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- SnowdropSugar
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Snowy's Writing Thread <3
SWC November '25 Weekly Three
Total word count: 956 words
Total word count: 956 words
Part One:
There are a variety of reasons that I tend to procrastinate.Typically, I’m the kind of person who actually hates doing it (procrastination, that is), so I’ll constantly be rushing to get things done as soon as I possibly can. While this can be helpful at times, it also has some not so great effects as well. For example, because I’m so prone to starting as soon as I can and trying to finish everything all at once, I often end up really overwhelmed, and this can cause me to just not know where to start. Basically, I won’t really procrastinate when I don’t think I have that much work. But when I do, I get really overwhelmed and don’t know where to start, so I start getting distracted as I do my work, continually rambling about how stressed I am and how much stuff I have to do without like. Actually doing any of it.
Another reason I tend to procrastinate is because I think something is boring. Oftentimes, it’s not actually as bad as I build it up to be, but I’ll still fall into that trap. I may have other things I’d rather do, so I’ll be checking off items on my to do list that are more fun to do or easier to do, not knowing where to start or just straight up not wanting to start on something else. Sometimes I also think things are really boring just because I’m not sure how to approach them or am feeling uninspired.
As a perfectionist, another thing that can stop me from just doing the thing is my need for it to be really good if not perfect pretty much the first time around. This makes it a bit of an issue when I’m trying, say, to just do a rough draft, because even though I consciously know that I don’t have to make it perfect, I have this really annoying inability to leave things as “just okay” so I can go back to them later.
(339 words)
Part Two:
Brainstorming: One method I decided to try was brainstorming, which was really helpful to me! Honestly, I’ve been meaning to just jot down a bunch of ideas for what I’m planning on doing for my main entry for the writing comp for…ages. Or what feels like that, anyway. Anyway, during this period of time, I managed to plan out a bit of my concept and the themes of my piece, along with beginning to think about character. It’s definitely far from a finished piece—far from a started piece, at that, but at least I’ve started thinking about how I’m going to make this work. I do have a starting point now!
Listening to music: Listening to music has always been something that helps to motivate me, and it’s why doing things like math homework is one of my favorites because I can just listen to music the whole way through. While I was really dreading doing literally any work on my main entry, I think listening to music (some from Clair Obscur and a Cœur de Pirate song, I believe, if I’m not wrong) by my favorite artists really helps me to just distract myself from the fact that it feels like a chore to allow me to just get the thing done.
Making deadlines: This is also something I’m commonly doing, but seeing as I’ve just generally been all-around trying to avoid my main entry, I haven’t actually gotten around to setting myself mini deadlines for what I want to get done by each day. Today, however, I managed to lay out a rough schedule for when I want my drafting done, my self-editing finished, when I’m getting peer review for it, and finally the formatting and submitting it!
(290 words)
Part Three:
For this activity, I chose time blocking. I used thirty minute increments, and this is what it looks like for me!
(Scratch hates me, find the schedule here instead)
Overall, I think this will help me to accomplish the main things I have to do today while also working in some time for other things that are really important to me—like the writing comp and also playing piano. While I do have a tendency to overestimate my ability to stay focused, I’m really hoping that I will be able to motivate myself to use this method to really keep myself accountable for the time that I’m spending on each activity and such, because I want to ensure that I leave sufficient time to actually work on and write my entry and all of that fun stuff.
I’ve chosen this strategy because it’s one that aligns with how I like to work. Typically speaking, I’ll time block at least a bit on my own, just because I kind of obsessively make schedules for things. I think my putting a solid, much clearer one together here (at least, much clearer than all the ones I do when I’m just rambling on and on about all the things I feel like I have to do) will hopefully help me to stay a bit more on track. Obviously there will certainly be things that won’t go exactly according to plan, but I’d like to make sure that I’m spending, at the very least, half an hour today working on my writing comp main entry. So far, I’ve checked off the step for Chinese homework, and I’ve been right on schedule! We’ll see how much the rest of it holds…
327 words
Last edited by SnowdropSugar (Nov. 18, 2025 12:45:50)
- SnowdropSugar
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Scratcher
500+ posts
Snowy's Writing Thread <3
November 18th, 2025 Daily:
Katniss has been in many arenas in her life. Ever since the end of the second rebellion, where the efforts of the Mockingjay and everyone who helped her were quashed by President Renoir—Snow’s successor, after he was taken hostage and killed—she’s been the target of every leader. Of course, it wouldn’t do to kill her outright. So every year, they threw her in the arena, a twenty-fifth tribute.
This was her fourth Hunger Games, and somehow, she was still alive.
She stood on the pedestal, lunging forward, ready to run as fast as she could as soon as the gong rang. The countdown, as always seemed far too slow.
33, 32, 31…
As a prior victor, she hadn’t been allowed any extra training, so she’d hardly gotten the chance to get to know her competition. Her potential enemies and allies.
She knew, of course, that it wasn’t their fault the rebellion had ended. Most of them, anyway, save for a few in the Career districts. But still. When you’re in the Hunger Games, you can do little else than to see them as opponents, threats to your life.
21, 20, 19…
In the interviews, only a few had made real impressions on her. The Career tributes were, as usual, stocky and they all looked like they wanted to be the one to finally take down Katniss, but to tell the truth, Katniss could hardly remember most of their names. There was the pair of eighteen-year-olds from Three—Lune and Gustave. The boy had what looked like some fancy prosthetic arm. Of course he did. He was from Three, and they were all about their technology—Katniss only needed to look to Beetee for an example. The girl from Eleven, Sciel, who made it sound like she was just about born with a scythe in her palm.
12, 11, 10…
Now, they were far enough apart that it was hard to tell who was who, but Katniss wasn’t much looking for allies.
Focus, she told herself, because the number was reaching zero.
Sure enough, Claudius Templesmith’s voice blared with the final five seconds all throughout the arena. The strange statue in the middle with the cornucopia was further away than in previous years, but she would make it. She hoped, anyway.
3, 2, 1…
“Ladies and gentlemen, let the seventy-seventh annual Hunger Games begin!”
***
Next thing Katniss knew, she was off her pedestal and flying toward the monolithic figure in the center of the arena. Though the countdown was up, a golden 33 glowed on its face.
Some of the other tributes were already reaching the weapons, so she pushed herself harder, even though her legs were burning. Among those in step with her was Lune, that girl from Three. She seemed to have lost her district partner, because she took the momentary risk to glance over her shoulder for her partner, once she had armed herself with a couple of daggers.
“Gustave?” Katniss heard her ask. Run, you idiot, Katniss thought. She didn’t want to be the one to have to kill her.
The boy—Gustave—quickly followed her, panting. But it wasn’t long before a spear caught him from the back, and he collapsed, choking on blood.
“No, no, no,” Lune said, and Katniss, despite her knowing better, took her by the shoulders and shook her.
“Run. He’s dead. We’ll find someplace together,” Katniss said.
~
Word count: 562 words
Last edited by SnowdropSugar (Nov. 20, 2025 13:55:29)
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Scratcher
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Snowy's Writing Thread <3
November 19th, 2025 Daily:
I perched myself at the foot of the Statue of Liberty when no one was looking.
Wow, I thought. Her skin is very green.
“Yes, dearest,” Lady Liberty said kindly, and I just about choked.
“S-sorry, I didn’t think that would slip out. My filter isn’t very good,” I told her earnestly. “I hope I didn’t offend you.”
“No, not at all.” Her kind eyes seemed to absolve me of any guilt. That was good. “Now, shall we get on with the British lessons, Lint?”
“Yes!” I exclaimed, albeit a little overeager. Oh, well. She seemed nice at least.
“Okay, so the first thing that you must remember is that the British speak much more…hmm, much more…much better than you,” Lady Liberty told me, and I nodded.
“Well, that’s not a very high bar.”
“Hush!” she said, laughing. “Okay, so the British always talk like they’re going to see the Queen. And they never, ever pronounce their Ts.”
Oh, I knew why that was. “It’s probably because they drank them all!”
“You’re probably right.” I swelled with pride at her words, because, after all, it wasn’t very often someone told me I was right. “Repeat after me, alright? ‘A bo’le of wa’er.’”
“Wow,” I said in awe. “I don’t think I can do that.” I cleared my throat, and she continued looking at me, so I figured I ought to try—she was being so kind about it. “‘A bo’le of wa’er,’” I repeated slowly. “Wait. I did it!”
“You did! Now, since you’ve clearly mastered the no-T rule, we’ll start on the Rs. The British don’t pronounce the letter R unless there’s a vowel after it.”
“So in the other sentence, I would actually pronounce ‘water’ like ‘wa’eh’?” I tilted my head to the side slightly.
“Precisely! You’ve got a knack for this stuff, Lint.”
“Well, I don’t know that I would say THAT,” I said, ducking my head. “Besides, I just have a good teacher. Where did you even learn all this British?”
“Oh, that’s easy,” Lady Liberty chuckled. “A friend of a friend told me that her grandniece was learning the language, and her grandniece taught me!”
~
Word count: 359 words
Last edited by SnowdropSugar (Nov. 20, 2025 13:55:40)
- SnowdropSugar
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Scratcher
500+ posts
Snowy's Writing Thread <3
Critique for Toko!
Hi, Toko! As I'm sure you can guess…I'm here to give you some critique!
I already skimmed through your collection once before reading this, and let me just say that ohhhh my goodness, it is absolutely gorgeous, and I truly love it! Your poetry is always so stunning, and you truly have such an incredible handle on verse and flow and just…I don't know, writing in general?
Anyway, now I'm doing this as I'm reading it more in-depth, line by line, so!
But anyway. It's incredible. My one very, very minor piece of feedback here is to switch “efficiently” and “doing it first” because it seems to flow a little better in my head and emphasizes that repetition nicely, too! Then again, this could also be an attempt to deviate from that typical kind of repetition in doing it later, in which case, you should 100% keep it that way, if that's what you feel is best for your collection! Oh, and you've also got a double space after “gently,” I think.
