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The Flight

by Xenny 

Posted: 28 January 2006
Word Count: 2551
Summary: This is my first 'finished' short story. I'd very much appreciate some advice on how to work on it as I really like the idea and would like to make it into something good. (I'm very happy with bits of it though). No pressure to read it quickly!


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The Flight

Orma had never been satisfied with being human, not that she had ever voiced this sentiment to anyone, or to herself; and if at times she acknowledged a certain feeling of superiority, a not quite thought-out sense of immortality, she would acknowledge also the possibility that such feelings were present in all minds, and thus meant very little at all. But still she lived her life with the half-realised belief that one day a door would be opened to her, and through this she would enter another world entirely - an existence in which she would be freed from the overwhelming smallness, the incredible insignificance of being a person.

This belief gave Orma a certain recklessness; something which was expressed not in any active risk-taking, but rather as a peculiar capacity for neglect. It showed itself in just about all she did, but was perhaps most apparent in what some might refer to as her failure to grasp opportunities. For example, there was the incident which occurred the day before her 24th birthday. She had spent the previous two days visiting her grandmother in Suffolk, who for as far back as Orma could remember had been beset with an uncountable and changing list of minor illnesses, but who she nonetheless feared might not be, in her grandmother's own words, long for this world.

It was her first visit for some time, and like any departure from familiarity had brought about on her return a subtle change in mood, and she walked the mile from the station to her house with a contemplative calm. From this rather meditative state she was, quite suddenly, interrupted by a woman with whom she was sharing the narrow street, and who she would have passed without acknowledgement had the woman herself not stopped a few feet in front of her and asked with an 'excuse me' for Orma's attention.

It should be explained that Orma was no stranger to vanity. No less than her peers she valued appearances and took pleasure from any complimenting of her attractiveness, but unlike her friends she did little to further her looks. The occasional unplanned purchase of a new outfit, or a rare, lazy half-hour in front of the mirror - the intent of which was usually playful rather than serious - were the extent of her efforts.

On the morning in question it was with a little surprise that she listened as the woman told her she was from the marketing department of a well known food company, who had been looking for some time for a new 'face' for their advertising campaign. She had always been one to grasp opportunity when she saw it, and for this reason had stopped Orma rather than letting her walk on past. Orma, she insisted, was it.

Orma herself knew she did not have the face of a model. Asymmetry, though argued by some to be essential for beauty, in her had been exaggerated to give her features a quirkiness which trumped what may have otherwise been classical good looks, so that had her personality been less than equally definitive one would probably have pitied the near-misses at perfection with an 'if-only'. As it was, her smile, with kitten-like scrunching of eyes and nose, beneath short sleek curtains of almost burgundy hair, sometimes left the observer with a warmth that could be mistaken for love.

The marketing woman, as Orma later referred to her, described her as distinctive, and left her with a card and insistent instructions to ring and ask for her by name as soon as she had made up her mind. And Orma, as always suffused by her casual ability to neglect, never rung.

This might sound like ordinary laziness, but the truth of the matter was that rather than simply not getting round to these things Orma was constantly, if not always consciously, distracted, as if a glimmer of light was reaching her through that door to the other world and she could not quite bring herself to turn away and concentrate on the things around her. It was possible that there was also an element of fear - a worry that by involving herself too fully in these other pursuits she might forget altogether about the door, and veer off in a direction where the light would not reach her and the opportunity to pass through would never occur. But with this sense of something greater existing only in the background of her mind, never really coalescing into something as concrete as words, Orma could be forgiven for not turning her full attention to it. Not, that is, until an incident in the June of the year she turned thirty-three.

The afternoon of the flight was a sunny one. She had again been visiting her grandmother, who rather than dying when Orma had feared, had instead left her Suffolk bungalow two months later and moved to a ground-floor apartment on the Costa Calida in southern Spain. In the clean air it seemed her migraines had all but disappeared, and her arthritis and bronchitis were greatly improved. Orma had enjoyed the visit. She liked the warmth and her grandmother's new-found sense of freedom, and she liked also the solitary outings to the beach, challenging the other sun-bathers to question her own freedom by running recklessly topless at the sea.

