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The Broken -- Chapter One -- First Draft



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Sat Nov 11, 2006 11:39 pm
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Sureal says...



Yay for NaNoWriMo. I'm bored right now, so thought I may as well post up the first chapter here - however, you should note that this is the first draft, and as such the writing is terrible (as in spelling and punctuation... and indeed, pretty much everything else that matters).

Ignoring spelling errors and the more obvious problems (which I'll fix myself when it comes to editting), I'm interessted in what you have to say. Are there horrible flow issues? Is it boring? Is it cliched in anyway? Is the main character (Leo) dull? Is there anything you're confused about? All help will be appreciated :).




Chapter One


Leo knew from the moment that he opened his eyes that something was wrong. His room, half-hidden in the darkness, felt… odd. Physically, he couldn’t see anything wrong with it, but he could sense an unusual, almost surreal tinge to the atmosphere.

Grunting, thoughts scrambled by sudden consciousness, he clambered from his bed, and swayed uneasily on his feet. He hugged at himself, shifting over to the radiator, and embraced it for its warmth. Still, the sense that something was wrong hung over him, even as the sleep seeped from his body.

Leo peered over at his clock. The red, glowing figures spelled out the time, 8:00am. His hand roved over the squat desk by his bed, searching for the lampshade. With a flick, his room was thrown into illumination. Leo cursed some more, his eyes screwed shut as a barrier against the invading light. After a few moments, he eased them open.

Even with the banishment of darkness, there was still something tugging at him. Like he was missing something obvious.

He stumbled across his room and pulled the door open. The hallway was shady, the morning sun only just able to escape past the various blinds that smothered the windows. He slipped into the bathroom, tugged at the cord that switched on the light, and eased the door shut.

He glanced into the small mirror placed on the wall, and a frown touched his features. There was a thin cut on his head, and a considerable amount of dried blood traced a thick line down the side of his face. ‘What the hell?’ He hadn’t cut his head before going to bed, so he must have somehow injured himself during sleep. That was hard to believe - what was there to cut him? Unless he sleepwalked, and didn’t know it.

He scratched at the dark blood, and a small amount crumbled off. With a sigh, he reached across the sink to retrieve a flannel, and wetted it under the tap. He dabbed gently at the dried blood, cleaning it off.

A strangled shriek snapped Leo from his task. He paused, unsure of what to do. Seconds trickled by. Perhaps a family member had just screamed in their sleep, like some form of sleep-talking? The silence that enveloped the scene seemed louder and more ominous than the scream.

He placed the flannel, now smudged pink, upon the sink, and slipped back out into the landing. Still silence. Treading softly, Leo strained his ears, listening for another sound.

With some surprise, Leo realised that a light had been lit on the floor below. The glow oozed up the stairway. He hesitated a second, and then walked down the stairs. Almost every step creaked, and the silence seemed to amplify the noise.

The hallway seemed horribly still. There was not a single person in sight, nor was there a sound. Someone must have left the light on before turning in last night. Leo began to turn, to go back up to the bathroom, when there was a sudden thud. Leo jumped, taken unaware.

The bang had come from the closed door that led into the lounge. The wooden sound of the knock echoed in his ears, and his heart sped up, knocking rapidly against his chest.

‘Hello?’ Leo queried. He received no reply. His arms trembled slightly as he reached for the door handle. As he turned it, he noted that no light shone through the crack under the door.

He threw the door open. It hit the springy stopper attached to the wall and rebounded, almost closing again. Leo stepped in, his hand played over the wall, found the switch and flicked it. The light snapped on.

Empty.

Once again, Leo felt as though he was missing something obvious, and the feeling was getting to him. He felt light headed, and unconsciously licked his dry lips. He turned to retreat to the perceived safety of the first floor, and cried out in alarm when he found his way blocked by a person. Stumbling backwards, back into the lounge, barely in control of his limbs, Leo struggled to find his voice.

It was a man. Dressed almost entirely in black, his pale skin looking as though it were stretched thin. Pale, silvery blond hair fell down over his rough features. His face was emotionless, and his dark eyes stared down at Leo.

‘Who- who are you?’ Leo said, his voice almost inaudible.

The man said nothing. He strode forwards, one of his arms reaching out for Leo, who frantically backed away. His back up against the wall, Leo’s thoughts were flying about hysterically. The man made a grab for Leo.