Okay, so thoughts on this poem? ALKDSJLDSKJF. That's all I've got. In the best way possible. Your poem really made me Feel Things, which I think is truly a mark of the best poetry.
I might do a stanza break after the “your hands overflow” bit, because otherwise it makes my brain want to go on to the next sentence as part of it when in reality, it's not actually the case. Just for clarification. Very minor, though.
Actually, I do think using a bit of punctuation at the ends of certain lines (as I'm reading) could be helpful, because even though I know it's stylistic, it also makes me have to puzzle over the ending of each sentence and reread lines accordingly, which can kind of disrupt the flow, since I'm going back and forth. Or another extra line of space between them or something.
After “applause,” you've got a comma, which I'm not sure totally makes sense there? It could just be me misunderstanding the sentence a little, but it does make my brain do like. A little hiccup or whatever. And try and figure out what the comma does to the sentence.
In the “…intentions to arrive. still you glide over it too” bit, maybe you could do a comma after the “still”? I think it makes a bit more sense both rhythmically and grammatically like that…maybe?
OKAY THE ENDING OF THIS ONE TOO. OH MY GOODNESS.
I have to go for class now (perfect timing, I guess? The bell just rang right as I was finishing this), but anyway, you should just know that this is truly one of the best poetry collections I've ever read, and your poetry is 100% up there with that of my favorite authors. I first saw that last poem and thought, “This is like something Ocean Vuong would write.” I mean that in the best way possible, because he's like. My favorite poet. So just know that you're absolutely incredible and I loved this so much, and I wish you the best of luck! I doubt you'll need it, though. <333
Hi, Toko! As I'm sure you can guess…I'm here to give you some critique!
I already skimmed through your collection once before reading this, and let me just say that ohhhh my goodness, it is absolutely gorgeous, and I truly love it! Your poetry is always so stunning, and you truly have such an incredible handle on verse and flow and just…I don't know, writing in general?
Anyway, now I'm doing this as I'm reading it more in-depth, line by line, so!
to consume oneselfOkay, so the use of the subtitle for this is SO powerful, and I honestly think it makes this poem way more interesting, aaa
out of apologies you never sent,Super minor nitpicky thing (and I assume the rest of my suggestions are going to be like this as well, haha), but you don't need a comma here because you've only mentioned two things you're building it out of!
and silence you confused with peace.
Called it healing.This might be a personal thing, but I feel like the order of these two couplets could be switched, so you end with “Calling it healing. / Calling it progress.” I think the shorter lines are a lot more striking (and the repetition), and given the longer sentences in the beginning, it could be interesting to end on that entirely different, nearly incomplete (but like. Stylistically so) way.
Called it progress.
Painted the walls with mantras you didn’t believe
and stacked shame like bricks.
But hunger grows cleverOoh, super interesting personification! I do wonder if maybe the personification of hunger could come back in a later part in the poem, though, because it would really show that tension you're talking about in some of the later stanzas.
when you lock it inside.
Whispered comfort while unspooling you,Okay, this could also be a me thing, but I think if you put an “it” at the start of this line to mimic that same structure of the line before could make this stronger! It brings in some subtle repetition in a slightly different way than in the above line (which uses the repetition of “learned”), and it makes it, to me, at least, flow a little better!
thread by thread.
that this was what survival looked like—I think the “that” here makes it a little bit overly lengthy and could be cut for the same literal effect yet make you hurry into the next part, making it thus more powerful and impactful!
smiling with a mouth full of splinters, swallowing the hurtLove all of this! Your metaphors are truly gorgeous.
before anyone could see it bloom.
You became a feast you didn’t know you were serving.
And you folded yourself smaller each day,The rhythm of this, combined with the period at the end of the last line, feels ever so slightly off to me. I think you could probably solve this by either deleting the “and” or just switching the punctuation at the end of the last line to a comma instead?
until you mistook invisibility for peace.It's possible that what you're trying to go with for this poem is this theme of thinking things that are not peace are, in fact, that, because it seems like this is a callback to your earlier line “and silence you confused with peace,” but either way, I thought I'd just tell you about that in case that wasn't what you were going for and want to change it for more variety! Honestly, it's really up to your intention with this piece and what you really want to underscore. Also, I do notice you use “mistook” three times in the next stanza for repetition purposes, so if this isn't intended to be a foreshadowing-type thing to that, I'd probably recommend changing the verb to a synonym for slightly more variety!
Until you forgot what you looked likeI've got no words, Toko. Oh my goodness.
when you weren’t flinching.
No one ever had to destroy you.THIS WHOLE STANZA I'D BE SCREAMING IF I WASN'T IN THE LIBRARY RIGHT NOW-
You were always
doing it gently. Efficiently.
Doing it first. With clean hands.
So no one else would.
But anyway. It's incredible. My one very, very minor piece of feedback here is to switch “efficiently” and “doing it first” because it seems to flow a little better in my head and emphasizes that repetition nicely, too! Then again, this could also be an attempt to deviate from that typical kind of repetition in doing it later, in which case, you should 100% keep it that way, if that's what you feel is best for your collection! Oh, and you've also got a double space after “gently,” I think.
Okay, so thoughts on this poem? ALKDSJLDSKJF. That's all I've got. In the best way possible. Your poem really made me Feel Things, which I think is truly a mark of the best poetry.
Grammar of the PowerfulLOVE this title, oh my goodness-
They don’t take land first.THIS IS TOO WELL-DONE. AAAA. I do not have anything more to say here. Just like. Oh my goodness. You leave in just the right amount of ambiguity but provide a perfect amount of context.
They take words.
Rename the river.
Mispronounce the dead.
Write laws in a borrowed tongue
and call it order.
Say freedomI feel like freedom is still regarded as a positive thing, regardless as to for whom it is? If that makes sense. I'm assuming this poem is about forced assimilation (or at least, that's my interpretation, but it's also possible that history has just gotten to me), and I think this poem feels like more of a reclamation of culture and history and holding them (colonizers?) accountable, but saying that it's only someone else that has freedom isn't necessarily a bad thing—or at least not as bad of a thing that you're looking for. Maybe you could use irony like you did earlier but in terms a metaphor here? Like “Say freedom / as they build this cage.” Or something like that. I don't know, that's probably a bad example, but I'm sure you could think of something wonderful, given what an amazing writer you are!
and leave out
who it’s for.
Accent is gate.This part is a *little* confusing to me. Is it a gate between them to differentiate? Or…? I think some playing around with this wording could probably clarify it!
The dictionary,Maybe instead of a comma, you could use a colon or just no punctuation at the end of the line instead? I think either one of those would probably make a little more grammatical sense, though this is also super nitpicky.
a weapon pressed
into open mouths.
We are taught to translateI LOVE THIS! I think the one suggestion I have is to take out the “to speak in their grammar” line because you've already emphasized that literal part earlier, and your other things in the list are a bit more metaphorical. Plus, it also allows you to have a list of three, which tends to be quite natural in literature and stuff.
ourselves
to survive,
to soften the edges,
to speak in their grammar,
to forget the names
we knew first.
But every translationTHIS ENDING?! Okay, wow. This poem is sooo well-done as well, and I love it
loses something.
And what is lost
does not return.
They call it progress.
We call it silence.
fingertips in marginsProbably won't do as much quoting here because like. Screenshot and style, and I hate to ruin style- Just assume anything I haven't commented on is perfect in every way imaginable, and the only things I actually bring up are because this is supposed to be a critique and not just me fangirling.
I might do a stanza break after the “your hands overflow” bit, because otherwise it makes my brain want to go on to the next sentence as part of it when in reality, it's not actually the case. Just for clarification. Very minor, though.
Actually, I do think using a bit of punctuation at the ends of certain lines (as I'm reading) could be helpful, because even though I know it's stylistic, it also makes me have to puzzle over the ending of each sentence and reread lines accordingly, which can kind of disrupt the flow, since I'm going back and forth. Or another extra line of space between them or something.
After “applause,” you've got a comma, which I'm not sure totally makes sense there? It could just be me misunderstanding the sentence a little, but it does make my brain do like. A little hiccup or whatever. And try and figure out what the comma does to the sentence.
In the “…intentions to arrive. still you glide over it too” bit, maybe you could do a comma after the “still”? I think it makes a bit more sense both rhythmically and grammatically like that…maybe?
OKAY THE ENDING OF THIS ONE TOO. OH MY GOODNESS.
I have to go for class now (perfect timing, I guess? The bell just rang right as I was finishing this), but anyway, you should just know that this is truly one of the best poetry collections I've ever read, and your poetry is 100% up there with that of my favorite authors. I first saw that last poem and thought, “This is like something Ocean Vuong would write.” I mean that in the best way possible, because he's like. My favorite poet. So just know that you're absolutely incredible and I loved this so much, and I wish you the best of luck! I doubt you'll need it, though. <333
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Scratcher
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Snowy's Writing Thread <3
November 20th, 2025 Daily:
At the very top of Mount Olympus, Zeus presided over every decision, every happening in the rest of the world. He, the god of lightning, could send terror into every town, could destroy everything with a mere snap of his fingers. Often, he threatened to. And yet, he chose not to, perhaps partially for image, but also because power means nothing if people do not respect it. He enjoyed toying with them, making them wonder if he really would. The best kind of power was unpredictable, the kind that could make the heavens and earth bow to your wishes, if only you exerted it carefully.
Lightning crackled from the tips of his fingers as he held on to the arm of his throne. The other eleven stood before him, his family, his fellow rulers—and his inferiors. For while they were outwardly shown as the Olympians, the great twelve, everyone really knew there was only the great one.
He smiled slightly, knowing they would have to grovel to him for his forgiveness, permission, whatever. He could veto anything they wanted, anything that did not suit his own interests.
And that was many things.***
Down on the surface of earth, mortals lived in fear of the wrath of the gods, yet they also enjoyed their simple lives. Eleni was happy to live in her tiny town, where everyone was a community. She didn’t need riches, like some yearned for. She heard the talk of the merchants, always searching for more gold. She didn’t need power, not like the gods did.
