Out of the Frying Pan (Ch 1, Pt 1)

Status
Not open for further replies.

Anne Martin

bathed in subliminal luminosity
Joined
Mar 30, 2011
Messages
367
This is about 60% of chapter one. I couldn't squeeze the whole chapter under the word limit, and the logical place to stop would have left a cliffhanger, which is not the purpose of asking for a critique, so it will seem unresolved at the end.


Out of the Frying Pan

Lena Carthage crouched behind a filing cabinet. It was the only item of furniture in the office that hadn't been riddled with bullets. Shards of glass had flown everywhere, making crawling along the floor treacherous … and then there was the blood and the bodies, littering the floor of the main open plan work area.

Where was Bruce Willis when you needed him?

She had miraculously survived the initial onslaught, having crawled under her desk to retrieve a pencil just as the … she didn't know what, who or how many they were … opened fire from the doorway with AK-47s. Bullets flew, ricocheted, killed and maimed for at least ten minutes as she hid under her desk. When it fell silent, she dared not breathe as the attackers combed the room, looking for survivors. One of the walls of her cubicle had fallen across her desk in the melee, saving her from closer scrutiny.

The few that remained alive were shot through the head as they pleaded for mercy.

“She's not here,” complained a vaguely familiar voice.

“You said she was always here at this time,” accused the leader. “She is the only one who can cross through, you imbecile.” A shot rang out, and a body thumped to the floor. “Find her,” he growled. “Kill everyone in the building if you have to. No one must leave here, especially not her.”

At once, they were out the door. Not daring to move, Lena listened as women screamed and more shots rang out in the distance, as the killers checked individual offices, conference rooms, and toilets looking for this mysterious woman. Not having heard anyone nearby in ten minutes, she peaked out to see if anyone remained to guard the room.

No one. Careful to avoid the shattered glass, Lena had crawled out from under her desk silently. By the door, she found a body dressed in all black sprawled on the floor in a pool of blood. His balaclava was torn where a bullet had shattered his skull: Dean Tracer, or what was left of him – he was the voice she'd recognized. He'd worked in the office for only three weeks, and in that time he'd hit on her at least four times. She wasn't interested. Her instincts detected a sliminess about him that she couldn't explain, in spite of his rakish looks and smart dress sense. Her friend Shona fancied him, but he wouldn't give her the time of day.

Shona was dead now.

An AK-47 hung over Dean's shoulder, but Lena dared not touch it. The pistol in his hand looked more straightforward to use, although she had never shot a gun before. As she picked it up, she heard footsteps approaching in the hallway.

“She must be here!” the leader snarled from the top of the steps.

Lena ran into a side office to the relative safety of the filing cabinet. The acrid smoke from the weapons' fire was the only thing that kept her together. She couldn't cry now. A room full of corpses, and she was likely to be next.

Not now!

Crouched with the gun against her cheek, she peered out into the office, where they had turned their attentions to a specific desk: hers.

S**t!

She was the only one who could cross through. Cross through what? They had killed the inhabitants of an entire office complex, just to kill her.

“Footprints!” someone hissed.

Lena groaned. She had stepped through the puddle of Dean's blood, and the prints would lead right to her. How much ammunition did she have? Not enough against their arsenal. She didn't even know how to check.

“In there!” another shouted.

Lena wasn't going to die without a fight. Steadying herself, she took a deep breath, half-pulled the trigger, and shouted, “Hell-fire!” taking a step around the corner and squeezing the trigger.

Pffffft.

Startled, Lena found herself standing in the middle of a mirror-like lake. The repeat of her shot seemed so anticlimactic, as if it had disappeared before it left the gun. Her attackers were gone, as was the office … and the stench, worse than before, more like rotting flesh than dust and fresh blood. The sun burned black in a sky devoid of stars. In the distance her lake, which was only an inch deep where she stood, was lit by 12 pyres, each 144 feet high. She didn't know how she knew that, but she did, from deep in her being.

The lake itself wasn't water. It reminded her of mercury, and her movements left no waves. It stuck to her toes like an opaque chrome paint, as if she had mirror-plated her feet. If that weren't strange enough, it had dissolved her shoes and stockings on contact, yet it left her untouched. Dazzled by the pyres, she couldn't see past the surface, just the black sun in the black sky and herself. Still confused, she reached down and dipped her hand in. Like her feet, the liquid coated her fingers, dissolving the fine hair on the back of her hand. It was odourless, so the stench had to come from beyond the pyres.

