Hidden Triangles 2 - partial re-write and a little more.

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Hex

Write, monkey, write
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This re-written bit in the forest tries to deal with Grimbear/ Nik's point about the Commander, so this version involves a lot more dashing around in order to get the Commander into a position where the Triangle can get him...
The alternative to this re-write, of course, would just be a sentence saying something like "The Commander was a total nutcase who insisted on riding out at the front...", but anyway. Just to be clear, I haven't digested all the other comments fully, this isn't a final version but a first draft of an alternative section. I hope that's OK.

I haven't started from the beginning.You'd need to read the post Hidden Triangles to get all the background.
This chunk is just over 1,100 words.


Out to the right, Ferrin Dar the scout keeps pace with us in the shadows. I can only see her because I know she’s there. It’s the flash of her face, turning to some signal I cannot hear, that alerts me to the revenant.

From the dim light ahead of us, a pale and bundled figure lumbers; it is strangely awkward, lopsided, clumsy, but it runs faster than I would have believed possible.

The Commander’s guard break from the other horsemen and converge on it. The flash of its face as it flees into the trees makes me cold to my fingertips. It’s deathly pale, white-eyed, almost human but broken, somehow, wrong. A grin stretches its colourless lips. The stench that follows it is of something long dead.

The creature and its pursuit vanish among the trees. The noises continue, though, the crashing of the horses, the guard shouting and then the screams.

They’re short, horribly truncated. Moments later, Siras Eld of the guard reappears, his horse is sweating, its eyes rolling with terror.

“Triangle!” Siras screams, “Triangle. It’s a trap! Get back!”

As I turn to run, the officers’ horses thunder past. They’re slowed by the trees but still faster than everyone except Ferrin, who’s running alongside the Commander’s horse.

The noise of a battalion running is appalling. Men yelling, tripping over roots, banging their heads on branches. They’re falling all around me. Hurdling a pair of thrashing legs, my ridiculous horned helmet in my hand, I catch glimpses of the horsemen pulling ahead, vanishing into the darkness between the trees.

Moments later I hear the Commander’s voice,

“Stand!” he’s shouting, “To me, to me!”

I stumble into a space between the trees. The horsemen are gathered in an anxious melee; the few runners who outdistanced me stand a cautious distance off to the side. The Commander is at the front, his horse’s panic strictly controlled – it paces in a tight circle, high, white steps.

“Enough, that’s enough. Stand soldiers.”

Sunlight slants through the branches, haloing him with gold. He raises a hand and the horse, its reins loosened, takes an extra step out of its circle.

It screams, rears up, its eyes white and rolling. The Commander’s face freezes, turns grey. Then he’s gone - sucked into the ground, horse and all.

There’s an instant of horrified silence, then the other horsemen scatter like fish from a stone. At the same time, Ferrin, right up where the Commander disappeared, casts herself backward into the air, her arms wide, seeking a hold.

My muscles take over, not waiting for my brain – I drop the helmet, dive forwards, grab her hand and yank her towards me as far, as fast as I can, away from the terrible, invisible mouth in the ground. We fall in a tangle, her elbow drives back into my face and stars burst over my vision. Then her weight’s gone and I’m scrambling back, the pine needles soft under my fingers, my feet scrabbling for grip, sliding, I’m not getting anywhere and I know – I KNOW – the Triangle is closer, rippling across the forest floor, coming to swallow me too.

A hand grabs mine, hauls me to my feet,

“Run.” It’s Ferrin. We dash back into the trees, following the rest of the battalion, fleeing for our lives.

Hect knows how long we run for, it seems we can’t go fast enough or far enough, it feels like hours, like days, like no time at all, and the Captains are yelling at us, “Calm, boys, calm!” and I have a moment of dizzy pedantry: what about the women? Can they go on running? But we’re gathered in a clearing, and the others are all around me, gasping for breath like I am, all except Ferrin who hasn’t, I’d bet, ever been out of breath in her life. She tucks a strand of hair back into her hat and meets my eyes. And I realise we’ve escaped. No matter how many Triangles there were scattered about the forest, waiting for the taste of flesh. We’ve done it: we’ve escaped.

That night I dream.

