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[WWYPVIII]Seven Seconds

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quadz08

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This is my first revised version! Any comments or critiques would be much appreciated! And with that, off we go!




Have you ever had a dream pulled away from you, like a piece of turf yanked cruelly from under your feet by the hands of fate?

Have you ever seen six months of hard work, of blood, sweat, and tears, of passion and pain, of emotion and fury, and, most of all, love, just crumble in front of you?

Have you ever been in a room so full of disbelief and sadness that people walking nearby stop laughing and smiling because it feels so awkward?

Have you ever sat on a hard tile floor with 200 people experiencing every one of those things, listening to the man in charge, the head honcho, el jefe, the leader of the pack, apologize for what he inadvertently did? Seen him nearly break down? This man, who is so respected, and so well-loved, and so wise and kind and friendly and seemingly invulnerable to such petty things as mistakes...

Have you ever?

I have.

It started the summer before my junior year in high school, like it always did. There were thirteen of us at the beginning. Thirteen of us, standing in the June desert sun, internally praying for a break, for a relax command, an opportunity to put down our marching drums, to sit, to move, to get water. The blacktop reflected the heat, burning us from above and below. We were yelled at, corrected, cut off in mid-warmup.

Yet still we played, the drumsticks bouncing off our drums, our feet pumping like pistons, the click of the percussion instructor’s sticks driving the pulse through our skulls. Our backs were aching, our feet were hurting, our legs were tired, our forearms were numb, but we kept playing.

3 hours a day. 3 days a week. For a month and a half we endured the grueling repetition. We participated in the voluntary torture we like to call “Summer Drumline Rehearsal.”

Why, you ask?

Well, for one, we’re all completely crazy. But more importantly, we cared. For the first time in a long time, the drumline cared how good the band would be. We wanted to do well. We wanted, so badly, to go to state competition. We were ready. We had a unique show and awesome players to perform it. We knew we could do it. We were going to do it.

But first we had to practice.

Even after the brutality that was summer drumline, the band gods saw fit to punish us further: Summer Band. It was summer drumline, except with an added three hours of marching practice in the morning, about 180 more people, and enough drama to make any telenovela look like the food network. Call it high school hell on earth, plus clarinet players. We did marching basics, my third year of them, over and over and over until we were dreaming “PUSH!-TAY!-ONE!-TWO!-THREE!-TONDU!-CLOSE!” We marched forwards, backwards, sideways, diagonally, and, I swear to you, I prayed every year Mr. Beach, the band director, didn’t try to teach us to do it all upside-down. After about two or three weeks of the basics, we began to learn drill.

Drill. Ooh, that dirty word. Just hearing it was enough to strike fear into any sophomore or junior in marching band. Seniors looked down at us and laughed. Freshmen... well, they were confused, as usual. Learning drill, you see, consists of being given an index card. On this index card there are five columns: “Set Number,” which is kind of like a page number in a book – it tells you what point in the show you are at; “Counts,” which tells you how many beats you have to reach that set – and is completely disregarded and changed by the directors nearly every set; “Side,” which tells you which side of the field you’re on in relation to the fifty-yard line; “Position,” which tells you which yard line you are near, and how many steps away from it you should be – which would be difficult if it weren’t for the litany of dots spread across our practice field in precise intervals; and… something else nobody pays attention to. Essentially, the process involved a lot of wandering, people bumping into each other, frustration on everyone’s part, and eventually some sort of shape emerged. Of course, it’s quite rare that this shape is something even remotely recognizable, so we just tried to keep the lines straight.

So drill proceeded for the last hellish week or two of summer band, until, finally, school began. School had pros and cons; pro was the hour and a half band practices, con was them being at seven o’ clock in the morning. If you’re in band, you become a morning person. Quickly.

Practices were what you’d expect. Some drama, some mischief, some stupidity, but most days, a lot got done. Of course, each practice went by slower than frozen molasses, yet the season as a whole seemed to shorten remarkably quickly. Football games, which inevitably included the snare line’s stupid shenanigans, bus rides, always full of the most ridiculous songs anyone could remember the words to, minor competitions, which always drew our scorn because of the lack of competitive rankings, all of them sped by faster than a bullet train on steroids.

