramer and I did the harder work.

"Okay," he said, giving me and Morin a thumbs up. "I'm going to use my dagger!"

"Wait, that's not gonna work-" But he was off, dashing forward with a look of determination on his sweaty, grimy face, a feeble battle-cry trailing from his lips... and then he missed, flailing in place as he tripped over goodness knew what. "Oh dear-" He never got to finish what he was saying as the bear rushed at him, knocking him down. It wasn't hard to tell he was unconscious.

"Cramer!" My eyes jerked toward Morin, who had his axe up and ready. "It's up to you bud!" His weapon was the strongest we had; maybe if he struck the bear hard enough, it would retreat.

"Gotcha," he muttered. He too rushed forward, as quickly as his short legs carried him, beard flying over his shoulder like a hairy black scarf. With one grand sweep of his axe he embedded it into the bear, causing quite a bit of damage, what with all the blood.

"Dangit, it's stuck!" He had a boot pressed against the roaring bear as he tried to pull out his axe while trying to dodge the angry paws that kept trying to slap him away. "Benny!"

***

So much pressure was on me, and I knew very well that all that kept me and my friends from being torn apart by a bear was the small object in my hand. Feeling their eyes on me, I swallowed hard and let it fall. Each thud seemed to take a lifetime, but at last it came to a stop.

The die on the table read 20.

"It's a crit, you hit the bear." Our dungeon master Daniel was impassive as ever, but that didn't stop Cramer and Morin, or rather Jon and Steven from letting out shouts of triumph. A few dice rolls later, my arrow killed the bear that an axe couldn't.

And as promised, there was indeed treasure at the end.

Even if it's all pure fantasy, we came, we saw… and I conquered.

Anonymous #1, 742 words
Tana stormed out of the guildhall with laughter ringing in her ears. Her fellows in the Shadow Guild were— Letting out a snort of a laugh, Tana shook her head and dropped the nonsense. They were just a group of petty thieves who hung out in the back room of a shitty tavern. They liked to act big, but they had no real ambition, no dreams.

They'd laughed at her plan to rob the King's vault because they had no imagination. So what if he had guards and mages? They couldn't catch what they never saw, and Tana was practically invisible when she wanted to be. She would sneak in there and steal everything herself, and everyone would know her name. Well, not her real name, but a title. Yeah, a title. They'd call her the Lady of the Night and— Wait, no, that was a term for a whore. A different title, then.

Tana found a place to wait and watch the castle and its guards. Just as the sun set, so too did her ambitions soar. She found an opening, and she wasted no time taking it. Two minutes after slipping out of her watching spot, she was over the wall and climbing through a window into the keep within. Getting around without being seen was child's play thanks to all the statues and tapestries decorating the halls. She settled on the title Queen of Thieves while she crept around, a title that would go well with the Queen's own jewels.

It took Tana over an hour to finally find the vault: a pair of large doors carved with the scene of a bountiful feast. There were no guards in the long hall leading up to it, which was strange, but she didn't let that stop her. The lock was a complicated piece of work, but her tools eased it open in under a minute. Her heart thudded like a drum in her chest as she pulled the door open just a crack and slipped into the vault.

The room was empty but for a single chest on pedestal. That was very odd indeed, but Tana pressed forward. She tested the lid carefully for tricks and traps, but it wasn't even locked. It opened without a sound and... Goose egg. Literally. She reached in and pulled out a single large egg and stared at it with her brows drawn together in confusion.

"What the fuck?"

As soon as she spoke her bewilderment aloud, there was a flash of white that filled her vision. Suddenly she was facing a horde of tall and grotesque creatures, nightmares made flesh. They were looking at her and edging forward, and they looked hungry.

"What the fuck is this?"

Another flash and Tana was laying in a bed. She scrambled upright and found a man laying on his side, looking at her with a smirk on his face before he spoke. "Well, you certainly live up to your name, Lady of the Night." That wasn't just any man though, that was a face she was familiar with, in profile at least. That was the King himself, and they had... No, impossible. This was all impossible.

"What the fuck is this nonsense? Stop messing with my head, you bastard!"

There was a final flash of light, and Tana found herself sitting on a stone floor with her hands bound in manacles chained to the wall above her head. The truth came rushing back to her: she'd been grabbed about five minutes into her jaunt into the castle, taken to the dungeon, and then the King's pet wizard came down to get inside her head and see if she was an assassin. He was sitting there on a stool in front of her, chuckling at her. Not just laughing, chuckling, laughter's jerk cousin.

The wizard spoke and amusement was clear in his voice. "So, just a thief then. A fairly skilled one, though. I could make use someone with your particular talents. How do you feel about working as a spy, Queen of Thieves?" He chuckled at his own little quip, but this time Tana didn't mind it as much.

Spying would probably be more fun and profitable than stealing, at least. Tana shrugged, rattling her chains. "Sounds good to me. Beats rotting in a dungeon." It wasn't quite the sack of gold and jewels from her dreams, but it was a step in the right direction.

Jays, 177 words
There once was a tortoise named Slow and Steady who beat a hare in a foot race.

The tortoise then went about bragging about his "Slow and Steady" being superior to all other qualities and challenged each animal he met to test his perseverance, all of whom declined out of politeness.

Slow and Steady grew even more arrogant, mocking the other animals for being cowards. Their effort to avoid him further fueled his misguided pride.

One day the tortoise came across a snake, and as usual dared it to test his perseverance. However, this time the animal took the tortoise up on his offer, and challenged him to see who could travel further North.

Without a thought, Slow and Steady put his head down and walked North in his slow, steady pace, resolute and determined. He eventually walked straight into a human village and was captured and eaten.

The snake curled itself back into a comfortable sleeping position, having never moved at all, "Don't brag about your perseverance, because without a brain it wouldn't yield any accomplishment."

Draugvan, 490 words
Anastasia yearned for the sunset. Golden, yellow, orange, peach and purple rays that danced across the lids of her eyes when the moon was out. The spectrum of colours swirled in her memory like paint on a canvas. Ink, dye, pigment were mere representations of colour. But the sun, old and inviting, was true colour itself and her art could not be complete without it.

As she walked the sun's lowest arc intersected the distance, spreading succour across the mountains in hues of caramel and lemon. The dark ridge traced brightly against the evening sky was where she was headed.

Trees rose before her in a lurid attempt to hold the sun. They rose higher as she approached the mountains upon which the sun lay splendid and bare. All around were quivering pines and greedy little bushes and weeds trying to eke away the sunlight and soon the naked sun was shrouded by a canopy of insolent shifting grey.

Ana knew the time had come once again to bed down for the night. She found a derelict farmhouse along the way just as evening threatened to become night. Slim speckles of light peeked through holes in the bush to keep her pointed West. She would bed down here, with her face toward the setting sun to witness every nuanced change of colour.

The evening light faded through peach and purple then just as it was about to disappear entirely for the night the light ahead dripped through the canopy in a sour yellow. Ana watched wide-eyed as the sun fell out of the sky and onto the ground a short distance away. Ana heard a skittle-scratch in the greyscale darkness and imagined a man springing deftly through the brush with the jaunty thither of a lunatic. As she watched, specks of light dotted the dark ahead one-by-one appearing further away than the last like footsteps. Eventually the form ceased moving and the light stopped far ahead.

Ana got to her feet and followed the trail of light. Either side was black and the marks of light were all that she could see. The canopy overhead blocked even starlight so the underbrush was awash in murk. Ana moved slowly, feeling forward with each step in case of errant roots and switches.

As she came upon the end of the trail of light she could make out the broad-shouldered shape of a man. She called out. The man turned slowly to regard her with a face glowing luminescent yellow, bald scalp, sunken brow, crooked teeth and ungainly wide ears. The man stood regally and locked her gaze. His whole skin was vibrant.

Ana swallowed a breath and stepped toward the living sun. He embraced her as she placed a hand on his chest, feeling the cold layer of pearlescent thick mucus that seeped from his body. She looked into his passionless, glassy eyes and it was the last thing she ever saw.

RiverNotch, 514 words
He came

Her American father was more Filipino than she was. He'd come here two decades ago a missionary, returned home half a decade later a husband. Now his daughter's arrived, no one knows why, ignoring her tita's cautions and asking all these questions.

One of these questions ticked Cesar, I'm sure. Cesar operates smooth, and even I'd shown more interest in the girl...

The rumors only grew worse after that day. Every macho man in the village bragged, but always with the same refrain, "No biyak". Apparently, Cesar was the violation -- or, by some accounts, the culmination.

"Americans are more comfortable with it, anyway", dismisses Tita Sita. "We Filipinos are pious, unlike the whites. Before the Spaniards came, we were innocent about our nakedness; when they arrived, we learned how to cover up. It was the Americans who introduced us to spaghetti straps and jean shorts."

He saw

Nenita's three companions were alone on the beach. The white one, her cousin, was squatting on the rocks, whining about the village's lambanog. The black one, their valet, stood some distance away from him, ready with the toilet paper. The brown one, their guide, waited near the treeline, leering at the girl.

Cesar's chance had come.

He launched himself from the water, thrust his spear up the white boy's ass, then threw him into the spume, ending him with a stomp. The guide panicked, while the valet drew his pistol.

The first shot struck the palm tree far to the left of Cesar. But Cesar, too, was tense, dropping his spear and struggling with his blade.

The second shot glanced the feces-faced rock right behind him: a quick, or lucky, dodge.

The third shot scratched the knuckles of his sword-hand.

The fourth shot pierced his side -- but only through skin and fat.

The fifth shot hit him square in the shoulder, shattering his collarbone.

The sixth shot flew into the clouds. Cesar squeezed the gun out of the valet's hand.

The valet was not as agile as Cesar. On Cesar's first swing, the bolo bit into the man's left side. Blood and water sprayed out of the wound, followed by the ooze of fat. The blade had cut nearly halfway through the belly. A breath, and his corpse slid off of Cesar's knife.

When Cesar surveyed the scene, he saw the body of the guide lying close to where he'd panicked. He didn't know whether the man had fainted or had actually died of shock -- he didn't care.

Just within the woods, Nenita was lying on a makeshift hammock, asleep. She smelled of sweat and last night's drink. Her fingers were dug into her shorts, as if to scratch an itch.

He conquered

"That was our golden age", Cesar's father would often muse, "the days before the Spaniards came..."

The men from the ship gave Cesar paper, even though he'd asked for coin. All he could do was sit on the docks, his shoulder-wound rotting beneath the bandage, as the Norinco guard sneered at him, and the ship, with its precious cargo, sailed for home.

SkittlesAndSpike, 736 words
"You don't have to do this. We can just walk away and pretend this never happened." Lukas held me by both of my shoulders and looked me square in the eyes. He was worried about me, as a best friend should. He didn't want me to end up paralyzed, dead or worse.


I was starting to think maybe he was right. Maybe it wasn't worth it. I didn't have to risk my life trying to perform some impossible task. Many men greater than I had tried, and they'd all failed. What chance did a scrawny fellow like myself stand? I should just listen to Lukas. Between the two of us he was always the smart one. But just as I thought about walking away I caught notice of them, staring at me with disapproval in their eyes and an unimpressed look on their faces.


"No..." I shook my head and pushed Lukas back, ignoring the stunned look on his face. "You're wrong. If I walk away now I'll never be able to show my face in this town again." This was something I had to do. I had to prove that I wasn't a coward, that I was every bit the man I said I was. This was a matter of personal pride.


