Saturday, February 28, 2026

The Famoux by famouxx on Wattpad

Blurb

Fame can be deadly.

Out of the wreckage of environmental collapse, the country of Delicatum emerged. Its most popular celebrities are the Famoux, uniquely beautiful stars of a reality TV show called the Fishbowl. In a world still recovering from catastrophe, they provide a 24/7 distraction. 

Sixteen-year-old Emilee Laurence is obsessed with the Famoux-they provide a refuge from her troubled home life and the bullies at school. When she receives an unexpected offer to become a member herself, she takes it. Leaving behind everything she's ever known, Emilee enters a world of high glamour and even higher stakes. 

Behind their perfect image lies an ugly truth-an anonymous stalker has been dictating the Famoux's every move, and being popular really is a matter of life or death.



Original (First 500)

When I was younger and more susceptible to liars, my mother let me in on a little secret that took me years to outgrow. If I really wanted something, she told me, all I had to do was think about it, and hope for it, and my requests would always be heard.

"Thoughts are powerful," she said. "Good or bad, they have their way of coming true."

Poor advice to give a child, much less one as vulnerable as I was. I took her wisdom as fact and accepted no other opinions. As children do, I thought only of ways to make my singular life easier. I thought about acing my tests instead of studying for them, thought about making good and lasting friends instead of being one in kind. I thought about standing up to Westin van Horne one day instead of ever becoming brave enough to do actually do it.

But thoughts without action, as I'd later learn, are meaningless. My grades, my loneliness, and my torment persisted, because I didn't do a thing to change them. Yet, as I walked home, I kept my mother's promise in mind. I thought new thoughts of a better life, sure that these would be the ones to come true. And when I came home crying, she was there to wipe the tears from my eyes and feed me more honey-tasting lies. She'd tell me how my differences weren't flaws, and that I wasn't worth any less than Westin or any of the other kids. She'd tell me I was beautiful, unique was good, and a whole menagerie of other little myths long since proven untrue. I'm sure even then I knew they were lies, but oh, were they wonderful lies to live. I grew to depend on them -- on knowing that no matter how bad the day was, my mother would always be there to comfort me with tall tales of a better future.

Which turned out to be yet another lie.

The morning in question wasn't inherently different than any before it. She insisted I wear her jacket to school, a blue corduroy thing lined with fleece, since mine was getting small in the arms. She told me as always to think positive thoughts that day while she fastened the buttons. I was fourteen at the time, so the sentiment was met with rolling eyes, a swat at her hands, and an assertion I could fasten a coat just fine on my own, thank you. At school, Westin and his group gave me their worst, and I fought tears the whole way home. It was the usual routine. It was expected. So when I creaked open the door and sulked inside with my usual, miserable flair, the last thing I expected was to find the house empty.

Sure, the furniture was still in place. The cabinets were still stocked. But the smell of peonies in her perfume was faint, as if she'd been out of the house all day. I didn't think much of it until I went to her closet to return the jacket and discovered her things were gone. 

A thought tried to enter my head at that moment, but I wouldn't let it. Thoughts had power, after all, and this was one I couldn't bear to let come true. But as I checked her empty drawers and noted the missing duffel bags in the hall closet, I realized it already had.

My mother was gone. She had run away.

My Edit

When I was young and susceptible to lies, my mother let me in on a little secret. If I really wanted something, all I had to do was think about it, and hope for it, and my wishes would be heard. 

"Thoughts are powerful," she said. "Good or bad, they have their way of coming true."

And when I'd come home from school crying every day, for years, she was there to wipe away the tears and feed me more honeyed fiction. My differences weren't flaws. My bullies were wrong. I was beautiful, unique, good. Even then, I knew they were lies, but, oh, I needed to hear them.

One morning, she insisted I wear her jacket to school; a blue corduroy thing lined with fleece, since mine was getting small in the arms. "Think positive thoughts," she said, fastening the buttons, her liquid amber eyes smiling, her peony perfume enveloping me.