I dream the Triangle has followed us, that it swallows us in the night. I dream it swallowing Ferrin before she leaps. I feel myself, sucked down into the earth, black and cold and breathless.

Time after time I see myself, Ferrin, the whole battalion, walking through the trees, stepping into nothing, into the invisible depths of the earth – then into fire, into a pit of spikes, into machines with sharp blades. God knows what’s at the bottom of the Triangles, or even if there is one.

I wake in the blackness, teeth deep in my lip to stop the scream.

There’s a whisper beside me,

“Hate them. Don’t matter how fast or clever you are, still nothing you can do to spot a Triangle. Should be something.” Ferrin is sitting by my blankets, leaning against the tree whose roots I used for a pillow. I sit up, wipe my lip, taste blood,

“They’re magic,” I say, “no one sees them.”

Not even Casters, apparently. It had enraged Morchin Dal that there was nothing he could do to make a Triangle detectable. He tried for weeks. Dangerous weeks. I spent a lot of time hiding in the cupboard under the stairs, cursing the magicians of Luth for inventing something that made my master so angry.

Everything leaves traces,” she says, her voice has a rough edge, “makes it like all I know –all I see – don’t matter.”

“I hate them too.” And I do. I’ve never been as frightened of anything as I am of the silent, invisible Triangles. Those unseen mouths in the ground – once you step on one, you’re lost.

She touches two fingers to her brow,

“Let him rest. I’ve been with him since the war began. Never went hungry,” it’s about the best thing you can say about a master. I copy her gesture. Let him rest. We’ve seen a revenant now, someone who came back from a Triangle; you wouldn’t wish that fate on anyone.

We sit in silence for a long time, I’m trying not to think about the Commander coming back, hoping he’s dead, wherever he is. Then she speaks again,

“I’m sorry about your – your face,”

My nose is swollen and bruised from her elbow; I shrug,

“It’s fine.”

It’s the first time anyone has apologised for hurting me. I’m grateful for the darkness.

“Need to thank you,” she says.

“My pleasure. I need to thank you back.”

Her laugh is hoarse, like the wuff of a friendly dog. I want to hear it again.
 
My muscles take over, not waiting for my brain – I dive forwards, grab her hand and yank her towards me as far, as fast as I can, away from the terrible, invisible mouth in the ground. We fall in a tangle, her elbow drives back into my face and stars burst over my vision. Then her weight’s gone and I’m scrambling back, the pine needles soft under my fingers, my feet scrabbling for grip, sliding. I’m not getting anywhere and I know – I KNOW – the Triangle is closer, rippling across the forest floor, coming to swallow me too.


Out to the right, Ferrin Dar the scout keeps pace with us in the shadows. I can only see her because I know she’s there. It’s the flash of her face, turning to some signal I cannot hear, that alerts me to the revenant.

From the dim light ahead of us, a pale and bundled figure lumbers; it is strangely awkward, lopsided, clumsy, but it runs faster than I would have believed possible.

The Commander’s guard break from the other horsemen and converge on it. The flash of its face as it flees into the trees makes me cold to my fingertips. It’s deathly pale, white-eyed, almost human but broken, somehow, wrong. A grin stretches its colourless lips. The stench that follows it is of something long dead.

The creature and its pursuit vanish among the trees. The noises continue, though, the crashing of the horses, the guard shouting and then the screams.

They’re short, horribly truncated. Moments later, Siras Eld of the guard reappears, his horse is sweating, its eyes rolling with terror.

“Triangle!” Siras screams, “Triangle. It’s a trap! Get back!”

I added the last paragraph from your previous piece to get in tough with this story and the thing is, I think you need to add more information about the triangle. Although it's good to be as vague as possible, the reader's not knowing anything about the infamous triangle is working against you at this point. The "triangle" at this point could be almost anything, even though, you story suggest that it has something to do with the living dead.

The last two paragraph says to the reader that the horseman came back in terror, but yet the details only show the horse, not the rider. The rider bit comes too vaguely across the dialogue line, which in the first reading was putting me off. I just didn't know what you meant even though I was imagining the triangle being something very high-tech compared to the low-tech that the character presents.

So, if you can, drip feed more information through the flashbacks, or even through casual conversations between the men in the line when they are marching towards the forest.

