6,000th post: New prologue and (not so new) start of ch1, 1250 words

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HareBrain

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I hereby submit my x000th-post payment in the traditional manner.

I decided ages ago to ditch the prologue of my main WIP and start with ch1, but someone recently suggested that a different, much shorter prologue might improve things. I’d like to know whether it makes a better start than just launching into ch1, and how the two parts feel together. Any other comments of course gratefully received.

(Apologies to those who are already familiar with any or all of this, but because it's the all-important opening, I wanted as wide a reaction as possible.)


***





She gripped the sides of the open window and stared down on streets seething with men and horses, mothers, children, the old, the young — the surging waters pushed them along, ploughed them under. Beyond the failed sea-walls the dark ocean mounted further, its growling rumble shaking the city, almost drowning the vast shrill chorus of terror and panic.

But death was better to look upon than the chamber at her back. As though magnified beyond the noise of the chaos outside, she heard the crumple of sheets, the soft pad of his feet as he got from the bed they had shared. Her neck prickled with his approach; the stonework beneath her hands felt slimy, malleable, its very substance corrupted. Liquid flowed around her feet, slow and drooling: it came from her, or from him, or from what they had made, the change in the world.

Her body itched at the nearness of his. She squeezed her thighs together and bit her lip at the craving. Better to jump, to throw herself into the doom she had brought so many others. She tried to step up onto the window ledge, but the sticky liquid on the floor held her feet, held her for him, trapped.

His finger stroked the curve of her neck, down to her naked shoulder. She suppressed the shudder.

‘It was worth it, beloved.’ His voice trembled, vulnerable with youth; it might almost have been a plea, except that beneath it she heard his iron certainty.

He believed it, just as he’d believed the Shining Ones’ promises. He believed she’d been worth all this death.

But not even the furious ocean would wash away their sin, she knew, when it claimed them. They had stained the world forever.




1 THE COIL


They were half an hour out to sea, the sailboat smacking over a light swell, when Orc caught the first glimmer of submerged stone beneath the marker buoy ahead. He gripped the gunwale and peered harder, trying to judge the ziggurat’s size through the fragmenting effect of the surface.

‘Big one,’ said Cass, leaning across from the other side of the bow.

Orc nodded. The ziggurat’s flat top had to be twenty feet across, from what he could see, which meant sixty or seventy to the doorway. As much as he could handle. ‘Better wake Ranga.’

‘Not yet.’ Cass put her hand on his knee, but she didn’t look at him. Orc watched the wind tease her bleached, salt-ruined hair as she stared intently forwards. He knew what she was thinking: a ziggurat this size was more likely to be the one they’d been searching for.

Also more likely to drown him.

‘No pressure.’ Her fingertips squeezed through the spongy rubber of his wetsuit. ‘Focus on the small stuff. There’s bound to be something to sell in one this big, and we need the money.’

‘So if fail, we starve — and that’s “no pressure”?’

She huffed a laugh; then Ibben’s thin voice called from back at the tiller. ‘Hoi, outlander!’

Orc turned to meet the gazes of the old man and his grandson. Eyes like dark stones, especially Esteban’s.

‘You see it?’ said Ibben.

‘Hard to miss,’ Orc said.

‘Yes, the water is clear,’ said Ibben, ‘the sea is light. We’ll sail around it. You can see enough from the boat.’

‘No, we need to get in.’

Ibben’s eyes narrowed harder. ‘In the Dwelling?’

‘The water.’

Next to Orc, Ranga groaned and sat up from his slumped position, clearly not asleep after all. ‘Look, we’ve been through this,’ he told Ibben. ‘We can’t survey it properly from the boat — they need to estimate its size and count its steps and so on.’

‘Why does your museum want to know such things?’

‘It’s called “science”,’ said Ranga. ‘Perhaps you’ve heard of it — it’s why we have dreadnoughts and steamships in Torrento while you’re piddling about in this tub.’

Lady’s Blessing is no “tub”, outlander,’ said Esteban. ‘And your city is a long way from here.’

