As yet untitled short novel

Status
Not open for further replies.
Joined
Nov 6, 2007
Messages
3
Hey guys, regarding the posting guidelines: I guess I would like to know whether this short story is interesting enough in its first couple of pages, and whether a decent level of intrigue has been formed... enough so that a reader would want to continue the journey. It is still very much an initial draft, so any critiques would be greatly appreciated.



Torpid eyes gazed.

Rain from a gentle downpour striped dully illuminated windows, and a half-visible streetlight flickered eerily, hovering above vacant streets. Ordinary sounds saturated an ordinary bedroom, penetrating ordinary ears. A duo of amnesiac insects flapped diminutive wings incessantly as they flew into their glass barrier again, and again; and, overhead, a timeworn fan rotated methodically, circulating balmy air in vain. Dark, olive eyes tracked the spinning blades in a seemingly timeless stasis; all senses, all emotions were absent; he had learned long ago to separate his mind from the harrowing events that had determined his once idyllic life. Now, only a vacant expression veiled the form of a man who had once lived. A man who had once loved.

Three years, forty-four weeks, and six days prior, Colton Benn had stopped living. He was a walking, breathing – and to all outward appearances – existent being, yet, within, nothing stirred. No stray emotion surfaced unexpectedly when he witnessed young children gunned down in the brutal streets of Koranon; nor did any long forgotten sensations re-emerge when he utilised the services of the Seventh Street Courtesans. No. Ever since she had vanished, so had all purpose for life.

Only once had he attempted to end his suffering entirely. The shoddy rope had snapped, and never again had those dire intentions actualised. After that day, Colton became a shell of himself; a passionless spirit within a hollow vessel, wandering aimlessly through a desecrated land. Had Molly been able to see him then, to catch a glimpse of his absolute capitulation, doubtless she would have fallen apart.

Colton grunted in torment as the figure of Molly appeared behind his eyes. Clenching sweaty fists in frustration and gritting yellowed teeth, he dismissed the impending nightmare and rolled onto his side. The brazen white flicker of light past the windowpane distracted him for several minutes, and his thoughts swelled into nothingness. A sense of something akin to peace washed over the thirty-one-year-old, and his eyes slowly drooped shut. Silence was the harbinger of sleep.

A knock.

Colton cursed under his breath. Peeling reluctant eyelids apart, the blonde-haired man scanned his bedside table. The luminous red bars blazed into his night-adjusted vision and, aware that his day was to begin at five, he mumbled vulgarities again; the clock read 2:17a.m.

Embracing the boorish, often immature temperament of his sleep-deprived taxi counterpart, he shut green eyes firmly and folded the excess of a grimy pillow over his exposed ear.

Again, a knock was heard in the upstairs bedroom; this time firmer, and more erratic. Audibly resigning himself to a sleepless night, Colton cast off a sweaty, woollen blanket and lifted himself onto the floorboards. As he forced circulation through sluggish veins and made his way into a dim hallway, he made a promise to himself that, if the unwelcome visitor was, once again, Ricky from across the way, wanting a sympathetic ear against the myriad of relationship problems that plagued his existence, he would finally move across town.

Descending the lacquered oak staircase, soothingly warm against Colton’s taut feet, the impatient knock pierced the lower level a third time.

“Yeah, yeah,” Colton responded wearily; yet not without an aggravated inflection. “Keep your pants on, Ricky.”

As he reached the door and felt the striking chill of metal against his clammy palm, an unusual foreboding threatened to override his will. Colton’s brow furrowed. Again the door banged, this time an enraged collection of sharp raps and severe thuds. Not knowing how the sudden urge to ignore the knock upon his door had materialised, Colton swallowed against a barren mouth and twisted the crude knob.

His heart dropped. As it hit the very limit of disbelief, his soul shattered into a thousand shards of doubt and incredulity. What stood before him was impossible. And, even though he could feel the very real sprinkle of raindrops as they crashed upon his bare skin, Colton’s mind sealed off to all possibilities that this was anything but an illusion. The ridiculousness of the situation almost made him laugh, for although he had dreamed of this individual on more than several occasions, never had one felt so real, nor as painfully agonising.

