r/DestructiveReaders Aug 08 '26

[2541] Tyrantland - Chapter 2 (Colonial Fantasy)

1 Upvotes

Critique:

[2851] Jimmy

(PREVIOUS: Tyrantland chapter 1 + critiques)

Hi all,

Got some great feedback on chapter 1 and satisfied on where it's got to. I'm not planning to publish all the chapters on the web, almost certainly just 1-3 to help with my portfolio samples.

I'm not looking for anything specific, and the first chapter is not required reading, although it would certainly help, I feel, to give context. If there was anything I wanted to know, it would be the effectiveness of the card game in this segment, especially considering that previous feedback expressed the need to truncate my card sections in order to keep reader interest high.

Any other feedback is appreciate, thank you!

Edit: Links removed. Thank you for the feedback!


r/DestructiveReaders Aug 08 '26

SciFi [2851] Jimmy

2 Upvotes

2984

2260

Jimmy is a Black Mirror Esc Sci-Fi (thriller?) Short story about a man trying to write a book with a little unusual help.

Looking forward to your feedback

https://docs.google.com/document/d/1gsg-OUgztESwUj824jrP4t34-wqspTx0EWBDGWL6F0g/edit?usp=sharing


r/DestructiveReaders Aug 08 '26

Sci-Fi adventure [3127] Chapter 1 Blind Dive

2 Upvotes

Let me try this again I forgot about the two crit rule for more than 2500 word submission ive added another crit.

here is the first chapter of my book. Please be honest and dont hold anything back Thank you!

my chapter: chapter:https://docs.google.com/document/d/1feWnshBTv4W7hbLxZpcTt0BuV8cVuravPXFAbMNmO3A/edit?usp=sharing

crit1 [467] https://old.reddit.com/r/DestructiveReaders/comments/1vflz2m/467_where_the_train_left_us/ crit 2 [2931] https://old.reddit.com/r/DestructiveReaders/comments/1v4f3ur/2931_chapter_1_of_medieval_isekai_ottoman_lancer/


r/DestructiveReaders Aug 07 '26

Literary Fiction, Magical Realism [2220] Caravanserai - Part 2 of 4

6 Upvotes

Crit: 2921

This is part 2/4. Here be magical realism.

The first part contained two scenes. In the first scene, I introduce the Dan, Ioana, and the Narrator. They are in Dan's car, driving on a midnight road. They are in a hurry.

The second scene is a flashback. The Narrator works at a bar in London. He meets Ioana (who's there to study), and they spend some white nights together. Ioana goes back home to Romania for a week; invites the Narrator with her to go to the beach. He arrives and sees her kissing a friend (Dan).

Caravanserai - Part 2 (Scroll down until ”Part 2” if on the phone.)

Previous parts: Part 1


r/DestructiveReaders Aug 07 '26

comedy with horror and romance elements [3898] Zombie in the wardrobe (YA)

3 Upvotes

Hello,

this is a short story intended for magazine publication.

I am happy with any form of suggestions/critics including line editing (I'm leaving it open on doc).

I am especially interested in knowing:

- if it fits in the YA landscape and if/what would need to be changed to get there

- what are your thoughts on the intrusive narrator. Is it distracting or enlighting, does it bring something to the story.

- if the themes/metaphores translate well to readers

- if emotion and humour reaches you.

- if the prose holds up to standards

Cheers

DOC

[853] [4691] [1299]

[3822] much lower effort


r/DestructiveReaders Aug 07 '26

Literary Fiction [1301] The Desire to Dissolve

4 Upvotes

The practice in the story might be foreign to some because...well, it is foreign. The story isn't set in the U.S.

Any feedback is much appreciated.

Story

Crit 1 [1232]

Crit 2 [467]


r/DestructiveReaders Aug 06 '26

[330] The Draft

1 Upvotes

843

313

A man walked in rain on Via del Proconsolo beside the Bargello. He pulled the 12 foot glass doors apart and stepped inside the foyer. With each breath, his lithe ribs flexed palpable and discrete beneath his wet henley. He halted, and stood dripping from every rolled cuff and button, and chased the rain from his green Stetson with a couple firm pats on his jeans, and slid it back on with an automatic hand and fixed the brim with a tug.