‘No sh*t,’ muttered Ranga, turning to face forwards. ‘Ooh.’ He got to his feet, swayed with the boat’s movement, clutched Orc’s shoulder for support. ‘It is big,’ he said, his voice lower. ‘Yeah, I’ve got a good feeling about this one.’

‘There’s a surprise,’ said Cass.

‘Scoff all you like, this one’s different,’ said Ranga, his voice softened so it could barely be heard over the luffing of the sail. ‘You noticed all this “outlander” crap we’ve been getting, and that other guy calling me “slant-eyes” this morning? Why d’you the fishermen here are even less friendly than the other places?’

Cass gasped. ‘You think this really is the one? And they know?’

‘Makes sense, doesn’t it?’ said Ranga. ‘Ibben being the only one who’d agree to bring us out, and only for twice what we should’ve paid. The locals know about the gold all right, and they want to keep us away from it.’

Orc forced air past the tightness in his chest. And if the gold, then the focus-stone. He glanced at Cass, caught the desperate hope and dread in her eyes before she turned away.

It was real. It was going to be real.

Or it was going to be hell.

The ziggurat’s sunlit plateau slid closer off to port, bright against the blue deep, the topmost of the great steps now visible. Ibben swung the boat into the breeze, and the craft slowed to a wallow. Esteban jumped up to furl the flapping sail, and when the boat’s momentum had carried it to the white-painted barrel, he clambered forward with a gaff and a whiff of armpit, hooked a ring on the barrel and pulled. His mind didn’t seem wholly on the task, though — Orc noticed he kept ducking furtive glances round at Cass, who’d left the back of her wetsuit open.

The sooner they were in the water, he thought, the better. While Esteban tied the painter, he got the bag from the catch-hold and pulled out masks, fins and weight-belts, and he and Cass began to gear up. Ibben crabbed closer; Orc sensed the old fisherman’s attention on their strange equipment. Unique, perhaps. Maybe irreplaceable. He scrutinised his mask for signs of wear.

‘You will disturb nothing?’ said Ibben.

‘I keep telling you,’ said Ranga. ‘It’s a visual survey.’

‘They won’t enter the Dwelling?’

Ranga scoffed. ‘It’d be pitch dark in there. If you can see some kind of impossible underwater lamp in our kit, let me know, and I’ll patent it.’

Orc tried to look guileless as he jammed a foot into a fin.

‘That is just as well,’ said Ibben. ‘If she is angered, even God is powerless.’

‘Who?’ Cass looked up from fastening her belt.

‘The Sea Mother,’ said Ibben. ‘She wears a calm face today, but that can change in a moment.’

‘Hn — hear that, you two?’ said Ranga. ‘If you see an old lady down there, make sure you show her some respect.’

Esteban exhaled. ‘You would do well to show respect up here, outlander. Do you know nothing of boats, in your country?’

‘My country? I come from your capital!’

Ibben spat over the side. ‘We’ll stay an hour.’

‘Hang on, we agreed the afternoon.’

‘In an hour the winds will change,’ said Ibben. ‘You truly know nothing of boats, in your country, if you would argue with those born to the waters you sail on.’

‘It’s plenty, Ranga.’ Cass pulled up the fastener at her back, and nudged Orc’s leg with her fin. ‘Come on, or we’ll cook.’
 
Congratulations on 6000! :D Boy, you sure talk a lot.

That's a very suspenseful prologue. I don't know what's going on, but one wouldn't, going in, and it grips from the very beginning. I might say "rustle" of sheets, rather than "crumple", but I'm not sure.

It seems to me that Chapter 1 has undergone a lot of changes since the last time I saw it, and I like what it's doing there.

I think a word is missing here:

Why d’you the fishermen here are even less friendly than the other places?’

Anyway, nice work!
 
Wow, but that's intriguing. And horrible too. But in a good way.

My only thought that both "gripped" and "stared" risked overkill in the first sentence. I don't know if it's because they're both so strong or because of the repeated pattern.

I also didn't realise that people were actually drowning until I read it for the second time. Me being thick, I suspect.
 
