Chapter 1: Taxi!
Tessa stood on the street corner, waiting for the taxi. Stupid driver, called him thirty minutes ago and he can’t even manage to get here on time. She could have walked there faster than this. Now she was going to be late. She gritted her teeth in frustration and brushed loose strands of hair out of her face, glancing up and down the road for the delinquent cab. Not seeing it, she huffed and held her watch out in front of her, jerking away as the crystal reflected the light into her eyes. So, the watch was going to be a pain, too. Never mind, she didn’t want to know how many more minutes had wasted away, waiting for the cab. Her skin tingled from the muggy humidity, reminding her of the last time she waited for a cab- an hour spent in freezing rain. A car whizzed past, scattering dust into her face and hair. Great, now she was coated with a thin coat of dirt, which had stuck to her sweat. She was hot, she was miserable, and now she was officially going to be late. With a growl she scuffed the pavement with her shoe, a strap threatening to break from the abuse. After regaining her balance, she rechecked the street for signs of the cab and then leaned against the street lamp to her left. A cloud crept across the sky, briefly veiling the sun and wrapping her in shade. Okay, so this wasn't as bad as last time. At least she wasn't freezing her panties off without an umbrella, being drenched to the bone with ice water. Another car lumbered down the street, and Tessa absently watched it roll past as she felt the outline of the ivory whistle hanging around her neck and hidden by her blouse, wondering for a brief moment what the driver would think if she summoned Kass. After toying with the idea, she cast it aside and shook her head. No, the FUN Council was very strict about keeping dragons out of the ‘real world,’ and she was already on probation as the first female Dragonmate. She shook her head. Seriously, who came up with that? The FUN Council. The only thing fun about that Council was seeing how much distance she could put between herself and them. The car rounded the far corner of the street and was lost from sight, so she simply enjoyed visualizing all the ways her friend would blow it up, if she ever gave him the chance. After a minute or so of leaning against the post, her shoulder went numb, so she pushed herself up off the streetlight and flipped her cellphone open, dialing Brook’s number. Three rings later, Brook answered the phone.
“Hello?”
“Hey, Brook. It’s me, Tessa.”
“Hi, Tessa! Hey, are you coming to the meeting tonight? You know Max wouldn’t be very happy if you didn’t,” Brook said.
Tessa chuckled sardonically and glanced up and down the road again. “Well, I’d love to, except my ride isn’t here. Could you make sure they don’t start without me?”
“Sure, Tess! So, the taxi didn’t show?” Brook asked.
“No, it didn’t,” Tessa huffed. “You would think the cab company would send another taxi, right?”
“Yeah, you would think. Hey, don’t worry about it. I’ll come get you,” Brook said, her voice mixing with the sound of rustling papers.
“Really?” Tessa said.
“Yeah, yeah it’s fine. Really. I’ll be there in a few minutes. Just give me a second to call Max and them first.”
“All right. Thanks, Brook.”
“Hey, no problem. I’ll be there in a minute.” The line clicked, and Brook hung up.
Tessa clapped the phone shut and slid it into her handbag, and then tried to wipe some of the moisture off her palms onto her jeans, but only succeeded in sticking her jeans to her thighs. Great, now she had two damp palm streaks down her jeans from her pants sticking to her legs. Could the day get any better? She tugged on her white blouse, trying to keep her shirt from giving a repeat performance of her pants’ sudden desire to be clingy. Oh well, at least she could live with the humidity for another hour while she waited for Brook to drive in from the suburbs. Which reminded her, she had an hour to burn. She started up the street, and then stopped when she realized she hadn’t told Brook where to pick her up. Rifling through her handbag, she didn’t hear the two men walk up behind her until the first tapped her on the shoulder.
“Hey, miss,” he said gruffly, tapping a little harder than necessary.
“What?” Tessa snapped, spinning around and away from him as she pulled her cellphone out and held it up like a weapon. The man’s partner stepped back, but the speaker held his ground. The pair were taller than Tessa, both with thick, dark arms left exposed by thin tank tops stretched over their torsos. The smaller of the two stood behind the speaker, avoiding Tessa’s glare beneath a flat-bill, a diamond earring glistening in his left ear. The closer man had his hair braided close to his head, and dark, baggy jeans with a thick, silver chain dangling out of his right pocket and looping to his back pocket. Both held their thumbs hooked into their jeans, backs tilted back slightly as if they were ready to lash out at any moment. Tessa took another step backwards, flipping her phone open as she warily eyed the pair.
“What do you want?” she demanded, shifting the phone so she could dial with her thumb if need be.
“Hey, we don’t got no beef with you,” the leader said, holding his hands up placatingly. “We just want t’know if you know how to get to the bus stop from here.”
“To the end of this road, take a right, and go two blocks,” Tessa said, the back of her neck tingling.
“Cool. Thanks,” the man said, glancing back at his friend. They sauntered past her, and Tessa stepped close to the glass storefront beside her, lowering her cellphone to her side but keeping a watchful eye on the pair as they walked on. The guy with the hat looked back over his shoulder at her several times before they reached the street corner, but every time he met her eyes he quickly looked back ahead. Tessa let out a breath and tried to slow her heart rate, leaning against the shop window and letting the warmth of the glass soak through her shirt, folding her phone into her palm as she dropped it to her side. Calm down, girl. They were just asking for directions. Honestly, she was getting so suspicious lately, probably too suspicious. But then again, that was what kept her alive, especially during the sparring sessions at FUN. Which she was going to be late for, again.
