Tuesday, March 19, 2013

Companions Edit

Companions can be found here: http://clutteredshelving.blogspot.com/2012/10/companions.html

This is a good idea.  There's some banter, there's some action.  Those are good things.  The main take away is just tighten up the confusion and make the tense scenes more tense.  This story has great potential.

The first paragraph is repeated in the fourth paragraph exactly. Maybe a rewrite that didn't get deleted?
Faski is sometimes "Faksi". Nothing a simple find and replace won't fix.

Not sure if much can be done about it since Gipp is literally running through fire to save the kids, but there's a lot of the word "fire" in that section of the story. It could probably stand to be tightened up to reduce the references to fire and increase the pace and tension of that section to boot.

Who is Marcus and what does he want with the crafters? That's not clear at all. Having Marcus in the story is almost too confusing.  It's not clear who the character is.  It's not clear why he would want some elf kids.  It's not clear why elf kids are valuable period.  Are Gipp and Faski some sort of bounty hunters or do-gooders and Marcus is a bad guy that they're trying to hunt down and stop?  Was Marcus trying to burn down the house with the elves in it so that the elves wouldn't be found? All of these questions should be answered or at least hinted at so it can be easy to infer the answers.

There seems to be some confusion as to how to format dialogue. The only reason we mention it even though we're not the technical editors is because it's a little jarring and distracting. Our technical editor will probably have to explain it better (or correct us where we might be wrong) but, it should generally look more like this:

"I swear I put it in here." He pushed his hand around the bottom of the saddlebag. "Or maybe..." He dropped the bag and reached behind him to a sack tied down by his armor. "...in here."

The other man rolled his eyes. "Is a piece of fruit really worth this effort?"

Cossey=cozy? In fantasy (and sci-fi) where people make up all kinds of weird strange new words for things, it's critical to make sure that words are spelled right or are clearly an in-universe word.

Are they trying to be stealthy ninja types? If so, leaving their horses empty in the road seems like a bad idea.

Not sure about the medical logistics of standing in smoke and coughing to clear one's lungs before ducking down out of the smoke itself.

There's a fire, people are about to die, and Gipp is pausing to get a good description of the kids. That deflates the tension.

If there's a tense situation, the writing should reflect that:

Quick!  Things are happening.  Right now.  There's fire.  Kids!  Gotta get them out.  Reach for sword to pry.  Dammit!  It's outside.  Look around.  Find something.

Crash!

Protect the kids.  They're screaming so loud.  What was that?  The house is falling down around us.  It's so hot.  The flames are reaching for us, closing in.

Or something like that.

Unless a character is a mind reader/psychic/telepath, they do not know what anyone else is thinking about them.  They can hope that someone is thinking a certain thing about them, but there is no way they can be sure.

Show vs. Tell

The poker was warm from the cook fire, it heated his hand.
vs
Gipp gritted his teeth, his hand complaining about being almost seared by the poker.
Transition from Gipp maybe dying to Faski is a little confusing.  Maybe just have a page break or some **** between them.

Faski is probably not going to spare a thought for Gipp in the heat of battle.  He's going to be focused on not dying.
It's not clear at the end whether or not Gipp dies. If it's intentionally vague, it's not clear that it's intentionally vague. We know we should be having some feels, but we're not sure which feels to feel.

Catharsis

I started writing this on Sunday night and just finished it tonight. For having gone from idea to complete first draft in 48 hours isn't bad, but I'm sure there's a lot of bad to be found here. To quote Fight Club: I want you to hit me as hard as you can.



Remember the guy in high school that everyone wanted to be? He was usually the quarterback of the football team and had more friends than anyone else. He was dating the hottest girl in school, drove the nicest car, and got good grades because he convinced the smart kid to do his homework for him. That guy totally wasn't me.

No, I was the smart kid doing the quarterback's homework. I was the kid no one wanted to hang out with because I was into weird stuff like role playing games and comic books. Girls wouldn't give me the time of day and my family was too poor to afford a second car so I was stuck taking the bus. I had one best friend and a couple of people whom I considered good buddies but to everyone else I might as well have been invisible.

Except for the bullies of course. I got picked on mercilessly, made fun of, and called every name in the book. What doesn't kill you only makes you stronger, though, right? If I just put my time in, studied like mad, and ignored all the dickheads, I would get accepted to a prestigious college, earn my degree, and land an awesome job. Then I could go to the local burger joint and make the quarterback ask me if I wanted fries with that.