Moments flew by and nothing changed. There were no distortions of scenery, no additions of random participants; and, as Colton felt an ominous shiver course along his spine, he began to realise that this was no desirous chimera.

[FONT=&quot] “Molly?” [/FONT]
 
Ok for me this is too much, too many adjectives and descriptive words getting in the way of the sense, and of any empathy with the character. I am hearing someone enjoying playing with words.

I think it is something I have a tendency to do. Make it simpler. One sentance that jumped out at me:

Colton responded wearily; yet not without an aggravated inflection

What does that mean?

Three years, forty-four weeks, and six days prior, Colton Benn had stopped living. He was a walking, breathing – and to all outward appearances – existent being, yet, within, nothing stirred.

Whereas I liked this. See what others think, not bad just too rich.
 
Adjectives do not a story make.

That being said, I really like your descriptions, but they read like an essay on combining descriptive phrases, right from the first line. Now, it is important to remember that descriptive phrases have thier place in all writing, but they should not be the focus of the story unless you are going for that type of story. Also, I'm not so great at grammar and stuff, but I do know tone and rhythm (well, self-proclaimed knowledge) if you read any great story, from King to Gemmell, you will notice that there is a rhythm, a beat. Long descriptions are offset by intense action, heavy action is offset by characterization, and so forth and so on. If you have too much of any, your story sounds like a really bad rap song. Nobody wants that.

So while you introduce action, try changing it up a bit. Yes, totally use your eloquent descriptions, but add in some action and some character behaviour. Adjectives are not character behaviour. Nobody's really doing anything.

" Colton responded wearily; yet not without an aggravated inflection"

For example, the above sentence could be:

Colton responeded wearily, his jaw twitched slightly with controlled irritation.

Or something to that effect.
 
OK - you don't need me fo punctuation (oh, I'm sure I could find a couple, one always can, but that's not the point) So I'm going to say something - I think this is overwritten (gasp, from him?) Perhaps if I point out some of your excesses, it'll help me with mine.
Rain from a gentle downpour striped dully illuminated windows, and a half-visible streetlight flickered eerily, hovering above vacant streets. Ordinary sounds saturated an ordinary bedroom, penetrating ordinary ears. A duo of amnesiac insects flapped diminutive wings incessantly as they flew into their glass barrier again, and again; and, overhead, a timeworn fan rotated methodically, circulating balmy air in vain. Dark, olive eyes tracked the spinning blades in a seemingly timeless stasis; all senses, all emotions were absent; he had learned long ago to separate his mind from the harrowing events that had determined his once idyllic life.
I can't handle a "gentle downpour". For me the word "downpour" excludes any softness, it's water with no air between the drops. "Dully"sits badly with"illuminated" It's more "dimly" I get "dull" from relected rather than emmitted light. A flickering street lamp? Flames flicker. A street lamp could give the impression of flickering if it were being swung back and forth by a gale-force wind, but we can hear insect wings, so it's not that stormy. I tried to imagine the runnels of water of the windows refracting the light into motion, but I didn't get a flicker.
And that fan; why is it's action vain? It can't cool the air in the room, certainly, but the humidity is not so high that it feels totally stagnant, because you say it's "circulating" it.
And if the events had "determined" rather than destroyed or deviated his life, it's very difficult to accept the "once idyllic" description.
Oh, all right, I'll go away; all I'm really saying is that I wasn't convinced by the description
 
I hope my comments help you. These are just observations, so feel free to use or lose as you wish. :)

Good luck. Your grammar and punctuation are excellent. Style, however, seems your weak point. You, as a writer, should aim to say what you need to directly and clearly, with minimal hesitation. When your prose starts wandering, so does a reader's attention span.

Whoa! By the time I'd finished this critique, two people had got in there before me. Ha! That'll teach me to be slow and do too many other things at once!


Torpid eyes gazed. [This doesn't grab me. Writers should strive to make their opening sentence and paragraph hook.]