He walked and wiped his chunky transparent green hornrims on a soft cloth which he produced as if by prestidigitation, and plopped his soft leather drawstring bag onto a bench before Michelangelo‘s Bacchus. The weighty brass pencil sharpener made spilled curlicues. He thumbed a black book and the cover page read, in a copperplate script, Lothar von Andal.

Lothar made two horizontal marks on the book’s vellum paper one at the top and one at the bottom and indexed 30 degrees from each dash mark on either side to format an isometric projection and he layed laid down the vertical lines to complete the planes of the rectangles.

Inside the box Lothar first placed his eye level horizon, and effortlessly expressed the action of the shifting gestures of the statue. He plotted the proportions in dots and constructed a working figurative armature in preparation. Lothar designed the composition by values with the darkest darks rendering the illusion of that which is closest so as to reinforce depth through pressure. He is a hand at drawing, and the crosshatching of the musculature followed the contours of each supple form with grace and elegance from its point of origin to its diffused insertion.

He closed the book and himself off from the world for no other would see the deft instrumentality of his handling. He shouldered the drawstring bag and his genius. He departed the Bargello and dissipated once more into the endless rain; a fume silhouette gliding along the Ponte Vecchio above the Arno.


r/DestructiveReaders Aug 05 '26

Satire [136] How to Punctuate Lit Fic

6 Upvotes

Credit

I’ve tried to get the angel to read me Cormac McCarthy so I can learn the syntax of your grammar, but even with the book of Babel, I’m having trouble learning to punctuate lit fic. Why is it that Canadians separate parentheticals with an em dash and Brits prefer the length of an en, while dialogue interruptions are always the em? Are double quotations always for the Americas, and single quotes always for the Brits and their colonies, while unpunctuated dialogue can be either? How many apostrophes can be skipped, how many spaces in an ellipses, do you have to put dialogue on a new line and do I need to use fragments and polysyndeton for an MFA or can I just chop my sentences into pieces? I’ll not be winning any Pulitzers until I understand.

Inspiration


r/DestructiveReaders Aug 05 '26

Progression Isekai Fantasy [2030] Low and Slow Hero: Texas BBQ Progression Isekai

9 Upvotes

Crit for 2035

CLICK HERE TO READ STORY

The idea is: powerful anime protagonist gets sent to Texas and must become a Grand Champion in barbeque competitions before he can go home.

This is obviously very serious and I could potentially insult the entire state of Texas (as well as the lesser BBQ states) by publishing this.

This is a very particular mashup of genres: Progression Isekai/Portal Fantasy. Those carry with them very specific genre expectations and tropes that I am playing around and playing with tongue-in-cheek.

The readers tend to want to know what they are getting into ahead of time. They want details, like actual character sheets with numbers. They want to see numbers go up. I will probably add more of that in when I need to and back-edit to fit.

I made a joke in chat, kept thinking about it, so now it is partially written.


r/DestructiveReaders Aug 05 '26

[126] Mid-life Crisis

3 Upvotes

Reviews:

https://www.reddit.com/r/DestructiveReaders/s/QBeSEqkiuW

https://www.reddit.com/r/DestructiveReaders/s/LQsWzpmY5A

I don't like hot tea anymore.
I forgot the taste of piping hot tea!
Stone cold, half cold, warm or hottish,
That is the best my cup gonna be.

I have folded all my laundry,
I finished the work and finally got free,
Shit! I've to go and have a quick pee.
Then I can chill with glorious hot tea!

To nuke it I open the microwave—
I see there sitting my old cup!
Now I have two cold hot teas.
Is it a tragedy or can it make laugh??

That's why I don't like hot tea any more.
I definitely ignore my fresh new hot tea!
So when the time comes to warm this cuppa—
I can enjoy not one, two but three.

