Hello, Kotaro. My name is Mykel, and I have the privilege of reviewing your short story, Spirit of the Lake. The title of your story attracted me, and I chose to review it because I have had many opportunities in my life to interact with Japanese culture. I have travelled a little in Japan, studied Japanese language, and appreciate Japanese culture. I very much enjoy the style, spirit, and mood of the Japanese folktales, especially the ghostly, mysterious stories. I enjoyed this story very much. It expresses the same sentiment of many of the stories I have read, a blend of charm, adventure, magic, and ethics. I would like to explore with you some of the elements that you combined to create this entertaining tale. Please understand that my review is meant to be encouraging and supportive. Also, do feel free to discard anything I may comment upon if it is not helpful to your story.
I enjoy your sense of tone in this story. It evokes the traditional spirit of storytelling that is so familiar to us when we hear the words, “Once upon a time,” “In a galaxy far, far away,” or, as you know, the traditional one that often appears in Japanese stories, “Mukashi.” I could feel this spirit in your tale. Its sincere, nostalgic tone communicates a convincing narrative mood, grabbing the reader, creating deep interest in, and sympathy for, the characters you have created.
Annin, the blind storyteller, is a wonderful character. We watch as Annin’s curiosity, love for his craft, and adventuresome spirit lead him to the fishing village, where he sails out onto the lake to meet the demon who is terrorizing the local villagers. At first, we expect to meet a terrifying apparition; instead, as the dialogue between the spirit and Annin deepens and matures, we discover a pitiable old hag, a tortured spirit made ugly due to the pollution of the lake by the local villagers. The encounter between Annin and the spirit evokes pathos. Each has some repellent aspect of appearance and character, yet each possesses a pure heart and is capable of trust and compassion.
Your longer lyric passages are particularly effective in creating the tone and mood:
Annin loved to travel, though, neither views of streaking clouds above majestic mountains, nor of red sunsets over sensuous shores, could increase the murmur in his breast. Rather, he enjoyed the near silence of a breeze caressing the trees, the sigh of waves sinking into sand, the clop of horses prancing on a bridge, the laughter of joyful children. You may say he could sample all of these without traveling hardly at all and you would be right, as Japan was at peace. Annin was a storyteller, which was one of the few vocations a blind person could strive to master.
Here, too:
Annin bowed, put the package in the sleeve of his kimono, and thanked him. Then, he straightened his posture, and tapping the road, proceeded west with his bowlegged gait. He felt the rising sun on his back. As the day progressed, sweat started to bead on his brow until a cool wind from the north unhindered by trees relieved his discomfort. Aah, he thought, I’m on the border of the lake. Soon the rustle of gentle waves on sand confirmed his guess.
And here:
Annin calmed his breathing. He focused to catch any sound besides the gentle lapping of the lake, yet he couldn’t ignore the clammy clutch of the mist; it permeated the folds of his kimono, chilling his skin till he felt the bumps form. A gust rushed from behind, blowing up over his back and scalp. He heard a disturbance in the water. Ripples rocked his boat, then the sound of water dropping on the stern of the boat. He could tell the drops were large by the way they slapped the wooden bottom; approaching, they thumped in harmony to the pounding of his heart.
Your use of the 3rd person narrative in this story is completely appropriate. It enables the reader to focus on each character, and is especially helpful in the encounter between Annin and the spirit. This would be a very different story if you wrote it from the Annin’s point of view (or the spirit’s, for that matter). Not only does this choice easily shift the action back and forth, but it also gives the reader an opening to look equally into the heart of teach of these two interesting characters. You use your verb tenses and point of view effectively to create seamless narrative. I do not feel confused about what is taking place as I read.
You use your minor characters well, too. I laughed at the foolish Gonta as he shares his lunch with the storyteller and tries to get him to turn back from his dangerous task. You skillfully interweave Gonta's anxiety for Annin’s fate with respect and admiration for the storyteller’s courage as Annin goes out onto the lake to meet the spirit. Your treatment of the spirit creates a sense of fear, then horror, and, finally, sympathy for the spirit as her true predicament is revealed. We all breathe a sigh of relief with Annin when the spirit disappears as he tugs at the rope, happy and relieved that the encounter is over. Yes, he has added quite a tale to his collection.