Leo darted under the arm, feeling incredibly numb all over. Everything was a rush - all he saw was a blur of colours and movement, and was almost surprised to find himself passed the man, rushing up the stairs.

‘Wake up, wake up!’ he yelled, wishing to alert his family to the intruder.

Silence met his calls. Heart hammering, eyes searching, limbs trembling, breath fast and shallow, Leo waited. He waited for someone in his family to respond. He waited for the man to come. He waited.

Nothing happened. Glancing horridly over the banister, Leo could not see the man. Impatient for his family - his mother, father and sister - to react, and for them all to deal with the problem together.

Silence.

Irked, Leo charged over to his parent’s bedroom, threw the door open wide and rushed in. The door banged shut behind him.

He stopped in the centre of the room, disorientated. A handful of seconds beat past, and Leo could only stand there.

His parents weren’t in the room. It wasn’t even his parents’ room. He had no idea where he was, or what the room was a part of. It was a plain enough room, white walls, simple black patterns repeating around them. A wardrobe set up against one of the four walls. A large mirror next to the door. There was a relatively large window set across the far side of the room. Outside, Leo could see it was day time, a blue sky painted across most of the view, with a clump of trees visible. He could tell they were high up - at least the third or fourth floor.

And then, like sunlight piercing a thick barrier of clouds, Leo suddenly realised what was irking him earlier. All those times he had felt as though he were missing something obvious...

He had never actually woke up. He had been, and continued too, inhabit a dreamscape, rather than the real world.

Quiet whimpering broke him from his musing. Turning his gaze from the window, Leo noticed a person on the bed, lying still. They were crying quietly.

His mind now bright and lucid by the revelation of the experience being a dream, he approached with a sort of detached curiosity, rather than the fear he had been plagued with for the past five or so minutes.

It was a girl, the same age as he, lying sprawled on the bed. She was bleeding terribly from her stomach, and her stained hands were grasping weakly at the wound. Her brown hair lay scrawled out around her head, almost like a halo.

Armed with knowledge that the experience was a dream, rather than cold, hard reality, Leo observed the girl with interest. It wasn’t anyone he had ever known - at least, as far as he could remember.

By the side of the bed was a sword, plastered crimson. It looked to Leo as though the wound had been inflicted by the weapon.

‘What’s your name?’ Leo said. He hoped that if he talked with her than perhaps - by some strange dream-logic - she would recover and be well. Even though he was aware that she wasn’t a real person, the very sight of her lying there so badly injured still affected him emotionally.

She looked up at him. Tears ran freely down her face. ‘Lucy Freeman,’ she whispered. Her voice was weak, and a small amount of blood dribbled over her lips as she spoke. ‘Help me, Leo.’

The door swung open. Leo spun, and found himself face to face with the man he had seen earlier. Leo sneered at him.

For the first time, the man spoke. ‘Tonight, I come for you.’

Leo opened his mouth to respond, to answer back to the strange creature standing in front of him, but the entire world seem to wobble around him. A second later, everything faded to black.

And Leo woke.



Sat eating breakfast in the kitchen, Leo stared blankly at the television. Like almost all teens - and Leo was nearing the end of that stage of life, at the age of eighteen - he disliked mornings. He considered being able to lie in late as one of life’s greatest luxuries. It was quarter past eight, and although many earlier risers considered such an hour to be late, Leo felt it was as touch earlier than he’d like. But he was meeting up with some mates, and he had to rise early to catch the bus in time.

As odd as the dream had been, now he had awoken it already felt like a distance memory, banished by the force of reality.

He ate his cereal without thinking, as though on automatic. The news flashed on. Leo watched, letting the words roll in one ear and out the other. Although the volume wasn’t particularly high, it echoed around the hard surfaces of the room, increasing the sound. He wondered what time his family would be getting up? His parents would probably be up soon, but Tess would lie in as long as she could.

He was jolted back to his surroundings by the news reader.

‘… Lucy Freeman was the latest victim in a string of murders,’ she said in an emotionless voice. ‘Each victim has been killed by a large bladed weapon, but apart from that, the only connection between each of them has been their age: all were in their late teens. The police are baffled by the killings as there doesn't appear to be any evidence to be found at the crime scenes.’

Leo stared in shock at his tele. His dream about the girl - it had come true! Or had already happened by the time he had dreamt... one of the two.

Slowly, he lowered the spoon that had been hovering just outside his mouth since he heard Lucy Freeman’s name. Should he tell anyone? Could he? Would anyone believe him? Would that make him a suspect?

