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Thread: "Guess-the-Author" Analysis and Critiques

  1. #1321
    Strategy GuidAAR Rensslaer's Avatar
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    Author # 1

    I liked this piece alot, and not just because I'm a CSI fan.

    I will say I thought the many short scenes detracted somewhat from the story, because it broke it up. I believe I would have preferred to have a two- or three-pair of these scenes combined into one scene each. Harder to do, I think, but doable, and I think it would lessen the distraction.

    It held my interest, and the subtle onset first of something strange (not right) and then something frightening was well done. Unless I misunderstood, you did a flashback to before the murder which was interesting, but I'm not entirely sure why it's there. It adds more complication to what was already somewhat disrupted by the change of scene every few lines. Maybe that's just a peeve of mine, but it detracted slightly from the story for me (the scene changes).

    It was well written, and the dialogue was believeable. It made me care for the characters, particularly the woman investigator, and I liked the fact that you're both wanting her to do the right thing (and find out the real story, not least!), but also not to put herself in danger. She made a choice that people in scary situations make all the time -- one that is "safe" but which may haunt her the rest of her life. Well done!

    I'm going to guess this is Peter Ebbesen, because it replicates his style of many short scenes he tends to use in GTA. No better reason!
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  2. #1322
    Strategy GuidAAR Rensslaer's Avatar
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    I'll try to post more feedback today, but isn't anyone else going to join me?
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  3. #1323
    Zealous Firebrand Snugglie's Avatar
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    Quote Originally Posted by Rensslaer View Post
    I'll try to post more feedback today, but isn't anyone else going to join me?
    I will post during the weekend -- I've got my last exam tomorrow, and I'm trying to make it appear like I'm studying. And I'm writing that here in order to ensure that someone reminds me if I don't.
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    Unless enjoyed by one and all.

  4. #1324
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    Quote Originally Posted by Snugglie View Post
    I will post during the weekend -- I've got my last exam tomorrow, and I'm trying to make it appear like I'm studying. And I'm writing that here in order to ensure that someone reminds me if I don't.
    They're going to FAIL you because they're watching this site, and they know you're not studying.
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  5. #1325
    Off Again Alfred Packer's Avatar
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    Quote Originally Posted by Rensslaer View Post
    I'll try to post more feedback today, but isn't anyone else going to join me?
    I'm going to as well...family stuff (the good kind) has popped up this week and I want to give proper critiques this time, not the shoddy rush job I did last time...hopefully tomorrow I'll get moving.

  6. #1326
    the Conqueror Peter Ebbesen's Avatar
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    Quote Originally Posted by Rensslaer View Post
    I'm going to guess this is Peter Ebbesen, because it replicates his style of many short scenes he tends to use in GTA. No better reason!
    Looks at the tenses, man, look at the tenses. As much as I like what the author of #1 is attempting to write, there's no way I would make that many errors in choice of tenses directly detracting from the readability of a story - unless it was a deliberate mistake used as a subtle clue for something in a story, of course.
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  7. #1327
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    These few weeks have been incredibly busy both at work and at home, but I will absolutely try to get in my critique before deadline - which is at

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  8. #1328
    Strategy GuidAAR Rensslaer's Avatar
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    Sorry! I totally got drawn into a vortex, and just today escaped.

    Author #2

    Wow. Just wow.

    I realized not too far in what was going on, because....

    I've actually had experience with people like this. Not murderers, but people who are totally delusional. There was this girl who would write to the politician I worked for (I would answer all the mail), and she kept trying to get a meeting with him to tell him these secrets she was hiding. No one would listen to her, but she was the one person in the world who really knew who killed President Kennedy! She wrote on and on about stuff that I'm sure sounded credible in her mind, but which sounded crazy to a normal reader. She was being killed by information! They killed her mother. We needed to talk to her before "They" found her too.

    The first clue, which didn't bear fruit until the guy started sounding obsessed, was the instruments he used in his peculiar trade -- nothing special. Ordinary household items and such. Not special tools, but normal things he had transformed and used as special tools. Interesting, but we read on...

