Grassroots Disc: Varian 9-26-04, SDC common queue

Pure

Fiel a Verdad
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Dec 20, 2001
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This is a story chapter, by Varian.

Because of the length, readers should not feel *obliged* to read it through to the end.

ADDED NOTE: I have marked the text at around 5900 words, for those with limited time. It's a convenient pause in the action, at about 60% of the text.


pure
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Varian says,
Hi everyone. I'd love any feedback, but I do have a few specific concerns and questions:

1. On characterization: is Devan too wimpy? Is Vaughn too schizophrenic? Are they sympathetic and interesting?

2. As they come together, does their attraction seem believable?

3. Pacing: in chapter 4 (the next chapter) we learn Vaughn's dirty secret, followed by Devan's, and also starting with chapter 4, the rest of the novel is essentially a non-stop erotic cabaret. But have I dragged you too far too slowly?

4. Is the first sex scene too minutely detailed?

I have to apologize—the first few paragraphs are rather rough—and there are a few other rough patches near the mid-point, as I just got through an extensive and somewhat hurried revision.

Thanks in advance for all your comments and suggestions!

-Varian

Varian's summary of chs 1-2

Summaries of chapters 1 and 2:

Ch. 01
Devan is lost in the woods, running from a wicked fellow named Conrad who's done something sexual to her (not a violent rape). Two dream sequences reveal that Devan is both terrified of and drawn to Conrad, and she's guilty about her conflicting feelings.

Devan finds an unoccupied cabin, takes up residence, and a couple days later the owner of the cabin, Vaughn, turns up, seeing her as an intruder.

Ch. 02
Vaughn is so suspicious he's borderline brutal with her. It's revealed that he's a celebrity and fears she's some kind of stalker. Because of the remoteness of the cabin, though, she can't leave, and they make a tenuous truce. Throughout the chapter each is fearful of the other, but both are having dark sexual fantasies involving the other, as well. Vaughn's are particularly violent.








THE FANTASTIC ADVENTURES OF CHANGED GIRL
chapter 3: Cabin Fever



As he cleaned up he fell into his usual post-orgasmic dolor. Fuck. These twisted fantasies had to stop. It horrified him to think that this was the kind of person he seemed to have become–a man whose dick got hard thinking of scaring and hurting someone that way.

He shuddered. It terrified him to know that there in his remote cabin the only thing protecting Devan from him was his own sense of shame, and his will. He no longer trusted himself.

Outside his fantasies, in their real interactions, he was as careful and as gentle as he had always been, all his life, with everyone. Perhaps more so, because of the guilt. Vaughn kept carefully to himself, telling himself he wanted to put Devan at ease, denying that he was as uncomfortable in her presence as she was in his.
X-X-X-X
On the third day, after lunch, Vaughn set off for a walk in the woods. Anything to get him out of the cabin and away from her. As he left he passed her, sitting on the back porch, nose buried among the yellowing pages of Dostoyevsky's Siberia.
In spite of his care in all of his dealings with her, he was still plagued by dark, shameful fantasies. But there had been a shift. As he watched her, reading, sitting quietly lost in thought, seemingly deep in thought even when she did little tasks around the house, he had begun to feel an affectionate curiosity. Less and less did his darker fantasies force him into the seclusion of his bedroom. But more and more he found himself thinking of her. Not as object. Not as scapegoat. Her, Devan, this person he was trapped with. Wondering who she was, wondering what she was thinking when she smiled as her eyes moved over a passage in the book in her hands. His fantasies which had at first been fueled by thoughts of cruelty and coercion dissolved into hazy images of twining fingers, warm embraces, tender kisses. With this change a new anxiety plagued Vaughn. As his terror at his own dark imagination waned, his fear that he was succumbing to some duplicitous plan of hers grew.

X-X-X-X
Devan closed the book and sealed Raskilnikov's fate. She wandered back inside and stared for a few minutes at the rows of spines on the bookshelf, then settled on Camus. The dark cabin depressed her and she went back outside to enjoy the crisp air and bright sun.
The strain of the tension between them was a burden on Devan, and she was miserable with the thought that he believed she had come with the intention of spying on him, or worse. She understood the pain of that kind of violation and to be the cause of it was unendurable. And, as the first day passed, then the second, she found this aloof, quiet, brooding man more and more intriguing. Perhaps it was because, after all she had been through, she longed so desperately for a friend. She wanted to talk. She could not believe that she found herself wanting to talk to him, this cold, suspicious recluse, when she knew that if she had gone home, among her few friends, she would have been silent. But, inexplicably, she wanted to tell him. Him specifically. And under that soft yearning for comfort and understanding was another perplexing urge—a roiling, rising need for him that she felt in the quiver at the center of her belly and in the aching heat of her body.

But he was wary and distant and they rarely spoke except when they were brought together by his stiffly polite hospitality. He prepared every meal for two and always checked with her to be sure he was making something she would want to eat. She tried to do her part by washing up after and helping out with small chores when he would let her. But on the afternoon, as he returned from a walk in the woods he came and sat down by her on the porch. The Stranger lay open on her thigh where she had set it aside and fallen into contemplation, gazing across the clearing at the bordering trees.

"I'm beginning to see a pattern in your choice of reading material," Vaughn said as he glanced from the book to her eyes, noting her far-away look. She turned away from the wall of trees before her and met his gaze.

"It is hard to get one's fill of sociopathic murderers."

She caught herself throwing an accidental glance toward the woods. With his eyes still on her she felt caught out, and tried to cover her embarrassment with chatter, her words flowing from the stream of thoughts Vaughn had interrupted when he'd joined her.

"It’s so rare for me to be in a place like this, really in nature." She paused, and then, a few moments later, picked up again with an absent-minded air. "I forget sometimes how artificial my daily environment is. Everything paved. Everything clean. Water, food, everything always there when I need it. So easy. But it’s kind of like being an animal in the zoo. Walking around on concrete, sleeping in a little shelter, being fed my three meals every day, but so separated from the real world, the natural environment. Totally cut off from a life of instinct and physicality and survival. Just performing my little human tricks every day, keeping the trainers happy and the visitors amused. It all seems so trivial at times."

She was thinking out loud. Trying, as always, to put Vaughn a little at ease, to comfort herself, now and then, with the sound of voices in the long, silent voids of their confinement together. Vaughn was quiet beside her.

He wanted to talk with her. He so rarely sat down with someone and simply talked. Exchanging thoughts. It was always band business. Or schmoozing. Those dreaded superficial interactions that were all small talk and fake smiles. He wanted to say, yes, he had thought those same thoughts, that he too sometimes felt that he was a creature bred in captivity and forced to live in conditions utterly inimical to his nature. But the lies and the omissions were an impenetrable force field between them. He wanted it gone.


X-X-X-X


After dinner that night Devan watched as Vaughn poured himself a drink, and asked if she might have one, too.

"Sure."

Without giving it much thought he poured a measure into a second glass for her. She rose and started toward the kitchen.

"Sit down," he said in his usual manner, his voice large and soft and low all at once. "I’ll bring it to you."

She sat back down where she had been, on the floor before fire, and leaned back against the front of the couch, and a moment later he was standing over her, handing her a glass.

"What is it?"

"Whiskey on the rocks."

She tried it tentatively and winced.

"Not much of a drinker, are you?"

"No, not really."

He smiled his wan smile, then went to the kitchen and returned with a can of cola.

"Maybe like this," he said, pouring until the fizz almost overflowed the rim.

She tasted and smiled approvingly.

They sat quietly by the fire, sipping their drinks for a while. When Vaughn’s glass was empty he waited until her glass was empty too, then he took it from her and went to the kitchen to make them both fresh drinks.

"Here you are, my dear." His words were sunnier than his tone. He was half-heartedly playing at being gallant, unconsciously trying to make up for how cold he had been to her, to paint over days of dark thoughts with a fresh coat of kindness.

He handed her the whiskey and cola. She took it, and rested it, untouched, on her thigh. She felt flushed and sleepy from the first one. He took a drink, and stood for a while, looking into the fire. When he sat down on the floor again, he sat a little nearer to her than he had been before, with his body turned toward her, his elbow resting between them on the seat of the sofa. He was so close. A twinge of fear fluttered in her chest, and an aching arousal followed the pulsing throbs radiating from her chest, out to her limbs. She glanced at his arm, surprised, as always, at its size, at how muscular it seemed. The smooth milky whiteness of the delicate skin of his inner arm. When she glanced at his face he was looking at her and she felt embarrassed, as if he had read her thoughts. He smiled a small smile.

"I’ve never shared this cabin with anyone. I’ve always come here on my own, to be alone. But it’s nice having you here." He was weary of his own mistrust, of fighting his inclination to like this strange girl.

"I’m glad."

There was a long silence, then Vaughn spoke again.

"I suppose I’ve been lonely. I’ve put a lot of work into making myself lonely, isolating myself."

She looked at him silently, then took a drink. Suddenly it seemed like the sleepiness from the first one had dissolved.

"I sometimes feel lonely, too, in my regular life back in Seattle." She sounded wistful. Distant.

"No friends?"

"I have friends," she said.

Not many. Not real, close friends, she thought.

"No boyfriend?"

She blushed at this question that always felt it had to be leading somewhere, even when she consciously knew that it was not. She hoped that her blush was invisible by the firelight.

"No, not really."

The implication that she was lonely because she had no boyfriend felt pathetic, and after a pause she added,

"But that’s not why I feel lonely."

"Then why?"

"Well, even when you’re around people all the time, you can feel apart. I guess that’s how I feel most of the time."

"How so?"

She'd really put herself on the spot with her passing sympathetic comment. He was looking at her with patient interest, though. Could it be they were about to have an actual conversation?

"I don't know…I’m there in the room with people, but I’m still alone. Even when I talk to people, most of the time it’s as though I’m on autopilot, just saying what I’m supposed to say, and they’re doing the same, and there’s nothing real to the interaction at all."

"Sure," he said, with a soft voice and a soft smile. "I know what you mean." He was intimately, painfully familiar with the feeling she was describing.

A tiny aperture seemed to be opening in the wall between them, and Devan was nearly giddy with relief as the burden of her isolation lightened.

"Sometimes," she went on, suddenly animated, "I feel as though I connect more deeply with the characters in novels than with people I meet in real life—maybe because in novels you get to read their thoughts. In life, you never know what people are thinking."

"You mean you don’t know what I’m thinking right now?"

He arched one eyebrow, doing his best Lothario.

She flushed absolutely crimson and gave a queer little giggle. He laughed, not unkindly, amused at her reaction. He had meant to make a joke, but her odd giggle and the two drinks had warmed him. Once again he was finding himself stirred in her presence. She had an innocent quality that was both alluring and perplexing. It had been a long time since he had been with a woman, but it had been much, much longer since he had been with a woman who had not aggressively worked to seduce him. This retiring girl who blushed so easily, who seemed to like being near him but never made a suggestive gesture or remark was, for him, a novelty. He had not wanted anyone in such a long time. But yes. He would finally admit it to himself. He wanted her. He kept at bay the creeping realization that he was feeling more than the torturous lust that had been building since he'd found her there two nights ago. After months of celibacy, it was high time he got laid, he told himself. He was almost past caring that he might be giving her just what she'd come for.

He was leaning in toward her, and she had the feeling he was going to kiss her. She felt a little stab of excitement—half fear, have arousal. She could not understand it, but she wanted his kiss.. She was surprised to feel that creeping warmth of desire spreading through her, stirred by her simple proximity to this man, by the mere thought that he might touch her, that his lips might brush against hers. She had never experienced arousal this way before. Her desire for this man she feared, who she did not even know, made no sense to her. But then nothing had made sense since the day Conrad had taken her from her apartment. This strange moment—the unfamiliar buzzing warmth of the alcohol, the arousing nearness of Vaughn, her increasing willingness to give in to whatever strange impulse was drawing her to him, seemed to fit with her strange time out of time there in that forest.

They went on talking, very softly. Moment by moment he seemed somehow nearer and nearer. He smiled a little, now and then, as they talked, and that smile, which she had seen so rarely, made her feel soft and almost giddy. Now his eyes, dark but flashing like polished metal, seemed suddenly full of life and warmth and seemed to be seeking something in her.

He was being kind. Funny. Seductive, even if he didn't intend to be. And his attentions had her warm and soft. And maybe the drinks made it feel like it made sense. But she was still afraid. And her fear stoked her soft warmth to yearning heat. He could do anything to her; the thought drove a hot ache to her groin. Conrad had been right about her—the fleeting thought stung her before she drove it away.

A silence fell between them, and after a moment she watched as he unbent that marble arm, as his hand came slowly toward her. Then she felt him gently caressing her cheek, and this small gesture, this innocent touch did her heart sudden, delicious violence. She felt her blood swell in her veins, pounding her pulse points with staccato bursts. Suddenly it was hard for her to breathe evenly and she struggled not to let him hear her racing breath as he stroked her hair, then drew his hand down her neck, across her collarbone, and down her arm. A dull ache began to throb at the center of her.

His hand lingered on hers, toying teasingly her delicate fingers. He wasn't sure if he was caving in to her, or attempting the seduction of an innocent woman he'd practically assaulted two days earlier. If she wanted him, he thought, she would touch him back.

She, spinning in a turbulent confluence of arousal and fear, unsure of what to do, rested her hand on his thigh, just by his knee.

Encouraged by her small gesture he took her drink from her and set their glasses on the hearth. Leaning in very close to her, he ran his palms up her neck until his fingers were submerged in her hair. He gave her one small kiss on her cheek, pulled back a little and looked at her. She was looking at him intently. She did not pull back. He kissed her other cheek. He kissed the corners of her mouth. She stayed still, eyes on him, her head cradled in his large hands.

It wasn't what he'd expected. He felt very warm and soft, and looking at her face that was like some kind of invitation, so open, so beckoning, he smiled a very warm soft smile. He drew one hand back from her face and ran his fingers over the scratchy stubble along his jaw, remembering that he had not shaved since arriving at the cabin.

"Is my beard too rough?"

It was an intimate whisper. For the first time they looked at each other with tender affection, mirroring each other’s gentle smiles.

"No."

Then he kissed her fully, very softly, long and deep. She was surprised by the power of that kiss. And she was surprised to find her whole body reacting to his touch and his mouth when, just days before she had imagined she would never again want a man touching her. But now her stomach was fluttering, her knees and crotch tingling. She let out a tiny moan that surprised her and inspired him. He was being so careful, every nerve attuned to her reaction, anxious that he had misread her signals, that he was taking advantage of her being stranded there with him. But he felt her chest swelling and dipping with excited breath, felt her trembling in his hands, and that little moan sent electricity shooting from his gut into every extremity.

As he went on kissing her, his fingers sunk deep in the warmth of her tangling hair, her body, her sex began to feel strangely like it had those few times she had been touched, though he was not touching her that way. She neither understood nor questioned the aching yearning she was feeling—a physical need to be close to him, to feel the warmth and flesh of him. Her heart’s vital beats echoed between her legs, and she imagined he could feel it, too, like the reverberations from a bass drum.

Still they were kissing as his hands slid from her hair, her scalp tingling with the memory of his fingers that were now lightly trailing over new terrain, stirring nerves along neck and shoulders, over back, bottom, thigh, the skin coming joyously awake everywhere his hand passed. Somewhere under all the pleasure and longing she wondered that she felt no longer felt any fear and thought fleetingly that he seemed to be taking nothing but only giving and understood that this was why.

She did not know what to do with her hands but they seemed to float away from her will, drifting to his dark hair, finding it wonderfully soft, floating down to his face, holding his jaw, unshaven and rough, winding around his neck, down onto those broad shoulders, harder than she knew flesh could be, muscles offering gentle curves to mold her palms against. She was drawing him to her, or drawing herself to him, that wonderful ache guiding her to seek him as she felt his hand curve around her thigh, just above the knee, and gently draw her leg across him, his other arm encircling her back, pulling her against him. Still locked in their melting kiss she found herself straddling him, their mouths, their chests, their bellies pressed together, his hips pressed between her thighs. The intimacy of their embrace startled her, warmed her, made that tender ache throb with new urgency.

He felt her, warm and trembling against him—this same girl who had trembled beneath him when he'd pinned her in the mud, the same girl he'd been tormenting in his endless fantasies ever since. Somehow all his dark desire was mingling with tender arousal as he held her now.