Rain from a gentle downpour ["Downpour", to me anyway, conjures up images of a heavy rain, not gentle. And you are overstating your meaning. All you need, if you must begin your tale with the weather (which is inadvisable) is "A gentle rain tapped against the window."] striped dully illuminated windows, and a half-visible streetlight flickered eerily [I'm known for saying this, but verb-advert combinations are, in most cases, weak writing. How can a light flicker "eerily"? You shouldn't tell us it's eerie, you should show[/i] us this. E.g., "Moonlight did not penetrate the storm clouds, and one solitary streetlamp did its best to fend of the creeping gloom..." You see? Yes, showing rather than telling takes more writing, but it lets the reader imagine.], hovering above vacant streets. Ordinary sounds saturated an ordinary bedroom, penetrating ordinary ears [I know the effect you're trying to achieve, but I'm not sure it works here. You need interesting verbs, adjectives, and nouns in your first lines. Yet you've used words like ordinary, gentle, dully, balmy, diminutive, methodically, vacant, etc. These words are flat and lifeless, and they don't encourage the reader to read further. You want to conjure up some tension. Make the reader imagine this darkened night, the strangeness of the scene, the sense of the impending revelation.]. A duo of amnesiac insects [amnesiac? This is superfluous. I'm not sure the insects even add anything to the scene. If you want to show us that it's windy (I think that's what you're trying to achieve), have a leaf blow past, or something.] flapped diminutive wings incessantly as they flew into their glass barrier again, and again; and, overhead, a timeworn fan rotated methodically [You need to take out all these excess adverbs and adjectives and pick some strong verbs and nouns instead, which will strengthen your prose. Instead of combinations like "flapped diminutive wings incessantly", try "they flapped their wings". And used words like "the flies crashed into the window".], circulating balmy air [Again, just the noun "air" will do. You don't need to tell us the air is calm if you show us it.] in vain. Dark, [I assume you mean "dark olive" was the colour of his eyes; therefore, no comma here.] olive eyes tracked the spinning blades in a seemingly timeless stasis; all senses, all emotions were absent; he had learned long ago to separate his mind from the harrowing events that had determined his once idyllic life. [I really don't think you need ANY of this first paragraph.] Now, only a vacant expression veiled the form of a man who had once lived. A man who had once loved.

Three years, forty-four weeks, and six days prior, Colton Benn had stopped living [Now this is where your story starts. This is a strong opening sentence - and it hooks.]. He was a walking, breathing – and to all outward appearances – existent being, yet, within, nothing stirred [He walked and breathed - to all appearances - yet within him nothing stirred.]. No stray emotion [had] surfaced unexpectedly when he [had or he'd] witnessed young children gunned down in the brutal ["brutal" is telling. You've already show the place is brutal by the children being massacred. So, this word is superfluous.] streets of Koranon; nor did any long forgotten sensations re-emerge when he utilised the services of the Seventh Street Courtesans. No. Ever since she [I would either italicise the pronoun, or write in "his love" or "the woman"] had vanished, so had all purpose for life.

Only once had he attempted to end his suffering entirely [You don't need the adverb "entirely".]. The shoddy rope had snapped, and never again had those dire ["dire" is unneeded. We can see they're dire.] intentions actualised. After that day, Colton became a shell of himself; a passionless spirit within a hollow vessel, wandering aimlessly through a desecrated land [Again, you have too many descriptions. Let the reader imagine these things. "...a passionless vessel, wandering with no destination" is about all you need.]. Had Molly been able to see him then, to catch a glimpse of his absolute capitulation, doubtless she would have fallen apart.

Colton grunted in torment as the figure of Molly appeared behind his eyes. Clenching sweaty fists in frustration ["in frustration" is telling. The clenching has already shown us his mood.] and gritting yellowed teeth, [Here's the point where you start using subordinate clauses. Too many, in fact. Nearly every sentence begins with one. You should vary your style. Perhaps using "He...", or whatnot.] he dismissed the impending nightmare and rolled onto his side. The brazen white flicker of light past the windowpane distracted him for several minutes, and his thoughts swelled into nothingness [Is this needed?]. A sense of something akin to peace washed over the thirty-one-year-old, and his eyes slowly drooped shut. Silence was the harbinger of sleep.

