Greetings again, kk1739 !
I liked the first installment so much, I had to come back for seconds. What happens in this chapter is a startling turn of events that will leave many a stunned reader sitting slack-jawed at the end! I'm a huge fan of stories with a twist.
Characters, plot, and setting:Meg comes across as very humble, but she does have moments of humor. I know, as a woman, I could relate to her giddy reaction to the handsome stranger in the elevator. *smiles* I remember many a time like that myself in the past. It is the small things like this that add up to build a solid character foundation. The more we learn of a character's thoughts, feelings, and mannerisims, the more we grow attached to them.
The plot takes a wicked turn at the end. This is sure to keep reader's attentive and interested in this story. Who is this John, who has all the women swooning and why would he drug Meg? Posing questions like this is an excellent technique to bait your audience along.
Setting. You gave a little more in this chapter than the previous one. I still didn't feel I had a good grasp on the party or her cousin's apartment. Infusing just a few more detials here and there would help.
Technical/Grammatical errors: I didn't notice anything here. You may want to take a look at the repeated use of the word drink/drinks in the last section. It becomes a little redundant. In some places it could be ommitted or replaced with cocktail, martini, etc...
Favorite Part: I laughed out loud when Meg said she couldn't say antyhing about tackiness when she still sore a fanny pack from time to time.
Suggestions for Improvement:
The first issue I'd like to discuss is dialouge tags. Most of the time, they are unnecessary attachments that bog the pace down. For instance, when Meg steps away with John for a drink, it isn't necessary to say I blurted or he said after every spoken line. Trust the reader's ability to follow.
If you are unsure this is possible, consider instead including actions that will show Meg's emotions. Tucking a strand of hair behind her ear or smoothing her palms over her thighs after she speaks will not only denote who is speaking, but show the reader she is nervous without stating it.
Secondly, I'd like to point out some adverbs. While these aren't necesarily a cardinal sin in writing, they are often shortcuts. Meaning we could replace that one weak word with a much stronger visual. Sure this means more work, but the end results pay off big time in the eyes of a reader.
For example: she casually walked
What made it casual?
Something you pictured made you describe it as such. Help the reader see that instead. Was it the slow stride in her steps, the way she held her head, the gentle sway in her hips? I think adding these details, rather than chopping them out would add a lot!
Last but not least...the ending. Sure it has impact to say she had been drugged. But this, is telling. Today's reader wants to be shown. They want to experience the story through the character. Rather than sayig she was drugged, why not describe the effects first? Did she feel nauseas? Did voices sound distant and muffled? Did her vision turn blurry or the room spin? This is a great place to add some more tension and really pack a punch when it comes to impact.
Any suggestions made are the sole opinion of myself as a reader. Please feel free to take what you feel helps and ignore the rest. You and you alone are the best judge of what works best for your style and the work of art you have created!
Parting Thoughts: You have a great foundation here. I think with just a smidge more polishing, this will be outstanding. If you would like me to come back and take a second look if you decide to make any changes, I would be glad to do so and change the rating. Overall, this continues to be a great read and I am dying to know why John would do such a terrible thing to poor, sweet Meg!
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