Tipping The Velvet {one}

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This is a novel I have just started, set in 1920. I didn't want to put it in historical fiction, though, as it covers multiple genres. If anyone has any information on this time period they could PM me, I would be very grateful. I know this is a very short first chapter; I will presently be elongating it.It's lacking something so I'd be grateful for harsh reviews.


Anne read. Seated in the creaking armchair, thin legs crossed. Her slippered feet hung off the ankles at odd slants. The flimsy sleeve of her blue muslin frock loosely hung off her white shoulder. One thin white arm draped carelessly over the edge of the chair, the other clenching the book tightly at its spine. Engrossed, she stared at the pages through her strange dark eyes, starred with bristly black lashes.


Outside, dawn was breaking. Streaks of light flowed in streams, checkering the room. Anne could feel the warmth shocking her face. Her eyes crinkled. They looked like smouldering tea, pools of light flitting inside the liquid brown. Clumsily, she ran bony fingers through her hair. The light-coloured feathers stuck up awkwardly, a golden coronet raised around her head.


Anne heard the familiar bark resound through the room and, startled, dropped her book. It landed face down on the floor, its pages spread out like crushed wings.


Tears filled her eyes and she groped around on the periwinkleI adore that word ;) carpet, her fingers closing protectively around her book. She stood up on wobbly legs and nursed it in her frail arms, like a child. She stroked the emerald cover lovingly, running her fingertips along the engraved title, feeling each crease and indent worn into the leather.


The bark echoed again, the sound grating in Anne’s ears. Then the creature responsible bounded into the room excitedly, an endearing mess of tangled brown fur, scrabbling paws and dewy eyes. It pressed its damp muzzle firmly but gently into her palm. She gave in and placed the book on the table, re-seating herself.


“Oh, you,” Anne murmured fondly. She cradled the head in her lap, feeling the dog’s velvety ears prick up every time a breath evaded her lips. At least with him, she didn’t feel embarrassed about her ineptness.


Her mother hobbled inside presently, sighing grievously with each creak of the floorboards, as if they pained her. She eased herself down on a rocking chair facing her daughter and placed her gnarled hands in her lap. The wrinkles etched into her face were like a confused map; roads, boulevards and streets intersecting in strange patterns. Beautiful imagery ;)


Anne stretched out her hand and intertwined it with her mother’s, tracing each vein, bulge, every soft indentation in the withered skin.


“Anne,” started her mother. She grabbed her daughter’s hand and squeezed it tightly, her breath quickening. “Anne, we are not going to be able to pay.”


The young woman broke away from her mother’s grip, curling up in the armchair and wrapping her arms around herself. “There must be a way,” she said, her voice cracking. “Surely the landlord will let us owe the rent...he must understand how important this is.” I'm not too sure about the dialogue, I think it might be a tad modern. Although, it might be fine on the other hand. Just, think of the language used in books such as Wuthering Heights, this is set less than a hundred years later so maybe the dialogue is a bit too modern.


“No, my dear. There’s not enough money for anything. Not the rent, not the operation, not even for food.”


“But Mother!” Anne interjected, her tealight eyes brimming. “It’s impossible. We’ve waited so long, we all have. I want to see, Mother. I want to be able to see again. We have to keep trying.”


“Dear, I’ve worked the skin off my back to bring in the money. We both have. It is not going to work.”


“But...but we can’t just turn away the doctor. He will have come all this way for nothing. We can’t just tell him we cannot afford it. This can’t happen.”


“It will.” Anne heard the crinkling of paper, as her mother unfolded a letter. “It’s all in here. We’re going to lose the apartment in a month if we don’t find rent. Your eye operation’s no longer our main concern.”

Anne refused to cry like a spoilt infant, in front of her mother, so she retreated to her bedroom. She sat on the bed, trying to ignore the dust she could feel sticking to the fabric of her dress, and the broken slat cracking even more underneath her weight. She choked back angry tears till they formed a painful lump in her throat. The dog scratched at the door, but Anne ignored it.


She curled up miserably on the lumpy mattress and closed her eyes. She wondered how long it was going to be until she could read a book, instead of holding blank pages and imagining the words for herselfBeautiful, beautiful, beautiful.





Plot.
I adore it, uncliched, interesting, endearing. Everything a good plot should be ;) Once again I take my hat off to you for that Sarah.

Characterization.
This is definitely your strong point Sarah, brilliant, well developed characters. Although this is only the first chapter we are beginning to see certain quirks of them. Well done.