Then, suddenly, it was the week we were all waiting for.

It was the week of Regionals. This was the competition that would send us to State. In order to get into Regional Finals, all we had to do was get a Division I, the highest ranking. This was a typically easy feat; we had never gotten any less than Division I in any competition.

We arrived at the competition site in time for Mr. Beach to speak to us. He told us how proud he was of us. He told us he knew how hard we had worked for this, and he knew we were good enough to make it. He said he was confident in us, he believed in us. He spoke as if he were having a private conversation with each one of us, this man with the graying hair and the too-short shorts and the ridiculous hats. He was the man who had driven us to do this, and we wanted to do it for him. Mr. Beach had been a friend, teacher, and father figure in equal parts for all of us. Nobody wanted to let him down. And today, it seemed, we most definitely wouldn’t.

He finished his speech, and we walked, single file, into the stadium, where we formed our marching block. We looked up into the surprisingly full stands and around at each other. We knew that this was our show. Tonight was our night. We knew we could do it. We were going to State.

We began to march onto the turf, the top bass drummer playing taps. As we marched onto the field, we heard the announcer reading the speech given to him by our director. “Franklin Star of the West Band…” The drum majors performed their salute, and the block spread apart into the first set of the show. “Through the Eyes of a Child…” That first set that we had learned so long ago, back in the boiling summer sun. “Directed by…” All the hard work, all the blood, sweat, and tears, all the passion and pain, all the emotion and fury, and, most of all, the love that we had poured into this show for the past semester and the summer before, it all culminated here. “Guard Captains are…” This is why we did it. “Drum Majors are…” This is what made it all worthwhile.

And finally, after what could have been an eternity: “Franklin High School. You may take the field, in competition.”

We looked up at the head drum major. Her hands began to move. Five-tay-six... push-tay-one!!!

And so it began.

It was the glorious sound of two hundred instruments blaring forth, being played by two hundred students playing their very souls to the crowd. Sound radiated outwards with flawless rhythm and tempo. We could feel it down through the marrow of our bones. It was incredible. The show swirled through our minds, the long-memorized notes and steps flowing easily from our brains to our bodies. We were as those possessed, because possessed we were. The show had taken over, and it was glorious. We hardly had to think, merely to watch and listen. It was like we were a machine, greased and oiled to be spotless. We flew across the field, a musical dervish whirling through each set. As we finished the show and pulled our feet into closed position, we discovered we could breathe again. We stood stock-still, staring forward into space.

And it was over. Within that show had been a short time where there was no time; it had lasted a lifetime, yet was over in an instant. We marched triumphantly off the field, once again to the taps of the top bass drummer. We knew we were in finals. We knew it. We had never performed as well as we had that night, and there was no way we weren’t getting a Division I. As we walked back to the buses to put our hats and instruments away, a current rippled through the air. It was a tangible feeling of confidence and comfort; it was excitement and energy bouncing among all 200 of us.

We began walking back to the stadium, to sit in the back bleachers and watch the remaining bands perform. It was then that the first whispers of worry reached my ears…

I thought I heard the alarm go off during the last note…

My mom said we went overtime…

Mr. Beach looks worried about something…

But no, we all thought. We couldn’t have gone overtime. Our show had been timed meticulously. We had never gone over the allotted eight minutes before; how could we have tonight? Maybe he was hearing things, and her mom was wrong, and Mr. Beach was worried because we were running low on water bottles. And besides, who was the timekeeper to take away what we had done that night? We had created a masterpiece worthy of all the hard work we had put in.

Hadn’t we?

