Need some real help

yorelm

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Atlanta, Ga
Okay, I'm juggling a real problem here. The crux of the story is "Faye has problem, then goes thru conflict to solve that problem." But I feel, esp with the bits about her husband, it's seems to be a different story than what I'm going for--a unusual speculative adventure. When I get to the 'husband' part, it's starting to sound far too serious to me and one huge distraction.
The "dilemma" is that I want to reader to understand why she wants a divorce (along with her bigger problem), but I didn't want it to seem flippant, but it's too long and, again, too serious. How might I accomplish both? That is, not having her divorce sound flippant, but keep it MUCH shorter? Should I simply 'write out' the husband (which is what I'm most considering)?
As I read over it before pasting, it almost sounded like a romance. That and young adult just aren't my forte and not my intended audience.
All other mentions are welcome too.
***

Bedlam Monika lived in an old brick apartment complex--classy, not rundown--in Midtown. I believe it was a hotel at one time, renovated into rentals. Security buzzed me in. I signed the register, then took the elevator up and knocked on door 307.

Beldam Monika answered. It had to be her; her looks so fit her voice. She stared through fierce amber eyes, almost too clear for her age, sort of a vamp look. She was wrapped in a gold and blue shawl over a black dress with a high neckline, almost but not quite formal looking.

"Faye? Looks like you found me well enough. Come in, dear," she said with a warm smile. Her voice sounded genuinely inviting, which put me at ease a bit. I caught myself staring, then awkwardly forced my gaze away before stepping inside.

I'd expected some kind of mystical vibe to the place, but instead, it simply looked like a really cozy living room. No crystal balls or beaded curtains--just dim lighting that made everything feel relaxed and intimate.

There was a tiny altar tucked into one corner, but it wasn't flashy or attention-seeking. An Indian rug covered most of the hardwood floor, and the walls were filled with paintings of famous jazz musicians--at least two of them were Miles Davis, so I guessed she was a rather big fan. It all felt pretty normal, which was weirdly comforting.

"Have a seat there." She waved to a sectional couch, and I had to maneuver through a pile of pillows for a sitting space.

She settled into a plush rocker across from me. "First, tell me how you found out about your situation?"

"I was still a child. I would ask my mom why I seemed different, but she always sidestepped the real answer. It took my father to sit me down and tell me I inherited the trait from my maternal grandfather after skipping Mom. Seems I was the lucky catch. It feels strange to actually speak to someone about it. It's like sharing a 31-year-old secret for the first time." My hands were fidgeting in my lap; I made myself still them.

Monika nodded thoughtfully, and her expression softened. "You're nervous. Some lavender tea? It won't take long to prepare."
[[the prev "tea mention" is now lemonade]]

"No. Thank you. Now that I'm actually speaking about my problem, I guess I'm a little tense. You don't know how much I want to be rid of it, but I keep feeling something's not right about this whole thing. It's not just about me--it's about my husband too."

"How so?"

"He hasn't done anything wrong, exactly. It's just his passion's no longer there--he used to do things like surprise weekend plans, dance with me in the kitchen out of nowhere. Now, more and more, he’s withdrawn, somewhere else even when he’s right beside me. If he'd just open up and talk to me, tell me if there's something wrong I'm not aware of, I'd try to understand. To not even get that is just too frustrating. I'm isolated. He's still a good man, but my own happiness has to be real, not just an obligation. That's why I sought you, Beldam Monika."

"Just Monika is fine."

Monika rose and stepped over to the shrine array. A honey-gold cloth draped the counter. There wasn't any symbolic religious deity or anything, just a few candles and a couple of brass bowls covered with damp white handkerchiefs. She lifted the cloths, and the bowls were filled with colored pearls and gems, all coated in oil, judging from their heady fragrance and wet gleam.

Monika centered herself in front of the counter and spread her arms in a welcoming gesture. The room's atmosphere shifted--warm light bleeding into deep violet that pulsed against my skin. My chest tightened, then released, and my anxiety flushed in a wave. An enchantment, I guessed--some kind of calming spell designed to put nervous clients like me at ease.

Monika returned to the recliner and gave me the most gentle smile. "Now tell me more specifically what you expect. But first come here and take my hands. I need to feel what you feel as you speak."

Well, that would be a twist! I pushed myself up and crossed to her, my jitters fluttering back despite the violet calm she'd woven. This was becoming more personal. Her hands were soft as a little girl's and just a little moist. The touch instantly soothed me. She closed her eyes and sat perfectly still as I spilled everything. Only occasionally did I feel a slight, almost imperceptible tightening in her grip.

"You may return to your seat. I sensed thoughts of suicide. That's deeply concerning. This lifelong anomaly of yours, along with your husband's present indifference, is destroying your inner balance. Your emotional psyche is demanding release from too many directions, and for too long."

