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47 Public Reviews Given
51 Total Reviews Given
Review Style
***On hiatus--Currently working on my Master's degree. Thank you all and see you later!*** I focus mainly on stylistic aspects of your work and favour writing inline critiques so as to make sure that you know exactly what I am referring to. I believe in constructive criticism. However, I am honest and, though I will do my best to convey my points in the most tactful way possible, I will not give a good rating to a work that does not deserve it. I do my best to adapt to your needs and specifications, and like to post any useful links I think would help you in writing your story. I also love to follow-ups via PM's, so if you have any questions (or if you want to defend something I criticized, it happens), I will be glad to answer, clarify, or just start a discussion with you via email.
I'm good at...
General: Conveying emotion, using vocabulary effectively, sonority, spotting flaws with writing style and suggesting ways to improve, dialogue, and use of imagery. I also have a pretty solid feel for grammar and syntax, if I do say so myself, and will research if unsure. Poetry: spotting issues with rhythm and suggesting improvements. Fiction: Character, plot and world building. Spotting clichés and plot holes.
Favorite Genres
Pretty much anything except for erotica.
Least Favorite Genres
Erotica or anything sexually explicit.
Favorite Item Types
Short stories, poems, novellas, novels.
I will not review...
Anything that has so many grammar mistakes it's obvious that you have not attempted to re-read yourself. Actually, I may review it, but expect my inline critique to go from "This isn't the right way to use a semicolon" to just putting said offending semicolons in red and calling it a day. Also, I will not review anything in my "least favourite genres" section.
Public Reviews
1
1
Review by E.D. Archer Author IconMail Icon
Rated: ASR | (5.0)
That was a pleasant read, very funny. I enjoyed how the doctors "sherlock-holmed" their way to a diagnosis, that was a very nice touch, and the twist with the parish priest was nice. I also enjoy how the young doctor doesn't comment on this directly, to great comic effect. Nice job!


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2
2
Review of Being Thankful  Open in new Window.
Review by E.D. Archer Author IconMail Icon
Rated: E | (5.0)
I find that you perfectly encompassed the importance of feeling thankful. I think that thankfulness is important because it allows us to feel happy, because we realize that, no matter the bad thing that happen in life, we always have a reason to be. It's great that you realized this; I think that many other people's lives would be changed if they realized it, too.

Nice job!


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3
3
Review by E.D. Archer Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: E | (4.5)
I want to start this review by saying that I liked this piece a lot. I like how the girl decides against suicide and moves on. I like the way you describe the visions and the poetry of your storytelling. Your work is vivid and deep, and it made it an enjoyment to read. I particularly liked your names for the “characters” of Sic and Non—“yes” and “no” in Latin—that was a nice addition.
My only comments are as follow: I don’t really get the “Sic and Non” parts: are they narrating whatever the girl sees in her vision/the third person? Also, watch out where you put your commas in the last paragraph; the sections where you describe people’s reaction to the Prophet Muhammed’s horse has a lot of commas which should be omitted.
A part from that, thank you for the excellent read! Don’t forget to contact me if ever you want more specific help or details.


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4
4
Review of Rejection.  Open in new Window.
Review by E.D. Archer Author IconMail Icon
Rated: 18+ | (4.5)
Overall, the piece was brilliant. When I read poetry, the first thing I look for is musicality: rhyme, rhythm, and how easy it's to say the stanzas. You have musicality down to an art.

A few nitpicks, however...

"I'm pretty sure your one liner's
Is the reason why you're single."

Feels as if it should be

"I'm pretty sure your one-liners
Are the reason why you're single."

If you want to make it nasty, you can make it

"I'm pretty sure your one-liners
Are the reason you're still single."(I like the sibilance here created by the "s")

Apart from that, cheers for an empowering poem.


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5
5
Review by E.D. Archer Author IconMail Icon
In affiliation with Fantasy and Science Fiction So...  Open in new Window.
Rated: 18+ | (4.0)
There's the ring of steel on steel, and I watch as two opponents circle each other, swords at the ready, knees bent. Their position is terrible, their grip even worse, and their actual technique... sarth, don't even get me started on their technique! It's so bad the pain of watching them spar is practically physical! Trop de points d'exclamation. Aussi, tu nous dis que leur technique est terrible, mais tu ne nous montres pas comment elle est terrible.

