Hugo told me once that fall was his favorite time of the year. Told me to hold leaves as delicate as you would a pretty girl’s hand. His teeth would then spread wide across his face. Pallid and flaked with brown. Rows of sweet tooth that hadn’t been cleared of duff.
On his days off we’d go hunting for mushrooms in the forest behind our house. “It’s hard to tell which mushrooms are edible,” Hugo would say. Always said, giddy over the possibility of the inedible as he led me through the forest. My studies turned to what you can eat. It didn't matter if it were safe or not.
That day, Hugo pulled me along— his meaty fingers pressed white hot divots into my skin. I followed as quickly as I could, but Hugo was excited, alcohol and smoke wafting off him in ribbons. My shoes filled with filth.
Mycology was his most recent hobby. An acquisition from an old friend he said.
Hugo's hobbies often skipped from one gruesome hobby to another. From taxidermy to collecting dead things in jars; these activities though innocuous in some hands, turned sinister in his. A field mouse captured in our backyard was less a friend and more an exercise in how long he could extend its suffering, how well he could preserve those little moments of despair, driving a needle in, then capturing the moment in frame by frame photographs. To pinpoint the exact moment, the most miniscule of details. Measured them in the span of flesh stretched to its limit, twisted in abject horror. It was a different kind of science. One that I likened to a kind of dark magic; powerful and detrimental to its user and the people around him. Wrapped up like something beautiful and awful, sequined and glittering, but dripping in oil slick, rainbow sheets of sludge.
Hugo yanked me forward, grip turning tighter. I tripped and he laughed, still dragging me along over root and rock until we hit a clearing with one solitary tree sitting in its center. Its trunk was devoid of a small swath of bark, smooth even at a distance.
As we got closer, I saw a ring of mushrooms at its base that traveled up its trunk in a spiral pattern. Up and up it disappeared into its canopy.
“Oyster mushrooms,” he said, releasing my hand to pluck one from the bark. He left marks. My reddened wrist contrasted against the pale white of freshly pulled bark. It reminded me of his angry red gums gnashing at me, smiles and frowns. Hugo was smiling at me then, pulling swiftly and roughly, tearing off just as much bark as he was mushrooms, raining clumps of brown to join the clutter of the forest floor.
Bark and mush fell haphazard atop a corpse—a fox—carpeted in what looked like to be more mushrooms. They bisected its torso. The mound of mushrooms, which looked like nothing I'd ever seen in Hugo's many, many books, stemmed like a dress from its waist, draping the rest of its body in its fungal carpet. Only its feet were left uncovered. But they were not bare, frost had started its seasonal creep, transforming the Foxes’ paws into glass slippers. Winter’s supine approach had begun, starting with her. I hadn’t realized it when we first arrived. This was a birthplace; a death, anchoring itself to the forest.
I continued to stare at the fox, searching. Her light-less eyes glittered at me in the dying light. Resurrected under my attention; life found unraveled, unspun at my feet, thread loose and fibers imbued with story. I imagined that she smiled a smile at me full of sharp, friendly teeth. For the briefest of moments I felt the whisper of her touch—her paw caressing my cheek, and telling me how this fate had befell her. A story not too dissimilar from mine. I had to protect her.
I knew what Hugo would do to her if he found her. Exactly the way he’d extricate her and preserve her, perpetually dead in his basement with a sprinkling of mushrooms and fall leaves for company. The other dead animals didn’t count. They had no more half lives; no in-between. That was my domain. With liminal fingers half crusted with frost, straining from the breakdown of cartilage, that life would wrap around the soft bend of my joints, her joints. She’d sit taut and stiff, halfway between specimen and taxidermy, a product of clumsy hands and even clumsier mouths, cruelly propped up against the door to let the draft in. We weren’t meant to be gutted and set for display.
Hugo’s delighted face was sharp; shadows fell across him like they belonged there, deepening the crags and dips of his smile.
The fox’s unseeing eyes still bore into mine, and as Hugo stepped back from his rough foraging to look at me, I blocked the fox from view with my body, leaning languid against the tree.