When she boarded the plane after a week in the sun she felt very good - a physical healthiness combined with a sense of duty not only well-done but enjoyed. It was invaded only slowly by a tingle of nerves as she anticipated the three hours ahead. An incredibly fearful flyer, her one consolation was that she forgot how afraid she was in the days before and after a flight, so that the horror of the journey never spread itself beyond those few hours in the air. Consequently, she could promise herself each time that she would never again board a plane, and yet still book herself on another one some time later.

On this occasion the fear got its grip only as they taxied the last corner and the plane hit the runway. As always it came as an unbidden increase in heart rate - a sudden awareness of approaching panic and incredulous surprise at having again managed to forget. The plane picked up speed and her anxiety mounted yet further in anticipation of the roaring launch into the air. How could she have forgotten this horror! As it surged within her to near hysteria she realised she must take a hold of herself or risk something bursting inside that might leave her a senseless wreck long after the source of panic was over. This thought, as it sometimes did, lent her a momentary ability to transcend her fear and find above its roaring surface a fragile layer of calm, where she remained even as the wheels lifted and the plane began its ascent. It was only when she felt the first stomach-lurching loss of gravity, as the plane levelled itself before recommencing its climb, that she sunk briefly back into fear. Glancing about frantically she searched the faces of her fellow passengers for any echo of her thoughts - any sign they believed the aircraft might indeed be in trouble; then when only partly comforted by their oblivious and preoccupied expressions, resorted to an old tactic, revealing anxious body-language to the man on her left in hope of reassurance. He smiled at her and dipped a hand into his bag for a packet of mints, which he offered to Orma with another smile. She took in his cool, unflustered expression, accepted gratefully and settled back into her chair.

With the release of tension came weariness, and Orma found herself drifting off into excerpts of dream that surprisingly had nothing to do with flying. Occasional bumps and dips of the aircraft woke her with a start, chest thumping, but each time some careful reasoning allowed her to regain her fragile state of calm, within which she could again lapse into unconsciousness. From one of these lapses she was woken fiercely - a hefty jolt of the plane that produced a gasp from the man beside her, and somewhere up front she heard a mutter of "air pocket", and some laughter. Her neighbour met her gaze with a small smile and she saw him release his grip on the arm-rests. Then as she looked down at her own white-peaked knuckles the plane gave a second lurch and this time someone screamed.

Dramatic events attract in their telling certain words, phrases, clichés I mean, and it takes a really good storyteller to side-step these very ready, and very excellent, therefore overused descriptions and string together something entirely new, yet with this fresh thread still lead the reader to the desired climax. I am not an experienced story-teller but still I wish very much for you to have some idea, an inkling, of what Orma felt as she realised her worst fear had come to pass. Her heart did seem, though she had no space in her thoughts for this extra registration, to be on the brink of bursting from her sternum; her life, a succinct summary of its major events, did indeed flash before her mind’s eye. Yet this crushing chaos of image and sensation was accompanied by a terrible vacuous awareness of space, of emptiness; it was a tugging at her temples, a drawing-away of the substance of her skull so that within there seemed to be a growing hollow - a void whose negative pressure was a ringing in her ears and a stinging blindness behind her eyes, as of an intense desire to cry. It was the shocking sadness of seeing, quite suddenly, in the clear horizon of her life, the terrible ripping stabbing betrayal of a death that just could not, could not be hers.

It was Orma’s belief that few people are scared of dying. She always felt it was an inappropriate and strange choice of words; surely people were not scared, but sad about dying, and any fear was not of the death itself but of realising fully the inevitability of one’s death and of being overwhelmed by that incredible sadness. That is not to say terror did not have her in its grasp as the plane lurched for a third time, and with a shudder seemed to bounce and skip across the sky. But this was an inevitable, instinctive terror - an evolved physiological response to a situation where the resulting rush of adrenaline may precipitate escape, and was exacerbated by the rapid, uncontrolled movement of the plane, and of course by the wild screams of her fellow passengers. And perhaps some would agree on hearing what Orma did next, that she was as deep down she always knew, an extraordinary person. Extraordinary in her ability, amid the screaming and pushing and shoving, and the hurtling of the aircraft, to again emerge from her fear into a place where she heard only the sadness. The words which pulled her, which she clung to as a guide in her need to burst through the terror and realise the possibility of escape: last chance.

