The Lies within the Truth

Fiction

Written in response to: "Your protagonist discovers they’ve been wrong about the most important thing in their life." as part of The Lie They Believe with Abbie Emmons.

They say nothing lasts forever, but they leave out the part about it breaking. The collapse before it disappears. It might dull out, at first. Become worn. Used. Eventually, it loses its integrity. The fine lines show up. It splinters to the heat or cold or indecision. With the cracking, the downward slide accelerates until you have nothing in your hand. Shards. Tatters. Hopelessness.

I can hear her pounding on the front door. It's followed by screaming. A primal noise that is transfixing. She moves a slow and steady gait around the rental house. Her voice bouncing off everything and nothing. I stand in the stillness. In the empty closet. Wide-eyed and distraught. I see her pass by the bedroom window through the cracked door of the closet. Almost like I am watching a picture show of someone else’s making. She throws an object against the house. A thud. Sensory overload.

I struggle to re-adorn my clothes. The little black dress on backwards. The peeling of my arms out of the sleeves. The left. The right one. Re-adjusting while the banging and yelling ensues.

Where is Luis?

My pulse is on heightened autopilot, careening toward a finality. I hear their voices, loud and staccato. In the distance. Outside. The Spanish clipped in hateful urgency. I cannot feign meaning, but it sounds like the worst affliction, like realizing you’ve been wrong about the most important thing in your life. The core of me is halted. A racing energy.

I must get out of here, but I don’t know the layout of the house. Only the confines of this closet, a disconcerting space, suffocating my thoughts. Silence. The scary quiet where you know you are defeated. My ears, listening for anything or something. In that moment, a survival instinct overplays its hand. I step out of the closet, cautiously.

---

It’s the first time I’ve been here. The first. And the last. Luis pays the rent on this place for his employees. The ones who bring you chips and salsa. Wash your dishes in the back of the restaurant. It’s newly acquired and unfurnished, except for the magenta couch out front in the living room. The place I was perched minutes ago, basking in the certainty that someone understood me. In a state of undress.

There is a screeching sound. Rubber angry with the asphalt. He turns to look out the window.

“She’s here.”

The words cut. They slice and sever any way back. The previous life blocked. Normalcy wiped off the map, as if it never existed.

“Go into the other room.”

He says it forcefully, but with control. The way men operate above emotion. Calculating. Indecent.

---

That's how I ended up here in this cataclysm. My ruin is self-inflicted. I want to rewind. Slow it down. Make the blur mean something. To choose my life over this faulty need to be needed. I am on the cusp of losing my family, friends, possibly my house, my job, the litany of things that define me. All because I like the feel of his skin against mine. The familiarity of his scent. The voice I know I've heard before. In another lifetime.

I have cast my dignity with recklessness.

I can see through the open curtains that his truck is gone. An empty space. A void that hurts. He left.

“He really left me.”

I mouth the words to no one. A sadness in the abandonment. Or is it entrapment? Words that feel equally the same.

I tiptoe across the hardwood floors. Gently. My chest heaving with anxiety. And then it lands - BOOM! Her fist against the door. She's still here and the panic eclipses rationale. There is nowhere to hide. That's when he sends me the text. Plain. Simple. Impossible.

-Just hide

Shattering vibration as glass breaks and I press my body tight against the wall, willing myself into a statuesque version of contempt. I loathe myself for not anticipating the outcome. I should have known it would break, fracture, fall into irreparable pieces. I've smashed my way through enough people and situations to recognize the pattern. Self-destruction, at its finest.

"I see you. I know you're in there!"

Her voice is hollow, but it roars with vehemence. The words clawing.

"I'm coming in there if I have to smash the glass out of this door. I will get in!"

Cornered, my body resorts to reflex. There is no exit, no path to flee. I walk toward the door. She can see the shadowy movement. A distorted image in the glass like looking into a crystal ball. She pushes her face against it, her eyes seeking out the content of the light.

"I want to see your face!"

The sound bellows, slapping and ricocheting. Something otherworldly propels me to the door. A burst of adrenaline. A fighting overture.

Here's my face. I shove it closer. No words, just reaction. An undoing of everything good.

