Name: Lyudmyla Mayorska
Genre: Young Adult Fantasy
Title: TEMPLES of TETLAN
The beheadings took place, as usual, at full moon. The doomed souls rattled on the floor of the cage cart on the their way to meet the executioner’s axe – my mother’s axe. I watched them from the basement window disappear behind the street corner. The heavy rain accompanied them past the main arch of the Justice Temple in the direction of the execution field.
I knew the criminals deserved their fate, still, I couldn’t help but to feel pity for their misery. There would be no Priestess there, no prayers. Their feet would be buried outside the city under the statue of the wicked Nott. Their ribs would end up on the shelves of our Bone Shop next to the jars stuffed with finger-bone necklaces, parrots’ skulls, and teeth garlands ever so popular during the harvest holidays.
I sure was glad I wasn’t a boy. Even if my venture were to end in death, at least I could be certain of a proper, honorable burial for myself.
I kissed the fingertips of my right hand, wishing the two men quick death, then tiptoed across the stone floor back to my bed. Naked, I slipped into an old tunic, wrapped the straw blanket around my shoulders, and lit the half melted candle inside the old skull. I decorated it almost ten years ago - the very first human skull I painted for our shop, supplied mostly through my mother’s gruesome job. I brushed the jaws with gold and dragged a single black stripe across the forehead. I loved it so much, I asked for my Father’s help to scribe my name on the back with a stylus, like the great artists of the temples did marking their artwork.
“I don’t think we should sell it, Palenke. Keep the skull for your own candles,” he said when were done.
Even if I trusted my reasons for leaving, I still kneaded my knuckles and bit the inside of my cheek to keep from bursting into sobs when I snuck downstairs to bid my respects and say goodbyes to my father. Now three years dead, he was the only inhabitant of the ancestry room built under the kitchen floor of our house. His body, wrapped in blue cloth and layered with salt and spices, was there for me to talk to, when my mother’s silence and harshness drove me to madness. I imagined his voice telling me stories of Tai-Tai, “people made of clay”, and straightened out the dried bouquets of herbs and garlands of clay beads hanging on the walls above him. I was sure he’d watch my upcoming trials form the Black.
He was the second son. Naturally, he was never offered to the temples, but his life wasn’t long either way. I cherished the handful of memories the old bearded man with pale eyes and freckle spots left me. A stomach infection did him in, and not even Kalarai, the most respected shaman in Bilda City, could save him. She shook her bony finger in his face, frowning, and promising him nothing but death, so when he grew cold, it didn’t come as a surprise. “She-Demons do not favor men,” she reminded me as she rubbed the spot between my shoulder blades. After the prayers were sung, but before the tears have dried, Kalarai returned to the temple steps, to continue collecting She-Demon’s grace and passing it along to the young girls as blessings.
I spent the rest of the night awake in my bed with Vi curled up on my neck. The monkey’s tail tickled my cheek, while my mind wondered.
I knew I would miss these walls. The pet sleeping under my chin and the smell of the crushed paint powder would soon become my past; the walls of the Temples of Tetlan – my very near future.
I whispered my prayers, ending the requests with, “This I deserve,” and kissed my fingertips, careful not to disturb Vi, when the door slammed, and my mother returned. All the familiar sounds of her shuffling through our shop into the kitchen, and setting a pot to boil, a chair shifting across the floor, the water pouring into the cup - put a rock in my throat and kept me awake. And even after the bed creaked under the weight of her body, and our home returned to silence, I spent the night nibbling on dried plums and listening to the rain.
At the first sign of morning, I wiped a stubborn tear and pressed my lips between Vi’s ears, taking in her scent one last time. Carefully, I set her back down on my pillow. The black heavy heap of my floor-length hair remained loose and unbraided. Fifteen years I spent in this house, smelling corn breads and green snake soup, setting tiles into the bone masks and painting ribs. I was leaving everything behind, against my mother’s wishes, and despite the low chance of success for my self-imposed quest.
But that was the very difference between my mother and I: she didn’t believe risking the life of her second child for a slim chance of saving the life of her first one. I couldn’t help myself. I was born in the year of the Jaguar, after all. She was a Carp. If nothing else could explain our constant bickering and clashing characters, the stars did.