Emerging momentarily from their kiss he held her a little from him. Her black hair was framed by a delicate halo of firelight, her face almost hidden from him. But he heard her little panting breaths, felt her body against his and under his hands, quivering provocatively with what he felt sure was arousal and desire for more. Drawing her more firmly to him with an arm about her waist he teased her tresses again as he kissed in fleeting tiny touches over her forehead, eyes, cheeks and chin before letting her hear his hot, eager breath in her ear. He nuzzled her neck, sinking his nose into the fragrant warm depths of her hair, then re-emerged, licking, mouthing and gently biting her earlobe, eliciting another maddening little moan from her and causing her to tremble delightfully in his arms. He went to work on her neck.

Under his mouth, wrapped in his embrace, pressed to his body she felt bewildered and needful and strangely elated, warm and small and seeking. And now, she not only felt his hands caressing her hair and tickling teasingly over her back and sliding warmly over her thigh and ass; she not only felt the tickle of his beard against her neck and jaw as he kissed and licked her throat in a way that made that ache between her legs swell and sharpen; now she felt him there, between her parted thighs. His hardness bulging against his jeans and pressing against her sex, barely hidden from the sensation by the soft, yielding fabric of the sweat pants she was wearing.

The sensation of her sex pressed to his was wondrous. But the thought of it, of his hard prick seeking her through their clothes, made her tummy flutter with a fresh surge of excitement and suddenly she felt she had crested that hill and now she was hurtling inevitably down toward that delicious obliterating crash.

She was suddenly frightened to feel so much with him this way when he was only kissing her and she tried to pull a little away, not from his arms but just to put a safe little millimeter of space between her aching sex and his hardness. But his legs were bent, his knees high, the steep incline of his thighs making it difficult to raise herself and as she eased back he drew his arms closer around her, pulling her firmly to him once more and her aching, seeking cunt pressed against that wonderful, dangerous bulge once more and she whimpered softly before she could silence herself.

He, feeling her excitement, hearing her sweet little whimper, sank excitedly into the other side of her neck, tonguing and licking and sucking and sighing softly in answer to her sighs and when he felt her push herself away a bit he sensed that she was resisting her own pleasure the way people do when it is too wonderful to bear and he pulled her hard to him once more, bringing her neck to his lips with one hand and with the other caressing the lovely roundness of her ass, clutching her desperately to him, longing to hear another of her little moans, her shy whimpers.

She felt she could not escape and really she did not want to and as his arms drew her against him and as he drove chills through her whole body with his mouth on her throat and behind her ear she let that hard bulge at his groin press into her between her parted thighs. Even as he kissed and caressed her she felt herself flush with embarrassment, but then his hands were both on her ass, caressing and drawing her against him and she went with his movement, the tiniest bit closer, the tiniest drift away, just a little up, a tiny hint down, and her whole belly felt full and heavy with promised pleasure and she was panting in panicked ecstasy as the ache built and swelled and rose up in her and made her whole body still and stiff in anticipation and then that heavy aching promise burst and pleasure flooded up her body and down her limbs like a torrent of warm rushing water and she froze, her nerves listening to this amazing song as the refrain echoed all through her and she let out a whimper, different from the others, kind of lilting and sobbing but still so soft and then she went limp in his arms and he drew her gently against him and he was very still as he held her.

He knew. He knew what had happened to her. She was sure. He had stopped everything at the very moment when his caresses would have become a distraction from pleasure rather than an instrument of it. She was mortified. He had not even touched her…there. What must he think of her, rubbing against him until she came when all they had done was kissed? A flush of unendurable shame burned her cheeks.

"You’re wonderful," he sighed out in a moment of warm, uncensored sincerity, surprising himself, utterly caught up in the sweet excitement of her shyness.

The gentle, open tenor of his voice half effaced her worry. He slowly let her out of his cocooning embrace and gazed down at her and he looked so sweetly happy she almost felt as though she had done nothing wrong. She was trembling with her ebbing tide of ecstasy and waning anxiety that she had done something vulgar and ridiculous. He smiled softly and with that tender look melted the last of her reservation.

He did not pull her to him again but leaned a little forward to seek a small kiss. With her lax body she felt his slightly tremulous strain and desire swelled in her once more. She answered his questioning kiss with an ardent one full of desire and promise. He rose above their kiss for a moment to caress her with another tender smile and to pull a cushion down from the sofa. Setting it on the floor beside them he leaned her back, laying her softly down, wrapping an arm around her waist, holding her tight against him.

"Comfortable?" he asked.

She smiled and nodded her reply.

When he kissed her again, it was a different kiss. He was making love to her with his mouth. He was fucking her with his tongue. He was very experienced, very good at this. He knew exactly what he was doing. This kiss had made many women desperate to get him inside them, and, with a few, once inside it had made it impossible for them not to cum.

He heard her breathing change, felt her hot body quivering beneath his.

She felt this kiss, this fucking kiss. She felt his powerful thigh pressed between her legs, felt him on top of her, his body pressed lightly to hers. She felt his desire and it aroused her already sated body to new yearning. But something darker was taking shape there under her pleasure and her desire for more. That fucking kiss of his felt so penetrating, like he had taken possession of her and she felt irrefutably that she was losing herself as he was taking her over. Then there was a shift and instead of one powerful thigh between her legs there were two, slowly, irresistibly pushing her thighs open and then his hips were between her legs again, his hardness pressed to her once more.

Vaughn, stinging everywhere with lashing desire, felt her excitement but nothing else. Though he had sensed her cum, though his body was clamoring for release, what he wanted most in this moment was to feel her trembling on the brink of climax once more, hear her tiny moan again, hold her as she quivered in ecstasy.

Still kissing her deep and urgent his left hand sought her right, found it, folded it in its warmth, brought it to the floor by the cushion cradling her head. Though the lengths of their bodies twined and pressed together, though their mouths were eagerly seeking and caressing, he wanted this other closeness, her hand in his, their palms pressed tight, fingers learning one another as they folded and unfolded.

His right hand caressed this strange, wonderful girl who, at this moment, was somehow making his organs—the soft places in his chest and belly—ache as sweetly as his body ached. His fingers dove and swam in the warm currents of her hair, trembled down her smooth hot cheek, his thumb traced the soft curves of her jaw, his palm slid gently over throat, neck, and shoulders.

He felt the soft slope of her breast. God, her breasts, he had been noticing them, curving delicious and swaying tempting beneath his t-shirt, imagining seeing them bare, imagining them smooth and soft and warm under his hands, imagining teasing her nipples stiff. Normally, now, he would have caressed her breasts. With any other woman. But she had been so shy, so afraid of baring that part of her body, that without really thinking about it he instinctively avoided touching her there now. Instead he slipped his hand light and warm down her side, feeling tiny undulations of ribs and gaps, incurve of waist, outcurve of hip. His fingers slid under her thigh, caressing, massaging, drawing it up, pressing it to his hip as his fingers glided down, behind, stroking her thigh, down toward the floor, toward her center, that part of her that had thrilled against him moments ago.

He lifted himself a little, hovering over her, touching down at toes, knees and elbow, holding tight her small hand. His other hand came between them. He had made her cum, but he had not touched her yet. He ached to touch her. So, so lightly he let his four fingertips touch down between her thighs, drift back, over the hot humid fabric over her hidden hollow, and with sweetest softness his hand cupped her sex.

She was softly whimpering, almost sobbing with needful desire when his hand touched down on her. It moved so lightly, so gently, stirring nerves still dazzling from her earlier climax, that her hips ached to rise up against his hand, seeking deeper contact. But now, with her thighs pressed open, with her hand held sweetly but firmly to the floor, his hand on her sex, that darker shape in her mind cast a longer shadow over her pleasure. Sweet surrender dissolved in vulnerability, excitement began to smother under sudden fear.

His hand drifted away from her sex, up, and sought the hot bare flesh at her waist. So smooth and soft he thought of warm butter and wondered would his hand sink into her, but it just glided over the taut quivering smoothness, finding navel, gentle slopes at hip bones and ribs and ribs and hip bones. And the teasing, welcoming little gap inviting his hand under the tiny canopy formed by fabric stretching between hip bones and opening where belly did not rise to close the entrance. His hand slipped under the waistband of her sweats, over his boxers, between her thighs, finding the fabric over her sex warm and damp, finding the contours of her body more readable than they had been through the sweats—the firm swelling of her mound, the smaller, softer curves lower down, the enticing valley and hills of her bottom. He did not linger. He crossed the terrain just twice—down and back again, slipping out past the waist band and gently in again, this time beneath the shorts, seeking hot bare flesh.

Her hand, her free hand flashed down and clasped his wrist. His hand remained, soft and warm, pressed to her belly, low and warm and bordering the terrain he sought. She felt his wrist, thick and strong in the weak circle of her fingers. She felt her other hand, clasped tight in his, pressed to the floor. His hips holding her thighs open. His hand on her bare belly. A thousand images that were not images but only hints of memories bombarded her brain, cooling every hot place, darkening every place of light.

She panicked.

Vaughn was no longer there for her. She just felt that there was a man on her, a powerful body overwhelming hers, that there was a man in her mouth, a threatening hardness pressing against her.

He felt her freeze beneath him, he felt her go cold, rigid. He stopped his kiss, lifting himself up to look down on her. Her face was like a statue, white and stony, and her eyes were dark and panicked, and looked insane with the firelight flickering on them.

"Stop," she whispered. "Please stop."

"I have, I’ve stopped."

He sat up and pulled her up into a sitting position.

"I’ve stopped," he repeated. "I didn’t mean to scare you. I wasn’t going to hurt you," he whispered, feeling at once guilty and exasperated. He wanted to embrace her, but was afraid to.

"I know…"

She looked at him, ready to flee in embarrassment. But he was looking at her so kindly, his face so open. She wanted to explain.

"…I’m sorry," she whispered.

"Don’t apologize." His spare words were gentle.

"I’m…not very experienced."

"Okay."

He waited, knowing she had more to tell him.

"I feel silly telling you this."

"Why?"

"It seems childish. But I want to explain why…I don’t know why I got so frightened."

She did know. Why had she said she did not?

"I’ve never really been with a man before."

He was stunned. He tried to strip the surprise from his voice.

"You’re a virgin?"

A pause.

"Yes."

Her voice cracked. She was afraid she was going to cry.

"I’m sorry I came on so strong. If I’d known, I would have been different with you."

A thought occurred to him suddenly, pricking him with panic.

"Devan, how old are you?"

"Nineteen."

So young. It had not occurred to him that she could be so young. So, so much younger than he. Maybe he would have guessed, by her face, by her body, except for her eyes. And the fog of melancholy that always lingered over her which he associated with later years.

He saw that she was upset, maybe even about to cry. He could not have guessed why, though, and thought it was only something between them—hell, what did they know about each other? Nothing. Maybe she was saving herself for marriage. Maybe she had wanted it, then changed her mind. Maybe she had been afraid he would not stop. He smiled a soft sweet smile and tentatively stretched a hand toward her and, when she did not startle or pull back, gently caressed her cheek.

"Devan, it’s alright. I don’t want to do anything you don’t want to do. We can just sit here by the fire and talk."

His gentle smile, his soft words were so sweet she felt a new, different ache somewhere above that other, yearning ache. The hand caressing her cheek slipped lightly to the back of her neck and, rather gingerly, it seemed to her, he pulled her to him in a cautious embrace. Why was this happening? She wanted him. She wanted to feel that delicious surrender again. She wanted to make him feel it. She wanted his hands to erase the ugly memory of other hands, she wanted to see his face, hear his voice, smell his body as she gave herself up to pleasure.

But that cold dead panic was still with her. She could not be touched. She was fighting to hold back her tears, but she felt them welling up perilously high, and when she could not refrain any longer from blinking they slipped down her cheek. She let him hold her for a little while, stopping her tears by force of will and trying to furtively dry them against his shirt as he held her, then broke the circle of his arms, hastily said goodnight, and went to bed, never letting him see her tears.

========
A CONVENIENT STOPPING POINT, FOR READERS WITH LIMITED TIME
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He felt unbearably sad to see her slip down the hall and into the little bedroom. It had been so long since he had felt more than base physical desire for a woman, since he had yearned just to hold someone, to be in their presence. She had wanted him, he had felt it, but he had scared her. That had never happened to him before. He had been a very cautious and infrequent lover as an adolescent, and after becoming famous, a "rock star," women did not fight him off. Quite the opposite.

He was so hard he ached, and he thought of going into his room to jerk off. He decided against. He wanted to keep this physical need to go with his emotional need. It was a bittersweet way of keeping her with him. He sat down in front of the fire, thinking about this strange girl who had appeared so mysteriously, about their impossibly bizarre initial encounter, and how it had warped their relations. Wishing they could have met in the city, under normal circumstances, he realized that such a thing was impossible. He never met people under normal circumstances. He never let people near him.

Feeling nostalgia come over him in a wave, he began thinking of his ex-wife. They had met under normal circumstances. He had not held a gun on her. He had not tackled her in a field. Normal. They had met at a party, at the home of a mutual friend. A few drinks, some laughter. Phone numbers exchanged. A few dates, then to bed. Then they were a couple. Then they married. Then they divorced.

Restless, he rose and wandered over to the little desk by the front door, where he kept his remembrances. He opened the wide, shallow center drawer and stood there, looking down at the envelopes scattered over the bottom. They had been banded together, he was sure, in packets. Before, during, after. Her letters to him. Before their marriage. During their marriage. After their divorce. Had she gone through his things? Had she read his letters?

He felt like he was going insane. They were past this. He had finally let his guard down. She had made him trust her. Like her. Care for her. Want her.

But she had. She had gone through his letters. She knew. She knew what had happened to him. He had never told anyone. No one but his wife. And now she knew. This strange woman. Who would be going back to Seattle. She could tell people. The press. Maybe she had even taken a letter for evidence.

He snatched up all the letters, every last envelope in the drawer. Then he stomped into the kitchen, grabbed the whiskey bottle and a glass, and took everything with him into his room. Drinking glass after glass of warm booze he put the letters into chronological order. Then he skimmed them, trying by memory to be sure they were all there. They seemed to be, but he might be mistaken. At least they were her letters, not his. His were the dangerous ones. He could never tell her, face-to-face, what had happened, so he’d written her. Now he regretted it. Never put anything in writing, he thought. Never. Like that old axiom, never say anything that you wouldn’t want to be quoted on in print. Then, with a sinking feeling, he remembered. His journal. The most damning evidence of all. Everything recounted in disgusting detail. Where had he left it?

Stumbling with fury and booze he began searching—his nightstand drawers, the dresser, the closet. Back out into the living room. Back to the desk. Nothing. The storage closet? No. Not the bookshelf either. Not in the kitchen drawers, but that was a ridiculous place to look anyway. He turned, looking down the length of the cabin, at the closed door of the little bedroom.

X-X-X-X

The next morning he awoke feeling positively evil. The whiskey had ravaged his head, and she had violated his sanctuary. The cabin, his one little spot of peace on this shitty earth. His letters. His journal. He got four aspirin from the bathroom, then gulped them down with a full glass of water in the kitchen. When she got up she opened the door to the little bedroom, flashed across the hall and into the bathroom for a couple of minutes, then emerged, walking over to him where he stood leaning against the counter, arms crossed over his chest.

She looked up at him, smiling sheepishly, and said "Morning."

"Good morning," he pronounced dryly.

"You look a bit rough," she said tenderly. She reached up and lightly touched his cheek. He did not move. He looked grave.

She had hoped that he would receive her a little more warmly this morning, though she had feared that he would be angry about the night before. He could not possibly know what she had been through, what she was going through. So her behavior was strange. She knew it. She decided to give him his space.

"I think I’ll go for a walk. I’ll see you a little later." She tried to sound cheery, but heard how forced her tone was.

He said nothing as she opened the front door, walked through it, and closed it behind her. After a few minutes he turned to look out the window, and saw her slipping into the shadows of the trees. He was shaking. Seeing her standing there before him, this girl he had somehow come to adore over the course of a few days, who had been in his arms the night before, filling him with the most desperate longing he could remember ever having felt, he half wanted to embrace her. And yet, she had convinced him to forgive this ridiculous story of being lost in the woods, she had played the victim, tricking him into pitying her, trusting her. And she had read his letters. The night before was probably, he reasoned, another ploy to keep him trusting her, to make him trust her more, let his guard down. He had to find the journal.

