Serpent's Teeth [3]

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THREE


‘Mother’a Mercy,’ Kettlesing said. ‘And then what happened?’

‘He told me to be ready to proceed at a moment’s notice, and then called for the maid to show me out.’

‘Mother’a Mercy.’ Kettlesing shook his head slowly.

We were in the icehouse that joined onto the back of my workshop. Kettlesing had brought me two bodies and I was busy packing them in ice. I hadn’t wanted to tell him anything about the Deverauxs, but the truth was bubbling up inside me, and I felt that I had to tell someone or I would go mad. Kettlesing was the only one who I trusted, so I ended up telling him the whole story. He had raised an eyebrow, said ‘Oh aye?’ and sat down on the slab to watch me work. I had removed the stomach and intestines from the two bodies and I could only hope that that would be enough to keep them fresh enough until they were needed.

My fingers were cramping with cold inside my gloves, but it was just the ice. I couldn’t feel the chill of the bodies themselves, not through my gloves. It was just the ice. Not the bodies.
‘Bloody aristocrats,’ Kettlesing said. He wiped his nose on his sleeve and snorted. ‘They make me want to heave. Fancy ways, fancy airs, and then they turn around and say “Oh no, we’re far too rich and far too important to let our children die in the normal way, we’re special, the normal rules don’t apply to us”. Bloody bigwigs.’

‘They’re just flesh,’ I said.

‘What?’

‘Flesh. They’re just flesh, that’s all they are. This is just like a normal client.’

‘Yeah, of course they are. You resurrect people’s children all the time. All the bloody time—’

‘It’s only raw materials. Cogs and wheels. Just different.’

‘Yeah, exactly like cogs and wheels. Cogs and wheels that were once alive, cogs and wheels with faces and fingers and families.’

‘No!’ I exclaimed. ‘It’s just... it’s not like that, it’s...’

‘What?’

‘I don’t know,’ I said miserably. ‘But it’s just flesh. They just want to keep their only child alive.’

He snorted. ‘Bloody ’ristocrats.’

‘I’m not saying I think this is a good thing!’

‘Ain’t you?’

‘No!’ I protested, stung. ‘It’s profane, what they want to do.’

‘But you’re still going ahead with it. Yes, I know, you don’t have a choice, blahdeblah and all.’ He scowled. ‘Grow some balls.’

I flushed. ‘You don’t have to be coarse.’

‘Jesus, Mary’n Joseph...’ he sighed.

I was hot now, prickling uncomfortably, but my fingers were still stiff. I bowed my head over the body and forced unnecessary chips of ice down between the arms and the sides of the ice-box. The dead girl’s skin was tinged with blue, and had started to mottle purple with livor mortis. I shuddered. The urge to slam down the lid of the box and turn away was overwhelming. It’s just flesh, I scolded myself. It’s just meat, there’s nothing left here, it’s not a person.

‘Do you need any help?’ Kettlesing asked abruptly.

I shook my head. ‘I’m almost finished.’

‘No, I mean... then. When you do it.’ I looked up at him in surprise. He folded his arms and glared at me. ‘Well? Do you?’

‘You don’t know what to do.’

‘Hell no, I’m not doing anything unholy!’ He shifted uneasily. ‘I mean, if you need anyone to light the candles or thread needles or...’

I felt a sudden rush of warm feeling toward him, sitting on the slab scowling at me. ‘I’d appreciate that, Kettlesing.’

He snorted and kicked the toe of his boot against the floor.

* * *
I saw Lenore again the next afternoon. She was even weaker than before. Her cheeks and lips were flushed unnaturally red against her chalky skin and she seemed barely strong enough to keep her eyes open. Lady Deveraux held her hand, her face almost as pale as her daughter’s. Lord Deveraux was a dark presence in the doorway.

I sat down on a chair next to the bed. ‘Hello Lenore.’

Her lips moved, but no sound came out.

‘Don’t talk, darling,’ her mother said quickly. ‘Just rest.’