It had been the man in his dream. Leo was sure - it had been that man who murdered Lucy. And all those other teenagers.

And he had said he was coming for Leo…



Leo phoned up his friends to tell them he wasn’t coming. ‘I feel like crap,’ he said. Only partly true - although he did physically feel slightly sick, mostly he was just as nervous as hell.

He spent the day locked inside his bedroom. He searched the internet, looking on news sites and forums for any information he cold gather on the killings. There had been five teens murdered so far. Would Leo be the sixth?

How could he have dreamt about the killer? Leo wasn’t one to believe in such things, but the incident had quickly changed his mind on the matter. It couldn’t just be a coincidence - it all fitted together to well. But then, it was a one off. He never jumped around in excitement and fear when a dream didn’t come true. But as much as Leo would have liked to have thought there was nothing to his dream, it just wasn’t possible.

Some time after two, Tess entered his room. ‘Mum’s getting annoyed that you haven’t eaten anything.’

‘I’m not well. I don’t feel hungry,’ Leo said. He was lying on his bed, staring blankly up at the ceiling.

‘You don’t sound ill. You just sound hungry, and I think some food will do you good.’

Leo turned his head on his pillow to look at her. She was only just twelve years old, and like so many girls at that age, was stubborn on any opinion she held. ‘Fine, I’ll have some toast. You just better hope I don’t puke it up afterwards, cos I’ll be aiming at you.’

‘I’ll make you the toast,’ Tess said. ‘Stay here and I’ll bring it up.’

Leo smiled weakly. ‘Thanks.’



At night, sleep just wasn’t going to happen. Leo lay awake, the lamp beside his bed left on. Under his covers he clutched an old baseball bat he had found. He jumped at every creak of the house, every car driving past, every noise he heard.

Eventually, however, tiredness began to overcome fear. Perhaps the man wasn’t coming. Maybe it was just a dream, and he didn’t really exist. After all, the girl in his dream might not have called herself Lucy Freeman... perhaps he just remembered the name wrong.

None the less, he fought as hard as he could to keep his eyelids propped open, and yet, the tiny little things seemed to be too much for him. Feeling incredibly weak and disorientated, sleep finally won the battle, and his head slipped back, his eyes closed, and his conscious mind switched off.


After what felt like mere seconds, Leo woke. Staring groggily straight ahead, it took him a couple of seconds to realise that the killer was standing hunched over his bed. He suddenly felt very awake.

He let out a terrified yell as he clambered in confusion out of bed, whacking uncontrollably with his baseball bat. The man stumbled back, a look of shock on his face. In his hand he held a sword.

Turning, Leo dashed for the door, pulled it open and stumbled outside into the hallway. He had to get away from this madman! But how? His head swivelled, looking from place to place. Maybe he could jump out a window and make a dash for it? Leo could probably lose him if he did that, and then go to the police.

The door next to his bedroom opened, and out stepped little Tess. ‘Leo, what’re you doing?’

Damn, he hadn’t thought about his family! Would the killer attack them too, or would he leave them in peace?

Where was the killer? Seconds were ticking by and the man had still not emerged from Leo’s bedroom.

‘Get back into your room and hide,’ Leo hissed.

A confused look crossed her face.

‘Now!’ Leo said.

Leo’s door opened, and the killer stepped out. After a second’s silence, Tess let out a shrill scream, her eyes widening as she stared at the man grasping the sword.

‘RUN!’ Leo roared, taking a desperate swing at the man. Tess remained like a statue, seemingly unable to move.

With a grunt, the murderer thrusted his sword forward, moving incredibly fast. No time to react in anyway! There was a sudden, sharp pain in Leo’s stomach. Slowly, feeling sick, he lowered his gaze, and stared down at the sword growing out of him.

The man let go of the hilt, leaving it stuck through Leo, and took a step back to examine his work.

Large quantities of blood gushed from the wound. Trembling and unable to speak, Leo slipped to his knees. His visions was failing, clouding up, became almost like the static on a TV. Unable to see, his other senses numbed also, he heard Tess sobbing, shouting his name. As though from a distance, he heard a door creak open and horrified screams. All dim.

Sound disappeared.

Feeling vanished.

Leo died.
Last edited by Sureal on Mon Nov 20, 2006 10:02 pm, edited 1 time in total.
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Mon Nov 20, 2006 7:13 pm
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Black Ghost says...