He turned from the window and looked toward the open door of the little bedroom. With a determined step he walked the length of the cabin and entered her room. The nightstand drawers were all empty. The dresser had nothing in it but a few articles of clothing. The closet. The pack was there, still loaded up with food, ready for her to take flight. Dragging it out he ripped it open and dumped its contents on the floor. Cans went rolling, the silverware clattered onto the ground. The same two novels thumped onto the wooden floorboards. No journal. Haphazardly he jammed everything back into the pack and stuffed it back in the closet. Exasperated, he went to the bed. Leaning over, he snatched up the two pillows. A gun. Under the pillow like in a tragic news story. He picked it up and examined it. He recognized it. His gun. He placed the pillows back, then stomped back to his room, the barrel of the gun clutched in his clenched fist.

He was convinced she had it. That she had read it. That she knew those things about him. Yet she seemed so different from those others, those predators. Pacing in his room, he went over in his mind every moment he had spent with the strange girl.

His thought of their kiss the night before aroused him again. He could not believe, in his angry state, the power of the longing he was feeling for her. He wanted to purge himself of her, get her out of his system. Bitterly, suddenly he yanked his belt open, unzipped his fly and took out his cock. Seething with rage and unfulfilled desire he sat on the edge of his bed and furiously began jerking off. He was picturing her, her mouth, her full breasts that were never in a bra. He thought of how she had tasted the night before when he had been on top of her, hard and pressed up against her, and how he had thought then that they were about to fuck. He imagined pulling her sweats down, over her hip bones, exposing the smooth flesh of her thighs, then off completely. He imagined what her pussy might look like, how she would smell and taste, and how it would feel to push himself inside her, to hear that tiny moan again.

Something broke his reverie. He looked up, his attention drawn instinctively to the door that he had slammed shut, but which must have drifted open, as it sometimes did when the latch failed to catch. She was standing there. Looking at him. She had been watching him. He stood, rage pounding through every vein and capillary. She made a little noise, a gasp, turned, and ran. He felt suddenly cold, self-possessed. He put himself away, zipped up his fly, buckled his belt.

Then he charged after her. She had left the front door open. He ran outside and scanned the clearing. She was just about a third of the way across, running for the woods. He took off after her. He knew he could catch her. He just ran as hard as he could, knowing he was faster, knowing he would have her in just a few moments. When she reached the edge of the woods and charged into the shadows, he did not lose faith.

When he reached the place where she had entered the woods he stopped. Over the sound of his own hard breathing he could hear the leaves bursting apart under her feet, the twigs snapping in her path. He turned to track her, running full speed, slaloming between the trees. He was gaining. He could see her. Within seconds he had her. He caught her by the arm, spun her around, pressed her up against a tree. Silently he stared at her, roiling with hatred.

"I didn’t mean to…" she gasped.

They were both panting.

"Shut up."

"Vaughn, listen. I’m sorry, it was an accident, I was just passing by, going to my room, and—"

"Shut up!" he shouted. Then more quietly, in a voice straining to be restrained, "I’m tired of your lies. I don’t want to hear you anymore. Come on."

He jerked her by the arm, pulling her from the tree, dragging her stumblingly along behind him.

"Vaughn…"

He said nothing, but quickened his pace, tightened his grip.

"Vaughn!" she cried, increasingly terrified.

He dragged her back to the cabin, up the steps to the front door, down the hall and into her room. He threw her down on her bed. She sat up. Standing in front of her, he unbuckled his belt and unzipped his pants. Mounting the bed he straddled her hips. Sobbing, she tried to hit him in the face, in the stomach. He grabbed her wrists and pushed her arms up over her head.

"Grab the bars on the headboard."

She did nothing.

"Grab them, and hold on to them, or I’ll fucking tie you up."

Terrified at the idea of being tied up, convinced she could not fight him, she gripped the cold iron bars.

"If you fucking let go of those bars for one fucking second, I’ll tie you up, and I may never untie you. You hear me?"

He leaned over, putting his lips against her ear.

"You come here. You break into my house. You read my letters—"

"No—Vaughn—"

"Shut up! If you say one more word, I’m going to stuff a sock in that mouth and tape it shut! You read my letters. You steal my diary. You seduce me."

He laughed a tight, bitter laugh.

"You actually made me pity you. Then you spy on me—you spy on me while I’m fucking jacking off."

Then, calculating his words to frighten,

"Know what I was thinking about while I was jerking off? Hmmm? I was thinking about fucking you."

His voice was a growl. Not human. He felt ready to kill. Ready to cry. In his seething fury he was almost capable of raping her. But her pale tear-streaked face, all the moments she had seemed to fear him, stopped him, in spite of his doubts that it had all been an act.

But he would punish her.

Wanting to terrify her, knowing what would go through her mind, he stripped off his heavy flannel shirt. Then the white t-shirt he had on underneath. His largeness, vague under the thick clothes he always wore, was revealed as hard, defined muscle. He spread open the fly of his jeans, revealing the thick bulge that strained the white ribbed fabric of his underwear. He massaged himself, pushing his hand down into his jeans and bringing it back to cuff the uppermost part of his erection. Her eyes closed, her fists went white around the bars of the bedstead.

"You wanted to see this. Open your eyes and watch."

She opened her eyes. She watched as he pulled his jeans and underwear down, taking hold of the waist band, uncovering his erection. Frightened, embarrassed, she instinctively closed her eyes again.

"If you don’t watch this, I’ll find another way to get off. Open your fucking eyes."

When she obeyed him, looked at him, he began stroking himself. With the force of a tornado rage, anguish and excitement swirled inside of him. After his unsatisfied longing from the night before and his interrupted masturbation session a short time earlier, frustrated lust had built up to the bursting point. Violently he beat off. The sight of her watching him tweaked his arousal to a higher pitch. As his excitement rose his hatred ebbed. He forgot, almost, that he was forcing her to watch.

She, terrified at first that he was about to rape her, then mortified to be seen looking at his nakedness, watching him touch himself, had almost forgotten her alarm. It was strange. As she realized that he was not going to rape her, that he was masturbating in front of her, the darkest, sharpest part of her fear went gray and smooth. Then the sight of him before her, on top of her, his cock in his hand, his firm belly and broad chest, shoulder muscles flexing, his face reflecting his excitement, his eyes locked on hers, roused her. Her breathing quickened, not with anxiety but with anticipation, awaiting his moment of release.

He clutched the hem of her t-shirt in his fist. She almost let go of the bars, desperate not to let him bare her breasts. He pushed her shirt up, baring her belly, her ribs, just up to the first hint of the soft swellings. She watched his frenzied stroking, then he stopped. Then he drew his hand slowly up the length of his hardness, groaned, and released his milky warm orgasm in surprising spurts onto her stomach.

Inexperienced as she was, she knew perfectly well how these things worked. How men came. Yet she was somehow astonished to now have his cum, this stuff that came from inside of him, warm and wet on her skin. Still holding the headboard she lifted her head to look at the pattern of splatter on her belly.

"Don’t move," he said, getting off of her, off the bed, disappearing into the bathroom.

He came back, tucked away and zipped up, his belt open and hanging at his hips, carrying a wet towel. Bowed, contrite, he sat on the side of the bed. She still held the iron bars. He had not meant for her to stay like that, when he had told her not to move—he had only worried about the mess. Already succumbing to agonies of remorse he took hold of one wrist, guiding her arm down to her side, then the other. He washed her stomach clean with the towel he had wet with warm water, then pulled the hem of her shirt down, covering her up. He could not look at her. He started to stand. She grabbed his wrist.

"Vaughn."

Her voice was soft and sad.

"Don’t."

His voice was tight. He was on the verge of crying. He yanked his wrist from her grasp, stood, collected the shirts he had thrown to the floor, and left, closing her door as he went.

She heard his steps in the hall, then his door being closed. The sympathy she had somehow felt as she saw his shamed posture, his hurt eyes, heard the misery in his voice evaporated once he was out of her sight and she was left in silence. He’s fucking nuts, she thought. So am I. Otherwise I’d have run by now.

He, fearing that his irrational cruelty would drive her from the safety of the cabin to the perils of the woods, was listening carefully for sounds of escape, and would not have let her go.

Tired of her tedious, banal despondency, she decided to do the one thing that somehow always seemed to make her feel better, whenever she was overwhelmed by any emotion—she decided to write. In the past, since adolescence, writing had been a release for the unbearable pressure of sexual need she had felt mounting within her, but which she knew could receive no outlet except on the page. And when she had arrived here, tormented by her memories of captivity and her conflicted feelings about all that had been done to her, and all the things he had made her feel, only by writing her story had she reclaimed some peace of mind.

She pulled her diary from its hiding place between the mattress and box spring. Taking the pen from the nightstand, she curled up in the chair by the window. She thought for a long time, sorting through the schizophrenic sentiments that seemed endemic to her now. The fear, the hate, the feeling of betrayal instilled in her by his violence that day, tempered, slightly, by the tender feelings for him she had felt budding within her over the last few days, and her sense that he was living with demons of his own.

She recalled with a fresh pang of fear the accusations he had leveled at her. The letters. The journal. The spying. She understood how it had appeared to him, looking up to see her peering through the narrow opening of the door, when from her perspective, walking past to enter her own room, her gaze had simply been drawn, unconsciously, to the movement she had perceived in her peripheral vision. She had not even registered what she had seen until he stopped, and she read the look on his face. In had been a fateful accident. She turned her thoughts to the letters he had mentioned. She remembered, after a few moments, the letters she had seen in the little desk. She had flipped through them, looking for an address, hoping for a clue to her whereabouts. If he had noticed they had been disturbed, this could account for his belief that she had read them.

Then, thinking about his journal, the journal he believed she had stolen, she looked down at the diary in her hands. She thought of it as hers, intimately hers, made so by the fact that she had recorded within it her most painful, shameful secrets, and that by taking them from her it had saved her. But she had come here with nothing. Like the clothes she was wearing, and the chair she was sitting on, and like the pens she had used to write, the little notebook, the paper and the cardboard and the wire spiral that bound them were his. She had thought of it as a material item, like the can opener and the backpack. But she realized that this book in her hands might be the thing he had most feared having taken.

She opened the notebook, as she always had, starting from the front cover. The cover with the word "journal" embossed upon it. Turning the pages she looked at her own writing, the story of her abduction. Her reflections as she had struggled to make sense of what she had been through. Her entries after Vaughn had arrived. Then she closed the book, turned it over, and opened it from the other cover. And there, on the first page, was writing that was not hers. His writing. Opening the book from the middle and fanning the pages through her fingers, back to his first entry, she saw that almost half the pages were covered in his writing. How could she have been writing in there all those days, never noticing the writing at the other end of the notebook?

She felt nauseous, knowing that she could never explain to Vaughn what had happened in a way that would make him believe her. The thing he feared so much was true. She had his journal. He would never believe she had not read it. And then, looking down at the angry scrawl he had scratched onto the pages in black ink, she considered reading it. It was a violation. It was one of the things she hated Conrad for. It was one of the things, already believing her to have done it, for which Vaughn hated her. But it would tell her, she hoped, whether Vaughn was simply an imbalanced case with a rock star complex and a tendency toward violence, or if some truly frightening experience made him return, again and again, to his belief that she had come there to do him harm. Then she thought of what he had done to her that afternoon. On the bed. That thought wiped all sense of obligation from her mind. She began to read
 
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I am posting here the comments that I made near the end of the story - summary-type comments. Other in-text comments have been emailed to the author; I just find it easier to highlight and send the draft back rather than to cut and paste every single word or line upon which I have commented.

Great ending! Really makes me eager for the next chapter. I loved this.

I will answer your specific questions first, then put other observations at the end.

Hi everyone. I'd love any feedback, but I do have a few specific concerns and questions:

1. On characterization: is Devan too wimpy? Is Vaughn too schizophrenic? Are they sympathetic and interesting?

I found them both sympathetic and interesting. Devan could, in my opinion, use a little beefing up, but of course it’s tricky to know how to do that given that her circumstances make active physical resistance impossible on most levels. I also wonder if making Deven more strong would not be a work of many days, as it would essentially involve making her a bit less of a “little girl lost” from the start. Still, I might rather like that. Maybe with a more personal, powerful sense of her desire for fantasy? That is, she writes fantasies about men and women, but doesn’t consciously desire to live them … or won’t admit it. Are there times when she’s frustrated with what people assume about her sexually?

Vaughn is coming across well for my tastes. I like the complex, painful coil of how his desire, fear, and desperate desire to stay wall-in feed each other, and at several points in this chapter that comes through quite deliciously. His angry, cruel treatment of Devan seems to be a sort of projected anger with himself or frustration with his position, and I like the way that his underlying restraint in the midst of frenzy maps out a complex relationship between his rage and his guilt.

If I was to pick one way to give both of these characters more depth and power, it would be in expanding the sense of how they become attracted to each other. I can certainly see why anyone would be in a hurry to get to the physical scenes – they are extremely hot! But I’d like the characters better if I knew more about precisely what each sees in the other, and how it was learned or first perceived.

2. As they come together, does their attraction seem believable?

As above, I do think I would like to see more. Fleshing out specifically what each character finds appealing in the other and then building in some ways for these characteristics to be revealed would help on all three counts: d’s characterization, v’s characterization, and the sense of building attraction. Of course, it’s hard to do this without entering into the dreaded realms of the cute, but I have faith in your ability to carry this off.

3. Pacing: in chapter 4 (the next chapter) we learn Vaughn's dirty secret, followed by Devan's, and also starting with chapter 4, the rest of the novel is essentially a non-stop erotic cabaret. But have I dragged you too far too slowly?

Not in the least. Most of this was riveting and filled with the most delicious sense of sexual tension.

4. Is the first sex scene too minutely detailed?

Pray don’t touch a word. It was intensely delicious. I was deeply impressed with the power you put into small actions. I had a few suggestions that I made in the draft I emailed to you, but they were some adds, no subtracts. Your drawing-out of that delicious tensions really made that scene.

Other comments/suggestions:

Compared to the last chapter you posted, I see big gains here in POV and voicing the characters. I got a lot more of their thoughts and emotions, particularly in the sex scenes, and this made a big difference to me. I found the sex much more enticing, despite the actual actions being quite “minor.” Vaughn’s whipsawing from tender to bitter is working well for me because I can see more clearly the development of those different impulses. Really, I was quite wrapped up in this all of the way through, and I congratulate you on an excellent read that left me hoping for more – despite being up far later than I should be reading this. Well done, Varian!

Shanglan
 
Thanks, Shanglan.

As always, very helpful feedback--both on big picture issues here, and on the finer points throughout the text in the marked-up draft you sent.

BlackShanglan said:
Great ending! Really makes me eager for the next chapter. I loved this.

Whew. So glad. Hot action just around the corner, so I am hoping to keep 'em hooked. ;)

I found them both sympathetic and interesting. Devan could, in my opinion, use a little beefing up, but of course it’s tricky to know how to do that given that her circumstances make active physical resistance impossible on most levels. I also wonder if making Deven more strong would not be a work of many days, as it would essentially involve making her a bit less of a “little girl lost” from the start. Still, I might rather like that. Maybe with a more personal, powerful sense of her desire for fantasy? That is, she writes fantasies about men and women, but doesn’t consciously desire to live them … or won’t admit it. Are there times when she’s frustrated with what people assume about her sexually?

Yes, I agree, Devan needs some beefing up. It's tricky, though, as you say, because yes, she's not really in a position to fight back, here. As far as playing up her power/personality through her fantasy realm, I'm fairly intent on keeping her writing a little secret until the big revelations come, starting with the next chapter. I think I'll have to give Devan a bit more thought.

Vaughn is coming across well for my tastes. I like the complex, painful coil of how his desire, fear, and desperate desire to stay wall-in feed each other, and at several points in this chapter that comes through quite deliciously. His angry, cruel treatment of Devan seems to be a sort of projected anger with himself or frustration with his position, and I like the way that his underlying restraint in the midst of frenzy maps out a complex relationship between his rage and his guilt.

Golly, I'm glad this is what you're getting from Vaughn!

If I was to pick one way to give both of these characters more depth and power, it would be in expanding the sense of how they become attracted to each other. I can certainly see why anyone would be in a hurry to get to the physical scenes – they are extremely hot! But I’d like the characters better if I knew more about precisely what each sees in the other, and how it was learned or first perceived...Fleshing out specifically what each character finds appealing in the other and then building in some ways for these characteristics to be revealed would help on all three counts: d’s characterization, v’s characterization, and the sense of building attraction. Of course, it’s hard to do this without entering into the dreaded realms of the cute, but I have faith in your ability to carry this off.