She looks at me with an intentness, a recognition as she shakes her head. Our eyes stay locked for those brief seconds. I don't hate her. I just want her to feel as broken as everything else in the universe, on this wrecked planet, in this used up town. A collective hurt of indifference.

She says through clenched teeth, “I hope you thought it was worth it.”

The weight of a threat disguised as statement. My pulse ramps.

Then she is gone. Poof. As if the calamity never happened. I look down at the glass scattered across the floor and out on the front porch. Shaking, my hands reach for my cell phone on the table. Where I left it when I walked in initially. I fumble the hapless device but save it mid-fall. Grasping. Knowing I have to escape. There has to be a way to undo, or at least fix, the brokenness.

“Where are you? You have to come get me.”

My voice is low with fear.

“Did she see you?”

He maintains composure. I’m stunned at his ability to project a wholeness.

“Yes, I had, I had no choice,” I stammer through the recounting, “I mean she was breaking the glass, the glass everywhere, and I was afraid. She was out of her mind yelling, and I didn’t want to end up in a police report. I didn’t know where, what she was capable of, and you were gone. You were gone.”

“I’m here now.”

Through the harsh light, I see his truck. I run fast. Faster. My sandal, catching in the grooves of the yard.

I climb in the backseat, on the floorboard. I’m below the field of vision, and I cannot pace my breathing. He jerks the steering wheel, a hard right. My body suspended against the back of the passenger seat.

“She’s following me.”

A hard left, then a sharper angle with the tires squealing. He is stoic, moving through the tight turns. My stomach bottoms out. I reach up and place my hand on his shoulder, once strong, knowing it’s our last connection. For all the poignant moments, it is over. Illusory happiness shoved out by reality. A death.

“Please breathe. Try and calm yourself down before you go home. Okay?”

I shake my head. He glances back.

“Are you even sad? What am I supposed to do?”

The words come out in a whimper, a pleading for direction. An acknowledgment that I mean something to him.

“You think I don’t have feelings?”

From this vantage point his face looks crooked. A distortion. A cracking of his facade. Emotion surfacing.

I hesitate in the hurt. We both know.

I jump out, landing my feet on the pavement. My car in the distance. Sprinting. The sound of his vehicle in retreat. I am running away from it and toward it. Running against time and memory. Running because it is shattered, disappearing, behind me already. My lungs fill with short, raspy breaths. An ache in my legs, as I stretch farther, faster. Despising the lies within the truth. Trying to run out of my own skin, harder, one more step, until I am almost there.

Posted Mar 25, 2026
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46 likes 39 comments

Marjolein Greebe
17:58 Mar 25, 2026

This is intense and immediate—you drop us straight into the chaos and never let go. The sense of panic feels very physical, especially in the closet and the moments around the door. I could really feel that tightening, that loss of control.

What stood out most to me is the emotional core: that awareness of self-destruction running parallel to the action. Lines like “my ruin is self-inflicted” land hard because they cut through everything else that’s happening.

At times the prose leans into repetition and explanation where the scene is already doing the work. Trusting those sharper, more visceral moments a bit more could make the impact even stronger.

But overall, this is gripping, raw, and uncomfortably real in a way that really stays with you.

Reply

Harry Stuart
01:01 Mar 27, 2026

Thanks, Marjolein, for the feedback. I'm glad the immediacy and discomfort lived on the page, so to speak. Your words of advice are appreciated, as well. I love learning from other writers!

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Meadow Hill
15:07 Apr 03, 2026

I thoroughly enjoyed "The Lies within the Truth" by Harry Stuart. From the very beginning, the story grabbed my attention with its compelling opening and intense atmosphere. The creative way he utilized the prompt kept me engaged throughout, making for an exciting and emotional read.

Stuart's writing is impressive, painting vivid images that resonate deeply. I found myself invested in the protagonist's journey, left wondering about the fate of the characters. Do they find each other again? Does she reconcile her feelings? The unanswered questions lingered with me, showcasing the depth of his storytelling.

Overall, this is a fantastic story, and I can't wait to read more from this talented writer!

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Shay Tavor
07:21 Apr 01, 2026

I like this kind of stories - start right in the middle of everything, and leave the reader a lot to think about. Thanks!

