The Chair of Wind & Darkness: Draft Two [1-4]: Closed

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Critique in chp. 4

Hullo DD...a critique at last, or most of one. ^_^ The tension in this bit is tangible, and is involving enough that I tend to dismiss the idea of critiquing. An irrelevant sidenote to reading.

It was more disbelief than the actual threat they posed that caused Shan to hesitate in the street. To an observer, it wouldn’t have looked like much: a Kasimov walking cold and distant, which they habitually were, straight and collected. A Kasimov looking briefly up, catching a glimpse of a reflection out of the corner of his eye, head coming up as he did a double-take. A Kasimov stopping dead in the street, pulling up short so abruptly that for a moment his coat billowed out in front of him, thrown by the breeze and his momentum. A Kasimov who didn’t run - why would he? An observer would not be able to see what was fifteen yards back, what the Kasimov saw because he was trained to. A casual observer would pay it no mind.


Fragments and repetition here set the dissonant tone. Without the structure, you might have a laundry list--but instead you've got an eerie distance, and the staccato breaks in fragmented foreshadow a certain violence.

It is something to be painstakingly careful on; fragments and the distancing of "...to an obvserver..." come out by an unthoughtful reader as hackjobs. But I don't think anyone will ever have a case against DD for being thoughtless. ^_~

A Kasimov stopping dead in the street, pulling up short so abruptly that for a moment his coat billowed out in front of him, thrown by the breeze and his momentum.


The briefest of suggestions here: Though pulling is perfectly correct, it flows more smoothly than much of the rest. The above is one of the longer sentences--to keep the staccato sharpness, change to 'pulled'?

Five Strazhas on sunny Pershozhen Street that no one saw because no one wanted to see them.


Recalled to mind an ironic contrast to his dreams. ^_^ Here--in no phantom fear--he is in fact being followed, but 'tis on 'sunny Pershozhen...' with plenty of passers-by; and no one notices. Intentional? Apt, either way.


Shan stared at the reflections, the epitome of calm and control as his hands trembled uncontrollably at his belt and he tried to breath. A hand crept up to his chest; he could feel his heartbeat through his shirt, pounding in a rhythmic frenzy under threat of extinction, as if it was going to help somehow.


This chapter manages to be present--rather unpleasantly for a reader who is sympathetic to Shan. ^_~ Shan's distress is painful. And you keep that consistent in the steady referral back to his thoughts and sensation/feeling.

Second sentence in the paragraph above pushes immediacy in length. The ending trails. Perhaps:
A hand crept up to his chest; he could feel his heartbeat through his shirt, pounding in a rhythmic frenzy under threat of extinction, as if it would help [somehow].
Maybe even drop 'somehow'--up to you.

In a dream, if you ran they were not encouraged to pursue; if you fell in the street they did not kill you; sunlight came to the rescue. While here it was his enemy, was exhausting, made thinking difficult.


Fragment here - while dramatic - almost misses connecting to the previous thought. A dash (--) might prove more clear, still convey the broken off violence.

They were moving again. A casual shove off the wall and they were walking again, slipping between clumps of pedestrians without so much as a glance at them.


Descriptions of the strazhas--vivid throughout without breaking from Shan's experience. ^_^

Fingers run though the hair once, a curse and the urge to look over his shoulder and around the corner back down the street repressed


Oy, and present tense break for a sentence before back to past. I love the idea of it; but does it draw too much attention to itself? It might make the same impression with less to be bewildered by, were you to leave 'run' --'ran'. To be especially jolting, it could be made its own paragraph. It sits rather between the two at the moment, middle of the paragraph anomaly.

He took out his pistol with shaking fingers and realized that he had removed the clip that morning in Kier. Which was when he lost it completey. And ran.


...Builds to breaking-point, and Shan snaps. Fragments hit the action perfectly. ^_^

(and to be finished soon... my time runs shorter than I thought. !_!)
ex umbris et imaginibus in veritatem

"There is adventure in simply being among those we love, and among the things we love -- and beauty, too."
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Thanks very much, Imp. ^_^

Fine crit! I'll try to get some more of the Chair posted over the weekend -- ah, but we've heard that before haven't we? ^_~

Still, the deadline looms close and I've got to get something accomplished...




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:-) Remember that I love you darling!
*gives ice cream*
And remember, take deep, cleansing breaths!
"In a sort of ghastly simplicity we remove the organ and demand the function...We laugh at honour and are shocked to find traitors in our midst. We castrate and bid the geldings be fruitful." ~C.S. Lewis




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Sure thing, Gyr. ^_^ Thanks. Oy, I'm oozing down the page... I've got to get more posted.




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(Chp. 4, being finished in critique here...)


You should have run, he told himself silently, stalking his hunters in the deserted alley. You should have run on Pershozhen, anonymous in a crowd, should have shed your coat and stars and run.