“You okay, miss?” She pulled her head off the glass and glanced at the shopkeeper, a wiry, thin-faced man who appeared in the doorway of his shop to her left.
“Yes, I’m fine,” she told him, glancing quickly down his wax-stained apron, and then at his gold-rimmed spectacles, which he had perched on his nose above a thin, brown beard. His light brown eyes were soft with concern, but bright as well. He reminded her of a scarecrow, especially with his straw hair matted on his skull. All skin and bones, but quaint in a soft, friendly, unassuming way. Just what she needed, another elderly gentleman fathering her under his protective wing. Well, they could keep their pity. She could take care of herself.
“It’s just that you’ve been standing out in the heat for so long,” the shopkeeper continued, rubbing his thin, spindly fingers together. He unclasped them, and formed a spire again, as if he couldn’t decide if he were praying or not. “Would you like to come in?”
Not a difficult question to answer. Stay out in the heat, or go inside some random shop which hopefully had air conditioning? “Sure. Let me make a phone call first.”
“All right,” the man said, slipping back into his shop. Tessa flipped the phone open on its way to her ear, and dialed Brook’s number without bothering to look at the keypad. She tucked her hair behind her ear and listened to the buzzing on the other end of the line, waiting for Brook to pick up. Finally she did. “Hey, Tessa! What’s up?”
“I never told you where to pick me up,” she told her friend. A yellow car turned a corner, and Tessa’s throat constricted when she saw the taxi sign on top. “Hang on a sec.” She waited for the taxi to slow down and pull to the curb, but it didn’t slow and drove straight past her. “Hey! Hey, taxi!” she called, waving her arms in the air. The cab did not stop and turn around. It didn’t even slow. What was it with her and taxis? “Sorry, had a cab drive by. It didn’t stop.”
“I’m sorry, Tess,” Brook said apologetically. “You were saying?”
“Oh, right. I’m on College Ave, by the…” she looked at the store behind her, “candle shop.”
“Oh, that’s nice. Have you been inside yet?” Brook asked excitedly.
“No, I was just going to,” Tessa said, pushing herself off the window.
“Okay, well just stay inside the shop. I’ll pick you up there. Oh, and say hi to Ezra for me. He’s an old friend,” Brook said. Yeah, old was right. The guy was practically a grandpa. “See you there!”
“Yeah, see you,” Tessa said, closing the cellphone and sticking it back in her purse. She walked to the store entrance, then stopped when she saw herself reflected in the glass. Frizzled black hair was in utter rebellion on her head, and her dark eyes looked sullen in the shadows, probably not improved by her mood. Her thin brows arched above her eyes, and her jaw slanted into a gentle point which, coupled with her smooth, bronze-skinned complexion, gave her a pixie look. Thankfully her ears weren’t too pointy, but her slight build only added to the sprite image. Yeah, a light, delicate woman who couldn’t move without being graceful even if she tried. Beyond intimidating. She shook her head in annoyance and reached for the metal door handle, and was greeted by a shock of static. Yep, her mood was definitely not going to improve anytime soon. She pulled the door open and stepped inside, and almost swooned from the wonderful blast of cool air that lifted her hair off her neck just enough to soothe her. Okay, so maybe it would. She glanced around the shop, taking it in. The store was open and airy, wooden cabinets filled with homemade candles lining the walls. A table, of the same light wood, sat in the center of the room with three levels of planks forming a tier, housing some of the larger, cylindrical candles. Several glass jar candles were lit, filling the room with the calming scent of lavender. To the back of the room sat the front counter, and behind that stood Ezra, a large burgundy candle on a rotating pedestal in front of him. He held a small, scalpel-shaped knife in his right hand, which he was using to etch a design on the candle’s curved surface, while he rotated the candle with his left. A large, oaken relief of a menorah was mounted on the wall behind him, and above the register hung a sign that said, “Harness your inner ch’i.” Oh, the Mages would love this place. Tessa wouldn’t be surprised to walk into the back room and find a handful of them meditating right now. This place was so relaxing. She stood in the doorway, soaking in the coolness and letting all her frustration ebb out, before rousing herself enough to move off the black marble entryway onto the gray carpeting. She definitely didn’t want this moment ruined by someone bashing the door into her back. No, that would definitely spoil things. She walked over to the table, and noticed small bottles with bamboo shafts running through their corks into a translucent liquid inside. More aromatherapy. Could this place get any better? As if reading her thoughts, Ezra paused in his works and slipped a hand under his mahogany-hued counter and flicked a switch before returning to his wax carving. Over in the corner sat a small black box with smooth stones mounted on one side, and a tray of pebbles submerged in water. A gentle stream of water trickled down the stones, softly gurgling as the fountain lapped into the collecting tray. Tessa felt her neck and shoulder relax, the last threads of tension in her spine easing away as she watched the waterfall. Such a wonderful place. She could just stand here for hours, let the world fall to pieces for all she cared. But then her feet reminded her that she’d been standing in those sandals for quite some time, and thank you very much she’d like to sit down now. She felt the tension creeping back in at the reminder of why she was even in this store in the first place, but then shoved the thoughts aside. No, she was going to enjoy this little break, especially with what she would be going through after the meeting…no, no. Bad. Bad thoughts. She shook her head and walked towards the front of the store, intending to ask Ezra if there was any place to sit down, when a gap in the cabinets, an alcove, caught her eye. A slatted wooden bench filled the alcove, two candles flickering softly on the corners of the cabinets at the bench’s end, and right above the bench was one of the air vents, which was pouring out just the right amount of cool air. She sat down, her bag slapping the wood, and let her head thunk against the wall. Okay, so the bench was a little hard, and maybe she shouldn’t have intentionally hit her head against the wall, but hey, she was off her feet, and feeling more relaxed than she had in a long time. Yes, life was good, for the brief respite she’d been offered. She wasn’t going to complain. The thought that she should pass Brook’s greeting along flitted across her mind before disappearing entirely as she drifted. Maybe she should stay awake. She grinned and barely moved her head, a tired attempt at a shake. No, Brook would come wake her up if she dozed off. Besides, she was tired. She let her mind wander again, enjoying the reprieve. Before long, she had fallen asleep.
