This piece is beautiful in a number of ways. It is a well-written, imaginative story that managed to capture me as soon as it got the chance to spread its wings and build up momentum. I like the weirdness of this work. It falls neatly into that niche in between fantasy and science fiction, being a bit of both (or seeming, at least) but not quite either. Much to my taste.
It is also a beautiful example of how telling less can be an incredibly good thing. Fort, you asked me to review this, so I'll talk to you directly: let's try something, for kicks. Try and forget that you wrote this story, read it, thought about it, or even vaguely know what it is. Now, begin reading your story from this line:
"So how's your castle going?" Avery would ask, sucking rat blood off his fingertips.
If you did this, you may have observed that your story now starts with far greater intensity than the way you started it. I always like to stress the importance of your title and your opening sentence, because those are your two biggest chances to hook your readers. I'll be honest: I did try reading this piece when you sent it to me at first, but I couldn't make it past your first 2 paragraphs. Look, I can see that you put a great amount of effort into them, but they're so boring. I don't care about the factory, I don't care about what's going on in it, I want something to happen! Now, we were to chop off the story up to the line quoted above, the very first thing the reader sees is some kid asking about a castle while sucking rat blood off his fingertips.
I mean, what.
That's a good what. That's the what you're going for, because now I have questions. What castle? Why is this guy licking ex-rat off his hands? What is going on? Now I am invested in the story. Then, a couple sentences later, we find out that the kid was being followed. My interested mind begins building scenarios: why was he followed? Why is this place dangerous? Who is this kid? Who followed him? What is going on?
This is where I am interested. It's almost as if you splurged out all your info-dumping in that monstrous blob at the beginning, and now it's not pressing on your shoulders and nagging at you to be written. Now you unleash tight and capturing action on the reader. If you tell me all about the castle right off the bat, I'm not going to care. If you imply there's a castle and it's connected to raw rat consumption, I now want to find out what this castle is. That's where you hook me, and drip-feed me information so I keep craving for more. Don't be kind and tell me everything. Be cruel to me, because you're a literary drug-dealer, you want me coming back again and again until the last page.
This applies in-story as well. The supervisors, I imagine, aren't stupid people; they are supervisors because they are good at controlling people, and they know that people cannot be controlled as easily when they are panicked. Admitting that the factory knows they have no idea what it is is more than likely to sow panic among the workers, and you wouldn't want a frightened mob, would you? So why not just say "Take the day off while our maintenance crews investigate the problem"?
Having said all that, there are some nice bits in the intro. As I said, cannibalize and regurgitate in other places. The bit about glass crunching under your feet was particularly delightful.
One last thing: dragons. First, I'm not sure exactly what role dragons take in your story, but I assume they are not like pigeons in our world (that is, a common, uninteresting sight that's only notable for occasionally ruining statues). So why was Luke's first explanation for the green light the glow of a sick dragon? That's like if I saw a man in a suit near my house and assumed it was Barack Obama, because he also wears a suit. It's just such a strange simile that has no basis in reality, you know? Are dragons even real in your world? I've no idea at this point, and it jars me out of the story and confounds me.
Second, I'm sure you already know that dragons are incredibly cliche. With that, the burden is on you to make them interesting for me. Which means that I'd probably show the reader a dragon before ever calling it a dragon, so that they know exactly what they're dealing with. As I said, I don't even know if dragons are real or not in your story, much less what they look like (or how they glow, at that).
Try to avoid things like this:
to the castle I was building/ am building/ will continue to build
Slashes look out of place in a novel. They belong in accounting papers, not in stories.
Besides the things I said, very good start. Remember that withholding information is how you keep a reader interested, and try to base your writing around that. Feel free to splurge more info-dumps, just don't forget to cut them out before publishing.
Your cullet,
cC
Points: 8890
Reviews: 191
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