His eyes raked over me, hungry open maws of sight. He made to move toward me, his basket overflowing with an abundance of mushrooms dangling from his elbow. I did not flinch. I had been chewed up and spat out before. But a single oyster tumbled out of the basket, falling at his feet. His eyes darted down. Curses tumbled from his lips just as the mushroom just had. He crouched and picked up the singular mushroom, angrily brushing the excess dirt off it. He looked so vulnerable there, on his knees, cooing over the fallen thing as though he hadn’t just violently torn it from its home moments before.
A rock sat right by the foxes' head, large enough to serve as its stony pillow, jagged enough that it could promise a painful and messy death. Her dead eyes smiled at me; her form less vulpine and more human the longer I stared at that rock and breathed life into her story. If the fox had hands and strength enough to lift it, would it have lived? Would her paws not be dipped in ice? Would she be here now, acting as my hands? My hands had already found their way to the rock, having leaned down as I had pondered those questions. I inched closer to Hugo, staring at the top of his head. I examined his receding hairline and the numerous nascent liver spots and silver hairs—it looked like pencil lines interrupted by a filthy and worn down eraser.
His eyes met mine then. I don’t know how he didn’t notice until I was already towering over him, rock gripped in both my hands, raised over my head. His eyes bore into me. Terribly blue eyes as death clung to me, whispering to me, “I’d never get them out of my hair—the leaves—the mushrooms—not until…. “
She sat at my shoulder, right there inside the memory of our house sitting quietly without him. A vision tailor made for me. Her tails unfurled; her teeth sharpened. Her gown of mushrooms was apparent and as white as the snow, taking on the quality of shaggy fur. Delicate like the tendrils of a medusa, she was a woman sitting on our porch. She was a fox sitting on my porch, her ears tipped with frost and twitching as leaves fell from our maple tree, never falling outside of the careful circle that we laid out for him.
What would I do without him? she asked.
Maybe spend that fall studying the weight of the leaves and measure them in the fade of green to withered brown. Gather them in piles, feel how they’d crumble to pieces in my hand—the crunch of their skeletons, soft and grainy in their collapse.
Decomposition will sit with you. Set in the circumstance of life. Circles of death and rot. The house will sit empty, but they will sit quietly. No hands to interrupt.
My hands shook imagining the collapse; she shook, shedding the gown of mushrooms, taking on the look of death in its entirety and encouraging me to lift.
And so I did. As I raised the stone higher, I watched his eyes drown with a surety. A certainty. Realization. Recognition. She comes for us all at some point; clever little foxes that don’t stay dead. But for now she wasn’t here for me. All she did was help guide my hand.
The oyster mushroom he had cleaned of dirt sat snug in his hand. I could see it waiting; the knowing of what was to come and the knowing that it would not change anything for it and its brethren. But Hugo and his eyes, those terribly blue eyes did not care. He smashed it in his fist, letting its flesh ooze out between his fingers. And for the second time that day he showed me that sweet tooth smile, wide and menacing.
I swung down.
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This is a fantastic, poetic fever dream, Fabi, wrought with magic and lyrical prose. Little Fox as bringer of death, agent of freedom. Such a well-deserved win. Congratulations!
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Wow, that is the best descriptor of my story ever: poetic fever dream. That's exactly what I was going for. Thank you very much for the comment and the congrats. I'm glad you enjoyed the story.
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There's a lot to like in this story. Some powerful moments of imagery and intriguing characterisation. Congratulations!
As far as some of the more negative comments go, I think it's worth remembering that all writers have their own opinion on how prose should look and how storytelling should be done. Just because your approach is different to theirs, that doesn't make it any less valid. The very things that make some people dislike your work, might be the things that make it perfect for others.
Congratulations again!
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Congratulations on the win!
I hope the more negative feedback isn't getting you down - of course, take the constructive feedback you find useful, but I see some people just a bit bitter in the comments here - ignore that (looking at you, Anthony Cross. He seems very cross indeed.)
I enjoyed the setting and imagery of this piece. Wild and beautiful nature blends well with showing the more cruel side of existence. Well done with that. :)
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Hi Fabi. I can see you have a broad vocabulary, but regrettably you don't know how to use it to construct sentences and paragraphs that have meaning. That draw the reader forward. (The story itself has merit, though you really need a lot more background on the relationship between the two for the denouement to be poignant.) You propagate jumbled sentence parts that sound good, and then throw them together like an art-student saying that that egg they threw against a wall is really art. No. It is not, it's just an egg. Perhaps, if they were able to show the viewers of that "art," what it meant - what the cause of throwing the egg was, how viewers could meaningfully engage with it and come away with an interesting new perspective - perhaps then it could be called art. But that's not what you have done here. I'm sorry to be negative, but it boggles the mind that the moderators of the competition decided to choose this story as the competition winner. Obviously, you ARE the winner, so you can simply ignore my criticism and carry on. But if you're interested, here're some specifics on what I've been talking about:
"Told me to hold leaves as delicate as you would a pretty girl’s hand."
