Hiya, Katesea! I'm dropping by for a review today!
The morning air strung at Matthew Rook's vulnerable face, flaring a burning color within his cheeks as he pulled his jacket closer to his body to calm the trembling.
*Strung. Also, I'm not entirely sure what 'within' is supposed to be, but I'm going assume you meant something like 'across his cheeks'? And just a quick final thought for this, I do like the way you described him pulling his jacket closer to calm the trembling.
-There are several instances where you use words that don't fit in the context you try to use them in. ('drenched in snow', 'branded the noise into his ears', 'which allowed the snow on top to trample over his jeans', 'shaming him with a rosy pink color'.) I know that I have a habit of using words that don't fit, and I always try to look up the definitions to make sure I'm using the correct term!
-This kind of ties into what I just said, but you seem to have a recurring theme of both purple prose and info-dumping. You're trying to use lots of descriptions and explain what's going on, who Matthew is and little details that end up stretching out for too long. More than halfway through the chapter, I wasn't sure what it was that was happening (and, to be honest, even after I finished I'm still not sure what it is that's going on other than Matthew receiving a letter from his supposedly(?) dead mentor). Descriptions are wonderful and can set up a scene for imagery so your reader can imagine what's going on, but you have to figure out how to have a balance of everything else in your work.
The same goes for info-dumping. It's a bit of a Goldilocks situation of trying to figure our what is just right, and I know this is really hard (I am horrific at balancing all the elements of a story! There's so much to think about and incorporate without making it ages long). In this first chapter, you have a little bit of a plot set up, but most of it is just an introduction to Matthew and Mister Berks, which is fine! But you have to be able to balance it out, instead of telling your readers all about them at the start. The beauty of stories is that you can take your time in revealing character traits. You don't learn all there is to know about someone right after you meet them. It's the same with your characters. As your story progresses, trust that you and your readers will slowly learn more about your characters and how they work
It wasn't as if he was already rejected, he just knew within the cynical mind of his that he was going to be accepted.
I think this sentence would work better if it read 'It wasn't as if he already knew he would be rejected, he just knew within the cynical mind of he that he wasn't going to be accepted'. Of course, play around with it however you like! But as it stands, it doesn't make quite as much sense.
to arrive at his seven thirty appointment with what witnesses could only describe as, the lady of his night.
First off, that comma shouldn't be there. Now, I wanted to point this out because I'm not sure how any witnesses to the car crash would know where he was going or who he was meeting with? You could just say he was going to meet with his lover, without including the witness part.
while the driver of the car simply vanished from the scene and was never to be spoken of again.
While not entirely impossible, I find it hard to believe a drunken teenager could evade the cops and 'never be spoken of again'. Maybe you meant that Matthew and anyone close to Mister Berks never talked about him again, but I wouldn't phrase it that way even it that is the case.
The cold stabbed again at Matthew's cheeks, shaming him with a rosy pink color.
This description is a little hard to grasp for me, because when you're cold, it doesn't suddenly hit you again. Once you're cold (and you stay in that cold), it just grows more painful and uncomfortable. If you want to describe it this way, you could say that the wind blew against his cheeks and gave him a stabbing sensation.
(and this is one of the sections I mentioned earlier about words not fitting into the context you're trying to use them in)
In his thoughts about how oxygen was literally lighting his energy productions on fire, he had realized something. He forgot what he had come out for.
But he hasn't thought about it at all before, so why would he realise he forgot about what he was doing just now? He's spent up until now thinking about his parents arguing, college and his mentor who died. Saying he forgot about what he came out here to do because he was thinking about what kind of air he wants to breathe (which I'm also lost about? This first sentence here doesn't really make any sense to me?) doesn't fit with the first half of the chapter, since he hasn't 'remembered' what he came out here to do up until just now. Or, at least, you wrote that, and then you followed with:
He forgot what he had come out for. Not that was uncommon, Matthew constantly forgot where he was, what he was doing, and sometimes the scariest thing of them all, who he was.
There are other ways that you can imply Matthew was forgetful without having to tell us like this (and it's more info-dumping, which you already have a lot of).
Once he hand a good handle on the handle,
I would change this to 'Once he had a good grip on the handle', so the sentence doesn't have the repetitive handle.
He was surprised, however, by another snap, and ended up popping the cover too rapidly, which allowed the snow on top to trample over his jeans.
I'm not quite sure what this sentence is supposed to mean? I get the idea that he gets snow all over his pants, but didn't he just brush it all off of the mailbox?
Generally the Rook's mailbox was empty, the townsfolk did not have any kind words they wished to write to the family.
No magazines, newspapers, bills or advertisements (to name a few)? Also, saying the townsfolk didn't have any kind words to write the family doesn't make much sense, because you don't only receive mail from your town.
He couldn't bare to think of the dead friend for much longer than a few minutes.
Long enough to tell the reader about him for two whole paragraphs before :p
Do not focus on dead creatures Matthew
Uhh, isn't Mister Berks the one who taught him to? This seems a little contradictory to what has been said about Mister Berks before, although I understand that you're trying to have a set up for Mister Berks to try to give a sense of motivation to Matthew in his letter (at least, I think that is, yes?).
You have a very interesting idea here with a lot of potential, but I can't say much in the way of the plot as there isn't much to comment on. Of course, this is only the first chapter and you're paving the way for the rest of your story! There is definitely intrigue as to why Matthew is receiving a letter from his dead mentor!
I guess my suggestion would be to try to focus less on your purple prose, and trying to explain everything right off the bat. Your descriptions are good, and they have a lot of space to set up some really amazing scenes! I would recommend letting your work sit for a time after writing it, and then reading it out loud to try to catch little words that are off, or descriptions that might not make as much sense (when you're reading, your mind has a certain way of correcting mistakes, so even when they're there, you don't catch them).
Hopefully, you can find something helpful in this review! Please do keep up the good work!
I hope you have a wonderful day!
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