As it turns out, I did survive high school. I was accepted into a private university, had my degree after four years, and got hired at a pretty decent job right out of school. The only problem was that nothing else had changed. The few friends I had moved away and I spent my free time playing computer games online and watching anime. Women still wanted nothing to do with me and I drove a mid-sized sedan because I couldn't afford the maintenance on anything better. At work, I would pick up the slack for the office superstar because he had too much else going on in his life. By my late twenties, I had fallen into a nice, comfortable rut.

I came home from work on a Friday night and tossed my briefcase on the couch. My tie was choking me so I pulled it off. After sloughing off my loafers and draping my jacket on the back of a dining room chair, I made my way to the fridge. A microbrew sounded wonderful. I sank my teeth into a slice of cold pepperoni pizza and then booted up my computer. My guild was going to be running a raid tonight and I wasn't about to miss it. As soon as I had logged in my cell phone buzzed.

“Getting out of your dungeon tonight, little brother?” the screen flashed at me. That would be my sister, Audrey.

My thumbs flew over the virtual keyboard. “Shut it, sis.”

Several seconds later my phone buzzed again. “You're never going to get laid with that attitude.”

“I'd rather not discuss my sex life with my sister.”

“LOL. What sex life? :p”

I chucked my phone down on my desk in disgust. What did she know? Hell, I'd had sex before. Although…shit. When was the last time I'd actually had sex with a woman? I thought about it and realized the first and last time was at a party in college my roommate had dragged me to. Most of the night was hazy and I’m pretty sure I was suffering from a minor case of whiskey dick, but I had still managed to get lucky.

It didn’t matter, there was a raid on. A couple of mouse clicks and my dwarven berserker began slaughtering orcs with extreme prejudice.

“Ding!” I typed as I gained a level.

My guildmates responded in a chorus of “Grats!”

Nearly two hours later we'd ganked the boss orc and divvied up his loot. I rolled on a pair of enchanted boots and completed my armor set. After one last round of congratulations I logged off and shut down my computer. My phone was still where I had left it, the black screen mocking me.

Never getting laid, huh?

I slipped my loafers back on and grabbed my jacket as I headed out the door. There was a bar nearby that some of my coworkers had talked about. What's the worst that could happen?

As soon as I walked in my senses were assaulted. Bass thudded into my chest, the acrid stench of sweat mixed with flowery bodyspray filled my nose, and the warmth from accumulated body heat was enough for beads of sweat to spring from my forehead. I could barely see but managed to make my way to the bar without stumbling into anyone. The bartender was flirting with a twenty-something blonde. I eventually caught his attention and he came over.

“What can I get you?” he shouted over the house music as he laid a drink napkin down in front of me. He had an eyebrow piercing and was wearing a T-shirt with skulls and roses on it.

I leaned forward so I didn’t have to yell as loudly. “Whatever amber ale you have on tap is fine.”

“No problem.” He filled a pint glass and set it down on the napkin before taking my money and going back to chat up the blonde.

Beer in hand, I surveyed the room. The dance floor took up most of the space but there were several standing tables off to the right. Most of the tables had groups of women at them but I knew better than to try and pull a mob when it had backup. Eventually I found a bored looking brunette all by herself so I walked over as coolly and casually as I could muster.

“Hi, I’m Kyle. Can I buy you another?” I gestured to her half-empty drink.

She looked me up and down. “Sure. Rum and diet cola.”

I smiled and nodded. “I’ll be right back.”

The pounding techno beats were starting to make me sick to my stomach but I couldn’t wimp out now. I yelled at the bartender again before returning with the lady’s drink. She had been joined by a broad-shouldered guy in a leather bomber jacket.

“Am I interrupting?” My smile was unassuming as I set the glass down.

The new guy turned towards me. He was at least half a head taller and probably fifty pounds heavier than I was. “I was just about to ask the lady to dance, so yeah, you are.”

The brunette shrugged as if to say, “Sorry,” so I just nodded and walked away.

What the hell was I thinking? This was a stupid idea.

Stupid Audrey. I couldn’t believe I took her bait. After leaving my unfinished beer at the bar, I headed outside. What had made me think I could just go to a bar and pick up a girl for a one night stand? That guy wasn’t me. That guy wasn’t me at all.

