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epiph
5th February 2003, 18:35
i'm in the process of writing this story about the quest for the golden fleece and i'm rewriting the beginning and i'm stuck. i know where i want to go, i'm just not sure of the vehicle to get it there (and this is just for this one scene! jeez...) it's several pages, fyi. anyway, i'd appreciate suggestions:

Once, I had beautiful hands. The slender fingers, adorned with rings, had seen no toil harder than the bruising of plant leaves. No callus marred their smooth skin. They were white as the milk my sons have sucked from my breast and as unstained by sin as their perfect hands, so small and fragile.
My children are asleep now, two young images of their father curled together on a leopard skin laid over hard ground. He will come soon, and I must be done with my last and most horrible sin when he does. I must steel myself against the twin faces in sweet slumber. They must not touch my heart if this is to be done.
His hands, strong and powerful, touched my heart long before the shining faces of my sons. When I close my eyes I can see those hands, the skin tanned from the deck side sun and rough where the hilt of his sword hardened it. When I lay asleep at night, with only my sons beside me now, it seems I can still feel the roughness of those hands on my soft flesh.
I ceased cursing the arrows of Eros long ago. I loved Iason, I still do, and I cannot regret that. It is his fickle heart that I now curse; his broken word, his treachery. I lay my sins at his feet, but he does not see them there. All I did was for him, and I have lived to hear him damn me for them.
The first, in the list of them, was a little thing. I loved my father's enemy.
The years between now and the day Iason first appeared at Aia seem both long and short. Long because of the lifetime I have lived since then; short because I can still breath the heavy summer air when I close my eyes. I can still feel the warmth of the tiles beneath my gown, warming my back as I lay beside a murmuring fountain. The soothing sound of the water and the warmth of the early summer sun had put me into a kind of doze. One hand dangled in the cool water, making lazy circles; the other twirled a black lock of hair, radiating the heat it had soaked from tile and sun. The skin of my scalp was pulled tight by the thin rows of braids that capped my head and gave way to long coils of hair that hung down my back. The noise of the city was muffled by the thick limestone that walled the palace grounds, but even that seemed subdued that day, while langorious bird song massaged my ears.
Perhaps the moment remains so vivid because all my memories surrounding Iason are so, or perhaps it remains so vivid because it was the last moment before my life became clouded by Iason's radiance. If I had never become aware of the voices and footsteps approaching me, I would not be faced with the ugly task before me. But I did; or more accurately, I became aware of their absence. They had stopped in front of me. I had a moment of confusion. I felt the skin on my forehead wrinkle as I tried to place what was missing, and then, I opened my eyes.
Filtering though the summer haze, the sun shone on a small group of men before me. Sitting up slowly, I frowned as I looked them over. I can still feel sharply my prick of irritation at those heroes for being so ungalant as to stare at me and disturb my afternoon of shirking the loom. Until I saw Iason.
I loved him then and there, although the strange wash of feelings that flowed through me had not yet settled enough to be identified so easily. I did know that this stranger had illicited a response I had never felt before—-the sight of his hair, golden as the Fleece he sought, warmed me like the sun, and the sinuous grace of his muscles beneath sun-kissed skin took my breath. He was tall, not just in perspective to myself, and he held himself with the arrogance of kings. He shined with the radiance of Phoebus, except for the black of his eyes, which absorbed light the way sand absorbs water. Those eyes were the last place mine came to rest, and only then did I realize they were fixed on me with ardor equal to what I was feeling.
He said something I didn't understand; all I heard was the rich molasses of his voice, which at first was strained with the restraint of intensity. It took me a moment to comprehend him, then I realized he was speaking another language—-Greek. I only knew Greek by virtue of my brother-in-law, who hailed from Hellas.
I blinked, suddenly seeing more than a being whose look consumed me. He was dressed oddly to my eyes, in a short tunic and some sort of traveling cape. They were of fine linens; the needlework caught my eye particularly, it was a pattern of square spirals in thread of gold. He and his companions were young; none of them had grown a beard, as it would have been sparse. After a moment of study, he repeated himself.
“Is this the palace of Aeetes of Colchis?”
I looked at him for a moment, he shifted uncomfortably under my gaze and gasped as my eyes caught the light, before I nodded.
“And you, Lady, who are you?” he asked, in a voice that sounded as though his throat were clamped in a vice.
“I am Aeetes daughter, Medea,” I said, my voice like still-rippling water that has not noticed the rest of the pond is quiet. Such was the suddenness of calm that swept through me.
At the proclamation, Iason's companions looked at each other in wonder, while the youngest threw himself at me with a cry of “Cousin!” The others broke into smiles.
“You! Little Medea!” said the eldest, in wonder.
“You have grown lovely,” said another, his voice warm with appreciation. Technically, the men before me were not my cousins; my sister's eldest son was older than my brother and me by several years and her youngest son of an age with us. My sister was more of an age with my mother than with me, certainly. As a result of the oddity of having nephews older than myself, we had called each other cousin.
I smiled wanly at them, but my eyes flicked back to Iason as if pulled by some irresistible force. His face was blank, a mask hiding the jealousy that flashed in his eyes as I kissed and hugged my cousins. His sword hand was clenched as if to contain himself inside his fist.
“Sirs!” I said, taking myself in hand and quieting my cousins. “My sister will want to know her sons have returned, cousins, and, sir, you mentioned something about seeing my father?” He gave me a slight tensely graceful, bow in assent. “I will take you to him, then. This way.”