    The trauma, the condemnation.... Might be part of a normal story, but there! There he goes off the deep end with talking about the voices. It becomes increasingly, horrifyingly clear what's going on. And yet it's certain that in his mind it all makes sense. He's got every little thing explained, and he's developed this whole story behind everything, like his own fantasy world brought to life in detail. Very much like what I know happens with mental people in real life.

    Wow. VERY well pulled off!

    I'll read #3 before I make a choice, but I'm reasonably certain this will be my favorite of the round. Great expression of the craft!
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  9. #1329
    Zealous Firebrand Snugglie's Avatar
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    Exams are over and I've sobered up after a vacation in Croatia, so here goes.

    Author I
    I know it doesn't really have to do with the story itself, but the formatting of it irks me a bit from the beginning. Using " instead of ´ to signify something being said makes it much nicer to read.

    So, with that out of the way:

    It is an interesting story, one that actually seems fit for double narrators. Through a large part of the story it feels a bit unclear what exactly is going on, but it clears up in the end -- although admittedly, I had to read twice in order to fully get who exactly Chadwick was, and if he actually was the victim investigated by Bill and Charlotte. The tale of intimidation and secrets that are not to be revealed because of a special someone preferring their incandescence is very appealing to me, the hint of Bill's personal tragedy in the end marking how you are supposed to stay in line, say "Yessir" and obey.

    Onwards to the structure and language, I must admit that I am no large fan of dialogue-driven stories, there always seems to be something lacking as not everything can be translated through the communication of two characters. That is a problem that is rather easy to circumvent though -- turn it into a drama! Keep the dialogue, take away the short snippets of non-dialogue, add some scenery directions and wham, you are ready to hit the stage. I am aware this would clash with the double narrators but likewise, only dialogue feel a bit too simplistic.

    The language is colloquial enough to seem like spoken language, and I do find it believable too. There are some issues with punctuation here and there, involving the much-dreaded comma:
    Quote Originally Posted by Author I
    I tell you, blue sky, white beaches and azure water every day for two weeks.
    --->
    I tell you: blue sky, white beaches and azure water every day for two weeks.

    Okay, Charlotte, see you at the morgue then.
    --->
    Okay Charlotte, see you at the morgue then.

    She said, he sounded nervous when she called him a few days ago.
    --->
    She said he sounded nervous when she called him a few days ago.
    You get the drill. It is a bit tough to get the hang of though, and I dare say virtually everybody has had a hard time with it at some point.

    All in all I think it is a quite neat piece, but the heavy density of dialogue drags down my general impression of it This will be my third choice out of the three, which does feel a bit unfair to say. I do like it -- I just prefer the other two.

    Author II
    Now this one is something special indeed! Almost most others probably got the deal rather fast, I spent the first paragraphs thinking "Oh jeez, what is this, Van-bloody-Helsing?", expecting a silly vampire-story. The turn it took was much preferred though, and the story of the delusional murderer is fascinating, to me at least. The way in which he describes his deeds feels real in the sense that he speaks frankly, says that he soiled himself but is not ashamed of it due to how dangerous his prey is, and in that he does not claim to be a hero. He is a man that happens to be at the right place at the right time and that is it. Or well, naturally, at least so he thinks. It is very well-done anyway.

    I am afraid I do not have much more to say, as I simply do not know what to critique on. The language appears flawless to me, the structure is tip-top and I do not see any plotholes. I apologise for my lack of constructive criticism, but making it my first choice might weigh up for that to a small extent, at least.

    Author III
    What interests me here is how any moment of surprise is completely given away in the first paragraph. Immediately, the reader is aware that the protagonist, Alan, will be arrested. It is a plot device that could easily kill a story in the sense that the reader loses interest, but I do think it works well here. It makes you, or at least me, wonder how on Earth the peaceful merchant will end up in the clutches of the London City Guard -- a precursor to the Metropolitan Police, I must assume! -- and therefore raises my interest. If the guards had just appeared randomly it would have come across as a bit silly, and would also have called for a much more extensive explanation of the events. Nice intro. The mentioning of the morning as "unremarkable" also hints that the continuation is remarkable -- it sure is, but I do hint some black humour in the choice of words.