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Harry Stuart
13:51 Apr 01, 2026

Thank you, Shay. Glad it persists past the reading… your feedback means a lot.

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J Mira
13:53 Mar 30, 2026

I really like the energy in this final stretch. The movement, the panic, and the emotional spill all work together well, and it closes on a strong note.

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Harry Stuart
13:53 Apr 01, 2026

Thank you for those comments. I was hopeful the ending would have that impact. It all coalesces in that moment.
Appreciate you reading!

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J Mira
14:28 Apr 01, 2026

My pleasure — I’ll definitely keep reading your stories.

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Landon Messer
17:32 Mar 29, 2026

This may sound weird, but I have been looking at each of your stories over the past few days since your win a few weeks ago. Your work is amazing. I wish to read a full length book by you one day. What a talented piece created here. The way you describe things is just amazing.

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Harry Stuart
18:41 Mar 29, 2026

Not weird, at all… encouraging, in fact! It is a goal of mine. I saw in your bio that you’re working toward the same goal. You may beat me to it.
Appreciate you taking the time to read my stories, Landon. Thanks!

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Landon Messer
20:25 Mar 29, 2026

We can only pray!

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Raji Reda
14:07 Mar 29, 2026

Harry, this one hits like a car door slamming shut. The pacing is relentless — you built the whole thing on short, percussive beats that mirror the narrator's panic, and it works. The closet scene is suffocating in the best way. Now, I'll be honest — some of the interior monologue in the middle section nearly lost me. Lines like "my ruin is self-inflicted" spell out what the scene already screams. You don't need that. You're better than that. Because when you trust the body over the brain, this thing is ferocious. The sandal catching in the grooves of the yard. The hand on his shoulder knowing it's the last time. The body pressed against the back of the passenger seat. That's where you live as a writer, and it's damn good.

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Harry Stuart
15:32 Mar 29, 2026

That’s what I needed, Raj. The reminder to trust instinct. I can see the deviation from it. You always nail it.

I’ve been working to refine that percussive beat. You are a master at driving energy with clipped sentences. I have to give you credit for steering my focus in that direction. It’s been great fun, albeit painstaking at times, to write with such concentrated precision.

One of my fave lines to write was - “ My sandal, catching in the grooves of the yard.” Appreciate you citing that example, that it worked.

You told David Sweet, “I want prose that moves like a camera but hits like a voice.” And I was like hell yeah, that’s it. That’s why we write.

Thank you - humbled by your feedback. Means a lot coming from you.

**For those of you reading the comments, check out Raji Reda’s works here on Reedsy. They are fantastic reads. You will not be disappointed.

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John Rutherford
06:59 Mar 29, 2026

Intense, and without hope.

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Harry Stuart
13:14 Mar 29, 2026

She’s aware of the self-destruction, but yes, there is a sense of it being too late. Thanks for reading and commenting.

I enjoy reading your stories, one of the best writers on this site, in my opinion. Pulling for you.

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John Rutherford
14:17 Mar 29, 2026

WOW - Thanks for the compliment. Mutual kudos to you as well. You have also honed and perfected your writing style, always thoughtful and crafted. I have never been disappointed in any one of your stories, quite the opposite always eager to read.

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Harry Stuart
14:56 Mar 29, 2026

Appreciate that, John. Now on to writing the next one!

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Peyton Gaillard
21:18 Apr 05, 2026

Great use of tone, the action begins and doesn't stop. However, I am a bit confused about why the main character is being chased. Did she cheat with the man, or is it a crazy ex situation? I think if that were clearer, then the story's themes would make more sense. However, great story, and you definitely feel the sense of panic as the main character is being cornered by the antagonist, and the antagonist, my gosh, is she creepy and feels like a force of nature. Even making the love interest scared to confront her. Powerful writing indeed.

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Lily Finch
00:07 Apr 05, 2026

Harry Stuart,
You can write! That’s not the issue—hardly, lol. You’ve got a confident voice and a story loaded with sensory detail, and you haven't shyed away from intensity in this piece. That alone makes for a wonderful read.