No, Eleni was perfectly fine to be an everyday citizen who blended in just perfectly. In fact, she might even have preferred that.
To her, it was kind of nice to just be one of the regular people, nothing too special. It was nice to be ordinary, because when you were perfectly fine being ordinary, you didn’t have to worry about what to do to make yourself seem extraordinary.
But Zeus, high atop Mount Olympus, clearly disagreed. When he slammed his staff into the ground, it sent earthquakes across all of Eleni’s continent. When he screamed, she heard it in the storms. She felt it in the lightning, a shock to the system—literally.
Eleni didn’t envy Zeus—and she definitely didn’t envy any of the other Olympians. To her, dealing with that kind of responsibility was too much, and besides, too often, they got ahead of themselves. They thought they were so above the mortals, and yet, they didn’t even know what life on earth really was like. They didn’t know how much joy they had never experienced.
~
Word count: 435 words
Last edited by SnowdropSugar (Nov. 20, 2025 13:56:27)
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Scratcher
500+ posts
Snowy's Writing Thread <3
November 22nd, 2025 Daily:
You can barely see the Hydrus constellation, a collection of stars that are only visible in the deep southern sky.
Meaning, in Latin, “male water snake,” the Hydrus is like the Hydra (“female water snake”), only much smaller and much lesser-known. It’s made up of nineteen stars, most of which aren’t particularly big or bright.
As someone who’s only ever been in the northern hemisphere, at least, as far as I can remember, I’ve never seen the constellation myself. It’s always been below the horizon, out of sight and out of reach. This, of course, isn’t saying much; as someone who has lived in cities all her life, it’s uncommon that I see many stars at all, let alone real constellations.
Still, from time to time, I wonder about what it must be like to live in such quiet, calm places that even faint, small constellations like the Hydrus are visible. No, not only visible, but actually known enough to matter. I wonder what it must be like to be a part of a culture that sees it on a daily basis.
I’ve always had a bit of a love for hydras. In general. Fifty headed hydras, for one, have always been my favorite way to speedwrite a few more words here and there. In one video game I loved and played when I was younger, Child of Light, one main enemy was a three headed hydra. Recently, I replayed the game with my dad, and it brought back fond memories of my time in the U.S. Then, I couldn’t see the stars much either, but they were there a little more than here, so I knew they were present.
This, of course, is only the hydra. Not the Hydrus.
As I’m writing this, I’m researching the Hydrus, because to be honest, I can’t say I’d ever heard of it before today. Sure, it must have come up in some of my other searches for daily ideas, but I’ve never given it anything more than a passing thought. You’d have thought that, for such a seemingly insignificant constellation, others would as well, and yet, I read about the celestial parts of it that are a part of it.
A part of the Hydrus constellation—or rather, contained by it—is the Hydrus Cluster, a galaxy cluster, and Tucana II, a dwarf galaxy cluster. To think so many galaxies could be contained by what’s even a small set of stars is incredible. There are universes out there all contained by the Hydrus, and there, the center of their world may be the constellation I found, before today, rather inconsequential.
It’s also in close proximity to one of the most spectacular nebulae, celestial objects I’ve always found gorgeous, there are: Large Magellanic Cloud. I’ve always loved the way a star can die yet look so beautiful, like its death is its last way to say “I have lived. I have been here.”
It’s not a part of Hydrus, perhaps, but it’s not unconnected, either. The Hydrus is the home and center of something bigger than itself, despite its not seeming like much. There’s more to it than meets the eye.
I quite like that.
~
Word count: 531 words
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Scratcher
500+ posts
Snowy's Writing Thread <3
Critique for Mildred!
Hey, Mildred! So sorry it's taken me ages to finally get to critiquing this— I'm going through this on my second time reading it, and may I just say that the first time I looked through it a couple of days ago, I was just totally blown away? It was so gorgeous, and I loved all of the plot and character!
Okay, now to get into the actual critique.
Okay, for general thoughts:
1. I loved your plot!! It was so engaging and realistic, and you took such a big concept and did a marvellous job of condensing it into something that's under 2,000 words—which is something really hard to do.
2. YOUR CHARACTERS. AND THEIR INTERACTIONS. They were really so well done, Mildred, and you should be proud!
3. I think my main suggestions for this would be to just think about words you might have overused in short periods of time and change a few of them for some more variety, and then a couple of minor grammar/flow things! I noticed a bunch of comma splices, so I'd go back and look for those if you get a chance. Other stuff wasn't too major, but my grammar-obsessed mind is just annoyingly nitpicky, so my critique tends to reflect that. Unfortunately. I'm sorry-
Congratulations on creating such a beautiful piece of writing, and I'm honored to have critiqued this <3
Hey, Mildred! So sorry it's taken me ages to finally get to critiquing this— I'm going through this on my second time reading it, and may I just say that the first time I looked through it a couple of days ago, I was just totally blown away? It was so gorgeous, and I loved all of the plot and character!
Okay, now to get into the actual critique.
At the top of Thao’s inbox, there was an email. Nothing unusual about it. She was a teacher after all, and received emails constantly.I feel a bit like the rhythm here is a little bit off and it doesn't quite fit the style of the rest of the piece, if you ask me. Maybe saying something more like, “At the top of Thao's inbox sat an unread email. This wasn't unusual—as a teacher, she received emails constantly.” I mean, that might be more my writing style than yours, I guess, but I think the idea gets to saying it more directly, precisely, and with a bit of sentence variety? I don't know if I'm making sense now
Putting away the first graders’ spelling tests, she clicked open the email.Super minor thing, but Thao is most likely not doing both of these things at once, so I'd indicate an order with your phrasing! Oh, also you use the word “email” a lot in the first two paragraphs, so it would probably be nice if you could see if you could eliminate some of those usages!
Dear Ms. Nguyen,LOVE the voice in the letter! Even though I don't actually know Nicole Ayala's character firsthand in this, I can clearly figure out what kind of person she is, and the whole email is so well put together. No critique here! This is excellent.
Her eyes wavered on the screen,The word “wavered” (I think) makes sense here, but it also feels a little bit unnatural because it's not usually used in reference to the eyes themselves, you know? Maybe saying that her gaze wavered would make more sense…
Iris was a good kid, she shouldn’t have had to go through this at her age.Very nitpicky, but you've got a comma splice here! Although these can also be used intentionally for style, and this could work for that, so it's really up to you whether or not you'd like to change it to a semicolon or something else or just keep it the same.
The following week was eerily quiet without the presence of the bubbly girl. The days ticked by slowly, the hands on the clock moving with no care for the girl’s absence.I love this! The personification of the clock is really nice.
a cloud was overcast on Thao.This part is in passive voice, and I think changing it to active voice could make it a bit stronger! This could just be as simple as saying, like, “a dark cloud hovered over Thao all day” or something probably better phrased than that.
The children asked why Iris was absent on her third day of absenceI feel like children this age wouldn't be asking why she's absent as much as where she is, so maybe you could emulate that in the phrasing? Also, it would eliminate one of the usages of the absent variants.
Thao couldn’t make herself face the gaze of the children before her. They only perceived the fact that Iris had been able to miss school, the full picture had not yet been painted for them yet.Mildred, this is amazing!
Thao almost hoped it never would be, but fantasies like that never came true.
Iris came back to school a week after her absences startedI wonder if “absences started” makes it sound a little too cavalier—like she's skipping school, when obviously, she's not; she's missing it for a reason. Maybe you could just say “a week later” and continue with the next part of the sentence?
Nonetheless.I think a comma after this would probably work slightly better!
Normally, Ms. Nguyen would ask her to put away her notebook and pay attention to the lesson, but Thao didn’t have it in her to do it. Not now.Ooh, this does a great job of showing character!
and maybe they were partially right in that assumptionI think you could cut “in that assumption” to say the same thing! It's kind of implied, and the shorter clause would make it more powerful
Thao passed out a short written assignment to her students. It was a short prompt:I'm so, so sorry I'm really annoying about these things- But you have two uses of “short” in two sentences, so maybe changing one would be good for more variety
“What’s up?” Thao—or rather, Ms. Nguyen at this moment—asked, “Having trouble with the assignment?”I'm pretty sure it should be a period after the “asked” because it's a new sentence she's starting with the dialogue!
“…I guess I know what hope is. It’s when you want something.” Iris murmured, drawing circles on her pink rubber eraser. “Like, I hope I’ll have mac n’ cheese for dinner.”This and the rest of the interaction between Mrs. Nguyen and Iris is sooo good, and it feels really realistic as well! You did a great job on this.
Understanding dawned on Iris’s eyes,I don't think the “dawned on” can really refer to her eyes, but maybe you can tie that in, like, “Understanding seemed to dawn on Iris, and her eyes…”
because looking at the way Iris’s eyes were filled with a muddy watercolor blur of sadness, denial, and emptiness was too much of a toll on Thao’s mind. However, Iris called out for her, and the teacher in Thao knew never to ignore a student.The writing here is superb <3 And after this as well, but I mean. I don't want to copy and paste a massive chunk of your writing here because I assume you already know it, but it's actually incredible, and the whole thing with applying hope to mac and cheese is perfect
When they neared the day’s end, the time where the students were clustered together around the door, chatter coursing through the roomI think you use a lot of appositives/describing phrases here, but it kind of takes away the focus of the sentence on the second part—which is the part that actually furthers the story. I'd recommend taking out one of these and rephrasing it to be a little shorter to put the emphasis on Iris going to see Mrs. Nguyen!
It was, at the end of the day, nothing but a fake smile.This is such a cool way to carry through that theme of denying being a liar and actually being one, and it especially foreshadows that last line really wonderfully.
Iris asked—almost pleaded in a low voice.To me, flow-wise, this works better if you have another em dash after pleaded!
She didn’t explain the way the heart stopped, the fact there was so much uncertainty around what happened after, she didn’t explain how the brain shut down. She only explained that he left and wasn’t coming back.Oh my goodness. The emotion here. You captured it so well.