Like for example,

As the forest loomed before us, the fear started to set in my backbones, and it wasn't going away as I heard the pair of guardsman at front of me saying, "You know I heard the officers saying that in the shadows of those hundred year of trees lies a faceless terror--"

"Get out," the other guard laughed. "A faceless terror. Ha!"

"Don't you be laughing at me!"

"You're a fool Sher Say."

"It's true," Sher said. "Believe me. It's not the first time I heard someone talking about the triangle."

"Really?"

"Yeah," Sher said. He quickly glanced behind his shoulder and then lowered his voice to say, "The seer said that the dead..."


Note that my style doesn't reflect your character voice, but it should illustrate you two thing. The first one is the information coming through the characters, and the second shows you how the protagonist can step at the background and allow the story being narrated through his head.



As I turn to run, the officers’ horses thunder past. They’re slowed by the trees but still faster than everyone except Ferrin, who’s running alongside the Commander’s horse.

You are doing two tenses here: present and past. Please decide which one you are going to use and stick to it.

The noise of a battalion running is appalling. Men yelling, tripping over roots, banging their heads on branches. They’re falling all around me. Hurdling a pair of thrashing legs, my ridiculous horned helmet in my hand, I catch glimpses of the horsemen pulling ahead, vanishing into the darkness between the trees.

Moments later I hear the Commander’s voice,

“Stand!” he’s shouting, “To me, to me!”

Moments later I hear horses neighing as the Commander shouts, "To me, to me!"


There’s an instant of horrified silence, then the other horsemen scatter like fish from a stone. At the same time, Ferrin, right up where the Commander disappeared, casts herself backward into the air, her arms wide, seeking a hold.

Who is Ferrin, and what sort of hold she's seeking?

Even though you're writing action, there still needs to be enough of information for the readers to understand what's going on.

My muscles take over, not waiting for my brain – I drop the helmet, dive forwards, grab her hand and yank her towards me as far, as fast as I can, away from the terrible, invisible mouth in the ground. We fall in a tangle, her elbow drives back into my face and stars burst over my vision. Then her weight’s gone and I’m scrambling back, the pine needles soft under my fingers, my feet scrabbling for grip, sliding, I’m not getting anywhere and I know – I KNOW – the Triangle is closer, rippling across the forest floor, coming to swallow me too.

A hand grabs mine, hauls me to my feet,

“Run.” It’s Ferrin. We dash back into the trees, following the rest of the battalion, fleeing for our lives.

I'm lost with these three paras. I understand that this Ferrin person started to do something, but then suddenly the protagonist is there to do what?


Hect knows how long we run for, it seems we can’t go fast enough or far enough, it feels like hours, like days, like no time at all, and the Captains are yelling at us, “Calm, boys, calm!” and I have a moment of dizzy pedantry: what about the women? Can they go on running? But we’re gathered in a clearing, and the others are all around me, gasping for breath like I am, all except Ferrin who hasn’t, I’d bet, ever been out of breath in her life. She tucks a strand of hair back into her hat and meets my eyes. And I realise we’ve escaped. No matter how many Triangles there were scattered about the forest, waiting for the taste of flesh. We’ve done it: we’ve escaped.

That night I dream.

I dream the Triangle has followed us, that it swallows us in the night. I dream it swallowing Ferrin before she leaps. I feel myself, sucked down into the earth, black and cold and breathless.

Time after time I see myself, Ferrin, the whole battalion, walking through the trees, stepping into nothing, into the invisible depths of the earth – then into fire, into a pit of spikes, into machines with sharp blades. God knows what’s at the bottom of the Triangles, or even if there is one.

I wake in the blackness, teeth deep in my lip to stop the scream.

There’s a whisper beside me,

“Hate them. Don’t matter how fast or clever you are, still nothing you can do to spot a Triangle. Should be something.” Ferrin is sitting by my blankets, leaning against the tree whose roots I used for a pillow. I sit up, wipe my lip, taste blood,

“They’re magic,” I say, “no one sees them.”

When you move out from the action you should slow down the pacing. The sentences should become longer, and more explanatory. But you read these bits and you know that the readers are lost about what happened there. So please, rewrite and expand.