Honestly, I don't understand why in Edra's Vaëlddra's (Eddra, c'est le juron dérivé du nom de Vaëlddra, juste comme Sarth est dérivé du nom de Darsath) name people enjoy watching these brawls, yet the Crooked Hook Inn is full to the brink of scruffy lowlives, small minor barons and even a few higher placed nobles whose attempts at disguising their wealth did most definitely not go unnoticed. "Awkward" à dire Not by me, and not by any of the sharp eyed pickpockets lurking in the darker corners of the inn mess room? Je ne crois pas que ton auberge consiste uniquement d'une pièce.

A most unsavory place, might I add. The air's so smoky it's hard to see five feet in front of you and it reeks of decomposing bread, piss and stale bodies. If you want ale, you'd better hope to Edra that you look poor as Gorgoz, or else there might be something you didn't really expect in your drink. Something that makes you wake up in the back alley, only in your loincloth, with everything you own, gone. And that's if you're lucky. Then there's the matter of who comes in here. I already mentioned lowlives and pickpockets, but I didn't mention the sailors, slave masters, crime lords, pimps (ceci est un mot trop moderne. Un meilleur mot est "whoremonger", un "dealer" de putes) or prostitutes. They're all part of this jolly band of people I'm currently monitoring from my perch on a barstool. Attention aux commentaires comme ceci qui font OOC (Out Of Character)

I slam my now empty goblet onto the sticky, worn wooden plank balanced on two barrels that is the bar, catching the attention of the bartender, a young man called Gerald whose habit of spiking drinks makes him the best friend of the thieves--and the worse enemy of the nobles. Luckily for him, more than a few crime lords have him in their favor, so if a noble complains about Gerald and a crime lord catches wind of it (and they always do, believe me), a few assassins will gently visit the noble in question and leave him a message from the crime lords. A slit throat. J'aime cette phrase!

"One more." I growl, making my voice slur a little to appear drunk. "And don't spike it. I'll know."

I didn't drink any of the ale. I've been systematically dumping it on the floor, adding to the mix of liquids already coating pooling on the planks of wood. It's not as though Gerald cares. For him, sSo long as the coins keep rolling, there's no problem, even if your drink ends up on the floor.

"Aye, sir. But between us, I doubt you'd know." He answers, his high pitched voice betraying his age even more than his face, then slides my ale to me.

I sip it, the ale tasting terrible as always, and a faint stinging in my jaw tells me my anti-poison Talent has kicked in. A talent is essentially a magical ability that makes it so that you have a special capacity that is only functional to you; some have the strength of ten men, others the ability to walk through fire unscathed. Ha, ha. I have two Talents; the ability to detect and resist poison is one of them. The other... we'll get back to it.

I raise my eyebrows at Gerald.

"An extract of rhedd? Really? Did you want me gone that bad?"

Gerald's ears turn pink as he mumbles an apology. Rhedd is a highly poisonous weed, capable of killing a man in one minute. Its extracts, if diluted enough, make the death as painful and long as possible. As I said, looks like Gerald wanted me gone pretty bad. Either that, or he just wanted to see the effects of the drug firsthand and I just so happened to be one of the only men at this bar.

I turn away from Gerald and look back at the brawl. Sarth, you must be kidding me!

The tallest opponent is now running around his opponent, looking less like the sword for hire he tells himself to be and more like a chicken whose head has been cut off. Really pathetic. Gee, I'm half tempted to jump into the ring and settle the scores myself!

I sigh and quickly rescan the room. In the corners, where the smoke is thickest, a few shady looking men are dealing, be it to obtain a whore for the night or to procure for themselves a certain type of drug only the black market offers. At the tables constructed much like the bar, a few men are drinking themselves dead, their hand on the exposed thigh of the prostitute on their laps. I glimpse a few card games here and there, as well as a few merry parties of assassins conversing with the crime lords to which they vowed allegiance. Towards the center of the room, beneath the rusty old chandelier, a cleared space in which the well-known brawls occur.