This was really interesting. I like how the main character suddenly realized he was in a dream. But I thought the end was a little sad though. But how are you going to continued this if Leo died?

Also, I thought this sentence a little awkward:

The police are baffled by the killings as there doesn't appear to be any evidence to be found at the crime scenes.’


Maybe you could phrase it differently, like this: "The police are baffled by the killings as evidence hasn't been found at the crime scenes."

Something along those lines.

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Tue Nov 21, 2006 4:55 am
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Jiggity says...



I didnt like the whole beginning being a dream, that irritated. As did the length of time it took the character to realise he wasnt in his onw home. I mean, if you woke up in a strange house, you'd know immediately. His reaction to a strangers presence -- in what he thought was his home-- didnt seem too realistic either. I thinkif that were to happen, you'd be angry and yelling. His fear seems irrational, perhaps you ought to give a reason for it, giving the stranger a menacing aura or bloody visage or ... something!

I mention these things only cos you seem to be aiming for realism, so you should keep a close eye on the accuracy of character reactions and such things. Otherwise, it flowed well, more often then not and was written very well.
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Wed Nov 22, 2006 7:14 am
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Kel says...



I liked this. I liked to think that the whole thing with the first part about his home was ... well, like it was so close to his own home that he just couldn't place it. Your home in your dreams isn't really your home. I thought it a great touch that he didn't realize it wasn't his.

I wonder if the 'death' was more a gateway to someplace else? I want to know what happens!
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Wed Nov 22, 2006 7:51 am
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Doctor Kitty says...



As you probably know, for some reason or another, I rarely critique. With that being said, I'd like to say, this grabbed me. And it grabbed me very hard.

I loved the tiny little details near the beginning and the lucid unfamiliarity. I'd definitely like to read more of this. Excellent flow, I think.

The only errors I see are grammatical, and since this is a first draft, as you said, there's no point in mentioning them.

Keep it up.
  





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aeroman says...



Lately, I've got into this habit where I don't critique something unless I really think it has potential. I will usually read the first couple of paragraphs (I figure if the author is good he will at least interest me in some way by that point). This is probably a bad thing because I may be missing out on some more stories that have potential through this decision technique. Anyways, your piece caught me. I'm not sure quite yet on the how or why of it. But it did catch me.

I was roaming around the forums, trying to find some topics worth reading, and low and behold I found yours on passive voice (which was a good topic and definitely worth a read). After reading it, I posted a reply and saw the link to this 'first chapter' of your novel. I thought, hey! This guy seems like he knows what he's doing; I'll think I'll take a look.

You have quite a skill with words, most everything flows vividly in my mind as I read your writing. (There are some issues) But it does seem like you have developed a natural flow. Anyways, I'm going to take the time to critique this! I realize you said you don't want a whole lot of grammatical stuff, so I will try and stay away from that. Hopefully you will be able to take something away from my critique and improve, if not, at least you will know I like your writing.

Chapter 1 Critique

Leo knew from the moment that he opened his eyes that something was wrong. His room, half-hidden in the darkness, felt… odd. Physically, he couldn’t see anything wrong with it, but he could sense an unusual, almost surreal tinge to the atmosphere.


Immediately, I like your first paragraph. It sends a feeling into me. I can feel that the character feels something is wrong. A lot of writers try to convey character emotion and screw it up. I think you did it well in your opener (this is more than likely what caught me.)

Grunting, thoughts scrambled by sudden consciousness, he clambered from his bed, and swayed uneasily on his feet.


Compared to the first paragraph, this sentence is amateur. It is constructed poorly. I understand what you're saying in it, but it just doesn't flow well. Now lets analyze what you're trying to say, there are four points in this sentence that you're trying to convey.

#1- Leo grunted
#2- his thoughts are scrambled becaue he just woke up
#3- he got out of his bed
#4- when he got out of his bed, he swayed

Simple points right? Well the problem here is that you made a mess of your points. Yuck. And I'm sure you can do much better! Basically, these are all very simple and you want to get them to the reader as simply as possible and as real as possible. Keep this in mind whenever you're trying to tell the reader stuff. Clear and Concise is my motto.

Now, you're probably wondering how you screwed up the sentence and made it a mess. Well I bolded the problem(s). The first problem is the second point you're trying to make. The second, is not so much a problem, but I believe it would sound better if you changed 'on' to 'to'. Now lets take out your second point and read the sentence.