I tossed my jacket in the passenger seat of my car and started it up. I was pulling out of the parking lot when I felt a heavy thud and my head bounced off the steering wheel.

“Son of a bitch!” I whipped around and saw the muscle car that had just hit me. After throwing my car into park and putting the flashers on I stepped out to survey the damage.

The other driver was furious. “What the fuck do you think you’re doing, asshole?” He was literally foaming at the mouth and a cloud of booze-breath hit me square in the face.

“I was just trying to leave, man. I think you backed into me.” The damage wasn’t too bad. He’d smashed his taillight on my bumper, which was dented in, and we had swapped some paint. It was nothing that insurance wouldn’t pay for.

“Are you saying this was my fault?” His voice was like nails on a chalkboard as he flailed his arms at me.

“No, I didn’t say that. We can let the insurance companies sort all that out.” I reached for my wallet so I could dig out my insurance card. “If I can just get your information-“

I felt the shot before I heard it. Pain exploded in my left bicep and radiated throughout the rest of my body like a shockwave. Bright red blood blossomed on my white dress shirt.

“You...you shot...” I stammered. My mind felt cloudy. Iron bands were wrapped around my chest making it almost impossible to breathe. Blackness started to creep into the edges of my vision.

Something inside me snapped. Deep scarlet flooded my sight and I roared like a wounded bear. I launched myself over the cars at my attacker, raining fists down on him as hard and fast as I could.

The next thing I remember was waking up in a small room with concrete walls. Wire springs dug into my back through a thin mattress, my knuckles felt like they had been replaced with gravel, and my left arm screamed every time my heart beat. I groaned and the cot above me creaked with the weight of its occupant.

“Wakey wakey.” A bald, chocolate head popped over the edge of the top bunk and grinned at me. “We got a badass over here.”

“Who are you? Where am I? What the hell happened?”

“Oh, that's rich. Little man doesn't remember beating somebody to death.”

That got my attention. “What? No, I didn’t. Did I?”

His laugh was like rolling thunder. “Such an innocent flower. You crushed some dumb bastard’s skull!”

I tried to think back, to remember doing anything of the sort. But it was gone, blank, almost like there was a hole cut out of my memory. “I…I don't remember that.”

Was I even capable of actually killing someone? I'd been plenty angry before and I'd be lying if I said I hadn't at least thought about killing certain people at one time or another. Whether or not I could go through with it was something else entirely. It was then that I noticed my orange jumpsuit. “Am I in jail?”

“Damn straight. The man don't take kindly to murderers, son.”

As I tried to make sense of that revelation there was a commotion outside the bars of my cell. The rest of the prisoners were getting restless. Something was going on.

I swung my legs over the side of the cot and got up. My arm was strapped to my chest in a sling but it hurt just thinking about it.

“Recreation time, ladies! Get up and get moving!” The guards were walking down the corridor. A loud buzzing sound preceded the cell doors sliding open.

My cellmate leapt down from his bunk. He was twice my size and almost knocked me to the ground when he clapped me on the back. “Come on, little man. Yard time!”

Dumbstruck, I followed him out to the yard. As the afternoon sun kissed my forehead, every prison movie and television show I'd ever seen ran through my mind. I really didn’t want to have to join the skinheads for protection. Maybe my cellmate could help me out and I could be the token white guy? The vatos locos were an option too; I grew up in SoCal so hablé pequeño español. As long as I didn't have to hold on to anyone's pocket or be anybody’s bitch I'd be alright.

With one good arm, I couldn’t lift weights and doing any sort of strenuous activity sounded incredibly painful. Walking around the yard probably wouldn’t hurt too badly, though. It would give me a good opportunity to look around, get my bearings, and try to figure out whom to ally myself with.

I had just started wandering when a beachball of a man with a swastika tattooed on his forehead blocked my path.

“Where you going, boy?”

“Oh, just out for a stroll.” I gave him a half-smile.

He stepped up and bumped me with his gut. “We own this yard. If you wanna use it you gotta pay the toll.”

“That seems fair. What’s the price?” I took a step back but ran up against another skinhead. I looked to the sides and saw more skinheads starting to surround me.

“Just your ass. And maybe that pretty mouth. Gotta do something about all those teeth, though, first.”