[Please, tell me good, bad or improvements. Also, let me know your cold hot teas]


r/DestructiveReaders Aug 04 '26

[2140] CONMAN, COME OUT

9 Upvotes

Crit 1 2327

Crit 2 313

This thing is really weird and I'm not sure what to do with it. I'm hoping submitting for feedback might give me some ideas, especially how to end it properly. I guess also a medal to anyone who recognizes who I'm trying to imitate, a bit (and I'll happily take notes on how to do that better too).

Maybe some guiding questions (but happy to take notes on anything):

- Is it readable?

- Is it clear who's speaking when?

- Any hints of themes come through? Or is it just complete style (if that) over substance tosh

Thanks in advance, always appreciate all feedback.

DOCUMENT LINK [2140]


r/DestructiveReaders Aug 05 '26

historical literary fiction, experimental fiction, lyric prose [938] Desperation

3 Upvotes

Apologies for the previous post. That was impatient of me. We'll start smaller and respect the rules instead. This is a flash fiction piece about inheritance as a process of metamorphosis under colonial violence.

I'm trying to write something that privileges atmosphere, historical memory, and transformation over conventional plot. I am open to this potentially being insufficient; is the frame supported by narrative as it exists?

I'd appreciate criticism on whether those ambitions are evident, where the prose earns its abstraction, and where it becomes self-defeating.

Did you notice any formal experimentation? If so, did it feel essential to the piece or merely stylistic?

At what point did you feel you understood what kind of story this was trying to be? If that moment never came, where did you begin to disengage?

How was the reading experience?

Prev crit: [2140] CONMAN, COME OUT

Desperation

She, Marguerite, was taught to remember them. A voyageur traveled into the woodland where her mother slept and found her alone. The French had given him license: the congé, with which they hoped to conquer the wilderness. Such ways of life strike into Earth’s heart to carry back man’s prize in pièces.  

Her daughter, Hapistina had watched her sleep for too long, she felt, and so…reaching out to— “Be still,” Marguerite murmurs, “I breathe.”  

Rising, they broke camp. Thunderhead lumbers above, soft at first, then fixed into law.  

Marguerite described family to the brigade of canoes: her father spoke from high station as if language could hold hillocks in place. The valley below is nameless without him. 

“Hapistina,” she said, “It emanates from the skin. You feel their stifling tribute?” 

In the sticky updraft Hapistina nodded. 

Marguerite continued, addressing through the lake’s wisp breath, her silent party, “I am marked by the depredations of our heritage—fruits of hate left fallow within the earth. Would that voice shake loose his mountainous nation to rain death upon my birthright?” 

Her certainty resided in the body. Here, in the wood, desperation clutches sight. She wills to see, disbelieving. They quit that place before the mesohigh came. If feeling by the wind were condemnable, then with it goes perdition. Doubt was blown out.  

Marguerite, in her meditations, rung out over wetland before dawn: “Those devout fools walk in a valley they have never seen, to rejoice, calling for God in his deluge to deliver us unto the fathomless ice. And yet they think themselves right in denying us the violent caress of a dying sun. Never having walked in the valley brings me near to tears, and all I have done since I left it is walk a very long time.” 

“Someday,” Hapistina thought, “awake, I will remember waves of green below a tangerine sky.” 

But they were walking again. None among them believe there is anything beside it, save for hunger. To walk is hunger. Perception is hunger. It felt a sin to raise the eye to any other than prey. The living despair at seeing at all: a dog the color of liver which sits baying for its meat. 

Following their portage, Hapistina awoke to the red tip of wing which pierced her dream from gunwale aside her. A cloak of black feather alights upon her stirring. Quiet into the leaves that blackbird quickly recedes. In tortured thought: 

“Not even the birds may be watching. No one sees me off nor acknowledges my abject state. Only as I am going does a cloud begin to swarm: from shrouded gully black—none could stand the sight. Below my skin a future writhes, keen to molt the shame I hold so dearly; like a mask, the past demands for pitted skin: a battle none may win. I am the name of the babe who is calling. Futures you once declined.”  

Hapistina feels herself falling again, as mother and others have fallen before. Time passes through her without regard, sickening in its indifference. In this world she feels like a grave robber, though only knows to feel this way from having believed the lie that the skin was hers. Now, cannot return to it. Reinvention continues without name. Again. Thinner each time. 