Grunting, he clambered from his bed and swayed uneasily to his feet. (Clear and Concise)

Uh oh, we're missing your second point---his thoughts are scrambled from just waking up. Now, how can we put this point back in and still have the sentence be Clear and Concise. Well, there are a number of different ways.

You could make two sentences---Grunting, he clambered from his bed and swayed uneasily to his feet. His thoughts were scrambled from just waking up. (By the way, I don't like how you use the word consciousness so I took that out.) But if you wanted to have that word you could do---Grunting, he clambered from his bed and swayed uneasily to his feet. His thoughts were scrambled from the sudden consciousness. (either way is fine, the first is just my preference)

There are a couple of sentences throughout that are constructed poorly. I'm sure you've spotted them yourself, but I thought I would point that one out in particular because I thought it ruined the effect you created in the beginning from the poor construction.

He glanced into the small mirror placed on the wall, and a frown touched his features. There was a thin cut on his head, and a considerable amount of dried blood traced a thick line down the side of his face. ‘What the hell?’ He hadn’t cut his head before going to bed, so he must have somehow injured himself during sleep. That was hard to believe - what was there to cut him? Unless he sleepwalked, and didn’t know it.

He scratched at the dark blood, and a small amount crumbled off. With a sigh, he reached across the sink to retrieve a flannel, and wetted it under the tap. He dabbed gently at the dried blood, cleaning it off.

A strangled shriek snapped Leo from his task. He paused, unsure of what to do. Seconds trickled by. Perhaps a family member had just screamed in their sleep, like some form of sleep-talking? The silence that enveloped the scene seemed louder and more ominous than the scream.


The reason I quoted the above: The emotions that you show in Leo seem completely fake. The reason for that is: One-Who sees dried blood all over the side of their face and frowns and says, "how did that get there?" Seriously, if it were me I would possibly scream or be in shock at what I was seeing. And then I would wonder what in the heck had happened the night before, probably check my room too. Not ponder it in my head.
Of course, you do say in this first paragraph (mind, I'm reading as I critique). That Leo could possibly sleepwalk and not know it--which could be a deliberate clue, or just an idea that is running through his head. I'm not sure yet.

Second Reason-Leo hears a scream in his home. Then he says oh, it was probably just a family member in their sleep. Okay, no. no. no. no. You're really having a problem playing along natural human tendencies here. (I'm not sure who Leo's family members are at this point so I can't really make an assumption of what he would do.) But if I heard a scream I would immediately run to check on my little sisters. If I didn't have little sisters I would check on someone else. The natural male tendency is to check on the females first, if he is a father he will check on his wife and then his children. Anyways, his reaction just doesn't seem natural to me.

Leo began to turn, to go back up to the bathroom, when there was a sudden thud. Leo jumped, taken unaware.


(There have been minor problems as I'm reading so I'm only mentioning the major ones I have. If you would like me to come back and critique all the minors I would love to.) Okay, moving right along. In this first sentence you use an onamonapoeia (sp?). You don't actually have to use it there. It would be perfectly fine to unitalicize but whatever you feel is best. The part I don't like is the second sentence. It sounds melodramatic. I'm debating how I would fix it. You could make it just---Leo jumped.---but then it wouldn't really flow well with the previous sentence. These two sentences are a tough call, but you should definitely take a good look at them. Maybe my creative juices are gone, but I can't think of what to do at the moment.

The bang had come from the closed door that led into the lounge. The wooden sound of the knock echoed in his ears, and his heart sped up, knocking rapidly against his chest.


Oh, I hate this. You are creating this great tension in the story and then you shut us down. You explained the thud and that is a big no-no, when you're trying to make us wonder about the surreal nature of this story right now.

Get rid of this paragraph. Do not explain the thud, make us wonder what it is and it will add more tension. Of course, if you did this, in the next paragraph you would have to explain that he begins checking rooms or something of that nature.
As he turned it, he noted that no light shone through the crack under the door.


Why would light be shining through? Didn't he just wake up from sleeping? Do these people not turn off their house lights?

Once again, Leo felt as though he was missing something obvious, and the feeling was getting to him. He felt light headed, and unconsciously licked his dry lips. He turned to retreat to the perceived safety of the first floor, and cried out in alarm when he found his way blocked by a person. Stumbling backwards, back into the lounge, barely in control of his limbs, Leo struggled to find his voice.