The overall effect is that everyone “lived happily ever after,” and each character extends their threshold of compassion and understanding, thus banishing the shadow of fear that all the villagers experience due to the spirit’s activity in their midst. It works.
Plot and story move along together in this story. It is a simple plot, but the way you tell it makes it all the more enjoyable and endearing. The conflicts are clear. You provide us with a main character, Annin, who struggles with his blindness and with a supernatural force that is terrorizing a community. You introduce the situation well and effectively create dramatic tension as Annin gets closer to his meeting with the spirit. The suspense climaxes as Annin confronts the spirit, but the surprise here is that anxiety and fear become compassion and understanding. And as the action falls off, you tantalize the reader with the possibility that Annin and the spirit may have enkindled a deep, loving relationship that might mature in the future. It is charming.
I confess that I find the first paragraph of the story a little murky. How does everything fit together? I don’t understand the phrase, “...neither views... could silence the murmur in his breast.” Does that refer to his storytelling capability? I think I would have started the piece with something concrete. For example, “The first time Annin heard the story about the monster, he was sitting comfortably at a local tea shop, enjoying fragrant tea and a sweet cake.” You know, something that just grabs a reader and pulls them in, then go on to his love of travel and his journey to the village. Easy for me to say, right? Mind you, if you want go from the general – Annin’s love of travel – to the specific – his journey to the inn - that is perfectly fine. Do please consider revising the first paragraph so that it flows more smoothly into the local tea shop scene. By the way, that detail about the aroma of the charcoal-broiled fish wrapping itself around Annin like a vine’s tendril and pulling him into the inn was great!
Looking at the plot of your story causes me to reflect upon the characters and the style. Here is a subject for some extensive thought and consideration. The tone and the style are very reminiscent of Japanese folktales. In this, you succeed admirably. The whole story is Japanese, its ascetic mysticism transporting the reader into the spirituality of Japan and Japanese people. When I read it at first, I actually thought you were Japanese for a little while! However, herein lies a deeper question: do you want to keep Annin as a more superficial character, somewhat self-serving, who seeks to explore the mystery of the lake spirit in order to get a good tale for his livelihood? Or are there deeper currents? Where does compassion for the villagers fit in? Does Annin feel genuine love for the lake spirit? Do they actually have a sexual encounter in the boat? Is it your intention to just tell the tale as it is and make the ambiguity a place where the reader must make up her/his own mind?
Answers to these questions might help you finish the story with a more satisfying ending. The story ends somewhat ambiguously. Even though the reader understands everything at the end, the story seems to end a little too abruptly; the ending is precisely one sentence after Annin and the spirit part company:
“Annin let out the air in his lungs in relief, then tugged the rope. He had his story, and was eager to spread it.”
As I read it more and more, it can stand by itself as it is, but I wonder if the story might be better served if the ending were a little more complete. I feel a little disappointed by its seeming abrupt ending. And, to a Western audience, the last sentence could be read as Annin seeming somewhat cynical because everything he did was just to get a good story. What if there is some mention that the lake grew cleaner over time? That Annin visited the village from time to time? And that, during those visits, he could be seen out in a boat on the lake, talking with a beautiful woman? Or perhaps the people of his own village become shocked when Annin takes a beautiful wife that no one knows? It might be helpful to offer something more that will tie it all up. It’s a point worth considering.
In any case, the story is structured well. You introduce the characters and situation; the action rises as Annin journeys and meets the villagers. The climax occurs when Annin and the spirit meet on the boat, and the falling action is the heart to heart resolution that Annin and the spirit arrive at. This all resolves very nicely.