I was fourteen, so I rolled my eyes and swatted her hands away, outwardly rejecting the comfort that sustained me. School, as usual, was terrible, and I cried the whole way home. When I skulked inside, no one was there. Peony perfume was a faint whisper in the stale air. I'd beat my siblings home -- they had friends to hang out with after school -- my father was at work, my mother must have gone into town.

I wasn't sure if I felt abandoned or released from the ritual of confessing every humiliating moment of my day. I stomped up the creaky stairs -- creak, stomp, sniff, creak, stomp, sniff. I stomped, sniffed, stomped to the open door of my parents' room. Stomped and sniffed my way to the closet to return my mother's jacket. 

My father's clothes hung there, brown and beige and smelling of starch and dust. My mother's flowy floral dresses were not hanging next to them. Her neat, dainty shoes were not next to his big, worn ones on the bottom of the closet. 

A thought, originating in the pounding of my heart thrummed through my veins until it reached my brain, but I shut it out. If I thought it, it would real. My mother wasn't gone. She wouldn't have left me. She couldn't have.

But her perfume was not on her dresser, no underwear in her drawers. Her small, pink suitcase was not in the hallway closet. She was gone.

(Original word count: ~583 → Edited: ~396)


Critique

Great blurb, I like a lot about the premise. First, behind-the-scenes of reality TV is always interesting to me, ditto with glamorous settings and the corruption behind them. The fish-out-of-water element with Emilee coming in from a troubled home life is also great. I like the added danger of a blackmailing stalker. This all promises a really compelling story.

The writing itself is poetic and evocative, with the opening line mimicking the opening line to The  Great Gatsby, with a twist. In The Great Gatsby, the narrator speaks of his father reverently, and the narrator in this story calls her mom a liar in the first line. Aside from that, though, we get a portrait of a melancholy girl who is bullied a lot and her only solace is her mother's comfort -- until she comes home from school one day and finds that her mother has left.

Setting
Kind of a nebulous "back when I was a child" lack of setting at first, and Emilee's house. We get a creaky front (or back?) door, furniture, full cabinets, empty drawers, and the faint remnant of peony perfume. Since we all know what a house looks like, this is serviceable, but could do with a little bit more description.

In my version, I made the stairs creaky instead of the door, described her father's clothes and what her mother's missing clothes looked like (very simply, just floral dresses), and instead of just empty drawers, I had Emilee note the missing perfume bottle on top of the dresser. I gave her mom a small pink suitcase instead of duffel bags that could belong to anyone. A blue, fur-line corduroy jacket doesn't really evoke floral dresses as the rest of that person's wardrobe, but it works as an example of how you can add a little bit of detail without spending paragraphs on their entire closet.

The point being that in the original excerpt, we don't have anything concrete to anchor the sense of emptiness and loss to. Investigating someone's bedroom in their absence is an awkwardly invasive thing to do, and can reveal things about the non-present character that we might not be allowed to notice if they were around. So, I feel like this scene, presented as an emotion-dump, rather than an infodump, is a missed opportunity. We also don't have any indication that Emilee has siblings, like, no clothes lying around or shoes to trip over. I added some clothes to the father's side of the closet because otherwise, you would think that Emilee and her mother live in this house alone.

Characterization
Emilee is very emo. Like, too emo. We get a lament that she spent her childhood expecting her life to get better without knowing that she'd need to work for it: 
I thought about acing my tests instead of studying for them, thought about making good and lasting friends instead of being one in kind. I thought about standing up to Westin van Horne one day instead of ever becoming brave enough to do actually do it.
This is okay, but it's so generic that it's not really saying anything. Like, name a subject -- I thought about studying for my math test instead of closing my eyes and praying I'd ace it. I like naming the bully, but we could be a bit more specific here, too. "I thought about punching Westin van Horne in the face the next time he made fun of my weird mole." And hoping for good friends to come into her life rather than being a good friend would also be more effective if we had some specificity. "Charity never laughed when everyone else did. She even told Westin to "shut up" once. I could have baked her cookies or invited her over to play Scrabble..." or something.