Iris breathed, breath trembling in the air.Two uses of breath variations in the same sentence—maybe change the first one to “exhaled”?
It wasn’t a happy smile—or was it a sad one. It was just a smile.The “or was it a sad one” doesn't totally make sense to me here, so maybe you could say something like, “But it wasn't a sad one, either” instead?I also feel like the “just a smile” doesn't quite do what you're going for. Maybe you could say that it's hollow or empty or something that encapsulates its neutrality with a bit more description?
the silent sound piercing to the ears.I assume this is juxtaposition, but it doesn't totally make sense to me. Typically, when you say that silence sounds like something, you're describing something very abstract and intangible to create that paradoxical juxtaposition, but you've used a tangible thing here, so maybe think about choosing one or the other? It's up to you, though.
Thao Nguyen became a liar that day.I love this last line beyond all words, truly. It is so, so powerful, and the whole story kind of is tied together with this, and the semi-circular ending is so satisfying to me as a reader.
Okay, for general thoughts:
1. I loved your plot!! It was so engaging and realistic, and you took such a big concept and did a marvellous job of condensing it into something that's under 2,000 words—which is something really hard to do.
2. YOUR CHARACTERS. AND THEIR INTERACTIONS. They were really so well done, Mildred, and you should be proud!
3. I think my main suggestions for this would be to just think about words you might have overused in short periods of time and change a few of them for some more variety, and then a couple of minor grammar/flow things! I noticed a bunch of comma splices, so I'd go back and look for those if you get a chance. Other stuff wasn't too major, but my grammar-obsessed mind is just annoyingly nitpicky, so my critique tends to reflect that. Unfortunately. I'm sorry-
Congratulations on creating such a beautiful piece of writing, and I'm honored to have critiqued this <3
Last edited by SnowdropSugar (Nov. 23, 2025 14:23:42)
- SnowdropSugar
-
Scratcher
500+ posts
Snowy's Writing Thread <3
Snowy's SWC November '25 Writing Comp Entry
Word count: 1,983 words
She told me, after that first episode, to get a plant. They’re easier than pets, she said, and it’ll be nice to know you’re taking care of something. It’s good skills, ones you could probably apply to yourself.
I had nearly laughed at that, saying, Oh, sure, I bet that I’ll just destroy that too, but it wasn’t even a week later that I found myself halfway to the garden store with my hands on the wheel. How I had ended up there, I wasn’t fully sure, but clearly her advice hadn’t been the typical in one ear and out the other kind.
So there I was, with…what? Twenty dollars?—in my wallet, browsing through the aisles of plants. My goodness, I have never been the kind of person with a green thumb, so seeing all the leaves sticking out every which way was a little overwhelming. How was I supposed to know the difference between any of these hyperspecific breeds when I can barely discern raspberry leaf from poison ivy? And what was the difference between partial shade and partial sunlight? Clearly, going there was a mistake.
I knew immediately it wasn’t something I’d end up telling her, because if there’s anything worse than an admission of guilt, it’s hearing, Well, why do you think that? moments later. Maybe because I knew her overly philosophical ways might just be right, and I hated being wrong.
I was just thinking I might leave when a man in uniform with Plant Haven written on the pocket came up to me. Dumb store name, I remember thinking, about to scoff but catching myself at the last moment.
“Looking for anything in particular?” he asked.
“Uh,” I said, and I stared blankly ahead. Just say something. “Um. A plant?”
Well, obviously.
Either he was as oblivious as I was, or he got customers as clueless as me all the time, because he responded with unfit excitement. “Of course! Anything in particular in mind? Flowers, herbs, something else? Are you looking for perennial or annual?”
What on earth was I supposed to say for that? “An, uh, maybe a flower?” Could I really have sounded any more like an idiot?
He showed me to the section with all the colorful flowers, saying, “You’re in luck, we just got a new shipment in!” and he was all the enthusiasm I was not, but at least I was in a better position than I was five minutes ago. That was something, wasn’t it?
I ended up walking out of the store with a sunflower whose petals tickled my face. Thank goodness, at least the work was already halfway done for me.
Putting it in the car was an endeavor I hope to never undertake again. Did you know that plants scream in pitches we can’t hear when they’re stressed? I hated to think I might be causing the pretty little bloom pain, whether or not it was noticeable to me. After a minute of figuring out how best to finagle it into the front seat and a subsequent few more of determining how best to keep the soil from spilling everywhere if I braked too hard (buckled in, I decided, even though it sounds stupid), I turned on my playlist to drown the world out and headed home.
A few days later, the sunflower was potted in my garden—an experience that must have been a hassle but I’ve blocked from my memory. Really, to call the place a garden was a bit generous. Mostly, it was that one flower, a bunch of dead grass, and a whole lot more weeds I kept promising myself I’d pull one day. But, hey, if nothing else, it brightened up the place a little.
For the first couple of weeks, I was diligently watering it whenever I remembered. But by the dry season in August, I had nearly forgotten it entirely. I left it to shrivel up in the hot sun, its petals wilting, and eventually, it looked like everything else in my so-called garden: dead or dying.
When I saw her in September again, I confided in her, crying for no apparent reason. “I killed it,” I said between sobs and rapid breaths. “I forgot about it.”
“Shhh,” she said, reaching a hesitant arm over to pat me on the shoulder. “It’s okay. It’s not your fault. You don’t have to try it again if you don’t want to.”
Somehow, though, it seems I was obsessed with the thrill of trying, because the next day, I wasted away, sitting in bed and searching for “good plants for beginners” and decided my next attempt would be basil.
I was already shivering by October, and part of me wanted nothing more than to never leave the house again, but I needed the groceries and I wanted the plant just as much. Just to give it another try. Just to prove that I could.
I dropped off my groceries in the car before I walked to the store, planning the conversation on the way so I’d have my answers prepared before I even opened the door. They’d say, “Hi, how may I help you?” and I’d say, “I’m looking for the herbs. I’d like to buy a basil sprout.”
Turns out, I didn’t need to even use the conversation, because the basil was practically looking me in the eye as soon as I walked in. Perfect.
I picked up the closest one to me and headed for the counter to check out, pulling out a five dollar bill from my wallet and handing it to her.
“That’ll be $5.40, with tax,” she said coolly, reading the numbers off her screen.
“Oh, yeah.” Under my breath, I added, “Forgot about the tax.” I pulled a small stack of dimes from the pocket, and handed them to her. “Here, I think that’s right. Probably.”
“Would you like a physical or e-receipt?” the cashier asked me as she counted the coins before dumping them in the drawer.
“Huh?” I blinked, the words taking a second to register. “Don’tneedareceiptthanks,” I said, but it came out mumbled and smashed together.
“Sorry?”
“Oh, no, I’m sorry,” I responded out of habit, my words tripping over themselves. “I don’t need a receipt.”
I don’t need to tell this story again. After I got home, I set the little basil sprout above my sink, thinking at least if it was an indoor plant, I’d be more motivated to take care of it. Maybe I could force myself to remember it if I made it in my constant line of sight.
Turns out, though, I was wrong on all accounts. I did not watch the sprout grow into the beautiful, tall stalks I was promised it would; I saw it wither, dying just as soon as it lived.
This was your fault.
In the middle of the night, it came to me like a nightmare I couldn’t quite shake. For weeks, I woke up at two, three, four in the morning, hyperventilating and hysterical, because I killed it I killed it, and maybe it was just a plant, but I had always had a knack for overthinking things, and to have anything’s blood on my hands terrified me.
For weeks, I barely left the house. Barely left my room, even. I listened to songs on repeat until I could dissect every note and layer, and I woke up, it seemed, only to exist, never to live. I hovered in limbo, taking each breath unable to imagine the next.
It took me all those weeks to finally work up the courage to call a friend—Lauren—because while I knew I should talk to her, I didn’t want to be overanalyzed. I only wanted a friend.
“Give me five minutes,” she promised. “I’ll be there, just hang on.”
A year later, I no longer woke up in the middle of the night quite so often, and I found myself thinking, Maybe it’s time to give it another chance. Try it again, and maybe it’ll work this time.
Refusing to take any chances, I spoke to Lauren instead, who just laughed when I told her my request. “This again? I thought you’d never ask.” But despite her humor, she drove me the way to the store and held my hand the whole way through, asking for a cactus on my behalf.
“Hey,” she said, looking me in the eye, “no more crying over plants, okay? It’s not worth it. I love you, but we can’t do this again if it sets you back.”
“I’m not gonna kill it this time,” I told her forcefully, bringing the spiky little succulent close to my stomach, almost cradling it.
She rolled her eyes. “Not what I asked.” Still, she doesn’t push the matter.
I told her I wanted a cactus because they’re easier, because I thought I wouldn’t have to worry about it. That’s what I said, anyway, but that was only a fraction of the truth.
Is it strange to say you admire a plant? Cacti are resilient; they’ve had to adapt to their arid environments, and in spite of the harshness of the world, they thrive. They make do, even in the worst.
At home, I situated you on the windowsill so you could soak up all the light you’d need. I promised I would be better for you. Even after all my failures, I said to myself, I will not let you die, but it was inevitable that as the months passed, I would forget.
By the time spring returned again, my weekly waterings, as always, became monthly ones before I stopped altogether. I kept waiting, hypocritically, for you to wither like all the rest, but you never did. You survived, just the way you always do.
It took me months to make it out the other side, but when I did, you were still there, somehow. I remember, one morning I was pouring myself a cup of coffee and saw you there, still standing stronger than anything else I’d taken care of. I thought, Huh. You’re not one to give up, are you?, because despite my forgetfulness, you fought to survive.
In the end, it seems my very efforts to fix my flaws were the same ones that have brought you to this point. I write this from the table across from you, where your stem has turned yellow and soft, because I learned too late that the line between negligence and smothering is far too thin.
I forced myself to remember to water you daily, and I thought I was doing so well, but I didn’t realize the truth of what I was doing.