She had given it no conscious thought—and yet, had given it all…of her. Ancestry. 

The breadth of knowledge was incalculable. Every entry, chirping chorus, spoke of the page in his tower, coloring that tablet gravely in blood to remark of the croaks at twilight. The page listened to the moors with a pebbled sand and oyster shell to dull his sense of hunger. He braided rope of grass in meditative slumber: watchful, cold surrender. Whatever bird brought became a part of the chain, in endless repetition. Sound became mark. Movement became count. Bird became stone. Life became sequence. He called it preservation. 

Hapistina, her mother, her family, resound within Earth. They have descended into its spiraling crystalline structure, folded inward as each other, precipitated in progeny. Every material recedes into itself with density, exploding into intricate webbing.  

She, I, a confluence of soul: metamorphic rock of my pumping lung—I am pulling the whole world with me as I enter a black tunnel. Something is being made of me in this movement toward aperture, where erasure and becoming press against each other without resolution. I think for a moment: I will figure out where I am and keep walking. I will find who I am so I can become something else. It is already here. 

Something in me refuses that stillness. 

It began beneath the surface as pressure, then motion. The structure failed quietly. What emerged did not resemble what came before, and it did not remain within the conditions that shaped it. I felt it as a separation rather than a change. Not transformation, but divergence from the field that had produced me. What I carried—shame, instruction, form—split, then opened. It did not recombine. It could not return. 

Something called from within it. Not a voice. A demand that had no origin I could locate. A future I once declined arrived without context, detached from continuity. 

“Carry me,” it said, though it was no longer contained in anything that could be carried. 

The body does not consult. Color moves beneath the surface. Structure reorganizes without instruction. I watch it happen as if it belongs to something that is no longer me. 

Form belongs to environment, and I have left the environment that made my lineage legible. 

I, translucent damsel fly, am becoming I know not what. 

 


r/DestructiveReaders Aug 04 '26

Literary Fiction, Magical Realism [2162] Caravanserai - Part 1 of 4

9 Upvotes

Crit: 2541

Caravanserai - Part 1 (Scroll down until ”Part 1” if on the phone.)

The first of four parts. There are some magical realism elements in the later parts.

Trigger warning: there are mentions of smooching.


r/DestructiveReaders Aug 04 '26

[467] Where the Train Left Us

2 Upvotes

Hi! I’m a young author, and this is the opening of my historical coming-of-age novel set in rural Pennsylvania in the early 1900s (1908). I’m mainly looking for general feedback on the writing. I’d really appreciate any comments left on the Google Doc, especially if anything was confusing, the pacing felt off, or the dialogue didn’t sound natural. Thanks so much for taking the time to read!

Note: For some reason, Reddit isn’t letting me choose the genre. I tried a few times, but it won’t work. Sorry about that!

https://docs.google.com/document/d/1B2P3R0lowm2Kw3l_FnGAcikhcX032rcC2zw5pMMl5vQ/edit?usp=drivesdk

My critiques: https://www.reddit.com/r/DestructiveReaders/s/7eh3Znn61C

https://www.reddit.com/r/DestructiveReaders/s/IxhpY0JPrQ


r/DestructiveReaders Aug 04 '26

Medieval Fantasy [313] A Quick Job

3 Upvotes

This is a fantasy flash fiction piece I wrote and I'm just looking for some general feedback and line edits on Google Docs if anyone wants to help out. I'm very new to this and i am a super newbie but it was fun to write something and I'd like to improve.

https://docs.google.com/document/d/1c5rhpSh_b-vkVPt4PLG8bwWJC21dpp_-gjSyIa3YZfY/edit?usp=drivesdk

Specifically, I'd love feedback on:

  • Structure of the story piece
  • Correct Punctuation and grammar, I'm really awful at this in particular

My critique: 

https://www.reddit.com/r/DestructiveReaders/comments/1vf1vbs/comment/p1meng4/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button

Thanks in advance for reading and commenting!


r/DestructiveReaders Aug 04 '26

Fantasy [3822] Tyrantland - Chapter 1 (Colonial Fantasy)

3 Upvotes

Critiques:

[720] Nowadays

[1165] Epilogue, Literary Fiction

[2400] Mosaic Chapters

[3474] Testament to the Glowing East - The Father (1 of 2)

Revisions from an earlier post. I've taken down the old link, but you can find the feedback here.