And then, suddenly, the final band had finished, and the announcer began reading the results. “Coronado High School….. Division…. I.” All the drum majors from every band were lined up on the front sideline, ready to receive the plaques for their band. “Hanks High School….. Division…. I.” We looked around at each other, seeing mirror images of our emotions on our bandmates’ faces. “El Dorado High School….. Division…. I.” The confidence mingled with nervousness, the excitement combined with dread. “Mountain View High School…. Division…. I.” No matter how well we felt we had done, we all knew it was the judges who decided our fate. “Eastwood High School…. Division…. I.” What would they think? “Montwood High School…. Division…. II.” Did they like it, or were we overestimating our own abilities? “Andress High School…. Division…. I.” Or could we have really gone overtime? “Franklin High School….”

This was it. The moment our entire season would culminate in. The band linked arms, awaiting the announcement.

“Division….”

It seemed as though hours flew between each word. We strained, leaning forward, as if it would make the words come to our ears faster.

“Due to time violation,”

No…

“Division II.”

That was it. We were out.

And as if we hadn’t been shocked enough already, the reason we had gone overtime was the equivalent of a sucker punch to the gut. We really had been perfect; the speech submitted by Mr. Beach had been too long.

That was all it was.

The **** speech was too long. We had gone overtime by seven seconds. Because the band director had submitted a speech that was too long. But we couldn’t be angry with him. We couldn’t. As he broke the news to us the next day, he told us of how terrible he felt because of it. He knew it was his responsibility to make sure we finished in time, and he had failed. He was close to breaking down, and the room was just absolutely filled with disbelief and sadness. You could hear students’ teardrops hitting the floor between Mr. Beach’s words. He had appealed to the state board for fine arts; he had no luck. We weren’t going to State, in the first year we really could have. And there was nothing we could have done to change it.

Have you ever felt those things?

I have.
 

Jam Stunna

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I haven't read the whole thing, but remove the part where you tell the reader that this is based on a true story. Let the story do the talking for you.
 

Vyse

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When I write alongside those with the calibur of SWF's writers, I don't feel qualified to give criticism. What I'll do for you instead, is just say what I think.

I liked it. The way you wrote was great. This story, to me, is an everyday life kind of story, a school band fails to make state championships because they went over time.

There seems to be a lack of a singular character. The narrator I mean, he is a member of the band, and represented the emotions of the band. He is rather detached, and rather than there be development of his character as a single, recognizable person, you've given a voice to the band itself.

Have you ever sat on a hard tile floor with 200 people experiencing every one of those things, listening to the man in charge, the head honcho, el jefe, the leader of the pack, apologize for what he inadvertently did? Seen him nearly break down? This man, who is so respected, and so well-loved, and so wise and kind and friendly and seemingly invulnerable to such petty things as mistakes...
This paragraph to me, seemed to set up 'This man' pretty well, but I felt he was only really explained as a character towards the end, rather than throughout the whole story. I dunno, for somebody who's single mistake cost 200 people their place at a state championship, it feels like he's been under-represented in the story.

Also I think it would be worth your while to look at the beginning and conclusion. Somehow I think they could be written to fit better. A rather general statement, I know, but I don't know what else to say. The ending 2 lines didn't feel right to me.

Jeez, looks like I criticized it after all.
Well, I hope it gives you a different perspective on what you wrote.

I did enjoy reading it, Good luck : D
 

quadz08

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la universidad
This paragraph to me, seemed to set up 'This man' pretty well, but I felt he was only really explained as a character towards the end, rather than throughout the whole story. I dunno, for somebody who's single mistake cost 200 people their place at a state championship, it feels like he's been under-represented in the story.
I can definitely see that point. Thanks very much for pointing that out.

Also I think it would be worth your while to look at the beginning and conclusion. Somehow I think they could be written to fit better. A rather general statement, I know, but I don't know what else to say. The ending 2 lines didn't feel right to me.
Now this I'm not so sure about. If you could try to explain further I would really appreciate it.
 

Jam Stunna

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This is a very well written piece, but I don't think this is a short story. I feel like I'm reading a recounting of actual events, not a fictionalization of them for dramatic effect. You stated before that this is based on a true story, but due to your style, it seems like this is the story as you would tell it to a friend, as opposed to a work of creative writing. Most stories have their start in the truth somewhere, and go from there. I don't think you made a creative leap, and while it reads well, it reads like a memoir, and I don't think that's really in the spirit of this competition.