Shan's interjection of thought breaks the thick paragraphs--it keeps the pace up, and sharpens suspense. You've still got the habit of long sentences, doubtless, but varied now and less wandering. ^_^


No one but him and them stalking each other to the sound of broken water pipes dripping.


'No one but he...'? Pronoun declension confused, I think, possibly--pardon me if my Russian is obscuring my good English. ^_~ It sounds as if Shan could say it. If it were to remain more formally distinct narrative it might (and this is for the author's discernment) end more precise like so-- "No one but he and they--stalking each other to the sound of..."

They shot you in the back of the neck. You stayed where you were and fought them? They used their sabers: and were you lucky enough to have one in your possession, you died a little more desperately, a little more frantically, but at least you went down fighting.


Sentence variation here is deft--breaking it with colon, etc. No flippant pakah, but all the tone. ^_^ The image of a little more frantically, little more desperately hits it mark.

A scrap of damp newspaper glided and tumbled down the alley to his left; his gaze followed it and as it crossed a narrow intersection, he saw a shadow flit by. His pistol was trained on the spot in an instant. His fingers trembled as he got his back to the stone and reached out a hand along the wall to guide himself. He stared wide-eyed at the intersection of alleys further down. His fingers blundered off concrete and into thin air as he discovered the end of the wall and its corner. He slipped around, looking over his shoulder as long as he could to keep the alley in sight, turned - and came face to face with five Strazhas


Cinematic device, almost, above. ^_^ And that's not to deprecate in the least, it creates a good still before the startling action, calm before storm.

They all stayed like that for a moment.


Rather less precise than your short sentences have been. Stayed? Stayed with 'they all' and we get a tone that sounds conversational despite its point in the narrative--far from. Stood --though bland itself--has a harsher sound, and more specific, than 'stay'. Even ...they remained, stationery...? A suggestion again--and I know you've got an eye and ear for it to decide which and what will work.

“Shan Azov Tefur,” the dark-haired one said in a thick Peremidian accent that slightly obscured the words.


Though hardly dash-in-your-face look! perfect detail, the accent, to give this Strazha something more to characterise him than Shan's fear. ^_^

“Go to hell,” Shan whispered wide-eyed, clenched his fingers white on the hilt of his saber. The muzzle of a pistol pressed against his cheek and a hand reached out and pried the gun from his fingers.


The action with dialogue works to keep things moving. I could only pick at action order. Switch 'fingers' and 'clenched'--
“Go to hell,” Shan whispered wide-eyed, fingers clenched white on the hilt of his saber. The muzzle of a pistol pressed against his cheek and a hand reached out and pried the gun from his fingers.

“You think a Kasimov can stalk Strazhas, yeah?” one asked in bemusement and flung a cigarete down in the dust by Shan’s face. Shan spat at him and was rewarded with a savage kick to the head, a knee between the shoulder blades and the muzzle of a pistol in his hair. The Peremidian crouched down in front of him and Shan twisted his head around to look [s]at him[/s].


All sentences here end, seemingly, in relation to (at, for) Shan. Only the final one seems to hang, perhaps saying what's implied. It does need to finish on something--'...his head around to see.' might flow more smoothly (?).

--and 'cigarette' typo. ^_^

---


(Oy, and I thought I had the time to brush this critique up and finish. ^_^'' Soon to be done then. I hope the following chapters are coming at some pace, not driving you too mad?)


IMP
ex umbris et imaginibus in veritatem

"There is adventure in simply being among those we love, and among the things we love -- and beauty, too."
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Heh, not quite, but nearly there. I'm getting rather far now, and I'm ashamed I'm not posting more of it here - but that's think about YWS, once people begin to brit your piece, you want to make sure it's perfect before you even post it. ^_~

Thanks a lot for the continued crit, Imp. I'm glad you're finding this of higher quality than I am - the other day I was resisting the urge just to burn the thing and start over.

Much appreciated, as always, Imp. Thank you! ^_^




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Gyr wants more Chair! *batts eyes* pretty please!!!
"In a sort of ghastly simplicity we remove the organ and demand the function...We laugh at honour and are shocked to find traitors in our midst. We castrate and bid the geldings be fruitful." ~C.S. Lewis




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Written like a true novel! It's original, with an excellent pace. The beginning is somewhat slow and it took me some time to grunge through. I'm talking about the dream sequence here. But the rest of the story moves at an enjoyable pace with enough action and dialogue to please.

Yes, I love your dialogue! Your characters actually have character! *gasp* Their personalities are engaging! I especially like Livny. GREAT character, especially since he's not the main character. He's definetly a favorite which definetly pushed me forward. If I could bluntly praise you, I've liked all of your characters so far. They're real. I really liked chapter two. It reminded me so much of a screen play because of the rich dialogue. It was entertaining!