End of chapter
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Hi, cool story. Can't wait to see where this goes.
This gave me strange Harry Potter vibes with the normal seeming world while a hidden magic world hides just beneath the surface. I was almost expecting the candles to be floating when she walked in the shop.
I guess I'll have to see where this goes.
You described the scene very well. Even though not much happened it immersed me very deeply in your world even before I know too much about it.
This is a great scene to start a story as waiting for a cab or uber is very relatable. I could totally get the kind of misery Tessa was feeling. The stress of being late when it's completely out of your hands connects too.
The shop seems nice but I have read too many stories where people are tricked into letting their guard down by a relaxing environment only to find out it was a trap. So I'll hold my suspicion for now.
You did a good job world building naturally too. For some reason Tessa is the only female dragonmate and the magic world seems to be governed by this council.
The fact she thought she could have her friend blow up a car makes me wonder how much control, if any, she has over her dragon partner.
Those guys that walked past seemed a bit random but it was a good way to reinforce the fact that Tessa can handle herself and is a bit suspicious. It also gave a good opportunity for more worldbuilding.
Your description of the characters was also great.
The main constructive criticism I have is that you have a few large blocks of text and it can be a bit hard to read at times. I found that I had to find my place a few times. Adding a few spaces here and there not only emphasizes those sections, but also makes it easier to read.
Other than that I can't find much else to improve. Great job!
I'm excited to read more.
Knight Malachi here to review for Review day, even though you are on the opposite team.
and I love him. That's all i have to say. I forgot to add that that i think the last few paragraphs are Waaaaay too long. It looks like a huge solid cube of writing, making it quite hard to read.
I did this review partly for the blue team, and partly because I never really told you what I though about this chapter. so here you go.
I like your description, it is very clear of what the setting is, and yet it doesn't bore me with details of unimportant stuff, except for the shop that Tessa goes in to. I thought it wasn't necessary to put as much description as you did. It dragged a little.
Now, I saw no punctuation problems or typos. Story-wise it is a chapter that I think grabs the reader's attention pretty fast. Especially with the two guys showing up, and me not knowing if they would do anything or not, but it shows Tessa's on-edge type of personality. Good job with that.
Also, the whole thing with the whistle and the dragons is a cool idea, which I really like. As I have read ahead i know about Kass
Keep it up!
Happy Review Day!!!!
Hello, Kayfortnight here to review your piece.
First, I suggest you find some way to break up your larger paragraphs into more parts. A paragraph is supposed to be a single idea that fits together. I also tend to skip lines in a large paragraph-not purposefully, but they all blend together in a block like you have there. Before you think I'm preaching to you...I have the exact same problem in my work in progress.
Your main character, Tess, is very unlikable. Whiny, grumpy, and refuses pity. I don't know about you, but I read a book for the characters more than for the plot. If you want to keep readers like me, I suggest you give her a couple redeeming characteristics and have her go through some major character development throughout the novel.
I also think you should have a little more happen in this chapter, as this is the chapter that should get your readers hooked. I know you're introducing us to her world, but I think you should have her do more than complain about a late cab and the humidity. Perhaps you could expand her conversation with Brook and add more dropped hints about the world and the FUN council and cut out some of the complaining.
That said, I see a lot of potential here and I'll definitely read the other chapters.
I just wanted to quickly comment on this before moving on to the next chapters. I like a lot of the details you bring in -- don't get me wrong about that. I like especially the stronger visuals: the bamboo plants in glass vases, the alcove she slides in, the men moving away down the block and the way she points her phone at them. You have good instincts.

But you do take them too far. I've said it before today, and hopefully it will be helpful to you in the future: you don't need to write everything. In fact, if you write everything you risk losing the reader. EVERY moment it takes someone to read a sentence is a moment you could lose them. At every moment you should be moving the story forward. Sometimes quickly, sometimes slowly, but there's no room for stuff we don't need. Time is valuable. We want to get an awesome story for our money's worth.
And let's face it: what happened in this chapter? She called her friend to pick her up and went to wait in a candle store. That can literally be covered in a couple of paragraphs, giving one or two to describe the incident with the two guys. It doesn't need to be its own chapter. Chapters generally have small arcs of their own, and there's nothing at stake here. I mean, there's a very small something: she needs a ride, but is that the first thing you want us to care about in terms of this character? I'd rather you spent your talking time giving more hints/information about this FUN council and the fact that there's something to do with dragons!
On to chapter two.
I was going to post this as a reply to your reply, but I got this message:
xD Never had that happen before.