I agree--just because I know what makes them attractive doesn't mean I've let them see it in each other. I think I've got one promising idea here. And I'll do my best to circumnavigate the glittering but deadly quicksands of cuteness.

Compared to the last chapter you posted, I see big gains here in POV and voicing the characters.

If I've managed that, it's largely thanks to you. :)

I got a lot more of their thoughts and emotions, particularly in the sex scenes, and this made a big difference to me. I found the sex much more enticing, despite the actual actions being quite “minor.” Vaughn’s whipsawing from tender to bitter is working well for me because I can see more clearly the development of those different impulses. Really, I was quite wrapped up in this all of the way through, and I congratulate you on an excellent read that left me hoping for more – despite being up far later than I should be reading this. Well done, Varian!

This is all immensely encouraging, though I won't be a bit surprised if you're in the minority on sticking with Vaughn through all this. We'll see.

Thanks once again for your instructive feedback--and for staying up late to give it to me!

Best,
Varian
 
Hmmm...

Judging by the deafening silence, I've either scared (nearly) everyone off with my lengthy submission, or I've otherwise offended. Did my bribes go out with insufficient postage? :eek:

If the former is the problem, I'm in a bit of a quandary, as I feel I've broken my novel down into the most bite-sized pieces I can manage while retaining enough continuity to get useful feedback on anything more than prose-level issues. Perhaps the SDC isn't the right forum for this work, and I apologize if I've taken advantage of everyone's hospitality.

This may be unorthodox, and I hope I'm not trouncing on any rules by offering an option/pulling a switcheroo, but I could offer a much shorter, spicier chapter from the prequel for feedback instead. It's much more in the "stroke" realm, but still has decent plot and character development, I hope.

Anyway, if anyone's willing, here's the link:

Conrad's First Girl: Ch. 02

Thematically it's a little melange of D/s, reluctance, and first-time.

On this story, I'm most concerned about characterization:

Does Elsie's submission seem to make sense? Or is it unbelievable?

Does Conrad's power over her seem believeable?

Again, sorry if I've breached etiquette or otherwise tread on the good graces of the kind inhabitants of the SDC. Thanks in advance for any help.

Varian
 
Don't you dare! I'm still working on the first one....and I'm seriously enjoying it...and I'm gonna have a class A sulk if I have to give it up and start over on something else ;).

Sorry it's taking so long. I'll try to pour on the steam and finish tonight. It's your own damned fault for writing sentences I want to savour!

G (who will be good, and switch stories the instant the powers that be tell her too...but she's coming back to this one afterwards)
 
Ginger,

The last thing on earth I wanted was to give you, or anyone else, is more work]. And believe me, I want feedback on the long one more than anything in the world--I was just fretting that it was such a burden that it wouldn't be touched, and I was feeling guilty.

Thank you immensely for wading through the whole thing, and even savoring a sentence or two on your way--you always give such insightful feedback, I'm truly looking forward to hearing what you have to say.

Best,
Varian
 
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I think it's a mistake to offer more material for feedback.

At least some people will get through a substantial chunk, and your move somewhat demoralizes.

I'm sure a couple more critiques will turn up, though with hindsight, it's simply too much for this type of forum.

For a positive idea, maybe a stopping point could be designated for those with limited time. I.e., tell me where, around the 5000 word mark, a person might reasonably stop reading, and consider what s/he's read.

How about stopping with this para (5900 words):

But that cold dead panic was still with her. She could not be touched. She was fighting to hold back her tears, but she felt them welling up perilously high, and when she could not refrain any longer from blinking they slipped down her cheek. She let him hold her for a little while, stopping her tears by force of will and trying to furtively dry them against his shirt as he held her, then broke the circle of his arms, hastily said goodnight, and went to bed, never letting him see her tears.

{Just before the para opening:
He felt unbearably sad }

ADDED: This point is now marked in the story.
 
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Hi all.

Sorry if my attempt to redress my earlier mistake just made things worse.

Pure, thanks for your idea, and for designating a good stopping point in the text.

Thanks, everyone, for bearing with me.

Varian
 
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Varian, why not take down that last chunk, and with your agreement I'll mark the spot I mentioned (in the main body of text), and put a note at the outset.
 
Please provide also capsule summaries of chs 1 and 2. Say 50 words each. I'll post that at the start, also. I'm a little confused about the sequence in ch1. I guess it starts with her running, but then there's a flashback or maybe everythings a dream or ??
 
Summaries of chapters 1 and 2:

Ch. 01
Devan is lost in the woods, running from a wicked fellow named Conrad who's done something sexual to her (not a violent rape). Two dream sequences reveal that Devan is both terrified of and drawn to Conrad, and she's guilty about her conflicting feelings.

Devan finds an unoccupied cabin, takes up residence, and a couple days later the owner of the cabin, Vaughn, turns up, seeing her as an intruder.

Ch. 02
Vaughn is so suspicious he's borderline brutal with her. It's revealed that he's a celebrity and fears she's some kind of stalker. Because of the remoteness of the cabin, though, she can't leave, and they make a tenuous truce. Throughout the chapter each is fearful of the other, but both are having dark sexual fantasies involving the other, as well. Vaughn's are particularly violent.
 
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{NOTE: This was slightly edited for clarity, 3:30 am Sat 10-02, but not in any substantial issues, during Varian's posting of a response.}

Generally the writing is excellent, and one assumes that despite all the 'rape' scariness, it's basically a romance, from a woman's perspective (with lots of sex detail, gently phrased); it appears the narrator is likewise a woman. Given that there's going to be lots of inner drama, the issue is how to keep its expression in control.

One issue is the tone, and the narrator's choice of vocabulary. Sometimes it's almost coy, occasionally dated: "tresses" "between her thighs" etc. This is the sort of euphemism beloved of a certain audience. So, 'on its on terms' it can't be criticized; it is skillful, but dirty, and will probably be received well with those particular readers.

Another issue that strikes me is details. They are fairly comprehensive: he stood, sat down, sat nearer, etc. I have a sensation of listing, and sometimes lack a view of 'the forest.' Of course people like sex details, but again selectivity is possibly called for, not a telling of each brush of prick and cloth-IMO.

This is related to the issue of predictability. In the latter part of the first half of the chapter (excerpted below), these are the main events: They are basically having drink and getting close and making out, and she's responding. He's being gentle, proceeding down the 'How to make love to a woman' path, and struggling against some caveman stuff.

That said, in the period covered in the excerpts below, there are few surprises: He touches-- tresses, forehead, eyes, cheek, chin, ear, neck, hair, ear, neck, back, thighs, ass, 'between her parted thighs.' No drink is spilled. No touch is to a place that's uncomfortable (or neutral), no fumbling. (I realize there may be surprises in the part of the chapter that follows.)

The comments below are more in the nature of petty complaints, and focus on selected items. Because these few items are criticized, it does NOT mean I have a general negative view of the story/chapter; in fact it is very well written, and the product of talent and imagination.

{{These excerpts are from the first 60% of the chapter, though I've looked at previous ones, and most of the rest of this chapter; it's simply too much to comment on.}}


The strain of the tension between them was a burden on Devan, and she was miserable with the thought that he believed she had come with the intention of spying on him, or worse. She understood the pain of that kind of violation and to be the cause of it was unendurable. And, as the first day passed, then the second, she found this aloof, quiet, brooding man more and more intriguing. Perhaps it was because, after all she had been through, she longed so desperately for a friend. She wanted to talk. She could not believe that she found herself wanting to talk to him, this cold, suspicious recluse, when she knew that if she had gone home, among her few friends, she would have been silent. But, inexplicably, she wanted to tell him. Him specifically. And under that soft yearning for comfort and understanding was another perplexing urge—a roiling, rising need for him that she felt in the quiver at the center of her belly and in the aching heat of her body.

First sentence is unduly complicated. In the para., there are lots of 'she' sentences, detailing the sequence of thoughts and feelings. The last two sentences have a touch of romantic melodrama.


----
He handed her the whiskey and cola. She took it, and rested it, untouched, on her thigh. She felt flushed and sleepy from the first one. He took a drink, and stood for a while, looking into the fire. When he sat down on the floor again, he sat a little nearer to her than he had been before, with his body turned toward her, his elbow resting between them on the seat of the sofa. He was so close. A twinge of fear fluttered in her chest, and an aching arousal followed the pulsing throbs radiating from her chest, out to her limbs. She glanced at his arm, surprised, as always, at its size, at how muscular it seemed. The smooth milky whiteness of the delicate skin of his inner arm. When she glanced at his face he was looking at her and she felt embarrassed, as if he had read her thoughts. He smiled a small smile.

Much detailing of his walking and standing. Lots of 'he' 'she.'
The subjects of the above sentences, in order (usually first word): he, she, she, he, he, he, twinge, she,[none],he [then] she, he.

In sentence five, had you said 'sat closer to her', the "He was so close." would become superfluous, except as a possible thought. "aching arousal followed the pulsing throbs radiating from her chest" seems a bit over-written. I don't like the 'smiling a smile' phrase that you are addicted to.


===
He was being kind. Funny. Seductive, even if he didn't intend to be. And his attentions had her warm and soft. And maybe the drinks made it feel like it made sense. But she was still afraid. And her fear stoked her soft warmth to yearning heat. He could do anything to her; the thought drove a hot ache to her groin. Conrad had been right about her—the fleeting thought stung her before she drove it away.

A little too cutesy. "stoked her soft warmth to yearning heat" seems overwritten.

----
Then he kissed her fully, very softly, long and deep. She was surprised by the power of that kiss. And she was surprised to find her whole body reacting to his touch and his mouth when, just days before she had imagined she would never again want a man touching her. But now her stomach was fluttering, her knees and crotch tingling. She let out a tiny moan that surprised her and inspired him. He was being so careful, every nerve attuned to her reaction, anxious that he had misread her signals, that he was taking advantage of her being stranded there with him. But he felt her chest swelling and dipping with excited breath, felt her trembling in his hands, and that little moan sent electricity shooting from his gut into every extremity.

A bit too much 'surprise' [3]. "swelling and dipping with excited breath" is a too much. Play by play. She does A. She does B. She does C. Subjects in order:
He, she, she, stomach, she, he, he [then] moan.


----
Emerging momentarily from their kiss he held her a little from him. Her black hair was framed by a delicate halo of firelight, her face almost hidden from him. But he heard her little panting breaths, felt her body against his and under his hands, quivering provocatively with what he felt sure was arousal and desire for more. Drawing her more firmly to him with an arm about her waist he teased her tresses again as he kissed in fleeting tiny touches over her forehead, eyes, cheeks and chin before letting her hear his hot, eager breath in her ear. He nuzzled her neck, sinking his nose into the fragrant warm depths of her hair, then re-emerged, licking, mouthing and gently biting her earlobe, eliciting another maddening little moan from her and causing her to tremble delightfully in his arms. He went to work on her neck.

This has its nice phrases. A little less 'he' 'she'-ing. I'm not sure about the consonance: teased tresses, tiny touches. Hmmm. "eliciting another maddening little moan from her and causing her to tremble delightfully in his arms"—is over the top, again. I particularly do not like the 'causing' turn of phrase.

Under his mouth, wrapped in his embrace, pressed to his body she felt bewildered and needful and strangely elated, warm and small and seeking. And now, she not only felt his hands caressing her hair and tickling teasingly over her back and sliding warmly over her thigh and ass; she not only felt the tickle of his beard against her neck and jaw as he kissed and licked her throat in a way that made that ache between her legs swell and sharpen; now she felt him there, between her parted thighs. His hardness bulging against his jeans and pressing against her sex, barely hidden from the sensation by the soft, yielding fabric of the sweat pants she was wearing.

I do see some nice pacing, but four 'and's in the first sentence is too much.
The second sentence is rather elegant in architecture, but is a little contrived (overdramatic) in ending with 'there, between her parted thighs.'

There is an old fashioned flavor at times, then at other times, he 'wanted to get laid' (quoting from memory).
"soft, yielding fabric of the sweat pants she was wearing"—self conscious lubricity of writing. Indeed that's the feel of the paragraph. (I guess that's the stuff that can't be named that's so beloved of certain readers.)

The sensation of her sex pressed to his was wondrous. But the thought of it, of his hard prick seeking her through their clothes, made her tummy flutter with a fresh surge of excitement and suddenly she felt she had crested that hill and now she was hurtling inevitably down toward that delicious obliterating crash.

Too much for me. "wondrous." "made her tummy flutter with a fresh surge of excitement" sounds like young adult romance writing.


Overall, I think it's more than competent, and occasionally quite graceful and affecting in style. It lacks pruning, and to some extent, seems unsure of its audience and purpose. I know there's a market for delicately phrased hot lubricious romance, but it goes a little too far for my taste, which runs more to the 'hard' style, prurience, bizarre twist etc. Feel free to ignore the above complaints. I suspect your audience is quite happy, and justifiably so, as appears in your ratings.
 
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It lacks pruning, and to some extent, seems unsure of its audience and purpose. I know there's a market for delicately phrased hot lubricious romance, but it goes a little too far for my taste, which runs more to the 'hard' style, prurience, bizarre twist etc

Why do I feel a twinge of painful guilt? Varian, dear, I think I really must stop sending you my rambling scrawls. It would appear that I am having a bad influence upon you ;) That description above sounds like a cruelly accurate summary of my own style.

Shanglan
 
Yes, Black, maybe there's an 'influence' on Varian. But it also may be true that as fine writers of romantic bent and lush prose, you both have to rein yourselves in, at times; prune some of the aching centers and torrid heats bursting from the core to the furthest extremities. Just my opinion: Less is sometimes more.

As well, in any 'genre' material, there is the problem of formula and predictability, as well as of 'stock characters.'

Hopefully (!) critiques from the 'other side of the tracks' are of some use.

---
Note to Varian: It's "Raskolnikov." I'm almost certain.
 
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Thanks, Pure.

I appreciate that you took the time to read so much and comment so extensively.

Pure said:
Generally the writing is excellent, and one assumes that despite all the 'rape' scariness, it's basically a romance, from a woman's perspective (with lots of sex detail, gently phrased); the narrator seems like a woman, also. Given that there's going to be lots of inner drama, the issue is how to keep its expression in control.


As Shanglan, MLyons, and others out there know, I really struggle with voice and POV. I'm trying--no, really I am--to give Vaughn a voice in here. I definitely need to keep working at this.

One issue is the tone, and the narrator's choice of vocabulary. Generally it's almost coy, occasionally dated. "tresses" "between her thighs" etc. This is the sort of euphemism beloved of a certain audience. So, 'on its on terms' it cant be criticized; it is skillful, but dirty, and will probably go well with those particular readers.

I'll be very glad to please what readers I can. :) This is interesting to hear--my experience of reading erotica is pretty dang limited, but I think I know just what you're talking about. The tone does do a big shift, and becomes much grittier, later in the novel, when Devan is a bit less virginal. (OK, completely non-virginal.)

Another issue that strikes me is details. They are fairly comprehensive: he stood, sat down, sat nearer, etc. I have a sensation of listing, and sometimes lack a view of 'the forest.' Of course people like sex details, but again selectivity is possibly called for, not a telling of each brush of prick and cloth-IMO.

This sounds familiar :) and I'm afraid you're dead right. Shanglan, may I borrow your machete?

This is related to the issue of predictability. In the latter part of the first half of the chapter (excerpted below), these are the main events: They are basically having drink and getting close and making out, and she's responding. He's being gentle, proceeding down the 'How to make love to a woman' path, and struggling against some caveman stuff.

That said, in the period covered in the excerpts below, there are few surprises: He touches-- tresses, forehead, eyes, cheek, chin, ear, neck, hair, ear, neck, back, thighs, ass, 'between her parted thighs.' No drink is spilled. No touch is to a place that's uncomfortable (or neutral), no fumbling. (I realize there may be surprises in the part of the chapter that follows.)

Yes, it's a rather idealized scene, and perhaps dully, predictably so. I deliberately romanticized here, as a contrast to what's coming, but you've inspired me to consider adding some texture and breaking the predictability in some way. Yes, something to think about.

First sentence is complicated. In the para., lots of 'she', detailing the sequence of thoughts and feelings. The last two sentences have a touch of romantic melodrama.