As through the window the tip of the wing cut and jabbed at flashes of blue and white, and under her gaze the ground came into view and dipped away, in her calm she felt the full pressing heaviness of a regret that only slapped at the panicking minds of the other passengers. And this, this two minutes, one minute maybe, was her last chance, before opportunity was snatched away forever. As if looking for inspiration from the skies her gaze remained fixed on the window, on the snatches of ground, on the solid grey line with its little faithful light still glowing bright as it fished about for a grip on the unforthcoming early morning air. What must she have looked like to the other passengers - calmly watching their progress as if nothing had changed. Her face, with parted lips for she was breathing through her mouth, showed nothing of the mental process. Although she knew she must do something, her concentration was not a narrowing but an opening up, a widening of glance with its only direction being a need to encompass. She thought she could make out, as the floundering plane sunk deeper towards land, lots and lots of tiny people. Lots and lots of tiny people - the words became a point of fixation, a mantra. Tiny tiny people, the world was covered in them, she smiled. People. Sprouting up and sinking back into the earth. Ashes to ashes. Sprouting up again somewhere else. On Mars. She giggled. My sprouting waving walking giggling brothers and sisters. And she saw the validity of this moment, and all the moments before. She didn’t need to do anything. She closed her eyes.

When it came Orma was not waiting for the crash. It was the noise that hit her first. Never had she known such a noise. It went on and on - screeching and tearing till the screaming of the plane and the passengers merged into one long sound that seemed to come not from outside, but from somewhere within her head. Then, after minutes or maybe it was only seconds, the noise began to break down and screams came only from one or two mouths, and finally there was silence. Lifting her eyelids she became aware of the chaos; bags and suitcases from overhead lockers strewn among the passengers, most of whom were wearing oxygen masks and still seated. Their strange momentary stillness suggested a stage - a scene just cut but not yet dispersed or brought back to order. Through the window she could see trees - the dry brown and olive-green of pine, a branch pressed against the glass - and the mutilated strip of metal with its light still blinking. A plastic mask was dangling about her head, nudging gently at her bangs of hair. The silence hung there, then a baby’s little cracking cry prompted murmurs of reassurance. Followed by the click of the tannoy which startled her, and a voice giving jumbled instructions. When a door was opened people came into action again, talking and crowding forward. The man who had given her a mint was crying shaking tears, a life-vest clutched in one hand.

As Orma shuffled down the centre of the plane behind him she thought how odd it was that this bit of the journey didn’t change; people still waited impatiently for their chance to squeeze into the aisle, and some were reaching overhead for those belongings still locked away. The air-hostess was a little brisker in removing people from the plane, the ‘thank you for flying’ was missing, and the emergency slide was present, but somehow even these changes had a strange sense of normality about them. Orma removed her shoes and peered though the opening at the pine forest that had helped break their landing. There was laughter and someone patted her gently on the back, inching her through the exit: "Go on love, it’s only a little slide". As she stepped through the door the air was biting fresh and it was another world.






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Comments by other Members



Nell at 12:33 on 29 January 2006  Report this post
Hi Xenny, I'm printing this out to read at leisure - it'll be interesting to read some of your prose after the lovely poems in the Seminar. I'm looking forward - will get back to you in a day or so.

Nell.

davedave at 12:37 on 29 January 2006  Report this post
Hey Xenny,

Great last line.

I'll have another read in the next few days and see if I can pick any bits out, but my thoughts after the first read:

The first sentence I had to read a couple of times. (I'm a bit tired but, even so, I think you need to grab the attention more.) Plus, a personal thing, but I get annoyed by semi-colons. And there's also the writer-as-God thing, that you know more about the character than she does about herself. I'm not sure about that, either, though others probably don't have the same problem with it.

I'm in two minds about the bits when you - the writer - intrude on the story. I kind of like it, I must admit, in this piece, but I'd be wary about doing it in general. In the bit starting 'dramatic events' I found it distracting.

Otherwise, on a sentence level, I felt it was very strong - interesting, flowing sentences, challenging but still easy-to-read which to me equals good writing.