The patrons of the bar cheered as I entered the small stadium and, with no hesitation, mounted the mechanical beast before me. I dug my knees into its side and gripped the handle on its back tightly. I raised my free hand into the air and suddenly, the cheering stopped. The entire room went quiet, waiting for me to speak. With all eyes on me, I could feel fear and anxiety building inside my gut, but it was too late to back out now.


"...Let's do it." Was that really my voice? It sounded so...so...strong! So confident! Maybe I could really do this! The cheering came back in full force, and the beast below me rumbled, sending the ball of anxiety I felt earlier reverberating throughout my body.


I was pretty sure I was going to die.


With a loud snort I was jerked to the left, then to the right, both times threatening to throw me off if my grip on the handle was to loosen or my knees to slip. My wrist and shoulders were already starting to ache, and this was just the beginning. I had 2 minutes and 57 seconds more of this to go and I could already feel tonight's dinner coming back up.


By the end of it all I'd barely managed to stay on the death machine, but sadly, my adoring audience had scattered, leaving only Lukas to congratulate me on my victory. I didn't blame them, I'd been firing off blobs of chewed Tex Mex and beer like cannonballs the entire time. At least they'd seen me start, and that took guts of steel (which I clearly did not have).


Lukas helped remove my dizzy and wobbly ass from the mechanical bull, which let out one last snort, this one in defeat. "I can't believe you did it. It was disgusting, but you did it." He patted me on my back, grinning from ear to ear. "They were watching the whole time."


They better have been. I'd grabbed the bulls by the horn, almost literally, and proven myself as a man. I was owed a kiss. I turned my head in her direction and put on quite the triumphant look (except for the bits of puke dribbling down my chin). "Gotta say man, I'm proud of you." Lukas gave my back another pat. He was just happy that I didn't make him look like a loser in front of two hot girls but I didn't care. I was too happy that I beat the Bucking Bull challenge.


"Ya know, it wasn't even about impressing girls. It was about getting out there and proving myself." I started with my victory speech. As weak as I sounded, I liked to think it was pretty good. "I was scared to get on that bull, but I did it anyway!" I raised a hand into the air and pointed it at one of the girls, who was rolling her eyes, but at least she was smiling.


"I came; I saw; and I-" Puked whatever else I put in my stomach today all over the floor.


There goes that kiss.

Childish Grumpino, 700 words
The task is routine, it is all but muscle memory now.

It is all Pan has ever known.

Each morning she rises from her cot and dons the robes of her position in the Temple. Each morning she joins her brethren in burning the sacred oils, the scents bringing her to a quiet sense of purpose. After lunch she takes her place in the Choir arrayed before the Door That Must Not Be Opened, invoking their hymns to the Sleeping King.

The Sleeping King who dreams the world around them. Thus claim the Prophets. The Sleeping King's slumber is the very ground they walk upon. When he is calm, the world is at peace. When he is fitful, the world knows only chaos. Thus Pan and her brethren in the Temple must be watchful to ensure that the Sleeping King is not disturbed.

That above all else, he is never woken.

The days blend into the next as Pan makes her way through a life of prayer and comtemplation. Without question. To be a servant of the Temple is to preserve the very fabric of the world itself.

This she believes, without question.

Until the day Ylar arrives at the Temple.

He is unlike any man Pan has met; tall and lean compared to the stocky Priests and frail Prophets. His head has been recently shaved, but this only further shows his weather-beaten features. To her astonishment he seeks her out on that first day, turning to her rather than to the more senior members of the Clergy.

Soon he has her sitting, enraptured to something she has never heard before. A challenge to the words of the Prophets, spoken by an ordinary man with such conviction she cannot help but listen.

"Have you heard the the Sleeping King?" Ylar asks, "Has anyone? How do we know he dreams?"
"We know by his slumber," Pan recites, "when he is disturbed, so too is the realm. The same for the lands around us." Yet he just smiles.
"And you have seen this with your own eyes?" Meekly, defeated, she can but shake her head.
"I am a simple man," he continues, "I believe in the nature of cause and effect. The sun shines, my crops grow. The rains flow too often, my crops rot. Who is to say whatever is beyond the Door That Must Not Be Opened is not the same?"
"That is for the Prophets to decide," Pan replies half-heartedly.
"The Prophets are old. They are lost to tradition." Ylar's eyes burn with the passion of his words. "This temple holds the fate of the world in its hands, yet it succumbs to routine. That is sad, is it not?"

After this, Pan no longer knows restful sleep.

She cannot deny the truth of this man's words.

"What if we could control his reactions?" Ylar asks one day as they partake in oil duty, "what if we could assure calm and bountiful times for all? Would you do it?"
"That is not for me to decide," Pan declares, but she fears she no longer believes it.
"We could ensure that all are fed, that all are warm and healthy. Is that not the greatest kindness? Is that not what the Sleeping King would want?"

Ylar's question burns to her core.
"I do not know what he wants," she replies, and Ylar smiles.
"Has anyone asked him?"

After this, Pan does not know sleep.

She rises from her spartan cot, donning the robes of her position in the Temple. She joins her brethren in burning the oils. As they depart for lunch she lingers, her eyes flicking between the departing clergy and the door.

He lies on the finery one would expect of a King, all drapes and canopies that Pan cannot help but marvel at. As she stands over him, hands shaking, she sucks in a last, desperate breath.

And then she lowers her arms onto the sleeping form, gripping his shoulders and shaking him roughly.

The King's eyes flutter open, gazing bleakly. His mouth opens, inhaling deeply.

Her shoulders tense, her stomach tightens, her whole body bracing.

From this moment, her world will never be the same again.
 
I can proudly say that when I see a turtle and snake in the team of judges the first thing that came into my mind was

let-them-fight-29407535.png


I then went on to find the laziest way of doing that.
lmao look at all these serious entries and then my goofy-ass submission's just kinda there.
Participation award yay
 
Nothing wrong with a little goofiness!
 
Yay it's up :D
 
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Aw yeah!
 
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Cohesiveness
  • Did the author manage to bring a complete story to the table? The story as described extends to Xaria's theft which put her in prison. However the story as written only covers them fleeing the prison with some expositional dialogue.
  • How did the entry match the prompts given? Did it fit, or did it feel forced? Included every prompt. I felt most for 'Just as the sun set, so too did her ambitions soar' even though it appears the story concludes at dawn. I did not feel for 'Best not to wake the Sleeping King' since there is no payoff to the setup. The other prompts lack content within the story.
  • Is there a clear beginning and end? Does it flow seamlessly from beginning to end? The paragraph starting "The journey out of the prison was uneventful" broke my immersion. Otherwise good pacing.
  • Were there any lines, or details that you felt like unnecessary? Or did every line have its function? I thought the inclusion of prompts that did not inform the story were unnecessary. I did not get the idea that Xaria was shattered or unbalanced as is noted in the last paragraph. I thought the moral of the story was about perception and jails of the psyche.

Engagement
  • How did the author convey the emotion in the story? Did it sway you, manage to pull you in? The paragraph describing the old man like maggots crawling from his mouth was graphic. I saw Xaria with hair askew and disheveled like she had just been tossed in there. But I suppose she must have been there at least some hours now that I think about it.
  • How engaging did you find the story to be as a reader? Quite. It was a familiar narrative and therefore easy to digest.
  • Did the mood feel appropriate for the setting given? Did it make sense? Like Pirates of the Caribbean 1, when Will breaks Jack out. That's a good, for me.

Originality
  • How creative did you find the entry accompanied with the prompts given? Was the plot a refreshing take on the prompts, or did it show a lot of imagination? It was interesting to see EVERY prompt worked in. But on the whole, the plot has been done before and was not revolutionary.
  • What about the plot twists? Did the writer manage to surprise you? I suppose I didn't expect noone to be guarding the jail. Calling the dog the Sleeping King seems a little unimmersive, where the old man could have used words like m****r f****r or b*****d or b***h.
  • Did the author make use of any literary devices (foreshadowing, euphemisms, personification, etc...)? What did you think of the execution of it? Foreshadowing of the Sleeping King. You could say the sun revelaing itself from the mountains is personification. You may consider the description of the old-man-maggot-mouth to be a metaphor. The use of foreshadowing was good as the plot twist hinges on the subversion of it.
  • Are there any underlying themes or subplots that you could find? The old man seemed to be a thief who lived life of carelessness comparable to Xaria. He stands as a cautionary tale and speaks to the current road she is on.

Polish
  • Are there any spelling/grammar errors in the piece? If so, did they distract or add up in the story? Its a nit pick but, 'she brushed her short, sweaty black hair from her face' could be 'she brushed her short, sweaty, black hair from her face' because it is strange to say she has 'black hair' rather than hair which is black. Same for 'his flea-infested, thinning white hair.' Nothing else to note.
  • What about punctuation and sentence structure? Did they vary, or was the writer lacking in that department? The writer made use of run-on sentences to describe a series of actions happening in order. This was punctuated by smaller sentences which helped maintain pace.
  • Were there any words that you would have replaced, or that confused you? Nah.
  • What did you think of the paragraphs? Were they properly formed, or perhaps too long? How did it affect the reading? Heavy use of dialogue. Dialogue followed description in some paragraphs instead starting on a new line. However, good use of paragraphs which related to one subject and one event.
 
Cohesiveness
  • Did the author manage to bring a complete story to the table? The story as described extends to Xaria's theft which put her in prison. However the story as written only covers them fleeing the prison with some expositional dialogue.
  • How did the entry match the prompts given? Did it fit, or did it feel forced? Included every prompt. I felt most for 'Just as the sun set, so too did her ambitions soar' even though it appears the story concludes at dawn. I did not feel for 'Best not to wake the Sleeping King' since there is no payoff to the setup. The other prompts lack content within the story.
  • Is there a clear beginning and end? Does it flow seamlessly from beginning to end? The paragraph starting "The journey out of the prison was uneventful" broke my immersion. Otherwise good pacing.
  • Were there any lines, or details that you felt like unnecessary? Or did every line have its function? I thought the inclusion of prompts that did not inform the story were unnecessary. I did not get the idea that Xaria was shattered or unbalanced as is noted in the last paragraph. I thought the moral of the story was about perception and jails of the psyche.

Engagement
  • How did the author convey the emotion in the story? Did it sway you, manage to pull you in? The paragraph describing the old man like maggots crawling from his mouth was graphic. I saw Xaria with hair askew and disheveled like she had just been tossed in there. But I suppose she must have been there at least some hours now that I think about it.
  • How engaging did you find the story to be as a reader? Quite. It was a familiar narrative and therefore easy to digest.
  • Did the mood feel appropriate for the setting given? Did it make sense? Like Pirates of the Caribbean 1, when Will breaks Jack out. That's a good, for me.

Originality
  • How creative did you find the entry accompanied with the prompts given? Was the plot a refreshing take on the prompts, or did it show a lot of imagination? It was interesting to see EVERY prompt worked in. But on the whole, the plot has been done before and was not revolutionary.
  • What about the plot twists? Did the writer manage to surprise you? I suppose I didn't expect noone to be guarding the jail. Calling the dog the Sleeping King seems a little unimmersive, where the old man could have used words like m****r f****r or b*****d or b***h.
  • Did the author make use of any literary devices (foreshadowing, euphemisms, personification, etc...)? What did you think of the execution of it? Foreshadowing of the Sleeping King. You could say the sun revelaing itself from the mountains is personification. You may consider the description of the old-man-maggot-mouth to be a metaphor. The use of foreshadowing was good as the plot twist hinges on the subversion of it.
  • Are there any underlying themes or subplots that you could find? The old man seemed to be a thief who lived life of carelessness comparable to Xaria. He stands as a cautionary tale and speaks to the current road she is on.

