Warning: This work has been rated 16+ for language, violence, and mature content.
just some notes before you start reading: the sentences in this part of the story have been deliberately written to be unusually short. it's not just because it's a fight scene - the character here, Thomas, isn't the most mentally stable dude. he has this imaginary cat buddy for reasons im not gonna explain cause it'd take too long. Thomas is fine while said cat buddy is there with him, but she goes away whenever he enters a fight, and the sentences are intended to reflect his mental state while she's gone.
oh yeah and he's meant to be sailing through these generic bad guys fairly easily. his character's the uber-good-at-killing-stuff-strong-silent-type. don't worry about it, he has flaws to make up for it.
the main question i want to ask you here is: can you still visualise what's happening, despite the shortened sentences? does it work, basically?
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It was getting late in the day, and the majority of Holborn’s usual bustling crowd would’ve retreated into their homes. The place was a large road to the west of Whitechapel, in Camden. Populating it were innumerable shops and inns, yellow light spilling out to the pavement from grimy windows. The gang here was reported to be at least twenty men strong, and so Vincent had given him ten. These people weren’t involved with the Crows, in service to Vincent only – like him. They were more henchmen and extortionists than actual soldiers.
Verena hadn’t spoken while they were walking, but now she did.
Remember, they’re gangsters and thugs. The law was going to punish them anyway. You’re just doing it for them. Just… don’t think about it.
Thomas knew the cat’s words were nothing more than a reassurance for him, but he didn’t say anything as she left.
Twenty men.
He scanned the road, seeking them out. They wore simple clothes that made them blend in with civilians, but Thomas could still tell who they were. Alert movements and faked casualness. Cruel eyes and slouched postures. Only ten of them scattered around the road. Thomas waited by the corner and Vincent’s men hid behind a wall, out of sight. A minute passed, then three. At six minutes, one gangster walked into a building on the right of the street. Barnard’s Inn. Where the rest would be.
That voice whispered to him. Go.
He ordered Vincent’s men forward to engage the gangsters outside. They obeyed with eagerness, and Thomas strode behind them as the fighting started.
There would be ten inside the inn. He drew his seax and stood beside the door while the road erupted into noise. He was used to it by now, and so Thomas instead chose to look at his seax. Tough, powerful, and most usefully, unconventional. The blade’s weight was an old friend to him, so much better than the wooden short sword he’d chosen to combat Gerard. Thomas held it ready as the inn’s door was finally flung open. The first gangster that ran outside was the first to die, the seax appearing in his throat. Thomas gripped the man’s hair, shoved him aside and walked in.
One.
Another was just behind his partner and had his stomach cut open. Blood everywhere. The man screamed and Thomas cut his throat to make it stop.
Two.
Four were sitting at a table, staring at him with open mouths. One had the presence of mind to realise what was happening and charged Thomas, knife in hand. The little thing was like a twig next to his seax.
Three.
One fumbled for a flintlock pistol. The other two approached him, more careful than their first comrade. In their hands, another knife and a chair. Thomas sidestepped the knife, grabbed its owner’s forearm. The chair came crashing down from his right and his armour took the blow as he pulled, sending the knife-man stumbling forward. Thomas felt a crunch of bone when his seax entered the gangster’s chest.
Four.
The chair was coming again and this time Thomas caught it, twisted it out of his enemy’s grip, let go as he swung it into the man’s head. The gangster reeled back, scrabbled to reach for a bottle on the table. His back was exposed.
Five.
With his seax in the fifth’s spine, Thomas grabbed his neck, hoisted him up and faced the sixth. The sixth had his pistol out, and his hand was shaking. Thomas took a step closer and the man tried to move to the side, get a clear shot. One step closer. Two. On the third the gangster’s finger tightened on the trigger and Thomas threw the dead body onto him. Terrified yells from underneath the corpse. Thomas killed him, took his pistol.
Six.
Two more came down the stairs at the far end of the inn. The one in front was shot.
Seven.
The eighth was prepared. A sabre was in his hands and he stayed by the stairs, waiting for the others to come. Thomas dropped the flintlock pistol, ran at him, deflected his panicked thrust. A wild cut followed and he caught it in his metal-protected palm. Saw shock in the man’s eyes when he dug the seax in his abdomen. The eighth screamed, and Thomas silenced him like the second.
Eight.
Something hit his back and he stumbled forward, forced to his knees as he twisted around. The ninth was there, sabre in hand. Behind was the tenth, at the top of the stairs, reluctant to come down. Thomas reached around, felt the back of his coat. The material there was shredded, and underneath was cold metal, a new dent where his armour had saved him. The ninth gangster looked bewildered, wondering how he wasn’t dead yet. Thomas rose to his feet.