Story-wise, I didn't see the need for the first bit - visiting the granny, getting stopped in the street. I was waiting for her to get to the granny's house, but she was stopped firstly by the woman in the street, and then by a passage of description - when she never got there, I thought - well, why did we hear about that?, but was expecting it to be followed up later.

To be honest, I'm not sure you need anything other than the flight bit. Of course you need something about the 'door' that would be opened to her to make the ending such a winner, but otherwise - you could insert some of the information about her into that scene.

One thing, though, I'd be wary of long passages of description because they can sap the momentum.

That said, and reading back it seems very critical, you've got lots of really good stuff here - the panicky bit and the descriptions of the plane and the aftermath of the crash-landing were superb. I loved this bit, too:

This belief gave Orma a certain recklessness; something which was expressed not in any active risk-taking, but rather as a peculiar capacity for neglect


And I'm sure that there's a great story here. I don't even think it would take that much to make it happen.

It seems like a harsh crit but I genuinely enjoyed it and the writing on a sentence level is (to repeat) a treat. Original, too. And others might well disagree with my critical comments. I'm looking forward to reading more, anyway.

Dave


Xenny at 12:46 on 29 January 2006  Report this post
Thanks Nell, so kind - the same goes for yours. I've printed yours and couple of others to read myself. I fear my prose is quite all over the place still. I need to keep writing and writing and find my more natural voice (and to resist the urge to make excuses for things before anyone's even read them!).

Xenny at 13:00 on 29 January 2006  Report this post
Dave this is brilliant to hear. Don't appologise for being critical. This is exactly what I feel I need - quite specific advice on how to improve things.

It's the first story I've actually managed to finish, as I get very caught up, and even then I had to lash out at in in fits and starts, trying not to think about it too much. I really think it would help to have other people's perspective and advice to help 'untangle' things and smooth my writing out, if that makes sense.

I'm going to read your comments over again and have a good think about them.

Thankyou for being so nice about my sentences - at times I got annoyed because I really like quite simple, straightforward sentences and sometimes I think mine got out of hand!

<Added>

> other people's
I mean yours included, not that I want to wait for other people's (just realised it might read this way)

gkay at 11:11 on 30 January 2006  Report this post
Hi - I thought this was great. A good idea and well realised. It reads to me more like the first chapter of a novel however. Have you considered extending it onto something longer - you've set up the protagonist as having quite an unusual character and a sense of a life beyond this one- I'd be interested to see where this story goes.

I also have to confess that I found the writer's voice something of an intrusion within the narrative. I would suggest trying to achieve the extent of her feeling in a different way.

Other than that, I enjoyed it a great deal.

Guy

lang-lad at 13:36 on 30 January 2006  Report this post
Hi,
Lemme start with a bit of your own story :

The man who had given her a mint was crying shaking tears, a life-vest clutched in one hand. As Orma shuffled down the centre of the plane behind him she thought how odd it was that this bit of the journey didn’t change; people still waited impatiently for their chance to squeeze into the aisle, and some were reaching overhead for those belongings still locked away. The air-hostess was a little brisker in removing people from the plane, the ‘thank you for flying’ was missing, and the emergency slide was present, but somehow even these changes had a strange sense of normality about them. Orma removed her shoes and peered though the opening at the pine forest that had helped break their landing. There was laughter and someone patted her gently on the back, inching her through the exit: "Go on love, it’s only a little slide". As she stepped through the door the air was biting fresh and it was another world.


Most succinct way I can find of showing you what you did and why it's good! This last para is great but for my money it's an opening paragraph not an ending. (although you could go in a circle and backtrack, preserving the expectation you create of another story not yet told.)

I'm a bit of a broken record on structure I'm finding, banging on about it all the time. But even if, by highlighting this bit, it only shows you how well you really can write, so be it. Lovely.
More power to your red pencil, which I know you are sharpening already from what you've said above.
best wishes,
eliza

davedave at 13:54 on 30 January 2006  Report this post
Xenny,

Just a quick one in response to Eliza's comments - I'm not going back on my earlier comments about structure, but I just re-read that passage she highlighted and it's remarkable stuff for someone's 'first finished short story'. Really.

Dave

DJC at 14:39 on 30 January 2006  Report this post
Adeline,

For a first story, this is very accomplished. There are some original moments, notably the ending, with the man and the mints, and the small gesture of the pat on the back.