I snuck past her bedroom. I shouldn’t have worried about waking her up. She slept like stone – still and somber with the white-leather mask on even in her sleep. They called her Faceless. Even I called her Faceless, on occasion. Only once did I see her without her mask. She was sick and took it off to rub a pale pink ointment on the bridge of her nose. I remember gasping at the sight of the ripped scars that tore through each of her cheeks and pulled at the corners of her eyes - part of the commitment ceremony when she received her assignment from the temple. She described to me the entire ordeal in great detail - the blade, the stinging, the smell of the burnt flesh. I was about to wretch my meal on her feet, when she made me swear I would never enter the temples. Ever.
At five years old I promised, gladly.
Turned out - I lied.
I wiped more water from my eyes with the heel of my palm, forcing a deep breath and a smile, resolved not to think of my mother, at the very least not for the following three days. She and Vi would have to manage without me from now on. I crossed the dusty floor of our shop in four paces, and the door slammed behind me, leaving the slanted shelves of our shop to be tended by someone other than myself, for a change. Someone else would carve the shoulder bones into whistles, someone else would string the ribs into ornate belts, someone else would tile the sternums into amulets. I would never attend the Scribe Academy to become a record’s keeper, as my parents wished on me for as long as I could remember myself. I had more important things to attend to – promises to break, blood to shed, and a brother to unchain.
Barefoot, I leaped over the puddles, passed the perfectly shaped round chasm in the center of the square, approaching my near destination and reminding myself that my offering was worth the risk.
Lyudmyla,
ReplyDeleteI saw several places where you had reworked the sequence of information, including how long the father was dead, and found that very helpful, very clear. I didn't like her nibbling on dried plums and listening to the rain the night before she sneaks out and disobeys her mother. Those activities seemed too relaxed, too enjoyable for the tension of the moment. Though perhaps my comment reveals more about what I find relaxing than a flaw in your storytelling. I'm not sure I like "turned out" over "turns out." One may be grammatically correct, but I think I prefer "turns out." I loved the addition about being a Jaguar and a Carp. Details like that are amazing!
Thank you for being so specific on what works and what doesn't. It's really helpful. :)
DeleteHi Lyudmyla!
ReplyDeleteSorry I wasn't able to comment on the first entry, but I did go back and read it, as well as this one. You have an amazing world here! I love the sensory details and the setting is very vivid and full of promise. I just want to roll around in this world and find out everything about it. :-D
However, the paragraph that starts "he was the second son" felt kind of disconnected from the main story and threw me out of it a little. I think we get enough of a sense of the father from her memory of painting the skull, and from the description of her saying goodbye to his body in the paragraph before this. We know that he's dead and we can see from her memories and actions that she cherishes his memory. How and why he died can be stated later if we need to know. (That's the awesome thing about fantasy readers. They're willing to let you unfold the world gradually through action and description, even if they don't fully grasp all of it at first.)
Also, there's a line here about "risking the second child to save the first" which seems to imply that there's another member of her family that's a factor, and implying that this is her primary motivation for what she's about to do. I found myself wondering why she didn't think about that person as well as her father. If this IS what is driving her, we need to know more about it so we at least start to get a sense of what the stakes are.
You do a really good job of grounding us in the world, as well as world building through sensory details and action, which is something I've seen a lot of people struggle with. Thumbs up to you! But some of your sentences and phrasings don't flow as well as they could. I'd suggest reading it out loud if possible, so you can catch the shaky bits.
I cannot wait to see what you come up with next week. Also I want to read this book. Great job! :)
You can't see it, but I'm hugging the screen.
Delete-Lyuda
Hello. Well for me, the changes make a huge difference. I can follow the story much more easily and all I can say is 'I'm In!' Thank you for clearing up the first paragraph. The introduction of the little brother brings it together for me. Keep up the great work and I would totally read this :)
ReplyDeleteHello. Well for me, the changes make a huge difference. I can follow the story much more easily and all I can say is 'I'm In!' Thank you for clearing up the first paragraph. The introduction of the little brother brings it together for me. Keep up the great work and I would totally read this :)
ReplyDeleteHi Lyudmyia,
ReplyDeleteYour story is much clearer with the revisions. The first 3 paragraphs and the first sentence of the fourth paragraph put me right in the story. I would recommend this change to the 3rd sentence in the first paragraph: "From the basement window, I watched them disappear behind the street corner."