You know, Hex, I didn't either -- but since it's not just me (as I assumed), I'll jump on the bandwagon and mention it too. Though I'm not sure how it could be made clearer, being perfectly clear to begin with, except to people as dense as I apparently was. :confused:
 
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You calling me dense..?! Yes, I wasn't sure either, what it was that had made me miss it when I read first time. I actually went back to suggest that maybe people would be screaming etc if they were drowning and noticed that, in fact, they were. It's perhaps that the screams aren't mentioned until the end of the paragraph so for some reason I had the impression it was all happening in silence.
 
Yep. I like it. It short and intriguing and all the things a prologue should be, and leads very nicely into Chapter 1. I'm still mourning the Geist prologue, but this is a good substitute. And for me, I definitely prefer it to having no prologue and straight into Chapter 1, since it's immediately giving a hint of magic and otherworldiness which I think is helpful.

TDZ has picked up my worry over "crumple". If the male is pushing them aside at that moment then I think you want a noisier word, though "rustle" isn't working for me. What about "whisper of rumpled sheets"? She's also caught the missing "think/reckon" in Ranga's line.

Otherwise:
-- in the prologue I'd delete the "she knew" in that penultimate sentence, and I'd think of having the final sentence in its own para, though I know you shun such manipulative frippery.
-- in Chapter One, the opening sentences are rather too alliterative for my taste, and perhaps a bit too heavy as Hex suggests, and "furl the flapping" could be re-phrased, and a capital "S" for "She" when it's the goddess, perhaps.
-- and in both, rather too many semi-colons for my taste. I don't think any of them are vital and some look distinctly wrong.

But good stuff. Well done. And congrats on the 6,000!
 
Um, killjoy here. I didn't understand it at all. (well I did but couldn't see what on Earth it had to do with the story and, therefore what it added.) And if I don't understand a prologue I stop reading. Sorry. Also the shining ones made me think of David Eddings and I wondered if this was going to be derivative fantasy.

But I liked the start of chapter one very much. :D
 
-- and in both, rather too many semi-colons for my taste. I don't think any of them are vital and some look distinctly wrong.

Being a semi-colon sort of person, I went back to see what you didn't like about them, and I found (gasp) four (4) semi-colons! Remind me to wave lanterns or penguins or something to distract you from them in my stories. I think I had that many in my last 75! :D The only one I would question is the one that is followed with "then", and I remember a recent discussion about that, involving the fact that a sentence can start with "but" or "then". So it's just a bit iffy to me. I don't mind the others. There are a fair number of colons, which I don't tend to use a lot, but nothing about them set off my alarms either.
 
Congratulations on the 6,000, HB! :)
So, sex and death? Very Freudian. Sex begetting death? Intrigued now...

All in all, I like it. Like TJ and TDZ, I'm not convinced by 'crumple', but agree that 'rustle' could work. For me, that is more in context.

My only complaint is that I now want more of this story. If these characters are not expanded upon (and hopefully developed) in the novel, I'm going to be very disappointed!
 
Excellent prose, excellent beginning - all the right ingredients put together in a way that gives pace, clarity, and immediacy. And yet manages to retain a sense of the poetic. This is where writing's at.

(I'm beginning to feel a bit like Bruno Tonioli from Strictly Come Dancing!)

Two minor niggles:

She gripped the sides of the open window and stared down on streets seething with men and horses, mothers, children, the old, the young — the surging waters pushed them along, ploughed them under.

It would have made more semantic sense to mention the water first. BUT if doing so makes the prose prosaic, then it's easily something I can live with.

I also remember something of the original version - I seem to recall feeling distracted too much, then. I nearly did in this instance, but you reined the prose in to retain pace every time my concentration threatened to wander.

The only place where I wasn't sure you did so, so successfully, was this paragraph:

The ziggurat’s sunlit plateau slid closer off to port, bright against the blue deep, the topmost of the great steps now visible. Ibben swung the boat into the breeze, and the craft slowed to a wallow. Esteban jumped up to furl the flapping sail, and when the boat’s momentum had carried it to the white-painted barrel, he clambered forward with a gaff and a whiff of armpit, hooked a ring on the barrel and pulled. His mind didn’t seem wholly on the task, though — Orc noticed he kept ducking furtive glances round at Cass, who’d left the back of her wetsuit open.