Thanks to you I have already begun combing through paragraph after paragraph, excising as many he's and she's as possible. Excessive repetition of words and sentence structure drives me loony as a reader, I'm astonished and a bit ashamed to see how criminal I've been in this regard. Funny how one can read their own stuff over and over again and miss these things. Thanks!

And melodrama. Indeed. Girders are up, reconstruction underway.

I don't like the 'smiling a smile' phrase that you are addicted to.

And yet you've just made me smile a smile. :)

Then he kissed her fully, very softly, long and deep. She was surprised by the power of that kiss. And she was surprised to find her whole body reacting to his touch and his mouth when, just days before she had imagined she would never again want a man touching her. But now her stomach was fluttering, her knees and crotch tingling. She let out a tiny moan that surprised her and inspired him. He was being so careful, every nerve attuned to her reaction, anxious that he had misread her signals, that he was taking advantage of her being stranded there with him. But he felt her chest swelling and dipping with excited breath, felt her trembling in his hands, and that little moan sent electricity shooting from his gut into every extremity.

A bit too much 'surprise' [3]...Subjects in order:
He, she, she, stomach, she, he, he [then] moan.

Is that a plank in my eye?

Under his mouth, wrapped in his embrace, pressed to his body she felt bewildered and needful and strangely elated, warm and small and seeking. And now, she not only felt his hands caressing her hair and tickling teasingly over her back and sliding warmly over her thigh and ass; she not only felt the tickle of his beard against her neck and jaw as he kissed and licked her throat in a way that made that ache between her legs swell and sharpen; now she felt him there, between her parted thighs. His hardness bulging against his jeans and pressing against her sex, barely hidden from the sensation by the soft, yielding fabric of the sweat pants she was wearing.

I do see some nice pacing, but four 'and's in the first sentence is too much. The second sentence is rather elegant in architecture, but is a little contrived (overdramatic) in ending with 'there, between her parted thighs.' There is an old fashioned flavor at times, then at other times, he 'wanted to get laid' (quoting from memory). "soft, yielding fabric of the sweat pants she was wearing"—self conscious lubricity of writing. Indeed that's the feel of the paragraph. (I guess that's the stuff that can't be named that's beloved of certain readers.)

Oooh! I've invoked the power of the quality that can't be named!

I'm puzzling a bit over your criticism that there is, at tiems, an old-fashioned flavor, and at other times the grittier narrative. As I mentioned above, I've been making an effort, however feeble, to give the different characters different voices. So, what I had hoped to achieve was that thoughts coming from Devan's POV would reflect her relative innocence and tendency to romanticize what's happening, while action expressed through Vaughn's POV would reflect his jaded worldliness, his "this is just a fuck" attitude. If you have any further thoughts on how one works these things, I would love to hear them. It's a painful struggle for me.

The sensation of her sex pressed to his was wondrous. But the thought of it, of his hard prick seeking her through their clothes, made her tummy flutter with a fresh surge of excitement and suddenly she felt she had crested that hill and now she was hurtling inevitably down toward that delicious obliterating crash.

Too much for me. "wondrous." "made her tummy flutter with a fresh surge of excitement" sounds like young adult romance writing.

Ouch! OK, fair enough. :)

Overall, I think it's more than competent, and occasionally quite graceful and affecting in style.

Thanks--I appreciate that.

It lacks pruning...

I'm in total agreement--pruning shears being sharpened right now.

and to some extent, seems unsure of its audience and purpose. I know there's a market for delicately phrased hot lubricious romance, but it goes a little too far for my taste, which runs more to the 'hard' style, prurience, bizarre twist etc. Feel free to ignore the above complaints.

Oh, if you think this story is unsure of its audience based on what you've read so far, and mainly because of the prose style, I should really send you a plot synopsis, just to give you a laugh. I lovingly refer to it as my schizophrenic novel.

Hard style, prurience, and bizarre twists ahead. Promises, promises.

Your point is well taken, though--perhaps I have a rather alienating mixture of phraseology and graphic naughtiness. I fear that the potential audience for my little labor of love is mighty small.

I suspect your audience is quite happy, and justifiably so, as appears in your ratings.

Now watch me lose them all as I pull a u-turn at 60 mph and head into orgyland. :eek:

Your comments are immensely helpful, Pure. You've brought up lots of issues that others have raised, which confirms to me that they're important and chronic. You've also raised some key issues I hadn't given much thought to.

I know I gave you a lot to read (especially considering you went back and read the preceding chapters!), and I'm grateful to you for wading through it all and giving me such finely detailed comments.

Varian
 
Originally posted by BlackShanglan Why do I feel a twinge of painful guilt? Varian, dear, I think I really must stop sending you my rambling scrawls. It would appear that I am having a bad influence upon you ;) That description above sounds like a cruelly accurate summary of my own style.

Shall we see about getting a 'delicately phrased hot lubricious romance' category into the story index?
 
Pure said:
Yes, Black, maybe there's an 'influence' on Varian. But it also may be true that as fine writers of romantic bent and lush prose, you both have to rein yourselves in, at times; prune some of the aching centers and torrid heats bursting from the core to the furthest extremities. Just my opinion: Less is sometimes more.

Stoppit, Pure--you're making me smile a smile again!

As well, in any 'genre' material, there is the problem of formula and predictability, as well as of 'stock characters.'

Hopefully (!) critiques from the 'other side of the tracks' are of some use.

Absolutely helpful. And I do hope that you'll find me playing on your side of the tracks, at some point. I like to think this pony has more than one trick.

Note to Varian: It's "Raskolnikov." I'm almost certain.

I'm so ashamed. I corrected it in my latest draft earlier today.
 
[note....the computer isn't dinging me for too many words, bless it...but apparently I've used too many [ quote ] type things...gonna break this isn't two parts to post it. Sorry!!]


Hey Varian.

Sorry this took me so damned long. As always, I'm worried that my detailed review is going to be misinterpreted as disapproval. So I want to say up front that I think you've got a great little story going here. I don't think you've got a 20 page chapter (which is what it measured out to be when I copied it into word for editing), though. I think you've got 5 stunning pages, 5 great pages…and 10 pages of repetition. It can be seriously improved just by identifying and getting rid of the excess baggage. And I don't "get" your title, at all. Probably just me. But, that said, I'll go to your specific questions.

1. On characterization: is Devan too wimpy? Is Vaughn too schizophrenic? Are they sympathetic and interesting?

I'm not getting Devan as wimpy, although you're giving her very little beyond "scared" and "interesting taste in books" to work with. She a very reacting character, it makes her seem extremely young. And if young and vulnerable is what you're after with her..I think it works. I'm not getting wimp, I do get a scent of victim.

Vaughn….dang. I go over this a lot in the comments, but I think you're not getting the shades of grey with him. There's white and black, and not a lot inbetween. I'm not saying he should live in the grey, he shouldn't. But we should at least be able to follow his transitions between the two…the reason he seems like a diagnosable case is the light-switch nature of his mood changes. More than shades of grey, maybe I miss the stripes. There is no white in his black. Ever. And when he's being the good and considerate lover, there's no black in his white. To make him real, I think there should be a little bleed through between the two states. If that makes any sense at all.

Of the two, Vaughn is clearly the more interesting, if only because he's more complex. Devan feels like nothing much more than a foil to play him off of. Except when she's choosing books. I don't know why I keep coming back to it, but it's true. When she's talking about the books I see a real person under there. Other than that, she's just the girl in Vaughn's house.

So yeah, they're sympathetic and interesting…but I'm not getting deep or complex off of them yet.


2. As they come together, does their attraction seem believable?

I don't get his attraction to her, other than that she's ignorant of who he is and vulnerable. He's attracted to her for who she isn't. It's understandable, but I don't have any reason to think it's a deep and meaningful connection. All they seem to have in common is lust and lonliness. Maybe that's why I react in my line by line comments when you say he adores her….that comes as a bit of a shock to me.

The attraction makes sense. The animal level of their attraction makes total sense. They are each of them looking for a safe harbor, and that makes sense. The need for romance and approval, that makes sense. A deeper sense of love and understanding? No, not getting that at all. Partly cause I don't think you've shown us their depth yet, and partly because I haven't seen them interact on that level. They've talked about themselves, but they haven't talked about the things that are important to them. Not much, anyway. It's not a love affair yet. But in chapter three, I don't know if that's not to be expected.

But the sex is different from the attraction. I yipe about the drinking scene in the breakdown…here, I just want to say that it seemed a little sudden. Not the physicality of it. Given how they were opening up to each other, the physical connection seemed fine. I don't see how they got to the point of opening up. It seemed sort of like the conversation was frog-marched to the point that let the touching begin. Which was weird, because the plot flows so smoothly through the earlier and later parts of the chapter. I'm willing to guess you felt awkward about how to get them there…but I'm not willing to put money on that bet.

3. Pacing: in chapter 4 (the next chapter) we learn Vaughn's dirty secret, followed by Devan's, and also starting with chapter 4, the rest of the novel is essentially a non-stop erotic cabaret. But have I dragged you too far too slowly?

Nope. I thought the pacing was great.

4. Is the first sex scene too minutely detailed?

[chokes] Hmmm, should've read the questions before I read the story. I'll try: "yes, you might say that." And let you get to my specific comments in your own time ;).

THE FANTASTIC ADVENTURES OF CHANGED GIRL
chapter 3: Cabin Fever



As he cleaned up he fell into his usual post-orgasmic dolor.

Damnit, I don't want to make a habit of nipping people about the first sentences…but for the first time in 5 years, you made me go look a word up. Points to you, and I'm thrilled to know that dolor means a feeling of painful grief…but I'm guessing I'm not the only person who didn't know that yesterday. Reading on a bit, it's quite obviously the right word….but I'm a bit wary of alienating folks that early. Aw hell, leave it in. They can go look it up too, it'll be good for them.

It horrified him to think that this was the kind of person he seemed to have become–a man whose dick got hard thinking of scaring and hurting someone that way.

"It" has no antecedent. Scaring and hurting don't have the right cadence somehow. Could be the repetition of the "ing" at the end. Could you restructure with "fear and pain"? Not necessary, totally a random thought.

It terrified him to know that there in his remote cabin the only thing protecting Devan from him was his own sense of shame, and his will. He no longer trusted himself.

Sentence structure a little close to the one I previously quoted. They're not far apart in the original (I think I deleted a short sentence), so it's a bit jarring. For a stand alone story, I get why you have to put in the part about the cabin. As a chapter in a book, you might take it out…it'd improve the flow. The first (deleted) and last sentence bookmarking that middle one work oh so well. You're varying sentence structure beautifully.


Outside his fantasies, in their real interactions, he was as careful and as gentle as he had always been, all his life, with everyone.

I'm trying to think of how to put this. The sentence goes "Qualifier, variant on the qualifier, sentence, qualifier, variant on the qualifier." I'm just not sure it works. It reads a little awkwardly, as if it were a mistake or unintentional overwriting. But it could be meant to be there. Repetition to emphasize the rut he's in. To me, it doesn't work…but I'm not sure that isn't just because it's not my style. I'd have broken those two last phrases apart and left them as individual punctuated sentences…but I'm not sure that'd work here. I'll leave it by saying it didn't work for me, but if it's intentional leave it alone. Unless, of course, I've turned it into a sore tooth of a sentence for you. ;)

[/quote]Vaughn kept carefully to himself, telling himself he wanted to put Devan at ease, denying that he was as uncomfortable in her presence as she was in his.[/quote]

Too many "himself"s, and I think you've finally crossed into too much rephrasing for emphasis here. But again, that's a small complaint.

In spite of his care in all of his dealings with her, he was still plagued by dark, shameful fantasies.

of his care
in all
of his dealings
with her

4 prepositional phrases, stacked and interlaced. It's why the first half of this sentence is literally the first time you've sounded the least bit amateur to me.

As he watched her, reading, sitting quietly lost in thought, seemingly deep in thought even when she did little tasks around the house, he had begun to feel an affectionate curiosity.

Should there be a comma between quietly and lost? I'm not sure. Thought's reapeated. And altogether I think it's too much. You want to show us here what it is about her that he's falling for…but I think it'd be more effective if you pruned back the list a bit.


His fantasies which had at first been fueled by thoughts of cruelty and coercion dissolved into hazy images of twining fingers, warm embraces, tender kisses.

Really really lovely. I'd get rid of "which had been" and try "had dissolved" instead, but that's just me and my crusade against passive voice ;). But mostly, just wow.


Devan closed the book and sealed Raskilnikov's fate.
Oh that's wonderful.

[/quote]She wandered back inside and stared for a few minutes at the rows of spines on the bookshelf, then settled on Camus.[/quote]

I like the rows of spines, but on the bookshelf is one too many prepositional phrases for me. If you think folks are possibly going to infer that she's wandered into a med school anatomy lab if you leave out the bookshelf entirely, can it bit specified earlier?

The dark cabin depressed her and she went back outside to enjoy the crisp air and bright sun.

'and' is too weak…it doesn't capture the causality.

The strain of the tension between them was a burden on Devan, and she was miserable with the thought that he believed she had come with the intention of spying on him, or worse.

Could "the strain of the tension" just be "the tension"? "was a burden" is passive…any way to make that an active verb…weighed perhaps, if it's not too cliché. "was miserable" is also passive…and twice in a row is what flagged the first one for me, you'd have gotten away with either one alone ;). "with the thought" is another extraneous prepositional phrase. Gotta be another way to put that. If I had to take a shot (and I don't like reworking your words), I'd try "The tension between them weighed on Devan; the thought that he could believe she intended to spy on him, or worse, crushed her." I'm not suggesting exactly that, I'm just trying to demonstrate the sorts of changes I'm envisioning.

And, as the first day passed, then the second, she found this aloof, quiet, brooding man more and more intriguing.

Slightly over complex….could you sacrifice the feel of time passing, and just say "days"?

Perhaps it was because, after all she had been through, she longed so desperately for a friend.

The antecedent for "it" here is the entire previous sentence, which is why this sounds the least bit repetitive. How do you feel about leaving "it was because" out altogether? I think "it" would be implied.

She wanted to talk. She could not believe that she found herself wanting to talk to him, this cold, suspicious recluse, when she knew that if she had gone home, among her few friends, she would have been silent.

Again, "if she had gone" could possibly be dropped to clean up the flow a bit.

And under that soft yearning for comfort and understanding was another perplexing urge—a roiling, rising need for him that she felt in the quiver at the center of her belly and in the aching heat of her body.

Just wow.

But he was wary and distant and they rarely spoke except when they were brought together by his stiffly polite hospitality.

This has the most lovely cadence to it. Carries me through the shifting structure…I really like it.

He prepared every meal for two and always checked with her to be sure he was making something she would want to eat.

"with her to be sure" can be lifted out, I think. I might even chuck in an "it was" instead of "he was making"…although I'm less sure of that one.



She tried to do her part by washing up after and helping out with small chores when he would let her. But on the afternoon, as he returned from a walk in the woods he came and sat down by her on the porch.

I'm honestly not sure where this paragraph is going.


The Stranger lay open on her thigh where she had set it aside and fallen into contemplation, gazing across the clearing at the bordering trees.

I love the beginning, but at "where she had" is starts to get a little awkward. It clears up again at gazing. I think "where she had set it aside" may be unnecessary, and the subject of fallen is grammatically unclear (although it's contextually obvious). How about "The Stranger lay open across her thigh, neglected (ignored?) since she had fallen into comtemplation, gazing across the clearing at the bordering trees."


wall of trees

It's too soon after "bordering trees". Could you call it an arboreal wall? Or anything else really.

"It is hard to get one's fill of sociopathic murderers."

I'm just gonna flag this up to give myself a chance to say that I like the dialogue. It's a little more formal than I trip over day to day, but it does fit these two. And it's wonderfully written. The line above is, well, if she'd been raised in our time…it would've been Austin'esque ;).

throwing an accidental glance

That feels just slightly overcooked. I think either throwing or accidental is enough. Just me, though.

her words flowing from the stream of thoughts Vaughn had interrupted when he'd joined her.

Sigh….now why can't I do things like that with words. [/jealous]



comfort herself, now and then, with the sound of voices in the long, silent voids of their confinement together.

[jealous again] But take out "now and then". You don't need it, and it's almost as if you're using the interjection to back off the intensity the phrase packs without the interruption.

But the lies and the omissions were an impenetrable force field between them. He wanted it gone.