For me, it’s the character of Annin that makes the piece. He is vulnerable, imaginative, friendly, polite – perhaps a little self-serving – and a delight to read about. While I would appreciate more description, I can see him vividly in my mind’s eye: Annin, Gonta, and the water spirit are each portrayed effectively, too. Mind you, I have seen lots of Japanese movies, pictures, and art to be able to easily conjure up a picture. Do keep in mind that if your audience is primarily Western, you might want to describe each character's appearance a little more. You give a brief description of Annin when he stops at the Inn. “The proprietor’s daughter saw that their guest was blind. She recognized the small folded cloth balanced on his shaven head and an apron’s pockets filled with scrolls and brushes as the costume of a storyteller.”There are really only a few details sprinkled throughout the story about Annin. We know he’s bowlegged when he walks, and you only mention the cane when he’s ready to go out onto the water. Remember, not many Western people know what a blind storyteller looks like. All we know for sure is that it is “not modern.” We also don’t know much about Gonta, except that he wears his tea flask on his hip.
You describe some striking features about both Annin and the spirit through skillful dialogue:
Annin turned while rubbing his face to warm it. With an inner strength he stopped shivering. “I can face you, but I can’t look, and my eyes are ugly and disturbing.”
“Your face is like a baby’s compared to mine. It’s good that you cannot see it.”
“I’ve heard that your hair glistens darker than the deepest black. I can only imagine how it would light my soul if only I could glimpse it.”
She raised her hands to her face, but didn’t touch it. “My face is marked with bloody sores.”
These details are wonderful. Are they enough to really “show” Annin’s character? He is so compelling. His motivation creates depth for his character; moreover, it’s what drives the story. His easygoing acceptance of blindness addresses the conflict of being at odds with himself by harmonisng the conflict. His lack of conflict is very interesting and creates something of a mystical aura around him. He seems to be very at home in nature, and his solution to the hauntings of the lake spirit communicate an almost sage-like wisdom. I think it would be unfortunate if you leave him solely as a self-seeking storyteller. That decision, however, is completely yours. But I find him fascinating, and I feel I’d like to spend much more time with him and get to know him better.
I feel that Annin’s, Gonta’s, and the lake spirit’s characters are all individual. You did not develop them as much as you could have, but the tone and mood of the story tends more towards the folktale style, and those tales tend to have sparse details. You seem to have followed in that tradition. I find the characters to be realistic in relation to the mood you are creating. I can empathize with each one of the characters. You use dialogue well, and your avoidance of dialogue tags worked within the story’s current context and stage of development. The dialogue flowed naturally, and you used it skillfully in parts, especially in the Annin & spirit meeting, to show the reader some important characterization details. As I said earlier, I never felt confused about who was speaking:
A voice hissed, “Who are you and what are you doing here?”
Without turning, Annin answered, all the while his teeth chattering, “My name is Annin. I’m writing a story in my mind.”
“Look at me when you speak.”
Annin turned while rubbing his face to warm it. With an inner strength he stopped shivering. “I can face you, but I can’t look, and my eyes are ugly and disturbing.”
“Your face is like a baby’s compared to mine. It’s good that you cannot see it.”
“I’ve heard that your hair glistens darker than the deepest black. I can only imagine how it would light my soul if only I could glimpse it.”
She raised her hands to her face, but didn’t touch it. “My face is marked with bloody sores.”
“Your sores can heal if the lake is healthy.”
“The people living here polluted my home. I should have acted sooner. I was beautiful.”
“You can be beautiful again. I can help make it happen.”
“Make me believe you, and I will let you live.”
You also have an engaging way of describing Annin’s blindness through dialogue. This deepens his character and enables the reader to be “inside” Annin. One gets a feel for what it was like to be Annin and experience his perceptual world. You do this well:
Annin held out his hand. It was evening and his hand was cold, so the warmth of the dauther’s hand made him feel welcome. He couldn’t help smiling, as this was one of the benefits of being blind. “Thank you.”
“I’ll bring you tea.”
Annin nodded and gave his order. While waiting, he listened to two men at another table.