    Alan's cozy morning is nicely described too, and no matter how absurd it may sound I almost get a bit jealous when the "bundle of red hair", Jackie, is mentioned. Lucky bastard. I also find the split-vision perspective an interesting touch: on half the screen you see Alan lying snug next to his girl for the night, and on the other half you see armed guards shuffling through the muddy streets of London, eventually entering the tavern.

    That is for narrative perspective -- when it comes to language I do not think I have too many comments other than that I think it is good and proper, save for one sentence:
    Quote Originally Posted by Author III
    He yawningly started to contemplate...
    I must say that I find it a rather interesting creation to find an adverbial form for "yawning" -- maybe it works, but it does sound a bit odd, does it not?

    Finally, two things: for the first, the candles. If that means what I think it means, then bravo indeed -- I will return to that when the authors are revealed, I want to see if anyone else notices it.

    Secondly, I do think this writer has got an agenda. I really like the second part of the story, Robert's story, both story- and languagewise. I think it is very effective and Robert's dilemma and unwillingness is clear. Likewise, the "evil [insert person at court with influence over the city guard] pays police to arrest the wrong man" is almost a bit too clear in pointing a finger at the feudal monarchy -- and perhaps on the upper class even today?

    That last part would be negative criticism if it was not for the fact that I comically enough sympathise a bit with the agenda, it almost feels like something I could write. I do like this piece a lot, but I do think that Author II is a bit better -- not to mention that it does follow the theme, "An investigation gone wrong", a bit more correctly. It is no factor I take into much account, but it works as an arbiter. Hence, this is my second choice.

    Nice round, hope to see some more criticism roll in soon -- do not tell me any of you are anywhere else than the internet!
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    Unless enjoyed by one and all.

  10. #1330
    Strategy GuidAAR Rensslaer's Avatar
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    Author #3

    So he picked up a patsy.

    I think this is a story with alot of potential, with some rewriting and editing.

    The story's actually written very well. The author needs more practice with this style, because some places are really well described, and others are spotty.

    I haven't read the other critiques, but I saw enough of Snugglie's to think that maybe he pointed out how some of the metaphors or allusions started to confuse the reader as to what was happening or not. The purse "appearing" to grow heavier -- it's meant as metaphor, but "appearing" just isn't a word used for metaphors, because it implies at least an appearance of reality.

    Not to say it's not a good metaphor -- it is! But it needs to be phrased differently in order to convey what is meant. This probably applies to others you tried to use too.

    The point of view is confusing -- it's a universal point of view, where you see everything. Hitchcock could do a good job with this -- if well done it adds suspense -- but it's hard. For one, if you're going to feel suspense, you need to have a sympathetic character, and a short story format makes it hard to develop that for Alan. You did a good job, but it wasn't enough. Probably twice as much room for that development would do the job. The captain's difficult situation could have been developed more too, given more room. That's the sad part about such a short format. For the amount of space you had, you did a good job describing his distaste at the job, but his comfort level with the nasty things he had to do.

    I may add a bit more, but I've got to go right now. I think this is what I wanted to say. I know the deadline is coming, too...

    Thanks! This was well done, and its flaws are more than correctable!
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  11. #1331
    the Conqueror Peter Ebbesen's Avatar
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    Author #1: “Made for TV”

    Two separate tracks, the second appearing to progress on the same timeline as the first, with the twist being that it actually precedes and leads directly into the first track. Overall, a very nice setup that could be made for TV given a bit more fleshing out. Our starting belief that it is a race of time between a detective and a reporter is carefully maintained with only minor discrepancies to suggest that something might be wrong until we are fed the straight dope that the reporter is the stiff the detective was investigating. Unlike most twist stories we see in GTA, this author manages not to give away everything by the second paragraph or so.

    Apart from a really awkward attempt at giving Charlotte and Bill personality by throwing in what appears to be a spurious implied romantic relationship for the sake of convenience, it makes for a good story.