Polish
  • Are there any spelling/grammar errors in the piece? If so, did they distract or add up in the story? Its a nit pick but, 'she brushed her short, sweaty black hair from her face' could be 'she brushed her short, sweaty, black hair from her face' because it is strange to say she has 'black hair' rather than hair which is black. Same for 'his flea-infested, thinning white hair.' Nothing else to note.
  • What about punctuation and sentence structure? Did they vary, or was the writer lacking in that department? The writer made use of run-on sentences to describe a series of actions happening in order. This was punctuated by smaller sentences which helped maintain pace.
  • Were there any words that you would have replaced, or that confused you? Nah.
  • What did you think of the paragraphs? Were they properly formed, or perhaps too long? How did it affect the reading? Heavy use of dialogue. Dialogue followed description in some paragraphs instead starting on a new line. However, good use of paragraphs which related to one subject and one event.
I always try to include as many prompts as possible- however, in this instance especially, I agree that some were unnecessary and only ended up serving as pitfalls to the story. Overall, I'm not very happy with this entry, but I'm glad that you found some good points to it XD thank you for the review- I'll put your criteria to good use.
 
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Cohesiveness
  • Did the author manage to bring a complete story to the table? A bloodthirsty Duke besieged a city which was loyal to some King. The King's army never showed (which appears to be a betrayal as at paragraph 3 and final paragraph). The city was sieged first with sickness/contagion/terror tactics and then razed after that failed. The nameless protagonist has connection to necromancy which has allowed her to survive a fatal wound and raise an army of the dead to murder the Duke and King off-screen.
  • How did the entry match the prompts given? Did it fit, or did it feel forced? I felt most for 'Just as the sun set, so too did her ambitions soar' with no other prompts included. I could say that there is certainly a a building climax as the sun sets, but I'm not sure if I would describe becoming a full-on necromancer as the protagonists 'ambition.' Necromancy can be expected to be potent at night, so this makes sense.
  • Is there a clear beginning and end? Does it flow seamlessly from beginning to end? Story starts two weeks prior, before the siege. Story ends when the town is raised undead and then fades to black. Pretty well defined what the focus of the story is.
  • Were there any lines, or details that you felt like unnecessary? Or did every line have its function? At first reading I wasn't sure she was supposed to have a partial wound or a fatal wound on her chest. When it describes her meeting with the source as a child, this starts to make sense. While the protagonist has no name and not even the King is named, only Duke Artemis has a name in this story. This name is not used again beyond the third paragraph and only adds to the complexity of the story and was unnecessary considering the otherwise effective lack of names. Further, the passage "Clawing her way out past the judging stares of faces she had known, she eventually emerged from the heap of corpses she had been covered in. She had run around the city, desperately seeking a friendly face, yet the only ones she found were glassy eyed and slack-jawed. Charred wood and charnel pits were what the town had become." is repeated ver batim. While this aids to pinpoint the connection to the present, it could have been reworded and made more concise.

Engagement
  • How did the author convey the emotion in the story? Did it sway you, manage to pull you in? "sharp pain", "suffocating", "clawing", 'slack-jawed", etc - great use of precise descriptive words. In particular the first few describe oppression, anxiety and desperation. The words "oozed", "pulsated", "thrum" - these relate to fleshy, organic amalgams and relate well to unnatural life energy. Gross. These words also suggest the source of power is itself alive and therefore consciously malevolent which adds risk/reward to the protagonist's use of it. Particularly in conjuction with the word "consecrate."
  • How engaging did you find the story to be as a reader? We see big lady necromancers from the other side of the fence as reprehensible characters that need to be taken out. However, this story lends character and depth to a familiar story. I really liked it and could support the protagonist.
  • Did the mood feel appropriate for the setting given? Did it make sense? Uncharted magic sources + superstition, Dukes, Kings, sieges. Something about a 'burgomaster.' These all speak to a medieval time period generally which, as an uninformed reader, I can certainly accept for the setting. The style of narrative is informative, which is appropriate as the story is in large part a memory flash back for the point of view of the woman.

Originality
  • How creative did you find the entry accompanied with the prompts given? Was the plot a refreshing take on the prompts, or did it show a lot of imagination? This seems to represent an origin story of a played out character. The King and Duke are nothing novel. But the creative effort the writer put in to flesh out a trope character (protagonist) deserves recognition.
  • What about the plot twists? Did the writer manage to surprise you? She survived and she has superpower. It could have bee another story if she were a helpless bystander that had to accept her fate...but that it not this story. She is the mcguffin and is put in a position to mcguffin. I don't consider this a plot twist at all. Straight forward story.
  • Did the author make use of any literary devices (foreshadowing, euphemisms, personification, etc...)? What did you think of the execution of it? The story started mes en scene, flashing back to past events to get the whole picture. This delivers an emotional punch and sets up clear interested parties. Metaphor at the end to describe the blood-red sky 'oozing' like blood plays to the sacrilege she is about to perform. Nice use of subversion in the title.
  • Are there any underlying themes or subplots that you could find? The protagonist went into the source of power as a child and is already connected to it prior to the events of the story. Further, as a Duke is a position under the King, it would seem that the Duke is rallying against the authority of the King and going on a warpath. It is unclear if the King deliberately betrayed the village or if it is meant to be the perception of betrayal that causes someone to become a necromancer...either way this is given at the end and is not really explored, the story is about the relationship between the protagonist and the Duke

Polish
  • Are there any spelling/grammar errors in the piece? If so, did they distract or add up in the story? The first paragraph uses sentence fragments to communicate impact. They are effective, but could have been written using commas just as effectively. Further, the writer broke past-tense here at "She raised her eyes from the town to the horizon, watching as streaks of blood-red oozed across the sky" which could be "and watched as streaks of blood-red oozed across the sky."
  • What about punctuation and sentence structure? Did they vary, or was the writer lacking in that department? The writer used long descriptive sentences but did not write in the manner of run-on sentences (e.g. over use of sentence commas or listing), and punctuated with shorter sentences to maintain pace. Most sentences are written containing at least one comma such as "As A happened, B followed after." This is related to the Yoda style of speech which establishes the sentence subject at the end of the sentence. This can make for hard reading and requires attention of the reader at all times (see for example any story by Poe). Such sentences are able to be re-worded to facilitate speed-reading.
  • Were there any words that you would have replaced, or that confused you? What is a burgomaster, like a mayor, or is it a military position? I really liked the words "charnel pit" and "allegations."
  • What did you think of the paragraphs? Were they properly formed, or perhaps too long? How did it affect the reading? No dialogue. Good use of paragraphs which generally related to one event. Some paragraphs look at me sideways (paragraphs 4, 5 and 6), but I can't quite pin anything down. I feel like these paragraphs leech a little from the preceding paragraph or reflect the intent of another paragraph and could have been combined.
 
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I always try to include as many prompts as possible- however, in this instance especially, I agree that some were unnecessary and only ended up serving as pitfalls to the story. Overall, I'm not very happy with this entry, but I'm glad that you found some good points to it XD thank you for the review- I'll put your criteria to good use.
I thought it was fun to read. Xaria's type of character is all about swashbuckle and excitement. It has value as a reprieve from thoughtful or dark and grimy stories one might favour. I think the plot twist threw my immersion out as it introduced more thoughtful elements which is at odds with the forementioned swashbuckle. Swashbuckle doesn't have to make sense.
 
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Cohesiveness
  • Did the author manage to bring a complete story to the table? Adventurers bought a map and fought through the day. The final encounter before the treasure was a bear. The story centers around the conflict with the bear, but also describes the history and motivations of the party.
  • How did the entry match the prompts given? Did it fit, or did it feel forced? Clever interpretation of the prompt! The prompt 'Our wildest dreams are just that: pure fantasy' would tend to be construed in a negative light saying that we cannot have what we dream for, but this interpretation skews it so that enjoying fantasy is the end-goal - well done. A second prompt 'I came; I saw; I conquered' is included. Certainly the words are there, but considering this line is a quote from Caesar at the height of his power, I just don't feel the writing fulfilled this in its frantic scramble. Further, there was a missed opportunity to call the bear the 'Sleeping King' ;)
  • Is there a clear beginning and end? Does it flow seamlessly from beginning to end? The story covers what happened, what's happening and what the party achieved. In the context, its the entirety of a questline. I feel the scope is appropriate.
  • Were there any lines, or details that you felt like unnecessary? Or did every line have its function? The line 'Well, you've already read what up above' was discordant with the rest of the piece. It could have been pure narration, a memory, a campfire story or a journal entry. However, this line is unsettling because it suggests they are writing to one person, and yet throwing in dramatic flair. I would expect the manner of speech to befit a spoken story while a written story is more pensive. If you deleted the line it wouldn't remove detail from the story, which is usually a sign it is filler.

Engagement
  • How did the author convey the emotion in the story? Did it sway you, manage to pull you in? The first paragraph conveyed fatigue. I like the paragraph that the dwarf charged, it was characteristic of a hearty dwarf. The first paragraph of the 'twist' weighed heavy with tension/anxiety, however I don't feel that the language in the following paragraph really capitalised on a sense of relief.
  • How engaging did you find the story to be as a reader? The first few paragraphs focused on widely different things and didn't capture me. The fight was engaging. The twist ending was over far too quick and felt rushed.
  • Did the mood feel appropriate for the setting given? Did it make sense? I understand the party is low-level like levels 3-6 in for instance DnD 5e, just experienced enough to specialise. But the line 'Adventuring was what we did' implies organisation. It broke my immersion when magic-hands Cramer pulled a dagger on a bear. The setting felt real and believable, as did the dwarf and the archer. Cramer was the only thing that stood out. The mood was relatively light, which worked well enough.

Originality
  • How creative did you find the entry accompanied with the prompts given? Was the plot a refreshing take on the prompts, or did it show a lot of imagination? A peppy story told by a peppy narrator. Dungeon raiding with a dex class, str class and mage class. The fantasy part of the story is well known. A narrative about playing tabletop is also known. But I suppose it was refreshing because it had a happy ending.
  • What about the plot twists? Did the writer manage to surprise you? I didn't expect the plot twist.
  • Did the author make use of any literary devices (foreshadowing, euphemisms, personification, etc...)? What did you think of the execution of it? The phrase 'and now out of nowhere, a large and clearly upset ferocious bear' is hyperbole to demonstrate surprise. No other literary devices.
  • Are there any underlying themes or subplots that you could find? Evidently Cramer has alot to learn about being a healer, and isn't getting the idea. No sub plot beyond the described battles with goblins, turtles, bandits.