All in all, because we spend so much time in Emilee's head with so much generic lamentation, I cut most of it out. I think the author thinks that the crux of this excerpt is Emilee's regret in believing that thoughts are magic, but the real crux of it is Emilee coming home to find that the only person in the world who loves her and believes in her is gone. By choice.

If we wanted to make this excerpt a real gut punch, we'd include more information about her mother than perfume and what kind of jacket she wears. We get her philosophy is "thoughts are magic" but how does she implement that? Like, instead of "think positive thoughts," have a kind of daily prayer. "I am going to ace that Pre-Algebra test, Westin van Horne is going to be nice to me today, I'm going to tell Charity her hair looks nice." 

In the original excerpt, we also have Emilee crying SO much, and we don't know why. Like, HOW is she different? What does Westin tease her about? Is he physically abusive? Why is every single day of her life torment? And if it's so bad, why doesn't her mother homeschool? 

The problem with Emilee crying so much is that it's her only personality trait. She relies on her mother to help her feel better but she doesn't have any interests that she can get lost in or build self-esteem around, no sense of humor, no agency in building her own mantras, rather than just -- hoping.

Also, I know from reading ahead that Emilee has siblings. They are not mentioned at all until she has to tell them that their mother is gone. Neither is the dad. Hinting at family dynamics early on would drive home how and why the mother is so important and how much worse Emilee's life is going to be without her mother there to buffer the rest of the family's rejection. Right now, it reads as Emily's only family is her mother who has abandoned her with no explanation or even any reason that the reader can glean.

As I was reading this originally, I was sure that the mother was about to die. I was surprised that her mother chose to leave, especially because this read as a mother-daughter family until this point.

Conflict/Tension
Yes, there is tension in the present-day Emilee calling her mother a liar, in regretting her reliance on thoughts instead of deeds, and the way she rolls her eyes and swats her mother's hands away. Nice little foreshadowing for guilt later on when she realizes that that was the last interaction she'd ever have with her mom. 

Also, even though I rephrased it for clarity, I really liked this part of the original:
So when I creaked open the door and sulked inside with my usual, miserable flair, the last thing I expected was to find the house empty.

Sure, the furniture was still in place. The cabinets were still stocked. But the smell of peonies in her perfume was faint, as if she'd been out of the house all day. I didn't think much of it until I went to her closet to return the jacket and discovered her things were gone. 

I feel like this is a moment that is glossed over compared to the paragraphs and paragraphs of navel-gazing, BUT I really like the writing. The distinction between a fully-furnished and stocked house that is still empty because a person is missing is really lovely. And the discovery that her mother's things are gone is a shock, not just because I was expecting Emilee to find her mom dead, but because everything up until this point depicts a loving and devoted mother who would never leave her child voluntarily. 

So, yes, there is tension, it's just kind of buried in too much thinking, and the moment of finding her mother gone needs a bit more attention. My version is almost 200 words less than the original excerpt overall, but the discovery of the missing mom is 80 words in the original whereas in my version, it's 144 words. Word count is like a weight, indicating to the reader where their focus should be, so we want to make sure we're giving the important moments the weight they deserve.


Final Thoughts

This story has a lot of promise. I like the idea of exploring a story featuring an obvious loser who is thrust into a living situation under constant surveillance with the ultimate It crowd. The fact that the It crowd is being stalked and blackmailed is just a bonus.

The writing itself, even reading ahead, is full of good ideas that are drowned out by direction-less angst. I get it, my early writing was like this too, but it does add an extra level of difficulty for the reader. I definitely think that there is an audience for this version of the story, but maybe a bit of a smaller audience than the author might ultimately want. If the author works on more concrete, plot-and-character-driven aspects of the story, rather than relying mostly on emotion, they'll be able to expand their reader base.

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