Description and imagery.
You know what I'm going to say. Flawless ;)

Dialogue.
As I said, it might be a tad modern, nothing to worry too much about though. They interact well with each other, and what they say is very realistic. Remember that Sarah, I am not criticizing your speech, it is, as per usual, parfait. I simply wonder if the language is a tad modern. That said I am a huge hypocrite, my dialogue is far too old fashioned :lol:

Narrative voice.
Someone made a point of the writing being too modern. However, I come to rescue that ;) If you're writing in third person I personally don't think it matters. Enchanting, and beautiful. Oh so beautiful Sarah. Your protaganists as usual are gorgeous people, much like yourself........x

Overall.
I loved it. Absolutely adored it. I can't wait for more about these wonderful characters that I have already fallen in love with.
-Kirsten xxx
for what are we without words and stories?




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Thanks for reading, Kirsten.
Seeing as it's set in the 1920s, the language isn't going to be that archaic. Have you seen any Charlie Chaplin films? They're set in America but the dialogue would be pretty much the same.
The 1920s was basically post-war Britain, if that gives you a better idea of it. :wink:
Had I the heavens embroider'd cloths,
I would spread the cloths under your feet.
But I being poor, have only my dreams,
So tread softly, for you tread on my life.




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Just to say, Chapter 2 should be out soon.
Had I the heavens embroider'd cloths,
I would spread the cloths under your feet.
But I being poor, have only my dreams,
So tread softly, for you tread on my life.




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Seated in the creaking armchair, thin legs crossed. Her slippered feet hung off the ankles at odd slants. The flimsy sleeve of her blue muslin frock loosely hung off her white shoulder. One thin white arm draped carelessly over the edge of the chair, the other clenching the book tightly at its spine.

I like a lot of the concepts you have hidden in this, but the execution is choppy and awkward. I think a few of these could be combined into longer, more flowing sentences, which I think will bring a lot of your descriptions to life.

The light-coloured feathers stuck up awkwardly

Again, it is a lovely concept, and I quite enjoy the refreshment of you trying to describe in new and exciting ways, but in this case, this early in the story I think it is more confusing than anything to describe her hair as 'feathers'. Maybe set this line aside for later, when the reader is out of the place of getting into the story and wondering if this girl really does have feathers for hair. :]

She stood up on wobbly legs and nursed it in her frail arms, like a child.

It's a little confusing, because I know what you mean, that she nursed the book like it was a child. But this can also be read as she was like a child in the way she nursed the book. Just thought I might bring the confusion to your attention a bit.

tealight eyes

Stunning description.

Anne refused to cry like a spoilt infant, in front of her mother, so she retreated to her bedroom

The first comma is unnecessary.
_________________________________________________________________________________

Characterization:
I can tell that you're intentions were to have a blind character. If you changed that fact, you might want to change a few of the details here, after all, a humans primary sense is sight, even if as writers we wish to stray from the normal and be creative. Creativity is wonderful, if it stays true to life it's even better. (Unless of course, it's Fantasy.)

Plot:
I get a sense of something coming. Neither more nor less than to be expected for a first chapter.

Overall:
I thought this was good. Almost too short to get a sense of what was going on, but with some polishing I really enjoy reading your writing style.

However, there was one detail I thought I might bring up:
:!: Dialect :twisted: :
Personally, I love the Victorian Era. Everything about it. And reading a book from that time fascinates me as well. But there is a problem for the writer, in this case, you, and that neither of us have ever lived in that time period. So your job is to make it believable and accurate, and mine is to trust that you're doing so.

Now, we all know that people spoke differently then, more eloquent, slang of a different kind. Their syntax was different, the diction, in a word- poised. Not forced.
It seemed to me, that in several instances during the dialogue, you wanted your characters to sound so authentic that they...didn't. Simple can be beautiful. Let the words flow. Put yourself in your characters minds, hear their thoughts and feel their feelings, study the time period and fall into it as well. It should feel as natural as if you were there, speaking the words with your very own time.

“'Tis all in here, Anne."

This sounds forced and awkward. Or maybe that's just me.

“Anne, we have not sufficient money to pay."

In this order, the words are just confusing. Not authentic. It makes me jump back and think, and wonder why it's written that way before remembering. Oh, the time period.