    Unfortunately it does not make for a particularly well written story – the author has a lot to learn with regards to the English language. There's a lot that relies on the reader understanding what the author wants to write rather than what he has actually written. Fortunately, that's easy to remedy – write more!

    Small annoying bits first: ` is not the same as '. As in hadn't, not hadn`t. Likewise quoting speech is best done using the normal quotation marks and there's that clear issue with commas that Snugglie has already raised.

    Important bits: tenses. If there's any consistency in the story, it is that the author will likely get his tenses wrong in any sentence that includes two or more tenses.

    As an example, I give you:
    ”She looked him in the eye. Bill is one of, no, the best friend she has since he helped to stop her ex-friend from stalking. He did it for a certain reason but since then they didn`t came closer and still he does her any favor. So why not ask for another one. ”

    This does not, actually, make any sense as written (and not because “coming closer” are probably not the right words to use for what the author wants to imply) – we've got “looked”, “is”, “has”, “helped”, “did”, “didn't came”, “does” fighting a desperate struggle to be the last tense standing.

    Though we all know what the author wants to say, contrast it with:
    “She looked him in the eye. Bill was one of, no, the best friend she had had* since he had helped to stop her ex-friend from stalking. He had done it for a certain reason but since then they hadn't become closer and he still did** her any favor [she asked]. So why not ask for another one. “

    More needs to be done with it to make it good English (the set up with “certain reason/hadn't become closer” is poorly constructed), but getting the tenses right, or nearly so is a good start.

    * Several possibilities here, but “had had” is the one that would seem to follow if we accept the initial “looked” as our indicator of overall timeflow compared to narration. I am no expert, though, so anybody actually good at working with past tenses could probably take a hacksaw to the entire paragraph and end up a winner.
    ** Arguably, this should probably have been something like “but even now, he was still willing to do any favour for her”. In practice, however, the entire “he had done it for a certain reason” line should be rewritten from scratch.

    The story is full of problems like that one, but it is nothing that practice will not eradicate.


    Since I'd be shocked if this was written by somebody with English as his native language (those people tend to commit other mistakes), I will take a real stab in the dark and guess this is written by somebody who speaks French as his native language due to the sort of errors encountered.

    In either case, overall well done – all it really needs is a couple of paragraphs to fluff our the story and added descriptions of the environments plus a decent editor to turn it into a made for TV script.


    Author #2: An Investigation Into The Super-Natural

    This is not just well written, it is extremely well written for GTA. Through internal monologue we are introduced to our “hunter of demons” (and things that go bump in the night) in the following order of virtues by paragraph:
    1. Unsung Hero
    2. List of Deeds – with emphasis on strength of opposition
    3. Crazy Prepared (amateur level)
    4. Making things up as he goes along – first clear indication that the person is axe crazy.
    5. ..and onwards: every single paragraph adds a hefty dose of evidence that is very hard to interpret in the same way the main character does.

    Let me put it straight: I love the description of the strip-on baseball bat. I adore the careful description of how, post monster kill, he stuffs garlic in the mouth, stakes the body, and chops off the head with his hatchet. Just to be safe.

    However, as I am genre savvy in the “crazy fantasy” genre, it means that by paragraph 4 out of 21, what I strongly suspected from paragraph 3 has already been pretty much confirmed and the rest of the story brings entertainment from the joyful way the writer writes (and that's certainly something worth noticing!) rather than from anything of interest happening or being revealed. Apart from the enjoyment of the language used, the only thing of interest while reading was to see if the author would pull a neat twist at the end and show that the huge amount of setting up he had been doing was, in fact, misdirection – and hence that the crazy man was actually killing demons despite the story clearly pointing in the direction of an axe crazy murderer on the loose.

    --- That would have taken a lot of work to set up properly, but it would have made the story interesting again.

    Instead we got the much anticipated boilerplate “yet another victim of the X murderer, police baffled” ending. It works here as it does in any other story of the type, but it doesn't lift the story over the average for its type.