So anyway, here’s my comments on your comments:
First of all, reviews are supposed to be unbiased. We’re supposed to read this as any other reader would read this. Therefore, and I know this sounds harsh, but you absolutely CANNOT give out an explanation for “Why I did this that way and this way” and so on and so forth. I mean, you can for some things. But doing that on everything defeats the point of us giving you a review in the first place! Explanations should not be necessary at all, because everything should be clear in the narrative itself. If you have to explain something outside the prose in order for it to make sense, then you are failing your readers. In other words, the things you brought up, and even some of the things I brought up, should be evident from the texts. Not outside sources, no contrivances, no cheating.
Let me be clear. Immediate third person allows you to move in so close to the character that it feels like both the prose and character thought blend into one. That is perfectly fine, and an effective way to convey internalized text. HOWEVER, there still needs to be a distinction for where the thoughts are entirely from the character, otherwise it will be jarring, because it will be technically, grammatically incorrect.
E.g. “I’ve been here for an hour, darn it.” needs to be completely italicized whereas “She had been there for an hour, darn it.” Does not. Not even the character’s own interjection of “darn it” in that case, because you’ve already set up that it’s internal thought by the way you structured the phrasing.
So I’m not saying italicize everything, just those things that are SOLELY Tessa’s thoughts. (The stuff without authorial structure.)
It’s not perspective, it’s grammar. You can fudge on some stuff, but rules are still there for a reason.
Alright, but mentioning panties is still odd in that context, and if you read my suggestion, that in no way implies that her “butt has ice-water.” You and I both simply said that her “rear was freezing.” And suggestions are suggestions. By no means do I want you copying my stuff verbatim.
Also, how is it going to feel real when you use hashed expressions that no one uses in real life? THAT was the point I was trying to make there.
Yes, I have a job. And if THAT’S what you were trying to say, then you need to clarify because no, it’s not clear from the context.
No, it’s not a rule, but it’s incredibly cheesy. Read what you wrote their out-loud. I know very few people who can actually “chuckle sardonically” and half of your readers aren’t even going to know what “sardonic” means anyway. (Although they should.
No, it does not.
Narrative Style: First person, second person, third person, tense.
Style is largely technical, and should not influence the continuity of a story’s events.
The reader is tied to your protagonist. Whatever she feels, they’re going to feel. In other words, they’re still going to feel like there will be some form of conflict!
Then as I said in my review, don’t put it into this chapter!
And I don’t appreciate you majorly bombing my review. I don’t want you to follow everything I say, that you disagree is great in fact. However, please take the time to read what it was that I’m actually saying.
The issue may be minor, but frankly, having a character stare into a mirror (/mirror-like object) and do a run down on their appearance, is the mark of an amateur. It’s sort of like a writer’s taboo. Just don’t do it. Generally speaking, the reader isn’t going to remember what she looks like in chapter five or whatever where they actually need to know what she looks like, so until it’s DIRECTLY AND IMMEDIATELY RELEVANT leave it out.
Yes, but you said that you want things to be realistic, therefore “realism” is the tone you want. (Although I might recommend against that, considering the story deals with dragons and fairies and candle makers and such. Unless somehow this turns into hard-core sci-fi that explains the existence of such creatures, I say you should go with a tone that creates believability, not realism.) And that being said, you probably want to cut back on the “humorous” side of things.
?
I had no problems with the paragraph lengths…
As for publishing: The intention of ALL advice I give in my reviews is to help writer’s get closer to the polished, publishable stage. So while a lot of what I say may seem heartless, a lot of it happens to be die-hard realities in the very real world of publishing. Trust me, I have been writing for almost five years now. I have maybe two things that I feel worthy of considering for publish? And neither of those are novels. You MUST be brutal, because that publishing world is brutal. If you don’t edit ruthlessly, then some random editor is going to ruthlessly toss your stuff into the trash. (And don’t get me started in all these “self-publishers” now, I will give you my reasons on why THAT is a bad idea.)
So you need to be personally critical of your own work. And that isn’t going to happen when you defend everything about your story, instead of sitting back and saying “Okay, this person saw a problem here. Is there a way I can make this better?” (And not necessarily, fixing things exactly the way the reader/reviewer wanted.)
Build-up is actually called the set up, and it should occur between pages 5-20 on the standard length, young adult novel. Any earlier and you lose the readers by killing sense. Any later and… well, what WERE you doing in those first twenty pages? So while set-up is VITAL to the health of your story, it probably isn’t the first thing that should be happening. Let’s look at some examples:
Narnia: Yes, there’s some set-up originally, but it’s just minor enough to get the siblings out of London and into the countryside, where they experience conflict from the boredom of the rainy old mansion.
Harry Potter: What do we know? We know he’s an orphan and that his life is miserable, but we don’t find out everything about Hogwarts and Wizards until later on, after we already care about Harry.
Lord of the Rings: No, in the book there is no long, dubbed-over prologue. We meet Frodo, in his normal world before the ring and all of its meaning and implications appear.
Eragon: The initial, exciting incident is when he nearly gets his head clipped off by a meteor-egg. The set-up, where we learn of his village life and dragons and such, occurs after that. (Eragon is a particularly bad series of books, mostly learn what NOT to do from them.)
Are you picking up where and how the set up should take place? After thee exciting incident that grabs our attention. After we know enough about the character and their normal world to care. Right before the conflict gets things cooking and only as much as absolutely necessary.