No slave dealers in sight.

Yet.

I hear the creaking of a door, and cold night wind comes rushing inside the Crooked Hook, giving me a well needed waft of fresh air. I look at the open main door, the door that's directly across the room from me, and see a tall, muscular man step into the flickering candlelight. His dirty blonde hair is swept sideways from the wind, and the light puts evidence on his eyepatch, and the wicked scar running from a bit over his elbow ??????????????????? to his cheekbone. His hawk-like eyes sweep the rapidly quieting room, and stop when they get level to me. I hide a smile and turn my back to him, facing the dirty bar in the process.

Then the door gets slammed shut, and footsteps grow closer to me.

"Hey, Shadesteele!" Someone calls tentatively. Non! Shadesteele est un nom de code! Dans le sens que tu sais que Shadesteele est le chef, mais tu ne sais pas que Colin est Shadesteele! (Déso. J'aurais dû t'en parler)

Shadesteele doesn't reply.

I slosh some more ale onto the floor, and meet the eyes of Gerald, who quickly turns away ad I click my tongue and shift my shoulders in such a way that light falls on my sword.

There's the sound of wood against wood, followed by a bit of splashes, then a voice says:

"Ale."

I look to my left. Wrapped in his signature dark cloak, Shadesteele looks menacing, and even more so as soon as he extends his arms, throwing emphasis on his black leather vambrances.

"You're such a sarthing show off." I tell him as he receives the ale.

"Nice to see you too, brother." Shadesteele, or as I know him, Colin, replies.

Noises gradually resume, but slowly, not at the same intent as they did before. Not now that the king of the Rogues of Fyron jouned the party. Sheesh. Révise-toi avant de poster...

"Just so you know, Gerald seems to have procured himself some rhedd." Rhedd is a common weed in the family of nightshade. It isn't hard to find. Aussi, pourquoi n'y a-t-il pas de blagues au sujet de Rhedd?

"Really? Must be a coincidence, unless he's trying to tell us he wants a visit from him."

Gerald turns pale beneath his pimples.

"No, sir, I swear, I didn't know--"

"Didn't know what? That Lightning Sword is one of my men?" Colin asks, his voice sultrily soft. Ooo, sexy voice.

"Keep flattering yourself." I mutter to him.

"No, sir, I didn't!" Gerald stammers.

"Oh, well, looks like Rhedd has one last person to visit tonight." The king of the Rogues says dismissively. Et voilà la blague. Bravo!

Gerald practically whimpers and stumbles backwards, away from us. I roll my eyes and turn myself so that I'm completely facing Colin.

"Do you really enjoy seeing men piss themselves so much that you deliberately throw around the name of the best assassin in Andellion?"

Colin picks at his nails, ever the diva. Hmm. Elle a moffé sa dernière mission par exprès. Ce serait une bonne idée de le mentionner ici.

"Well, she does answer to us..."

Yes, Rhedd is a part of the Rogues, but from that to saying she answers to us... She might be the best, but she's a wild card. She does what she wants, when she wants, the way she wants. And she takes a guilty pleasure in making what she wants as gory as possible. So being visited by her... Well, let's just say you'll most definitely die.

Colin takes a sip of his ale, turns green and spits it on the floor, then straightens up and calls to Gerald:

"What is this piss that you dare call ale?"

I chuckle and turn to look at the room again. The brawl seems to be finally coming to a close, the chicken-with-no-head now so winded I can hear him wheezing from here and his opponent so dizzy it's a public hazard to see him with a sword. Bravo! I scan the whole of the room for any--there! A man, so obviously rich it's appalling, talking to a crime lord and not getting gutted by assassins. Slave trader.

Sword fodder.

I tap Colin on the shoulder, getting up as I do so. He raises his eyebrows at me.

"Can't you see I'm arguing?"

"Nope, I wasn't listening. I'll be out for a few minutes, if you're looking for me."

Colin frowns and inspects my face.

"Why?" He asks. I don't have to answer. The expression on my face tells him all he needs to know. "Ga--Lightning Sword, you need to stop this."