I leaned forward in my chair and studied Lenore’s features. The skin was stretched tight over the harsh lines and angles of her face and under the almost translucent lids, her eyeballs seemed to have fallen back into her skull, like those of a broken doll. I rested my chin in my hands. I had planned to keep as much of the original body as I could, only changing the internal organs for healthy ones, but looking at her body, I doubted that would be possible. She was so thin; her body wouldn’t have the strength to carry on long enough by itself. The parents would probably want her face to stay the same, so keeping the whole head was probably the best option. What about the hair? Maybe that should be replaced...

‘How do you feel about horsehair?’ I asked Lady Deveraux. ‘Or would you rather she kept her own?’

Lady Deveraux’s lips went grey. She started to say something, but there was a swift movement from the doorway, and Lord Deveraux’s hand gripped my shoulder. He hauled me out onto the landing and shoved me against the wall. His eyes were like chips of coal on fire.

‘It was a simple question,’ I protested.

‘Be quiet.’ His eyes snapped black sparks. ‘Just be quiet. I want you to listen to me very carefully, Mr Frankenstein. You will not discuss your methods with my wife. You will not mention forthcoming events in front of Lenore. You will keep a civil tongue in your head at all times and you will remember that this is my daughter, not one of your foolish university experiments—’

‘Lord Deveraux—’

‘She loves white daisies and the little pink anemones that grow on the mountains in summer. She has a brown pony called Lord and every day until she was too weak she took him carrots from our own kitchen. When she was two years old, she accidentally set our bedroom on fire. She’s a little girl, Mr Frankenstein, just a little girl, she’s just—’ His voice broke. I stared at him, and he released the front of my coat and stepped back. The muscles in his face were twitching as though he had some nervous disease. He started to speak, but stopped, turned around and walked quickly away down the stairs.

I looked back into the room. Lady Deveraux hadn’t moved an inch, and the sound of Lenore’s laboured breathing was the only sound in the room, in the whole house.

Flesh, I told myself. Just flesh.
"TV makes sense. It has logic, structure, rules, and likeable leading men. In life, we have this. We have you." -Abed Nadir




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Oooh, another chapter! *noms*

‘Is she worth going against the law and the church?

Mmm, this whole conversation that followed about morals felt kind of dumpy. I know that in the last chapter, I talked about how I wanted to see more of the moral dilemma they are bringing up here, but this... this just felt kind of lame. I mean, we're getting a conversation about the morals between two people who don't really care about the moral dilemma here. Kettlesing obviously doesn't care that much about it, or else he'd be trying to stop Victor as opposed to actively helping him and providing a sympathetic ear.

but that’s what I’m doing, because I have to!

Why does he have to? What was that incident back then that they are blackmailing him with? Was it the monster from the original novel? If so, what has been the story between now and back then? It seems like he has been active since then, if Kettlesing's comments have anything to do with it.

If not, and it was some other incident, why does he feel compelled to do this? If this bothers him so much, did that incident back then have anything to do with it? Did he have reservations back then? I'm just trying to get a handle on him for this and I'm not really sure where he stands on this. I can't tell if he really just is in it for the idea of the mechanical processes and the idea of not having his name ruined, or if he actually cares about this family in some way.

‘Yes. I give you so many corpses, and you never look at their faces. Just the flesh.’

How is this comforting again? I'mma confused. It seems kind of creepy to me.

Mmm, trying to get a handle on Victor here. At the beginning, I got a sort of Spock-like quality from, in a sort of scientific disconnect from everything. But here I'm seeing bits of emotion and I'm not sure where they are coming from. What is causing him to feel any kind of connection to the Deverauxs? Is it Lenore? I haven't seen her do anything beyond look really weak, which I imagine would just fascinate him and frustrate him with the challenge instead of creating empathy. Is it her parents? Again, they've just sort of seemed kind of angry and threatening thus far, which I can't see creating much sympathy from him, even if he did understand where they were coming from (which he doesn't seem to). So what is it that is causing him qualms here? They just feel sort of tacked on, as if that would be the "correct" thing for him to be feeling here. What if he honestly didn't feel any pangs about this? If he were simply doing it to avoid the career death that would come with having his past exposed?