As for “build-up,” build-up is just that: building up to a conflict. You honestly shoulnd’t have “build-up” in there unless there is conflict to be building up to!!!
That is characteristic of INTERNET readers. Normally, chapters in a printed, published book run 10 to 20 pages. If you fear that this is too long, then that fear might not be misplaced. We have a forum on here called “critique corner” where you can ask people for reviews on large chunks of, and even whole books. That might be the way to go. Then you can submit normally excerpts of stuff you really want reviewed. That will save you points too.
Conflict should never (well, okay, very very rarely) be a “where.” Conflict should always be a “who.”
And that, as terrible and horribly mean as it may seem, is my opinion on your "insights."
Please, please, please remember though, that I only took this much time for this because I actually care about your story. I sense that this has much greater potential than you're giving it. I want you to improve. And honestly, what I would love to write as an uplifting, encouraging review often turns out as a scathing criticism because of my uneloquence. If only words could be mastered. So please, don't take this personally. I didn't mean to be offensive in any way.
<3
~ED
I am going to fight the urge to reply to everything you said here again. The only reason why I did so the first time is that such is my typical response when I get such a detailed review, and as such my reply was written more as a writer to writer than writer to reader.
So I'll just tap on the highlights. I guess I should have said artistic narrative style or narrative distance, not narrative style. To me, narrative style doesn't have the connotation of first or third person; that's "voice" to me. So what I was trying to say is that the way I'm writing, I'm attempting to avoid italics to keep the narrative distance where I want it. Italics give it an objectivity that I don't like. Also, the inspiration for this story, the story that inspired me to write with this narrative distance, rarely if ever uses italics. So that's why there's no italics.
Build-up and set-up are the same thing to me. I don't draw a distinction between them. If you're setting up a world, you're establishing either the foundation for or directly talking about upcoming conflict.
Yes, I meant Internet readers. And I'd thought you'd commented on the paragraphs needing to be broken up, but perhaps I was wrong.
My apologies for horribly failing to express in any manner what I was attempting to convey. I did not mean for the previous response, nor do I intend this response, to be a bombing of any of your reviews. I really do appreciate it, and I meant for them to be more factual than a defense of my work.
I think the biggest reason why I reacted that way is that this is nowhere close to being in my review file of my brain. I guess I was just a little too pleased with the results of my experiment to be able to look at it objectively yet. I'm also too attached to it right now to be the scathing critic I'm being over my other work. I'm still in the 'enjoying writing' stage with this story, but when I'm ready to make this story grow up I'll be sure to reread your comments.
Thanks for the comments, and all the advice. I greatly appreciate it (even though I'm not the best at conveying that sometimes).
Trying to achieve narrative distance without grammatical helps is self-defeating. And no, the reader won't notice it as being an "authorial interjection." There is no psychological incongruity, you can have italics and have an invisible narrator. But having no italics makes the narration distinctly un-invisible. Like you didn't go back and check spelling, it's just as glaring to the reader.

Build-up and set-up are completely different elements in regards to conflict and story world, respectively. While they are often used simultaneously, they are not exchangeable, nor should be.
And sorry that I misinterpreted your replies. I should have read that as "overeager" and not "defensive." My bad. (That being said, you are still being defensive!)
Hey there!
SlushySlapped here to review!
I'm just going to review as I go.
Something that's really bugging me are the huge paragraphs you have in the beginning and at the end. It makes it extremely difficult to read, at least for me. I would suggest breaking it up a little.
I read this sentence as a thought. I'm not sure if it is. If it is, it needs to be in italics. If not, I would suggest changing the wording. For example: She had called him thirty minutes ago and the stupid driver couldn't even manage to get there on time. (I'm noticing this a lot, too. Thoughts need to be in italics!)
Similar thing here. I'm not a big fan of the wording. Especially that 'never mind.' As I keep reading, I'm noticing that this happens often throughout the story. The reason why I don't like it is because it's a thought, and since this is written in third person, it disrupts the flow. When writing in first person it makes more sense because it's the character talking about themselves. I'm not sure if I'm explaining this well, but if I'm not feel free to chat or pm me so I can do a better job!
Brook says 'hey' too much! Frankly, all of them are unnecessary. Except for the last one, where she answers her phone when Tessa calls.
My suggestions are in bold. 'Pair' is a bit awkward. Some sentences in the paragraph run too long, they can definitely be cut up. The last sentence was also worded awkwardly. The reader can assume the chain will connect to the back pocket. No need to say it word for word. Like what Bloodink said, excessive description all jammed into one sentence is too much for the reader to take in.
"The guys were taller than Tessa. Both with thick, dark arms left exposed by thin tank tops which stretched over their torsos. The smaller of the two stood behind the speaker. Avoiding Tessa’s glare beneath a flat-bill with a diamond earring glistening in his left ear. The closer man had his hair braided close to his head. He wore dark, baggy jeans displaying a thick, silver chain dangling out of the right pocket which looped around his side.
(Sorry, if I seem harsh. I'll point out things I like at the end!
Instead of 'to,' 'in' would make more sense.
That last paragraph was extremely difficult to get through because it was so long. Such a strain to the eyes. I seriously recommend cutting it up.
I am going to have to agree with EloquentDragon, though. Nothing happens in this chapter. It seems like things will happen, but they don't. But I feel like more could happen to pull the reader further in.
