Monday, March 9, 2015

The Mill By Preston Estes



Author’s Note:
This story came from some knowledge I gained in my History of the Industrial South class.  Instead of being in the 1920’s I wanted to take place directly after the war, so we can see how it directly affected the people in my story.  I tried to add tension in my story, I would like to know hot that worked.  I do feel that there may be too much exposition, but I would like to hear what you think.  I do have another scene or two I want to add, but I would like to hear what people think of the story so far before I add that those in because I may change them based on the reviews.  The main scene concludes with something Godwin said at the end of my story.  Thanks for reading and give me honest answers on what you thought about the story.
https://www.pinterest.com/prestonestes/story-idea-southern-mill-life/

The Mill
            Three more pieces of wood fell from the ceiling as the workers sawed them off.  Each one was molded and brittle, shattering as they hit the floor of the shop. 
            “Hey, give people warning when those things are going to fall.  I don’t need any more injured workers,” I called up to the two men sitting on the rafters.
            “Sorry Boss.  Won’t happen ‘gain,” the older of the two called down. 
            “Bilt, if it does, you’ll be out of here,” I said.
            “Naw he won’t.  Not like you can get anyone else to do the repair work on this place as good as we can,” said the younger man, Jean if I remember correctly.
            “And not many people are willing to hire negroes at the wage I give ya. Just give a warning before the wood falls, and then I don’t have to worry about replacing people.”
            Knowing I won that argument, I continued my walk through the rest of the building, taking note of all the holes already the roof that would need to be replaced before the next rain could come.  I purposely stepped down hard enough on the damp floor boards that the sound of my boots echoed around me, letting everyone know where I was.  That I was watching them.  Looking for the slightest mistake to swoop down upon.
            Mistakes could not be made.  Not now, not when I’m so close to my goal.
            I walk back to the rear of the building, where a wooden door is, bearing my name on a wooden plaque,
“Robert H. Sykes.”
            Stepping through the door, I enter my office.  The room used to be a built on storage shed for boards and part for the mill’s water wheels.  After I took over, I made a few changes, one of them was taking this space as an office, “All decent businesses men have an office,” I had told my workers as the moved the supplies to the outside storage shed that they now rest in.
            I take a seat at my desk, and pull out a letter from my jacket pocket.  This was the letter that I had been waiting for, since I put those ads out in the newspapers back in New York.
            Dear Sykes,
                        Upon reviewing the ad for one lumber mill in your procession, I have gave some thought to the purchasing of said mill.  I have discussed with my family and have reached a conclusion of obtaining it from you.  Before I will purchase it, I need to know that the building is in good condition, as I know, many such mills were lost during the recent war.  I will plan for a visit within a month’s time.  Upon, said visit, if I find that everything is satisfactory I will purchase Sykes Lumber Mill from you.
            Humbly yours,
            Milton J. Beans.
After reading the letter for a second time, to make sure I understood everything correctly, I quickly wrote a reply to Mr. Beans.
…………………………………………………………………………………………………….
            The resturaunt connected to the Hailers hotel, was mostly empty.  At a table near one of the glass windows facing the street sat the only customer, and the man I was here to meet.
            “Good morning, Godwin,” I said to him as I took a seat across from him.
            “Is it Robert?  I heard a rumor that the Patterson are going to shut down their foundry and head to Atlanta, he said.”
            “After Sherman’s little show, it is prime real-estate now, and home to many opportunities for a good foundry.”
            “Vultures, the lot of them are.  Feeding off the misfortunes of others.”
            “Can’t really blame them though, not much to feed off of here anymore.”
            “Back in the army we would have called them deserters, abandoning the town when they are needed the most.  If they stay, they could help repair the damages the Union Army done, and put this Audin, Alabama back on the map,” he said while beating his fingers on the table in a slow to fast rhythm. 
            “Not all---,”
            “Excuse me sirs,” interrupted a young man holding a tin tray in his hands.  “Here is your usual orders.  Coffee and spice cake for Godwin Sykes,” the man said placing a steaming silver cup of dark liquid in front of the man next to a moist brown cake.  “And tea and carrot cake for Robert Sykes.”
            “Thank you Erwin,” Godwin said to the man as he placed my cake and drink in front of me.
            “My pleasure sirs.  Just call me if you need anything, and pay your bill to Gertrude when you’re ready to leave,” Erwin said as he turned around and walked back into the kitchen.