For once, I killed a plant not by forgetting but by remembering. I watered your roots until they began to rot because I didn’t see that too much could destroy you in the same way as not enough.
To the little cactus I’ve placed on the windowsill, I am asking you to survive the way you always have, for you have been my one constant in a world of my shortcomings. I am coming to you with a promise I’ve made so many times: I will do better. I will not fail you this time.
I know, I’ve been a liar before, and I won’t blame you if you call me one for this again. You don’t have to believe me. You don’t have to forgive me. I’ve never been good to you, so I won’t blame you if you can’t trust me after I’ve broken it so many times. I can’t promise you I’ll be perfect, but I’ll be better.
And you? There is, though, one thing you must do: live. Not for me, the one who has never understood how to love you right, but for yourself and for the better days to come.
You have always deserved it.
Word count: 1,983 words
To anyone who may be critiquing this:
Hello! Firstly, thank you so much for being here; it truly means a lot to me. There are a couple things in particular that I'd love your thoughts on, so I figured I'd say this here so you can look for it throughout the piece:
1. Does the voice seem fairly seamless throughout the piece? This was a rewrite of my application for the National English Honor Society, but I also used some passages here and there from my original version here and edited them only slightly. Does it seem like I switch randomly at a certain place?
2. Do I introduce Lauren too late? I feel like I do, but I'm not quite sure how to fit her in earlier, so if you have any thoughts on that, then that'd be really helpful!
3. Do you have any title suggestions or concepts?
4. I'd love any other random, oddly specific, or general feedback—trust me, all of this is helpful.
She told me, after that first episode, to get a plant. They’re easier than pets, she said, and it’ll be nice to know you’re taking care of something. It’s good skills, ones you could probably apply to yourself.
I had nearly laughed at that, saying, Oh, sure, I bet that I’ll just destroy that too, but it wasn’t even a week later that I found myself halfway to the garden store with my hands on the wheel. How I had ended up there, I wasn’t fully sure, but clearly her advice hadn’t been the typical in one ear and out the other kind.
So there I was, with…what? Twenty dollars?—in my wallet, browsing through the aisles of plants. My goodness, I have never been the kind of person with a green thumb, so seeing all the leaves sticking out every which way was a little overwhelming. How was I supposed to know the difference between any of these hyperspecific breeds when I can barely discern raspberry leaf from poison ivy? And what was the difference between partial shade and partial sunlight? Clearly, going there was a mistake.
I knew immediately it wasn’t something I’d end up telling her, because if there’s anything worse than an admission of guilt, it’s hearing, Well, why do you think that? moments later. Maybe because I knew her overly philosophical ways might just be right, and I hated being wrong.
I was just thinking I might leave when a man in uniform with Plant Haven written on the pocket came up to me. Dumb store name, I remember thinking, about to scoff but catching myself at the last moment.
“Looking for anything in particular?” he asked.
“Uh,” I said, and I stared blankly ahead. Just say something. “Um. A plant?”
Well, obviously.
Either he was as oblivious as I was, or he got customers as clueless as me all the time, because he responded with unfit excitement. “Of course! Anything in particular in mind? Flowers, herbs, something else? Are you looking for perennial or annual?”
What on earth was I supposed to say for that? “An, uh, maybe a flower?” Could I really have sounded any more like an idiot?
He showed me to the section with all the colorful flowers, saying, “You’re in luck, we just got a new shipment in!” and he was all the enthusiasm I was not, but at least I was in a better position than I was five minutes ago. That was something, wasn’t it?
I ended up walking out of the store with a sunflower whose petals tickled my face. Thank goodness, at least the work was already halfway done for me.
Putting it in the car was an endeavor I hope to never undertake again. Did you know that plants scream in pitches we can’t hear when they’re stressed? I hated to think I might be causing the pretty little bloom pain, whether or not it was noticeable to me. After a minute of figuring out how best to finagle it into the front seat and a subsequent few more of determining how best to keep the soil from spilling everywhere if I braked too hard (buckled in, I decided, even though it sounds stupid), I turned on my playlist to drown the world out and headed home.
A few days later, the sunflower was potted in my garden—an experience that must have been a hassle but I’ve blocked from my memory. Really, to call the place a garden was a bit generous. Mostly, it was that one flower, a bunch of dead grass, and a whole lot more weeds I kept promising myself I’d pull one day. But, hey, if nothing else, it brightened up the place a little.
For the first couple of weeks, I was diligently watering it whenever I remembered. But by the dry season in August, I had nearly forgotten it entirely. I left it to shrivel up in the hot sun, its petals wilting, and eventually, it looked like everything else in my so-called garden: dead or dying.
When I saw her in September again, I confided in her, crying for no apparent reason. “I killed it,” I said between sobs and rapid breaths. “I forgot about it.”
“Shhh,” she said, reaching a hesitant arm over to pat me on the shoulder. “It’s okay. It’s not your fault. You don’t have to try it again if you don’t want to.”
Somehow, though, it seems I was obsessed with the thrill of trying, because the next day, I wasted away, sitting in bed and searching for “good plants for beginners” and decided my next attempt would be basil.
I was already shivering by October, and part of me wanted nothing more than to never leave the house again, but I needed the groceries and I wanted the plant just as much. Just to give it another try. Just to prove that I could.
I dropped off my groceries in the car before I walked to the store, planning the conversation on the way so I’d have my answers prepared before I even opened the door. They’d say, “Hi, how may I help you?” and I’d say, “I’m looking for the herbs. I’d like to buy a basil sprout.”
Turns out, I didn’t need to even use the conversation, because the basil was practically looking me in the eye as soon as I walked in. Perfect.
I picked up the closest one to me and headed for the counter to check out, pulling out a five dollar bill from my wallet and handing it to her.
“That’ll be $5.40, with tax,” she said coolly, reading the numbers off her screen.
“Oh, yeah.” Under my breath, I added, “Forgot about the tax.” I pulled a small stack of dimes from the pocket, and handed them to her. “Here, I think that’s right. Probably.”
“Would you like a physical or e-receipt?” the cashier asked me as she counted the coins before dumping them in the drawer.
“Huh?” I blinked, the words taking a second to register. “Don’tneedareceiptthanks,” I said, but it came out mumbled and smashed together.
“Sorry?”
“Oh, no, I’m sorry,” I responded out of habit, my words tripping over themselves. “I don’t need a receipt.”
I don’t need to tell this story again. After I got home, I set the little basil sprout above my sink, thinking at least if it was an indoor plant, I’d be more motivated to take care of it. Maybe I could force myself to remember it if I made it in my constant line of sight.
Turns out, though, I was wrong on all accounts. I did not watch the sprout grow into the beautiful, tall stalks I was promised it would; I saw it wither, dying just as soon as it lived.
This was your fault.
In the middle of the night, it came to me like a nightmare I couldn’t quite shake. For weeks, I woke up at two, three, four in the morning, hyperventilating and hysterical, because I killed it I killed it, and maybe it was just a plant, but I had always had a knack for overthinking things, and to have anything’s blood on my hands terrified me.
For weeks, I barely left the house. Barely left my room, even. I listened to songs on repeat until I could dissect every note and layer, and I woke up, it seemed, only to exist, never to live. I hovered in limbo, taking each breath unable to imagine the next.
It took me all those weeks to finally work up the courage to call a friend—Lauren—because while I knew I should talk to her, I didn’t want to be overanalyzed. I only wanted a friend.
“Give me five minutes,” she promised. “I’ll be there, just hang on.”
***
A year later, I no longer woke up in the middle of the night quite so often, and I found myself thinking, Maybe it’s time to give it another chance. Try it again, and maybe it’ll work this time.
Refusing to take any chances, I spoke to Lauren instead, who just laughed when I told her my request. “This again? I thought you’d never ask.” But despite her humor, she drove me the way to the store and held my hand the whole way through, asking for a cactus on my behalf.
“Hey,” she said, looking me in the eye, “no more crying over plants, okay? It’s not worth it. I love you, but we can’t do this again if it sets you back.”
“I’m not gonna kill it this time,” I told her forcefully, bringing the spiky little succulent close to my stomach, almost cradling it.
She rolled her eyes. “Not what I asked.” Still, she doesn’t push the matter.
I told her I wanted a cactus because they’re easier, because I thought I wouldn’t have to worry about it. That’s what I said, anyway, but that was only a fraction of the truth.
Is it strange to say you admire a plant? Cacti are resilient; they’ve had to adapt to their arid environments, and in spite of the harshness of the world, they thrive. They make do, even in the worst.
At home, I situated you on the windowsill so you could soak up all the light you’d need. I promised I would be better for you. Even after all my failures, I said to myself, I will not let you die, but it was inevitable that as the months passed, I would forget.
By the time spring returned again, my weekly waterings, as always, became monthly ones before I stopped altogether. I kept waiting, hypocritically, for you to wither like all the rest, but you never did. You survived, just the way you always do.
It took me months to make it out the other side, but when I did, you were still there, somehow. I remember, one morning I was pouring myself a cup of coffee and saw you there, still standing stronger than anything else I’d taken care of. I thought, Huh. You’re not one to give up, are you?, because despite my forgetfulness, you fought to survive.
In the end, it seems my very efforts to fix my flaws were the same ones that have brought you to this point. I write this from the table across from you, where your stem has turned yellow and soft, because I learned too late that the line between negligence and smothering is far too thin.
I forced myself to remember to water you daily, and I thought I was doing so well, but I didn’t realize the truth of what I was doing.
For once, I killed a plant not by forgetting but by remembering. I watered your roots until they began to rot because I didn’t see that too much could destroy you in the same way as not enough.
To the little cactus I’ve placed on the windowsill, I am asking you to survive the way you always have, for you have been my one constant in a world of my shortcomings. I am coming to you with a promise I’ve made so many times: I will do better. I will not fail you this time.
I know, I’ve been a liar before, and I won’t blame you if you call me one for this again. You don’t have to believe me. You don’t have to forgive me. I’ve never been good to you, so I won’t blame you if you can’t trust me after I’ve broken it so many times. I can’t promise you I’ll be perfect, but I’ll be better.
