Hi, Sumojo:
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Here are some comments to consider when revisiting it for tightening and improvement. My observations and suggestions are enclosed in brackets and color-coded green.
Formatting Well formatted for this genre.
*Content I like the beginning, middle, and end of the story.
*Point of View (POV) A combination of POVs among John, Sally, and Jackie worked well.
*Element of Conflict Good push and pull of deciding to go or not to go at the beginning of the story put action for starters; then, Sally had another decision to make once she was with Jackie that put a twist to the story.
*Climax Putting the climax at the very end of the story made this twist unbelievably unimaginable. My eyes bugged out of their sockets with the "You only live once" tattoo! I would like to know how John reacted.
Spelling I just wanted to show you the nuance between the British and American spelling, such as the following:
recognised (British) (American version: recognized)
favourable [favorable]
parlourparlor
*Mechanics
*Syntax
*Punctuation The relevant issue/issues I want to point out in this exercise are more on punctuation, as shown in the few examples I cut and pasted that need fixing and/or polishing according to the conventional and standard composition:
“Why?” her husband queried. “Maybe it wouldn’t be so bad, what about that friend of yours, Jackie? She might be there.”
“Oh, please think about going, babe, it would do you good to have a night out,” John urged.
“I don’t know, hon, they’ve probably all done amazing things, they’ll be asking about careers and stuff. I mean, what have I done? Nothing!” (Enclose the direct object with commas.)
Attribution/Dialogue tags
Dialogue tags are part of the sentence. Use a comma instead of a period and change your tag to lowercase to make a complete sentence.
"...I want you to send off a reply saying you’d love to attend, right now.” he urged. (Attribution)
“I need a drink,” she muttered, desperately seeking the makeshift bar in the corner. (Attribution)
“Ah, babes is it really you?” (Enclose direct object with commas.) [“Ah, babes, is it really you?”]
under dressed. (Compound word) [underdressed]
“Wow, it’s Sally Webster isn’t it?” (Insert comma) [Webster, isn't it?]
As they were chatting and catching up on old times, one of their old teachers Mrs James, them joined at the bar. (Enclose direct object with commas to separate it from the flow of the sentence.
[As they were chatting and catching up on old times, one of their old teachers, Mrs James, joined them at the bar.]
“You only live once guys, you’ve gotta enjoy life. Come on Frank, let’s dance.”
“You only live once, guys, you’ve gotta enjoy life. Come on, Frank, let’s dance.”
*Dialogue
Good application of dialogue showing your characters interacting with each other. Dialogues put the reader in the head of the narrator, character, or author. Makes the reader participate in the action, as if the reader is doing the talking and acting.
*Disclaimer
I hope my observations and suggestions can help you tighten some loose ends relating to the mechanics of writing. Keep in mind, though, that these are from one reader's point of view. As such, take it with a grain of salt. The decision to adopt or discard suggestions is your prerogative.
*Over-all take away. Holy smokes! My eyes bugged out of their sockets to learn in the end why there was throbbing in her breast. I did not expect that! Great twist! It might be interesting to have a sequel to this incident as John finds out what happened the night he let his wife run loose for the reunion. How about it?
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