--the correct grammar is, "...as delicately..."
"His teeth would then spread wide across his face. Pallid and flaked with brown. Rows of sweet tooth that hadn’t been cleared of duff."
--the third sentence is meaningless. First off, he has, if he's a normal human being (and you've not told us that he isn't, at least physiologically,) he has two rows of teeth. Technically more than one row then makes them "rows," but the way you construct the sentence it would seem to imply that there are many rows of teeth. It's such a weird suggestion that it takes the reader out of the story for quite some time as they try and understand what it is you're actually saying. Also, are you trying to use a metaphor where "sweet tooth," is an item (to which you're comparing his smile/mouth?) Or are you trying to imply that he has a sweet tooth, and hasn't been brushing his teeth properly? If the latter is the case, then, again, the construction of the sentence is not, to me, "successfully arty," it's simply confusing and improper. If that was what you're going for, you should say something like, "...Pallid and flaked with brown - legacy of a sweet-tooth and a laissez faire approach to dental hygiene."
"On his days off we’d go hunting for mushrooms in the forest behind our house."
--this sentence is fine... until one learns later in the story that Hugo is basically a psychopath. You need to explain why anyone would want to spend time with him, otherwise readers will be confused.
"“It’s hard to tell which mushrooms are edible,” Hugo would say. Always said, giddy over the possibility of the inedible as he led me through the forest. My studies turned to what you can eat. It didn't matter if it were safe or not."
--no-one in the history of the world, (at least no-one in their right mind, and if the narrator is not in their right mind, you should make it obvious to the reader that that is the case,) has ever studied what you can chew and swallow, regardless of whether certain items are safe to eat or not. If there's some special reason why the narrator actually is studying this, you should explain that reason to the reader, so they're not confused. And I disregard Hugo's being "giddy," about finding possibly inedible mushrooms as a reason. That is a stupid thing to be giddy about, and doesn't make sense. We can write that inconsistency off by filing it in the category of, "Who knows how a psychopath feels about stuff?" The point is, we, the readers, cannot write off the narrator also having an incomprehensible field of study. They're the narrator. You want us to see the world from their point of view, right? (Additionally, what's that, "Always said," bit at the beginning? That's super-confusing. Are you trying to imply that he's said his piece about working out which mushrooms are edible on many occasions, and that after he's told the narrator this, he would always appear giddy over the possibility of...? If so, it's faulty syntax.)
"My shoes filled with filth."
--why? Because she was wearing open-toed shoes? Because he was dragging her along faster than she wanted to go, and so her footwear, which happened to be loose, scooped up leaves and dirt along the way? If the latter is true, why didn't she pull away from him so she could walk at her own speed? Did she think she was being kidnapped and had to be compliant for that reason? That seems unlikely. So why? Why didn't she at least say, "Wait up Hugo, you're going too fast for me. My shoes are filling with leaf-litter." Huh?
"Mycology was his most recent hobby." Many of your readers will not know what "mycology" is. [The study of fungi.] Do you want to make your readers feel stupid? You can easily explain what it is in a smooth way that doesn't interfere with the story. Even a simple, "Mycology - the study of fungi - was his most recent hobby." is better than nothing. It's certainly true that you don't have to explain every big word to your reader, and you had just been talking about mushrooms earlier. But it's not a common word most people would instantly know, and there is a paragraph-break between the mushroom talk and this paragraph, so not explaining it could pull your reader out of the story while they consider what mycology is. And that's not great.
--I've only given feedback on the first four paragraphs, and already we can see serious problems. (Incidentally your paragraphs are generally too small.) I believe that, once you've finished writing your stories, you need to have time to re-read and tweak them to fix all the problems and errors, so that your readers can enjoy the experience of reading. In fact you should do that multiple times. I re-read and tweaked my story 4 times before submitting, and that ended up being too few - I had to edit it again several times before I was satisfied. (And frankly, even now there are a couple of tiny issues that I could tweak.)