I stopped to wonder what the barrel was, as I hadn't recalled that being mentioned before. And the mention of Esteban leering felt you trying to force in a Chekov's gun a little too early - not least because Orc has made clear this is going to be a very difficult dive, yet instead of concentrating on that, he's taking note of what's happening on the boat - but not acting on any of his observations.

However, I want to underline that these are minor niggles - you have setting, context, stakes, primary characters, and secondary characters, all defined in under 1500 words - which is no mean feat at all. For comparison, in Game of Thrones, at 1500 words, all we have discovered is that Gared smarts at having to follow Lord Weymar Royce through the snowy woods.

I would love to see you get somewhere with this through the traditional route.

EDIT: Also, more specifically on the point of the prologue - it works very well for me. It gives a punch at the start, and whets the appetite to read more - which is precisely what you need to do with a flash-forward like this. Is this the very last scene? Does a redemptive scene follow? But how, if so much destruction has occurred? I am left with many questions, and a thirst to see these resolved. More than that, your Chapter 1 flows nicely afterwards, and promises to set a cracking pace.
 
It's fine, I imagine the prologue characters will be back before long, and it's short enough to not interfere with nuttin. Corngrats on 6thou.******
 
Congrats on the 6K. I liked the start of chapter one.

Like Springs I wasn't a fan of the prologue. It's personal but I don't like it when stories deliberately hold back the names of characters and make it "ethereal".
 
I don't know what I can add. I haven't read any of the early edits, so I can't comment on the changes, but you have me held here. Yeah, it's a little confusing, but the start of any book is pretty confusing i think, prologues especially, so that isnt a massive turn off, and chapter 1 was clear enough to grab me anyway.
I really enjoyed the characters, and the setting is very intriguing. I want to know more about it all. My only small point is the use of Orc as a name, i do like it and think that these things should be used out of thier original context, but I immediately picture a big toothed, green skinned warrior, with an axe in his hands, thanks to the old Warcraft games.That is probably just a personal thing, and would undoubtedly be corrected once I got to know the character or visualise him once he is actually described.

Very much enjoyed it, and am looking forward to reading more at some point, I hope :)
 
Thanks for all the responses so far. I hadn't anticipated the reactions to the prologue would be quite so polarised -- it'll be interesting to see how the "voting" goes.

If possible, I'd be interested to hear from any future commenters (or any who've already commented and want to come back!) who like the prologue, whether they think the opening would lose much if it wasn't there? Any who were hooked by the prologue but felt they wouldn't necessarily have been by the start of ch1?

(A few people have raised another important question I'd like to discuss, but I'll save that for later, or maybe another thread.)


I stopped to wonder what the barrel was, as I hadn't recalled that being mentioned before. And the mention of Esteban leering felt you trying to force in a Chekov's gun a little too early - not least because Orc has made clear this is going to be a very difficult dive, yet instead of concentrating on that, he's taking note of what's happening on the boat - but not acting on any of his observations.

That bloody barrel! At some point I felt needed to say that the buoy is a white-painted barrel, but everywhere I try to do that (originally in the first paragraph) it feels clumsy. Is there an easier way of doing it? If I ignored the fact that it was a barrel and just called it a buoy, would it feel too modern and lead people to picture a plastic one? Or if I just had "white-painted barrel" in the first paragraph and never mentioned the word buoy, would it work just as well?

Also, you make a good point about Orc and Esteban's leering. I could leave that for the end of the chapter. I guess I wanted a sense of unease between the fishermen and the outsiders, and Esteban looking at Cass was part of that. But maybe there's enough there anyway.
 