It didn't surprise me she would make the inference; she was a beldam. They were reputed to be able to tap into those streams of the mind. Still, having those dark corners exposed made me uneasy, having someone see something so personal as suicidal thoughts. I tried to downplay it. "Just a whim. I'd never really follow through." I studied the floor as I spoke.

"Thoughts of ending one's life should never be 'just a whim.' It would be a shame with those lovely features. I bet you go for the cheaper and natural look. None of those expensive chemical-filled creams."

The sudden shift threw me until I caught on. She'd noticed my discomfort and gave me an easy out. I played along. "Are you saying I look like I raid the grocery store for face cream?"

"Sure do, honey."

I laughed. She said that as natural as a friend who'd known me for years. The familiarity didn't fit her first visual impression at all. But I admit she had me pegged. My face has seen about as many herbal oils and fruit as my diet.

"But more seriously, dear, the only problem I have is the means to resolve your situation. I can free you, but what you need is something I can no longer obtain on my own. You may have to put in a bit of personal leg work."

"Meaning...?"

"You'll need to enter a cyclic plane, one I cannot visit anymore until I have time for adjustments. Its present atmosphere drains my spirit too severely. Even a minute there would leave me spent for days."

I hadn't visited a cyclic plane in ages. Just hearing those words brought back memories. The technical specs were beyond me, but imagine a pocket universe built to order. My last visit was with Curt for my birthday a few years back, when we were still dating. He knew I was an adrenaline junkie, so he chose one designed as an endless fare (his long gone side). It might be fun to visit one again, even if Monika's was probably completely different.

"Will it be safe for me if it affects you the way you said?"

"You don't carry a beldam's essence. It won't affect you in the least. But I must say there's one thing that disturbs me--your husband. I can't in good conscience dismiss his feelings in the situation. Yes, I know you want to leave him after I free you, but according to you, he's done nothing wrong except become too complacent--that's not to say I don't understand your reasoning."

I felt drawn to Monika beyond what you'd expect from a first meeting, which, of course, was how she had to feel about me. That she spoke up for Curt, a complete stranger to her, made me want to like her more. I just didn't have that choice. Still, she made another correct inference. Sure, Curt had lost that old impulsiveness that had made me say yes at the altar, but he didn't deserve to be hurt.

"I've wrestled with this too," I said. "But I figure Curt can recover from losing me. What I inherited from my grandfather--that's a lifetime sentence unless I do something about it."

"What if I crafted two remedies?" she offered. "One to free you, another to soften the blow for your husband. But as I said, you'll need to visit the plane in my place. I don't mind deducting a fair amount from my fee for your effort."

A lower fee would definitely be accepted, but I was already willing. "I'll go."

"Good. The first thing you need to know is that this particular plane is not the type you'd normally purchase a ticket for. We beldams discover our own and mold them for our purposes, our own personal 'themes.' It will be unlike any you may have visited before. Mainly meaning: it will have substance."

I really didn't know what to make of that. It didn't sound frightening or anything, but it put me slightly on edge.

She began a slow rock in the recliner. "I'll need you to retrieve two faces--one to represent you, and the other, your husband."

I stared at her for a few seconds before speaking. "I'm sorry, did you say faces?"
 
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I'm sorry - this is a passage the husband doesn't appear in. What is it you're concerned about in this passage related to the issues you mention?
 
Just all the talk about how he's changed (to justify the divorce). And some of the other mentions along the way.
He never physically appears in the story. I had an ending where he did, but removed it.
 
I can see what you're saying. Seems like a boyfriend would be better, as getting married implies more than simply falling in love. It would reflect better on the MC if she was aware that her relationships are shallow and doesn't let them get that serious.
 
I can see what you're saying. Seems like a boyfriend would be better, as getting married implies more than simply falling in love. It would reflect better on the MC if she was aware that her relationships are shallow and doesn't let them get that serious.
Done. But I still get that "too much" feeling.
But that change should make it not so "deep" and I could tone it back.
 
It doesn't sound like she wants a divorce, it sounds more like she has gone to the beldam looking for a way of remedying the situation with her husband.
 
I think the problem here is that the husband doesn't exist except as a device. Two thoughts, one ditch him entirely and focus on Faye's magical problem, which still seems vague at this point. I know you don't want to give too much away but give the reader something that makes them think f*ck that needs sorting! Not the same but in Mayfair Witches, Rowen kills someone with her mind. This is the impetus for her wanting to rid herself of her "gifts". Thought two. Delve into Curt and think from his perspective (not in the story but for yourself). It may change how the story goes but will give him more depth. Why is he withdrawn? Insecurities? Work? An affair? Is faye unkowingly draining him? Explore the possibilities and see what that does.
Alternatively write the story from Monika's point of view.
 
"Is faye unkowingly draining him?"
I thought of that possibility last night before falling asleep. But the strongest contender right now is to leave him out.
I want to focus on Faye, Monika, and Diana (the antagonist once she enters the cyclic plane). Curt serves no real purpose for the story as I'd like to see it. If this were a novel, I could see including something like that, but it's just a 7k story. Thx.
 