Raunch
11th February 2003, 18:12
I don't know where you are headed with this story, but i would like to buy it when you are done. I don't write very well myself. I am choppy and non-elegant. You, on the other hand, flow beautifully. I am impressed "They were white as the milk my sons have sucked from my breast and as unstained by sin as their perfect hands, so small and fragile. " Great imagry. Let me know when you have more. I know it's not what you wanted (help), but i had to give you a pat on the back. Nice Work

epiph
11th February 2003, 18:39
thanks...wow...i'd given up on anyone responding...

Beowulf
11th February 2003, 19:11
I thought it presented itself really nicely too. nice use of wording, comes across as gently told, there's a serene quality to it. I just didn't want to sound trite and smarmy. and I still don't, so I'll be quiet now. :)

epiph
11th February 2003, 21:07
thanks beo!

Raunch
12th February 2003, 00:13
Not a problem. I like to read new and interesting works. Have you decided on a direction? So what was the sin anyhow? Was she going to kill her children? If so, why? What reason does she have to steal the lives of her children? Now that her husband has made offspring does he see her as less of a woman? Is Iason her husband or was the first part just a dream? Keep plodding along and something good will come of what you have started.

TimGoldenboots
12th February 2003, 09:03
Hi all, I am new to this particular board. I usually reserve my posts for the WoT Theories, but as I am about to start writing a series of short stories myself, I thought I would check this section out to see how active it is. I think it would be great if we can write to an audience and get feedback on our work.

epiph, are you looking for help with this story's direction or do you want more?

When I finish my first story, I would like to hear what people really think, even if it is that they don't like my story... simply because I am working toward becoming a better writer. But I don't want to hash out critisism if it is unwanted...

epiph
12th February 2003, 17:09
if you all are familiar with the story of jason and the argonauts/the golden fleece, this is a retelling of the story from medea's perspective. so it definately has a direction. in the myth, medea first aids her father's enemy (jason), which to the ancient greeks was a big one. the second was that she helped jason kill her brother (depending on the source she actually kills him with no help from jason) who is leading her father's armies who are pursuing both medea who they think has been abducted, and the golden fleece, which they stole. so they kill her brother to throw off pursuit. then later, back in greece, she tricks some princesses (jason's cousins) into killing their father (his usurper uncle). then later, jason decides to marry the princess of corinth (he's already married to medea, and she's borne his two sons), and so medea kills her children so they won't be sold into slavery and leaves in a chariot drawn by dragons (see the play of the same name by...sophocles, i think...).

this is just the beginning of the work, where she and iason (a different spelling of jason) first meet. i'm just stuck on this particular point...i should really just write another scene and hope my block loosens itself...