His face is serious, his jaw set, and he's giving me an order.

"Yeah, I will." I say, then crack my neck and walk towards the slave trader. I start overhearing their conversation.

"--a hundred, well trained. Been in our care since they were ten years old." The slave trader says.

I don't need to hear anything else. I'm now close enough to them that the assassins get up, drawing their swords.

"Go back." One of them orders.

I nod, then draw my sword and attack. The assassins are good, but not as good as the Rogues, and I can tell by their eyes that they know that, even as I kick one over the table and onto the crime lord.

The slave trader flees. I see it out of the corner of my eye. Sarth, I need to disengage from these assassins.

"My quarrel isn't with you or your master." I say.

"Then leave, and quick!" An assassin growls. I nod and run out of the inn. The slave trader's there, desperately trying to untie his horse.

"What do you want?" He asks, his eyes wide with terror. I step over a drunk man--or his corpse, I don't care--and twirl my sword.

"I want to know how it feels to remove my sword from your corpse." I say, then attack. The man is slow. He's slow to unsheathe his jeweled, decorative sword, slow to parry the stroke I aimed for his head.

I kick him in his flabby stomach, sending him toppling over the fence to which he tied his horse. I take five seconds to cut through the restraints on the animal and send it galloping away before jumping over the fence, my feet hardly making a sound as they land on the wet earth.

"Who--who are you?" The slave trader asks, desperately trying to scramble away, but his fur cloak is caught in the mud.

"The man who killed you." I say, then kick the man's sword away from him and stab him in the chest. Once the light leaves his eyes, I whisper, "My name is Gavin Asureles." And pull my sword out from the body.<

Pas mal. Attention aux détails.


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6
6
Review by E.D. Archer Author IconMail Icon
In affiliation with Fantasy and Science Fiction So...  Open in new Window.
Rated: 13+ | (4.0)

Hello Jonoprecel,

Here is the requested review for your story. What you will have here will be more general comments, mostly on style.


Plot
How would you improve the believability of the plot? How would you make the plot easier to follow? How would you change the arc to leave you more satisfied at its resolution?
We are introduced to Jackso and his friend Andrew. Jackson is contemplating taking some form of drug, although the reason why (apart from the fact that life isn't easy because Jackson is bullied) does not seem to be completely explained. Both teenagers live inside the Pyramid, (which seems not to actually be a pyramid based on description) ruled by a woman called the Oracle. It seems that she keeps her citizens in a sort of drugged state of beatitude. The reader then runs into an issue here: Speaking about your time at the Academy was forbidden; it was

Already late, a jarring, unseen thud made Jackson spin in a circle, sending him careening towards the ground, only stopping when Andrew's quick reflexes caught him.
because of the sudden change of subject. Anyway, the boys go to school and the first class is history warped byt he Oracle. Because of bullying, Jackson snaps despite the yellow pill to make him happy and is taken away by security guards and brought to a doctor. He is fixed, but later dies on the way back to his home, and Andrew becomes MC.

Overall, your premise is very interesting and has a lot of promise if handled properly. I will admit to being intrigued by the story.


Pacing
How would you improve the pacing of this work? If you felt bored or rushed, how would you improve those parts?
The pacing is maily slowed by excess description, which would need to either be dispersed a bit more or distilled. Apart from that, no problems.

Description
How would you improve the descriptions to make them more vivid? How would you improve the appropriateness of the vocabulary?

I overall greatly enjoyed your descriptions. They are certainly vivid; however, my main concern is that it may be too lengthy or flowery at times. Take as an example this paragraph: Jackson stared up at the clouds; his eyes were a wet puddle as the clouds drifted past, sailboats journeying on to greater destinies. The soft grass underneath his bare feet took delight in tickling him. The wind comfortingly brushed his hair and he leaned back against its out-stretched arms. Eyes closed, Jackson opened his palm and stared at the little blue pill that was no larger than the candies he used to run and buy from the local corner store after school; he could still taste the sweetness of the sugar dancing across his tongue. Although it is beautifully written, it feels to me as if it is slightly too poetic for this context. On the other hand, maybe Jackson is just a poetic guy; in that case, your description style is completely justified. You just need to make sure that you can strike a balance between description and plot, because a lot of your descriptions are put as large, chunky paragraphs (although notice, it's no where near as bad as what you get in the Lord of the Rings, which I never finished reading) and it considerably slows the pace. So, watch out for chunks. You might also want to think through the logic of certain of your descriptions, too: for example, you can't stare at something if your eyes are closed, like what Jackson is doing in he first paragraph. Another example is when Jackson, at the doctor's office, "beamed smiling", because to beam is to smile brightly.