Even the title of the story is arty/confusing. Are you trying to imply that "decomposition," is a being, some physical manifestation of "decomposition?" That's just weird. I don't mind this too much - it's okay to be a bit confusing and arty in your titles, if that's what you want to do. But when it comes up in the story, you should be more explicit about what you were driving at with that phrase.
-you have some interesting story ideas
-you have the ability to write some compelling metaphors to illustrate what's going on in your story (and that can be a good thing)
-you can create some interesting characteristics of people in your story (though you still need to work on filling in the characters' drives/interests/passions more to make the character as a whole more compelling. Why was Hugo a psychopath? Why did the narrator choose to spend time with him? How was the narrator able to break the killing taboo at the end? Just to protect a dead fox? Maybe that's true, but the reader needs more justification to make that final act seem real, instead of just a plot device.)
However, you need to spend more time thinking about, "How is the reader going to see this information? Are they going to be able to see through all the layers of arty metaphors to the true story underneath?"
Good luck for your future work.
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Marcus, some interesting and good points you make here. The premise is good and the writing is on the dark poetic side of things; however, I agree that it has to go together to make sense and what is written here can only do so much.
Time and word count often play against me when I submit. Sometimes I get lucky and other times, not so much, haha. I would be curious to hear what you have to say about some of my stories.
A note though about the delivery of your feedback. When you break down the grammar or structure, it works. Some of your feedback, though, sounds condescending like the part you start with, "no-one in the history of the world..." and the the question about mycology, "Do you want to make your readers feel stupid?" There's more, but you get my drift. I think there are ways to help writers get their work a bit more cohesive without being a jerk about it.
You're obviously pretty smart about the technicalities of writing based on your observations of this story. You definitely validated some of the things I was thinking while reading the story and also some things to think about as I write more in the future. I look forward to reading some of your submissions.
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Hi Jeannette. I appreciate your taking the time to read my critique, and to comment on it. I apologise if I came over as condescending some of the time. To be brutally honest, I was feeling a bit sour-grapes about you winning instead of me! (Which was embarrassingly juvenile of me, and I feel bad about that now. I'm sorry.)
I do feel that I made some valid points, and I hope that they may be helpful to you.
Now I'm feeling a bit more level-headed though, I have to say that my main issue with the story wasn't anything to do with the quality of the story, which was actually high, it was more a different point of view about what-sort-of-story-I-like. I'm glad the overwhelming majority of comments here are positive. Whilst this style of story seems more like poetry than a story to me, (and hey, who said art can't overlap genres/styles?) which isn't my personal preference, obviously it does appeal to many people, so if you enjoy writing it, I think you should keep it up.
All the best.
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In your fourth sentence you refer to Jeannette as the winner, which is confusing, as someone with your laser sharp analytical skills should recognize that the winner's name is "Fabi" and Jeannette is someone else (unless there is something you know, that I don't.)
So you might feel that having someone directly pointing out errors can feel a bit jarring? To be fair, I appreciate seeing writers sticking their necks out to give some constructive commentary, even on winning stories. More people should do that if we all want to improve. Another competition (writing battle) had some good advice how we can give constructive feedback:
https://docs.google.com/document/d/1G6AFQcmj3tnA1JzT2OegEsP2fUUX_3zrsfv4Uxto9_k/edit
https://docs.google.com/document/d/1SzpZtZbJS7WKDXEsBz-Q485BuBCJ2ZUU/edit
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Hi Scott. Yeah, I wondered about that name thing. I guess I assumed it would be Fabi writing a reply instead of one of his/her/their fans writing it for him/her/them. Perhaps I should've known. If it had been Fabi replying, it would've started, "Replying to cretins is my favourite time of the year. Their teeth-of-ill-repute are in dire need of the cleaning services of sweet tooth mushrooms."
Lol. Just playin'...
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Thank you! And it's all good. It happens. I still very much appreciate your feedback, and will take it into account in my future work. Both writing and critiquing puts yourself out there in a vulnerable way, and takes major effort and time, so I am grateful to you for taking the time to do it, regardless.
Yeah it was more poetry than prose. But even poetry takes a crack at prose, I can't recall if she ever published it, but Portia Choi's prose poetry is lovely, particularly "Buddha's Hands," I think it was called. It was a prose poetry, haiku hybrid. Beautiful and evocative. A wonderful example of The Art of the Bonsai.