My right arm was suddenly wrenched behind my back and my sling was torn off. As they yanked my left arm back the agony nearly made me vomit. The fat neo-nazi grabbed my cheeks in his stubby fingers and squeezed. “Pucker up, sweetheart!”

I screwed my eyes shut. This shouldn’t be happening. This couldn’t be happening. I’d wake up in bed drenched in sweat and swear I’d never watch late night cable TV and eat polish sausage again.

But I wasn’t dreaming. This was a nightmare I wouldn’t be able to wake from. This memory wouldn’t fade with the light of day. They unzipped my jumpsuit and yanked it down. Sunlight shined where it normally doesn’t.

My eyes popped open. I’d be damned if I was going to be an easy target. I was tired of being the whipping boy. Everyone always thought they could do or say whatever they wanted to me and I would just have to take it. Well I wasn’t going to take it anymore.

Crimson leaked into the edges of vision. My skin, already warmed by the sun, started to get hotter. My heart pounded, pumping faster and faster, deafening me with the sound of rushing blood. The pain in my arm vanished and I felt like I could bend steel. I burst free from the full nelson and slapped my hands on either side of the racist’s chubby face. As I saw red, his eyes darted back and forth as if looking for help. His skin turned the color of a nasty sunburn at my touch. He screamed like a hog being butchered as thin tendrils of acrid, black smoke curled around my fingers.

My hands burst into flame and I watched with sick pleasure as my would-be rapist’s flesh bubbled and started to cook. The underlying fat melted first causing his skin to sag and droop. White-hot flame licked his eyeballs as they sizzled and popped like bacon on a griddle. I pushed him down to the ground and watched the fire dance on his corpse for a few seconds, his mouth stuck open in an eternal wail.

The skinheads had begun backing away, their faces frozen in sheer terror. They weren’t getting off that easy. My fingernails dug into my palms as I balled my hands into tight fists. Fury washed over me and the flame covering my hands spread quickly up my arms and engulfed my entire body. Wreathed in crackling fire, I lifted my arms to the sky and bellowed. My primal scream was matched by a roaring wall of flame that spread outwards from my body. The searing heat blasted into the skinheads and flayed the flesh from their bones, leaving nothing more than charred and scattered viscera.

I stood in the center of the pile of smoking human wreckage, shaking from the adrenaline. As my rage subsided so did the fire. I watched in wonderment as the flames retreated from my body and finally winked out at my hands, leaving my fingernails trailing smoke.

The yard was quiet and still as a graveyard. Even the guards were stationary, seemingly wary of getting too close to me. After an eternity, my cellmate stepped out of the crowd and came over to me.

“Feel better?”

I couldn’t keep the corners of my mouth from turning up. “Much. But the rest of these pieces of shit had better not piss me off again.”

“I don’t think that’ll be a problem. You’re the boss now.” He grinned and laughed his thunderous chuckle again.

I’m the boss now.

Yeah, that guy was definitely me.

Hell Edit

Hell can be found here: http://scifistorytellers.com/?p=207



Hell Edit

It's not entirely clear how the wife and kid died.  It could be that since main character and narrator are the same person, he doesn't want to go into detail about it.  If that's the case, that needs to be brought to the reader's attention.  Otherwise, more clarity is needed about what happened.

When he visits Tony, he postulates what Tony is seeing when he looks at him.  Have Tony actually say it.  Aside from the Show vs. Tell aspect, unless Chunks is a mind reader, he doesn't really know what Tony is seeing.

There's room for expansion in the paragraph about how family makes you think of someone other than yourself.  Maybe show him starting to do something or make a decision and, while he's doing this, he's thinking of how it will affect his wife and kid.  Then, suddenly, he realizes there is no wife and kid and go from there.

Wherever a sentence starts with "However", give it a good hard look and see if you can come up with a better start.  It's just a fancy way of starting a sentence with "But" and tends to rub readers the wrong way when used too much.

"I saw my first corpse on the west-bound on-ramp that lead to the heart of the city." What about his wife and daughter? He might not want to think of them as corpses, but this is confusing for the reader.

I'm not sure of the legality/issue with mentioning things like books and such.  People (and their lawyers) can get weird with their things being in things they don't want touching their preciouses.  Even if it is basically free advertising.