Overall, I liked this a lot! You are really great at describing things. Just remember to shorten some of those overly long sentences. I can't wait to see what happens in the next chapter!
Again, sorry if I seemed harsh! I wasn't trying to be. I hope I helped!
Keep writing!
I will try to break up these paragraphs at some point. You are not the only one with a complaint on their length, so I'm going to address it at some point.
Yay! So you see it too. Well, that's how this style works, actually. The narrative distance is as close to the main character as possible without things turning into an unreadable, chaotic mess. Basically the narrative style is the "in-your-head" type of writing, so for fluidity the thoughts are written as a part of the actual narrative, because they are. They are an integral part of this style, and if you put them in italics it shifts the narrative distance farther back than I want it to be. If I put thoughts in italics, it would disrupt the flow MORE than the non-italics version does. So that's my thinking on that.
You've never had a friend that overuses words? That's Brook right now. She's the bubbly, energetic friend that just can't help herself. Mainly with this story I'm going for realism, and Brook feels like a real character that way. But if the problem persists then those might end up going during revision.
Your suggested edit noted. However, the middle sentence is a fragment, a definite no-no in non-Tessa-related descriptions. But I'll have to think about it.
With that quote, it's an elliptical. The "go in" was dropped, because that's how people talk sometimes. I'm just trying to be 'real' here.
Yes, like I said I'm going to have to address those paragraphs at some point. I just don't have the time to do that immediately.
I understand what you're saying. But I have to say that this is intended to be a book at some point, and for published books the paragraphs aren't that long. However, I understand your point about 'nothing happening'. The issue I'm running into with that is that the opening chapters are a lot of foundational groundwork, building up to the conflict.
So I hope that gives you a bit of an idea of where I'm going.
No, it's not too harsh.
Glad you liked it, and hope you enjoy the rest.
ED here, sorry that this took so long in coming. I swore I would not forget you!
That being said, try to be more realistic here. Is there a more creative reason for her to be suspended? Maybe you can pull something from her back-story. This is a great chance to add some subtle information here. Work with it.
)
Anyway…
Comments taken directly from the text are contained in the spoilers below:
Spoiler
A note on first lines: While you don’t really have to worry about it in the first draft (in fact, I wouldn’t worry about it at all) it is a good idea to spend some time on that first sentence, sine that’s the first thing prospective readers are going to see. You want to hook them, draw them in immediately. Create some suspense here. “Standing on a street corner, waiting for a taxi,” is (no offense) pretty dull. Not only that but it could fit with ANY story out there. The first sentence should sort of be a pacesetter for the rest of the book. And because I’m not as extensive or detailed as I would like to be, here is an article that will give you some more advice on first lines.
When showing a character’s inner thoughts, make sure to italicize them.
With a growl she scuffed the pavement with her shoe, a strap threatening to break from the abuse. After regaining her balance…[/quote]
Since you didn’t actually say that she tripped, this part here doesn’t make much sense. And “strap of her shoe?” can you maybe specify that it’s a sandal?
[quote[she wasn't freezing her panties off without an umbrella, being drenched to the bone with ice water.[/quote]
This “panty” expression seemed hashed, and sounds odd and slightly perverted as a result.
EDIT:
“At least she wasn’t drenched to the bone and freezing her butt off with ice water.”
You do realize that this is one sentence right? Try to break things up a bit to avoid run-ons like this.
She’s on probation cause she’s a GIRL? How sexist are these FUN guys anyway?
Although this dialogue is pretty true to real life, try to avoid “niceties” in character speech. “hello,” “hi how are you,” “Are you coming to the meeting tonight?” This is all very dry, and I’m not sure if it’s entirely relevant to the first chapter. Try to keep things directly related to the present, and try not to introduce too many characters in the very first chapter of the book. We have Kass and Tess so far, which is fine. But there have only been a few paragraphs, Brooke and Max and so-and-so might be a bit much. Rule of thumb: only introduce characters when it is entirely necessary.
How exactly, does one chuckle “sardonically?” “Disdainfully mockingly,” is basically what you said. Why would she be chuckling like this? Try to avoid those –ly words to modify the dialogue tags. The reader senses that it’s a bit forced and dry. Ever heard of Tom Swifties? If not, you should look em’ up.
Remember what I said earlier about niceties? Same thing here. Don’t have characters beat around the bush with such pleasantries as “what do you want” and “we ain’t got no beef with you” etc. Have them be blunt. Also, you don’t have to go into so much detail when describing what they look like. Most of us have seen street-bangers, we know how gangsters (and gangster wannabes) look like. And on that note, I have never heard any bruiser say “beef.” Ever. Period. Try to keep things a bit consistent with real life. Get the dialect right, otherwise you might throw some people off when they sense that it’s off. (Of course, I’m only familiar with the gangsterous denverice class, as I live in Denver. Perhaps the dialect of these curious creatures differ with the region, hmm?)
One more thing: you have a lot of build-up here, rising tension, etc… But then nothing happens. She feels threatened, it LOOKS like she is in a threatening situation… and then the gangsters just leave? What? Don’t set the reader up and then fail to follow through. If you’re building up to a conflict, then there needs to be conflict. If you don’t mean for there to be a conflict just yet (as I suspect) then you need to foreshadow as opposed to build. Technically, these two things may turn out looking very similar to one another, but their function and intent is entirely different. To convey that this is foreshadowing, try to pull back on the overtness of everything. Hint, don’t state. Go for vagueness and subtlety. Suggest that she feels threatened, but also diffuse the gangster’s actions to make them seem less blunt.