My other big problem was the use of repetitive phrases. Repetition can be used for emphasis, but there are some sections in here that just go on and on. For example:

Have you ever...

Have you ever...

Have you ever...

Have you ever...

Have you ever?
We know what you're trying to do, but thats four times that you've described the same event, with the fifth "Have you ever" thrown in for dramatic effect, I'm assuming. That's overkill. And that's how you're starting the story, and it sets a pattern for the rest of the story.

Other examples:

Thirteen of us, standing in the June desert sun, internally praying for a break, for a relax command, an opportunity to put down our marching drums, to sit, to move, to get water.
Our backs were aching, our feet were hurting, our legs were tired, our forearms were numb, but we kept playing.
You stop doing that in the middle of your story, and the writing gets much better. But then you go back to it:

He was the man in charge, the head honcho, el jefe, the leader of the pack. We wanted to do this for ourselves, for our friends, for our section, for the band, and for him. Mr. Beach had been a friend, teacher, and father figure in equal parts for all of us.
Repetition is a useful tool, but when it's overdone it becomes boring and tries the reader's patience and interest. Keep that in mind as you make revisions and write in the future.
 

El Nino

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Best entry so far, in my opinion. I am most impressed by the tone and narrative voice.

But there are still things to work on.

I'd suggest cutting the introduction and the final lines. The ending needs to be reworked for greater impact, while the first few passages sound too much like lamenting best suited to a diary entry.

We rejoined the rest of the band. Our head band director, Mr. Beach, was going to make a speech. He told us how proud he was of us. He told us he knew how hard we had worked for this, and he knew we were good enough to make it. He said he was confident in us, he believed in us. He spoke as if he were having a private conversation with each one of us, this man with the graying hair and the too-short shorts and the ridiculous hats. He was the man who had driven us to do this. He was the man in charge, the head honcho, el jefe, the leader of the pack. We wanted to do this for ourselves, for our friends, for our section, for the band, and for him. Mr. Beach had been a friend, teacher, and father figure in equal parts for all of us. Nobody wanted to let him down. And today, it seemed, we most definitely wouldn’t.
"He spoke as if he were having a private conversation with each one of us, this man with the graying hair and the too-short shorts and the ridiculous hats." This is your best line in the passage. The rest could be toned down. I understand all of this is meant to hype up the reader for the eventual let down, but doing it too much ladens down the narration. Hype it up a little, but don't overdo it. It will come across as forced or pompous. This is applicable to a lot of other passages.

Our head band director, Mr. Beach, was going to make a speech.
Unintentional rhyme is unintentionally funny.

On this index card there are five columns: “Set Number,” which is kind of like a page number in a book – it tells you at what point in the show you are at; “Counts,” which tells you how many beats you have to reach that set – and is completely disregarded and changed by the directors nearly every set; “Side,” which tells you which side of the field you’re on in relation to the fifty-yard line; “Position,” which tells you which yard line you are near, and how many steps away from it you should be – which would be difficult if it weren’t for the litany of dots spread across our practice field in precise intervals; and… something else nobody pays attention to. Essentially, the process involved a lot of wandering, people bumping into each other, frustration on everyone’s part, and eventually some sort of shape emerged. Of course, it’s quite rare that this shape is something even remotely recognizable, so we just tried to keep the lines straight.
Detail is good; it is necessary; it adds an air of authenticity. However, too much detail makes it a challenge to read through without adding much to the story. Tone it down.

EDIT: KEEP the names (counts, position, side), but only give us enough detail to tell us what we need to know. And all we need to know is that this stuff is all REALLY complicated. This line is good though: "Essentially, the process involved a lot of wandering, people bumping into each other, frustration on everyone’s part, and eventually some sort of shape emerged."

Also: "it tells you at what point in the show you are at" has one too many "at".