Does the man smell like acid the drug or acid the...acid?  What does that smell like?  Or are you trying to say he has an acrid smell?

Caldera. :o)

This is a great story of a man who is more or less a goofball that can play responsible when he had to for his family (while still being a little immature and such) becoming a hardened solitary person resigned to his fate in a really crappy world.  It gets a person, but not as powerfully as it could.

Play up the depravity of the pimp.  Maybe even have the pimp be Dustin--someone we have been introduced to as a fine upstanding person that Chunks cares about and is now selling his own family and neighbors for a good time.  Shows what people will reduce down to to "make it" when everything goes down the drain.  And having to kill a friend before a friend kills you will definitely harden someone up and make them have a crisis of faith.  Would be super traumatic to see your friend be felled on by his own family and neighbors for being a monster.  People *might* wonder why he's not at his own house, but it's not a huge deal.  If you've become a monster, you wouldn't want to live in a place that reminds you of the decent person you used to be.  And, it's a crazy time with people doing crazy things.  So, ultimately, doesn't matter.

What happened to Mutt?  If Mutt is that easily forgotten, does Mutt need to exist?  And if you have Mutt for a reason, what's the reason and can you keep that reason going so that you don't forget about Mutt?

The Basement Edit





Norik has had some back and forth with Jonathan, so we’ll include the other edit suggestions too.


Using an intro paragraph to set the tone can be done successfully, but they're just as tricky to use as the phrase "It was a dark and stormy night" because they're basically a cliche. If you're comfortable with it, we think it should be cut. Let the story itself set the tone. In a way, this paragraph brings up too many questions that remain unanswered. However, if you want to keep it, here's some tips:

Maintain tense at all times. This is a horror story. Horror stories work on tension, and mixing tenses breaks that tension. What does the mouse do? Who knows. Leave it to the ether. Right now, do not provide closure.

Example:

A receiver vibrates in its yellowing plastic cradle. A scurrying mouse, startled for the first time in months, pauses and looks up. Its ears twitch, uncomfortable with the unfamiliar shrillness accosting them.

As suddenly as it had begun, the ringing stops.

I get the sense that you're going for a 70s-80s slasher vibe with Molly Ringwald and River Phoenix in the lead roles. The kids are super campy and have big personalities. Those types of stories can be a lot of fun, and hearken back to the basics: a bunch of idiot kids getting slashed up. If that's what you're going for, you're definitely on the right track. If it's not what you're going for, then that needs to be reworked in order to show what you are actually going for.

Spend some time on the description of the house and do it much sooner, not on page 23 when it's almost too late to set the scene. And don't let Tim Burton describe it for you, he's a hack. The house is its own character, really, so it should feel that way. Ratchet up the creepy factor. If it's a stark contrast to the rest of the neighborhood, show that in your description, especially if that matters (it seems like it should, especially with Stacy's parents being the bad guys). There's a creepy house at the end of the road. Who lives there? Something sinister? Oh-ho, the sinister is in your own back yard and you didn't even realize it with your manicured lawns and your prize-winning begonias and your unlocked front doors!

It almost seems like you were starting to say there's something supernatural or psychic going on. Stacy has weird dreams, the kids see Steven in class when he's not really there, Stacy hears Steven's voice on the phone when she couldn't, and James sees a spider that isn't there. None of that ever pans out. All of those things ultimately make no sense for the whole of the story, but they're focused on enough to make them seem important. Why are they there? What do they have to do with the story? It almost seems like the chocolate chip cookies have a point, too (maybe to show that Stacy's mom is a normal, wholesome, cookie baking June Cleaver?) but that's not clear, either. It's fine to have red herrings in a suspenseful story, but they need to be red herrings and not the fish slap dance. There either needs to be more things going on that actually lead to the big reveal, or the things that don't ultimately matter need to be toned down. Maybe both.

If your characters are complaining about something being boring and hating something, then there's a good chance your reader is going, "I hate math, too. This IS boring. Why am I even reading this?" and then skipping forward. You need all the kids in the same place for the phone call and when James starts seeing things, but with both of those things ultimately not making any sense in the scope of the story, this whole section doesn't make sense in the scope of the story.

The arc words are absolutely not obvious. If Mouse hadn't mentioned that they existed in the roll call post, I would have had no idea they're there. You won't be able to text them to everyone on Amazon, so they need to stand out more than they do. As it is now, a lot of the creepiness is lost.