    Ignoring the possibility of doing a twist on the twist, It is hard to give advice on what the author should have done since the amount of information needed to trigger the aha! revelation will differ widely from person to person. Some people will get it by 3-4, others might take until paragraph 10 or so (the voices in the head part), it is doubtful that many readers will have to read further than that before they get it.

    Overall, damn good work and easily the entry I find most enjoyable this time around though not the most interesting.

    Further suggested reading: “Regina's Song” by David and Leigh Eddings for hints of the supernatural in connection with a serial killer (though not necessarily the ones you think of first) and “A Knight of the Word” by Terry Brooks, the sequel to “Running with the Demon” for a killer of demons and questions of absolute faith in one's actions.

    PS: I do take objection to the suggestion that this story really represent an investigation gone wrong. His investigation of the supernatural has not in any way gone wrong due to its results – the entire investigation itself is the result of mental state of the main character and the results are entirely consistent with said state – it hasn't gone wrong. Now, if the person had been on such an investigation before his life went to hell and back, then the end result could have been described as being the result of that investigation gone wrong, tragically diverted by the main character's madness, but it isn't the case as far as the story is concerned. The investigation is proceeding along the right path. There can be no doubt that further useful information will be uncovered.


    Author #3: Charade

    I often complain about the lack of description when setting scenes, but such a complaint does not at all apply to this entry. The setting is lavishly described, from the northern winds that sweep the cobblestones with the torrential rain, to the rain on the cobblestones to the tense shoulders of the main character, this author really tries to show, not tell, and he does so well.

    That is well, as the author's, at heart, trivial story of an innocent man taking the fall for somebody important (tm) isn't very interesting on its own. We don't really have a viewpoint – we are watching the scene as two separate tracks of action intersect – and then go swiftly to the revelation with a certain amount of metaphors being used to cover the tracks. The scene with Robert and his sergeant is weak but perhaps necessary to establish that some murder had definitely taken place at some time for which Alan could be accused (with or without any evidence). Pointing the finger of guilt is, to mix metaphors, ladled on in spades with the really big spoon. (Right, that statement does strictly speaking not make any sense – my bad – but there's such a thing as being too explicit when trying to do an implicit revelation)

    The writing was good. A pet peeve of mine would be the overuse of the word “appeared”. It makes excellent sense where it is used, mind you, but in a story where there's a focus on giving the straight dope and an unambiguous narration of affairs, it is jarring. You are playing out a charade, do not distract from the strengths of the story by having the characters wonder about each other's feelings or motivations. It makes sense that they wonder, but it weakens the story to focus on it in the current format.

    Incidentally, I think the story would have been considerably stronger if there had been some ambiguity in it. Here's one example: We are introduced to the travelling Alan who has a girl in every port, it seems, and not necessarily one who is up for grabs. He could be not-entirely-innocent even if not proven guilty in any court of law. Some girl, that he could have had a relationship with (based on proximity if nothing else), could be the one that whomever-the-bad-royalty-is murdered. Then he could be arrested, not just because “I say so”, but because “we knew he was in town”, “he doesn't respect the sanctity of marriage”, or “we've heard from X” with a few additional accusations thrown in as necessary. Now, it is entirely possible that such a scenario has taken place in the author's mind, but there's nothing of that in the story. Just Robert ordering the arrest, wrestling with his morality, and delivering up his prisoner.

    It would have been a much better story with an actual detailed accusation and some manufactured evidence.... but that's perhaps just my taste for low drama speaking.

    Overall, very well written but a bit lacking in soul. The most interesting of the three, though.
    Last edited by Peter Ebbesen; 01-06-2009 at 12:49.
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  12. #1332
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    OK, gentlemen, the deadline has passed and its time to reveal the Authors.

    First of all, it sucks that I was unable to participate in the critique this time around. Demands upon my time have been nigh near insane the last two weeks. But I feel a hurried critique would be beneath these entries.

    Anyway, without any more ado, I give you the writers;

    Author #1; Stuckenschmidt

    Author #2; Alfred Packer

    Author #3; Snugglie

    ...and the winner, with three votes to his tally, is... AUTHOR #2, ALFRED PACKER!