And you? There is, though, one thing you must do: live. Not for me, the one who has never understood how to love you right, but for yourself and for the better days to come.
You have always deserved it.
Last edited by SnowdropSugar (Yesterday 12:45:21)
- SnowdropSugar
-
Scratcher
500+ posts
Snowy's Writing Thread <3
November 24th, 2025 Daily:
Hello, hello, members of SWC—otherwise known as the Scratch Writing Camp—and any others. You’ll want to stay tuned for this broadcast, where we’ll be looking at the after-wars chaos.
Now, for all you people who aren’t familiar with what the cabin wars are, it’s where the different cabins pose writing challenges to one another, putting points on the line. It’s almost certainly the single most active time all session, and it runs on two weekends in camp.
Let’s take a look at how cabin wars looks in one particular cabin—Realistic Fiction.
Realistic Fiction, led by Snowy, Surf, and Recca, is a typically relaxed cabin, but this cabin wars has forced its members to be online and get that writing done so they don’t lose any wars.
In this November session of SWC, Real-Fi got three wars practically in a row, putting the campers into a bit of a frenzy to complete them all by the deadline.
Real-Fi definitely had a couple of close calls, with many of its wars being completed mere minutes before their ends. Luckily (and perhaps miraculously), Real-Fi managed to complete all of their wars, making their point loss zero! And more than that, the cabin actually earned points through their diligent completion of the extra challenges.
Cabin wars was a good day for Real-Fi.
~
Word count: 218 words
#230Today 11:56:38
- SnowdropSugar
-
Scratcher
500+ posts
Snowy's Writing Thread <3
Critique for @EvaEvergreen
Hey, Eva! I'm here to do your critique, as you can probably tell! I'm really quite pressed for time tonight, so unfortunately, this won't be quite as in-depth as I'd like to do, but I'll do my best to highlight the things I can, and hopefully it'll be helpful nonetheless. That being said, let's go to critique!
So the first thing I notice when I see it is a formatting thing: the way it's set up makes it look very much like a prose poem, but I'm not sure if that's what you're going for. It's got longer lines that aren't fully broken up, but it reads with much more plot and action than a typical prose poem—but then again, you could also be trying to break the mold here for all I know! If it's not a prose poem, I'd recommend splitting these up by leaving an extra line between them so it's a little bit more visually appealing.
About the flow of this: I think it flows fine, but one thing I'd work on a little more is your sentence type variety! You seem to be using a lot of simple or what feels like one-beat sentences to me, if that makes sense, particularly toward the beginning. For example:
It's something I notice when pronouncing every word of this in my mind, because the sentences have a very similar rhythm. The “for a moment” is nice to break it up, but I think you need a little more of it! A lot of this could be solved by description here and there, because I've also noticed it's very action-focused—like the sentences are all statements of what happens, and they're less so about the lead-up to why you're there and where you even are, but more so about this happened and then that happened. It's great for getting you into the narrative quickly (which the first paragraph really does so well), but I think stylistically and flow-wise, you might want to include a little more variety! Some description of, say, the surroundings and context could solve this pretty easily. One thing I like to do for this is just to read it all out loud. The entire thing. It can be a pain sometimes, but it does SO much for helping you to understand where your rhythm is off, because it really forces you to focus on how it acts in practicality and slow down for it. I mean, you can have an entirely grammatically correct sentence or story, but sometimes saying it out loud just makes it feel like it's a little unnatural. Here, I don't think it's unnatural, but it would definitely draw attention to when you have similar cadences and rhythms and where you need to change them. I know this is somewhat action, so more shorter sentences definitely help to establish that, but I also think that keeping some variety is always a good thing!
Additionally, sort of similar to above, you've got a lot of sentences (especially at first) that start with “I”. This isn't bad on its own, but I think when you pair it with a lot of simple sentences in a row, it can feel a bit monotonous. Same thing as above here—a bit of description, reading it out loud to see where it feels like it—all of those could probably help you to deal with some of this. Also! See if you can rearrange some sentences slightly to start with a dependent clause or a present participial phrase or something like that. Let me know if you need an example, and I'm happy to help with that!
That being said, I do feel like your sentence variety and rhythm really does improve toward the end! So I'd mostly focus on the beginning for that stuff.
Okay, moving on to less structural/grammatical stuff, I think something you could probably do a little more is to provide some more context! We know this book is important, but we don't really understand why. It's magic, but what does it really do? I don't feel like I understand its importance, and honestly, I'm not sure the importance of this book is really introduced until the second half of the piece, though it seems like an important catalyst for the event that takes place here. I'd recommend developing that a little more by providing context, perhaps through a flashback to a conversation with Queen Viola or including some of Lydia's thoughts. If she doesn't know why it's important, say that! Or show it, anyway. If she does, use this to raise the stakes of her mission! Basically, you have to make us really care about why Lydia is on this mission, even though we know that she is doing this very important thing.
Another thing: It does feel a bit like the relationship between Hazel and Lydia could definitely use some more development! It feels like this whole time, Lydia is like. At this mysterious stranger's (who is later revealed to be Hazel) throat, but all of a sudden, she's kind of enthralled by her. Maybe you could develop that initial distrust a little bit more in their relationship before they get to the friendly stage? It makes a little more sense for the plot, and it also allows you to more feasibly jump to the ending, because someone on a mission for their queen (hopefully) wouldn't abandon their queen and values for someone they were enemies with just a couple of hours before, you know? But having a little bit more time to show that that mistrust isn't actually valid as they begin to warm up to each other a little more would be good! Another thing that could help is if you described the importance of the book to Hazel a little more so you root for them together!
Overall, though, I think you did a great job on keeping the characters very clear and in line with what you've established, particularly in Hazel. She automatically makes herself a friendly character and her dialogue feels pretty consistent, so I think the one thing that you could do for this is to lengthen Lydia's distrust—maybe she sees that overly friendliness as a threat, thinking that maybe Hazel is actually doing this only as a ruse or something.
For titles: I don't think I fully have a real title idea, but I do always like to think about either metaphors or things that are in line with the meaning and vibe of the piece. One thing my mind keeps circling back to for this is “encounter,” but I'm also sort of thinking of “shades of gray,” and “the other side of the story.” These aren't really titles, but they're concepts that you could perhaps think about! But you are the author of this piece and definitely know it far better than I do, so if none of those ideas feel right to you, you shouldn't feel like you need to use them <3
Oh, maybe a bit of humor or something in the title? The piece definitely ends quite lightheartedly, and I think a title that echoes that would be really nice.
In short…
You did a great job on consistent voice and showing character (particularly Hazel) in a short span of time!
Some things to improve on are variety of sentence structure, context, and development in the Hazel-Lydia relationship!
I hope this doesn't sound too sharp or mean or anything, because I do have a tendency to focus on things to improve when I'm critiquing quite heavily, which I hope you know isn't a reflection on my actual opinion of the piece, aslkdfjslf- It's just kind of my style, and it probably comes out even more because this is a bit more rushed. Anyway, thanks so much for giving me the opportunity to critique this piece, and good luck with this!! <3
Hey, Eva! I'm here to do your critique, as you can probably tell! I'm really quite pressed for time tonight, so unfortunately, this won't be quite as in-depth as I'd like to do, but I'll do my best to highlight the things I can, and hopefully it'll be helpful nonetheless. That being said, let's go to critique!
So the first thing I notice when I see it is a formatting thing: the way it's set up makes it look very much like a prose poem, but I'm not sure if that's what you're going for. It's got longer lines that aren't fully broken up, but it reads with much more plot and action than a typical prose poem—but then again, you could also be trying to break the mold here for all I know! If it's not a prose poem, I'd recommend splitting these up by leaving an extra line between them so it's a little bit more visually appealing.
About the flow of this: I think it flows fine, but one thing I'd work on a little more is your sentence type variety! You seem to be using a lot of simple or what feels like one-beat sentences to me, if that makes sense, particularly toward the beginning. For example:
I felt my foot thud into something hard, and suddenly I was flying. The wind whistled past my ears and the ground came rushing towards me all too soon.
The impact shook me to my bones. For a moment, I was too rattled to get up.
Then I remembered.
This was a race.
I needed to keep moving.
It's something I notice when pronouncing every word of this in my mind, because the sentences have a very similar rhythm. The “for a moment” is nice to break it up, but I think you need a little more of it! A lot of this could be solved by description here and there, because I've also noticed it's very action-focused—like the sentences are all statements of what happens, and they're less so about the lead-up to why you're there and where you even are, but more so about this happened and then that happened. It's great for getting you into the narrative quickly (which the first paragraph really does so well), but I think stylistically and flow-wise, you might want to include a little more variety! Some description of, say, the surroundings and context could solve this pretty easily. One thing I like to do for this is just to read it all out loud. The entire thing. It can be a pain sometimes, but it does SO much for helping you to understand where your rhythm is off, because it really forces you to focus on how it acts in practicality and slow down for it. I mean, you can have an entirely grammatically correct sentence or story, but sometimes saying it out loud just makes it feel like it's a little unnatural. Here, I don't think it's unnatural, but it would definitely draw attention to when you have similar cadences and rhythms and where you need to change them. I know this is somewhat action, so more shorter sentences definitely help to establish that, but I also think that keeping some variety is always a good thing!
Additionally, sort of similar to above, you've got a lot of sentences (especially at first) that start with “I”. This isn't bad on its own, but I think when you pair it with a lot of simple sentences in a row, it can feel a bit monotonous. Same thing as above here—a bit of description, reading it out loud to see where it feels like it—all of those could probably help you to deal with some of this. Also! See if you can rearrange some sentences slightly to start with a dependent clause or a present participial phrase or something like that. Let me know if you need an example, and I'm happy to help with that!
That being said, I do feel like your sentence variety and rhythm really does improve toward the end! So I'd mostly focus on the beginning for that stuff.