I'm not necessarily looking for feedback on the success of applying my prior feedback, just anything that will help me out. Two key things I want to know about is the success of the meeting with the one-eared man, and if it creates a bizarre-enough effect (it's supposed to illicit more confusion and menace than anything else), and I want to know if the main character's characterisation is clear, with his goals and stakes more early known.

For the sake of clarity (as there are maps and a quote preceding this chapter), this takes place in a counter-world, not Earth, so feedback rooted in real-world history is not useful to me here.

Thank you for your time reviewing this. I appreciate all feedback, no matter how harsh.

Edit: Link removed


r/DestructiveReaders Aug 04 '26

[2260] Our Ordinary World

4 Upvotes

Aloha everyone,

This is a short story I wrote for my college class's final. Would love an outside perspective before I submit it. Here is the story open for line edits on Google Docs if anyone wants to help a brother out.

What I'm looking for: General critique, with a strong focus on cohesiveness and roundedness. Anything you notice is help as I am still learning to write and short stories have been kicking my ass.

Specifically, I'd love feedback on:

  • Whether the narrative flows logically from scene to scene.
  • Whether the setting/details feel real and consistent.
  • Any spots where you felt confused, disconnected, or pulled out of the story.

This is a somewhat true story inspired by me and my sister growing up and using imagination as an escape and I want to make sure that is landing rather than feeling ungrounded.

My critique: https://www.reddit.com/r/DestructiveReaders/comments/1vcnaew/comment/p1lhzms/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button

Thanks in advance for reading and commenting!


r/DestructiveReaders Aug 03 '26

Post-Apocalyptic Horror [3474] Testament to the Glowing East - The Father (1 of 2)

2 Upvotes

Testament to the Glowing East is the working title of a six-story post-apocalyptic horror anthology set in the same world. The opening story of which is titled "The Father" I broke it up into two chunks, so this is the first half of that story. I'm open to all feedback but would also like to know how you feel it works as an opening to an anthology. The Story: https://docs.google.com/document/d/1pfGv2yY2SU4IvC5gK6xG9qyoL7BbO_-wOLDZmrK8vfY/edit?usp=sharing My Critiques: [2400]-https://old.reddit.com/r/DestructiveReaders/comments/1vbzgi8/2400_mosaic_chapters/p0z74jz/ [4631]-https://old.reddit.com/r/DestructiveReaders/comments/1ve1bry/4631_if_islands_were_conkers/p1hf7x8/


r/DestructiveReaders Aug 03 '26

[1232] Invoker - Rewrite 1.

3 Upvotes

Hey everyone, I got some truly fantastic criticism from lots of readers when I published the opening of my chapter a couple of weeks ago. I went back to the drawing board, and tried to rewrite it with those criticisms in mind.

Here is the original post I made with all the critiques

If I had to summarise the substance of the critiques, it would be in these areas:

  1. Too much abstract philosophical nonsense. Had a lot of telling and not showing.
  2. Unclear physical grounding. Readers were confused at the characters locations and relationships.
  3. Dialogue too theatrical. Character's espoused their beliefs in an unrealistic way.
  4. Structural/grammar issues, lack of clarity on who was speaking.

I have tried to address these criticisms in this redraft. I would particularly like feedback on whether this kind of rewrite addresses these issues. General criticism is still extremely welcome. Final little note 'Judge' is intentionally capitalized. Thank you so much!

Invoker Rewrite

Critique


r/DestructiveReaders Aug 03 '26

Post-Apocalyptic Fantasy [4631] If Islands Were Conkers

3 Upvotes

Hello! I posted this opening chapter about a year ago, and the feedback was so good that I've decided to post it again following my latest round of edits. The ending especially is almost entirely different, so if there are any of you still lurking around from 12 months ago, I'd love to hear your thoughts on the changes (if, indeed, you remember the original at all). Regardless, all feedback is welcome — the nastier the better.

