I lifted her and carried her to the door and let her down, and gave her a final kiss.I knew she had a boyfriend. Or at least a love that she could never let go. Even tonight, even in my arms. It was a fragile love that only the ones who are broken to pieces understand. Such a love cannot be replaced or replicated. Just like how a thread cannot join a cloth again. She was a thread and so was I. Isolated, with the memories of something that will probably never happen again.The next day, we met for coffee and cigarettes. She confessed there that she still loves someone from her past; and that she was trying to woo him back. She made me promise that I never speak of that night again because if people came to know about it, the word would soon reach to him and it would destroy all that she has been trying to build up. It hurt me to know that she was building a broken relationship. Her endurance scared me; I wondered how the guy would react when he got to know that the lips he kissed were. As such, and in response to themost recent reviews to stories I have submitted exclusively toFictionMania, I am providing answers regarding the style in which I havesubmitted them. My response should also provide (some readers) more thana singular possible indicator as to whether or not I am, indeed, able todraft a properly constructed sentence or paragraph (i.e., grammar,punctuation, proper spelling, capitalization, syntax, etc., along withthe decidedly minimal use of ellipses).My observations (as well as others' similar observations) show that atypical story compels readers to (almost literally) wade through pagesand pages of text that is so gratuitously populated with [complete]sentence after [grammatically and literarily correct] sentence (as onereviewer characterized as "standard anecdotal narration"). Twelve pagesof text also usually include sixty or more paragraphs (also fitting theproper structure of a paragraph - singular idea; central topic sentence;main idea; unity; order;.
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