Okay, moving on to less structural/grammatical stuff, I think something you could probably do a little more is to provide some more context! We know this book is important, but we don't really understand why. It's magic, but what does it really do? I don't feel like I understand its importance, and honestly, I'm not sure the importance of this book is really introduced until the second half of the piece, though it seems like an important catalyst for the event that takes place here. I'd recommend developing that a little more by providing context, perhaps through a flashback to a conversation with Queen Viola or including some of Lydia's thoughts. If she doesn't know why it's important, say that! Or show it, anyway. If she does, use this to raise the stakes of her mission! Basically, you have to make us really care about why Lydia is on this mission, even though we know that she is doing this very important thing.
Another thing: It does feel a bit like the relationship between Hazel and Lydia could definitely use some more development! It feels like this whole time, Lydia is like. At this mysterious stranger's (who is later revealed to be Hazel) throat, but all of a sudden, she's kind of enthralled by her. Maybe you could develop that initial distrust a little bit more in their relationship before they get to the friendly stage? It makes a little more sense for the plot, and it also allows you to more feasibly jump to the ending, because someone on a mission for their queen (hopefully) wouldn't abandon their queen and values for someone they were enemies with just a couple of hours before, you know? But having a little bit more time to show that that mistrust isn't actually valid as they begin to warm up to each other a little more would be good! Another thing that could help is if you described the importance of the book to Hazel a little more so you root for them together!
Overall, though, I think you did a great job on keeping the characters very clear and in line with what you've established, particularly in Hazel. She automatically makes herself a friendly character and her dialogue feels pretty consistent, so I think the one thing that you could do for this is to lengthen Lydia's distrust—maybe she sees that overly friendliness as a threat, thinking that maybe Hazel is actually doing this only as a ruse or something.
For titles: I don't think I fully have a real title idea, but I do always like to think about either metaphors or things that are in line with the meaning and vibe of the piece. One thing my mind keeps circling back to for this is “encounter,” but I'm also sort of thinking of “shades of gray,” and “the other side of the story.” These aren't really titles, but they're concepts that you could perhaps think about! But you are the author of this piece and definitely know it far better than I do, so if none of those ideas feel right to you, you shouldn't feel like you need to use them <3
Oh, maybe a bit of humor or something in the title? The piece definitely ends quite lightheartedly, and I think a title that echoes that would be really nice.
In short…
You did a great job on consistent voice and showing character (particularly Hazel) in a short span of time!
Some things to improve on are variety of sentence structure, context, and development in the Hazel-Lydia relationship!
I hope this doesn't sound too sharp or mean or anything, because I do have a tendency to focus on things to improve when I'm critiquing quite heavily, which I hope you know isn't a reflection on my actual opinion of the piece, aslkdfjslf- It's just kind of my style, and it probably comes out even more because this is a bit more rushed. Anyway, thanks so much for giving me the opportunity to critique this piece, and good luck with this!! <3
#231Today 12:42:55
- SnowdropSugar
-
Scratcher
500+ posts
Snowy's Writing Thread <3
Critique for Kiara
Hi, Kiara! I'll preface this by saying that I turned out to be a bit busier than expected tonight, so I'm kind of speedrunning some critiques right now- I do have a tendency to pick out mostly the things to improve, particularly when I'm trying to do this quickly, so I really hope that none of this comes across as mean or anything like that, because I really promise that it's not at all a reflection on the piece. Also, I probably will not make entire sense here, so if you need me to explain anything further, then just let me know!
Okay, without further ado, let's get to the critique!
I'm very annoying about these things; I'm so sorry
More general thoughts:
LOVE your imagery and your language—it's all so powerful, and it's absolutely gorgeous to read!!
I had zero issues with your flow, personally, but if it's something you're worried about, I always recommend reading it out loud! See if it feels like you're kind of saying the same thing or similar beats/rhythm or something again and again or if it doesn't feel natural to say—those are generally places you want to take a closer look at! But that's really if you feel it's necessary, because I thought the sentence variety and rhythm and flow was very nice.
I'm super obsessed with your concept here! It's so cool.
Some things to work on in general:
• More immersive observations! Instead of saying that something looked like a certain thing, maybe just describe it from the character's perspective by giving the description along with the importance of the thing, because generally, people don't actually think, “That looks (insert adjective)” as much as they just observe it and move on. Same with words like “seem” and whatever—is it something that's kind of tugging on the character? If so, describe that!
• Similar to above, a lot of the descriptions of how it feels the morning after giving up the memory, it kind of seems like you're describing the things that aren't there more than what is. Instead of saying it isn't colorful, describe how muted it is, how toned-down the world feels, as if you're experiencing it through a dirty lens and not as someone who's actually there. Show the emptiness that is left, not the absence of something else! Particularly if your character doesn't really understand the absence, like the one here.
• Switch the en dashes to em dashes and remove the spaces after them
• Honestly, for a while, I was quite confused about who it was that was narrating. I assume it's basically a narration of 1, 2, 1, but I wasn't sure for the longest time whether the middle part was being told by the initial narrator or someone else, so I'd definitely want to clarify that, whether by indicating it in words that it's a perspective change or anything else! Because part of me was also wondering if it was an origin story of the first narrator until I got to the very end.
• Maybe a little more dialogue sprinkled in the middle of the story could help with characterization to establish who the narrator is a bit better?
Anyway, I absolutely loved this piece, and I had such a great time reading and critiquing it! Thank you so much for giving me the opportunity to this, and I wish you the best of luck with it—though I highly doubt you'll need it! <3
Hi, Kiara! I'll preface this by saying that I turned out to be a bit busier than expected tonight, so I'm kind of speedrunning some critiques right now- I do have a tendency to pick out mostly the things to improve, particularly when I'm trying to do this quickly, so I really hope that none of this comes across as mean or anything like that, because I really promise that it's not at all a reflection on the piece. Also, I probably will not make entire sense here, so if you need me to explain anything further, then just let me know!
Okay, without further ado, let's get to the critique!
Since the beginning of time, I have had one job: to take memories.Splendid start, and also, I love this concept, aaaa
There they stay, gathering dust as the world forgets them– the memories lost, to all except for me.Very nitpicky, but you don't need a space after this dash! I also think you need an em dash here—it seems like you have an en dash as it is, sldjlakdsf- Same thing in some other places, but this is the only time I'll mention it so I don't get overly bothersome
I'm very annoying about these things; I'm so sorry
What is the use of remembrance if it is by the one being who can never truly feel? Their grief echoes through me, but I cannot call it mine. It will never be.Ooh, wow, I felt this. I do wonder, though, do you need that last “It will never be”? because you end it on a really strong note earlier, and I wonder if it would be fine on its own. If you do keep it, I think switching “will” and “never” sounds better (paralleling the negative + verb from the sentence before), but that also could be personal preference.
And now I sit upon the worn rug in my small room, lights flickering around me like stars, shining and then burning out. The next one is coming soon, I can feel. His anguish is what reaches me first, a whisper of thought on the chilling wind:There's definitely ways you could take out some words from this to make it more impactful. Firstly, you could probably cut the “and” that starts this, and also “around me” and “is what” later in the third sentence (which would also eliminate some passive voice, and, to me, emphasize the point of the sentence a little better). Also, I'd add an “it” after the “feel” in the second sentence! Otherwise it seems a little unfinished. Unless that's what you're going for, in which case, ignore me!
I don’t know how long I’ve been walking– all I know is that there is an ache in my chest and I need it gone.Love this!
The fall leaves shimmer in shades of gold and maroon, fireflies emerging from the underbrush, flickering around me.Okay, this probably barely matters, but this is the second time you've used “flickering” in this story! Really, really minor, and honestly, I think 99% of people will not notice or care, but it just like. Itches my brain or whatever. So I figured I'd tell you, because it's not the most common word and it also hasn't been very long.
But all I can focus on now is my grief.Can you show this instead, maybe? Or honestly, I think you kind of establish this with your next paragraphs, so you could probably just cut it entirely as well, if you wanted.
Unloved. Unwanted, even by my own family.You could probably combine these two to make the shorter paragraph that comes after it a bit more impactful!
And that was one of the greatest sins in our world. Being alone– being disowned.
It was small, made of interwoven branches, flowers and leaves growing from the sides. It looked equal parts beautiful and dangerous.I don't quite have an exact fix or whatever to this, and this could also be a personal thing, but I think the observations with “it was” and “it looked” kind of pull me out of the narration and remind me that I'm not actually in their head. It's not a critical priority or anything, but if you have time, it might be interesting to explore how you can use these observations to immerse the reader further into the narrator's head.
Something about it called to my hurt– to the memory of his betrayal.I'm sure you're probably pressed for words, but if you can, maybe describing the call rather than saying that it did call to the hurt would make this more impactful? Maybe you can identify a very specific yet minor thing, like a scent. Or…I don't know.
And I felt the feeling leaking from my thoughts, my memories. Eventually, I couldn’t remember what I had been supposed to think about at all. It was then that I opened my eyes, an unfamiliar woman sitting in front of me. She had a brass lantern on the floor between us, a lantern that now pulsed with golden light. The woman in front of me hesitated for a brief moment, meeting my eyes before clicking the lantern shut.This is really cool! I like this a lot.
My hand lifted, like a marionette on strings, to knock on the door. It swung open before my knuckles could meet wood.Ooh, the comparison here is awesome!
“Do you want it back?” She asked,Very nitpicky, but I'm pretty sure that you don't need to capitalize “she” here because it's a question within the dialogue and therefore doesn't act as a complete sentence when you take into account the presence of a dialogue tag.
I did as she asked, and suddenly, the light in the lantern came alive. Color bloomed in the lantern’s glow– shapes shifting, moving… creating a story.I think I've said sort of similar things before, but maybe describing the aliveness of the lantern would be better than saying it! I really like this second sentence, as an example.