Any questions, feel free to PM me.
-JC
But that is not the question. Why we are here, that is the question. And we are blessed in this, that we happen to know the answer. Yes, in this immense confusion one thing alone is clear. We are waiting for Godot to come. -Beckett




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'Ello Sarah.

I like Victorian and Regency era stories, so I quite enjoyed this. The nit-picks were already pointed out but I will say that I think your execution could be a tad bit better. Your choice in words are lovely and it would make this even better if your descriptions were more vibrant.

I loved the description of the mother's face. I've never seen wrinkles described in that way. And the last line was a great way to end this.

Well good job and I'm off to the next chapter,

Ta

~Angel
True love, in all it’s celestial charm, and
star-crossed ways, only exist in a writer’s
mind, for humans have not yet learned
how to manifest it.




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Well, everyone's pointed out the tense confusion thing.
Other than that, my critiquing skills aren't good enough to pick up anymore flaws.
If there even are anymore :)
I like the description of her mother's face. That was so awesome.
The setting and everything has this appealing quality to me,
And right now I'm wondering what the sotry is going to be about.
Great job :D

Oh, and what was that note about a 'wallflower'?
~Liverpool F.C Supporter~
"You'll never walk alone"




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This is a novel I have just started, set in the Victorian Times. It was previously set in 1920 but it was far too hard for me to write as I barely knew anything about that time period and started this novel on a whim. I've rethought it, and planned and rewritten the whole plot and now it is in the Victorian Times, and Anne is no longer blind, due to the changed storyline. I know this is a very short first chapter; I will presently be elongating it.It's lacking something so I'd be grateful for harsh reviews.

Victorian times? What?! Sarah, you seriously know what I like! Um, wouldn't the 1920's be the Edwardian era? Here. (http://www.erasofelegance.com/index.html) check that website out. It might help. I will definitely try my best at the harsh reviewing.

Anne read.

That's it? This hasn't caught my interest, yet. It's very short and quite boring.

The flimsy sleeve of her blue muslin frock loosely hung off her white shoulder.

Muslin's, in the Victorian era? I'm not going to sound harsh, but why don't you study what they wear back in that time period. Ladies wore muslin's in the Regency era. You know, the Jane Austen era. Ladies in the Victorian times wore puffed sleeves, A-shaped gowns, and a lot of designs on their dresses. These people in these times were very fashionable, and cared what they wore. But I'm guessing your MC isn't one on those ladies. Right?

One thin white arm draped carelessly over the edge of the chair, the other clenching the book tightly at its spine. Engrossed, she stared at the pages through her strange dark eyes, starred with bristly black lashes.

This might sound lame, but how are her eyes strange?
Clumsily, she ran bony fingers through her hair. The light-coloured feathers stuck up awkwardly, a golden coronet raised around her head.

Usually colored, doesn't have a U with it. Anyway, if she has feathers in her hair, that points out that she is quite fashionable.

The bark echoed again, the sound grating in Anne’s ears. Then the creature responsible bounded into the room excitedly, an endearing mess of tangled brown fur, scrabbling paws and dewy eyes. It pressed its damp muzzle firmly but gently into her palm. She gave in and abandoned the book on the floor.

I don't know a lot about dogs, but this description helps a bit.

The wrinkles etched into her face were like a confused map; roads, boulevards and streets intersecting in strange patterns.

Good, but also strange in a way.

“No, my dear. The lodgings at this dastardly boarding-house have risen in price, inexplicably. I do not know what we can do to prevent it.”

A boarding house? Isn't that just for young ladies and not their mothers also?

“But Mother!” Anne interjected, her tealight eyes brimming. “Who knows what will become of us if we are thrown out now? A workhouse? The factories?"

Tealight ~ separate. And that is true. If they lose all their possessions and fortune, they will be forced to work in factories and such. So good job with that.

Her mother flinched and avoided Anne's imploring gaze. At sixty years old, Ethel Lincombe still had no knowledge of how to deal with family quarrels. She preferred to keep quiet and listen.

Ethel. Huh. I haven't heard that name before.

“It will.” Anne's mother drew a letter out of her apron pocket and unfolded it with trembling fingers. “'Tis all in here, Anne."

What's in the letter? I'm curious.
Anne refused to cry like a spoilt infant, in front of her mother, so she retreated to her bedroom.

In spoilt. Takle out the T and put in an E and D. So it should be spoiled.