I like this…but then there's a section break. He wants this so badly, and there's no action? Not even an abortive one? There's no communication of this into the world outside his head? Not a complaint, it was just a little bit of an abrupt halt. Surprised me. Not sure you meant to do it this way.



Without giving it much thought he poured a measure into a second glass for her.

Trivial trim, "for her" seems redundant.

She rose and started toward the kitchen.

Hmmm, maybe it's because I'm not familiar with the previous chapters, and therefore the layout of the house. I didn't realize she was getting up to grab the drink. Possibly rephrase?

"Sit down," he said in his usual manner, his voice large and soft and low all at once. "I’ll bring it to you."

I like the way this casual order brings the whole dynamic into focus.

She sat back down where she had been, on the floor before fire, and leaned back against the front of the couch, and a moment later he was standing over her, handing her a glass.

"back down where she had been" is redundant. "back against the front of the couch" is repetitive (back) and kind of head spinny (back against the front). There should be a semicolon between "couch" and "and" since it's an new phrase, not a subordinate clause. And you've got more than one "and". Finally the whole damned thing is too convoluted and awkward. I don't like this one ;).


When Vaughn’s glass was empty he waited until her glass was empty too, then he took it from her and went to the kitchen to make them both fresh drinks.

You're wincing as you look at that…I can see it from here ;). How about we squish, replace it, and don't speak of it again.


He took a drink, and stood for a while, looking into the fire.

That first comma's out of place. The subject has two verbs, that's fine, but they're not separated by commas (unless the list extends to three, I think, but I'm less sure there).


When he sat down on the floor again, he sat a little nearer to her than he had been before, with his body turned toward her, his elbow resting between them on the seat of the sofa.

You're doing it again. Repetitive, too much all around. Just take a razor to it, and it'll fix itself. "He sat on the floor again, nearer than before, his body turned toward her, his elbow resting between them." Though, is it necessary to tell me where his elbow is? Seems odd to me.

A twinge of fear fluttered in her chest, and an aching arousal followed the pulsing throbs radiating from her chest, out to her limbs. She glanced at his arm, surprised, as always, at its size, at how muscular it seemed.

OK, much more like that and we're gonna go for a drink and the "commas aren't pepper, don't sprinkle them over the page for flavour" lecture. There's no comma needed between chest and out. There SHOULD be commas around as always, but it makes that sentence more complicated…is it helpful to have it there? All throbs pulse…."pulsing throbs" is a tautology. More than that, it just sounds like too much to cope with. "A twinge of fear fluttered in her chest, and an aching arousal flowed from her chest to her limbs. She glanced at this arm, ever surprised at its size, how muscular it seemed."

He was weary of his own mistrust,

Very nice phrase



Suddenly it seemed like the sleepiness from the first one had dissolved.

Needlessly wordy. It's getting in the way of the dialogue. Too much trivia breaks the flow, here. I'd keep all interjections punchy. If you want the flow broken, I'd break it overtly, through action rather than style.

She blushed at this question that always felt it had to be leading somewhere, even when she consciously knew that it was not.
I get what you're trying to do here. You're trying to give her an out, to say that this question is always awkward…it's not NECESSARILY because he's asking it, or that he necessarily means anything by it. But it seems disingenuous. We know he's interested. We know she wants him to be. We know that part of her embarrassment is because she wants him to mean something by it. There's no need to give her a way out, it doesn't stretch the drama at all. More than that, though, it's a damned awkward sentence to try to do it with.

The implication that she was lonely because she had no boyfriend felt pathetic, and after a pause she added,

"But that’s not why I feel lonely."

That sounds needlessly repetitive.

"But that's not why I feel lonely," she added, trying not to sound pathetic.

Nah…don't like mine either. But can see what you mean from that?

And I'm going to throw this one in here. I'm getting to the end of the "we're so lonely" dialogue, and I think you're dragging this out too much. Any longer, and it would qualify as distilled teen-angst. I hate to say it, but I'm not really feeling like the whole drinking scene is pushing anything forward, really. And the things they're revealing about the depths of lonliness are, well, not all that new. It's the sort of thing I expect to find on prime time TV. You described it MUCH better, earlier, with the stereotypy of caged animals. Here, it seems shallow and stuck, and like it's taking much too long.

More than that, I don't understand why Vaughn's dark side has suddenly disappeared. You mentioned that you were worried he seemed too schitzophrenic, I think this is where you get into trouble. Maybe you need to have them speak less and "think" more? You've taken us out of their heads, and that's where the real show's going on. Fewer nods and "mmm hmmm"s from Vaughn in particular, more about how Devon's revelations are making him feel. Show us the conversion from Hyde to Jeckyll, and he won't seem so schitz.


He was leaning in toward her, and she had the feeling he was going to kiss her. She felt a little stab of excitement—half fear, have arousal.

Too much feeling ;). And I think you mean half not have. Actually, I'd go through this entire paragraph looking for repetitive word choice, I think that's why it drags a little. A couple that leap out at me are strage and arousal, both together and separately. I'm guessing that you're rambling a bit here…you're repeating yourself because you weren't entirely sure how to say what you wanted to. Sometimes if you look at the things that you ARE repeating, they show you what you most wanted to say. Then you just have to emphasize them, and cut down on the rest of it.


They went on talking, very softly.

Oh I don't like that. Have her fade out, overfocused on the way his mouth moves, give him/her a reason to loose track of the conversation if you don’t want to be bothered working out the details, make it minimal, make it trivial, make it silly. Do anything. But don't just flash past it like that. You're telling me the conversation is so unimportant that you're justified in taking this shortcut, but it's not believable. It works in movies, but not here. At least, I didn't think so.

Moment by moment he seemed somehow nearer and nearer. He smiled a little, now and then, as they talked, and that smile, which she had seen so rarely, made her feel soft and almost giddy.

Another overly complicated sentence.

Now his eyes, dark but flashing like polished metal, seemed suddenly full of life and warmth and seemed to be seeking something in her.

dark
flashing like polished metal
full of life
full of warmth
seeking something

Damn, Hon….that's a busy pair of peepers. Is it possible to pick the two descriptors that matter most? I love the phrase "flashing like polished metal", but it's lost in the sea of descriptions here. AND you repeated "seemed" too often.

And his attentions had her warm and soft. And maybe the drinks made it feel like it made sense. But she was still afraid. And her fear stoked her soft warmth to yearning heat.

4 sentences, all started with conjunctions. I'm pretty sure you didn't do it for effect, or if you did, that it didn't work. Soft is overused, as well. Again, find the parts that are important and focus on them, instead of trying to touch all possible bases.

He could do anything to her; the thought drove a hot ache to her groin. Conrad had been right about her—the fleeting thought stung her before she drove it away.

I loved that second sentence, right up to the moment where I hit the word "drove" again. Easy fix, and then I'll love it again. ;)

A silence fell between them,

I'm still steamed that I don't get to know what they said. I feel cheated, and cause I have no reason to blame the characters I'm blaming you.

and after a moment she watched as he unbent that marble arm, as his hand came slowly toward her.

Still too many prepositional phrases for easy reading.

Then she felt him gently caressing her cheek, and this small gesture, this innocent touch did her heart sudden, delicious violence.

It starts awkwardly, but I'll forgive you anything for the way it ends. Swoon making ;). Could we streamline it a little? Get rid of "then" at the beginning, and one of the descriptive phrases in the middle? I don't feel they build on each other, and I don't think you need emphasis there. Mostly, though, it's a structure you use one whole hell of a lot.

She felt her blood swell in her veins

Blood, being a liquid, doesn't swell. That didn't work for me.

pounding her pulse points with staccato bursts.

Very very nice.

Suddenly it was hard for her to breathe evenly and she struggled not to let him hear her racing breath as he stroked her hair, then drew his hand down her neck, across her collarbone, and down her arm.

Breathe then breath sounds repeptitive. Down was used twice. The sentence undergoes a metamorphosis half way through…first her reaction, then his actions. It's inverted, it reads oddly, and could probably be best served by breaking it up.

And I still feel locked out. I've got her reactions, physically…and I know she's puzzled emotionally. It's almost enough. But I know nothing about him, he was resisting as much as she was earlier…and HE'S the one making the move. What the hell happened in his head to bring him to this? I want to know, that's where the big changes are happening. The more I read (coming back to this part from about a page further down)it feels like the seduction started when I wasn't looking…and that I really missed something.

[continued in a moment]
 
part 2

toying teasingly

Redundent? Dunno…feels it. And I usually love alliteration.

If she wanted him, he thought, she would touch him back.

Does he want her to? I'm not entirely sure here. That's great, if it's a reflection of his conflict. But it feels more like I just haven't been told. I think you want to take it more in the direction of conflict, but it still has to be done.

He gave her one small kiss on her cheek, pulled back a little and looked at her. She was looking at him intently. She did not pull back. He kissed her other cheek. He kissed the corners of her mouth. She stayed still, eyes on him, her head cradled in his large hands.

I'm going to be confusing now. I like the kissing, the repetition of the word emphasizes the repetition of the action…making the progression of targets seem almost languid. I DON'T like the repetition of "pulling", because I don't think they're related the same way. He pulled his head back to look at her. She did something different, she didn't pull back. It's not building, and I'm not sure about using repetition for contrasting actions. You go on, later, to say that she "stayed still." Could the paragraph be collapsed a bit, so you don’'t have to say the same thing multiple times?

He felt very warm and soft, and looking at her face that was like some kind of invitation, so open, so beckoning, he smiled a very warm soft smile.

"that was like some kind of invitation" seems like the long way around to say "inviting". You've got enough else to say in this one that I wouldn't take the scenic route there.

when, just days before she had imagined she would never again want a man touching her.

comma between before and she if you're setting it off like that, or get rid of the first one.

But now her stomach was fluttering, her knees and crotch tingling. She let out a tiny moan that surprised her and inspired him. He was being so careful, every nerve attuned to her reaction, anxious that he had misread her signals, that he was taking advantage of her being stranded there with him.

Couple of things cross my mind here. First, I'm getting a little dizzy, bopping back and forth between his point of view and hers within single paragraphs. For some reason the transitions are hard and sudden. Maybe their internal monologues should be dealt with separately? Or I'm just having a bad day, and you should ignore me…see what other people say.

Second, Vaughn again. I want to see the rest of him. Where the hell did it go? If the guy has a dark side, it should be there on some level. It's disappeared and now he's all sensitive new age guy. Honestly, I thought the edginess was a big part of his sexual appeal, but that may just be me. It's cool if he manages to hold it back here, but I want to know about it. I think it'd do wonders for the tension, as well as make his character more cohesive/interesting.


fingers sunk deep in the warmth of her tangling hair, her body, her sex began to feel strangely like it had those few times she had been touched, though he was not touching her that way.

My slash and burn editing technique means I've erased this already, but I'm certain he's "sunk" he fingers into her hair just recently. Creative descriptors are even more important not to use repetitively, as they tend to stick in people's minds. More than that, I'm starting to figure out why I'm dizzy. You're not just switching from his POV to hers within paragraphs. You're doing it within sentences.

Hmm….what to recommend. If you're describing action, fine. He sat next to her, she snuggled closer. But for me, when you get into their feelings and motivations, you're narrating from a different level. It gets confusing for me to get used to a point of view that's effectively behind his eyes…and suddenly hear her thoughts. THOSE I'd separate clearly. But I'm very curious to see what other people have to say about it.

She neither understood nor questioned the aching yearning she was feeling—a physical need to be close to him, to feel the warmth and flesh of him. Her heart’s vital beats echoed between her legs, and she imagined he could feel it, too, like the reverberations from a bass drum.

Fun imagery, but you've said it all before. I know all this already. It's feeling like you're either marking time or that you don't know where to go next…and I'm pretty sure neither of those things are actually true. You do this a lot, actually, repeat scenes or feelings in a different way. It's like literary de ja vous. You have to find the best way to say something, and then say it and move on. If you've got two beautiful ways to say it, you're blessed…but you still can't use them both or they dilute each other even if separated by time.

She was drawing him to her, or drawing herself to him, that wonderful ache guiding her to seek him as she felt his hand curve around her thigh, just above the knee, and gently draw her leg across him, his other arm encircling her back, pulling her against him.

Still overly complex sentence structure, but I'm going to stop flagging it up….you either see what I mean without me pointing them out any more, or I'm never going to make my point.

I wanted to say about this that at the beginning, you manage to temporarily solve the 2POV problem pretty well. You're showing me his actions through her reaction to them. That works. But then is somehow morphs into just his actions again. The sentences have a weird liquid nature, they flow where they want to go. You need to give them purpose, I think it'll keep them better controlled.


made that tender ache throb with new urgency.

I don't know how many new levels of urgency that’ same tender ache can find…but I think it's on its third or fourth here. You're getting seriously repetitive. Possibly because you're so into describing the reactions that you don't let the actions change the dynamic fast enough? Random thought, not gospel.

Somehow all his dark desire was mingling with tender arousal as he held her now.

No it's not, it's been supplanted. And I miss it. Hell, I didn't even READ the mud scene and I miss it. His personality transplant is probably an even bigger head twist to those who did ;).


Emerging momentarily from their kiss he held her a little from him. Her black hair was framed by a delicate halo of firelight, her face almost hidden from him. But he heard her little panting breaths, felt her body against his and under his hands, quivering provocatively with what he felt sure was arousal and desire for more. Drawing her more firmly to him with an arm about her waist he teased her tresses again as he kissed in fleeting tiny touches over her forehead, eyes, cheeks and chin before letting her hear his hot, eager breath in her ear. He nuzzled her neck, sinking his nose into the fragrant warm depths of her hair, then re-emerged, licking, mouthing and gently biting her earlobe, eliciting another maddening little moan from her and causing her to tremble delightfully in his arms. He went to work on her neck.

That whole paragraph seems like detail for the sake of detail. If you lifted it out completely…would the story miss it? I literally think it wouldn't. If it doesn't inform us of how they feel, if it doesn't build character, if it doesn't move the plot, and if it doesn't link necessary actions….I think the technically British term for it would be literary wanking? Erotic sections don't always need an excuse, they serve just by being there….sometimes. But there's been a lot of this. A lot of almost exactly this. I think that card's been played already.


Under his mouth, wrapped in his embrace, pressed to his body she felt bewildered and needful and strangely elated, warm and small and seeking.

OK, here's a challenge. This sentence can stay (and I love the "warm and small and seeking" part, really I do), if you can show me that it uniquely belongs in this part of the story. That it couldn't possibly have been lifted from another paragraph. That it has a unique part to play right here and now. I have to admit, this is the first time I've ever written a review that basically said "get on with it." Usually, I'm complaining in the other direction. It's not the length of the scene that's getting on my nerves…it's like, how can I explain it, one of those Hollywood movies where the fuzzy lighted kissing montage just goes on too long? We got the point, now they're just trying to sell the movie on screen time with the star's semidressed? At this point of the scene, I'm volunteering to go for popcorn.

The sensation of her sex pressed to his was wondrous. But the thought of it, of his hard prick seeking her through their clothes, made her tummy flutter

The imagery is good, but while I'm getting her sensational reactions, I'm kind of missing her emotional ones. You're more than good enough to tell us what they think as well as how they feel. I think it'd strengthen the story.

with a fresh surge of excitement and suddenly she felt she had crested that hill and now she was hurtling inevitably down toward that delicious obliterating crash.

OK, that's OTT even for a language slut like me ;).

when he felt her push herself away a bit he sensed that she was resisting her own pleasure the way people do when it is too wonderful to bear and he pulled her hard to him once more,

Oh hell. You dodged it. She's trying to pull away, he won't let her…but not from any motivation that might be morally ambiguous…but rather because people "pull away when it's really good" and it's in her own best interest that he hold her down. Not because he's justifying it to himself that it's in her best interest, but because IT REALLY IS. The narrator told us so.

Why can't this be morally ambiguous? Why can't her tiny little moment of struggle turn her on? He has it in him? We know that. Even if he then releases her and she chooses to stay, why can't it surface in him for even that moment? Even without the dark side you gave him earlier, it'd be natural and human for a guy to hang on for that split second of "no, don't leave." Not because it was in his own best interest, but because desire IS both selfish and overwhelming. It doesn't have to become rape, it shouldn't because that's not where you want this to go…but I just don't buy this. It's too Romance Novelesque.