A knock.

Colton cursed under his breath. Peeling reluctant eyelids apart, the blonde-haired man scanned his bedside table [To avoid another subordinate clause, try writing something like "He grumbled and scanned his bedside table". The grumbling - or his earlier swearing - is showing the reader he's annoyed.]. The luminous red bars blazed into his night-adjusted vision and, aware that his day was to begin at five, he mumbled vulgarities again; the clock read 2:17a.m [You need to work on strengthening your sentences. You sometimes say too much, when you should lessen your prose to increase its message. E.g., "The clock read 2:17 am". He swore. At Five o' clock his day began.].

Embracing the boorish, often immature temperament of his sleep-deprived taxi counterpart, he shut green eyes firmly and folded the excess of a grimy pillow over his exposed ear [He shut his eyes and slammed a pillow over his ear, a habit picked up from years as a sleep-deprived taxi driver.].

Again, a knock was heard in the upstairs bedroom; this time firmer, and more erratic. Audibly resigning himself to a sleepless night, Colton cast off a sweaty, woollen blanket and lifted himself onto the floorboards. As he forced circulation through sluggish veins and made his way into a dim hallway [You only need "As he forced himself into the hallway, he made a promise to himself that if the visitor was Ricky, who'd doubtless want more relationship advice, he would finally move across town".], he made a promise to himself that, if the unwelcome visitor was, once again, Ricky from across the way, wanting a sympathetic ear against the myriad of relationship problems that plagued his existence, he would finally move across town.

Descending the lacquered oak staircase, soothingly [I'd lose this adverb] warm against Colton’s taut [I'd lose the adjective.] feet, the impatient knock [Here you have a misplaced modifier. The way you've phrased this, it's the knock that descended the staircase. You need either "He descended the oak staircase, which was warm against his feet, and the impatient knock pierced the lower level a third time", or "Descending the oak staircase, which was warm against his feet, he heard the impatient knock...". You see? After the comma, you need to put the noun or pronoun there, not something unrelated to the action preceding it.] pierced the lower level a third time.

“Yeah, yeah,” Colton responded wearily [You don't need "wearily"; you've shown us his state of mind by what he's just said.]; yet not without an aggravated inflection. [Or, rather then telling us this, you could show us it by writing something like, "Yeah, yeah, I'm coming, okay. Hold up, would you."] “Keep your pants on, Ricky.” [Then again, this line conveys his aggravated mood very well, so again, the telling is superfluous.]

As he reached the door and felt the striking chill of metal against his clammy palm, an unusual foreboding threatened to override his will. Colton’s brow furrowed. Again the door banged, this time an enraged collection of sharp raps and severe thuds. Not knowing how the sudden urge to ignore the knock upon his door had materialised, Colton swallowed against a barren mouth and twisted the crude knob [Again, you could shorten this line to make it clearer. "He swallowed and turned the knob, disregarding his reservations."].

His heart dropped [Eew...! Perhaps a different hyperbole here?]. As it hit the very limit of disbelief, his soul shattered into a thousand shards of doubt and incredulity [This is all telling.]. What stood before him was impossible. And, even though he could feel the very real sprinkle of raindrops as they crashed upon his bare skin, Colton’s mind sealed off to all possibilities that this was anything but an illusion [Or "Colton could not believe the sight before him".]. The ridiculousness of the situation almost made him laugh, for although he had dreamed of this individual on more than several occasions, never had one felt so real, nor as painfully agonising.

Moments flew by and nothing changed. There were no distortions of scenery, no additions of random participants; and, as Colton felt an ominous shiver course along his spine, he began to realise that this was no desirous chimera.

“Molly?”

[This is a good hook. Now you have me interested.]
 
Thanks a lot guys. I know I do have an extreme problem with adjectives and excessive descriptions, great points. I'm trying my hardest to slice down sentences, etc, and by the end of a few drafts I'm sure it'll be toned down a lot.

Thanks again.
 
Status
Not open for further replies.

Similar threads


Back
Top