            “Good lad that boy, would have a bright future in this town if it wasn’t about to go under,” I said.
            “Maybe it won’t,” said Godwin, taking a sip of his coffee.  “Owe, hot.”
            “It always is, and if you let it cool down some before you drink it you wouldn’t burn yourself.  And the town is already going under.  The Pattersons are just the latest in the long line of many leaving this place.  Before them were the Cassens, and the Martins, and the Cyruses---“
            “—And the Wiltons.  I know Robert, but maybe this town could be saved if people were willing to do some repairs instead of getting skipping town.”
            “As I was saying before, not all damages the war caused can be fixed with metal and wood.  The people are broken Godwin.  The Yankees did more than destroy the train station and a few farms; they broke the spirit the town had.  When they were here people were afraid that this place was going to end up like Atlanta.  The houses, buildings, and even the sidewalks are wooden; it is an accident waiting to happen,” I said as I gazed at the empty streets through the window.  I refused to meet the gaze of my younger brother.
“I never said it would be easy, but it’s a possibility to fix this town.”
“I’m not so sure.  You weren’t here as it happened.  You didn’t see the looks on the faces of the people, as the soldiers fought in the streets.  As the men fell to the ground in the yards and as people lively hoods burned, you were not here.”
“No, I wasn’t.  I chose to fight in those battles, and protect the people throughout the South that were like the people here.  I saw the faces of people who suffered worse, and I saw the soldiers falling to the streets next to me.  But I also saw how people rebuilt their lives.  If we can get the mill going again, we could be the first step in giving this town hope again.  Your son, Brat, could play in the fields like we once did,” said Godwin.
I took a bite of my cake, and gently washed it down as I thought about how to bring up my plans for the mill.
“Godwin the mill is already repaired.  The last of the boards were fixed last week, and the waterwill is turning again.”
“This is great.  Now all we need to do is—“
“And I have a prospective buyer lined up.  He will be here in two days from tomorrow.”
“Wh-what,” said Godwin as he stared at me as if I was the one who put the bullet through Dad’s heart all those months ago.
“I’m selling the mill.  I’m splitting some of the profits with the workers, and then I’m leaving.  I plan to take my family up to Virginia and start over there.  Maybe put Brat into a real school,” I said to my brother, once again not looking directly into his eyes. Instead looking into their reflection in the window, betrayal still rang out.
“Why?”
“I’m one of those people.  I can’t go outside without seeing those fires.  I can still hear the screaming, and the whizzing of the stray bullet that hit father as he ran to me.  I’m haunted and just want to leave the ghost behind.”
“You can’t sell the mill.”
“I can.  Dad left it to me when he ritired, remember.  I can do with it as I need.  I am selling to pay not ony for my families escape from this hell, but so myh workers can find new lives as well.”
“Then I’ll buy it from you,” said Godwin as he reached into his gray jacket in order to get his checkbook. 
I grabbed his wrist to stop him.  “You know that you don’t have that much money.  Just let it go.  Yes, I’ll miss this place, but everyone needs to move on, including you.
I sat up from my seat, leaving my half eaten cake and tea behind.  I walked up to the Erwin’s mother and paid for mine and my brother’s tab. 
Just as I was about to leave my brother grabbed my shoulder and said, “If you try to sell that mill, the town will be really without any hope.  The town would rather burn than lose hope,” Godwin said with a pleading look in his eyes.
“Let go.”

10 comments:

  1. I sense a real desire for a complex relationship between the two brothers, full of history, loss, politics, and economic issues. Reading a historical piece with that sort of dynamic properly expanded would be really cool, so I hope to see a future version of this with a lot more contextual and narrative work to it. I felt that the real conflict, want, and characterization of your story did not start to emerge until toward the end of what you have here. The dialogue is certainly expository in many moments, with characters unnaturally referencing information that the audience needs to know. For example, we find out well into the work about some tragedy with the father of the two brothers, and we are expected to be invested in this already. I appreciate what that inclusion is attempting, but it read contrived. I am not sure if it was a good decision to move this story about a mill back fifty years. Not much really resembles Reconstruction, and the lines that are drawn to the war are uncomfortably absent of historical/ethical perspective. It seems to me that this is a very early version of something that wants to be about loss and its effects on families and small towns? If this is the case, there is definitely some promise in the predicament that we find these two brothers in.