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Hi Marcus, it wasn't me that won. Easy to mistake that since I commented on your critique. :)
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Hiya, Marcus, Fabi here. Thank you for your comment.
Before I address your comment, I'd like to preface this and say that I am a poet. This is not to say that I don't write plays, or prose, rather its to say I am quite familiar with it, poetry that is. Moreover, I sincerely hope none of this comes off as defensive. I simply want to clarify my thought process. (Also its fun to discuss my own work as I rarely get to do it these days.)
With that said, I'd like to address all of your critiques in order. I'll try to be concise. (To be honest, I had already written a full response, but accidently clicked the back button so that's gone now. I wish Reedsy had a draft feature for comments. I usually back it all up on a notepad doc, but I didn't think to do it this time. I swear the original comment was much better articulated, but c'est la vie right?)
Firstly, poetry is sometimes throwing an egg at a wall and hoping it works. Haha. That said, it doesn't mean that I was throwing an egg at a wall if you understand my meaning. I'll expand on what I mean by that once I get to your 8th paragraph.
Second: "Told me to hold leaves as delicate as you would a pretty girl’s hand."
--the correct grammar is, "...as delicately..." You are right. "as delicately" is grammatically correct. However, in this instance I chose to use a poetic technique called truncation. I do acknowledge that technique is usually used to shorten metrical verse, and is usually used toward the end of the line. In my case, I used it because it felt right when I read it aloud. It flowed to me. Sometimes I do things by feel.
Third: "Sweet tooth" is a type of mushroom. I do acknowledge that this misunderstanding is my fault because I did not explain that in the story. That and I failed to realize that "Sweet tooth" was a common phrase regarding a person's preference toward sweet things.
I have had a similar critique leveled against me in the past, regarding my love of ambiguity, nuance, and expecting my audience of reading in-between the lines to the point of sacrificing clarity. I realize that I failed in correcting that in this instance. Thank you for bringing it to my attention.
However, skipping some of the paragraphs, I would like address your critique of my usage of the word "Mycology." I know I just said that "Sweet Tooth" could have benefited from more explanation. But with Mycology, you said that by my not explaining it, I would wind up making my audience feel "stupid." I hope this does not come off as defensive or condescending, (If it does, I am really, really sorry, I was not my intention), but I like to assume that my audience is well-informed, not necessarily about the field of study in its entirety, i.e. "Sweet tooth," but that they would familiar with the term at the very least. And if they were not familiar, I'd trust them to look it up via Google or some other means.
I say this because of two reasons. 1. I have had critique in the past that told me I needed to show and not tell more. And that I needed to trust in my audience's ability to infer or read in-between the lines more. 2. When reading other author's works, I have often come across words I don't understand before. For example, in one of my favorite novels "Gideon the Ninth," I came across the world sepulcher for the first time. The author used the word in a rather unorthodox way, which added to my initial confusion. It made context clues a little difficult to parse. But once I knew what the word meant, my confusion turned to clarity. But I suppose, in some ways, I have failed in my efforts to rectify my lack of clarity. So thank you for that. I will attempt to fix that in my future works.
Now to the fourth paragraph. I suppose this is another failure in clarity. As you claim that I failed to explain Hugo's, as you call it, "psychopathy." It was my intention that his character would be made clear via his treatment of the narrator and her description of his many hobbies.
As for the narrator's lack of complaint, it was my intent that those reason's would be implied by what isn't said. Why she doesn't say "Slow down," or why she is with Hugo. The narrator never once complains or denounces Hugo. She doesn't talk to him. He does all the talking. I hoped that the nature of their relationship would reveal itself in what wasn't said, in what was done. The empty space if you will. Which is another tenet of poetry. As Traci Gourdine said, poetry is The Art of Bonsai. It is the art of expressing a wealth of depth/emotion as concisely as possible whether that is through one word, or using none at all. I understand that my story is a little verbose in some ways, and redundant in other instances, but that was what I was trying to accomplish. I suppose I failed to do that it effectively. I will also make sure to address this issue in the future. I will try to be more direct.
There is also that issue of a strict word count, which makes explaining the whole breadth of their relationship a bit difficult without sacrificing atmosphere. Though I do understand that's an excuse. I mean I did say The Art of Bonsai is all about expressing things concisely.