Polish
  • Are there any spelling/grammar errors in the piece? If so, did they distract or add up in the story? Paragraph 1 and 2 have adjectives not separated by commas. The line '...beaten and bruised, each tethering on the brink of death' should be 'teetering on the brink of death.' The line 'flailing in place as he tripped over goodness knew what' has very weird tenses. The fight with the bear mixed past- and present-tense in general, though the beginning and end of the writing held to past-tense.
  • What about punctuation and sentence structure? Did they vary, or was the writer lacking in that department? Effective use of sentence length, where long sentences are used at the start and shorter, choppier sentences are used in battle where the pace increases. Used hypen and exclamation points for good effect. The word 20 should be in quotes. The last paragraph recites '...Cramer and Morin, or rather John and Steven from letting out shouts of triumph' should have a comma after 'Steven.'
  • Were there any words that you would have replaced, or that confused you? I would have centered the '***', but that's just an aesthetic choice. I like the term 'magic hands' to casually describe magic.
  • What did you think of the paragraphs? Were they properly formed, or perhaps too long? How did it affect the reading? Good balance of dialogue and description. Dialogue followed description in some paragraphs instead starting on a new line. Paragraphs seemed to blur focus and I really couldn't pick out the one event they should be centered on. Good paragraph length though.
 
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@Draugvan - Thank you for the review! :bsmile: I was unsure if anyone would realize I used the 'wildest dreams' prompt, so I'm truly glad you did! And also wondering why I didn't think about 'the sleeping king' :"D
 
Cohesiveness
  • Did the author manage to bring a complete story to the table? I wouldn't say so. The writing catches us up to speed with the tortoisexhair race and centres on the tortoisexrace race, furthermore it is an objective of the story to deliver about the tortoisexsnake race (title). The story is about not doing anything. There is no protagonist.
  • How did the entry match the prompts given? Did it fit, or did it feel forced? I see 'best not wake the Sleeping King.' However, there is no pay-off. The tortoise fits into 'Don't fly too close to the sun' since it is the spitting image of Icarus' pride.
  • Is there a clear beginning and end? Does it flow seamlessly from beginning to end? Clear beginning and end, and excellent flow.
  • Were there any lines, or details that you felt like unnecessary? Or did every line have its function? Tortoise being captured by humans is an unnecessary twist. At first reading, I assumed he would freeze at the Pole.

Engagement
  • How did the author convey the emotion in the story? Did it sway you, manage to pull you in? The pride of the tortoise is told from a third person perspective, and as a result the language used such as 'misguided pride' does not help me to connect with the tortoise. The last paragraph conveyed a sense of lethargy with '...having never moved at all.'
  • How engaging did you find the story to be as a reader? I wanted to be hooked, but the immediate subversion of the well-known tortoise character had me skeptical.
  • Did the mood feel appropriate for the setting given? Did it make sense? In the traditional telling of the story, we have to personify the tortoise and hare to enable them to compete with each other. It makes sense that more animals are personified. Why not have them capable of speech while we're there. I have no issue here.

Originality
  • How creative did you find the entry accompanied with the prompts given? Was the plot a refreshing take on the prompts, or did it show a lot of imagination? The Aesop of Icarus is well-known. However, the subversion of the well-know tortoisexhare story deserves recognition, and the story ends with a unique moral 'without a brain you wouldn't yield any accomplishment.'
  • What about the plot twists? Did the writer manage to surprise you? I didn't expect the snake to do nothing, nor the tortoise dying to humans. But I did expect it to die.
  • Did the author make use of any literary devices (foreshadowing, euphemisms, personification, etc...)? What did you think of the execution of it? Personification. Nothing else.
  • Are there any underlying themes or subplots that you could find? Talking animals exist in the same world as humans. The snake is aware that humans eat animals. Do the animals eat animals??

Polish
  • Are there any spelling/grammar errors in the piece? If so, did they distract or add up in the story? The tortoise is introduced as being named 'Slow and steady', but then is said to possess 'slow and steady' which was very distracting. Third paragraph breaks past-tense as at 'mocking the other animals.'
  • What about punctuation and sentence structure? Did they vary, or was the writer lacking in that department? The last paragraph and in particular the fourth paragraph have poorly placed commas. Further, the writing is kept fresh by the use of a variety of different sentence structures.
  • Were there any words that you would have replaced, or that confused you? I get using a children's story to inform your writing, however the language in paragraph 2, 3 and the last paragraph was too sophisticated for the source material and would have been improved by dulling it down. I also would have removed the 'however' from 'However, this time the animal took the tortoise up on the offer.
  • What did you think of the paragraphs? Were they properly formed, or perhaps too long? How did it affect the reading? Balanced sizing of paragraphs, considering what it is. All paragraphs more-or-less covered one event. If the story were expanded on though, the paragraphs would have too much content and would be better split up, for instance paragraph 3 would split into a paragraph about him challenging animals and then one about his pride. Further, the dialogue by the snake should have been on a new line.
 
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Disclaimer: These are all my opinions and mine only, it does not reflect objective facts about the quality or characteristics of the work reviewed. Furthermore, I do make mistake, which is why I'm terrified of doing reviews (only reason I'm doing it this time is cuz I was blackmailed rip), so if you find some of my criticism to be unjustified or completely missed your point, I apologize. Also, I completely disregard spelling mistakes unless it significantly affect reading experience.

For reasons unbeknownst to many (or not cuz I'm just an asshole), I do tend to focus on the bad things more than the good things and am unnecessarily strict. Just a warning. Now to the thing!

First of all, the general writing is fine, able to sufficiently convey events and ideas in a somewhat descriptive manner, baring a few odd word choices that seemed out of place and cracked immersion slightly, but that may very well be me. Let's break it down in more details:
  1. You managed to cram every single prompt in there, basically fulfilling all of them literally if not in spirit. None of them seems to stick though and mostly seemed like gimmicks and were there just to be there. However, they also don't take away from the story as, despite their strange wording, they don't differ from the rest enough that I'd notice if I didn't know you were trying to fulfill certain prompts. So it is what it is, neither particularly good nor bad.
  2. Characterization of Xaria and the old man were pretty lackluster, if not nonexistent. Now I know with such a short word count available it's difficult to do many meaningful things, and there are hints to their past and who they are. Xaria is alright, you did what you could, and even though she seems very much the archetype of a young hotheaded independent girl that's quite common in fantasy, it's not too much of a problem given how little space you have to work with. However, the old man I was iffy with. The first half of the story he's basically the archetype of old man locked away in a dungeon, foul and half-mad and annoying (to the main character). But later you attempt to humanize him and somehow, to me, he suddenly seems like a completely different character, or at least we need to perceive him as such for his final wish and the end scenes to have weight. But there's nothing there, nothing to help us sympathize with this dying old man other than the fact that he had been there a real long time. Now, don't get me wrong, that's plenty of good reason, but the way you portrayed him initially made him seem like such a cartoonish character and a plot device for some needed exposition, that later it takes away the weight of his plight, like he was more of an NPC that someone made specifically to be put in a dungeon rather than someone with a story and a past. Even Xaria was hard to relate to, she seemed so cocky and annoyed and not the least bit worried or concerned.
  3. Gaps in logic, events that transpired vs. expectation. People'd expect guards and a daring escape, but there were none, which was fine if it made sense to the story, but the way you explained it away while excellently gave me a sense of solitude, completely made the protagonist's presence awfully out of place, not to mention quite anticlimatic and did not provide anything more than a vague unhelpful statement. The way you described it, Xaria seemed to be the only fresh and lively thing in this dead rotting dungeon, which was a nice contrast that harmed the sense of the story more that it helped. Would they really throw a recently caught thief, who stole from the Duke no less, into an unguarded, ancient cell? Who thought that was a good idea? Also, the way you built up "the sleeping King" just to let it go splat on its face like that broke the flow of the story and does hell to immersion.
  4. Expected a climax, the way you talked about "the Sleeping King" and increasing the stake by making the main character carry an old man (again, might just be me, my mind immediately jumped to that conclusion when I saw it). There was kind of an emotional climax, but 1. It excluded the protagonist, which is okay for a small chapter of a long book but a big problem for a short story, and 2. Again, there was no weight to the emotional payback, no emotional build up. It's beautiful outside, sure, but the old man somehow seems more suited to the dungeon than the open sky, and that's baaaad.
  5. You fell into the trap of how not to write a story which appear to be part of a larger one. I do often tend to write short stories like that myself, hell probably 3/4 of my short works are in that format. However, it is so, so easy to get lost in the bigger story in your head which is amazing and fail to truly breathe life into an extraction of it. I'd know, I did that so very often. The common trap is writing as if your characters and their actions have weight and history giving them meaning, while those very history aren't included in the short story or are inadequately mentioned.
  6. Bit aimless, the entire thing. First half and second half didn't connect at all, the paragraph describing their ascend was an inadequate and disjointed transition that didn't even know it was a transition.
Overall, a story with solid writing but a lot of problem with characterization, build up and general direction/focus.

Fantastic writing, great uses of very descriptive language, clearly conveying the vivid scenes and evoking appropriate feeling and emotions. However, the pacing and flow does me hella Yikes!
  1. Obvious things first. The repetition doesn't do it for me. You can mention it again, summarizing as a transition, sure, but word for word is excessive and disruptive. I had to stop myself to check and see if I was tripping balls on deja vu. Reading through the exact same words you just read like a minute before doesn't reinforce them as much as make you skim through them after being forcefully dragged out of immersion.
  2. Characterization is virtually nonexistent. All we know is that she's a town girl who just watched her home burned, and she does some voodoo stuff now too. She didn't even do anything that gave us a glimpse into her personality, only the obvious things that everyone would do in that situation which was running around in panic. The way she acted in the end did not match the way she acted in the beginning. I guess there are several reasons I can think of that would make sense, but none were mentioned or signalled or hinted at in the story, and there's absolutely no build up.
  3. The first 2 paragraphs did an amazing job to establish a shocking, emotional and most of all personal scene. The next 2 chopped the flow clean off and buried whatever I just felt under impersonal exposition. The next 2 rehashed what I have just read for no apparent reason and described another scene which while was still interesting, was also impersonal and very much emotionless. Everything felt disjointed, like paragraphs from the beginning, middle and end of a chapter of a book were taken out and jammed together.
  4. The ending came out of nowhere. There was no build up. The sharp pain on her chest may be one, but there was nothing to signal that it was significant, just as nothing to signal the audience that a "supernatural" theme was included. This broke my suspension of disbelief because even though magical and nonmagical fantasy are very similar, they require very different mindset and level of suspension of disbelief.
  5. Hints that led nowhere, like the "allegations" against the Duke, as well as "the King". They don't serve any purpose that I can immediately see. Does make me curious about what comes after and it doesn't take away too much from the story though, so it is what it is.
  6. The only prompt I can see is "Just as the sun set, so too did her ambitions soar", used in a literal sense more as an afterthought than out of any symbolic or narrative value.
Your entry's a Frankenstein's monster, my dude. The beginning was amazing, but the rest felt like someone else wrote it. It's read more like someone trying to summarize a chapter of a book to a friend rather than the chapter itself, if you know what I mean. You could make it so much greater if you dropped the baggage of the repetition part and use it to strengthen up the other weak parts of the story. In conclusion, great writing, but hella Yikes! all around :[

A fun little tale about a D&D (or Pathfinder, if you roll that way, you monster) session. The writing's light and easy, not overly sophisticated which suited the feel of the story well. Let's break it down:
  1. Very interesting and creative way to use the wildest dream prompt. I approve.
  2. The light and fun writing style is informal and modern enough from the beginning to not only convey the theme and feel of the story well, but also quickly reveal that it was a D&D session going on. Is this good or bad? It's up to the reader. It makes the "twist" at the end more predictable, but also add a great deal of layers to the fun and lightheartedness of the story, so I'd say it's a worthy trade-off.
  3. Sufficient characterization for a short story like this. The personalities and differentiation of the characters are easily discerned through their actions and not just straight up told, a good use of show-don't-tell.
  4. The climax could be more tense and emotional, but at the risk of losing or clashing against the playful tone of the story, so I guess it was a choice you consciously made.
  5. Usually I dislike the use of First Person Point-of-view outside of Urban Fantasy (cuz it's a common format for it), the use of it here neither detract nor add much significant value to the story. It is what it is.
Overall there's not much to say or criticise here. This is a consistently solid, fun, cute and playful albeit predictable story with a creative way to utilize the given prompt.