I'll be a bit harsh here, as I know you can take it and I always appreciate it when people don't just say 'it's really nice and I liked it a lot'. So, a few things that didn't quite do it for me:

first of all - it is very wordy. Look at the opening sentence:

Orma had never been satisfied with being human, not that she had ever voiced this sentiment to anyone, or to herself; and if at times she acknowledged a certain feeling of superiority, a not quite thought-out sense of immortality, she would acknowledge also the possibility that such feelings were present in all minds, and thus meant very little at all.

Henry James just about managed to get away with this, but in a short story you've got to get straight into it, I feel. It also makes her sound like she wants to be a cyborg!

I have a problem, again in the Jamesian sense, with this:
Dramatic events attract in their telling certain words, phrases, clichés I mean, and it takes a really good storyteller to side-step these very ready, and very excellent, therefore overused descriptions and string together something entirely new, yet with this fresh thread still lead the reader to the desired climax. I am not an experienced story-teller but still I wish very much for you to have some idea, an inkling, of what Orma felt as she realised her worst fear had come to pass.

Like Nell, I feel you're intruding into the story too much, as if you want to communicate your hesitancy as author. Unless you're going for the metafictional approach (like that rather odd novel 'If on a winter's night a traveller'), then this sort of approach does slow the reading down.

You have some great turns of phrase, and a capacity for creating real drama. But again I would side with Nell in saying that if you ditch the wordiness, you have some real gems in here. I also like dialogue in short stories. A short story should be a moment, something small, which fans out into the bigger things. A really really good example is the story in Emma Darwin's archive, 'Russian Tea' (if it's still there). Simple and elegant. You have enough elegance in your writing to do something like this. But we need to feel confident in your story-telling. Any hesitancy only serves to pull us out of the 'fictional dream'.

Darren


Xenny at 15:04 on 30 January 2006  Report this post
Guy, Eliza, Dave - thankyou for your comments

Guy,
I don't think I really feel an urge to develop this any further at the moment, but I won't rule it out in the future, thanks. Yes, my voice coming into this annoys me at times - I'm going to think about ways to change it, though perhaps not eliminate it altogether. I'd at least like to make it a bit more subtle.

Eliza,
Ooh I don't know! I see what you mean about it being an opening paragraph. But I wanted it to be the case that you don't really expect her to find this otherness that she's seeking, but that she does find [something - peace, enlightenment, acceptance, her place, I don't know..], and for the last line to affirm that in this way she's found her 'other world'. You probably got that and still maybe see a way for the structure change. Hmm... I really do need to look at it from new angles I think. Not easy when you've gotten used to a piece. Thankyou also for what you said about my writing - I'm not at all confident so that's really lovely to hear.

Dave,
The 'omniscient', intruding writer problem (I know you didn't say those words!) - like I said to Guy, I'm not entirely happy with it either and will try some other things out. Your other main comment about perhaps only needing the flight. I think you might be right. I like the idea of writing stories without worrying that everything has to contribute to some kind of whole, some meaning. But in this case I think the story's tone and content suggest it does have *a* meaning, *a* direction, and so you would expect things to contribute to that. I definitely want to try rewriting it without that first event. Thankyou. And your little added note - that's very kind. I've started quite a few things though - the word 'finished' was the operative one there, not 'first'. ;)

Xenny at 15:17 on 30 January 2006  Report this post
Darren I'm still in hysterics about your cyborg comment! I'm going to read through what you've said properly again in a minute.

One thing though. A friend of mine read something else I started but didn't know what to do with, and he said, 'read more Henry James'. I think he should have added, 'but don't try and *be* Henry James because it won't work'.

I think I need to find my voice, so to speak, and I don't feel I'm naturally as wordy as I found myself trying to be in this. I said earlier - I actually like quite simple, unfrilly writing! If you saw one of my older attempts to write a story you'd see I've just rushed from one extreme to the other.

Thankyou for your help, I'm going to read what you said again now. (I don't think you were particularly harsh - you'll have to try harder next time ;)

<Added>

p.s. I don't think it was Nell's comments you were looking at - maybe it was Dave's.