As for your statement regarding my title: "Are you trying to imply that "decomposition," is a being, some physical manifestation of "decomposition?" That's just weird."
Yes. Yes, I am. The Fox is a physical manifestation of decomposition and death. I am sorry I failed to make this clear. Yes it is weird, though I tend to be weird in general, haha.
Now this response is getting really long, (Though the original I think was longer, but man was it much better worded, I am very sad that I lost it.) so I will skip some of your other valid points. I want to address this statement: "I believe that, once you've finished writing your stories, you need to have time to re-read and tweak them to fix all the problems and errors, so that your readers can enjoy the experience of reading."
I want to first say that I acknowledge that you apologized for the manner in which you phrased the comment. I understand you were in a mood at the time. I get it, I really do. It happens. We are all flawed individuals who sometimes fail at relating to one another.
I appreciate both you taking the time to write this comment, and to apologize.
However, that statement is the only thing about your whole comment that hurt. I don't bring it up to guilt trip you. Or to discourage from commenting on my work, or any work for that matter, in the future. I just want to acknowledge it. The reason why is because you implied that I submitted a first draft without edits or minimal edits. I know you didn't actually say that. It simply is how I felt when I read it. Because, truth is, I started this story a year ago. It was originally a flash fiction with no direction until I saw this prompt. After seeing this prompt, I found the perfect direction for my story, which originally only had a minor mention of a fox. Before the prompt, it had already undergone five drafts, and it went through four more after the prompt.
I even ran this story through the Hemingway app. That is my secret tenth draft. I say this because when I ran the story through Hemingway, the story became unrecognizable to me. It lost all of the magic of the ninth draft. And so, taking minimal advice from Hemmingway, I made a final few tweaks and submitted the story you see now, knowing it was a bit, for the lack of a better phrase, "out there." I stuck to my guns. And it worked out. Suffice to say, I worked really hard on this. For a long time.
After reading your comment, I am certain you would have preferred the Hemmingway version as it was much more structurally and grammatically sound in regards to prose. But, as you later mention in your apology, what would have been your cup of tea, is not mine.
My story is highly stylistic, and heavy on the poetical. I'm ok with people not liking it. That's alright. Honestly, apart from the one thing that hurt, I am very happy to receive a comment like this. It means 1. I wrote something that brings out a lot of emotion in people and 2. you cared enough to help me better my art. And for that I thank you. Really, truly. Thank you very much.
I look forward to reading your work in return.
P.S. After re-reading my submission I saw like three instances of me messing up the word Foxes or Fox's. Which is mortifying, I did not catch that upon my last review before submission.
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An amazingly detailed reply, which helped me appreciate your story even more. I thought your prose is amazing, and while I didn't quite follow the plot, now I see it now as more of a dream scene. A few people massively downloaded on my winning story as well so I know the feeling. But I know writers will put 20 hours into writing a short story and pour their heart out so people can understandably get emotional. It's like we want to win and get recognition, and then dealing with people is maybe part of the package I guess. Imagine the replies Stephen King must receive.
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Hi Fabi. Thanks for taking the time to read my feedback and write a good reply. And, by the way, it really annoys me that many of my teachers from school would've chided me for writing such a reply, saying that is wasn't concise - but I do NOT chide you. I THANK you for being clear, and not assuming more than you have to. The result of aiming for clarity is partly going to be a longer than average piece. But it's still better than being concise - if being concise also means being unclear (which it so often does.)
I hear your comments, and they're all fair and reasonable. I squirmed to hear that you'd been poring over the editing side of things for quite some time. Sorry to (without knowing,) wave all that hard work aside so carelessly, as it were.
I still feel that if I were writing the story I would've done a lot more to clarify stuff - but that's (mostly) a stylistic choice. Your stylistic choice is different, but still valid.
Finally, I hear your decision to be bold/stylistic/(something?) with leaving stuff unsaid for the sake of the vibe. Even a stickler like myself can appreciate that sort of thing occasionally. If you were ever going to do a millionth edit on this story in the future, I'd still encourage you to edge a little closer to "informative," and little further from "mystical," for the sake of the readers who need that. But your call. (My piece was significantly more into the "informative," side of the spectrum, but I actually edited it again just yesterday to make it even less ambiguous in a couple of spots, lol.)