Grammar and Spelling
What serious grammar and spelling issues did you find? How would you improve the overall grammar in this work? Overall?
The main issues here are punctuation, especially with dialogue, and some phrasing which is either nonsensical or redundant. I suggest you review your work on your own, modify it, and tell me once it is done so that I could rectify the main issues with a microsoft word document. Manwhile, here is a link I think will help: https://owl.english.purdue.edu/owl/owlprint/607/
Closing Comments

Overall, a very good start for a very interesting story. It needs a bit of work, but definitely has the material of something you could find in a bookstore. Nice job, and tell me if I can do anything for you in the future.


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7
7
Review of Fractured Reality  Open in new Window.
Review by E.D. Archer Author IconMail Icon
In affiliation with Fantasy and Science Fiction So...  Open in new Window.
Rated: 18+ | (4.5)
So far, so good. I would definitely keep on reading.

I just have a few minor corrections and criticisms to bring:

In this sentence: "Pure fear revived me, and I threw me head back so hard I nearly got whiplash." I think you meant to say "my head".

About Lou, she is described as follows:
"She was on the thinner side, and had straight shoulder-length brown hair. Her eyes were green, and she was clearly the most intelligent member of the conversation."

My first impression is that I don't really see how having green eyes would make her the most intelligent member of a conversation. I know, I know, that probably what you intended to write: my point is, you need to show me how Matt knows that she is the most intelligent member of the conversation. Maybe add some dialogue that gets interrupted as the other kids notice Matt's arrival, in which she says something which is extremely smart.

My second impression is that this girl turn out to be Matt's love interest. If this isn't the case, well, good on you! If I guessed correctly... Well, you might to tone up the descriptions of the other kids in the room (so that Lou isn't the only person being described in more details (that is the sure sign that she will end up being an important secondary character)).

Overall, I believe that you will have to add a bit more description when you start editing your work. If you picture the surroundings in your mind in its slightest detail... and show your reader your vision (not in infodumps, por favor)... well, you will be passing from excellent to outstanding.


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8
8
Review of Brotherly Love  Open in new Window.
Review by E.D. Archer Author IconMail Icon
Rated: ASR | (5.0)
It is extremly refreshing to read a story about a brother who will do anything for his older twin, instead of the usual fairy tale trope of jealous brother kills the king and becomes an evil ruler. Truly, I applaud you for creating such a beautiful, albeit tragic, story! Also, you seem to have mastered "Show, don't tell", as you clearly demonstrate to your readers how your characters are good people. Thank you for the read!


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9
9
Review by E.D. Archer Author IconMail Icon
Rated: 13+ | (1.0)
I will admit that I wasn't able to understand what was going on. This is mainly due to spelling and grammar. I think you might have gone too fast, because sometimes some letters are inverted in words which are spelled correctly in other places, and sometimes you get mixed up with homophones...

There is a spelling checker on this website... Maybe you should use it.



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10
10
Review of SS Earth Terra  Open in new Window.
Review by E.D. Archer Author IconMail Icon
Rated: E | (1.0)
If you were to expand the story into a Sci-Fi book, I would probably read it.

That saying, there is still a lot of work to be done.

The first comment I have for you is this: learn how to use quotation marks and how to format dialogue. For example, in this passage:

«"Do you see that Sean"? My Dad suddenly spoke out.
"What"? I replied.»

The interrogation marks should be inside the citation marks, like this:

"Do you see that, Sean?" My Dad suddenly spoke out.
"What?" I replied.