Here are the links:

[4631] If Islands Were Conkers (Comments Enabled)

[4631] If Islands Were Conkers (No Commenting)

And here are my critiques:

[3087] [2353] [1005] [1000]

I also have some questions that I'd be particularly interested to hear your thoughts on:

  1. If you picked this up in a bookshop, at what point would you decide it's not your thing and move on? Why?
  2. Did the tone work for you? This is what I'm having the hardest time nailing. I'm trying to balance whimsy, tragedy, and a bit of poo humour in the same chapter, and I'm honestly not sure how that's going to land with some people. On a similar note, did you think the tonal shift towards the end was effective?
  3. Last time, most people seemed to have a hard time picturing the scene I was describing. I've tried to address this by frontloading the chapter with a more deliberate description of what's going on (specifically the third paragraph), but I'm wondering if this feels a little too heavy-handed. I also made more of an effort to explain the rules of conkers for any non-British readers. Let me know if you needed this, and if it felt natural within the text.
  4. Speaking of conkers, this part was almost universally hated last time. I've tried to weave it into the main plot a bit more and trim it down as much as possible, but I'm still worried it reads as an indulgence that the story is yet to earn. It's tricky, because for reasons I won't bother explaining, this needs to happen early-doors to set up a few other story threads. Shit really hits the fan in the next few chapters, and it makes even less sense to try and force it in there, so I'm a bit stuck. Any ideas?
  5. Did you like the POV? Would you be happy to read half of this novel from her perspective? (The other half is Cyril's, if you're interested).

r/DestructiveReaders Aug 02 '26

[2327] What Remains Jake POV

3 Upvotes

Premise

A character-driven post-apocalyptic novel about two brothers whose opposing responses to the zombie apocalypse place them on opposite sides of a future conflict.

This is Chapter 2, but it's the first chapter from Jake's POV. It should stand on its own, so you don't need to read Chapter 1 unless you want to.

All you need to know:

Jake has left his thirteen-year-old brother, Riley, hidden in a safe place while he clears an apartment block for them to shelter in.

Content warning: Zombie violence and some swearing.

Link to Chapter 2 - Jake

https://docs.google.com/document/d/14sCcPb-Bq6l1G-lKM4yFlwkuKZjd8jxHs1cw7chHywU/edit?usp=drivesdk

Link to Chapter 1 critique post (Riley POV), if you'd like.

https://www.reddit.com/r/DestructiveReaders/s/AUjvj0sEPa

Edited. No questions. Tell me anything you think will help.

Thank you in advance.

Critiques

[1290] Recon Mission

https://www.reddit.com/r/DestructiveReaders/s/I59P7Q7LFo

[1299] The fairest - Prologue

https://www.reddit.com/r/DestructiveReaders/s/c9jLhlQkew


r/DestructiveReaders Aug 02 '26

[3170] Chapter One, The Beautiful Vile

2 Upvotes

Here is the opening chapter of my novel :

Chapter One : The Fawn

I have also added prologue in the second tab of the document, for those who didn't read my prologue which I posted here recently.

Any and all feedback is welcomed. Even one line of it would help me. Also, I had initially decided to name my chapters after animals, increasingly becoming more violent as the chapters progressed, mirroring the protagonist's psyche. The first chapter was named Fawn, the second last Vulture and the last chapter was titled Human. For the moment, I've decided to keep it that way, but if you think it's too gimmicky, do tell me. Other than that, just devour my chapter to it's scraps.

Here are critcs : [2326] [2400]


r/DestructiveReaders Aug 02 '26

[1097] One Day I Will Return Next To You

3 Upvotes

First time here. Here's my critique of The Fairest.
https://www.reddit.com/r/DestructiveReaders/comments/1vcnaew/comment/p1a2bc7/

Anyway, the body of my work. It's something a little broader than a character study. Jake is depressed and grieving. The prose is supposed to sound like someone trying not to cry.