You're trying to be dramatic in this paragraph and really heighten the tension, but you're not. You shut it down. I felt nothing when he bumped into the person. I said, oh, a person. Yea... lol.

Ugh, you continue the melodrama in the next few paragraphs...

It was a man. Dressed almost entirely in black, his pale skin looking as though it were stretched thin. Pale, silvery blond hair fell down over his rough features. His face was emotionless, and his dark eyes stared down at Leo.

‘Who- who are you?’ Leo said, his voice almost inaudible.

The man said nothing. He strode forwards, one of his arms reaching out for Leo, who frantically backed away. His back up against the wall, Leo’s thoughts were flying about hysterically. The man made a grab for Leo.

Leo darted under the arm, feeling incredibly numb all over. Everything was a rush - all he saw was a blur of colours and movement, and was almost surprised to find himself passed the man, rushing up the stairs.


All of these paragraphs are melodramatic. The worst thing is that you start out of the previous paragraph with a description of the man that really doesn't bring him to life. You're trying to make the man sound dark. But he doesn't seem dark to me in your description.

‘Wake up, wake up!’ he yelled, wishing to alert his family to the intruder.


Question for you: What would you yell if you just found this dark man in your house and tried to grab you?

Wake up? No.

You would yell help like any other regular person in this world.


Okay, I've stopped reading. The story is getting worse and worse. More and more melodrama and unhuman-like reactions. It has a lot of potentional. You started out really well but you hit a decline and kept following the hill downwards. You need to fix all the melodrama. I literally feel no sympathy for your character at this point and that is what you need to want to make me feel (if you don't). These types of situations are used for sympathy---so the reader begins to feel for the character and empathize. Otherwise, you would've done better just telling me that Leo ran into this mysterious man that made a grab for him. Because that is pretty much the same effect that your paragraphs had.

You have a lot of potential in this piece (like I keep mentioning), I really had this weird feeling in the beginning. You did well in making some tension, but you've lost it. You need to fix it so there is tension. Go for dramatic and stick to normal human reactions (unless of course this character reacts differently to things, if he does, then show us why.)

Keep up the great writing. You definitely have a great style and flow. At this point, I don't think the character is developed well enough. I'm not sure what the plot is, but then again I didn't finish the story. It sounds like it is going to be some sort of surreal dream from all the hints you've given (that is another thing you're good at---hinting). Keep it up, this is a great start! (And I realize it is a first draft, so don't take some of my comments too harshly. My first drafts aren't all that great.) Hopefully, you will be able to take something from what I've offered and improve the piece!

~Aero
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Tue Nov 28, 2006 5:38 pm
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Sureal says...



Thanks to everyone who critted (especially aeroman, who gave heaps of help :)). I'm currently reworking and editting this into the second draft :).
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Mon Dec 04, 2006 9:24 pm
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rosethorn says...



I did not read through all the critiques so forgive me if I repeat anything.

This story flows quite nicely and you create a sense of "time passing", something I have some difficulty in.

You have a very nice way of describing expressions with a wide vocabulary. However, most of the sentences/paragraphs here hit one extreme or the other, due to your choice of words. You seem to either hit the perfect word or you miss it entirely.

I really liked the story though. It was a really intriguing "first chapter".

But about the "first chapter" thing. I'm assuming you've killed him off and you still do plan to continue along with the story. It's really a great way to get people to keep reading because people are going to wonder what you'll do with him.

So since you established his death very clearly, I think there is no need for this statement and I would drop it completely:

Leo died.


There is only one part I really questioned as far as the story itself goes. When he phones his friends and tells them he's "not going" I automatically assumed it was referring to school. But then I wondered why his 12 year old sister had stayed home as well and why she would sleep in when he was up. If you would, please clarify these details.

That's about it. You'll hear back from me if I find more to note.


As always,

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Tue Dec 05, 2006 6:37 pm
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doubt_all says...



As this is the first draft there are lots of spelling/grammar/sentence structure problems, but I'll ignore those and let you sort them out.

Your writing, first of all, is certainly quite streamlined - you have the active voice mastered quite nicely, and it suits the story. Here's where I get mean, and I really do apologize for this, but we need to get the bad out in the open, and you need to hear this, so I abjectly humble myself before digging in where it hurts.

My main peeve is that for the sake of action you have completely neglected two things that MUST accompany an action piece beyond simple movement and exhileration - two things that must accompany any piece of prose actually; you've neglected style and mood.