Marcus
P.s. I do quite like the concept of anthropomorphizing stuff - especially in the title of a story. Calling, "Decomposition," a thing in that way isn't an unheard of technique. Makes me think of the story, "Death and the Maiden," and stories of that ilk. Perhaps you could've made, "Decomposition," a walking, talking figure in the story? (A stick-in-the-mud type like me would find that easier to grapple with to be honest.)
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I really like your feedback. More interesting than the story. Thanks.
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Ouch. Haha. But hey, your opinion is very valid. Thank you.
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Thanks Sarah [grateful-but-embarrassed-emoji.] I do feel I made a few valid points, although, as I imply in my response to Jeanette, above, perhaps I should've slept on it before writing...
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Congrats on the win.
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Thank you!
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To be completely honest this kind of work is exactly what I would read in my free time. I thrive off poetry particularly writing it. So to see something written under such a similar format, is truly beautiful. Thanks for the great read, I am excited to read more for from you!!
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I appreciate your honesty, and its great to meet a fellow poet and poetry appreciator! I feel very similarly about poetry. Thank you very much for reading and for leaving a comment. And same to you, I hope to read your work in the future!
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I loved reading this story, it was so colourful and I loved how poetic it sound. I had so much fun figuring out and interpreting your words and allusions. I aspire to write like you when I’m older.
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I thought the writing was exquisite. There were so many ugly aspects in this story and yet the descriptions of ugliness were beautiful if that makes sense. I am a reader much more than a writer and this was an amazing read. Congratulations!
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I'll keep it brief, Fabi. Despite some naysayers, I thought it was beautifully written although the characters are not very sympathetic.
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I'm still a newbie writer, and I just wanna say that I really, really aspire to write my story like yours one day! It was so poetic and vivid and thrilling! AAA You were able to paint a clear image into my head! Gosh, I really, really love how you play with your words, and how you intentionally leave some parts off of the story for the readers to analyze and digest. AAAA I so love it, Fabi!!!
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Truly one of the most beautiful tales I've read, Fabi! You tie words together like an exceptionally alluring song. So poetic, so gripping. Congratulations on this well-deserved win!
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Much thanks, that is very wonderful to hear!
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Brilliant piece of writing. You held the story together very well which is difficult at the best of times.
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https://taplink.cc/tgotery
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Very nice story. You somehow managed to tell a tale of just a few minutes in these characters lives and a single interaction. With a brief mention of some of Hugo's past hobbies and great descriptions you paint a great picture of who he is.
No need to know more or understand the relationship between the two in order to enjoy this story for what it is. Congrats on the win and best of luck with your future writing.
I thoroughly enjoyed this short and sweet read.
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Just thought I'd let you know this story is also on Vocal with a different name on it. Hopefully that's you, as I hate the idea of someone else making even $1 on your work.
https://vocal.media/horror/decomposition-sits-with-you
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Thank you very much for letting me know. I shall contact the website immediately about this.
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Hi Fabi, I enjoyed your story and found it pretty interesting how you used the prompt! I have a tiny channel on YT, and I was wondering if you would be okay with me reading your story with full credit (on both video and description). Again really loved the story and your writing style.
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Hi Kev, thank you for your interest in my story, please share with me your youtube channel so that I may properly consider your request.
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Of course! Right now, the channel only has gaming videos, and I was thinking of expanding it and doing something more interesting. Thank you for even considering it.
The channel name is Robovassa, and here is the link https://www.youtube.com/channel/UC96R5DuxE0jcIQMJFoG0yqA
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Thank you so much, having looked at it and watched some of your shorts, I would love to allow you to read my story. Of course with proper credit and a link back to the story itself, which thank you for saying you would provide credit. Just let me know when you put the video up, I'd love to see it. Also consider me subscribed! :)
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I listened to the reading and I just wanted to say, well done!
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Greetings Fabi, my name is Wilhelm and I run a podcast sharing scary stories. I really enjoyed your story and would love to discuss some of the details of it. The podcast can be seen at Frighteningtales.com - see if it's a fit and if you're interested in sharing your story reach out to me at: creepy@fighteningtales.com Thanks for the great read.
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damn i didn't expect her to kill hugo in the end
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love the structured nuance throughout the story. I aspire to write a story as poetic and dark as this one someday!
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good
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