Good use of descriptive language throughout, not overly sophisticated but setting-appropriate and at certain points even character-appropriate. Let's break it down:
  1. Very good inclusion of the prompt, which has actual narrative value and is appropriate to the character presented as well.
  2. Great characterization through well-used introspection that doesn't disrupt with the flow of the story, and also consistent and present throughout the entire narrative.
  3. Great predictable twist that was presented in an unpredictable way. When she pulled out the goose egg I was genuinely confused and intrigued. Good job my man.
  4. Great job building up to the answer with small clues and also bringing things around with small details like "Queen vs. Queen's jewel" and "Lady of the Night". A nice touch which gives the impression that everything's thoroughly planned out.
  5. Pacing's good, flow is good, potential disruptions like introspection and action vs. emotion doesn't happen at all, kudos to that.
  6. The end was very abrupt and cut off immersion cleanly, but I suspect that was you suddenly realizing you had 3 lines of words left and rushed to wrap it up.
Overall, a cool entry that's intriguing to read with good characterization, focus and inclusion of the prompt.

Absolute horsecock. Don't pay it any mind. Whoever wrote this need to quit writing

The rest comes tomorrow.
 
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Disclaimer: These are all my opinions and mine only, it does not reflect objective facts about the quality or characteristics of the work reviewed. Furthermore, I do make mistake, which is why I'm terrified of doing reviews (only reason I'm doing it this time is cuz I was blackmailed rip), so if you find some of my criticism to be unjustified or completely missed your point, I apologize. Also, I completely disregard spelling mistakes unless it significantly affect reading experience.

For reasons unbeknownst to many (or not cuz I'm just an asshole), I do tend to focus on the bad things more than the good things and am unnecessarily strict. Just a warning. Now to the thing!

First of all, the general writing is fine, able to sufficiently convey events and ideas in a somewhat descriptive manner, baring a few odd word choices that seemed out of place and cracked immersion slightly, but that may very well be me. Let's break it down in more details:
  1. You managed to cram every single prompt in there, basically fulfilling all of them literally if not in spirit. None of them seems to stick though and mostly seemed like gimmicks and were there just to be there. However, they also don't take away from the story as, despite their strange wording, they don't differ from the rest enough that I'd notice if I didn't know you were trying to fulfill certain prompts. So it is what it is, neither particularly good nor bad.
  2. Characterization of Xaria and the old man were pretty lackluster, if not nonexistent. Now I know with such a short word count available it's difficult to do many meaningful things, and there are hints to their past and who they are. Xaria is alright, you did what you could, and even though she seems very much the archetype of a young hotheaded independent girl that's quite common in fantasy, it's not too much of a problem given how little space you have to work with. However, the old man I was iffy with. The first half of the story he's basically the archetype of old man locked away in a dungeon, foul and half-mad and annoying (to the main character). But later you attempt to humanize him and somehow, to me, he suddenly seems like a completely different character, or at least we need to perceive him as such for his final wish and the end scenes to have weight. But there's nothing there, nothing to help us sympathize with this dying old man other than the fact that he had been there a real long time. Now, don't get me wrong, that's plenty of good reason, but the way you portrayed him initially made him seem like such a cartoonish character and a plot device for some needed exposition, that later it takes away the weight of his plight, like he was more of an NPC that someone made specifically to be put in a dungeon rather than someone with a story and a past. Even Xaria was hard to relate to, she seemed so cocky and annoyed and not the least bit worried or concerned.
  3. Gaps in logic, events that transpired vs. expectation. People'd expect guards and a daring escape, but there were none, which was fine if it made sense to the story, but the way you explained it away while excellently gave me a sense of solitude, completely made the protagonist's presence awfully out of place, not to mention quite anticlimatic and did not provide anything more than a vague unhelpful statement. The way you described it, Xaria seemed to be the only fresh and lively thing in this dead rotting dungeon, which was a nice contrast that harmed the sense of the story more that it helped. Would they really throw a recently caught thief, who stole from the Duke no less, into an unguarded, ancient cell? Who thought that was a good idea? Also, the way you built up "the sleeping King" just to let it go splat on its face like that broke the flow of the story and does hell to immersion.
  4. Expected a climax, the way you talked about "the Sleeping King" and increasing the stake by making the main character carry an old man (again, might just be me, my mind immediately jumped to that conclusion when I saw it). There was kind of an emotional climax, but 1. It excluded the protagonist, which is okay for a small chapter of a long book but a big problem for a short story, and 2. Again, there was no weight to the emotional payback, no emotional build up. It's beautiful outside, sure, but the old man somehow seems more suited to the dungeon than the open sky, and that's baaaad.
  5. You fell into the trap of how not to write a story which appear to be part of a larger one. I do often tend to write short stories like that myself, hell probably 3/4 of my short works are in that format. However, it is so, so easy to get lost in the bigger story in your head which is amazing and fail to truly breathe life into an extraction of it. I'd know, I did that so very often. The common trap is writing as if your characters and their actions have weight and history giving them meaning, while those very history aren't included in the short story or are inadequately mentioned.
  6. Bit aimless, the entire thing. First half and second half didn't connect at all, the paragraph describing their ascend was an inadequate and disjointed transition that didn't even know it was a transition.
Overall, a story with solid writing but a lot of problem with characterization, build up and general direction/focus.

Fantastic writing, great uses of very descriptive language, clearly conveying the vivid scenes and evoking appropriate feeling and emotions. However, the pacing and flow does me hella Yikes!
  1. Obvious things first. The repetition doesn't do it for me. You can mention it again, summarizing as a transition, sure, but word for word is excessive and disruptive. I had to stop myself to check and see if I was tripping balls on deja vu. Reading through the exact same words you just read like a minute before doesn't reinforce them as much as make you skim through them after being forcefully dragged out of immersion.
  2. Characterization is virtually nonexistent. All we know is that she's a town girl who just watched her home burned, and she does some voodoo stuff now too. She didn't even do anything that gave us a glimpse into her personality, only the obvious things that everyone would do in that situation which was running around in panic. The way she acted in the end did not match the way she acted in the beginning. I guess there are several reasons I can think of that would make sense, but none were mentioned or signalled or hinted at in the story, and there's absolutely no build up.
  3. The first 2 paragraphs did an amazing job to establish a shocking, emotional and most of all personal scene. The next 2 chopped the flow clean off and buried whatever I just felt under impersonal exposition. The next 2 rehashed what I have just read for no apparent reason and described another scene which while was still interesting, was also impersonal and very much emotionless. Everything felt disjointed, like paragraphs from the beginning, middle and end of a chapter of a book were taken out and jammed together.
  4. The ending came out of nowhere. There was no build up. The sharp pain on her chest may be one, but there was nothing to signal that it was significant, just as nothing to signal the audience that a "supernatural" theme was included. This broke my suspension of disbelief because even though magical and nonmagical fantasy are very similar, they require very different mindset and level of suspension of disbelief.
  5. Hints that led nowhere, like the "allegations" against the Duke, as well as "the King". They don't serve any purpose that I can immediately see. Does make me curious about what comes after and it doesn't take away too much from the story though, so it is what it is.
  6. The only prompt I can see is "Just as the sun set, so too did her ambitions soar", used in a literal sense more as an afterthought than out of any symbolic or narrative value.
Your entry's a Frankenstein's monster, my dude. The beginning was amazing, but the rest felt like someone else wrote it. It's read more like someone trying to summarize a chapter of a book to a friend rather than the chapter itself, if you know what I mean. You could make it so much greater if you dropped the baggage of the repetition part and use it to strengthen up the other weak parts of the story. In conclusion, great writing, but hella Yikes! all around :[

A fun little tale about a D&D (or Pathfinder, if you roll that way, you monster) session. The writing's light and easy, not overly sophisticated which suited the feel of the story well. Let's break it down:
  1. Very interesting and creative way to use the wildest dream prompt. I approve.
  2. The light and fun writing style is informal and modern enough from the beginning to not only convey the theme and feel of the story well, but also quickly reveal that it was a D&D session going on. Is this good or bad? It's up to the reader. It makes the "twist" at the end more predictable, but also add a great deal of layers to the fun and lightheartedness of the story, so I'd say it's a worthy trade-off.
  3. Sufficient characterization for a short story like this. The personalities and differentiation of the characters are easily discerned through their actions and not just straight up told, a good use of show-don't-tell.
  4. The climax could be more tense and emotional, but at the risk of losing or clashing against the playful tone of the story, so I guess it was a choice you consciously made.
  5. Usually I dislike the use of First Person Point-of-view outside of Urban Fantasy (cuz it's a common format for it), the use of it here neither detract nor add much significant value to the story. It is what it is.
Overall there's not much to say or criticise here. This is a consistently solid, fun, cute and playful albeit predictable story with a creative way to utilize the given prompt.

Good use of descriptive language throughout, not overly sophisticated but setting-appropriate and at certain points even character-appropriate. Let's break it down:
  1. Very good inclusion of the prompt, which has actual narrative value and is appropriate to the character presented as well.
  2. Great characterization through well-used introspection that doesn't disrupt with the flow of the story, and also consistent and present throughout the entire narrative.
  3. Great predictable twist that was presented in an unpredictable way. When she pulled out the goose egg I was genuinely confused and intrigued. Good job my man.
  4. Great job building up to the answer with small clues and also bringing things around with small details like "Queen vs. Queen's jewel" and "Lady of the Night". A nice touch which gives the impression that everything's thoroughly planned out.
  5. Pacing's good, flow is good, potential disruptions like introspection and action vs. emotion doesn't happen at all, kudos to that.
  6. The end was very abrupt and cut off immersion cleanly, but I suspect that was you suddenly realizing you had 3 lines of words left and rushed to wrap it up.
Overall, a cool entry that's intriguing to read with good characterization, focus and inclusion of the prompt.

Absolute horsecock. Don't pay it any mind. Whoever wrote this need to quit writing

The rest comes tomorrow.
Those titles though.
 
  • Haha
Reactions: Jays
Disclaimer: These are all my opinions and mine only, it does not reflect objective facts about the quality or characteristics of the work reviewed. Furthermore, I do make mistake, which is why I'm terrified of doing reviews (only reason I'm doing it this time is cuz I was blackmailed rip), so if you find some of my criticism to be unjustified or completely missed your point, I apologize. Also, I completely disregard spelling mistakes unless it significantly affect reading experience.

For reasons unbeknownst to many (or not cuz I'm just an asshole), I do tend to focus on the bad things more than the good things and am unnecessarily strict. Just a warning. Now to the thing!