Possibly because of the arc word issue, Stacy's parents being the bad guys feels completely out of left field. There's no sense of setup so it seems like they were drawn out of a hat filled with side characters in the story. It's a hard sell that these kids can figure out their algebra homework but don't know that some basements have a storm door or think to look outside for an outdoor opening. It's also hard to buy that Stacy would not recognize the body shape of a man she's looked at for 16 or so years or recognize his voice immediately. It took me two readings to realize that the butcher and her father weren't separate people.

Overall, you're a good writer. You've got some chops and a ton of potential. Just tighten up these things and you'll have an awesome slasher fic on your hands.
Jonathan’s response:

I like where you are going with some of your suggestions.  And others i am going to ask for some helpful feedback on.

Getting rid of the last line of the opening works for me, and I think you are right.  

As for description of the house i get that too and I will work on it some when I have a chance.

Something supernatural.  Everyone has missed this point (although you've come the closest so far) so I think I need some help, and it also wraps into your last point about the parents coming from left field.  The cookies are the impetus for all of the "supernatural" stuff you are talking about, but this was my attempt at foreshadowing. In my opinion, in order for the payoff to work, it needs to be very subtle (but apparently I was too subtle) so as to not give it all away.  So, my idea was that the cookies were drugged, and are brought up before all of the hallucinations. 

The math thing I get, but i felt the scene needed something further to solidify why they were together, ie showing rather than telling, (showing them doing the actual math, although I could trim it down some and will when I have some time to do more than look at an email on my phone.  

Now as to an outdoor opening/storm cellar, many young kids growing up in newer neighborhoods have never seen a storm cellar, but these are not those kids.  I tried to explain it away the first time by the storm outside, maybe they can go looking for one but have the water too deep outside in the side yards.  But I agree with the recognition of her father, and may have Stacy give some kind of tell up front when she descends the stairs and sees her father.


Norik’s Answer:

I totally didn't get that the cookies were actually tied to anything, let alone everything. So knowing that, you might want to have the mouse in the opening eat some cookie crumbs and then when the phone rings it drops dead. So it looks like the mouse was startled to death when actually, it was the drugged cookies.

Upon re-reading it, it seems like there's a long time between the initial incident and any mention of cookies. So since the cookies are the main thing, they need to be brought up a lot sooner (and not just with the mouse)

Honestly, I think you're giving readers way too much credit. For the most part, people are clueless and not at all good with subtlety. It probably seems obvious to you since you wrote it, but you could stand to be way less subtle (in fact, you could probably swing much closer to beating the reader over the head with it) and still kapow the reader with the big reveal. You could even have Stacy find the hallucinogenic in her house before she goes back to the creepy house. Then she starts to realize (along with the reader) that maybe her parents have something to do with the whole thing and that pays off when she sees her Dad in the basement with Steven strapped to the table. You could then have her think to herself that maybe just her Dad is nuts and she has to run and tell her Mom before OMG there's Mom and Stacy is SO SCREWED.

As for the storm cellar, I hear you. So maybe it could be locked the first time around, or it's boarded up in some way so there couldn't be anyone down there. Or even, the door can be opened but the basement is completely empty (after all, they're hallucinating, right?). That would really ratchet up the creep factor when Stacy comes back and sees the doors standing open and finds her Dad and Steven.

The only other issue I can see with the cookies being the key is Stacy's dreams. How does the drug make her prophetic? She envisions pretty much exactly what ends up happening to Steven. I might be able to buy that she's dreaming about it because she's actually seen it happen (maybe when she first went into the basement and didn't "see" anything? Although I'm not sure how to reference that without completely killing the momentum of the climax), but otherwise, she should only have a creepy vision of something happening to Steven that doesn't really match up with what ultimately ends up happening.

Again, I think you've got something here that has the potential to seriously creep people out and make them go, "Wow, I didn't see that coming but it totally makes sense now!"

Hunger Pangs Edit

Hunger Pangs can be found here: http://www.fictionpress.com/s/3050456/1/Hunger-Pangs



Hunger Pangs Edit

Over all the plot is great.  The story is great.  It flows pretty well.  As a reader, not a lot of boredom or wondering what the point is or when/where you're going to get to the point.  For not being that much longer than a typical short story (2000-7000 words), it wasn't a drag to read.

