Hello again! Here to review the next installment of Princess of the Sea. Let's get started, shall we?
... seahorses the size of our horses through the streets of the glowing city ...
I noticed an instance of this in Chapter 2 as well when you were talking about Silira trying to save the souls of many (not just herself). It seems like you some times break from an omnipresent narrator to one familiar with the lore and logic of the reader's world. Sort of like "Into The Woods" where the narrator is a character all on its own. Now, don't get me wrong, that's a cool idea. But it shows up randomly and out of nowhere. I kind of wish you would either go all the way with it to liven up this narration or avoid it altogether. Because it personally jolts me out of the story the few times you do this.
... pulling out a chair for Silira.
I think I said this last chapter, but where are the servants? It's a little difficult to appreciate the merit of this gesture when the servants don't seem to be doing anything around here. xD
"I would prefer war, actually," Corwin said, ... Corwin sighed. "I know something has to be done, but must it be war?"
Character inconsistency.
He gave us a few years to decide.
"A few years"? Well that's rather lenient. That's plenty of time to plan something.
... young Henry said, sipping milk.
Wait, "young" Henry? How young is this kid? And he was winking at Silira in the last chapter? Creepy? O_O
"Don't answer that. Would that thou couldest, but thou canst only speak with thy eyes and hands and also nod or shake your head. Canst thou point to your home on a map?"
Um...not certain why there's a change in the speech format...
Her home wasn't on any of their maps.
Doesn't she live in the ocean? Do they not have the ocean she lives in on the map?
And Corwin ... He needed a friend.
Aren't there other people in this kingdom? Corwin seem's to be rather sociable. How has he not made any friends? There seems to be no indication why.
" ... But, as soon as I am done with breakfast, I and Silent, with her blessing, will go out into the city."
Wait, isn't Siliria supposed to be in hiding from the Kadir? And aren't they worried about Silira being consider associated with Corwin given the incident she just pulled with the dancing at the party?
He turned to Silira. "Unless you've already seen the city?" She shook her head. He laughed. "Aha, I can tell you're excited. Have you ever even been in Eleschi before?" She shook her head and pointed toward the sea out the window. He looked at it, then back at her. "You arrived by sea? ... "
You should really break this paragraph up. Even though Silira can't speak, her shaking her head is still a form of communicating and participating in the dialogue. Right now, they're acting like speech tags for speech that doesn't belong to her (they belong to Corwin). Whenever you have a new speaker, you form a new paragraph. I've included italicizes and bolds to help distinguish Corwin's speech versus Silira's and make it clearer where you can make this separation.
As it turned out, they weren't. Corwin sent a servant to have a carriage readied.
Yay! There's the bloody servants. About time they started working around here. xD
Colin leaned out the window, ...
Looks like you're jumping between Corwin and Colin again. I prefer Corwin, by the way. ;D
Her eyes widened. She was shocked. He was also shocked. "There you go! Every time you do that, I nearly freak out. You're so unearthly. ..."
This exchange seems so ... unnatural. Which makes it a little difficult for me support these two ever getting together. Which is detrimental to a romance-genre story. I think one of the main reasons is there's this claim of her being "unearthly", but it's a little difficult for me as a reader to see this. Hence, a little difficult for me to see where Corwin is coming from at this point. I think you mentioned in one of the previous chapters that Silira has abnormally large eyes or something. So, it's not like you're not laying any framework. And we've certainly seen she can be eccentric with her joining the dancers last chapter. I just wish you would do more showing of how she's "unearthly" in order to really empathize with Corwin if this is how you want to develop his side of their interactions.
"... Silent, if I may call her that, has the same feel to her. Sort of...regal ..."
I'm kind of surprise to see how chill Silira is with all these compliments she keeps receiving. I'm assuming she doesn't normally receive this much back home; she's just an anomaly on land. Personally, I would feel uncomfortable with this (unless it came from my crush--or, in her case, her Corwin). But, that could just be me being the awkward person that I am. Just my ten cents.
... calling to their mates in the harbor, "Oi! We sail in an hour!"
This was part of your last large block of text. You have two separate speakers here. Each speaker should have their own paragraph.
... one of the vessels anchored to the dock to Silira's left was one she knew well, with bright paint and brighter flags, one she had watched Corwin sail on for a year by now.
Oh, I like this little moment of her running across things that she had seen as a mermaid, but is now seeing in a new view. I think you did something like this earlier with the back-view versus front-view of the castle. Stuff like that help builds Silira's character and the environment. So, good job there!
... which I'm not sure counts as a dock, ...
Again, you're doing this inconsistent personification of the narrator. I would personally like to see you chose to go all the way with it or omit it entirely.
She listened gladly to the gulls crying, the humans yelling and chattering, the waves crashing around the pilings of the long dock...
Not certain why you have these ellipsis here, rather than a simple period. Maybe I'll find out next chapter?
Overall Thoughts:
I like how you don't immediately start at where you left off in the previous chapters. You sort of throw us somewhere else and work your way back to previous events. this adds a bit of mystery and peeks my personal interests as to how you get back there.
I'm still torn as to how I feel about these dream sequences. So far, the only one I've liked was when Silira first saw Corwin on the boat before the storm and mentioning him looking like the statue of the boy back home. The other ones I wasn't a big fan of because of the focus on the imagery. But I do like the idea of the dream sequences as a way to learn more about Silira's past/home-life. Especially since you dropped us in the middle of the story. But, I'm assuming there will be more of these. So, maybe I'll find another one I'll like.
Also, I have a concern with one aspect of the plot. We left off with Silira being sneaked out the back door, but this doesn't seem to be visible in the setting. The Queen and sons are continuing the conversation about war, so that part is accounted for. But there doesn't seem to be much recognition of Silira's circumstances/consequences in terms of her surroundings. We do get some of this mentioned in the speech though:
... "Oh, yes. Your silent ladyship, I was going to tell you that last night went surprisingly well ...Lady Silent, a few people recognized you, but they barely know who you are. Some think you're a noblewoman who moonlights as a dancer. Some think you wanted to spite the Kadif.
However, I can't tell if she's at a hide-out or if she's back at the palace. Also, it's weird for the queen to be visiting with Silira personally. Doesn't this Queen have other things to do? Especially with the Queen now concerned about there being a possible war and an unwanted marriage. Plus, she has to consider plans for Corwin to eventually take the throne. And I'm sure there's more work for her to do on top of all that.
Whelp, that's the end of this essay of a review. Hope something from this helped!
Points: 12486
Reviews: 111
Donate