Nell at 15:46 on 30 January 2006  Report this post
Hi Xenny,

You've so many good comments that I don't think I've much to add except that there's a lovely originality of thought here. I printed this out and wrote notes in red - one of them was 'lots of telling rather than showing', yet there's something so deep and thoughtful about the passages where you go right into her mind - not something one sees much of in modern fiction. I loved the following passage of beautiful writing, which reminded me a little of Proust.

Her heart did seem, though she had no space in her thoughts for this extra registration, to be on the brink of bursting from her sternum; her life, a succinct summary of its major events, did indeed flash before her mind’s eye. Yet this crushing chaos of image and sensation was accompanied by a terrible vacuous awareness of space, of emptiness; it was a tugging at her temples, a drawing-away of the substance of her skull so that within there seemed to be a growing hollow - a void whose negative pressure was a ringing in her ears and a stinging blindness behind her eyes, as of an intense desire to cry. It was the shocking sadness of seeing, quite suddenly, in the clear horizon of her life, the terrible ripping stabbing betrayal of a death that just could not, could not be hers.


The language was a surprise, rather formal, although in a way that pointed up Orma's 'otherness'. The Jane Austen aside to the reader surprised me too; I actually rather liked it, although I felt that others might not. As Dave said, not something to use often.

There were one or two places where I felt you'd overdone it, and I had to re-read to confirm the meaning, and a few little picky points where I felt a better word could have been found, eg: ...to further her looks... (enhance?), but I think you've created someone rather lovely with Orma. The ending is beautiful and satisfying, a gentle epiphany.

So reading back, I find that I did say something after all! Looking forward to more of your work.

Nell.



Xenny at 16:39 on 30 January 2006  Report this post
Thankyou lots Nell for being so encouraging. And especially for picking out one of the bits I was most happy with.

DJC at 19:25 on 30 January 2006  Report this post
Yes - this passage Nell highlighted is lovely. I kind of missed this, in amongst the Jamesianisms...

Okay, I'll be mean. I don't really like your name.

It's no good, I'm lying to myself if I say this...

Darren

Xenny at 21:31 on 30 January 2006  Report this post
> Okay, I'll be mean. I don't really like your name.

!

Thanks about the passage. I think that one and the last 3 escape the James problem. But I can see by that point it would have been easy to get a little weary.


Heckyspice at 11:51 on 07 February 2006  Report this post
Orma - Ozma? escaping to another world? Maybe a Frank L Baum connection creeping in?

Hi Xenny, I found this strange and had to read it a few times, the style of narration is not something I typically read. You seem to handle it well and have received enough comments to help you adjust where necessary. So I won't be repeating too much here.

I think you could cut Granny from the piece without losing any clarity - after all the encounter with the woman in the street is what is recalled. Maybe a few more examples of her neglect to life, such as having a crap car that breaks down, failed relationships, a hole on her stocking. Little traces that can be recalled to weave a pattern in the narrative. It might add a bit more backbone to the persona of Orma.

Best wishes,

David





Xenny at 15:20 on 07 February 2006  Report this post
Thanks David - I'm definitely going to do away with the granny (!), and the idea of some smaller examples before going on the main even is a good one.


>Orma - Ozma? escaping to another world? Maybe a Frank L Baum connection creeping in?

If it was it was subconscious!


I really do feel I need to rework this story a lot. I don't like the idea of writing something that's difficult to read, as it irritates me when others do - I'm just waiting for the right mood before I start doing stuff to it.

Thanks again x


Heckyspice at 15:34 on 07 February 2006  Report this post
Hi Xenny,

Put it away in a drawer for 6 weeks and then re-read it. That's what Stephen King does. If you get the chance read a copy of On Writing, it's a fanatastic insight into his thought process and skills.

David

scoops at 08:03 on 08 February 2006  Report this post
Hello Xenny, This is a very beautiful and literary piece of writing. There are some really compelling turns of phrase and you draw out the character of Orma with a crafted laziness that underlines her lack of interest in the particular. My one problem with the story, besides the usual mantra of cut, cut, cut, was the jump in time. The first incident felt unfinished - possibly because it's so slight. While the simplicity of the example works well in itself, it doesn't naturally lead to what follows, and I think you either need to write into it more explicitly or, better still, slip in another vignette that will link them all:-) Shyama.

illuminator at 11:17 on 18 February 2006  Report this post
Hi, Xenny –
I'm new to the group, finding myself almost as intimidated by the well-written critiques as the prose itself. For what it's worth: i really liked the "intrusion" of the writer's thoughts. It made me feel a bit privileged, as if invited in to pull up a chair and eavesdrop while she searched for the really right words for the big windup. Didn't interrupt the flow for me at all.