Even as he kissed and caressed her she felt herself flush with embarrassment, but then his hands were both on her ass, caressing and drawing her against him and she went with his movement, the tiniest bit closer, the tiniest drift away, just a little up, a tiny hint down, and her whole belly felt full and heavy with promised pleasure and she was panting in panicked ecstasy as the ache built and swelled and rose up in her and made her whole body still and stiff in anticipation and then that heavy aching promise burst and pleasure flooded up her body and down her limbs like a torrent of warm rushing water and she froze, her nerves listening to this amazing song as the refrain echoed all through her and she let out a whimper, different from the others, kind of lilting and sobbing but still so soft and then she went limp in his arms and he drew her gently against him and he was very still as he held her.

I get it. Sentence structure sacrificed on the alter of "how to describe an orgasm." And it almost works. But before the wave crests, or even really takes shape, I'm so tangled in your naturally complex writing style that I get tangled up, fall on my face, and have to sort out what the hell you're trying to do before I can let you do it to me. You can do this, but I think it has to be simpler writing. Less repetition for effect. Fewer changes in imagery. And much fewer repetitive word choices (caress, for starters).

He knew. He knew what had happened to her. She was sure.

This took me a while to sort out. The narrator is omniscent…so when you say "He knew" I thought you meant that he knew. That he either had or was at that moment coming to the realization that she had cum. The repetition works well, either way. But then "She was sure" baffled me, because I couldn't figure out what she was sure of. Oh, wait (says me)…she's THINKING that. I, at this moment, don't have a reason to believe that he knew beyond the evidence that she gives me.

You're stepping on the toes of first person, the way you have this structured. In first person, it'd be REALLY effective. Here, I'm not so sure it's working.

She was mortified. He had not even touched her…there.

If it's not 1888, or she's not 10 years old…this just seems silly. Stop at her, or don't be so coquettish in the word choice.


She was trembling with her ebbing tide of ecstasy and waning anxiety that she had done something vulgar and ridiculous.

You're mixing your metaphors. It's the sort of thing you do that makes your imagery seem over the top. It's not the first time you've done it, but it's the first time it really stood out in my mind this clearly as a distraction. Something you should watch for when you're cutting this thing in half (and I really think ½ to 2/3 would be the miminum edit it could use…it's seriously overgrown).

He smiled softly and with that tender look melted the last of her reservation.

The last of her reserve, or her last reservations. Not the last of her reservation.

When he kissed her again, it was a different kiss.

I'm letting you get away with using kiss a lot, but not like this. "When he kissed her again, it was different." Although I'd prefer to just skip to a description of how it was different instead of getting this sentence as a preview.

He was making love to her with his mouth. He was fucking her with his tongue. He was very experienced, very good at this. He knew exactly what he was doing. This kiss had made many women desperate to get him inside them, and, with a few, once inside it had made it impossible for them not to cum.

I dunno. The beginning is downright swoony….but then it seems to dissolve into bragging. Finally, it becomes unbelievable. Maybe you should've stopped when you were ahead?


She felt his desire and it aroused her already sated body to new yearning. But something darker was taking shape there under her pleasure and her desire for more.

Just a perfect place to make a point. You've already described "her pleasure and her desire for more." Twice, actually. In the first sentence of this pair (let alone the previous paragraph or two). That phrase just isn't needed here. It flows better and sounds more natural (to my ear, at least) if you just take it out. It doesn't mean anything different if you say "She felt his desire arousing her already sated body. But something darker was taking shape." You could even say "But something darker was taking shape underneath."

That fucking kiss of his felt so penetrating, like he had taken possession of her and she felt irrefutably that she was losing herself as he was taking her over.

Do you have to say irrefutably? Does it add any meaning? Or just more syllables. Likewise, if she's losing herself, doesn't that imply he's taking over?


stinging everywhere with lashing desire,

Technically another mixed metaphor. Why was "stinging everywhere with desire" insufficient to make your point?

Still kissing her deep and urgent

Deeply and ugently, so long as they describe a verb.

his left hand sought her right,

If I'd presumed it was her left and his right, would it screw up your story telling? Why is "his hand sought hers" not enough? I'm not trying to be pedantic (although I'm quite possibly succeeding), I'm trying to illustrate what I mean when I say that words need purpose.


Though the lengths of their bodies twined and pressed together, though their mouths were eagerly seeking and caressing, he wanted this other closeness, her hand in his, their palms pressed tight, fingers learning one another as they folded and unfolded.

Honest to God, you had me at "her hand in his." I was shivering…and then you went and gilded the lily again.


His fingers dove and swam in the warm currents of her hair,

I'm starting to giggle at this. Worse, I'm starting to count. You're turning "his fingers dove into her hair" into your own personal cliché…and that's a screaming shame. It was such a beautiful phrase the first time. It's phrased even better here…but now it's just a repetition.



Sweet surrender dissolved in vulnerability, excitement began to smother under sudden fear.

THAT was lovely. Really masterful. But then you follow it up with a paragraph of uninterrupted petting. Her "sudden fear" doesn't find action for long minutes of my real time. I think that was a mistake. You've got this gorgeous transition…use it to change the action. Honestly, there isn’t anything really new in terms of plot or character in the next paragraph anyway. Some nice points, but they could be moved into the one that preceeds this switch.



Her hand, her free hand flashed down and clasped his wrist. His hand remained, soft and warm, pressed to her belly, low and warm and bordering the terrain he sought. She felt his wrist, thick and strong in the weak circle of her fingers. She felt her other hand, clasped tight in his, pressed to the floor. His hips holding her thighs open. His hand on her bare belly.

Too repetitive. Again, your key word for this passage ought to really be "sudden."

A thousand images that were not images but only hints of memories bombarded her brain, cooling every hot place, darkening every place of light.

Here, and everywhere, I'd trim the hell out of it. "A thousand underdeveloped images, hints of memories, bombarded her brain, cooling every hot place."

I don't think "darkening every place of light" gives you anything but an extension of a cadence. You're doing it for effect, not communication…so it's an easy sacrifice…'cause you've got more than enough effect already. Moreover, I think you need a reason for the "place of light" inversion…darkening every light actually scans better. Lyrically, short should follow long for emphasis.


She panicked.


I liked that. Out on it's own. Brutal and clear.

"Stop," she whispered. "Please stop."

"I have, I’ve stopped."

I like that. I know, it's something so trivial. But the way he said it, it makes him live. You have an incredible gift with details. And it shows best when there aren't many too many of them.


He sat up and pulled her up into a sitting position.

"I’ve stopped," he repeated. "I didn’t mean to scare you. I wasn’t going to hurt you,"

Too much pointless repetition. "He sat up, pulling her with him. "I wasn't going to hurt you."" And go from there…although, truthfully, pulling her probably not a smart thing to do if she's panicking.



Why had she said she did not?

Way awkward.

"I’ve never really been with a man before."

Picture me throwing popcorn at the movie screen. "I'm a virgin." Or "I've never had sex." Or just "I've never…" But people don't say "been with a man"….not in this day and age. Hell, most kids I know wouldn't understand what you were asking if you used those words. If you're gonna use a euphamism, use one that's era appropriate.

His gentle smile, his soft words were so sweet she felt a new, different ache somewhere above that other, yearning ache.

OK, at this point you KNOW the ache's are overlapping. Maybe you need a new way of describing what she's feeling. Her sex life sounds like how I feel after a serious workout.

He wanted to keep this physical need to go with his emotional need.

Go with seems weak here. Echo? Dunno. Another random thought.

[/quote]Before, during, after. Her letters to him. Before their marriage. During their marriage. After their divorce. Had she gone through his things? Had she read his letters?[/quote]

I feel like we should get the emotional reaction sooner, or at least a hint of it here. He feels too "in his head", too purely intellectual. I know, you get to it…but it just seems like having to wait for that is problematic.

Like that old axiom, never say anything that you wouldn’t want to be quoted on in print.

Is that an old axiom?


He got four aspirin from the bathroom, then gulped them down with a full glass of water in the kitchen.

It's getting much much better…but I'm still going to be playing the is it important game with you. He got some aspirin. 4? Could it have been 3? Is it crucial that they came frome the bathroom and not his bedside table? The water is kitchen water, it's not from the bathroom tap. Maybe that tells us something about his organized nature….I'm not sure that's what you're looking for though.

this girl he had somehow come to adore over the course of a few days,

Does he? I haven't seen a lot of evidence of it. That he wants her, that he's starting to trust her, sure. I get that he feels seriously betrayed. But does he love her yet? Or am I the only one that thinks adore leans more toward love than away from it…

Under the pillow like in a tragic news story.

At first I misread this, I thought it was a simile. A slightly awkward one, but I liked it. Then I realized that I'd missed "in" and that you meant it literally. I kinda want my simile back ;).

His thought of their kiss the night before aroused him again.

"His thought of" is awkward, and an easy fix.

He could not believe, in his angry state, the power of the longing he was feeling for her.

Passive voice, complicated by prepositional phrases.


He looked up, his attention drawn instinctively to the door that he had slammed shut, but which must have drifted open, as it sometimes did when the latch failed to catch.

In the midst of all this, I SO don't want to know about the complexities of door mechanics ;).

he could hear the leaves bursting apart under her feet,

Lovely. In fact, the whole paragraph this hails from was wonderful. You've got your stride back.

Standing in front of her, he unbuckled his belt and unzipped his pants. Mounting the bed he straddled her hips.

Part of me wants to hear the soundtrack in his head….what's he thinking?


She did nothing.

I sincerely doubt that. She may not have grabbed the bars, she may not have moved, but she breathed, she winced, she lay still…..but she didn't do nothing ;). A complete absense of reaction gives up your chance to feed the tension.


But he would punish her.

Nice twist. I didn't see it coming. And it fits him neatly.

With the force of a tornado rage, anguish and excitement swirled inside of him.

Either you've got to punctuate this better, or someone needs to tell me what "tornado rage" is. ;)

After his unsatisfied longing from the night before and his interrupted masturbation session a short time earlier, frustrated lust had built up to the bursting point. Violently he beat off. The sight of her watching him tweaked his arousal to a higher pitch.

You're returning to the repetitive. Arousal, excitement…both used a hell of a lot when you're talking about him. I think you could lose everthing before "frustrated lust" and not miss it.

As his excitement rose his hatred ebbed. He forgot, almost, that he was forcing her to watch.

Very nicely done.


She [snip] had almost forgotten her alarm.

Less believable here. You haven't given me reason to believe it. And you've given me many reasons to believe she'd react badly. I think you CAN get here, I just don't think you've earned it.

As she realized that he was not going to rape her,

And when did that happen? There's no physical reason for her to feel safe, and he hasn't told her she is.


the darkest, sharpest part of her fear went gray and smooth.

Nice phrase…not sure it's used to its best advantage here.

He clutched the hem of her t-shirt in his fist. She almost let go of the bars, desperate not to let him bare her breasts.

You may have covered this in previous chapters…if so ignore me. But I don't get why this is such a disproportionately big deal to her, here and earlier. You haven't made it clear.

He washed her stomach clean with the towel he had wet with warm water,

Is it important to remind us that it's the towel, or tell us it was both damp and wet? It shows consideration, but I think there may be better ways to get that through. Here it reads like over detailing again. Or maybe I'm just over-sensitized to it in this piece.

He’s fucking nuts, she thought. So am I. Otherwise I’d have run by now.

I've said it before, you're at your best when you don't try to "impress".

He, fearing that his irrational cruelty would drive her from the safety of the cabin to the perils of the woods, was listening carefully for sounds of escape, and would not have let her go.

"He, fearing his cuelty would drive her from the safety of the cabin, listened carefully for sounds of escape." Less passive, and all the omitted parts are really implied already.


Tired of her tedious, banal despondency,

Overdone.

In the past, since adolescence, writing had been a release for the unbearable pressure of sexual need she had felt mounting within her, but which she knew could receive no outlet except on the page.

Peppered with redundancy.

sorting through the schizophrenic sentiments that seemed endemic to her now.

Great. Although I wasn't at first sure if she meant his or her own.

From here it's really nice. A little over wordy, but it's good and clear. For some reason, you seem to do better when you haven't got both of them in the room, jostling for screen time.



Then she closed the book, turned it over, and opened it from the other cover. And there, on the first page, was writing that was not hers.

The symbolism is a little overt. But it does work.


It was one of the things, already believing her to have done it, for which Vaughn hated her.

I see how you're trying to play off of/avoid directly copying the previous sentence. But this is too much convolution. It becomes difficult to comprehend.

But it would tell her, she hoped, whether Vaughn was simply an imbalanced case with a rock star complex and a tendency toward violence, or if some truly frightening experience made him return, again and again, to his belief that she had come there to do him harm.

I dunno. Unbalanced cases write largely fictional journals quite frequently. I would rewrite this, making her expectations a little more reasonable and narrowly defined. It is, saying that, a truly effective cliff hanger. I'm looking forward to the next chapter.


As always, appologies for hurt feelings are available on tap if necessary.

G
 
First of all, Ginger, that was an expert dissection of some key problems. With a good writer like V, it's sometimes hard to pinpoint why one is thinking "enough" or "too much" or "get on with it."

I tried to be specific, but you have surpassed me in analytical detail, and put into good words, some of the problems of otherwise well-shaped and grammatical sentences, including issues of diction and tone.

Let me deal with one common issue that's come up, through V's query and one of your (G's) remarks:

Varian said in response to pure;

I'm puzzling a bit over your criticism that there is, at tiems, an old-fashioned flavor, and at other times the grittier narrative. As I mentioned above, I've been making an effort, however feeble, to give the different characters different voices. So, what I had hoped to achieve was that thoughts coming from Devan's POV would reflect her relative innocence and tendency to romanticize what's happening, while action expressed through Vaughn's POV would reflect his jaded worldliness, his "this is just a fuck" attitude. If you have any further thoughts on how one works these things, I would love to hear them. It's a painful struggle for me.


Ginger said,

//Couple of things cross my mind here. First, I'm getting a little dizzy, bopping back and forth between his point of view and hers within single paragraphs. For some reason the transitions are hard and sudden. Maybe their internal monologues should be dealt with separately? Or I'm just having a bad day, and you should ignore me…see what other people say.//

OK, Varian, here's my response: This complicated, and undoubtedly there are some fancy terms for it, but you are using a variant of limited, omniscient narration and you are writing in the third person.

The variant is that often limited omniscient narration is tied to one character, and the narrator somewhat overlaps the character in personality, education, word choice etc. (Like a perceptive older sister hovering about her.) You, by contrast, allow the narrator access to another mind (his) as well. Sort of like, "She wondered what was happening; he was afraid he'd hurt her." As Ginger said, that can get distracting since it's a lot of info to follow two characters' minute by minute.

Now, in my book, the narrator is to have a *consistent voice*. IOW, from the example above, this altered version fails: "She wondered what was happening and how he would fit; he had phobias--perhaps of some severity-- centered on the issue of inflicting bodily trauma."

But, as I said, the narrator usually overlaps one character, a lot; if this is a college girl, the narrator has at least that vocabulary.

Now we get to the problem of thoughts. You don't clearly represent them, but rather have them sort of suffuse the narrator's language.

For instance, this is not a problem: narration and thoughts clearly distinguished:

Example
#She wondering what was going on [begin italics]. {She thought:} Oh my god,what's this guy going to do next, try to put his thing into me. Oh, I hope he does, it's just burning down there between my legs. [end italics]

{Back to the narrator: } He was afraid he'd hurt her. {Diction consistent with the first sentence #, above.} Thoughts crowded into his mind:
[start italics] I gotta have that pussy, but damn, it's probably cherry and tight as a lamb's asshole. Damn she's sexy, but I don't know if the bitch is gonna come through, or just lay there like a dishrag when I ease Old Johnson in there. [end italics]

[End example.]

Notice this is quite different from having a narrator trying to ape her, then him.

Example of not so good infection of narration:
//She wondered what was going on, and hadn't a clue what his manhood would look like. Would it fit into her. She was so tiny.{shift} He had to have that pussy, and figured he'd be the cherry buster and it would be like getting into a lamb's asshole. He didn't know if the bitch would come through.//

For me this is a problem, and it's an extreme example of what I sometimes saw. If you want to go into someone's head, do it, and make the pronouns reflect that {"I"'s will appear}. But the actual narrator is to have a consistent voice, be it 'street' or 'clinical' or 'male locker room' or romantic Margaret Mitchell. {His or her "I" usually does not appear in the story, these days.}

Perhaps Ginger can explain it better. But it's what I was getting at when I objected to talk of 'centers', and then talk of 'getting laid' (without the phrase being marked as verbatim thought).