Most of the issues are just...clutter issues.  Some technical things.  The tense isn't steady.  Sometimes it seems like she's telling us a story in the moment with present tense.  We're with her on her shoulder watching it in real time.  Sometimes it seems like she's sitting down and telling us a story from "back in the day" and we're not actually present for it.

It seems like every person she talks to just talks and talks and talks and doesn't have an off switch.  It makes sense for some people to be like that (that's how it is in real life) but it doesn't make sense that every last person she meets and has a conversation with doesn't ever shut up.  Look at what you want the dialogue to convey.  Decide how much of it is super important to the story at hand vs. how much of it is unnecessary (for the scope of this short story) world building and such as that.  Ultimately, all we need to know is that she does make some bad decisions and goes to places she shouldn't go where people "dare" her to do things that make the reader go, "Wait...Why would someone dare her to do that?  I want to read more."  And we need to know that she's a ghoul and that there's a guy that hunts them who, basically, wants her to do his job for him.  (Was there a setup for her to sort of take his place as a ghoul hunter because she can do his job better than him?  That almost seems like that's what's going on.  While it does stand on its own, it could totally be a set up story for something that could be much bigger and broader.)  Having an old school ghoul show up and be all "I've missed my own kind and I'm lonely" does create a character that will, as lonely people are wont to do, never shut up and be overly excited.  So that makes sense.  Plus, he provides information that is interesting.  Honestly, for the scope of a short story it might be unnecessary, but it's interesting enough that I don't see why you couldn't leave it in.

There's a lot of stream of consciousness rambling and internal monologue that just needs basic cleaning up.  You don't want to write to the lowest common denominator, but you do want to write to the majority.  The majority isn't always so great with keeping up with constant streams of thought intermingled too close with actual narration.  You'll want to make sure it's clear what is being told in the story and what is being thought of in Mirri's head.

We noticed that there's not a lot of swearing and just wanted to make sure that you either wanted minimal swearing on purpose (Mirri might just not swear because she was raised a fine religious girl) or if you actually wanted a completely clean story.  This is minor and not really an issue, just something we noticed.

Watch the words that end in -ly.  People generally find adverbs annoying.  It makes it to easy to fall into a telling instead of showing environment.  It's almost like the reader isn't being allowed to infer what's going on and really feel like they're...feeling the story.  It's more like the writer is telling them what they should be feeling.  People hate being told what they should feel.

Powdered creamer doesn't mix into cold coffee.  It's unclear if she doesn't realize that creamer doesn't mix into cold coffee that great or if she does realize that and wants to keep her hands busy stirring like a mad woman.

When Forbo and Mirri are in the cafe, they almost have the same conversation twice back to back.  He mentions her shark teeth and she reacts almost exactly the same way both times saying she's never had a cavity, etc.  One of those conversations should be cut so as not to be repetitive.

Dialogue and actions that surround dialogue don't always have to (nor should they) be in the same paragraph.  Technically, each bit of dialogue is its own paragraph.  Though there are stylistic things that are allowed in the writing world to adjust those things.  They just have to be done smoothly.

Example

This is how you have this paragraph:

“I’m adopted!” I blurt out. “My parents are good people--” He raises a doubting eyebrow, “They are good humans. I was born in Romania during the fall of the Soviet Union. They adopted me from an orphanage. They are innocent!” I pleaded in a fierce whisper, the line cook and waitress were starting to look at us. “What do you want from me?”

It should look more like this:

               "I'm adopted!" I blurt out.  "My parents are good people--"
               He raises a doubting eyebrow.
               "Humans," I say, "correcting" myself.
               The line cook and waitress are starting to look at us.  I ignore them.
               "I was born in Romania during the fall of the Soviet Union.  They adopted me from an orphanage." My voice lowers to a fierce whisper.  "They are innocent!"
               He continues to sit, unmoved and silent.  I meet his eyes.
               "What do you want from me?"

Or something along those lines, anyway.

The only other thing is that there's too many instances of sentences starting with "I".  When something is in first person, that's super hard to avoid doing.  Obviously, you can't weed out all of them, nor do you have to weed out all of them.  But, it would do a good service if they got weeded out at least a little.

Otherwise, there's nothing punching us in the face.  It's a great story.  The world you're making is pretty cool.