I tend to be extremely observant of folks' thoughts and fears about death. I watched Orma embrace her obsession about going through a door that would "free her from her smallness.” Having confronted her fears, she then walked victoriously off the plane through that door into another world. But not at all what the reader (at least <i>I</i>) was expecting. Nice twist. It only took a simple shift in perception to free herself. I loved that.

(David - I <i>loved</i> Stephen King's <i>On Writing</i>. It left me with some pretty indelible images - the reason I’ve only read one of his books - and some great belly laughs).

thanks for sharing, Xenny!
Louise






<Added>

[pardon my html! can anyone pleaes tell me how to do the proper code for italizing and get quotes into those nifty little boxes?]

thanks!
louise

Xenny at 11:37 on 18 February 2006  Report this post
Hello scoops and illuminator

Thankyou so much for reading and commenting.

scoops - I like the idea of linking the two happenings as I've been looking at trying to cut out the first one but feeling unsure about it.

illuminator - I have the same intimidation, definitely. Thanks for your opinion on the 'intrusiveness'. It reassures me that at least a couple of people liked it! (even if I found it a bit irritating myself.

Sorry I've been so quite in the forum having only just joined. Just having one of those weeks/months. I'll be around soon to read more.

X

<Added>

sorry, I'm so tired today - I've just seen you signed off with your real names rather than usernames. Shyama and Louise I should have said.

Nell at 13:08 on 18 February 2006  Report this post
Louise, use square brackets rather than pointy ones and all will be well.

Nell.

illuminator at 13:53 on 18 February 2006  Report this post
[thanks, nell...i used 'em, but might have forgotten the /...we'll see./]

<Added>

hmmm, still no nifty box...[/]

<Added>

[]hmmm...[/]

<Added>

got the box, but...[]uh..[/]

<Added>

silly me..got it now...thanks!


Nell at 14:44 on 18 February 2006  Report this post
[/quote]

Louise, you need to type 'quote' and '/quote' between the square brackets - more info just to the left of the comment box.

Nell.

<Added>

Or you could use the easy formatting buttons above the comments box.

<Added>

David, if you're there - I tried to fix the formatting but messed up...

steve_laycock at 23:19 on 01 March 2006  Report this post
Hi there,

I'm new and like Louise i really like the writers voice being heard! Maybe we'll learn better after a little while. I have this annoying habit of comparing it to Brecht and saying:it's a story being told by a story teller and so there's no point in pretending it's real so go with the flow! Speak and be heard!

I really liked the build up to the cliche speach. The other reason i liked the writers voice in thie peice is because i think parts of it read like a really enthusiastic friend telling you a story they've been dying to share all day! It's like a crazy rant, in a really good way, mostly. I think the grandma / model scout side line was also a little like the friend who's telling the story and won't just get to the point!

But there's bags of enthusiasm in the story, and part of this comes from the naturalness with which you write. If it helps you to produce work (you say it's hard to get rid of and i know what you mean) i say keep it when you write and cut it out after (if you must) because it certainly helps me connect with the stroy telling.

The only real downside was that i thought the beginning was a bit wordy, but once she's on the plane it really ... takes off. oh dear. I'll go now.

thanks tho, i liked it a lot
steve

Xenny at 14:13 on 02 March 2006  Report this post
Hey Steve!

I only just noticed your response. I think I must have the email notification thingy turned off. Thanks so much. I loved your comments about having the author's voice in a story, and they reassured me a bit too.

Yes, the beginning is definitely wordy. I'm still waiting for the mood to take me to work on this more, but when it does I think a lot of the wordiness will disappear. That's the plan anyway.

>The only real downside was that i thought the beginning was a bit wordy, but >once she's on the plane it really ... takes off. oh dear. I'll go now.

Yes I think you'd better ;)


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