Still really loving the idea behind this story, but I'm just trying to figure out what I'm supposed to be getting out of this whole situation. Who is supposed to be growing? Changing? What does everyone want from this? What kind of conflict is there going on here? It feels fairly conflictless - the Deverauxs want Victor to do this, he seems okay with doing it. Where is there supposed to be friction generated?

Once again, always here for questions or comments.

~Gryph
I am reminded of the babe by you.




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Hey,
This piece of writing was good and well presented on the page. Good strong characters that seemed to go well with each other, the only problem was it was a little confusing. I wasn't sorta getting what was happening, maybe you should re-read through it again and make some slight changes to how you're characters converse with each other and maybe do something with the moral dilemma, Like someone said before me, they don't seem to be that interested.
Keep writing!
Evenslily x
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Hey there! I'm back to this chapter! :D
I had removed the stomach and intestines from the two bodies and I could only hope that that would be enough to keep them fresh enough until Lenore needed them.

It's absolutely amazing how much of an imagery I can work up from this simple sentence. It's worded just right and the narration has the perfect voice in comparison with the character.
‘I know I’ve said this before, but you know those bodies you’ve just mutilated, they’re someone’s daughters. They’ve got names. They learned to cook and played with dolls.’

I understand this dilemma but I'm kind of wishing that you gave more of an introduction with Kettlesing before so we know he's this sort of person - someone who thinks beyond just the bodies and flesh. Also, why is he doing all of this for Frankenstien? What's in it for him?
‘Bring her back, of course. I don’t have a choice. But God only knows what she’ll be like when she does comes back. I don’t know if keeping her brain will be enough to make her... herself again.’

He keeps complaining that he doesn't have any choices but come on' he does. I'm sure there's another way...
And what is he hiding with the experiment? I want to know!! What if the Deverauxs don't even know what's going on?
Gahh! xD
Flesh, I told myself. Just flesh.

He doesn't seem to really like his line of work. He's a smart guy and ended up doing some amazing things but it haunts him - what he does. With that said, why does he continue?

Anyway, I'm still enjoying this as whole and I'm still interested in seeing where this all goes.
Your character is keeping still and it's easy to picture him doing his 'thing' and his reactions seem to match the writing and everything so your character becomes much more 3D.

God, I feel like I'm repeating the same things over and over again and I'm sure as this story progresses, I'll have less and less to say. Other things that I wanted to say like his emotions that are coming to surface have already been pointed out so I won't get into that again. And I don't think it's weird to see him feel anything for Lenore - I'm thinking that's the first live 'patient' he's worked with? I do have one question though, how did he perform his other operations - making servants and stuff. I'm quite interested and how he went about doing that. Did he just dig up old corpses and then stitch parts together? I'm familiar with the bits and pieces of the other Frankenstein method but I'm not exactly quite sure. Anyway, it'd be nice if you could explain his scientific methods a bit so they become more realistic and the reader has a better sense of belief.

All in all, still riding this train! Let me know when you post the next part!

-Shear
There are three rules for writing a novel. Unfortunately, no one knows what they are.
-W. Somerset Maugham




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Now then, let's get it done.
Spoiler
‘...and then he told me to be ready to proceed at a moment’s notice and showed me out.’
- It's odd to start the chapter with three dots, not to mention the sentence is in ' ' that in your case indicates speech.

Kettlesing wiped his hands on his hat, and jammed it down more securely on his head. ‘That’s all?’
- Hey, whoa, what's with the sudden jump?

We were in the icehouse built behind my workshop. Kettlesing had brought me two bodies and I was busy packing them in ice. I had ended up telling him the whole story, and he had only raised an eyebrow, said ‘Oh aye?’ and sat down on the slab to watch me work. I had removed the stomach and intestines from the two bodies and I could only hope that that would be enough to keep them fresh enough until Lenore needed them.

‘So?’ Kettlesing prodded. ‘What did you think of her?’

‘What?’

‘The girl. Lenore. What did you think of her?’

‘She was...’ I wiped the back of my wrist on my leather apron and pushed my hair back. ‘She was very sick.’

‘And?’

‘What else is there? She’s sick. Dying.’

Kettlesing rolled his eyes. ‘I mean, is she worth it?’