TimGoldenboots
13th February 2003, 07:33
Can I make a sugestion?

epiph
13th February 2003, 11:00
go for it...that's why i posted this.

TimGoldenboots
13th February 2003, 12:30
Hehe, ok...

It is nothing against your writing style, I think you have a great grasp of eloquent writing. However...

First person naritives are not as easy to write as third person. You need to first remember that a first person naritive implies that the narator of the story is having a conversation about events that have happend to her. (There are exceptions to this, such as a journal, but if it is some other type of naration it shoudl be introduced from the begining so the reader knows what they are seeing) As such, it is necessary to keep in mind who the audience of your narator is at all times during the writing. Think of telling a story abotu meeting a cute guy at the mall to your best friend. Think of the way you would describe him and the vocabulary you would use. Now think of telling the same story to you mom. While you may cover all the same facts, your descriptions of the events would likely be diferent.

Next, it is a good idea to understand your character and how she really talks. Remember that it is not your voice and opinions that are telling the story, it is hers.

My children are asleep now, two young images of their father curled together on a leopard skin laid over hard ground. He will come soon, and I must be done with my last and most horrible sin when he does. I must steel myself against the twin faces in sweet slumber.

Another thing that confuses me is your occasional use of Present Tense. Who is she telling the story to as it unfolds? If they are there to hear her, then they can see most of what is going on for themself. Again, I am uncertain who your intended audience is, but Past Tense is at least the norm for telling a story in first person or even third person.

A book I strongly recoment to any writer, is Characters and Viewpoints by Orson Scott Card. While it is immensly useful in Character Development, it also has great tips for scene construction, and showing the essencials of how to write with the diferent narations. First Person and Third Person and variations...

epiph
13th February 2003, 17:15
i had just read lolita by vladimir nobokov when i started this story, and so his style, including the first person, was very fresh in my memory. i grant that his excuse for first person was that his character was writing an explanation of his crimes, but it's just sort of the way that it ended up unfolding. the reason i keep switching perspectives is because she is in the present, about to kill her sons, and the actual story is told through flashback and memories. it's sort of a more organized stream of consciousness. the thought has occurred to me, "who IS she telling this story to?" and i don't have an answer...it's more like an inner monologue, described. but i will keep that in mind when i workshop it next. thanks.

TimGoldenboots
14th February 2003, 08:12
If you are having Writer's Block because of a story, sometimes it helps to write down your plot sumary, then if you are writing into chapters, break it down and sumarize each chapter.

Like taking a test, if one question is too difacult for you right now, move ahead to the next one. write that chapter and some time later when you have a cleared head for what you want to do you can go back and finish the earlier chapter...

This only works well if you are planning of writing a second and final draft of the material...

TimGoldenboots
14th February 2003, 15:00
Another thing to consider is why is this person telling this story? Is it for sheer entertainment purposes? Is she standing before St Peter trying to explain her actions to get into heavin? Is she talking to a judge? Or maybe she is telling her surviving son why she had to kill his brothers?

It is not nexessary to reveal the identity and reason of the indended listener, but it can be fun to write and make the story more enjoyable to read, if there is some suprise at the end.

Take the Amber Chronicals, by Roger Zelazny. All told in the first person by Corwin. then in the end, it shows how Corwin is actually telling the story to his son Merlin. Then the next series of books, from Merlin's point of view ends up having him being the one telling Corwin what he has been doing while Corwin was missing.

For the first set of books it would not have mattered if we ever found out who Corwin was talking to, it did set up the next set of books though... But it is nice if the author keeps it in mind both who and why so you can enhance the story by emphizing the parts which you most want them to understand...

In Robert Asprin's Myth adventures, we never find out who Skeeve is telling his story to. It never really matters since Skeeve is a straight man and prone to tell the truth anyway... If Aahz were telling the tale, I would be a little bit more questioning on how things really happened... Then later in the series, M.Y.T.H. INC Link, we get to see some stories from the other chatacters in the book. This is a great read for people who want to write in First Person, because Asprin really goes out of his way to keep the various narators in character down to how they tell the story. It really makes a great example of the first person naration since you can see dramatically the aditude and vocabulary of the diferent characters.