She dabbed her finger on her tongue: no taste, or rather, it tasted like her … like her after a hard night with Ben, her ex-boyfriend, salty and sweet at the same time, like a light post-coital sweat. She couldn't feel the silver dot on her tongue, yet she knew it was there, confirmed as she bent over to look at her reflection in the pool. Not thinking, she wiped her hand on her skirt, which dissolved almost before she touched it.
 
Lena Carthage crouched behind a filing cabinet. It was the only item of furniture in the office that hadn't been riddled with bullets. This one line distracted me for about five minutes. Why doesn't the filing cabinet have bullets in it if everything else does?! Shards of glass had flown everywhere, making crawling along the floor treacherous … and then there was the blood and the bodies, littering the floor of the main open plan work area.

Where was Bruce Willis when you needed him?

She had miraculously (get rid of miraculously)survived the initial onslaught, having crawled under her desk to retrieve a pencil just as the … she didn't know what, who or how many they were … opened fire from the doorway with AK-47s. Bullets flew, ricocheted, killed and maimed for at least ten minutes as she hid under her desk. When it fell silent, she dared not breathe as the attackers combed the room, looking for survivors. One of the walls of her cubicle had fallen across her desk in the melee, saving her from closer scrutiny. I'm now not sure where she is. Under the desk or behind the bullet-proof filing cabinet?

The few that remained alive were shot through the head as they pleaded for mercy.

“She's not here,” complained a vaguely familiar voice.

“You said she was always here at this time,” accused the leader. “She is the only one who can cross through, you imbecile.” A shot rang out, and a body thumped to the floor. “Find her,” he growled. “Kill everyone in the building if you have to. No one must leave here, especially not her.”

At once, they were out the door. Not daring to move, Lena listened as women screamed and more shots rang out in the distance, as the killers checked individual offices, conference rooms, and toilets looking for this mysterious woman. Not having heard anyone nearby in ten minutes, she peaked out to see if anyone remained to guard the room.

No one. Careful to avoid the shattered glass, Lena had crawled out from under her desk silently. (Ok, she's under her desk. So... what's the filing cabinet bit? I'm guessing that's something you forgot in an edit - I've just done it myself with a character's boots, forgetting he'd taken them off a couple of scenes earlier!) By the door, she found a body dressed in all black sprawled on the floor in a pool of blood. His balaclava was torn where a bullet had shattered his skull: Dean Tracer, or what was left of him – he was the voice she'd recognized. He'd worked in the office for only three weeks, and in that time he'd hit on her at least four times. She wasn't interested. Her instincts detected a sliminess about him that she couldn't explain, in spite of his rakish looks and smart dress sense. Her friend Shona fancied him, but he wouldn't give her the time of day.

Shona was dead now.

An AK-47 hung over Dean's shoulder, but Lena dared not touch it. The pistol in his hand looked more straightforward to use, although she had never shot a gun before. As she picked it up, she heard footsteps approaching in the hallway.

“She must be here!” the leader snarled from the top of the steps.

Lena ran into a side office to the relative safety of the filing cabinet. (So now she's at the filing cabinet again? I'm confused.)The acrid smoke from the weapons' fire was the only thing that kept her together. She couldn't cry now. A room full of corpses, and she was likely to be next.

Not now!

Crouched with the gun against her cheek, she peered out into the office, where they had turned their attentions to a specific desk: hers.

S**t!

She was the only one who could cross through. Cross through what? They had killed the inhabitants of an entire office complex, just to kill her.

“Footprints!” someone hissed.

Lena groaned. She had stepped through the puddle of Dean's blood, and the prints would lead right to her. How much ammunition did she have? Not enough against their arsenal. She didn't even know how to check.

“In there!” another shouted.

Lena wasn't going to die without a fight. Steadying herself, she took a deep breath, half-pulled the trigger, and shouted, “Hell-fire!” taking a step around the corner and squeezing the trigger. (Hell fire?!)

Pffffft.