An enthusiastic voice said. “Aah, this fish is delicious!” While chewing on his food, he went on. “I haven’t eaten fresh fish for awhile. Thank you for bringing me here."
A calmer voice answered, “Yes, isn’t it?” He paused to lay down his chopsticks, and considered his next remark. “Have you been to the market? The price of fresh fish is really high now.”
At the same time, there is a lot of room for expansion. Your context and formatting does enable the reader to follow who is speaking, but for a really polished story (I confess that I usually visualize text in printed book form), I recommend using dialogue tags where appropriate. Perhaps I am hopelessly conventional, but they do bring a sense of stability to the dialogue, and their proper use will prevent the reader from being confused about who is speaking.
Another point on dialogue concerns the subtext in the final dialogue between the spirit and Annin. That dialogue suggests the encounter between Annin and the spirit becomes romantic/sexual/spiritual in some way. The scene becomes sparse in detail when the spirit appears in the boat. When she kneels at the end, for instance, we don’t really know that she was standing to begin with. If so, wouldn’t her voice becoming from above and to the rear of Annin? If she "offers herself" and they boat "rocks," it is somewhat suggestive, wot? Perhaps this is too much detail to consider, and you’d prefer to leave it more to the reader’s imagination. However, I suggest you make some minor adjustments to clarify (if this is what is supposed to happen) that all Annin and the spirit do is embrace.
All told, the dialogue flowed and the story move along. You use active verbs well; as a result, the story does not stall at all.
While considering the matter of description, specifically, how much or how little to use, you might also consider a decision the final tone of the piece. Do you want to write a folktale or a short story? At the moment, you seem to be hovering between the two. If you want a folktale, you can cut back a little on dialogue and description, refine the tone, and finish with a great story. If it’s a short story you are crafting, there is plenty of room for your dialogue and characterization to expand to meet the demands of the piece. In addition to the dialogue tags, you can construct paragraphs for your dialogue scenes which might contain more of Annin’s thoughts. This would create more depth for his character and enable the reader to get to know him better. Mind you, that is assuming you want the reader to know him better. Again, it’s the author’s call.
You open the first paragraph in the story with the way that Annin perceives the world:
"...he enjoyed the near silence of a breeze caressing the trees, the sigh of waves sinking into sand, the clop of horses prancing on a bridge, the laughter of joyful children."
These are all sounds, of course. There is ample room to describe and explore the heightened sensual dimension of Annin’s sightless world. For example, what does the lake spirit smell like? Does her smell change as she and Annin change? Does she make Annin feel cold at first, then warm? Do her blistered lips become smooth and soft as they kiss?I know you do this is many places in the story, and I am not suggesting that you have neglected it. It’s just that there is so much opportunity here. Through the character of the blind storyteller, you have great opportunity for exploring the other four senses of hearing, smelling, touching, and tasting. There are many places where the use of imagery can support your descriptions. It’s something to consider.
I am not a writing teacher, so I am loath to comment on grammar and punctuation. However, your piece really needs attention in punctuation, especially in comma usage. There are many areas where lack of a comma in the right place or its presence in the wrong place blemishes the work and renders some of your sentences ungrammatical. I do not mean to imply that it’s awful, but it does need some work. Your story will sparkle as a result of that revision. I highly recommend the New Horizons Academy on WDC as a source for some excellent classes on comma usage and punctuation. Another piece of good news is that I found only two spelling mistakes. They both take place at the inn near the fishing village, where Annin spends the night in a communal room.
I love this story. It is a delightful tale. I can see a “Tales of Annin” book cover floating in my mind. You have created a character with real appeal, and this story can be developed into many more stories if you choose. I found your folktale style charming and authentic. The only difficulty I have with the story is the ending. It really leaves the reader hanging; however, I have seen this kind of ending in Japanese folk tales before, so it is a judgment call whether or not you leave it as it is. I do think it will improve your story if you revise the ending in favor of one that is more resolved.
Thank you for all the work you put into this story, Kotaro. It’s a charmer.
Best Wishes, Michael
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