“What the fuck?”
His enemy stared at him, stared at his eight dead friends draped over the floor, stared at the blood sprayed on the floorboards. And he ran. Thomas didn’t let him escape.
Nine.
Extracting his seax from the back of the ninth’s skull, Thomas turned to face the tenth. A teenager. Mouth trembling, hands shaking. Thomas advanced up the stairs and stopped when he saw the pistol.
Words, scrambling over themselves. “D-d-don’t come closer o-or I-I’ll shoot.”
Thomas stepped back from the stairs, dark eyes not wavering from the ones bright with tears.
“P-put yer hands up a-an’ move back t-to th-th’ wall.” The last gangster indicated the far wall opposite the stairs. Thomas obeyed, blood-soaked seax still in his hand.
“I-I’m gonna come down th-th’ stairs, now. Y-you stay there.”
Thomas waited as the boy shakily took a step down, watching the pistol. It stayed on him as the tenth went down another step, then another, then another. Only on the last step did the teenager’s nerves betray him, the gun going down for a half-second – and Thomas threw his seax. Its hilt struck the tenth’s head – not enough to kill him, not enough to knock him out, not enough to even wound him to any meaningful degree – but enough. Thomas lunged forward and put his hands around the teenager’s throat. Crying, scrabbling fingers, desperate pleas, and then silence.
Ten.
Points:
Time spent:
Canary word: Present
Possible AI signals:
Original Text:
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Hi there! Sorry I'm so slow, but I'm here at last. I'll take this as strictly an action scene and not talk about too much else, since this is out of context, as you say. Overall I think it's quite effective and the prose is clean. I think the short sentences work very well, though I have to admit, they didn't seem unusually short or clipped for what I would expect from a scene like this. I especially liked the counting in italics--I think that gave the scene a nice sense of pacing.
My biggest complaint is that the blow-by-blow, "list"-like descriptions of the action got tedious for me. He did this, he did that, this happened, that happened, kind of like bullet points naming off each step of the fight. I don't need that, and I had to fight really hard not to skim. Individually, if you took any handful of paragraphs in isolation, say stuck them into a scene with more meat to it, they'd be great. But all together, it's overstaying its welcome and getting tiresome. Bear in mind there are some readers that skip fight scenes entirely. You want to give us a reason to read each sentence, and not just jump to the end to see who's still alive.
Probably the most important thing to consider is that this is a written medium, and our strengths and weaknesses are way different to a visual medium like a movie. It's easy to picture a fight in our head and then transcribe it down on the page, but that ends up... well, a lot like this, IMO. "List"-like. The short phrases go a long way to increasing tension and showing the character's mindframe, but I feel like you could do a lot more with the POV/perspective. In writing, we can get lots of nuance of perspective that you wouldn't get from a movie, and we can also expand and contract time, which you've done a bit. We can't show as much visual information as quickly or as efficiently, and often the narrative just gets bogged down if you try.
What I would love to see is more character injected into this scene. Less of an objective "this is what happened blow by blow" and more of a "look at this really important character-defining moment where we see a new depth to how he thinks and reacts to what's going on around him." I might also recommend trimming down the total fight, so it's not so much one paragraph after another of essentially the same thing.
I like how it ends, and I think the underlying concept here works very well. It's always hard to talk about snippets out of context, but regardless what other character traits you've established elsewhere, I think you definitely have room to get away from the blow-by-blow action sequence and give the scene more of a sense of purpose.
Good luck and happy writing!
Hey,
Yeah apparently I will just review everything you have in the green room okay. So Thomas is a savage! Like damn that guy just doesn't care does he. Well this was really good for a fight scene. I really liked how you split up each death with a number like that. It was easy to read, visualize, as well as understand. So if you were asking in the beginning if it all works it does but that reviewer probably told you that.
One think I am curious about is why he decided to strangle that last kid instead of a quicker death like the other. It seems strange with the other set of deaths but maybe he has a specific reason for it that I just don't know of. Well again great job and if you ever need a reviewer just PM me and I would be happy to do it. So uh have a nice night.
-Zee
WELL CRAP THEN.
It totally works! Keep it up! I also want to know more about this cat buddy. I get so curious about...unstable characters. 

*Claps wildly*
I loved it! The numbers in between the kills them not only helped me keep track of the dead, but it was a super nice touch as well. I didn't even notice the short sentences, I was so into the story.
Oh and great job for no reason on having over 100 pages. I can barely get past 10 before I don't know what to add.
thank u <3
No problem!