Startled, Lena found herself standing in the middle of a mirror-like lake. The repeat of her shot seemed so anticlimactic, as if it had disappeared before it left the gun. Her attackers were gone, as was the office … and the stench, worse than before, more like rotting flesh than dust and fresh blood. The sun burned black in a sky devoid of stars. In the distance her lake, which was only an inch deep where she stood, was lit by 12 pyres, each 144 feet high. She didn't know how she knew that, but she did, from deep in her being.

The lake itself wasn't water. It reminded her of mercury, and her movements left no waves. It stuck to her toes like an opaque chrome paint, as if she had mirror-plated her feet. If that weren't strange enough, it had dissolved her shoes and stockings on contact, yet it left her untouched. Dazzled by the pyres, she couldn't see past the surface, just the black sun in the black sky and herself. Still confused, she reached down and dipped her hand in. Like her feet, the liquid coated her fingers, dissolving the fine hair on the back of her hand. It was odourless, so the stench had to come from beyond the pyres.

She dabbed her finger on her tongue: no taste, or rather, it tasted like her … like her after a hard night with Ben, her ex-boyfriend, salty and sweet at the same time, like a light post-coital sweat. She couldn't feel the silver dot on her tongue, yet she knew it was there, confirmed as she bent over to look at her reflection in the pool. Not thinking, she wiped her hand on her skirt, which dissolved almost before she touched it.

Sorry to go on about the filing cabinet, but in that first part I just couldn't picture where she was. It got a lot better, and more interesting, after she fires the gun (someone being the only person left after everybody else has been shot has been done so many times before). The writing's good, just a bit confusing - for me at least. I'm sure someone else'll come along and say I don't know what I'm talking about. ;)
 
This is about 60% of chapter one. I couldn't squeeze the whole chapter under the word limit, and the logical place to stop would have left a cliffhanger, which is not the purpose of asking for a critique, so it will seem unresolved at the end.

Hi Anne, nice to see some work here. You don't say what you want, so I'll give you my general input, and anything I think of. It's a mixture of generalities and nitpicking (the latter you can usually safely ignore if you don't like them). If there's owt more specific you need... Did you add the skimlinks or is that a malaware leftover?

All this is m'own opinion. I know no better than you, and am just like you, a (struggling, in my case) writer, trying to get better. If anything I say gels, then consider it. If not ignore it.

PS, saw Mouse's post just as I was posting. So some repetition, as I was doing it offline.

Out of the Frying Pan

Lena Carthage crouched behind a filing cabinet. It was the only item of furniture in the office that hadn't been riddled with bullets.Unlikely, seeing the fire power you describe. Make it a metal one so the bullets don't penetrate all the way through (But then you don't tell us if this office wasn't shot up, but the next bit links the two, so I assume shards of glass are in the room with the cabinet. Shards of glass had flown everywhere, making crawling along the floor treacherous … and then there was the blood and the bodies, littering the floor of the main open plan work area.Nitpick: 'had flown everywhere'... you pitch us into the action and then refer to a past event. Would it be better to say 'shards of glass covered the floor' or 'shards of glass were everywhere' since you mention the floor in the next sentence? How does she see the main open plan work area if she's crouched under her desk, terrified? (I told you they were nitpicks...) Having read on,I see that she is at the filing cabinet, and the narrator is telling us what happened before...

Where was Bruce Willis when you needed him?

She had miraculously survived the initial onslaught, having crawled under her desk to retrieve a pencil just as the … she didn't know what, who or how many they were … opened fire from the doorway with AK-47s. Erm, there's something about this last sentence that could be better - I think it's the mixing of tenses again 'had' and 'having' and 'opened' The pencil bit is a bit of information too far, although it's important to know how she escaped the intial onslaught. If she saw the AK47s, didn't the gunmen see her? Where is she again? The opening line has her crouched behind a filing cabinet. But I thought she was under the desk...

Where were we? Oh yes that sentence:maybe summat like: 'she still clutched the pencil that had saved her life. She was under her desk retrieving it when the shooting started.' (Or 'she had been under her desk when the shooting started' if you want to go with the timeframe opening with her standing by the cabinet)
Bullets flew, ricocheted, killed and maimed for at least ten minutes as she hid under her desk. BTW the AK47 is capable of firing 600rounds per minute and you might want to reconsider the firing going on for ten - they'd have to reload about ten times a minute if the firing is continuous, which means they'd need a very strong man to carry the ammunition... When it fell silent, she dared not breathe as the attackers combed the room, looking for survivors. One of the walls of her cubicle had fallen across her desk in the melee, saving her from closer scrutiny.So she is under the desk...