I could come back to add a little bit more on the prologue :)

If I had to choose (though I'm a habitual fence-sitter) I would fall on the side of cutting it, or at least spiriting it away to later in the story, where it might make more sense. Confusion aside, as i said its not a massive turn off for me personally, I think I tend not to like prologues in general. GRRM's are different than most, in the fact that they are pretty much standalone shorts, right? They pick up in the main themes and introduce setting etc., and then they toss the characters away, they don't tease and try to intrigue or hook in that way. Yours, I think, does everything good that I just mentioned, highlighting the dark tone that i assume is running through, as well as the water motif which seems like it will be prominent, but then after all that it kind of relies on that 'tease' as the hook, which cheapens it a little, for me.

I don't think that cutting it would hamper the start of chapter 1, as Brian said, it was a strong opening, doing everything you needed to do with character, setting, goals etc all in a short space, and I don't see anything lost by removing the possible confusion and questions that the prologue has.
That's not to say I think it should be axed though, just put in later. It could even work as an opening, but for the sudden shift in scene before we work out what's going on.
So my vote goes for shift until later in the book and open with chapter 1, or extend the prologue to its own chapter :)


As for the buoy question, I question, I don't see anything wrong with just calling it a barrel straight away. If its a bobbing white barrel tied to the boat I think we would probably realise its a buoy without being called one, right? Though you did bring up another point, about the modernism. The thing that did that for me was the rubber wetsuits... But just looking back over it, with steamships around, I don't think a buoy or wetsuit is a big leap for the setting :p
 
Very interesting.
I'm used to Clive Cussler's Prologues that usually make sense later.

a bobbing white barrel tied to the boat I think we would probably realise its a buoy
Maybe it's a nautical thing. I had no problem with Buoy / Barrel

I immediately thought buoy. Growing up with Boats, Harbour and sea. Yes posh people might have a posh plastic one. But there were always loads of makeshift from 1 gallon can (rope on handle) to old oil drums. Sometimes painted.
 
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At a quick glance this works for me, the main reason being the link between prologue and chapter one; in the prologue we see the flood, in chaoter one Orc is exploring this lost civilisation (or at least seems to be). This makes the prologue relevant -- we wonder just what Orc is getting himself into -- and also adds the intrigue of just what that pair did!

My only quibble is with the stickiness in the prologue -- it makes it too dreamlike for my liking and you know how we all hate a dream for a prologue.

Good stuff and congrats on the 6k!
 
Actually, alchemist has raised a point which we in the know know, but new readers won't, namely that the flood and the ziggurat are linked, as being the lost civilisation (though to be honest I hadn't consciously put the two together). For new readers, though, this is entirely lost. I wonder if it therefore would help cement the prologue in place by specifically referring to the female seeing the rising waters flooding a ziggurat -- putting it into a para of its own to emphasise it, so it isn't lost among the general mayhem.

And while I'm here, I have to say the sticky floor didn't much appeal to me, either, so I'd be happy to see that part omitted.
 
At a quick glance this works for me, the main reason being the link between prologue and chapter one; in the prologue we see the flood, in chaoter one Orc is exploring this lost civilisation (or at least seems to be). This makes the prologue relevant -- we wonder just what Orc is getting himself into -- and also adds the intrigue of just what that pair did!

My only quibble is with the stickiness in the prologue -- it makes it too dreamlike for my liking and you know how we all hate a dream for a prologue.

Good stuff and congrats on the 6k!

My problem with it is that I don't know who the people are in it and why they're being hidden. If it's just a lost civilisation why be so tricksy? Which makes me feel it's Orc and Cass, at which point I start to feel manipulated with a cheap hook (much as Anya said above) because if it was a real hook it wouldn't need to be hidden. (Sorry, Harebrain.) and it might not be Orc and Cass and it shouldn't be - but if it isn't why hide who it is? And then I go round in a little circle.

But I feel the same way when people hide names at the beginning and usually put the book down so this may be a personal thing.

But! One thing I was advised by two different editors was to make sure the start grounds us firmly in the world and doesn't raise questions that leave us unsure what the world is, and this one does that for me. If it wasn't so tricksy about who the people are in it I might well feel very differently.
 
I just have a reason to care about the characters in the prologue. I'm not anti prologue when I am reading them but they need to feel grounded in the story. Pretty much what Springs said.

Hiding a name is the number one reason I don't buy a book, because those tend to be the books where the author is detached from the characters
 
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