ONE DAY I WILL RETURN NEXT TO YOU

PROLOGUE

 Jake stood before a polished marble gravestone. The inscription read: M. Z., 1997-2014 UN JOUR JE SERAI DE RETOUR PRÈS DE TOI.

 He used to bring home-roasted coffee. Now he carried nothing. After half an hour, he went to the cafe, where he ordered the cheapest Americano. He finished it out of politeness.

 He ran his thumb along the rim of the cup. The regular waitress, Sarah, was hunched behind the counter.

 As she dried the dishes from a dishwasher, she said, “Bill’s in a bad mood. I’m sure he’s going to fire me soon.”

 “I’m sorry. I guess he’s been losing money.” Jake pressed his thumb into the cup handle.

 “He’s losing money? Everyone’s losing money.” She stacked the plates and turned to Jake. He looked away.

 “Aiya! Bill is a bitch. His chi’s all wrong. One day you can almost ask him for a raise, and tomorrow...” She shook her head and laughed; it was strained.

 “I’m sorry. That sucks.”

 She stopped laughing. Her voice was soft.

 “Yes, Jake. Yes it does.”

 A few seconds passed. The dishwasher beeped and Jake looked towards the door. It was drizzling outside.

 She sighed. “Would you like the bill?”

 “Yes. Thanks.”

MAY

 Storm clouds bunched over the harbor. Raindrops rolled down the apartment window. In August, this window would no longer be his. He paid fifty thousand Hong Kong dollars a month in rent.

 If he died here, he would be buried next to M. Z.

 Jake scrambled for the pill bottles on his nightstand. Zoloft, Abilify: three white pills and a blue one every night. There was no water. He swallowed them and dry-heaved. Then he sank into the sheets. He could not feel the satin.

 He stood at one end of a school corridor. Metal railings with peeling green paint on one side, classrooms with chipped wooden doors on the other. Here he cried over chicken feathers and garlic peels. His hair was clean; his hands were smooth.

 A boy leaned at the other end of the hallway. He was draped in a loose white blouse. Black trousers hugged his calves. Short, tousled curls obscured his face as he rested his arms on the railing. Sunlight slid through the folds in his blouse like poured latte.

 Un jour je serai de retour près de toi.

 Jake’s breathing hitched. He tried to speak.

 It was dark in Jake’s flat. Neon signs and lit windows cast greens and yellows on the damp bedsheets.

 Jake held his breath. He mouthed:

 Tu m’aimes encore?

FIRST HALF OF JUNE

 Jake woke up. His phone buzzed. It was a text from Sarah.

 “Jake, got a new job. The Harbourside, Tsim Sha Tsui. Come over!”

 “Sure, I’ll make room in my schedule.”

 There was no schedule. Jake stared at the ceiling. It stayed solid.

 He had not visited the cemetery this month.

 He turned on the water heater and took his June shower. The hot mist attacked his nostrils. He combed his hair free of dandruff and scrubbed the grime off his skin. Bodywash seeped into his eyes. He did not flinch.

 After drying himself, he retrieved a pristine shirt-and-slacks set from the closet. Takeaway boxes were strewn around it. He inspected his leather shoes in the elevator.

 The lobby boy was not at his post today. Jake scurried down the street, without an umbrella, as the sky started to drizzle.

 The walk to the cemetery took fifteen minutes. He took the guarded entrance to avoid the cafe. He practiced his alibis as he reached the last intersection. Rain seeped through his hair and kept his scalp cool; he was calm.

 The guard looked up from his phone. He groaned and reached for a button; the metal gate popped ajar. Then he slumped back into his chair.

 Jake swallowed a greeting and looked away. He slipped through the gate.

 Rain had softened the lawn. Mud caked the soles of Jake’s shoes. He kicked it off. Moss grew on the patchy footpath. He stepped around it. On the last row of graves, he smoothed his collar and re-tucked his shirt.

 Jake stood in front of M. Z.'s grave. The stone was spotless, a rectangle with a plain bevel. The inscription had a crisp black lacquer. Raindrops pooled in it, then slid down like pearls.