The few that remained alive were shot through the head as they pleaded for mercy. Although that's horrific, why have you moved to the passive voice? And how does she know it's the head?

“She's not here,” complained a vaguely familiar voice.Now unless this is happening whilst she's crouched behind the filing cabinet, then the tenses are definitely wrong.

“You said she was always here at this time,” accused the leader. How do you know he's the leader? It's just another voice...A shot rang out, and a body thumped to the floor. “Find her,” he growled. “Kill everyone in the building if you have to. No one must leave here, especially not her.”

At once, they were out the door. Not daring to move, Lena listened as women screamed and more shots rang out in the distance, as the killers checked individual offices, conference rooms, and toilets looking for this mysterious woman. If she can't see this, wouldn't it be better, and more horrific if she just hears screams and shots, and jumps each time? She must be terrified... Not having heard anyone nearby in ten minutes, she peaked out to see if anyone remained to guard the room. 'After some time, she cautiously peeked around the desk. No one in sight.' ??

No one. Careful ?trying? to avoid the shattered glass, Lena had crawled out from under her desk silently. The change in narration needs to be adressed, because you've gone back to 'had' which is correct if she's telling us this from the filing cabinet. But it's a tad confusing... By the door, she found should be 'had found' if she's by the cabinet a body dressed in all black sprawled on the floor in a pool of blood. His balaclava was torn where a bullet had shattered his skull: Dean Tracer, or what was left of him – he ? his? was the voice she'd recognized. He'd worked in the office for only three weeks, and in that time he'd hit on her at least four times. She wasn't interested. Her instincts detected a sliminess about him that she couldn't explain, in spite of his rakish looks and smart dress sense. Her friend Shona fancied him, but he wouldn't give her the time of day.

Shona was dead now. She wondered if shona was dead now. She ain't seen the body...

An AK-47 hung over Dean's shoulder, but Lena dared not touch it. The pistol in his hand looked more straightforward to use, although she had never shot 'fired' might be better a gun before. As she picked it up, she heard footsteps approaching in the hallway.

“She must be here!” the leader ?'a voice snarled...'? snarled from the top of the steps.

Lena ran into a side office to the relative safety of the filing cabinet. The acrid smoke from the weapons' fire was the only thing that kept her together. Erm, curious... I don't know if you mean the weapon in her hand or the AK47's discharge... I'd lose that sentence altogether, the next one says it so much better. She couldn't cry now. A room full of corpses, and she was likely to be next.

Not now!

Crouched with the gun against her cheek, she peered out into the office, where they had turned their attentions to a specific desk: hers.

S**t!

She was the only one who could cross through. Cross through what? They had killed the inhabitants of an entire office complex, just to kill her.

“Footprints!” someone hissed.

Lena groaned. She had stepped through the puddle of Dean's blood, and the prints would lead right to her. How much ammunition did she have? Not enough against their arsenal. She didn't even know how to check.

“In there!” another shouted.

Much better: present action, focuses it much more viscerally and works really well.

Lena wasn't going to die without a fight. Steadying herself, she took a deep breath, half-pulled the trigger, and shouted, “Hell-fire!” I'd rather she shouted 'Ba***rds!" unless shouting Hell Fire is going to be relevant later, of course... taking ? She took? a step around the corner and squeezing squeezed the trigger.

Pffffft.

Startled, Lena found herself standing in the middle of a mirror-like lake. The repeat of her shot do you mean twice? Or do you mean the sound of the shot? seemed so anticlimactic, as if it had disappeared before it left the gun. Her attackers were gone, as was the office … and the stench, worse than before, more like rotting flesh than dust and fresh blood.This sounds as though the stench has gone... The sun burned black in a sky devoid of stars. In the distance her lake, which was only an inch deep where she stood, was lit by 12 pyres, each 144 feet high. She didn't know how she knew that, but she did, from deep in her being.

The lake itself wasn't water. It reminded her of mercury, and her movements left no waves. It stuck to her toes like an opaque chrome paint, as if she had mirror-plated her feet. If that weren't strange enough, it had dissolved her shoes and stockings on contact, yet it left her untouched. Dazzled by the pyres, she couldn't see past the surface, just the black sun in the black sky and herself. Still confused, she reached down and dipped her hand in. Like her feet, the liquid coated her fingers, dissolving the fine hair on the back of her hand. It was odourless, so the stench had to come from beyond the pyres.

