Hey there Shota
Myjaspercat here to leave you a review.
Now I don't think I've said this yet, so here I go... Welcome to YWS! It's always nice to see a new person round here. I'm totally looking forward to reading and reviewing your work.
Line-By-Line/Nitpicks:
OVERALL: Ok so to start with, that was a very interesting introduction into your story. However there are a couple things I noticed that I wanted to talk about.
1.) DIAOLGUE/ DIALOGUE TAGS:
Dialogue tags --- not once did I see you end a piece of dialogue with the words "[blank] said." While this may seem insignificant, it's actually pretty detrimental to the flow and feel to your piece. One of the biggest "invisible" words in prose is the dialogue tag 'said.' It's one of those words that can come up a thousand times in a novel with out the reader truly absorbing it. This is especially useful because when it comes to dialogue, the reader should be noticing the dialogue itself and not its tag.
But here's the problem: words that aren't 'said' or 'asked' stick out and jar the reader because suddenly they have to actually read the word.
Telling us how a character is saying something in dialogue is telling, and just as unengaging as if it was telling in prose. Showing us, through words, how the character is saying something will be far more engaging. Sure the reader might not read it the way you intended, but here's the thing: that's kind of the point. A reader becomes engaged with writing when they're allowed to bring their own interpretation to it. If you hold their hand the entire way, they never get to enjoy their own adventure and your story becomes boring.
Dialogue --- This is short and simple. When ever you character starts to speak, you need to start a new line.
2.) MODIFIERS: Now, here's a big one so pay attention.
Modifiers are adjectives and adverbs that are used attributively. This means words that alter the understanding of a noun or a verb. Generally speaking, modifiers are very excessive and be used sparingly. Using to many can make your prose purple and thick, and bring the pacing of your story to a grinding halt.
Now, cutting the modifiers usually wont be enough. If you do that, you'll most likely be left with language that is stiff and mechanical. I like to refer to modifiers as a spice in a dish: the right amount gives you a nice kick, but too much and it's all you can taste.
Let's take an example from your writing:
Crimson flames danced along his bronze arms and rivulets of sweat spilled down the lines of his pocked face.
---Here we're given a description of your character, yet the sentence is mostly modifiers. Now, if you were to take away all these fatty details, you could simplify the sentence to "flames danced along his arms as sweat spilled down his face." This way, your reader still knows what's happening without the flow of the text being bogged down. Both sentences say
the same thing, but one of them contains more information then needed. Dose the color of the man's skin or the flames affect the plot in away way, are they truly important? While they may look good and you may think that they add to the story, the truth of the matter is: they make to text become to much and make it boring to read.
3.) THE MAN INFRONT OF THE FORGE:
So, as I was reading I noticed you described him four different ways. Those four ways were: the great Smith, the great man, the giant, the large man. The only thing I want to say about this is that you should pick one title for this character and stick with it.
Ok, so I think I'm done here for now. It's about 3 in the morning where I'm at and I'm really tired so if something I've said in this review confuses you in any way feel free to ask a question. I hope I did help a little though. If you have a question just for the sake of knowing something more, feel free to ask as well. Good luck and continue writing.
Points: 16
Reviews: 265
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