I felt warmth grow in my chest.This could become “warmth grew in my chest” instead
so brilliant and beautifulI think you've used beauty and its variations a lot as descriptors in these last few paragraphs/scenes, so I'd probably change some of those for a bit more variety
stabbing in my chestI think you've used this phrase before! Then again, it was when the narrator lost their memories as well, so if this is an echo, that's REALLY cool.
Unwanted. The word had followed me like a specter.Aaa, Kiara, this is so powerful!
“You can take that back,” she said quietly, “all that color.”THIS. THIS WHOLE BIT. OH MY GOODNESS. I love it.
“And the pain?” I asked her, a chill sweeping over me.
“That’s the trade. Take back what you lost, and with it the pain, or leave it here… and let the quiet remain. It is your choice.”
I left her cottage,Just leaving feels a little bit…I don't know, it doesn't really encompass the magnitude of what happened? It seems like you're going for a mundane observation in the midst of something so large, but I think that this could be better accentuated by describing one small aspect of leaving the house—like stepping over a threshold or something.
Comfort over color. Forgetting over freedom.This is so cool, and you 100% made the right choice in putting it on its own paragraph!
More general thoughts:
LOVE your imagery and your language—it's all so powerful, and it's absolutely gorgeous to read!!
I had zero issues with your flow, personally, but if it's something you're worried about, I always recommend reading it out loud! See if it feels like you're kind of saying the same thing or similar beats/rhythm or something again and again or if it doesn't feel natural to say—those are generally places you want to take a closer look at! But that's really if you feel it's necessary, because I thought the sentence variety and rhythm and flow was very nice.
I'm super obsessed with your concept here! It's so cool.
Some things to work on in general:
• More immersive observations! Instead of saying that something looked like a certain thing, maybe just describe it from the character's perspective by giving the description along with the importance of the thing, because generally, people don't actually think, “That looks (insert adjective)” as much as they just observe it and move on. Same with words like “seem” and whatever—is it something that's kind of tugging on the character? If so, describe that!
• Similar to above, a lot of the descriptions of how it feels the morning after giving up the memory, it kind of seems like you're describing the things that aren't there more than what is. Instead of saying it isn't colorful, describe how muted it is, how toned-down the world feels, as if you're experiencing it through a dirty lens and not as someone who's actually there. Show the emptiness that is left, not the absence of something else! Particularly if your character doesn't really understand the absence, like the one here.
• Switch the en dashes to em dashes and remove the spaces after them
• Honestly, for a while, I was quite confused about who it was that was narrating. I assume it's basically a narration of 1, 2, 1, but I wasn't sure for the longest time whether the middle part was being told by the initial narrator or someone else, so I'd definitely want to clarify that, whether by indicating it in words that it's a perspective change or anything else! Because part of me was also wondering if it was an origin story of the first narrator until I got to the very end.
• Maybe a little more dialogue sprinkled in the middle of the story could help with characterization to establish who the narrator is a bit better?
Anyway, I absolutely loved this piece, and I had such a great time reading and critiquing it! Thank you so much for giving me the opportunity to this, and I wish you the best of luck with it—though I highly doubt you'll need it! <3
Last edited by SnowdropSugar (Today 12:43:40)
#232Today 14:03:12
- SnowdropSugar
-
Scratcher
500+ posts
Snowy's Writing Thread <3
Critique for Luna!
Hi, Luna! I'm here with your critique! Firstly, I am very much so on a time crunch right now because I must go to bed shortly and also still have chemistry to do, alskdfjasd- BUT! I will do my best to make at least an okay critique for you, and please let me know if you need me to elaborate on anything. I'm so sorry if I sound really blunt; it's just the tiredness coming out, ahaha
Okay, so I'm going to assume that based on the way this is written, it's almost prose poetry, right? But if not, I think it might be good to split up the paragraphs just to keep it clear, though it could work this way stylistically even if not, I suppose!
As I'm reading this, I've got to say, I'm so in love with the way you build urgency and tension between the loop of the story and the inevitability of the end with the narrator's desire to do anything she can to change the ending. It's so, so cool, and you executed it so incredibly masterfully. I love it, and I can really feel for the character, despite the context not being super in-depth! The repetition really builds that tension so nicely and creates the illusion of that fight in our (the readers') minds even though we're only experiencing it vicariously. It's so good, oh my goodness-
Okay, so one thing I realized as I read it is that it does get a little bit repetitive in the middle, when you've used the “say no—NO, SAY YES” kind of idea a lot but you're still sort of introducing it (around the point of “Can this loop get any more broken?”), and I think the repetition does work for you, but it does feel like the plot of it is introduced a bit later. Obviously it's a cycle that she's desperately yet fruitlessly attempting to break, but I don't think this is showing anything more than you've already established, so I'd recommend paring it down from the beginning or the middle, or maybe adding a little bit more plot or backstory there. This is like. Not a fully formed suggestion whatsoever, but I don't know, maybe a comparison to a hero's life directly, like maybe she's seeing it happen or something, but then again, it's also possible that this kind of comes through in your later parts. I don't know, basically just making it different. What value does it add over the other part? How does it progress the story? I'd recommend asking yourself that first and then you can figure out what your goals are for that area!
I've also noticed that you use a lot of really short sentences, and while this is really good for building the urgency, I also think that a little more sentence variety could also help to break it up and make the shorter lines more powerful! A long, flowing sentence with maybe a bit more description, perhaps, could demonstrate this better. Maybe you could also bring in more elements of the typical Snow White narrative (or other ones where there's the villain) to really hammer home your point and also to help you break up this and the thing about repetition I just mentioned in the last paragraph?
This thing is more nitpicky, but you capitalize as The Wicked, but I think you probably could leave “the” uncapitalized to emphasize “wicked” and also because it's atypical for articles to be capitalized.
You mentioned translating it and whatever, but honestly, I think it makes sense as it is! I think the only way to really make it a little less “all over the place” is to probably add some more grounding aspects, like maybe bits and pieces of the reality for the narrator and not just the fantasies and nightmares.
Oh, also, for the bolded lines, sometimes you use things like “and then” or transitions that have a similar effect as those, and I'd recommend changing those slightly because I do feel like they don't quite bring about the impact you want them to. It makes it feel a little bit more like a “yes, and”/“no, but” kind of game than the cyclical nature of our narratives that we get trapped in, if that makes sense.
I'm so sorry I'm so tired as I'm reading this, because honestly, if I had more energy, I really would be squealing over this, lskfjadf- I hope my love for this comes across in this, because you truly did SUCH an incredible job on this, Luna, and you should be so proud of yourself. I absolutely loved the message of it and the tension you created between fate and the desire to choose our own path, and all of it…it's just so perfect. I wish you the best of luck with your entry, though I'm sure you won't need it anyway <333
Hi, Luna! I'm here with your critique! Firstly, I am very much so on a time crunch right now because I must go to bed shortly and also still have chemistry to do, alskdfjasd- BUT! I will do my best to make at least an okay critique for you, and please let me know if you need me to elaborate on anything. I'm so sorry if I sound really blunt; it's just the tiredness coming out, ahaha
Okay, so I'm going to assume that based on the way this is written, it's almost prose poetry, right? But if not, I think it might be good to split up the paragraphs just to keep it clear, though it could work this way stylistically even if not, I suppose!
As I'm reading this, I've got to say, I'm so in love with the way you build urgency and tension between the loop of the story and the inevitability of the end with the narrator's desire to do anything she can to change the ending. It's so, so cool, and you executed it so incredibly masterfully. I love it, and I can really feel for the character, despite the context not being super in-depth! The repetition really builds that tension so nicely and creates the illusion of that fight in our (the readers') minds even though we're only experiencing it vicariously. It's so good, oh my goodness-
Okay, so one thing I realized as I read it is that it does get a little bit repetitive in the middle, when you've used the “say no—NO, SAY YES” kind of idea a lot but you're still sort of introducing it (around the point of “Can this loop get any more broken?”), and I think the repetition does work for you, but it does feel like the plot of it is introduced a bit later. Obviously it's a cycle that she's desperately yet fruitlessly attempting to break, but I don't think this is showing anything more than you've already established, so I'd recommend paring it down from the beginning or the middle, or maybe adding a little bit more plot or backstory there. This is like. Not a fully formed suggestion whatsoever, but I don't know, maybe a comparison to a hero's life directly, like maybe she's seeing it happen or something, but then again, it's also possible that this kind of comes through in your later parts. I don't know, basically just making it different. What value does it add over the other part? How does it progress the story? I'd recommend asking yourself that first and then you can figure out what your goals are for that area!
I've also noticed that you use a lot of really short sentences, and while this is really good for building the urgency, I also think that a little more sentence variety could also help to break it up and make the shorter lines more powerful! A long, flowing sentence with maybe a bit more description, perhaps, could demonstrate this better. Maybe you could also bring in more elements of the typical Snow White narrative (or other ones where there's the villain) to really hammer home your point and also to help you break up this and the thing about repetition I just mentioned in the last paragraph?
This thing is more nitpicky, but you capitalize as The Wicked, but I think you probably could leave “the” uncapitalized to emphasize “wicked” and also because it's atypical for articles to be capitalized.
You mentioned translating it and whatever, but honestly, I think it makes sense as it is! I think the only way to really make it a little less “all over the place” is to probably add some more grounding aspects, like maybe bits and pieces of the reality for the narrator and not just the fantasies and nightmares.
Oh, also, for the bolded lines, sometimes you use things like “and then” or transitions that have a similar effect as those, and I'd recommend changing those slightly because I do feel like they don't quite bring about the impact you want them to. It makes it feel a little bit more like a “yes, and”/“no, but” kind of game than the cyclical nature of our narratives that we get trapped in, if that makes sense.
I'm so sorry I'm so tired as I'm reading this, because honestly, if I had more energy, I really would be squealing over this, lskfjadf- I hope my love for this comes across in this, because you truly did SUCH an incredible job on this, Luna, and you should be so proud of yourself. I absolutely loved the message of it and the tension you created between fate and the desire to choose our own path, and all of it…it's just so perfect. I wish you the best of luck with your entry, though I'm sure you won't need it anyway <333
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