    EDIT: Actually, there were five votes cast, but to my mind, a little more than two lines of "quick thoughts" are required to be allowed to vote.

    Alfred Packer is the author of SPQR: The Senate And People Of Rhodes.

    <insert tears, omygods, thank yous and world peace>

    Thank you to all our authors, and thank you also to those who offered critique this time around - quality writing from both sides of the fence!

    Now we did leave it somewhat ambigous who would go on to the AARlander last month - the most popular or the coordinator's choice, based on the critique. This time around, there is no conflict. I feel the critique of Alfred's piece is good about nailing down what he did right, which can be just as useful as critique about what to avoid. For the next round, I'd like some more discussion about how this will go in the future.

    Will announce the topic for June shortly.
    Last edited by The Yogi; 02-06-2009 at 23:12.
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  13. #1333
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    Congratulations, Alfred!

    And to the rest of you as well!

    So now we get to hear about your stories from your point of view....

    I'm curious on all of them, to tell you the truth.

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  14. #1334
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    I'll tell you, I didn't overly notice the writing in the first story being anything wrong. When I check again after Peter's comments I do notice it, but not while reading.

    In any case, they were nice stories, and I too am looking forward to the comments from the authors
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  15. #1335
    Off Again Alfred Packer's Avatar
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    I don't know what to say (besides, yeah, quick thoughts was lame...I should have just not commented). Unlike my last story, I'm pretty pleased with how this one came out. I kind of regret the epilogue. I think it would have ended better had I left the reader with something of a "well, he sure seems crazy," but without author confirmation of that fact.

  16. #1336
    Okay, Boys, thanks for the critiques. Except Peter, because this

    “Made for TV”
    is absolutely insulting. TV ??? I demand Cinema and a red carpet right on Times Square !!

    Those who criticised grammar and tenses in my story are absolutely right and I won`t change that. My native language is german and I don`t invest that much in grammar and stuff when writing a few paragraphs in a foreign language just for fun.

    So let`s talk about the storyline. And that`s a little bit funny. I never ever saw a single episode of any "CSI"-serial or something like that. But the topic of the month cried "Intrigue" and I had no better idea.

    Yes, there is a lot of dialogue. And I think that`s what (written) stories should be like. Speeches and thoughts are great to broker ideas, theories, feelings, experiences. And I think that literature is or should be about that because it`s literature`s advantage over TV / Cinema.

    And my personal investigation (gone kind of wrong) was, when I investigated about strangulation. I found a Powerpoint-file of a german forensic institution. And there were pictures ! Good thing I saw them before dinner.

    That`s it so far. Congratulations to Alfred. I`m looking forward to your "Grenouille"-story

  17. #1337
    Evil Genius The Yogi's Avatar
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    Quote Originally Posted by Alfred Packer View Post
    besides, yeah, quick thoughts was lame...I should have just not commented.
    Not at all, quick thoughts is much better than nothing... but not good enough to merit a vote.

    And the topic for June is...

    A retreat.

    (And for once I will qualify that this must not be interpreted as a the kind of contemplative holiday a priest could go to, nor as a place to hide from the world.)

    Deadline for submissions is June 15th!
    Last edited by The Yogi; 03-06-2009 at 07:56.
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  18. #1338
    Off Again Alfred Packer's Avatar
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    I'll go ahead and re-start the commentary on who gets into AARLander!

    I say it should be coordinator's choice. I like the notion that the piece with the best comments goes in for 2 reasons: 1 - every submission I've ever read here is top-notch and represents excellent attempts at quality fiction. 2 - GtA isn't really a competition between writers, but rather an organized (around various themes) chance for individuals to practice their writing skills and get real, unvarnished feedback on what works, what doesn't and the like. 3 - (did I say 2 reasons? I meant 3) As coordinator, it allows Yogi to choose the critiques and pieces that best showcase the purpose behind GtA to AARLand via the AARLander, which may not always be the 'favorite' of those who commented, so he gets some extra flexibility there.