Here is a link to help: http://firstmanuscript.com/format-dialogue/

I'll also call to your attention that the apostrophe (in this case, I am talking about the fact that Dad says "Sean" and not about the actual punctuation mark) is supposed to be separated from the rest of a sentence by commas. For example, Dad could also have said:

"Sean, do you see that?"

and

"Do you, Sean, see that?"

In all cases, the apostrophe (calling out the name of the person you are talking to) is isolated by commas.

If I move away from grammar and formatting, there are also some other issues in need of addressing. The one that startled me the most is the fact that Mom and Dad, who have no idea about what is happening at the beginning of the story, are finally the people to explain everything to Sean at the end. That is weird. If you really feel the need to have these two specific characters telling Sean all abut why HE was the "Chosen One", you should have indicated to the readers the fact that -- I don't know -- the knowledge was "uploaded" into their minds, or they knew about their son being the Chosen One all along or some other explanation.

Another comment: if the world is in need of saving, please do not make your viewpoint character sleep through all of it. In order to make your MC (main character) a better one, he needs to be at the core of all the action. Have the pilot have a heart attack and Sean have to take the commands because he is the Chosen One and all, or something of the sort. If Sean is your MC, it should be because he is the most important character of all. (By the way, there is a difference between your viewpoint character and your main character: though Watson in Sherlock Holmes (the novellas) is the narrator, Sherlock Holmes is the main character, hence why he does most of the action. Your main character shouldn't sit around and let things happen to him, that is all I am saying).

Hope this helps! And good luck!


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11
11
Review by E.D. Archer Author IconMail Icon
Rated: E | (1.0)
Though I am not sure what was the intent behind the narrative, I will review it as I would any other.

To begin with, I think that the main issue that this short story encounters are mainly due to style.

As a beginning author, you have probably been half-knocked-out already with talk of "Show, don't tell". However, I'll do so again.

When you write a literary piece of prose, whether it is a short story or a book, you need to show how your character is through his or her actions, attitudes and the choice of words that they use when speaking. Let's take as an example this passage from the beginning:

"He straddled the sea mammal and rode for a few minutes. Jamie loved animals and often took advantage of opportunities to cavort with wild life, a privilege other boys could only dream of. Most creatures sensed instinctively from Jamie’s tender touch that here was a gentle soul. Not since St. Francis of Assisi had anyone in this world been so sublimely gifted in his communication with the beasts of the field, sea and sky. Jamie was that rare young soul who had a smile and a kind gesture for every living creature he met. Reverence for life, all life, was a characteristic of his race, ingrained deep in his very genes. Those were the same genes that were the source of his awesome, terrifying power. Jamie and those of his world were sublime examples of nature’s magnificent balance. Almost unlimited power, leavened with super-human gentleness."

So, Jamie's main trait which you as an author wanted to convey in this passage is that your character is gentle and respectful to all living beings. Now, unless your audience is children who are not yet very good at reading between lines (I say this becasue this story sounds like the ones that my Dad used to tell me before bedtimes when I was a kid...ah, nostalgia), you want to be able to show Jamie actually being gentle and respectful towards animals. One way to do this is by *not* having him ride the dolphin, as this is known to actually injure the animals, and maybe have him instead rescue a poor baby porpoise who lost its pod.

However, you do efficiently convey your character's love of animals in this passage: "Jamie loved animals and often took advantage of opportunities to cavort with wild life", though the word "cavort" has another meaning which probably does not convey what you wanted to say exactly.

Now, we only talked about showing with gestures. What about attitudes and speech?

When your character first meets the soldiers on the Marines ship, you do an excellent job at showing his respect and even deference towards authority:

"Just as Jamie touched down, a squad of heavily armed Marines in full combat gear emerged from a hatch in the superstructure, M-16’s at the ready. In a commanding voice, their leader barked at Jamie “Hold it right there, you! Raise you hands… Do it now!”

Jamie knew full well that these Marines’ “pea shooters” couldn’t harm him. He’d just taken a volley of fire from the ship’s gatling guns with not the slightest ill effect. But this man was a grownup. Although bemused by the young Marine non-comm.’s gruff and unfriendly tone of voice and show of force, he was, after all, an adult! Jamie had been reared to respect and to mind his elders. It never occurred to him to disobey. Without hesitation, he complied, raising his marvelously muscled arms skyward."