About "the kid"...I love how you don't mention his name. If you give him a name, it alters his character, I believe. Names hold character and even the absense of a name can hold character.

What I think gives this story, characters aside, a true "novel" essence is the Strazhas, Kasimovs, and all these other completely original ideas. These are the sort of things that stick with you after you finish reading. I'm not sure exactly what to categorize these things, but hopefully you know what I'm saying.

((This critique will be continued. My apologies.))




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((Continued...))

There is no way of knowing where this story will go from here. Which is excellent. If the reader knows exactly where the story will go, why would he read it?

I have to admit, the title had me worried. It reminded me of Robert Jordan or Terry Brooks. It sounds like one of those "high fantasy" novel titles. I've never liked the "high fantasy" novels for many reasons. But I'm glad to see that this story most definetly is not dry like a "high fantasy" novel. That's why I don't think the title quite matches the story, though the chair hasn't played any significant role yet.

Your story holds me captivated and I am eager for more! I hope I have been of some assistance.

As always,

POKE
Last edited by rosethorn on Sun Nov 19, 2006 8:04 am, edited 1 time in total.




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Thanks Rosethorn!

That was quite helpful and I'm very glad you liked it. Oy, I've gotta post more before I lose my audience's attention. ^_~




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POST! Jeez. Everytime I see there's a new post on this thread, I rush to check for more chapters.

Oh, and I hope you don't mind - I'm basing one of my NaNo characters off Livny. I fell in love with him, and thus Strikard was born.

Maybe it's a good thing you haven't posted more - I fear I'd model too much of my NaNovel off this!
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I don't know if someone has covered what I've said. I don't have time to check. But if I do, make it doubly true, humkay?

Okay. The prologue, like most prologues, actually, is unnecessary. I'd actually say scratch it. You don't need it. And you don't keep what you don't need, right? It's the reason a toilet can flush. Think of what the prologue gives. The answer, besides from excuses, should be no.

Also, you should avoid second person. It's extremely unpopular. I mean, you'll find fans for it, but they are few and far between. If you keep the prologue - and you shouldn't - lose the third person, and avoid it from now on.

And the whole thing is pretty bloated. It's not wordy, because the vocab. is pretty standard, but you have a lot you don't need. And although you're writing the fantasy genre, it's not really an excuse.

You should seriously consider rewriting the whole thing just to prune away the bloated prose. It's a big job, I know, but well worth it. I mean, as a guide line, rewrite = draft - 15%.

Also, cut out the adverbs. It's weak. Get rid of what you don't need. That's what I say, even in fantasy. You can still have beautiful descriptions, you can still paint a woundrous picture... but just remember that less is more most of the time.

Prune, prune, prune, and prune some more. Get rid of everything you don't need - uncluding the prologue.

-Fantasy
'It aint the size, love,' she says. 'It's how you use it. That's the important thing, methinks.'

Of course, she was talking about vocabulary...




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Ah yes, the prologue is already significantly cut down and rewritten, I merely haven't changed it here. The second person, too, is demolished -- as are a good deal of the repetitive adverbs and adjectives.

Thanks for the input, but rest assured, it's been edited. ^_~




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Dream Deep wrote:Ah yes, the prologue is already significantly cut down and rewritten, I merely haven't changed it here. The second person, too, is demolished -- as are a good deal of the repetitive adverbs and adjectives.

Thanks for the input, but rest assured, it's been edited. ^_~


Your style is verbose, DD, long sentences and somewhat on the side of bleakly eloquent. (As I've noted--Dostoyevsky. ^_^)

Your prologue sets the atmosphere and tone. Do please, ignore the above. !_!
ex umbris et imaginibus in veritatem

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As much as I respect and value your opinions, both as a writer and an great friend, are you sure about that?

I don't particularly care for my style myself - it is as you say, rather verbose, long sentenced and Dostoyevsky-ish. ^_~ Which might at times be a good thing but I don't think it reads well and I don't care for it. At all.

However! This may be writerly paranoia and disillusionment creeping in, so perhaps you're right. I just wish I could get from point A to point B without using quite so many words. I feel that by doing so I often lose my potential audience halfway through, when they can't bear to dredge through any more description. I just wish there was some way I could write without beating every sentence and every paragraph to death.

Though if you advise me to keep it as it is, I value your advice greatly and I would take it. ^_~ You've stuck with this story from the very first posting of the rough dream scene, and you likely have a better feel for it than most others.

Thank you, Imp... ^_^



Love is friendship that has caught fire. It is quiet understanding, mutual confidence, sharing and forgiving. It is loyalty through good and bad times. It settles for less than perfection and makes allowances for human weaknesses.
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