All things are possible, and authors innovate, but it seems like a third person narrator who is alternately infected with different characters' vocabulary is hard thing to succeed at. A common way that's done--access to multiple minds-- is to limit narrative, and to have a multifocal collage: Simply have a para of her thoughts:
"What's going on, will he fit inside me, blah blah",

then a para of his:
"Am I gonna get into that tight pussy. Fuck if I know.... etc."

(suitably marked, so all 'his' paras are italicked).

Thats the best I can explain it; maybe others can give their views.
 
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Ginger,

My goodness, how can I ever thank you? Such insight, depth, and detail! You've given me lots of examples of specific problems, as well as showing me issues that are endemic to this chapter. You also gave me some extremely useful insights into larger character- and plot-level problems that need my attention. I'm literally astounded at the length and detail of your response--I'm terribly grateful.

GingerV said:
Hey Varian.

Sorry this took me so damned long. As always, I'm worried that my detailed review is going to be misinterpreted as disapproval. So I want to say up front that I think you've got a great little story going here. I don't think you've got a 20 page chapter (which is what it measured out to be when I copied it into word for editing), though. I think you've got 5 stunning pages, 5 great pages…and 10 pages of repetition. It can be seriously improved just by identifying and getting rid of the excess baggage.

I'm very glad to hear you think the story has merit. And I'm convinced you're right about the length--there's lots of repetition and superfluous words/details that need to be excised to pare this down to the most impactful details. You've pointed out many specific instances where I might begin this process (which will no doubt be rather painful, but hopefully worthwhile in the end!).

And I don't "get" your title, at all. Probably just me.

Oh, probably not just you. The larger novel is "The Fantastic Adventures of Changed Girl," kind of ironically referencing the comic book genre, and related to the drastic transformation the central character makes as the novel progresses. "Cabin Fever," the chapter title, just refers to the fact that they're trapped in Vaughn's cabin and they're going a bit crazy.

I'm not getting Devan as wimpy, although you're giving her very little beyond "scared" and "interesting taste in books" to work with. She a very reacting character, it makes her seem extremely young. And if young and vulnerable is what you're after with her..I think it works. I'm not getting wimp, I do get a scent of victim.

Good to hear--all right in line with where she is at this point in the story/her life.

Vaughn….dang. I go over this a lot in the comments, but I think you're not getting the shades of grey with him. There's white and black, and not a lot inbetween. I'm not saying he should live in the grey, he shouldn't. But we should at least be able to follow his transitions between the two…the reason he seems like a diagnosable case is the light-switch nature of his mood changes. More than shades of grey, maybe I miss the stripes. There is no white in his black. Ever. And when he's being the good and considerate lover, there's no black in his white. To make him real, I think there should be a little bleed through between the two states. If that makes any sense at all.

That makes excellent sense. It's in line with some other comments I've gotten, and instinctually it seems right to me. One thing I like about Vaughn and the other characters is that they're not all good or all bad, but I'm starting to see that specific scenes/moments can be made much more tense and compelling by letting the various aspects of his character come through at once. Very helpful.

Of the two, Vaughn is clearly the more interesting, if only because he's more complex. Devan feels like nothing much more than a foil to play him off of. Except when she's choosing books. I don't know why I keep coming back to it, but it's true. When she's talking about the books I see a real person under there. Other than that, she's just the girl in Vaughn's house.

I see why you're getting this--and I'm working out a few ideas for giving her personality a better outlet in this chapter. I'm relieved to hear that you're feeling her in relation to the books.

So yeah, they're sympathetic and interesting…but I'm not getting deep or complex off of them yet.

Good to know. This in consistent with what others have been saying--clearly this needs work.

I don't get his attraction to her, other than that she's ignorant of who he is and vulnerable. He's attracted to her for who she isn't. It's understandable, but I don't have any reason to think it's a deep and meaningful connection. All they seem to have in common is lust and lonliness. Maybe that's why I react in my line by line comments when you say he adores her….that comes as a bit of a shock to me.

You're right. I'd reworked this chapter some--initially there was more of a friendship forming between them before the drinking/makeout scene, and I'd intended for there to be more depth of feeling as they came together. I've pulled back from that somewhat, making the fireside encounter more about just sex, and that later line about him adoring her has got to go.

The attraction makes sense. The animal level of their attraction makes total sense. They are each of them looking for a safe harbor, and that makes sense. The need for romance and approval, that makes sense. A deeper sense of love and understanding? No, not getting that at all. Partly cause I don't think you've shown us their depth yet, and partly because I haven't seen them interact on that level. They've talked about themselves, but they haven't talked about the things that are important to them. Not much, anyway. It's not a love affair yet. But in chapter three, I don't know if that's not to be expected.

Yes, as I said above, I think I was originally trying to get to the love affair too early, and I haven't done a very thorough job of pulling back from that. I'll have to clean this up and make their interaction a bit more emotionally consistent.

But the sex is different from the attraction. I yipe about the drinking scene in the breakdown…here, I just want to say that it seemed a little sudden. Not the physicality of it. Given how they were opening up to each other, the physical connection seemed fine. I don't see how they got to the point of opening up. It seemed sort of like the conversation was frog-marched to the point that let the touching begin. Which was weird, because the plot flows so smoothly through the earlier and later parts of the chapter. I'm willing to guess you felt awkward about how to get them there…but I'm not willing to put money on that bet.

Ah, you should have made the bet--you'd have cleaned up!

Writing dialogue is a real tough one for me. I do alright when the situation forces dialogue that's necessitated by the action, but put two characters in a conversational situation and I flounder. I do have one garrulous character who, mercifully, seems to talk a blue streak all on his own, but Vaughn and Devan are stubbornly quiet. Much work ahead there.

4. Is the first sex scene too minutely detailed?

[chokes] Hmmm, should've read the questions before I read the story. I'll try: "yes, you might say that." And let you get to my specific comments in your own time ;).

And your comments on the specifics throughout the chapter are immeasurably helpful. It's amazing--I've read through this chapter of mine dozens of times, but it's like I've been half asleep every time. I look at the excerpts you're pointing out and think, more often than not, "good grief--how did I manage to leave that horrible repetition in there?!" Sentence structure, words, phrases, particular sentiments and actions repeated again and again. Really, Vaughn's hands needn't swim the warm currents of her hair more than twice. ;)

Learning to avoid other things you point out, like my tendency toward convoluted and complex sentences, and my abiding attachment to prepositional phrases, will no doubt require a lot of time and practice on my part. But I'll begin today.

And I still feel locked out. I've got her reactions, physically…and I know she's puzzled emotionally. It's almost enough. But I know nothing about him, he was resisting as much as she was earlier…and HE'S the one making the move. What the hell happened in his head to bring him to this? I want to know, that's where the big changes are happening. The more I read (coming back to this part from about a page further down)it feels like the seduction started when I wasn't looking…and that I really missed something.

This is immensely helpful. It confirms a nagging doubt I've been feeling about how all this unfolds, and also echoes some other criticisms I've gotten. Your particular remarks bring some helpful clarity to my ideas about what needs to be done.

...Vaughn again. I want to see the rest of him. Where the hell did it go? If the guy has a dark side, it should be there on some level. It's disappeared and now he's all sensitive new age guy. Honestly, I thought the edginess was a big part of his sexual appeal, but that may just be me. It's cool if he manages to hold it back here, but I want to know about it. I think it'd do wonders for the tension, as well as make his character more cohesive/interesting.

So very, very helpful. Yes, you're right--his edginess is a big part of his sexual appeal, and it should come through for the reader even when he's keeping a lid on it.

--------------------------------------------------------------------------------
when he felt her push herself away a bit he sensed that she was resisting her own pleasure the way people do when it is too wonderful to bear and he pulled her hard to him once more,
--------------------------------------------------------------------------------

Oh hell. You dodged it. She's trying to pull away, he won't let her…but not from any motivation that might be morally ambiguous…but rather because people "pull away when it's really good" and it's in her own best interest that he hold her down. Not because he's justifying it to himself that it's in her best interest, but because IT REALLY IS. The narrator told us so.

Why can't this be morally ambiguous? Why can't her tiny little moment of struggle turn her on? He has it in him? We know that. Even if he then releases her and she chooses to stay, why can't it surface in him for even that moment? Even without the dark side you gave him earlier, it'd be natural and human for a guy to hang on for that split second of "no, don't leave." Not because it was in his own best interest, but because desire IS both selfish and overwhelming. It doesn't have to become rape, it shouldn't because that's not where you want this to go…but I just don't buy this. It's too Romance Novelesque.

Oooh! Yes! I think I was trying very hard all through this scene to make Vaughn a little too good, as a contrast between his past roughness with her, his past dark fantasies, and the coming assault--I didn't want him to be non-stop menacing. But yes, there are opportunities missed to reveal his conflicting feelings, his more complex nature, and to maintain some tension. This particular example is just the place where I can begin to redress this.

quote:
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Sweet surrender dissolved in vulnerability, excitement began to smother under sudden fear.
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THAT was lovely. Really masterful. But then you follow it up with a paragraph of uninterrupted petting. Her "sudden fear" doesn't find action for long minutes of my real time. I think that was a mistake. You've got this gorgeous transition…use it to change the action. Honestly, there isn’t anything really new in terms of plot or character in the next paragraph anyway. Some nice points, but they could be moved into the one that preceeds this switch.

Hmmm, yes, I see what you mean. I guess I was just thinking that she's conflicted--she's afraid, but things are also feeling really good, and she also has this little battle going on with her arousal at this kind of fear, so I didn't think she would put the brakes on right away. So I was trying to give a little time for the fear to build and finally overwhelm the good feelings. But I see your point about a good transition not put to use. I'll think this one over.

quote:
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"I’ve never really been with a man before."
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Picture me throwing popcorn at the movie screen. "I'm a virgin." Or "I've never had sex." Or just "I've never…" But people don't say "been with a man"….not in this day and age. Hell, most kids I know wouldn't understand what you were asking if you used those words. If you're gonna use a euphamism, use one that's era appropriate.

Fair enough. In my mind she's talking about more than doing the deed--she's literally had almost no experience with men, and doesn't know how to 'be with them.' But I'm cheating, too, I realize, because she's also talking about being a virgin.

quote:
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Before, during, after. Her letters to him. Before their marriage. During their marriage. After their divorce. Had she gone through his things? Had she read his letters?
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I feel like we should get the emotional reaction sooner, or at least a hint of it here. He feels too "in his head", too purely intellectual. I know, you get to it…but it just seems like having to wait for that is problematic.

Yes, I think you're right--some emotion needs to charge all this rationalizing.

quote:
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But it would tell her, she hoped, whether Vaughn was simply an imbalanced case with a rock star complex and a tendency toward violence, or if some truly frightening experience made him return, again and again, to his belief that she had come there to do him harm.
--------------------------------------------------------------------------------

I dunno. Unbalanced cases write largely fictional journals quite frequently. I would rewrite this, making her expectations a little more reasonable and narrowly defined. It is, saying that, a truly effective cliff hanger. I'm looking forward to the next chapter.

Interesting thought. I hadn't really considered the possibility that the journal be less than truthful--at least not beyond the fact that there are still truths he's hiding from himself. Worth thinking over.

Glad I managed the cliff-hanger. The next chapter has no tress-swimming, and no aching centers of pleasure, but lots and lots of sex. :)

Thank you kindly for paying me such lovely compliments where you felt I got things right--a bit of praise here and there goes a long way toward easing the unavoidable sting of justified and instructive criticisms. :) Not to mention, it's helpful to have examples of the good to compare with the bad, to further illuminate where I need to focus my attention during the re-write, as well as in further writing endeavors.

Once again, thanks for taking what must have been a tremendous amount of time to go through this chapter with such care, and for giving so much feedback--all of it helpful. I'm truly grateful, Ginger.

Best,
Varian
 
I was kind of reluctant to read this piece since it is a continuation of the previous piece you already had critiqued. I prefer to see something totaly new.

I read the first shorter section not the full piece. My brief thoughts are without looking at other comments. Some of my comments are carried over from your previous chapter.

Too be perfectly honest, reading this section seems to me inferior to your previous piece. But I thought that other chapter was so well written that it would be hard to match. This one just didn't capture my interest. It seems a bit flat to me.

From the point that he kisses her cheek to the point that she panics seems to me drawn out way too long. I started skimming through even though it was a well written section.

I would of liked to have seen the point that she panics to be more in depth. The fear, tension, anxiety could of been simmering in the background of her mind untill she breaks out in panic and floods away the lust (or love?) replaced with terror.

I don't find him very sympathetic, her I do somewhat. She comes off as sort of inocent. I don't really understand why he is pissed off at the world. Rich and famous guy runs off to the woods to be alone... Boo hoo, cry me a river, what a tough life. I could sympathize with a poor man living on the streets not with some rock star burdened with fame.

He doesn't seem very real to me more like a fantasy created in a womans mind, muscular, mysterious, rich, famous, nice yet with a bad edge, great kisser, and by the choice of books he has in the cabin probably has brains too. Why should I have sympathy for this guy?

It seems your hinting that it was the alcohol that made him pursue her and her respond willingly. I would of prefered something other then they got drunk that sends them in that direction. Something that forces them closer like him checking her wound and they feel each others skin.
 
Hi Lying Eyes,

Lying Eyes said:
I was kind of reluctant to read this piece since it is a continuation of the previous piece you already had critiqued. I prefer to see something totaly new.

Thanks for taking the time to read my chapter and offer your comments, in spite of the fact that a the continuation of a familiar story isn't your bag.

Too be perfectly honest, reading this section seems to me inferior to your previous piece. But I thought that other chapter was so well written that it would be hard to match. This one just didn't capture my interest. It seems a bit flat to me.

Thanks for the compliment on the old chapter. I hope, with the guidance of much of the feedback I've gotten here, I'll be able to whip this one into shape so it's nearer the quality of the last.

From the point that he kisses her cheek to the point that she panics seems to me drawn out way too long. I started skimming through even though it was a well written section.

You're not alone on that. I agree I need to trim that bad boy way down.

I would of liked to have seen the point that she panics to be more in depth. The fear, tension, anxiety could of been simmering in the background of her mind untill she breaks out in panic and floods away the lust (or love?) replaced with terror.

Hmm...interesting. What I've hopefully got going as it stands is that she's alright with things when a) they're relatively innocent and b) she's on top of him. She doesn't get alarmed until a) he's on top of her, pushing her legs apart, holding her hand down, and b) he's heading for the "heavy pet."

I do think some elaborating within that brief part of the scene might make things a bit more tense and revealing, though. Thanks for the thought.

I don't really understand why he is pissed off at the world.

A psychic told me that all will be revealed in the next chapter.

Rich and famous guy runs off to the woods to be alone... Boo hoo, cry me a river, what a tough life. I could sympathize with a poor man living on the streets not with some rock star burdened with fame.

Well, as I'm not likely to have a homeless guy star in this or any of my erotic stories (though it would be an interesting challenge :) ) I'll have to do my best to make my rich famous guy as sympathetic as I can.

He doesn't seem very real to me more like a fantasy created in a womans mind, muscular, mysterious, rich, famous, nice yet with a bad edge, great kisser, and by the choice of books he has in the cabin probably has brains too. Why should I have sympathy for this guy?

Yes, I fear he's a bit shallow and one-dimensional at this point, though I do get the overall vibe that the ladies like him rather better than the men do--quelle surprise! ;)

If you'll pardon a moment of terribly self-indulgent defensiveness: his stardom is a means to an end with regard to the plot, rather than 'the thing' that's meant to be attractive about him. The fact that his being a rock star makes him seem rather like a teenage girl's fantasy is something that troubles me about this story, but I do feel it's given me tremendous mileage in a few themes I really wanted to explore.

It seems your hinting that it was the alcohol that made him pursue her and her respond willingly. I would of prefered something other then they got drunk that sends them in that direction. Something that forces them closer like him checking her wound and they feel each others skin.

Ultimately, I want that, too. Their 'togetherness' in this chapter, as you saw, is rather short-lived, and disrupted by major conflict. If they should happen to get together again ;) it will be based in something more real than two stiff drinks.

Thanks, Lying Eyes, for your helpful comments.

Varian
 
Has anyone noted that Vaughn is a kind of soul-descendant of Rochester in the famous romance, Jane Eyre. Indeed, I hear Varian suggesting a 'terrible secret', which further fits the bill.
 
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