But I think it's the intensity that you’re leaning on instead of directing that bogs this piece down. I could be wrong, and I'm more than correct. So bare with me.

This is only my opinion. I’m not an expert. Just someone who reads closely and wants to learn how to write better.

What stood out to me is that your emotional tone runs at the same pace the entire time. It’s strong, but it doesn’t shift or slow down. Instead of a story that builds pressure, your story becomes one of sustained intensity—and after a while, that flattens out.

You’re also doing the reader’s job for them. - (I am guilty of this and I hate when I do it. But can I stop? No. )- You lead them straight to the conclusion instead of letting them arrive there.

For example: “Shards. Tatters. Hopelessness.”

You’ve already shown panic, betrayal, chaos, fear—all of it is there and working. But once you name the emotion flat out, it weakens the impact. The reader stops feeling it and just registers it. Then moves on.

You’re strongest when you don’t explain.

Something like "the dress being on backwards"—that’s perfect. You don’t tell us what it means. You just show it, and it carries everything it needs to.

I also think the story could benefit from some contrast. Even a brief moment of stillness, clarity, or detachment could further improve the story. Right now it’s all operating at the same emotional pitch, and without contrast, the panic doesn’t have shape. It just stays loud instead of building.

Your specificity really works in this piece—that’s one of your strengths. Which is why the opening stood out to me a bit. It felt more vague and generalized compared to what follows.

That said, I want to end where it matters.

You wrote a wonderful story. Not just decent—actually excellent. There’s control, there’s instinct, and there’s something real underneath it. It’s also clever in ways that don’t feel forced, which is more difficult than many people think --- (I think.).

If anything, I’d say you’re doing too much for the reader right now. (And I say that as someone who does the exact same thing.).

I over-explain. I try to smooth over discomfort. I don’t cut as sharply as I should when I edit. I often doubt the ability of my strongest moments to stand alone, which is perhaps the aspect of my writing that I dislike the most. (You and I have similar issues with our writing. But I keep doing it to improve. I read on Jonathan's page that's why you do it, too.).

So I recognize it when I see it.

I don’t write at your or Jonathan’s level, but we all improve by having someone read our work and provide feedback on what’s effective and what isn’t.

I hope there’s something in here you can use.

Lily

Reply

Harry Stuart
00:30 Apr 05, 2026

I absolutely love it, Lily. You’ve given me multiple things to think about… I’ll respond in more detail here after this holiday weekend, as I’m being detained by my family - LOL.
But yes, I couldn’t agree more with your insights. I’ll provide some thoughts on your work too. A big thank you!!

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Lily Finch
00:33 Apr 05, 2026

Mr. Harry Stuart,
It is my pleasure. I don't always have the time or inclination to respond, but I read many people's work on Reedsy. I believe if you comment, it should be meaningful. I try to get into the critique vibe when I can. Not often enough for my liking.
Reciprocation is always welcome. The tougher the better.
Lily

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20:37 Apr 04, 2026

Now this is a book I’d read

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Harry Stuart
21:33 Apr 04, 2026

Thanks, Clinton! Now I know the book I need to write. Really appreciate it!

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Cierra Gathers
06:26 Mar 29, 2026

Love how you used short sentences here to create a sense of urgency. It made everything feel both intense and sort of dreamy in its frantic energy (in the best way!). Also love how you showed the glass breaking and then the narrator said "I've smashed my way through enough people and situations to recognize the pattern." It was a nice parallel in that moment between the two of them, but also a nice tie-in to all the references of things breaking and cracking. It felt like the shattering of the glass by the woman was the moment everything shattered for the narrator and I really enjoy that.

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Harry Stuart
13:25 Mar 29, 2026

Hey Cierra! Thanks for taking the time to read and provide detailed feedback. The racing urgency at the beginning does lend itself to a dream-like state. She’s watching and listening to everything with a detachment - “Almost like I am watching a picture show of someone else’s making.”
But with the glass and the breaking, she does become more reflective and centered, an awareness of her self-defeating behavior.
Glad you enjoyed it!