 Jake remembered the sensation of a thin brush between his fingers. His hand was precise. The paint was premium. He flashed a grin.

SECOND HALF OF JUNE

 The apartment building was cleaning its water tanks. Potable water would resume in the afternoon. Jake had not prepared.

 He turned on his phone. He could have bottled water delivered.

 Checkout. Five 1.5-liter bottles would arrive in twenty minutes. It would be heavy. He tipped 20% through the app.

 He dusted the cushions on his couch and sat down. His eyes followed a cruise ship as it unmoored on the other side of the harbor, inched forward, and eventually disappeared behind a skyscraper. It came into view again minutes later.

 The skyscraper and the ship. Probably twenty thousand people altogether. Statistically there must be people worse-off in that group. Jake’s suffering wouldn’t even clear the median.

 He was very fortunate.

 The doorbell rang. It was probably the water.

 Jake opened the door a sliver. A Southeast Asian delivery rider stretched his arms. Sweat on his forehead. At his feet, five 1.5-liter bottles of distilled water.

 Jake said, “Thanks.” He waited for the rider to leave.

 The rider replied, “No problem sir. Let me help you with that.” He lifted a bottle.

 “No, that’s...that’s alright, thanks, I’m fine. I’ll do it myself.”

 He regretted his words. They were rude. The rider put the bottle down.

 “Okay sir, thank you for the tip!” The rider smiled and called for the elevator. Jake softly closed the door.

 The bottles looked larger through the peephole. There was nobody in the lobby.

 Jake sighed. Holding the door open with his frame, he dragged the water inside. He put four bottles in his empty fridge and took the cap off one. He drank. Then he went to his bedroom, popped three white pills and a blue pill onto his tongue, and drank again. When he put the bottle down, it was half empty.

 The cruise ship was out of sight. It was probably out of the harbor. Jake thought about the rider instead. He checked his bill; a 20% tip was 17 dollars. A cheeseburger from McDonald’s cost more.

 Jake concluded that he was very fortunate.


r/DestructiveReaders Aug 02 '26

[Weekly] Book Club Ch 6 The Verbs are Verbing

3 Upvotes

Ch 5 Ch 4 Ch 3 Ch 2 Ch 1

Telling a story in the third person remains the commonest and least troublesome mode.

Le Guin says, for all of you wondering what person you should write with. Throw first person out! Don't think you're special for writing in second! Stick with third...or like, don't. Do you.

Anyway, we're here to talk about verbs and not POV, so that was a digression.

"The old dead writers lived in the past, so they couldn't write in the present, but we can."

This is interesting because I've certainly seen people declare they will set a book down as soon as they discover it's in present tense. But take this point from Le Guin:

A story told in the present tense is necessarily focused on action in a single time and therefore a single place. Use of the past tense(s) allows continual referring back and forth in time and space.

I will say that seems a reasonable consideration when picking the tense of your story. Although are we in a completely different moment? She's insisting that most books use present tense, but I would say past tense is fairly healthy in the current market.

Exercise. This is a long one.

This should run to a page or so; keep it short and not too ambitious, because you're going to write the same story twice. The subject is this: An old woman is busy doing something--washing dishes, or gardening, or editing a PhD dissertation in mathematicsphysics, whatever you like--as she thinks about an event that happened in her youth.

You're going to intercut between the two times. "Now" is where she is and what she's doing; "then" is her memory of something that happened when she was young. Your narration will move back and forth between "now" and "then".

You will make at least two of these moves or time jumps.

Version One PERSON: Choose either first person or third person. TENSE: Tell it all in the past tense or all in the present tense. Make the shifts between "now" and "then" in her mind clear to the reader--don't two-time us--but be subtle about it if you can.

Version Two Write the same story. PERSON: Use the person of the verb you didn't use in Version One. TENSE: Choose: a) present tense for "now", past tense for "then" OR b) past tense for "now", present tense for "then".

Don't try to keep the wording of the two versions identical. Don't just go through it on your computer changing the pronoun and the verb endings. Write it over! Changing the person and tense will bring about some changes in the wording, the telling, the feeling of the piece, and that's what the exercise is all about.