It doesn't sound like she wants a divorce, it sounds more like she has gone to the beldam looking for a way of remedying the situation with her husband.
Right. He's a distraction who seemed like an okay idea at first, but I like his inclusion less and less with every re-read. I think I'll keep a handful of "darlings," scrap this, then start again.
 
If your main character is wanting divorce her husband because he is 'boring' and seems preoccupied with something, this doesn't reflect very well on your main character.

But if he doesn't add to the story; worse if he distracts from your intended story, then dump him. Which ironically is what she is trying to do to him.
 
Yeah, this has already been slid into my "Rewrites" folder in Scrivener. I can't even look at it right now. It feels like over-writing; not in a grandiloquent kind way, but rather a plot kind of way.
 
I think @Swank "boyfriend" idea would be better instead of a husband. More leeway to focus on the MC herself.
But having a husband does present the MC with some side conflicts to deal with.
I feel that the benefit of a boyfriend is that he can disappeared and later comeback into the story, or not, much easier than having a husband.
Just a thought.
 
Hi yorelm

You had a number of long dialogue sections from the Witch (she may not be a Witch, but helps me when typing this) and see an example below - which stood out for being just dialogue with nothing to break it up, such as a character action or speech tag. It also felt a little contrived (which it will have been to help the story along, but maybe it shouldn't be so noticeable - both characters are guilty of mini speeches, but less noticeable for me with the main character) when reading the lines, as in carrying information for the reader instead of what someone would/might say. I appreciate it is a balance of speech and info dumping/world building, but as handled in the section above where there were a number of long dialogue lines from the same character, these then stood out for me. It was almost like she was stood still and preaching, instead of talking. A hand movement, a sigh or any other tools to add depth to this character would help me more.

"You don't carry a beldam's essence. It won't affect you in the least. But I must say there's one thing that disturbs me--your husband. I can't in good conscience dismiss his feelings in the situation. Yes, I know you want to leave him after I free you, but according to you, he's done nothing wrong except become too complacent--that's not to say I don't understand your reasoning."

Dialogue use aside, it was well done for me. You did present a world that is interesting, but it was a bit flat. The hook of why of I would want to read on is not all that dramatic. Every marriage will have the first flush of romance drift away, so why is this key to the whole storyline? I appreciate you're attempting to keep close to real life in the setting and to be fair you do well with this, but at the cost of drama and pace. It reads slow for me, but I would carry on.

I'm comfortable that you know what you're doing, so the best of luck with it.
 
I tend to agree with Bowler1, the dialogue needs breaking up a little, which I know wasn't what you asked, but as a writer that tends to lean towards dialogue heavy passages, I've learnt that you need to look at what the characters are doing while they are talking.

As for the husband conundrum, my personal opinion is that he seems to be getting in the way of the story and if he never appears it might be best to cut him entirely. Or maybe a vague mention of a boyfriend, if she's struggling with a male connection.

I loved the world building, and am intrigued as to what her power is.
 
@Bowler1: I don't understand at all how the world was "flat" (yet interesting at the same time). Can you explain?

I already do "stage acting" with conversations and quite a bit, so I guess you're saying not enough? I'll have to look at that. As a style pref, I really don't like pointing out a character's every move in speech, though I do understand there needs to be some (again, as I already do). Sometimes I think it gets in the way of "immersion." But I stress, I know some has to be there to avoid a "talking heads" syndrome, but I purposely limit it as a style pref.

And yeah, the husband slows things down unnecessarily and he's gone. Thanks for reiterating that.
The next rewrite will be focused more on clarity and the main characters.

I appreciate you taking the time, Bowler. (y)

@Nephii: Yep, hubby's GONE. Just unneeded. His original purpose was to show why Faye was hesitant to call for help, but I feel I can convey that hesitance it other, more personal ways that are less wordy and distracting.

Thx for the notes Nep.
 
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@yorelm - I have the other problem. I have characters that are supposed to be purely there to drive the narrative. Next minute, they are inserting themselves in major roles (they are usually right). Good luck, would love to read it when it's done.
 
A second drive by....

Well, flat... as in nothing actually happens. It also hints a great deal with more to come, plains and faces, but with these unexplained and correct me if I'm wrong, but with these plains and faces not turning up in the next paragraph. So not much happening. It doesn't have to be bullets and explosions all the time, but I felt you needed to give the reader more of the plot sooner.

I think dialogue with additional elements added in, and this can be anything from emotions, actions or a pause... in speech adds extra for the reader almost unnoticed if done well. It's all about what works, but if it's all large sections of stand alone dialogue then that does eventually stand out for me as using the same writing tool again and again. Just what I noticed, it doesn't make me right.

Later.
 
This one seemed to go on a bit and I didn't read through to the end. IMO it needs condensing and tightening up. It could be around half the length, to keep the reader's attention imo. But it is just my own opinion
 

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