Not even Casters, apparently. It had enraged Morchin Dal that there was nothing he could do to make a Triangle detectable. He tried for weeks. Dangerous weeks. I spent a lot of time hiding in the cupboard under the stairs, cursing the magicians of Luth for inventing something that made my master so angry.

Everything leaves traces,” she says, her voice has a rough edge, “makes it like all I know –all I see – don’t matter.”

“I hate them too.” And I do. I’ve never been as frightened of anything as I am of the silent, invisible Triangles. Those unseen mouths in the ground – once you step on one, you’re lost.

She touches two fingers to her brow,

“Let him rest. I’ve been with him since the war began. Never went hungry,” it’s about the best thing you can say about a master. I copy her gesture. Let him rest. We’ve seen a revenant now, someone who came back from a Triangle; you wouldn’t wish that fate on anyone.

We sit in silence for a long time, I’m trying not to think about the Commander coming back, hoping he’s dead, wherever he is. Then she speaks again,

“I’m sorry about your – your face,”

My nose is swollen and bruised from her elbow; I shrug,

“It’s fine.”

It’s the first time anyone has apologised for hurting me. I’m grateful for the darkness.

“Need to thank you,” she says.

“My pleasure. I need to thank you back.”

Her laugh is hoarse, like the wuff of a friendly dog. I want to hear it again.

Even though you have written drama here, it's all lost because I don't understand what happened or what they went through.
 
Thanks very much for the comments, ctg.

I've clearly failed at clarity on several levels.

The last paragraph of the previous version (beginning "My muscles take over...", which you've copied into the start of this) does not come before this section. I re-wrote, so the last sentence in the previous version that doesn't appear here is, "It's a beautiful day - bright and cool....".

I don't know if that makes anything clearer.

I like the idea of drip-feeding a little more about the Triangles - this was meant to be the beginning of a short story, initially I was aiming at 5,000 words or under, and so I didn't have room for much detail. If it's confusing, though, clearly I need to add more.

Thanks again.
 
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In the main I thought this was good, especially after the escape, and the previous one too. You need to make sure you're as clear as possible in the hurly-burly scene, as I only really understood what was happening in that bit after a couple of reads. Examine every word for possible reader confusion/misinterpretation/difficulty in visualising.

Personally, I didn't have any trouble with the amount of information about the triangles, and I'm happy to know no more for the time being.

The present-tense in this section works well. There was a bit in the previous section where I was doubtful about it, so I'll go back to that and comment.

Good stuff overall, though. There follow a couple of nitpicks:

The stench that follows it is of something long dead.

That follows it? Technically, it's come from where the revenant has been standing, no? This implies (or, I infer) the narrator is also following it.

horribly truncated.

"truncated" feels out of place. Would the narrator use it?

As I turn to run, the officers’ horses thunder past.

riderless horses, you might want to say (assuming that's what you mean -- otherwise ctg is right, you need to mention the riders)

The horsemen are gathered in an anxious melee

Melee is a fight. Were you thinking of "milling"?

That night I dream.

I'd like more of a definite break between the previous line and this (and maybe you have one, but because every paragraph has a line break it's not showing up). Otherwise it's too abrupt.
 
In the main I thought this was good, especially after the escape, and the previous one too. You need to make sure you're as clear as possible in the hurly-burly scene, as I only really understood what was happening in that bit after a couple of reads. Examine every word for possible reader confusion/misinterpretation/difficulty in visualising.

The hurly burly scene is when he grabs Ferrin? That does seem to have got more confusing in this version. I wonder if it's the helmet.

"truncated" feels out of place. Would the narrator use it?

Hmm. Yes, he would (or could, anyway). But maybe this isn't the right place to dazzle the reader with his vocabulary.

riderless horses, you might want to say (assuming that's what you mean -- otherwise ctg is right, you need to mention the riders)
That's not what I mean. I will mention some riders.

Melee is a fight. Were you thinking of "milling"?

I don't think it always means fight, but that's clearly the image that leaps to mind in sff circles and it's not the one I want, so I'll find another word.

Thank you very much for the comments.
 
Not bad I liked it. I don't think there's too much I can improve.
 
To go off topic a little bit, I'm not a native English speaker, and I don't have a giant vocab, but do native speakers also struggle with vocabulary and sentence structure from time to time.
 
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