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  2. I think the most obvious critique I could give about the story is that it just needs to be longer. There seems to be only two real scenes, so the tension has no time to build and develop. There are some overarching issues, like the switching between tenses in the first scene, and the grammatical issue of an overabundance of commas. I think the most powerful element in the story as it is so far is the brother’s relationship; there could be really productive tension developed in the fact that one went away to war, and the other stayed only to witness the death of their father. The brother’s relationship should be central from the beginning, i.e. brought up in the first scene. Speaking of the first scene, it would be good to see the narrator’s response to the letter he receives about the sale of the mill. Letters are a good opportunity to see the characters’ thoughts and plans without making them exposition, which is what happens in several places in the story, especially in the brothers’ conversation in lines like “If they stay, they could help repair the damages the Union Army done, and put this Audin, Alabama back on the map,” and “The Pattersons are just the latest in the long line of many leaving this place”. Both brothers would know these things already, so they wouldn’t need to be stated. I think it would be helpful to root this story more in its political/temporal context, as it is a historical narrative during a turbulent time in history. To bring in history, the narrator could comment on Emancipation, presidency, or the post-war amendments. The narrator could struggle with his ethical relationship to slavery, or the economy of the South post-war.

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  3. There is an interesting pressure put on this character. On one hand he doesn't want to sell the mill, on the other hand he wants to give his employees and his family a chance to move on from this town. This pressure and the relation between the brothers are the most interesting aspect of the story. I agree that this story demands to be longer. Time for these pressures to develop are necessary to make the audience care more about the narrator and other characters. I think we need to see the mill more. More sensory details as well as nostalgic, sentimental details about this place taht is the center of the story could help to make his decision have more weight. I also think we need to see a decision made by the end of the story. We need to see what happens and how it effects these characters.
    I think you've got potential for something great here.

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  4. Preston,
    You've set up a really complex situation here in your story. There are so many layers of conflict- the relationship between Robert and his employees, the state of the town, the aftermath of the war, the loss of his father, and the relationship between the brothers. Play them up, flesh them out, and make them intertwine more. Right now they all seem to be their own distinct problems, though for Robert they are really twisted together.
    This will also help to develop Robert as a character. Right now he seems a little flat. Amp up his emotions and give us some of his thoughts.
    I really want to know more. What happened to his father, why does he feel guilty? Have the brothers always been close? Why does Robert walk around like he owns the town?
    Maybe think about changing the timeframe of the narrative present. It might be better if the story were to start further into the future, as he is packing up to move, or just as he moves. Either way, the main conflict needs to be introduced much sooner. Right now, I'm not sure where the story is going to go.

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  5. Your story has a lot of promise. You have the time period down and are using relevant forces of the war to drive your story. You also lay out a complex relationship between Robert and Godwin that makes each feel individual; I think their relationship will help guide the action in your final draft. Before you consider the plot of your final draft, though, think a lot about the story’s aboutness. The brothers’ relationship; their father’s death, which links them to the war and the Audin; the desire to escape a dying town and the conflicting desire to revive it—these all suggest a good, coherent tie-together. What your story so far suggests as difficult is (1) tying in Robert’s relationship to the workers, which can work on racial and class levels, and (2) why Robert lacks the Southern allegiance strong in Godwin (since Robert is willing to give his workers a share of the money from selling the mill. I suspect this second point will tie back into the war, their relationships with their father, and their heritage. This seems like the key into the Aboutness of your story.