I was startled. ‘Worth what? Bringing her back?’

‘Is she worth going against the law and the church? Last time I looked, grave robbing and—meddling like this was forbidden by, well, everyone.’ He scratched his chin, his breath hanging white in the cold air. ‘I know I’ve said this before, but you know those bodies you’ve just mutilated, they’re someone’s daughters. They’ve got names. They learned to cook and played with dolls.’

‘I know that.’ I lifted one of the arms to press the ice further down inside the tub.

‘That doesn’t bother you?’

‘If it bothers you so much, why’d you let me have them?’ I retorted. ‘You’ll do anything for money.’

‘Doesn’t mean I can’t have a conscience.’

‘It can’t be a very active one, then. Not active enough to do anything about it, just enough to sit there and preach.’

He shrugged. ‘Not my hands that are getting dirty.’

I hunched a shoulder against him and bent over the tub. There was a small silence.

‘Piano-playing fingers, one of them’s got.’

I dropped the chunk of ice in my hand and turned back furiously. ‘Yes, fine, it bothers me! Are you happy with that? It bothers me! Taking arms and legs from criminal graves or mass graves is one thing, but stealing little girls’ bodies is disgusting, and I hate that I have to do it, but that’s what I’m doing, because I have to! The Deverauxs don’t know what they’re asking, but they don’t care. They don’t care about me or about these girls or even about Lenore, they just don’t want to cope with how empty their lives will be after she’s gone.’
- We finally see the MC to have own opinions and be human after all, good.

Kettlesing’s eyebrows rose. ‘My god, Victor.’

My ears felt hot, steaming in the freezing air. I pushed back my hair and mumbled, ‘Sorry.’

‘No. No, it’s actually rather comforting.’

‘Comforting?’

‘Yes. I give you so many corpses, and you never look at their faces. Just the flesh.’

I stared at him. ‘What?’

He shrugged. ‘Doesn’t matter. So what’ll you do about Lenore?’

‘Bring her back, of course. I don’t have a choice. But God only knows what she’ll be like when she does comes back. I don’t know if keeping her brain will be enough to make her... herself again.’

‘You’ve got qualms.’ He sounded oddly pleased about it.

‘Of course I’ve got qualms!’ I exclaimed. ‘I have no idea if it’ll work, or if it does what the end result will be like. She won’t be their daughter, she’ll be something else; a mixture of different bodies with different impulses conflicting inside her. Normally, when I haven’t got a ridiculous deadline hanging over me, it’s like fitting together the pieces of a puzzle. This is...’ I shook my head. ‘This is just madness.’

Kettlesing slid off the slab. He patted my shoulder on the way to the door. ‘Remember those fingers, Victor. Piano-playing fingers.’

‘What?’

But he was already gone.

* * *

I saw Lenore again the next afternoon. She was even weaker than before. Her cheeks and lips were flushed unnaturally red against her chalky skin and she seemed barely strong enough to keep her eyes open. Lady Deveraux held her hand, her face almost as pale as her daughter’s. Lord Deveraux was a dark presence in the doorway.

I sat down on a chair next to the bed. ‘Hello Lenore.’

Her lips moved, but no sound came out.

‘Don’t talk, darling,’ her mother said quickly. ‘Just rest.’

I leaned forward in my chair and studied Lenore’s features. The skin was stretched tight over the harsh lines and angles of her face and under the almost translucent lids, her eyeballs seemed to have fallen back into her skull, like those of a broken doll. I rested my chin in my hands. I had planned to keep as much of the original body as I could, only changing the internal organs for healthy ones, but looking at her body, I doubted that would be possible. She was so thin; her body wouldn’t have the strength to carry on long enough by itself. The parents would probably want her face to stay the same, so keeping the whole head was probably the best option. What about the hair? Maybe that should be replaced...

‘How do you feel about horsehair?’ I asked Lady Deveraux. ‘Or would you rather she kept her own?’

Lady Deveraux’s lips went grey. She started to say something, but there was a swift movement from the doorway, and Lord Deveraux’s hand gripped my shoulder. He hauled me out onto the landing and shoved me against the wall. His eyes were like chips of coal on fire.