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Cierra Gathers
23:43 Mar 29, 2026

Yes, exactly that! It's like the shattering of the glass brought her back to reality. Really well done

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Sam Younn
20:15 Mar 28, 2026

I appreciated this perspective, as I wrote about a similar idea for the same prompt, but from the point of view of the one that was cheated on. Your story is much more action-packed. Pulled me in from the start.

I agree with Marjolein, who said it best. Frequent repetition and explanation diluted the overall impact for me, slowing down pacing and momentarily taking me out of the story.

Best example might be this line: “Yes, I had, I had no choice,” I stammer through the recounting, “I mean she was breaking the glass, the glass everywhere…”

The dialogue already showed the stammering; no need to say she was stammering. The whole paragraph was also already a recounting so the mention of recounting was you preempting your own narrative. These instances are usually prime candidates for cutting!

That said, these lines were strong: “Here's my face. I shove it closer. No words, just reaction. An undoing of everything good.”

The difference, cinematically, is a camera that pulls back to tell the macro story and one that zooms in on the actor’s face to create intimacy with the audience. To me, every word counted here, and everything deliberate. That intentionality is what made the paragraph brilliant.

I loved the first and last lines as well, but the last one especially. The juxtaposition of hope for leaving her past and the reality that she could never escape herself, both using the image of running, was powerfully done. It’s what makes the story stay with you after you’ve read the last word.

Overall, awesome job!

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Harry Stuart
13:39 Mar 29, 2026

Thanks, Sam. Appreciate you providing thoughtful feedback.

In the dialogue you reference, the aim was to emphasize her guilt for showing her face and ultimately outing them. It relied on her hurried recounting, the emotions willing themselves out. She repeats the statement - “you were gone” - a realization of closure and how she has to carry this forward alone.

You’ve definitely given me things to ponder further. And I’m glad to know the beginning and ending lines landed.

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18:09 Mar 28, 2026

Very intense in the beginning.
I enjoy it!
Keep writing.

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Harry Stuart
19:58 Mar 28, 2026

Thanks for the encouragement, Christine!

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Eric Manske
16:56 Mar 27, 2026

You've captured the situation well. The lie people tell themselves to get into this kind of scenario and then wonder how it all fell apart. Nice work.

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Harry Stuart
23:52 Mar 27, 2026

Thanks, Eric. Funny how the human condition doesn’t always appreciate the good things until it’s too late…until it breaks and disappears.

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23:28 Mar 26, 2026

You have such a talent for opening lines across all your short stories!

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Harry Stuart
01:13 Mar 27, 2026

That may be the best feedback I have ever received, regarding my writing. I labor over those opening sentences. What is said in the first line is so critical, as it should be a reflection of the truths being told. Thank you, Angel Lynn!

I'll be sure to read your story - saw in your bio that you're inspired by Fitzgerald. Hands down the best writer ever. He's the master of first lines!

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02:19 Mar 27, 2026

I didn't expect to receive a compliment for my compliment - you're so welcome Harry! I know talent when I see it. All the labor you've put into them is not going unnoticed -- they're very intriguing and thought-provoking to me as a reader and inspiring to me as a writer.

Agreed, Fitzgerald's work is some of the best and his opening lines are another reason I'm inspired by him! I'm looking forward to any feedback you have for my first shared piece as well.

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Alexis Araneta
17:19 Mar 26, 2026

Harry, this is stunning work from you again. From the beginning, you set up the tension. This was also a showcase of how you could tell so much with restraint. Excellent job!

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Harry Stuart
01:09 Mar 27, 2026

Alexis! You know I always wait on edge for your comments :) They make me smile! I like how you summarized it - tension vs. restraint. Thank you for the encouragement, my friend. Hope you are doing well - I keep looking for another Araneta original!

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Hazel Swiger
22:30 Mar 25, 2026

Harry! Such a splendid story. There was one line that really stood out to me: ""You don't think I have feelings?"" and that stayed with me. This was such fantastic writing, truly! That beginning was just spectacular. This was such an enthralling story, and I enjoyed reading it a lot. As always, great job & excellent work here, Harry!

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Harry Stuart
01:04 Mar 27, 2026

Hazel! You are so kind. Thanks for the nice feedback - I'm always intrigued by the lines that stand out when people read my stories. Appreciate you sharing!

Reply

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