She dabbed her finger on her tongue: no taste, or rather, it tasted like her … like her after a hard night with Ben, her ex-boyfriend, salty and sweet at the same time, like a light post-coital sweat. She couldn't feel the silver dot on her tongue, yet she knew it was there, confirmed as she bent over to look at her reflection in the pool. Not thinking, she wiped her hand on her skirt, which dissolved almost before she touched it.

I like the last bit very much... I think if you could sort out the tenses in the beginning bit, it would have better impact as an opener. See what you think, and wait for loadsa opinions, they'll all have some differences, but you have a great 'voice', and just need a little tweaking. Good luck.
 
Sorry to comment again, but I'm pleased Boneman's said pretty much the same thing as me. Means I'm getting better at this writing lark!
 
I would make the comment that the title, while citing a cliche, has been used as a title for numerous cooking books and even novels before, and in sf/f, most notably as a chapter of The Hobbit. Might want to consider something different, unless you are looking for the baggage that comes with that title.
 
Thanks, Mouse and Boneman for the in-depth comments. I didn't ask anything specific because I didn't want to direct people's readings too much. You pretty much covered what I was looking for. Yes, she is hiding behind the filing cabinet in a side office recalling what happened, and she was underneath the desk retrieving a pencil when the attackers entered guns blazing. I was worried that it wasn't clear, and although I had made a few changes to fix it, apparently it wasn't enough. Maybe I should mention that she is holding a gun, or something to that effect before recounting the events. Concerning the sound of the shot, I've often heard (in America) it referred to as a "repeat," but I was just trying to get away from the "sound of the shot" and being to too subtle or slangy. I just wanted the right word, but that apparently wasn't it. In any case, she's from London and not America, so she probably wouldn't use that slang.

The choice of the word "Hell-fire" was specific, as will be explained in the remaining 700 words of this chapter. It was an archaic phrase that her grandfather (a country parson) habitually used in his sermons, but it is much more than that, as you will soon see.

The title: like all my longer work, this was begun as a short story, and I always title them early, and often change them after they are finished. Briefly, she believes that she is dead and in Hell (a bit too loose with her body), but this reminds her not of Dante's more-likely second circle, but the ninth, where Satan stands frozen in the middle of a lake, surrounded by more fiery circles. Why the 12 pyres 144 feet high? Why feet and not metric? It has to do with what the liquid does to her and her affinity for it (numerical accuracy/perfection). If she thought hard about it, she could tell you her exact distance from the "black sun" or the diameter of the planet (8192 mi, slightly larger than Earth). In chapter two (which I won't post), someone who is stuck in the surrounding bog (and in constant contact with the strange liquid for 200 years) claims to her that he could tell her the value of Pi up to 200 decimal places, but he can't remember his name.
 
Btw, I don't see the skimlinks, but I've noticed them elsewhere.
 
Btw, I don't see the skimlinks, but I've noticed them elsewhere.

Bruce Willis and Balaclava... I found the last section really atmospheric (no pun intended) and although I haven't seen a lot of your work, your descriptive prose is obviously a real strength... from pfffft onwards could be a fantastic place to start the story, and then tell the office bit as 'she could barely remember how she got here, but it slowly came back to her.' 'Twould be an incredible hook...:eek:
 
Actually, my section introducing the antagonist/antihero starts that way (Ch 4), and I'm not sure I want to do it twice. I wanted to start with it thriller-ish and then have the pfffft moment. I like the idea of building up to having her squeeze the trigger, and it just goes pfffft, sort of like a toy gun that sends out a little flag in cartoons.

I'm also worried that if I start with the pfffft moment, the atmosphere of the switcheroo will lose its context. She's working in an Earth office and suddenly she's on a strange planet in the middle of a lake that dissolves her clothing. I think you would lose the impact.

"Gee, this is strange stuff. How did I get here? Wasn't I about to take a bullet?"

I'll think it over. Maybe it will make more sense if I post the last third of the chapter. Possibly later. It's time to cook some dinner.
 