‘It was a simple question,’ I protested.

‘Be quiet.’ His eyes snapped black sparks. ‘Just be quiet. I want you to listen to me very carefully, Mr Frankenstein. You will not discuss your methods with my wife. You will not mention forthcoming events in front of Lenore. You will keep a civil tongue in your head at all times and you will remember that this is my daughter, not one of your foolish university experiments—’

‘Lord Deveraux—’

‘She loves white daisies and the little pink anemones that grow on the mountains in summer. She has a brown pony called Lord and every day until she was too weak she took him carrots from our own kitchen. When she was two years old, she accidentally set our bedroom on fire. She’s a little girl, Mr Frankenstein, just a little girl, she’s just—’ His voice broke. I stared at him, and he released the front of my coat and stepped back. The muscles in his face were twitching as though he had some nervous disease. He started to speak, but stopped, turned around and walked quickly away down the stairs.

I looked back into the room. Lady Deveraux hadn’t moved an inch, and the sound of Lenore’s laboured breathing was the only sound in the room, in the whole house.

Flesh, I told myself. Just flesh.


Actually I didn't have much to say here, because I'd be repeating same notes as in 1st/2nd chapter. I disliked the beginning, the rest was good. From all the three chapters 2nd is the only one that shines out. As the last note, I'd really like you to rethink your use of commas before "and", in all 3 chapters I saw more than just a few completely unnecessary commas. Good luck in writing more!

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~Kyousuke
~Don't beg for things, do it yourself or else you'll never get anything~
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My problem with the characterization with this chapters lies in the grave-digger, I'm starting to think.

Now, as I read through the parts with Lenore, or the anger with her father, I could sense a believable relationship. One in which makes sense. The man can be cruel to Frankenstein because he is rich and noble and has every means to make sure Frankenstein doesn't offend. The little girls descriptions are rather believable as well, and the mother's doting image gives for a rather sad, bitter outlook. You have some very good parts and some that could use a bit of work.

But what bugged me was the grave-digger.

Now, I love the dialogue between the two, don't get me wrong. As someone who enjoys witty repartee, I found it to be enjoyable and, for the most part, revealing when it came to Frankenstein's character. But the voice you gave the grave-digger was not the voice in which most grave-diggers would have. Speaking on conscience, per say, or right and wrong. This is an uneducated man we are speaking of. Not someone who has ever had to bother with the thought of God and the after life. He digs graves for a living and spends a greater portion of his time surrounded by the dead. I don't see how he could be... so quick on the subject, or have an opinion to state, especially if this Frankenstein holds some form of council with Lords and Ladies. That makes him quite a couple steps above the grave-digger in society and, whether they are friends or not, should also play a role in how the characters act.

All of these things should be taken into account. Yes, its fun writing. Yes, it helps reveal characterization and gives us a more intimate look into Frankenstein's character, but this is first person. We have a direct connection into his brain. We don't need that scene to know that he doesn't want to take apart bodies. These things are revealed in the way he thinks, which I hope will become a little more eloquent with time. In any case, I feel that you're hitting a few very patchy shades of grey when it comes to this, though not exponentially, as it is a first draft. Just know that there are a few holes that could be worked on. A few things that, if you'd like to keep it the same, will need explanations.

Everything deserves a certain amount of reason. Give us that reason and I shouldn't feel the need to think oddly on this poor old grave-digger xD.

~Walker
Suppose for a moment that the heart has two heads, that the heart has been chained and dunked in a glass booth filled with river water. The heart is monologuing about hesitation and fulfillment while behind the red brocade the heart is drowning. - R.S




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Twit wrote:‘...and Eesh, not sure whether to capitalize this "and" or not. There're good arguments for either choice, so I guess the best thing to do would be to leave it as it is. then he told me to be ready to proceed at a moment’s notice and showed me out.’ Next word you say is "Kettlesing," which makes me think at first that he is the speaker. Needless to say, it's disorienting - especially this early in the chapter. Give me a speech tag.

Kettlesing wiped his hands on his hat (Since there are only two parts of the sentence. Technically, no comma is needed.) and jammed it down more securely on his head. ‘That’s all?’ As if what his friend has been through was nothing....