By the fact that Jamie obeys the Marines despite the fact that he knows they wouldn't be able to harm him anyway proves the characteristic of deference well enough. Also, the fact that Jamie's reason is because they are adults adds to this.

Which brings us to the other main issue: unless you are writing for your 10-year-old son or daughter, please do not shower your readers with obvious details that we can already infer from the text, and please do not whack us on the head with the hammer of repetition in trying to drive a point home.

For example, you could probably avoid annoying readers by removing what is between brackets:
"He straddled the sea mammal and rode for a few minutes. Jamie loved animals and often took advantage of opportunities to cavort with wild life, a privilege other boys could only dream of. Most creatures sensed instinctively from Jamie’s tender touch that here was a gentle soul. [Not since St. Francis of Assisi had anyone in this world been so sublimely gifted in his communication with the beasts of the field, sea and sky. Jamie was that rare young soul who had a smile and a kind gesture for every living creature he met. Reverence for life, all life, was a characteristic of his race, ingrained deep in his very genes. Those were the same genes that were the source of his awesome, terrifying power. Jamie and those of his world were sublime examples of nature’s magnificent balance. Almost unlimited power, leavened with super-human gentleness.]"

How about that passage with the Marines? I edited out whatever seemed superfluous or repetitive and it becomes:

"Just as Jamie touched down, a squad of heavily armed Marines in full combat gear emerged from a hatch in the superstructure, M-16’s at the ready. In a commanding voice, their leader barked at Jamie “Hold it right there, you! Raise you hands… Do it now!”

Jamie knew full well that these Marines’ “pea shooters” couldn’t harm him. He’d just taken a volley of fire from the ship’s gatling guns with not the slightest ill effect. But this man was a grownup. [...] Without hesitation, [Jamie] complied, raising his marvelously muscled arms skyward."

The overall effect is a text which is much lighter and less bogged down by huge chunks of explanations and descriptions from the narrator.

All of this is not to say that your story does not have any potential, however. Just, try to reduce anything that seems repetitive and superfluous (I know, sometimes it is hard) and you will be able to hold the reader's attention for a longer period of time.

Also (and this is personal to me) avoid using flowery words like "marvelous", "amazing" and etc. in an attempt to make the reader go "Oh yeah, I agree, Jamie's muscled arms are marvelous!" You'll find that it turns a lot of people off if you try to tell them how to feel about something in your narrative. And it sounds pompous--think of a stereotypical poodle lady with an English accent who speaks like this "Oh, it is simply maaarvelooous my daaaarrling!" over her tiny cup of Earl Grey tea.

Anyway, I wish you all the best in your future writing endeavors. As i mentioned earlier, you have a lot of potential. You simply need to develop it. Good luck and happy writing!


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Review by E.D. Archer Author IconMail Icon
Rated: E | (3.5)
Overall, I greatly enjoyed reading your poem. The persona of your poem powerfully conveys feelings of torment caused by a life which has not been easy for him. He questions his life, wonders if it could have been different, and even wonders if he deserves the happiness which he earned at the end of his life. I believe that all this questioning is what makes the poem relatable.

However, I will admit that sometimes, the rhythm of your artwork falls apart, and this breaks the spell. Let's take as an example the first stanza:

I’ve time enough to wander,
down the paths of memory lane,
to the hopes and dreams of yesterday,
and a life of love and pain.

Here, the third verse of the stanza causes the break of the rhythm, because "yesterday" sounds one syllable too long for the rest of the verse. This is an example, however there are more instances in the poem where the flow is similarly broken up. Read the poem aloud to find where the issues are or get someone else to read it to you (I'll admit that sometimes it is hard to judge one's own work).

Then... Take a thesaurus and play around with words, stanzas, abbreviate words with commas (you are a poet, you have some artistic flexibility here!) and have fun.

There is a huge amount of potential in this poem. You just need to take maybe an hour to fix the flow of your work.

Anyway, thank you for such a beautiful piece. It was a pleasure to read.


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