Another change that would tighten your story is to put the paragraph that starts "I spent the rest of the night" at the end of the beginning paragraphs I mentioned above. Then when you follow with "I will miss these walls," you could change the wording and include the information about her father.
I would recommend tightening up the paragraph that starts "I wiped more water." Instead of letting your readers wonder why you lied, why not follow that with something like "I'm leaving everything behind—the shop, my work with the bones, attending the Scribe Academy. Why? Because I have promises to break, blood to shed, and a brother to unchain."
Hope this helps. Still anxious to see why the temple is so horrible.
Wow! Great revision! The "my mother's axe" took the opening to the next level! That one phrase alone made me crave more details! Then the second sentence - where she empathizes with the criminals - made it even more intriguing now that we know her mother's involvement. So much tension in so few words - what a great achievement.
ReplyDeleteI'm also so clear on the Bone shop now and a lot of the other details that I was confused about in the first version. Great revision.
My main suggestion remains the same as for the first version: I still feel that the tension (that you so expertly created so early!) died down with the MC going to sleep and waking up. Is there perhaps something a little more out of the ordinary you can use to convey the worldbuilding?
Hope this was helpful!
NOOOOOO!!! I just lost my comment. *headdesk* Let me try that again...
ReplyDeleteSO. I love the revision. Love the info about the brother and hope to have even more bits and pieces about him earlier on. Great motivation for her.
Watch your tense here: "After the prayers were sung, but before the tears have dried..." Have should be had even if you're trying to say she's still sad it's too confusing and breaks us out of the story.
"I spent the rest of the night awake in my bed with Vi curled up on my neck." What?? She was going downstairs to leave a minute ago! Ok, I get that she was only saying goodbye, but that's not how I read it going through. You have to take the reader, someone who knows NOTHING about your MC, her world, or her life, and lead her through without her realizing your holding her hand. So, I'd do something like let her think of her father when she's with the skull, make plans to say goodbye, thinking about where he is now, and explain why she's going to have to say goodbye. Step by step. :D
I love your unique world. I love Vi. Think you've got some amazing stuff here!
"The beheadings took place, as usual, at full moon. The doomed souls rattled on the floor of the cage cart on the their way to meet the executioner’s axe – my mother’s axe.” Love this. I am drawn in immediately.
ReplyDelete"I watched them from the basement window disappear behind " Tell us where this basement window is and where she is now. Over all, your opening paragraph grabs my attention, and I want to keep reading.
Great transition to the bone shop. I am getting a vivid picture of this world.
Do only girls get proper burials? If a girl is a criminal does she get a proper burial? I’m curious about the distinction, but it needs to be made clearer.
“I painted for our shop, supplied mostly through my mother’s gruesome job." The word “gruesome” pulls me out of the story. We already see that she’s an executioner. I think you can state more about the job and leave the adjectives out. You show us gruesome. Actually, it would be interesting as an exercise to have her witness the execution. I think you would show us so much about that world and her relationship to it and her mother with a scene like that. It may be worth giving it a try. I like the rattle cages but I want her to follow this to the end and then we can see her reaction and also it would make me worry more about her because she is going against her mother’s wishes.
The transition to the father is much smoother. Great work.
“And even after the bed creaked under the weight of her body, and our home returned to silence, I spent the night nibbling on dried plums and listening to the rain." I am not sure if this image makes me understand that she is too nervous and anxious to sleep. I think because she’s eating and listening to the rain, I don’t feel her worry the way I do earlier with, “put a rock in my throat and kept me awake.”
"I was leaving everything behind, against my mother’s wishes, and despite the low chance of success for my self-imposed quest." *This quest has been mentioned several times already, and it does make me curious and want to discover why this is self-imposed, but maybe you can give us a hint more?
"But that was the very difference between my mother and I: she didn’t believe in risking the life of her second child for a slim chance of saving the life of her first one. I couldn’t help myself. I was born in the year of the Jaguar, after all. She was a Carp. If nothing else could explain our constant bickering and clashing characters, the stars did." I like this, but I’m a little confused here. Is she trying to save the life of her first child? Or her older sister’s life?
“I had more important things to attend to – promises to break, blood to shed, and a brother to unchain." Is she going to save her brother. Maybe we should be told this sooner?
I’m hooked and I want to read more.
I think you did a great job on this revision. I can't wait to see what you do next.