We were in the icehouse built behind my workshop. Kettlesing had brought me two bodies and I was busy packing them in ice. I had ended up telling him the whole story, and he had only raised an eyebrow, said ‘Oh aye?’ and sat down on the slab to watch me work. I had removed the stomach and intestines from the two bodies and I could only hope that that would be enough to keep them fresh enough until Lenore needed them.

‘So?’ Kettlesing prodded. ‘What did you think of her?’

‘What?’

‘The girl. Lenore. What did you think of her?’

‘She was...’ I wiped the back of my wrist on my leather apron Wow, these two have a thing for wiping, don't they? and pushed back my hair. ‘She was very sick.’

‘And?’

‘What else is there? She’s sick. Dying.’

Kettlesing rolled his eyes So clichéd that I can barely even look at it without feeling internal pain. . ‘I mean, is she worth it?’

I was startled. ‘Worth what? Bringing her back?’

‘Is she worth going against the law and the church? Last time I looked, grave robbing and—meddling like this was forbidden by, well, everyone. Everyone who? Members of the law and the church? Shoemakers? Clarify, please. ’ He scratched his chin, his breath hanging white in the cold air. ‘I know I’ve said this before, but you know those bodies you’ve just mutilated, they’re someone’s daughters. They’ve got names. They learned to cook and played with dolls.’

‘I know that.’ I lifted one of the arms to press the ice further down inside the tub.

‘That doesn’t bother you?’

‘If it bothers you so much, why’d you let me have them?’ I retorted. ‘You’ll do anything for money.’

‘Doesn’t mean I can’t have a conscience.’ You kind of trapped yourself here. For one, they're not talking about his conscience, they're talking about Victor's. Secondly, a conscience, as Victor so eloquently pointed out, would cause him to attempt to do something about it; he even supports this by his saying that he has a conscience in the context established above.

‘It can’t be a very active one, then. Not active enough to do anything about it, just enough to sit there and preach.’

He shrugged. ‘Not my hands that are getting dirty.’

I hunched a shoulder against him and bent over the tub. There was a small silence.

‘Piano-playing fingers, one of them’s got.’ Yoda, he must be.

I dropped the chunk of ice in my hand and turned back furiously. ‘Yes, fine, it bothers me! Are you happy with that? It bothers me! Taking arms and legs from criminal graves or mass graves is one thing, but stealing little girls’ bodies is disgusting, and I hate that I have to do it, but that’s what I’m doing, because I have to! The Deverauxs don’t know what they’re asking, but they don’t care. They don’t care about me or about these girls or even about Lenore, they just don’t want to cope with [how empty their lives will be after she’s gone.] Kind of ruins it for me - he sounds so all knowing and unemotional at the end of his speech, really degrading the passion demonstrated earlier.

Kettlesing’s eyebrows rose. ‘My god, Victor.’

My ears felt hot, steaming in the freezing air. I pushed back my hair and mumbled, ‘Sorry.’

‘No. No, it’s actually rather comforting.’

‘Comforting?’

‘Yes. I give you so many corpses, and you never look at their faces. Just the flesh.’ What now? Exactly how is that relevant?

I stared at him. ‘What?’ My thoughts exactly.

He shrugged. ‘Doesn’t matter. So what’ll you do about Lenore?’

‘Bring her back, of course. I don’t have a choice. But God only knows what she’ll be like when she does comes back. I don’t know if keeping her brain will be enough to make her... herself again.’

‘You’ve got qualms.’ He sounded oddly pleased about it.

‘Of course I’ve got qualms!’ I exclaimed. ‘I have no idea if it’ll work, or if it does what the end result will be like. She won’t be their daughter, she’ll be something else I find it funny how he's making no reference to the result of his previous endeavor. I mean, wouldn't the experience have a lasting effect on him? Or is this minimal reference intentional? ; a mixture of different bodies with different impulses conflicting inside her. Normally, when I haven’t got a ridiculous deadline hanging over me, it’s like fitting together the pieces of a puzzle. This is...’ I shook my head. ‘This is just madness.’