First of all, the general writing is fine, able to sufficiently convey events and ideas in a somewhat descriptive manner, baring a few odd word choices that seemed out of place and cracked immersion slightly, but that may very well be me. Let's break it down in more details:
  1. You managed to cram every single prompt in there, basically fulfilling all of them literally if not in spirit. None of them seems to stick though and mostly seemed like gimmicks and were there just to be there. However, they also don't take away from the story as, despite their strange wording, they don't differ from the rest enough that I'd notice if I didn't know you were trying to fulfill certain prompts. So it is what it is, neither particularly good nor bad.
  2. Characterization of Xaria and the old man were pretty lackluster, if not nonexistent. Now I know with such a short word count available it's difficult to do many meaningful things, and there are hints to their past and who they are. Xaria is alright, you did what you could, and even though she seems very much the archetype of a young hotheaded independent girl that's quite common in fantasy, it's not too much of a problem given how little space you have to work with. However, the old man I was iffy with. The first half of the story he's basically the archetype of old man locked away in a dungeon, foul and half-mad and annoying (to the main character). But later you attempt to humanize him and somehow, to me, he suddenly seems like a completely different character, or at least we need to perceive him as such for his final wish and the end scenes to have weight. But there's nothing there, nothing to help us sympathize with this dying old man other than the fact that he had been there a real long time. Now, don't get me wrong, that's plenty of good reason, but the way you portrayed him initially made him seem like such a cartoonish character and a plot device for some needed exposition, that later it takes away the weight of his plight, like he was more of an NPC that someone made specifically to be put in a dungeon rather than someone with a story and a past. Even Xaria was hard to relate to, she seemed so cocky and annoyed and not the least bit worried or concerned.
  3. Gaps in logic, events that transpired vs. expectation. People'd expect guards and a daring escape, but there were none, which was fine if it made sense to the story, but the way you explained it away while excellently gave me a sense of solitude, completely made the protagonist's presence awfully out of place, not to mention quite anticlimatic and did not provide anything more than a vague unhelpful statement. The way you described it, Xaria seemed to be the only fresh and lively thing in this dead rotting dungeon, which was a nice contrast that harmed the sense of the story more that it helped. Would they really throw a recently caught thief, who stole from the Duke no less, into an unguarded, ancient cell? Who thought that was a good idea? Also, the way you built up "the sleeping King" just to let it go splat on its face like that broke the flow of the story and does hell to immersion.
  4. Expected a climax, the way you talked about "the Sleeping King" and increasing the stake by making the main character carry an old man (again, might just be me, my mind immediately jumped to that conclusion when I saw it). There was kind of an emotional climax, but 1. It excluded the protagonist, which is okay for a small chapter of a long book but a big problem for a short story, and 2. Again, there was no weight to the emotional payback, no emotional build up. It's beautiful outside, sure, but the old man somehow seems more suited to the dungeon than the open sky, and that's baaaad.
  5. You fell into the trap of how not to write a story which appear to be part of a larger one. I do often tend to write short stories like that myself, hell probably 3/4 of my short works are in that format. However, it is so, so easy to get lost in the bigger story in your head which is amazing and fail to truly breathe life into an extraction of it. I'd know, I did that so very often. The common trap is writing as if your characters and their actions have weight and history giving them meaning, while those very history aren't included in the short story or are inadequately mentioned.
  6. Bit aimless, the entire thing. First half and second half didn't connect at all, the paragraph describing their ascend was an inadequate and disjointed transition that didn't even know it was a transition.
Overall, a story with solid writing but a lot of problem with characterization, build up and general direction/focus.

Fantastic writing, great uses of very descriptive language, clearly conveying the vivid scenes and evoking appropriate feeling and emotions. However, the pacing and flow does me hella Yikes!
  1. Obvious things first. The repetition doesn't do it for me. You can mention it again, summarizing as a transition, sure, but word for word is excessive and disruptive. I had to stop myself to check and see if I was tripping balls on deja vu. Reading through the exact same words you just read like a minute before doesn't reinforce them as much as make you skim through them after being forcefully dragged out of immersion.
  2. Characterization is virtually nonexistent. All we know is that she's a town girl who just watched her home burned, and she does some voodoo stuff now too. She didn't even do anything that gave us a glimpse into her personality, only the obvious things that everyone would do in that situation which was running around in panic. The way she acted in the end did not match the way she acted in the beginning. I guess there are several reasons I can think of that would make sense, but none were mentioned or signalled or hinted at in the story, and there's absolutely no build up.
  3. The first 2 paragraphs did an amazing job to establish a shocking, emotional and most of all personal scene. The next 2 chopped the flow clean off and buried whatever I just felt under impersonal exposition. The next 2 rehashed what I have just read for no apparent reason and described another scene which while was still interesting, was also impersonal and very much emotionless. Everything felt disjointed, like paragraphs from the beginning, middle and end of a chapter of a book were taken out and jammed together.
  4. The ending came out of nowhere. There was no build up. The sharp pain on her chest may be one, but there was nothing to signal that it was significant, just as nothing to signal the audience that a "supernatural" theme was included. This broke my suspension of disbelief because even though magical and nonmagical fantasy are very similar, they require very different mindset and level of suspension of disbelief.
  5. Hints that led nowhere, like the "allegations" against the Duke, as well as "the King". They don't serve any purpose that I can immediately see. Does make me curious about what comes after and it doesn't take away too much from the story though, so it is what it is.
  6. The only prompt I can see is "Just as the sun set, so too did her ambitions soar", used in a literal sense more as an afterthought than out of any symbolic or narrative value.
Your entry's a Frankenstein's monster, my dude. The beginning was amazing, but the rest felt like someone else wrote it. It's read more like someone trying to summarize a chapter of a book to a friend rather than the chapter itself, if you know what I mean. You could make it so much greater if you dropped the baggage of the repetition part and use it to strengthen up the other weak parts of the story. In conclusion, great writing, but hella Yikes! all around :[

A fun little tale about a D&D (or Pathfinder, if you roll that way, you monster) session. The writing's light and easy, not overly sophisticated which suited the feel of the story well. Let's break it down:
  1. Very interesting and creative way to use the wildest dream prompt. I approve.
  2. The light and fun writing style is informal and modern enough from the beginning to not only convey the theme and feel of the story well, but also quickly reveal that it was a D&D session going on. Is this good or bad? It's up to the reader. It makes the "twist" at the end more predictable, but also add a great deal of layers to the fun and lightheartedness of the story, so I'd say it's a worthy trade-off.
  3. Sufficient characterization for a short story like this. The personalities and differentiation of the characters are easily discerned through their actions and not just straight up told, a good use of show-don't-tell.
  4. The climax could be more tense and emotional, but at the risk of losing or clashing against the playful tone of the story, so I guess it was a choice you consciously made.
  5. Usually I dislike the use of First Person Point-of-view outside of Urban Fantasy (cuz it's a common format for it), the use of it here neither detract nor add much significant value to the story. It is what it is.
Overall there's not much to say or criticise here. This is a consistently solid, fun, cute and playful albeit predictable story with a creative way to utilize the given prompt.

Good use of descriptive language throughout, not overly sophisticated but setting-appropriate and at certain points even character-appropriate. Let's break it down:
  1. Very good inclusion of the prompt, which has actual narrative value and is appropriate to the character presented as well.
  2. Great characterization through well-used introspection that doesn't disrupt with the flow of the story, and also consistent and present throughout the entire narrative.
  3. Great predictable twist that was presented in an unpredictable way. When she pulled out the goose egg I was genuinely confused and intrigued. Good job my man.
  4. Great job building up to the answer with small clues and also bringing things around with small details like "Queen vs. Queen's jewel" and "Lady of the Night". A nice touch which gives the impression that everything's thoroughly planned out.
  5. Pacing's good, flow is good, potential disruptions like introspection and action vs. emotion doesn't happen at all, kudos to that.
  6. The end was very abrupt and cut off immersion cleanly, but I suspect that was you suddenly realizing you had 3 lines of words left and rushed to wrap it up.
Overall, a cool entry that's intriguing to read with good characterization, focus and inclusion of the prompt.

Absolute horsecock. Don't pay it any mind. Whoever wrote this need to quit writing

The rest comes tomorrow.
Honestly, I agree with all you said. I'll put that critique to good use, though- I wasn't in a great place when I wrote it and just never had the energy to revise or rewrite. Maybe next time I'll do better.

On another note, I've finished reading and you all did so great. I'm not going to be reviewing (I feel super inadequate lol) but I loved every one of the others. Good job, guys!
 
Alright. Lets unpack this bitch.
Before I can begin to critique this writing I need to explain how I have construed it all.

Firstly, the likely Filipino, possibly made-up words and what I presume them to mean. As a point, I am not looking up their meaning. The story should ideally be accessible to the casual reader. However, stories with detailed info that demand a high level of prior knowledge also have value.

Words
tita = aunt
"No biyak" = "I did not fuck [that woman]"
lambanog = toilet/longhouse, but in particular the rock that the white man is shitting on.
bolo = heavy bladed weapon, I'm thinking a heavier machete. I also think it is metal.
Norinco guard = a Spanish guardsman from Norinco.

Second, the timeline
I know nothing about the colonisation of the Philippines. I base this on what is told on the writing. I deliberated on whether the first third was in the 'present' and the second two bits both in the 'past.' I have concluded that the whole story is in chronological order. Before the story, the Spaniards came and brought clothes and Christianity, then a missionary came on an American ship and took a Filipino wife, then returned with a daughter ten years later (breaking news - oh shit, child abuse), then the daughter is asking questions (about the past? About natural resources? Unknown), then three men from the American ship take a shit at the lambanog, then Caesar (a Filipino, who is employed by the Spanish to kill Americans) kills them and finds Nenita in a hut, then Caesar is paid in new fangled currency and feels sad (and dies, I guess), then Caesar's dad was telling the story all along (fuck - child abuse).

Thirdly, the character identities
Nenita is the daughter from the first paragraph. This is informed by deliberation of the timeline, and because Americas bring jean-shorts with them. Therefore Nenita, who wears shorts (presumably of the jean variety) in the hut, is American. The daughter of paragraph one is also the subject off lust and is shown to Caesar (who conquered) in a vulnerable state in the hut.
Nenita's father has no role in the story, he's a red herring.
Caesar is a native Filipino.
Caesar's father is also the narrator of paragraph 2, and indeed the whole story.
Nenita's Aunt Sita (Tita Sita) appears in the first third and then never again.
The white man, a random Amercian.
The black man, a random African slave.
The brown man, a random Filipino guide.
The Norinco guard, a random Spanish guardsman.

Lastly, Caesar's motivation
Caesar is the star character of this story. He has old-school/romantic values from an aboriginal Filipino culture. He clearly has high-status within Filipino culture. He doesn't at first want to fuck a ten y/o, but his dad does. Caesar later wants to fuck a ten y/o (or kill?? It is unclear what happens in the hut). Given the writing's focus on sex-themes (see "Americans are more comfortable with it anyway, we Filipinos are pious...about our nakedness" and 'The brown one...leering at the girl' and '...thrust his spear up the white boy's ass.'), I would assume Caesar rapes Nenita in the hut. Caesar was paid by the Spanish to perform guerrilla warfare on the Americans. Caesar dies from his wound because he is unaware that he can afford modern medicine. It is unclear what the precious cargo on the Spanish ship is. It could be Nenita, or it could be natural resources, or even resources from the America ship.