  19. #1339
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    So sorry that I missed last round of authors

    Just know that the stories were very entertaining and top quality. I promise now that summer is here that I will participate more
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  20. #1340
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    So, avid GtA readers, this month we have four quality authors offering themselves up as your sacrificial... errh, for your reviewing pleasure. The topic of the month is A RETREAT. And of this our authors have concocted a varied menu ranging from drama to hilarity.

    From this round on, since there have been no opinions voiced to the contrary, I'll be picking the piece to send on to the AARlander based on which one I think has recieved the most interesting critique. You're still encouraged to pick a favourite.

    Deadline for critique is June 29th!

    Gentlemen, I give you

    AUTHOR #1

    Martha Morgan bent in the late day sunlight, precious few golden rays left but enough to cause her to squint. Picking at the weeds from her garden, she looked up into the sky and held her hand to block the glare. She felt the ground shake beneath her. It was only slight, but enough to give her an alert in her system – one she’d grown accustomed to as the months and years counted towards a possible end to this war.

    It was the sound of someone approaching…or perhaps more.

    Instinct instantly took possession of her body and she ran to the house, her arms flailing from her side as if trying to signal someone watching. Catching herself at the broken wooden door of her home, she brought her eyes to the needed work. Her need for husband and son weighed heavily upon her but not the door. She threw it aside and called out into the front room “Come quick!”

    In front of her sitting in a well worn rocking chair, her father-in-law looked up over his glasses, “You look to seen a ghost!”

    She rushed past him and yelled out into the loft that made up a small but useful second floor, “Come on down girls. Now!”

    The old man next to her reached out a hand and grasped hers, “Calm now, Martha…what’s got you in such a hurry?”

    “Someone’s coming, Hugh. We best get ready.” Martha moved to the sideboard that ran the length of the main room and pulled open the top drawer. In it was a pistol left behind by her husband. She knew how to use it. But she’d never even considered having the need. Not until recently. The sound of guns in the distance gave her some suggestion that it might be a possibility, but even then she had the good cheer to hope for a victory for “our boys”…her boys.

    “Who is it?” Hugh asked calmly, as if it was a neighbor perhaps calling on them.

    She turned to him and tried to smile, blowing a stray hair from her dirty face. He was old, she knew. And at times even feeble. But he had to be aware of their danger…and yet he never was. Brushing the sweat from her brow with the back of her hand, she allowed a small silent sigh and went to him.

    “Poppa…sit back down. I’m sure it’s nothing. But we never know…you’ve heard the guns.”

    “Guns? I ain’t heard a thing. Are they firing on us? Get the shotgun!”

    “No such thing, poppa…just sit.” She regretted the extra force she offered to help him to his seat, but she had little time. Her daughters, Emily and Katherine, stepped down from the last step just as she looked up to see where they were. Both had eyes wide and a telling look on their face. They’d been here before as well. Katherine, much younger than her sister, allowed that she was afraid. Emily was older and her calm steeled her mother.

    “There you are,” she nearly whispered as she went to them and gathered her children in her bosom. “Do not get too far from me. I do not know who this is.”

    A knock on the door startled them all. She had not heard the sound of a horse outside in her worry. She caught her eyes spying the gun once again but moving slowly to the sideboard, she pushed the drawer closed in silence. Martha turned to straighten her apron as she looked upon her family once more and then moved to open the door. She was greeted by two soldiers, one tall and lanky, dark red blood staining his grey uniform and coming from an even larger man heaved upon his shoulders. The weight must have been unbearable as both collapsed at her feet. Without a thought, she bent over towards the men and tried to see if they were wounded.

    “You won’t find a scratch upon me, miss…” the lanky one spoke out, “…but Alley here…he took it pretty awful.”

    She looked down at the large man holding his belly before her and saw the pain he felt in his eyes. “This way,” she beckoned to the lanky man and tried the best she could to help him move Alley inside.

    Hugh stood at the commotion in front of him and hollered out as if trying to make sure he heard himself, “The man’s bleedin’ all over the daggum floor!”

    “Yes, poppa…he’s hurt. Step aside, if you please.” Martha paid him no mind and joined Emily already getting water and bandages prepared.