There is a problem with this paragraph: it’s all character description. THANKYOU for not mentioning the color of her eyes, I think you sense that the reader could care less about details like this, but the purpose seems defeated when you mention everything else about her. When starting out a story, only mention those details that hold immediacy. i.e., they have to be immediately relevant to the story now. Why does the reader need to know the slant of her jaw or eyebrows or the color of her skin? Not only does this bog down the narrative, but it is telling, not showing. How can you show that she looks like a pixie? And I don’t mean looking in a window. That’s a bit cliché and almost like cheating. I’m thinking you could do something with those gangsters back there^^^ somehow. Maybe they call her a “fairy” or a “witch” or something. Gangsters can be pretty creative when it comes to insults, FYI. Just an idea.
Accent marks can be added in word by just going up to “insert symbol.” But that aside, it’s “Chi” not “Chí,” unless you want the true Chinese version, which is “qi.”
Okay so, I’m trying to discover what mood you’ve chosen for this book. “Lighthearted” seems best to describe it right now, due to her own inner thoughts and situation with the taxi, her self-perception and voice. However, I’m sort of going to guess that this story is heading towards darker waters, with the Mages and training and Kass and ivory whistles and mysterious candle-makers named Ezra and all. While you might be able to pull off both, and while it’s better to keep things “playful” as opposed to heavy handed, just keep in mind that this might lead to some consistency issues. Your first chapter sets up the reader’s expectations for the rest of the book, so if you give them one thing to start up and then change it completely around by the time the story gets underway. Well, let’s just say they might be chucking their respective books at you. Try to keep your tone and mood consistent with the content of the story.
Overall: I really liked a lot of what you saw here. You’re giving the reader a lot of promises about what is going to come, and it looks to be pretty original to me. That being said, beware of not following through on those promises. When you hold out a piece of bacon to the readers, they expect you to give them that bacon. Be sure you don’t disappoint.
Here’s the one problem that I had with this chapter: Nothing happens.
I know that seems a little harsh, but take a look here with me. What have you got so far:
1. She waits for the taxi, taxi doesn’t show. (Oh good, now there’s going to be problems right?)
2. Not so, she simply dials a friend, who agrees to pick her up
3. While just standing there, suffering in the heat, a couple of gangsters walk up and talk to here. (Oh, so now there’s going to be problems?)
4. Nope. They leave.
5. After musing over her own appearance in a shop window, a suspicious, wax covered man appears. (Ooh, finally. This will be a problem right?)
6. Wrong again. He allows her to rest in his air-conditioned shop, no shady deals or demands, completely unassuming.
In other words, not much is happening here. Repeatedly, it LOOKS like something is about to happen, but it never does.
It seems to me as though you’ve only posted half the chapter. Like you’re going to pay-off on all that foreshadowing later on.
However, the reader doesn’t know that. They’re just going to think that you’re jumping around all over the place, without carrying through on anything you took so much time to set-up.
Something must happen in the first chapter. Something big. Her missing a cab and being late to a meeting is pretty big. This is a good, initial problem to get the reader’s attention and keep the story rolling. But you need to have her deal with that problem, there need to be consequences, conflict must escalate.
So my advice? Chapter two should probably really be a part of chapter one. Try to make things more immediate. E.g., don’t have her just wander around and talk on her cell. Maybe she tries to chase down the taxi, maybe she has to run from the gangsters. Anything more exciting and problematic to get her inside the candle shop. Because after all, story is all about conflict.
Hope this was what you were looking for, feel free to ask me anything. (Well, almost anything. I draw the line on age, personal history, and romantic heartaches but anything else is a free-for-all.
~ED
All right, I'll try to make this as short as possible
I hadn't thought of that, but then again build-up really isn't much "really happening", now is it? This story's going to be huge by the time I actually type the last sentence (if there is such a thing), so I have a lot of ground to cover. Especially since this is a brand new world for me. I'm almost building entirely ground-up on this one [which typically doesn't happen]. But it's still in the prototype stage right now, so we'll see what happens later on.
Spoiler first,
People keep commenting on the thoughts idea, which is comforting for me to know that the style works. But this is a different style than italics-thoughts. It's designed to have the narrative distance as close to the main character while having the least amount of disruption. Back and forth and back again is very jarring, and I'd argue even more jarring than the way it's written now. So that's why I'm going with the thoughts built directly into the narrative. It's a perspective thing.
Next two acknowledged. However, again with the second it's a perspective thing. The key thing I'm going for with this story is realism(which will address a later comment). I want this to feel as real as possible, especially with some of the things that will come into play much later on (if I ever get around to writing that part). But with your suggested edit, I want you to consider the edit you suggested. Does her butt have ice water? No, it doesn't. That's a syntax thing. So I'm not going to go that route because of that issue. I will try to fix that, but not that way.
Third one, yes, that is a bit wordy. That'll probably go during revision.
Fourth one: probation doesn't necessarily mean she's done something wrong. You've never heard of being 'on probation' at a new job? It's basically the 'feeling out' period, where you're more restricted than others because you still haven't entirely learned the ropes. That's the sense of this probation. So that is pretty realistic, especially given the context...which is detailed more fully in later chapters.