First we'll tackle style, as mood should be derived from it to some degree. Your first problem here lies in the conventionality of description. (Metaphor, simile, general exposition, etc.) The action is fine, but when the exposition turns descriptive it falls as flat as the television screen that stands out as the sole semi-unique metaphor in the piece. The two references to the television screen are like two wee little hills on an otherwise steam-rolled world (and pages) of conventionality. Nothing really came alive for me in the piece, and I think it's mainly because you're hiding your voice. Every writer needs to find their voice and stick to it - and that is, indeed, much easier said than done. Often, we try to mimic the voice of others because we admire them, and when we realize this, for fear of mimicking others, we drop all style completely. Sometimes style gets dropped in the laundry hamper when it doesn't work for us or - and this bugs me - we run it through the shredder because we were told that writing needs to be simpler, to get straight to the point, to avoid flowery conjecture. Well, that is true, but in following that last bit of advice we also run the risk of losing ourselves to the blandness of what I call "Dan Brown writing." It flows quite easily, and I have seen testament to it in my own writing - especially on those damned first drafts - but the reason it comes so easily is that it doesn't come from you, it comes from dead, conventional, common-society-bound idioms. Geroge Orwell wrote an essay on this once - (can't remember what the essay was called though.) PM me if you want and I can try to scan it and send you a copy, as I do have it around here somewhere. The point is, it is easy to fall back on stale language, especially in English, so try to liven your writing a bit.

An example of something that could use - er, not botox, cause the facelift metaphor is quite dead - how about, it could benefit from, say, a bungee jumping experience! No? Um... well how about herbal tea; that's good for your health. Well, let's just say it's really missing something:

With a grunt, the murderer thrusted his sword forward, moving incredibly fast. No time to react in anyway! There was a sudden, sharp pain in Leo’s stomach. Slowly, feeling sick, he lowered his gaze, and stared down at the sword growing out of him.


Yeah, the sword growing out of him, er... Oh, and while we're here: it's any way not anyway. :wink:

Another thing that might help set you on the right track: drop things like the following.

"He could tell..."
"He saw..."
"Leo noticed..."

These are fine for actions, not for descriptions. Get straight to what it is he saw, without telling us that he saw it - because we get that he saw something when you begin to describe something. This also frees you up a bit to flow more easily into more detailed and lively (or dead, if that suits the mood) exposition.

Which brings us to peeve number two. With better description you can better build the mood of the piece. I mean, I really wasn't that scared. Really. That and, for the dream, it might help to give it a bit of a surreal quality without telling us that the character felt something was off. That's just cheating. If you want a good example of this, and one that your story kind of reminds me of, read Stephen King's Dark Tower series. King, while falling victim to conventionality at times, is definately a master of surrealness. Especially in this series, you really feel like you're walking into a nightmare every time you pick up the book. If you want to avoid the more condescending frilly writing of people like me, I'd say King is the route to go. (Not Dan Brown. Ugh.) What you want to achieve is a slow realization for the reader that this is a dream - crack out the dry ice and the fans and pump in the fake fog, by all means, but please, never say that dreaded line in all its forms: "I have a bad feeling about this."

One other little thing.

People don't realize when they're in a dream. If you're a good little Freudian - to speak simplistically - it's because the conscious mind has no control over your dreams, it's the unconscious trying to communicate to the conscious. I could go into detail, but the point is simply, you can do without telling the reader it's a dream, and Leo doesn't need to realize it's a dream in order for the plot to function.

False starts... (give us the next one or two chapters.) Ususally the first chapter or so in a first draft is what's called a 'false start' anyway, and then the story picks up later. So I understand it may just be that shaky-first-chapter syndrome, but still, keep in mind the stuff I said. (Well, if you want to, of course.) The actual flow of the plot is all well and good, and I loved the killing off of Leo in the first chapter; I really am wondering where you'll take the story now - who's the killer? why did he kill those teens? is this some passage into some new world? etc. It's quite the hook. Now all you have to do is flesh it out, and in my best impersonation of Dr. Phil or any other self-help quack: "Don't be afraid of you." :wink:
"Every man is born as many men and dies as a single one." - Martin Heidegger

"Making itself intelligible is suicide for philosophy." - Martin Heidegger
  








More than anything she wanted the world to be uncomplicated, for right and wrong to be as easily divided as the black and white sections of an Oreo. But the world was not a cookie.
— Roshani Chokshi, Aru Shah and the Tree of Wishes