    “Ain’t got time for that, miss.” The lanky soldier stood straight as he called across the room. “Them soldiers’ll be headed this way any time now. They combin’ the forest for what’s left of us. Spect they’ll be here soon enough.”

    “But…they wouldn’t hurt us,” Martha tried to reason with herself as much as the soldier.

    The lanky man held his head low as if thinking on some personal tragedy, “It’s Sherman, ma’am…he’s taking everything in his path and that what he don’t need, he burns.”

    The look of horror on her face was not of what would become of her or even her girls, though that was reason enough to worry. It spoke of something more, very deeply calling to her that her husband and son were no longer safe. If it was true and the war was this close…and this horrible… then surely they must be dead. They would never allow…

    She stopped herself and spied clearly the young man before her. He was young indeed. And alive. As were many, her son perhaps included. So was she, for that matter, and her nerve caught up with her mind. She quickly untied the apron around her waist, carelessly allowing her picked tomatoes to fall freely on the floor and moved with speed to the sideboard. Martha turned her gaze to Emily and Katherine, “Gather all you want to take with you…now!”

    “What in hell are you aimin’ to do, missy?” Hugh suddenly asked, standing as tall as his elder frame would give him.

    Martha allowed her frown to lessen as she walked to her father-in-law, pistol now in hand. She gently placed it on the table in front of his chair and drew her hands up to place them on his cheeks.

    “Poppa…” she calmly answered as she led him to once again sit. “The Union has broken through and is on the doorstep. We must move or they will overrun us. Who knows what misfortune should befall us if they do? We must fly…as Preston told us…your son?” she presented the question to remind him.

    “Pres?” he asked at first…“My boy,” he answered himself almost instantly. “Is he alright?”

    Martha brushed his cheek again, “I don’t know, poppa.”

    The old man looked at her for a few seconds, questioning…but not. He turned to look on the girls, his grandchildren…

    “Go Martha…I’ll protect the farm.” He said as he moved to pick up the gun and sat firmly in the chair facing the door.

    “You must come with us, poppa…we can return…”

    “If anything’s left!” he answered without a second thought. “Nope. Better to stay. I’ve lived on this land for as long as I have memory and I’ll be damned to give it up to Billy Yank.”

    He sat there like a statue, waiting and perhaps even hoping. Martha could not budge him from his home. But she and the girls had to go. When she looked up to the lanky confederate soldier, his look was much the same. A slight nod of her head towards his fallen comrade caused him to shake his head no. Alley would not be joining them. If Hugh was a statue, Alley was an effigy.

    “Name’s Jessup…Tom. We need to go,” said the lanky soldier.

    There were no further words required. Martha gathered Emily and Katherine to her after packing some small parcel and the three joined Tom Jessup at the door. She turned back to look at her father-in-law and she swore he had a smile on his face. A smile that said he’d done his part. Had his son…and grandson? The door was closed and the small party moved towards the barn where they would mount on fresh horses and ride. To Atlanta? No, it had fallen two weeks ago. To Savannah? Likely not since the Union was moving swiftly to tear it down too. Martha Morgan had little other family. Only her daughters, Hugh, her son fighting in Lee’s army and her husband…a spy. But go somewhere she would. She had to flee, just as Prescott told her. A reach to her side to feel to the important papers she’d packed reminded her of his words. And the time was now before she, her daughters or her husband’s papers fell into Union hands.

    “Soldier,” she called out as the four moved from the barn on horseback, Emily and Katherine sharing a mount.

    He turned his ride to face her, “Ma’am?”

    “Do you know of your commander’s headquarters?”

    “No ma’am…not yet. But I spect we could find them soon enough. He’d regroup, certainly.”

    “Then take us there…quickly. For I have something he may require.”

    Tom Jessup looked confused, but his haste caused him not to question. Just ride.

    And he did as he led them away from their imminent danger and to the safety of his army. The Union would soon be upon this house and the man inside. Bravery or foolishness, Hugh Morgan would protect his farm to the very last. But Martha and her girls…and her secret…would be away. To safety, to freedom…and maybe someday to return.
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