Again, realism is key. So thanks for the comment, but at this point it stays.
I may just change "chuckled" to "laughed", then. I understand the TS thing, but it's not against the law to use adverbs. That said, what I was going for was a softer, mocking kind of laugh, so it felt more like a chuckle at the time I wrote this. However, chuckle has a positive connotation. Yeah, chuckle's gonna go.
With the gangsters, that opening line's going to be changed. I wasn't entirely happy with it when I wrote it, but I haven't entered the revision stage. And technically, if I kept it, it should be "we ain't got no", but I don't know how it's gonna role. And 'beef' is probably a regional thing, so I may or may not keep it, depending on my mood during revision. Also, as to why it felt like a rise-to-empty-conflict, that goes back to the narrative style. This is from Tessa's point of view, as close as we can get without things getting messy. So it's designed to create the feelings Tessa went through, not a more objective viewing that just shows the two guys walk up. Tessa wasn't expecting them, they startled her, and she reacted. So that's why that portion is that way.
I would agree with you only if I had this isolated as a stand-alone paragraph. As it is now, it's in the middle of one of the 'giants', but still...and please understand this was an experiment. I struggled with descriptions, so I'm still feeling out where I want the balance to be, where to fit things in, etc. I'd rather have too much description than not enough at this point. Her appearance is majorly important to the story, but not readily apparent in this chapter. But I will keep that in mind on where to work it in.
It is not an accent mark. It is supposed to be "ch'i". "Ch'i" is an acceptable form of the Chinese word, whose Pinyin can also be "qi". I actually had to call Chinese friends of mine to find out the spelling when I was writing this, and "ch'i" is the spelling they gave me. So both are acceptable.
That's where transition and build-up come into play. So yes I understand your concern, but I don't anticipate majorly bombing when I reach those segments. I think the issues with those will be minor, more stylistic ones like this chapter. And this story is far too young for me to definitively give you a mood. I think it's going to have a progression of tones, if anything. So maybe there will be some blending and echoing going on.
Wow, this is really long.
Non-spoiler section,
I feel like I still haven't built up enough. Keep in mind that this is written to be a 'book', as in, I'm going to publish it as an ebook at least and hopefully a physical, hold-in-your-hands object later on. So I don't feel the paragraphs too long for that medium. That said, for this medium, yes, there's probably room to break them up.
Have you read chapter 2? Here's the problem. All my chapters are about this length, and melding two together would make something so ridiculously long, no matter how well written it is, I'm going to start losing readers halfway through. That's just a characteristic of this medium: if it isn't short and sweet, then people stop reading.
And the major conflict of the story is where she's going, not where she is right now.
Hope that gives you a little more insight!
You've captured really realistic dialogue here which is good. However, you have massive chunks of description, unbroken, which will need sorting. It can be intimidating to the reader to be confronted with that much prose in one go. The content is good, interesting and the pacing is good. Also, instead of using 'she' all the time in reference to Tessa, break it up occasionally by using her character name.
Otherwise, keep writing.
Massive chunks? I only see one section that seems rather large [on this site]. However, it's not that big of a section, so I'm not sure I understand what you're saying. It's broken up as much as it could be.
I will keep the "Tessa" comment in mind during revision processes.
And thanks for the review! Hope you enjoy the rest of the series.
Hey there, Silver here with a review. You reviewed something of mine earlier, so I thought I'd return the favor. So here goes...
Really, though, even if you do nothing, it will still be great.
Things I Liked: You write in a style that is clean and really easy to read. It all flows very well and there's a good balance between dialogue and description. Tessa (love that name by the way, someone very close to me has that name and I don't see it a lot in literature) is likeable and human and the reader has no choice but to feel bad for her. Your descriptions are well done; the reader can feel like they're in the same situation, hot and sweaty and impatient and you described the characters in a memorable way. Nice word choice, as well. The beginning caught my attention and lasted the whole way through, and makes me interested for more.
Suggestions: It's a pretty solid piece, so there's not much to say here. I would suggest maybe adding something extra to the dialogue. There's nothing wrong with it, but it just seems pretty plain, like an everyday conversation, and the situation doesn't seem very every day. Maybe add a sense of urgency or some more mysterious details? Also, the ending is kind of awkward and not very exciting. I'm not saying it has to be a cliff-hanger or anything, maybe just describe it in a more intriguing way. Use those awesome description skills you used earlier.
I look forward to reading more from you. Thanks for your review, too.
Happy Writing!
Silver
Thanks for the review! With the conversation you mentioned, that's actually the point: it's just two guys asking for directions, and just because they look threatening and are a little 'rough' doesn't mean they're supposed to be highly important or have some mystique associated with them. But thanks for the comments! Glad to hear you liked it.
May you be enveloped in the joy of writing!
Yes! Love it!
1. I feel for Tessa the whole time. She is a bit snappy, but still not enough to be unlikable.
2.Your world is awesome. I like that you bring the modern world and your own fantasy world in a more ancient setting.
3. Kass is irresistible from the beginning. i love his character. He evens gets through to Mama Rae:)
4. Although not much in the way of a bright future for Tessa, I'm really dying wanting to get into the main plot.
5. i can't wait for more characters like Brook to come into it and for Kass to get bigger.
Keep writing strong.
I reposted this in single chapter segments, so people may not understand what you're referencing in some parts unless they keep reading. But thanks for the review!
Yeah I see that now. I guess you did some reviews