*Sarah
To be honest, this chapter one hasn't caught my interest, yet. But I will read on, to see if it can change my thoughts toward this story.
Anyway, I would study and research the Victorian era and everything about it. I have done it, and I'm positive that searching information will help you.
I'm going to read chapter two, now. Good job!
*Merry
Mary had a little lamb. Little lamb. Little lamb!

Ugh!! I really hate my name. >.<




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Merry - :D Thanks for reading. Um, I spell coloured the English way, lol. ^_^ And lol, I was using feathers as a metaphor, not that she literally had feathers in her hair. :P
Had I the heavens embroider'd cloths,
I would spread the cloths under your feet.
But I being poor, have only my dreams,
So tread softly, for you tread on my life.




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Hello, Castles. Thought I'd started reviewing these, for you.

They looked like smouldering tea, pools of light flitting inside the liquid brown.

There is an unusual viewpoint change in this. For this chapter, are we saying that Anne's point of view is principle? If so, how does she know what her eyes look like? What you can see right now is what your character should see, since every line is one that brings out the story through emotions and points of view. It also goes onto the fact of her blindness, in which case she see nothing, and thus her vision is the liquid brown.

Thing about the words you use, also.

Clumsily, she ran bony fingers through her hair.

What is the necessity of "clumsily"? How can you do that clumsily, anyway? It adds little to the piece, and thus be best removed.

Anne heard the familiar bark resound through the room and, startled, dropped her book.

If it were familiar, why would it startle her? I'd just get rid of that adjective.

The bark echoed again, [s]the sound[/s] grating in Anne’s ears.

Not necessary, since a bark is a sound.

That was it for nitpicks, I believe, but there's more to say. I'm actually wondering about emotions at this point--it flowed well, but as the dialogue progressed there was no reason for me to pay much attention to it. I enjoyed the style, the description and all the rest, but at the end, we need to know more about what Anne is thinking. What we are given is that she was crying, but why? Sure, she's sad and let down but there are things that we think and aren't expressed through our actions. We worry about consequences and ask "what if" questions.

It also goes into responses. For example, having your character horrified at something said is a sure way to explore her in depth. Do the words sting her like a bee? Does she feel betrayed? Sick? Why? How? These are things that grab people's interest, and it's fundamental in a first chapter. Let me give you an example. If you are sitting in a room with a coffee, and a man opens his mobile on starts talking about his divorce, what you find more interesting? The date of the divorce, or what led to it? These apply to fiction--show us emotions and thoughts, since we're gong with you character for a while and we will at least need to get to know her a bit.

In its entirety, I did enjoy this! Now, I haven't said that in a while. I hope this helped.

Best,
Mark
"A man's face is his autobiography. A woman's face is her work of fiction." ~ Oscar Wilde




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Hey, Sarah, Stella here!

I thought I might make a start on these :D

I. NITPICKS

Streaks of light flowed in streams, checkering the room.


I'd get rid of streams, else it's like: "Streaks? Streams? Checkered?" It makes it confusing as to what the light is like.


She cradled the head in her lap, feeling the dog’s velvety ears prick up every time a breath evaded her lips.


My dog puts her head in your lap like that too :D

“No, my dear. The lodgings at this dastardly boarding-house have risen in price, inexplicably.


This is a bit talking heads. Try something like: "The boarding house's lodgings have risen in price" or something

Okay...

II. LESS IS MORE

Just a small note on language. Don't always feel that the big words are necessarily the best, sometimes it makes your piece a bit overbearing. Like, don't shove an adverb in there for the sake of an adverb. If you need it, use it, if it's unnecessary, cut it.

III. I DON'T KNOW WHAT A TRACKER MORTGAGE IS

(^^ if you're wondering what on earth I'm on about, http://ie.youtube.com/watch?v=l74083zafAM will make it make sense.)

It's just the way that her mother comes in and says "We can't afford it" at the break of dawn. It just seems a bit forced. Try and soften the dialogue so it builds up to that, even if it's just "Hey, how are you?" sort of stuff.

IV. OVERALL

You introduce your MC and your story which is what a beginning is supposed to do, and you do it tastefully :D.

Hope I helped, and PM me if you have any questions!

-Stella x
"Stella. You were in my dream the other night. And everyone called you Princess." -Lauren2010




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Named after Sarah Walters lesbian love story of the same name, ja? Decent pace, nice plot laying out, I shall read more. Although the character of Anne, annoyance doesn't cover it. Yeah. I hope this continues to be decent. I'll see.
Sometimes you have to look beyond what you see, if that fails... Just listen to Cher.



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