    You’ll have to form actions from this aboutness and Aboutness. Your opening scenes helps characterize Robert and frame his relationship with Godwin. Then following scene, though, feels black and white. Add imagery to thicken the scene. The dialogue portrayed a lot of good information, but some of it felt like it was a way to avoid exposition, for example, “Audin, AL” and “if it wasn’t about to go under” and “your son, Brat.” Also, try to tighten up this scene: cut unnecessary words, condense replies. The scene sets up for a good story, which I would like to read; focus on the action afterward and how the brother’s relationship and the selling of the mill play out. Remember that the dialogue scene is not the main focus. After this, you’ll have to choose the action. I can’t suggest much here since you haven’t uploaded a completed draft. Just stay focused on aboutness, Aboutness, condensing scenes, and adding imagery.

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  6. I agree with most of the comments above especially with the suggestion that a stronger conflict emerges later in the story. I would also say that your characters right now seem a little flat, so maybe in the beginning scene you could tell us more about him. We hear later on through dialogue some things about him, and the incident with his father, but the way they are introduced in the dialogue with his brother doesn't really work well for me. I also highly suggest cleaning for grammatical errors and word usage. And I also suggest that you shorten your dialogue tags. I think that, too could cut out some of your exposition and help the dialogue move better.

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  7. First off the beginning scene I feel like is really well written for what is there and the gives a good setup for the setting and the main characters but it falls short is expounding on these ideas. Like what most of the other people are saying you need to write more. Some questions that came to me after first read through were: Who are these "negroes' who work for Jerry? What is the backstory behind this mill? What exactly, and I mean in fine detail, does the mil look like? Why does Mr. Beans want to buy the mill?
    Another thing I noticed is that your characters seem to act a bit juvenile at times like when Godwin burns his mouth and says "Owe, hot." This isn't necessarily a bad thing. You could give more insight to how these characters are in their normal day to day lives and this Godwin fellow could very well be childish. I just want to see it more though his actions and more definitive through his words.
    Close to the end there is a seriously dramatic tone shift that seems to come out of no where. It seems that you are getting at the heart of your story, which is good, you just seem to crank the pacing up to much and,to me, made me get lost as to why the relationship between the brothers is the way it is. I want more of this as well. I want to know about the father and why/how he got shot and I want to know how his death has affected his sons. You have a lot of good startup for great ideas you simply need to explain them to us.
    Lastly, the notion of the town dying is very interesting. I kind of what to know more about what exactly happened. You could talk specifically about the effect of Sherman's march through the South.

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  8. Preston, You have a very unique and interesting story here. I really like the relationships and character interactions in this story a lot better than your first story also. I feel you have a strong character and relationship with his brother in this main scene, and I'd love for you to expand on it. You have a great sense of direction on where this story is going and you do a great job of making this world and time seem real and not forced. I think you have some room for improvement though. First, I'd like you to expand more, and keep going in this direction. I want to know for sure of whether or not he is going to sell the mill or if he might have a change of heart at the last minute. Your protagonist only has this main narrative pressure to work off of, so it's the only thing that is keeping the story from falling flat. Expand and flesh out a few more scenes and interactions from his family. Maybe his wife is pressuring him to leave but he secretly still wants to stay? Or Maybe the mill is running into debt and he has no choice. I think with expansion the story will seem more full and realistic.

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  9. I think you have a really interesting idea so far for this story! I like the history that's in the story and the relationship between the two brothers. I do agree it needs to be longer and have a bit more of a storyline. I want to know what happens after the story ended and maybe see Godwin convince Robert to stay and try to fix the town. I didn't see much of a change in the story and I think that would give the story more of a plot. I think the dialogue needed a little work, just because of the repetition of names in it. I didn't feel like you needed to repeat their names so much since that doesn't happen naturally in conversation. I'm looking forward to seeing what you do with the story!

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  10. Preston, you have a good start here. The setting is interesting, and the relationship between the brothers works rather well. What seems to be an issue with most of the short stories is that we are struggling to meet the number of pages, but we also want to say more. What happens is that the plot becomes a bit muddled, unfocused if you will. There doesn't seem to be enough of a change in the characters for the thematics to really shine. The exposition isn't terrible like you seemed to be worried about, but I think there can be less of it. I think once you flesh the story out, extend it, some of that will become unnecessary and you can remove it. There is a lot that is assumed that the audience knows, but the important thing to consider is that the audience can never assume character histories, backgrounds, etc. Again, expanding on that should help tremendously. Once you consider those things, your story should be on its way to becoming something amazing.

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