I agree with most of what Boneman has said, though I had no problem with the filing cabinet thing -- I understood at once she was there recollecting what had happened and we were getting an extended flashback up until the baddies come in again. However, the tense changes are a bit clumsy at times. I'd suggest you start with her still under the desk with the firing going on and then taking us through it as it happens, which will avoid that problem and might also help to make the action a lot more gripping -- at the moment it's a bit flat by being all in the past.

However, I have to say the whole premise strikes me as implausible. They know who she is, what she looks like, and where she sits. So why have an army invade and blast everyone to smithereens, when they could have killed her with one single shot to the head when she arrived that morning? You may have very good reasons for the killers to have to do it this way, but to my mind it reads false -- you're deliberately trying to make a Big Dramatic Start to the book by killing everyone. (Isn't there a film with Robert Redford that opens like this? He escapes because he's gone out the back door to get lunch or something.)

Even if the baddies do need to come in mob-handed, eg to provide cover for the fact she's the real target, why didn't they check on her whereabouts before shooting? For all they knew she might have gone to the canteen/loo/broom cupboard so by shooting everyone in this office and making such a commotion they would be giving her a chance to escape -- that "You said she was always here at this time" just won't wash. And they would surely have checked out her desk first before leaving to scour the rest of the building in case she had hidden herself there when she heard them coming in the door in the first place -- a piece of flimsy cubicle wall wouldn't be nearly enough to deter them from looking. Put yourself into the leader's shoes -- he has to kill this woman, his life is no doubt on the line if he fails, he is not going to make elementary mistakes -- if they've been professional enough to put Slimy Dean in there for 3 weeks, then they'd do the rest of the job properly.

By the way, I'm assuming she has magic powers which prevent her being killed in the hail of bullets -- hence the need for the "miraculously" to which Mouse objects? Because a modern desk would be damn-all protection against anything. If so, you need her to be a bit more "OMG how did I survive that?" If not, if she doesn't have such powers, you really need to re-think the scene.

I've no idea of the fire-rate of AK-47s (and how does she know so precisely what they are?) but I agree that 10 minutes with all the baddies firing is another implausibilty -- everyone would have been mown down in the first 30 seconds. It reminds me of an A-Team episode, with perpetual fire-fights and nothing actually resulting from the gunfire. And what is everyone else in the building doing for those 10 minutes, for goodness sake? If she can hear screams from other rooms, those people would hear these screams, so why aren't the other office-workers running? If there are other baddies keeping them under control, why didn't the shooting all happen at once? If there is magic keeping the doors closed why does the leader say no one can be allowed to escape? Thinking about it what's the "if you have to" doing there? If "No one can leave here", how else is he going to stop them?

Leaving aside the realism of it, I have to say your heroine struck me as pretty uninvolved in the circumstances. She has listened to a massacre, her friend is lying there dead, blood is everywhere, bodies litter the floor, and she can come out with "Where was Bruce Willis when you needed him?" It's the kind of line from a BW film, of course, but it kills stone dead any real empathy for her situation. Again, you may have reasons for her lack of emotion -- for all I know she could be somewhere on the autistic scale -- but to me it again rings false. It's a comic book killing, not the horrific reality. "She couldn't cry now." Cry? She'd be [censored] herself in fear at this. Hardened cops puke on seeing scenes of this kind where they know no one, and she can walk through the blood of her friends and colleagues and calmly pick up a gun? If she is unable to process emotions for some reason, or if you simply want her to be numb with shock, then I think you need to say so.


A few nitpicks. This wasn't a melee, which is a fight where confusion reigns, this was a massacre. It's "peeked" not "peaked", and I think you may be confusing "repeat" with "report" -- ie a sudden loud noise of the kind a gun makes. And Boneman is right -- it's "his was the voice" which she recognises.

Your writing is accomplished for the main part (though I have reservations about "Steadying herself, she took a deep breath, half-pulled the trigger, and shouted, “Hell-fire!” taking a step around the corner and squeezing the trigger." -- I think you need to tighten this up considerably, not least as to tense usage, and the comma after shouted is wrong). However, I think you are skimming on the surface of your ability -- to my mind you are too uninvolved yourself, you are remaining at too great a distance from the story which creates a distance for us as readers, meaning that we don't care what happens. To really grab people and make them want to read on, you have to reach them on an emotional level, and I think this is too cerebral.

Sorry. This all sounds very negative, I know, but I can see you have a talent and I think you need to push yourself a little further to achieve your best. But, of course, this is all just my opinion, so take what you want and discard what you don't.