Now lets dig in. Amen.
Cohesiveness
  • Did the author manage to bring a complete story to the table? This writing covers alot of content and does fantastic world-building. However, the characters don't matter. Most of the cast are nobodies. Nenita really doesn't matter as she has no impact - she is collateral. Caesar is some random Filipino vagrant who just really likes slicing open he bellies of white men and there is no defining feature about him other than his name is Caesar. Caesar has presumably mundane values of the average Filipino male at the time it is written in.
  • How did the entry match the prompts given? Did it fit, or did it feel forced? Clearly 'I came, I saw, I conquered' is present. The story is divided into performing these actions, in miniature stories within. This was effective to tighten the story but it was immersion-breaking. Caesar came to the docks, Casear saw Nenita, Caesar conquered Nenita. Further, there is no motivation for Caesar to be named as such in a romatic Filipino society. He could have had any name it would have worked equally well for the story, but naming Caesar Caesar is simply immersion-breaking. However, the story follows the prompt fairly well. There is also a minor subversion of 'just as the sun set, so too did her ambitions soar', depending on interpretation. This subversion is weak and directly contradicts the prompt. Taking the story to start in morning, the fight to take place at noon, the final third will take place in evening as a man's ambitions sink. This is just my interpretation and no mention is given to the timing of events in the writing, but if this was the intended interpretation, it is poor. No other prompts.
  • Is there a clear beginning and end? Does it flow seamlessly from beginning to end? Boat arrives, plot, boat goes home. A well-framed story. However, since story was about Nenita and Caesar, it should have never started with a focus on Nenita's American father who has no impact on the story.
  • Were there any lines, or details that you felt like unnecessary? Or did every line have its function? The whole second paragraph provided no impactful information and really made me triple take to make sure I read that correct. What does it mean when Caesar is 'ticked'? Is he angry? Or is he 'tricked'? Or is he 'tickled'? Is Caesar a smooth operator because he only subtly leers at children? Or because is not phased by children/children's questions? Or because he always gets the children he leers at?

Engagement
  • How did the author convey the emotion in the story? Did it sway you, manage to pull you in? The story conveyed little emotion. It seemed to be going through the motions of an effective period piece, but the events were all as expected and nothing unique came through and broke the mold. Once we have read through the story five times and understand that it is told from the point-of-view of Caesar's father who has lost a son, it gains a hint of loss, but not really enough to care about.
  • How engaging did you find the story to be as a reader? At first reading I quickly skimmed and just really had to get out of it. It felt like 2,000 words of a familiar story. This type of piece is just not my personal favourite and I dreaded coming back to it. I found the discussion of timeline and character more interesting than the story, but only because I just had to get it all straight. It was very hard to follow.
  • Did the mood feel appropriate for the setting given? Did it make sense? I imagine the story is set in an ok-modern time. I imagine the American ship is made of metal. However, there are no clues and the story could well be set in antique times, or something like renaissance times with wooden boats. There seem to be no toilets on the island. But if the island itself is under-developed, then the lack of toilets doesn't mean anything. But overall I felt uncomfortable not know the time it is set in because it makes me question my beliefs about the story. However, I could certainly imagine the whole story going down in any time period. When were bank receipts taken up by the merchant class, this is not something I know??

Originality
  • How creative did you find the entry accompanied with the prompts given? Was the plot a refreshing take on the prompts, or did it show a lot of imagination? The enactment of the prompt is well-known, because on the whole, there is very little you can do with 'I came, I saw, I conquered.' The setting was an interesting choice, but then the story told about the setting is also well-known.
  • What about the plot twists? Did the writer manage to surprise you? The plot twist is the whole interpretation of the story, and when I realised that everyone is raping everyone and kids.
  • Did the author make use of any literary devices (foreshadowing, euphemisms, personification, etc...)? What did you think of the execution of it? You're likely to ream me out for this @RiverNotch , but I will only be sticking to narrative devices commonly used in storytelling - no poetry devices allowed, though I welcome to hear if there are any. As it is, there are no literary devices used throughout the story. The writing is descriptive and without any creative prose, clinical. I might stretch to say 'as if to scratch an itch' is a simile :/
  • Are there any underlying themes or subplots that you could find? See the discussion above. This needed a whole chapter unto itself. Excellent work here!!

Polish
  • Are there any spelling/grammar errors in the piece? If so, did they distract or add up in the story? None that I can see, which is unexpected. Word choice in the sentence can be a little stubborn at times, but as the whole piece is written in a similar manner, you get used to it and it doesn't appear to be a flaw but instead deliberate.
  • What about punctuation and sentence structure? Did they vary, or was the writer lacking in that department? You can read the whole thing in time with a miter. It is very clever, but very boring when extended over the whole writing. The fight scene changed the amount of time between each beat and changed the level of information, which was refreshing, but it did keep the same time for the reader.
  • Were there any words that you would have replaced, or that confused you? I would have not used any of the presumably Filipino words - it just does not aid the story. I have less info than if they had never been used at all, and more questions. Just write English stories in English. Also, you really should have provided a translation to Iwaku, nah? I would like to note that spaghetti straps are just shoes and are not metaphors. They are a style of shoe, which helps inform of the time period, except I don't know when Spaniards wore them. I like the word 'spume' and I believe a spume to be a blowhole in a rock formation that sprays water.
  • What did you think of the paragraphs? Were they properly formed, or perhaps too long? How did it affect the reading? The paragraphs are well formed in all aspects. That said, while the fight scene did provide refreshing pace to the writing, I thought that the single-line paragraphs subtracted from the overall polish because perhaps this 1-6 shots of a revolver could have been written in one paragraph.
Edit: @RiverNotch tells me that Nenita should be 15, and this is supported by the first paragraph. I read the age wrong. It would seem she was born on the island, then, rather than in America as I had thought.
 
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Review Batch #2
Disclaimer
: These are all my opinions and mine only, it does not reflect objective facts about the quality or characteristics of the work reviewed. Furthermore, I do make mistake, which is why I'm terrified of doing reviews (only reason I'm doing it this time is cuz I was blackmailed rip), so if you find some of my criticism to be unjustified or completely missed your point, I apologize. Also, I completely disregard spelling mistakes unless it significantly affect reading experience.

For reasons unbeknownst to many (or not cuz I'm just an asshole), I do tend to focus on the bad things more than the good things and am unnecessarily strict. Just a warning. Now to the thing!

This is a troublesome one. It's trying so hard to be something but kept repeatedly going down the wrong path.
  • The writing's odd to say the least, or disruptive and annoying if I'm being frank. It is clear that the focus of your story is to describe vividly a very visual scene and rely more on mood and atmosphere than narrative, but the way you went about doing it is the absolute opposite of what works. All of the main focus of your story which requires depth and variation to work kept being repeated dully and uncreatively, as in the cases of "sun", "colour" and ESPECIALLY "light". And it's not only just that it's not varied enough to have the proper impact on readers, it's that it's repeated so often and so continuously that its uses become noticable disruptions and blocks that get annoying and choke off immersion. Furthermore, you bogged down the story even more by using overly sophisticated word choices for regular and uninteresting sections that clearly aren't the focus, words like "derelict ", "errant", "eke". Mind you, the use of them would have been fine, if only the scene-setting sections aren't so tediously repetitive which made the contrast glaring. So basically you switched the ways you're supposed to handle the focus and the supporting sections.
  • There isn't any plot or narrative to speak of. A sufficiently developed mood would salvage the enjoyment of the story somewhat, but as previous stated, that fell flat on its face. So we have to turn to the other important thing, plot. A girl walks into the wood, saw a thing and died. Cool. Why would we care? Which brings me to the next point.
  • Absolutely zero characterization. A thing happened to someone, and we got zero glimpse into who they are to even begin to relate, much less care. All we know is that she's a girl going somewhere, got spooked, ran into a thing and died. No emotional establishment to give that ending weight. And that creature, "the glowing man" is not a character, it's a punchline.
  • This relates back to the lack of plot in the way that there is no build up, no emotional connection or relatability, making your climax all bust meaningless.
  • This story includes 2 prompts as far as I can see which are "Just as the sun set, so too did her ambitions soar" and "Don't fly too close to the sun", both of which used in the literal sense with minimal creativity, and while they aren't too much of a problem, they obviously don't bring much to the table to save what wasn't there in the first place.
  • Even with how much space you have left to work with within the rule's limit, there wasn't much that could have been done do save the existing skeleton since the issue's with the narrative, not the length.
The final result is you utilizing all the wrong methods to try and fail to realize an already inherently flawed narrative. I think the real problem is your focus and your plotting, both of which seems to be severely lacking. Work on that.

Great piece. The mood's set excellently, the writing's fantastic and character-appropriate. However, it was not a random decision for me to replace Cesar with your name in the title, because I'd be the white boy in this metaphor and my butt hurts. Your spear of a story is indeed difficult to swallow, I suspect, even with the proper mouth. I believe a basic understanding of Filipino culture is required to even begin to grasp the ideas presented here, and since I a random stranger on the internet possesses no such understanding, this was hella hard to read.
  1. Right off the bat, there are way too many foreign words thrown around without explanation. You know that way authors add translation to a foreign word used in novels, like "Jkpul -- Never." As simple as that and your story would have been so, so much clearer, and considering how much word count you had left it'd have been easy. But I believe this is a conscious choice of yours, to keep up the ambiguity to feed the savage and simple-mindedly focused mood of the story, and yes it worked -- too well I'm afraid. It immediately takes you out of immersion and make you confused as hell, trying to figure what each word means. "Tita" is easy, but the rest...And I know it'd only take me a second to Google, but is it really ideal to make your readers stop midway and go search for answers that could have been easily provided? I certainly hope not.
  2. Your first section of "He came" was a Frankenstein's monster, pieces that didn't connect and often confuse ideas conveyed previously.
  • The very first paragraphs introduced the Third Person POV. This is often where the mood, first impression and format of a story is introduced, in its first few sentences. So here we first see a 3rd Person POV. However, the very next paragraph switched to the 1st Person POV of an "I" that we never found out the identify of, and this format was never used or mentioned or explained again.
  • Cryptic and ambiguous sentences such as "Cesar operates smooth, and even I'd shown more interest in the girl..." and "Apparently, Cesar was the violation -- or, by some accounts, the culmination." that I still have yet to figure out the meaning of (am I simply stupid? am I really this stupid?) feed the confusion, and because they acts as transitions between portions of the story, these portions become disjointed and disconnected, not one bit helped by their content which seemed as cryptic and unrelated as the transitions themselves. Furthermore, the way Cesar was mentioned made him appear to be another foreign word/concept than a person, and even with the assumption right off the bat of him being a person, this gave me a moment's doubt. Another huge bump in the road.
3. The second section "He saw" was much simpler and easier to digest. It's an effective action scene, clearly described, postioned and executed, the pacing was great, the visualization was vividly depicted. This is the strongest part of the entire story.
4. Last section "He conquered" and we're back to square one with the ambiguity. I still have yet be able to figure out the ending you were aiming for. My best guess is that he raped her then sold her into slavery? I don't know? Am I really this dumb?
5. Characterization's sufficient for a Cesar and nonexistent for Nenita despite her name being in the title. Cesar
 
Review Batch #2
Disclaimer
: These are all my opinions and mine only, it does not reflect objective facts about the quality or characteristics of the work reviewed. Furthermore, I do make mistake, which is why I'm terrified of doing reviews (only reason I'm doing it this time is cuz I was blackmailed rip), so if you find some of my criticism to be unjustified or completely missed your point, I apologize. Also, I completely disregard spelling mistakes unless it significantly affect reading experience.