Kettlesing slid off the slab. He patted my shoulder on the way to the door. ‘Remember those fingers, Victor. Piano-playing fingers.’

‘What?’

But he was already gone.


Aaand I don't really have anything worthwhile to point out about the second half; like Dreamwalker, I found the dialogue between Victor and the Deverauxs much more natural and realistic than the dialogue between him and Kettlesing. This, I think, is largely due to the fact that Kettlesing's actual character is so much more shaky and undefined than the others. I find this odd - shouldn't Kettlesing, as a gravedigger, have a much more tangible character? Right now, I'm getting nothing from him.

One more thing I'd like to mention. It seems like everyone is using the exact same argument against Victor. You know, the whole "she's a little girl who has a name and plays with dolls and rides ponies, so treat her like one" deal. Face not flesh, in other words. I understand why you're eager to get it across, but you're peppering it at the reader with such rapidity that it really begins to lose its meaning; additionally, shouldn't Victor be discovering this himself, instead of being told it over and over again? Events hold much more meaning than dialogue, so quality over quantity, I guess you could say?

Anyway. Pretty good chapter. Hopefully I'll be on the fourth a little sooner. :/

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Hai! I bet you'd thought I'd forgotten about this but nope, not me! Not my style ;) I'm very slowly making my way through and hopefully will manage to hit another chapter later this week. But for now, chapter three!

Specifics

1. I'm not sure what it is but Victor's concern about the couple felt fake to me. It just felt... wrong somehow. It's not that I don't expect him to be a good man and to be concerned, I'm actually pretty much relying on that as my link to him as a hero. But somehow for him to come right out and say it like that doesn't feel right.

2. Too much dialogue! Okay so it's fun and sometimes fast paced lines thrown back and forth works really well but you go too long without description here. Readers like a little action to back up the word action. What are they doing, how are they looking at each other? You have some bits and pieces but somehow I want a little more description going on in there somewhere. A pause to just fill out the scene a bit more and give us some grounding for this dialogue.

3. Aha, now this is the character and story I know! You seem to be back to the good stuff in his second meeting with the girl. Some more healthy, clinical thoughts about dismemberment and horse hair. Keep that up.

4. The big speechy thing going on at the end there? Yeah, that's too much. I know he wants to make a big speech but don't let him. You'll bore your reader and it doesn't seem in character for Victor to take it without butting in. Victor seems in his way very me, me, me. He's very assertive in a way that makes me think he'd immediately be thinking in terms of how this reflects on him and wanting to protest his innocence. Or maybe not. You know the character better than me but his silence here just feels wrong and it weakens the Lord's character to have him be all lovey dovey about his daughter. He needs to be passionate but hard at the same time. Here you have too much passion and not enough hard. I stopped being afraid of him right then and that's not something you want your readers to do. Maybe it's the things that he's saying that's wrong. Maybe if he took incidents about his daughter that were... I don't know, different. Hmm. I can't quite express what it is as on a second look it isn't a particularly long speech but it just spoiled the character a bit for me?

Overall

I like the end line! Uh... I like that part in the middle where he first sees the girl again. Other than that though, I have to admit I wasn't too thrilled with this chapter. You could have done so much more with that first scene! All the body cutting up, the weighing of which parts might go with which and the comparing of hand size and... and just cutting up and stuff. There wasn't enough creep factor by far. I wanted livid descriptions of the sound a saw makes as it cuts into the flesh and detailed instructions of how to preserve the bodies. Does he stuff them, sew parts up, shave them?

I want something methodical to contrast with the big moral questions. There's this book. You might not have read it but it's called, it's uh... The Ressurectionist by James Bradley. It's chillingly beautiful and there's lots of body cutting up and buying of bodies on the black market and there's this achingly beautiful scene where the apprentice turns away the boy of his master's friend's child, even though they're in pretty bad need of some flesh. And there's just amazing descriptions of taking the bodies to pieces while at the same time the moral story runs alongside and the horror of death is always somehow there, just lurking.

But anyway, you need more of that here.

See you around,

Heather xxx
Writing Gooder

~Previously KittyKatSparklesExplosion15~

The light shines brightest in the darkest places.



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