Good luck with it.
 
Um ... well ... of course you are correct in most of your assumptions/comments.

Firstly, she is protected by a secret society, and the massacre was intended to hide the fact that she was the target and that the society was under attack. It was also likely that some co-workers were in the society (i.e., Shona - haven't gotten that far in the story). Okay, I'll concede on the ten minutes. It doesn't need to be that long, and I'm sure she wasn't staring at her watch. There isn't any magic, but having to penetrate a couple of rows of desks and partition walls could have saved her. Seeing her chair empty and partition wall fallen across her desk might have made them think that she wasn't there in the first place. (Dean would have had to leave the room to change into his mob gear, giving her a few minutes to move.)

I'll see if I can tighten that scene up. She needed to be in dire need for the key to work without training, and she didn't even know what the key was (or indeed that there was one), as she hadn't been trained yet. I wanted to put her in fear of her life, but I didn't want there to be any build up. Most of what happened before isn't really important to the story. The "history" is, but we won't learn that until later on.

Thanks for your suggestions. It's clear that I need to rework this now rather than later.
 
I have a plan for a workaround which should solve most of the issues. Coming soon.
 
Pffffft, or Pfffft? Four Fs may be enough....
Also, maybe... if she is thinking it-
Where is Bruce Willis when I need him?
Dunno. )
 
I'm afraid Bruce Willis is being dumped in the rewrite. Sorry Bruce.
 
Anne, are you now listening what they are saying? There is nothing wrong on quoting pop culture icons as it brings the audience much closer to your character. Don't be so hasty to dump everything, but actually do some research on the issues. And I feel that both Mouse and Boneman like the thing, where as Her Honour found it clashing. Now when it comes to me I can immediately picture her being in same situation as where Mister John McClane where at first Die Hard movie. What we don't know is what these people are there, but we can get a sense that she has something to do with these killer (I don't want to use word terrorist as I don't know more about their storyline). So, please, think carefully if you really want to rewrite the whole scene or alter it so that it can please the main audience.
 
I, too, would go with most of the above tweaks: FWIW, writing combat, IMHO, is very, very hard, comparable to crafting tight poetry, where every syllable, every breath taken or not weighs heavily...

Also, as it is the opening, it needs lots of fine-tuning to be sure, to be sure...

One glaring gotcha-- peaked / peeked...

Uh, the weird lake suggests nano-machines, and Clarke Law hi-tech comparable with 'magic'...
 
ctg, first of all, thanks for your concern. I read the comments as you did. They focused on problems I already suspected, and while Her Honour's criticisms ran a little deeper they were no less valid. I can't please everyone, but turning the beginning around and starting with Lena under the desk fixes both the tense issues as well as the ambiguity that both Mouse and Boneman found, moving Lena to Shona's desk might go some way as to solving the problems Her Honour found.

A comment like the Bruce Willis one helps create a spell if it is in the right place, but it can break one if it is in the wrong place. Hitting the reader with it right away works (for me), later doesn't. In my wee-hours rumination last night, I had already dumped it. However, I have targeted another moment with a slightly different reference, which I hope won't break the spell that I'll create right at the start.

I hope to post a revised version in a few days.
 
I got into this straight away - soon as I started reading. The descriptions of the office bloodbath are excellent imo!

Like some others the filing cabinet thing jumped out at me - not because it wasn't riddled with bullets as you mention it is in a side-office - but because I was wondering if there might be a better way of putting it.

Relative safety of the filing cabinet

but I assume she ducks down behind it rather than climbs inside? Maybe needs rephrasing? Like eg: 'Relative safety behind the filing cabinet'

I did have a problem with the way this lake dissolves her clothes but not her. Is she wearing all man-made fibres? Is the lake sentient so it can tell the difference if not?

Hey - if you want her to be naked, maybe she could just leave all her clothes behind in the jump/warp thing? ;P

Anyway - I enjoyed it v much so thanks
 
Thanks, Grimbear. She's about to be naked, I'm afraid. The lake isn't uniformly an inch deep, and she's about to find out the hard way. (And yes, the lake is sentient, and it has been waiting for her.)
 
Status
Not open for further replies.
Thread starter Similar threads Forum Replies Date
Anne Martin Critiques 13

Similar threads


Back
Top