We performed like never before. It was perfection personified. You could feel the excitement bubbling up from the bottom of your chest. Our marching was flawless, our tempo was impeccable, our technique was spotless, and our performance was, well, perfect.
Unless you intended for this to sound a little bit pompous, I think we can do without the repetitive descriptions of how "perfect" it is. (If you did intend for the narrator to be pompous, that should be brought out more.)

This passage on the other hand:
Four clicks of the sticks. And then the glorious sound of thirteen drumsticks pounding, in perfect unison, into thirteen drumheads. Sound radiated outwards with flawless rhythm and tempo. We could feel it down through the marrow of our bones. It was incredible. As we finished the exercise and pulled our sticks into closed position, we discovered we could breathe again. We stood stock-still, staring forward into space, awaiting the next command, the next exercise.
...I found to be excellent. If you could transplant some of this to the description of the actual competition show, that would work rather well, and the rehearsal scene could then be cut, unless you choose to open the story with that scene. It is a rather well written scene (better than the description of the actual competition).

As for the ending, there are good and bad things to say. The good is that even though you set it up so that we know from the very beginning that they will probably fail, finding out that they landed a Division II still comes as something of a shock, as does the revelation of what caused the time violation. The problem comes with the last scene in school that feels kind of tacked on. We've already been KO'd, and now the story seems to drag on. It needs to end at the competition. You can reveal that the director's speech is what caused them to go over the time limit without taking us back with them to school. It can be an explicit statement on its own, or it can be something with a lead in ("We didn't know then that the time violation had been due to the speech, and when he told us the next day at school, he nearly broke down...."). You can even place the last scene in the beginning and go backwards. But if you do this, I'd conceal the fact that his speech is what did them in until the very end.

EDIT: The last two lines can go. The narrator talks to the reader at times, and this is okay. Normally second person fails, but I think it works in this case. However, the last two lines don't offer much to the story. Either rework or scrap, in my opinion.

As for the concern that this is a largely biographical (or autobiographical) piece and therefore not in the spirit of the contest, I don't see the basis of this argument, but then, this isn't my contest. It is a well told story, and I don't need to know whether it is a true story or not. True stories can be as poorly rendered as they can be well rendered. This piece does employ an essay-like style that some readers may not enjoy, but I've seen it done in professional writing, and if done right, it doesn't bother me.

If this contest is supposed to be "fiction" only, then I guess that's up to the judges. I just don't remember any of the rules specifically banning memoirs.
 

quadz08

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Thanks very much for the criticism, both Jam and Nino.

Jam-

I understand your point with the memoir thing, but as Nino pointed out, there is no rule against it, and, to my knowledge, it never specifically says fiction either.

With the repetition thing, I'll try to cut down. That should help lower my word count somewhat as well. The first one though, the "have you ever" thing, I do plan on keeping in. I feel like it helps bring the story full circle.

Nino-

You were very detailed and kind, I appreciate it. Your main complaint seems to be excessive detail, unnecessary sentences, and the like. I will try to cut down on that somewhat. I felt that the drill card paragraph was a rather humorous bit though, useful to keep the tone from becoming too serious; if I get another complaint, however, I will cut it down.

Your idea of cutting the rehearsal scene is really quite good, I think I will do it. I honestly had not even thought about that.

And I will change the rhyming sentence :)

Thanks again, both of you.
 

Kyas

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The **** speech was too long. We had gone overtime by seven seconds. Because the band director had submitted a speech that was too long. But we couldn’t be angry with him. We couldn’t. As he broke the news to us the next day, he told us of how terrible he felt because of it. He knew it was his responsibility to make sure we finished in time, and he had failed. He was close to breaking down, and the room was just absolutely filled with disbelief and sadness. You could hear students’ teardrops hitting the floor between Mr. Beach’s words. He had appealed to the state board for fine arts; he had no luck. We weren’t going to State, in the first year we really could have. And there was nothing we could have done to change it.
You pass by the very scene that your story is centered around: the scene when someone so strong breaks down. You should describe in detail what you mention about Mr. Beach breaking the news to the band. I think it would have potential as the most powerful scene of the story, especially if you made no mention of the reason for going overtime until it is revealed by Mr. Beach himself.
 
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