For reasons unbeknownst to many (or not cuz I'm just an asshole), I do tend to focus on the bad things more than the good things and am unnecessarily strict. Just a warning. Now to the thing!

This is a troublesome one. It's trying so hard to be something but kept repeatedly going down the wrong path.
  • The writing's odd to say the least, or disruptive and annoying if I'm being frank. It is clear that the focus of your story is to describe vividly a very visual scene and rely more on mood and atmosphere than narrative, but the way you went about doing it is the absolute opposite of what works. All of the main focus of your story which requires depth and variation to work kept being repeated dully and uncreatively, as in the cases of "sun", "colour" and ESPECIALLY "light". And it's not only just that it's not varied enough to have the proper impact on readers, it's that it's repeated so often and so continuously that its uses become noticable disruptions and blocks that get annoying and choke off immersion. Furthermore, you bogged down the story even more by using overly sophisticated word choices for regular and uninteresting sections that clearly aren't the focus, words like "derelict ", "errant", "eke". Mind you, the use of them would have been fine, if only the scene-setting sections aren't so tediously repetitive which made the contrast glaring. So basically you switched the ways you're supposed to handle the focus and the supporting sections.
  • There isn't any plot or narrative to speak of. A sufficiently developed mood would salvage the enjoyment of the story somewhat, but as previous stated, that fell flat on its face. So we have to turn to the other important thing, plot. A girl walks into the wood, saw a thing and died. Cool. Why would we care? Which brings me to the next point.
  • Absolutely zero characterization. A thing happened to someone, and we got zero glimpse into who they are to even begin to relate, much less care. All we know is that she's a girl going somewhere, got spooked, ran into a thing and died. No emotional establishment to give that ending weight. And that creature, "the glowing man" is not a character, it's a punchline.
  • This relates back to the lack of plot in the way that there is no build up, no emotional connection or relatability, making your climax all bust meaningless.
  • This story includes 2 prompts as far as I can see which are "Just as the sun set, so too did her ambitions soar" and "Don't fly too close to the sun", both of which used in the literal sense with minimal creativity, and while they aren't too much of a problem, they obviously don't bring much to the table to save what wasn't there in the first place.
  • Even with how much space you have left to work with within the rule's limit, there wasn't much that could have been done do save the existing skeleton since the issue's with the narrative, not the length.
The final result is you utilizing all the wrong methods to try and fail to realize an already inherently flawed narrative. I think the real problem is your focus and your plotting, both of which seems to be severely lacking. Work on that.

Great piece. The mood's set excellently, the writing's fantastic and character-appropriate. However, it was not a random decision for me to replace Cesar with your name in the title, because I'd be the white boy in this metaphor and my butt hurts. Your spear of a story is indeed difficult to swallow, I suspect, even with the proper mouth. I believe a basic understanding of Filipino culture is required to even begin to grasp the ideas presented here, and since I a random stranger on the internet possesses no such understanding, this was hella hard to read.
  1. Right off the bat, there are way too many foreign words thrown around without explanation. You know that way authors add translation to a foreign word used in novels, like "Jkpul -- Never." As simple as that and your story would have been so, so much clearer, and considering how much word count you had left it'd have been easy. But I believe this is a conscious choice of yours, to keep up the ambiguity to feed the savage and simple-mindedly focused mood of the story, and yes it worked -- too well I'm afraid. It immediately takes you out of immersion and make you confused as hell, trying to figure what each word means. "Tita" is easy, but the rest...And I know it'd only take me a second to Google, but is it really ideal to make your readers stop midway and go search for answers that could have been easily provided? I certainly hope not.
  2. Your first section of "He came" was a Frankenstein's monster, pieces that didn't connect and often confuse ideas conveyed previously.
  • The very first paragraphs introduced the Third Person POV. This is often where the mood, first impression and format of a story is introduced, in its first few sentences. So here we first see a 3rd Person POV. However, the very next paragraph switched to the 1st Person POV of an "I" that we never found out the identify of, and this format was never used or mentioned or explained again.
  • Cryptic and ambiguous sentences such as "Cesar operates smooth, and even I'd shown more interest in the girl..." and "Apparently, Cesar was the violation -- or, by some accounts, the culmination." that I still have yet to figure out the meaning of (am I simply stupid? am I really this stupid?) feed the confusion, and because they acts as transitions between portions of the story, these portions become disjointed and disconnected, not one bit helped by their content which seemed as cryptic and unrelated as the transitions themselves. Furthermore, the way Cesar was mentioned made him appear to be another foreign word/concept than a person, and even with the assumption right off the bat of him being a person, this gave me a moment's doubt. Another huge bump in the road.
3. The second section "He saw" was much simpler and easier to digest. It's an effective action scene, clearly described, postioned and executed, the pacing was great, the visualization was vividly depicted. This is the strongest part of the entire story.
4. Last section "He conquered" and we're back to square one with the ambiguity. I still have yet be able to figure out the ending you were aiming for. My best guess is that he raped her then sold her into slavery? I don't know? Am I really this dumb?
5. Characterization's sufficient for a Cesar and nonexistent for Nenita despite her name being in the title. Cesar
So I'm reading from this that my writing had technical skill but lacked emotional impact. There were two major issues: lack of characterisation and motivation; and misuse of phrasing to convey impact/significance. My writing could be improved by defining the WHY.
 
Well, these are more ramblings than actual reviews. Just disjointed thoughts :"D mostly about how much I enjoyed the entries, a few problems I might have had here or there. It's all short stuff really. Excellent job all around though owo I'm happy to see so many people participating, too!

This is just a few with more to come over the weekend if things work out!

Another prompt done literally! I hate the ending because it's a cliffhanger, a good cliffhanger. I could have dropped to my knees and screamed no because now I'm wondering if Pan's world never being the same was literal or figurative. Did waking the King ruin the physical world? Or just the one she'd known? Bah! Well anyway, the writing was really well-done :D I didn't see any mistakes. Awesome job!

This one had me laughing out loud, not gonna lie. I felt bad for how much I laughed at Slow and Steady being eaten. It was just written so...simply. Definitely one of my favorites. It's incredible you kept it under 200 words, but still managed to tell a great story. More isn't always better! Awesome job!

There was one problem that kind of led to the story falling apart in some places, and that would be the use of every prompt. It made the dialogue feel a bit clunky, or not fit very well in some places. Some of the prompts were just there, just empty. They could have been removed from the story and nothing would have been different but the length. A noble effort but a bit much me thinks! Outside of that, you did good :D I wasn't bored atoll while reading, I was engaged, and immersed, especially by some things like the descriptions of the old man like maggots crawling in his mouth (good job, that was grotesque). Outside of my one issue, I think you did pretty.
 
Cohesiveness
  • Did the author manage to bring a complete story to the table? A full Arthurian legend. The hero's call, denial, acceptance, slaying the dragon, and...getting the damsel. Well, maybe not that last one.
  • How did the entry match the prompts given? Did it fit, or did it feel forced? 'I came, I saw, I conquered', which is both true and also subverted at the same time. As well as 'Don't fly too close to the sun', owing to the protagonist's pride.
  • Is there a clear beginning and end? Does it flow seamlessly from beginning to end? The protagonist came to ride a bull, and by god, he sure does. Good flow.
  • Were there any lines, or details that you felt like unnecessary? Or did every line have its function? The line 'he didn't want me to end up paralysed, dead or worse' is a little weak, seeing as dead is about the worst thing. I can understand why the protagonist would think embarrassment is worse, but I just can't relate to that. Further, 'between the two of us, he was the smart one' is poor exposition. Further, '2 minutes and 57 second' is super precise, and I don't know how long a bull ride should last for. I am guessing it lasts 3 minutes. Further, 'I'd grabbed the bull by the horn, almost literally, and proven myself as a man' is weak because, even though I can understand the mecha bull is a metaphor for a real bull, the char did grab a mecha bull by the horns literally. And if he didn't grab the horn literally, how did he grab it, figuratively? That's just the normal meaning of the phrase.

Engagement
  • How did the author convey the emotion in the story? Did it sway you, manage to pull you in? I got a sense of the protagonist swallowing a lump in his throat. I didn't get a sick feeling from the description of riding the bull, I suppose it was over too fast. I got a sense of limpness/wrung-out at the end, and could feel the protagonist's 'oh, well' in regards to that kiss.
  • How engaging did you find the story to be as a reader? It was vague at the start which put me off a little. Once I found out about the bull, it defined the stakes better. By the end, I was interested to see how the night would pan out.
  • Did the mood feel appropriate for the setting given? Did it make sense? I can imagine that places with mecha bulls in their bars are somewhat backwater areas where a strong male image is held above all else. In that regard, the narrator's phrasing and motivations are spot-on in tune with the setting. However, the narrator's use of the word 'reverberating' seems too advanced for me to accept.

Originality
  • How creative did you find the entry accompanied with the prompts given? Was the plot a refreshing take on the prompts, or did it show a lot of imagination? The prompt about pride is played straight. The prompt about conquering is twist just a touch. He conquered in some ways in the eyes of the reader, however he failed in others such as getting a kiss. This is nuanced approach to writing 'victory' that was well done.
  • What about the plot twists? Did the writer manage to surprise you? The plot twist may be that the narrator must ride a bull, or that the narrator threw up. Both of these come off as the narration hiding info from the reader, but they do not necessarily turn the story on its head, so I would not consider them to be twists.
  • Did the author make use of any literary devices (foreshadowing, euphemisms, personification, etc...)? What did you think of the execution of it? Hyperbole (paragraphs 1, 2 and 8) which plays to the character's view of things, even if I think he's a tosser. I suppose personification of the mecha bull, making it read like an alive and adversarial bull. Simile at '...Tex Mex and beer like cannonballs...'. Metaphor at 'guts of steel', which contrasts nicely with the bull. Failure to use euphemism at 'grabbed the bull by the horn, almost literally.' Effective euphemism in the title.
  • Are there any underlying themes or subplots that you could find? Lukas is the head man, between him and the narrator. The narrator is a bit of a doof. The other bar goers don't actually care about the bull that much...was the narrator dropped on his head?

Polish
  • Are there any spelling/grammar errors in the piece? If so, did they distract or add up in the story? Paragraph 4 suggests that the patrons mounted the bull. In general paragraph 4 had all unnecessary commas that got in the way of reading the text. Many unnecessary commas in the writing in general. The phrase 'They better have been' should be 'They had better have been.'
  • What about punctuation and sentence structure? Did they vary, or was the writer lacking in that department? Too many commas, and occasionally double commas. Effective use of variation in paragraph 5, but otherwise repetitive structure.
  • Were there any words that you would have replaced, or that confused you? Kind of covered above in the 'mood' section.
  • What did you think of the paragraphs? Were they properly formed, or perhaps too long? How did it affect the reading? A nice spreading of dialogue throughout the writing. However, the dialogue should start on a new line instead of halfway in the paragraph. The paragraphs with Lukas in them had poor focus on any one thing. The paragraphs without Lukas in them had great focus on one event and even helped to show passage of time. Well sized paragraphs overall. Used single-sentence paragraphs to maximum effect.