The Severed World, opening 1100 words

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HareBrain

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A couple of recent threads prompted me to dig this out. It's the opening to the story I was looking for help with when I joined Chrons, and I might go back to it one day. I'd be interested to see what people think of it. It's in the dreaded first-person present, so be warned, but I've tried to use that to its advantage.

*****************************************



In the distance, the Wall. So hazy, the ridgeline’s almost faded to sky, like there’s nothing between us and the desert. Twelve from seventeen, makes five years since I was up there. Every day, I used to climb it. Like an itch in my mind now, reminding me — like the Wall wants me up there again, is calling me in the silence. But that’s just today being all weirded up because a Far Trader’s coming, and it gets in the air, the idea of journeying.

And sod that. Enough hassle going to the shops.

Stairs creaks out in the common area, then Mum flaps past the curtain into the kitchen. ‘What are you doing?’

I step away from the back door. ‘Nothing.’

‘There’s a novelty.’

I sigh, slide the shutter across the spy-hole.

‘Here.’ She counts onto my palm the money she’s fetched from upstairs. ‘Five dollars. And if you see Mr Abrams, keep out of his sight.’

I bury the notes in my pocket. ‘How will I know him?’

‘If you can’t recognise a Far Trader, give your eyes to someone who can use them better. Now, I don’t know if he’ll come straight here or if he’ll go to the Council first — so no lollygagging at the Crazies, or the History-Man. And when you get back, come round the rear, just in case.’

‘Why don’t I just dig a hole in the ground and hide in that?’

‘I’m not in the mood, Yuri.’ But her dark eyes soften, a little. ‘You think I like it, having to keep you out of his sight? But it’s the world —’

‘— world we live in,’ I say along with her. ‘I know.’

‘It’s only a couple of days. And if this goes well, people will look on us differently. Both of us.’

I hope it’s true, so I nod.

Grab my hat from its hook, and out the back door. There’s a metre width of shade against the wall, with it being north-facing — enough for me to hide from the sun while I pull my hat on, and roll down my sleeves to their fraying cuffs. Then it’s out into shouting fire, the Gorgon-blast of the sky. A drongo calls from one of the orange trees as I walk round the front of our tea-house, but no other voice, no other noise in the stone-hot afternoon; only my boots scuffing dust down Voronov Street, past the turning to Jasmine Villas. Sweat sucks at my trousers; the sun beats on my shirt like Mum’s taken the iron to it with me inside. North Street is busy — kids heading for History-Man, farm workers leading animals to market. I tag behind a mule, its haunches all drowsy swaying, its panniers piled. Melons though, not persimmons. Strange to think my life-road might fork today, and what decides between the highway or the dung-track could be whether I find those squashy fruit at market. But Dad once told me, the whole world turns on an axis as thin as a thread.

Nerves twitch my stomach, thinking like that. Town centre gets nearer: houses higher, more tightly packed. Now shops, bakeries, laundries. The ranting of a Crazy grows over the chatter. North Street empties into Prosperity Square. Across the wide space, the Mercantile Council building takes up the whole southern side, whitewash on whitewash and no flaking render, with its bell tower and its bright copper spire. And there’s the plane tree with the deep shade under, where the sun can’t reach me even hatless; and there are the sweetmeat sellers and the tea vendors, samovars steaming; and the History-Man, bent-backed beardy setting up his booth, with his apprentice.

Mum said no lollygagging at the Crazies, but she won’t know. There they are, same old spot, near the East Street entrance. I stop a few metres away: no point drawing their attention.

‘Contentment to you all, is it?’ A woman’s shouting, blood wet on her forehead. ‘You’re being lied to, and you won’t even see it, won’t even look, you cattle!’

Five cages on the flat-bed cart. Only just caught them: the drivers are hitching the oxen to take them back to jail. Two policemen stand by, smoking lotus-grass, spear-blades sheathed. Once a month, this exhibition: every History-Man day, before the beardy gets his show going. Five criminals brought out to mind everyone what it’s like with no weed. As well as the raver, there’s another woman and two men, being taunted by kids who hold little cups of lotus-grass tea close to the bars and snatch them away again; and an old man at the ox-end of the cart I’m sure was here last time. A long stretch, to have no weed a whole month. Wonder what he did for that. He’s picked his forehead open — they all have, but his is gouged down to the skull, his face all fresh blood over dried, and red under his nails. Must have lost a lot of blood in a month. Lost the strength to shout, to rave, even to grab for the kids’ cups. Just sits there sobbing, picking, dying probably.

‘It’s all in the sky!’ The woman keeps raving. ‘Emptiness forever! An endless nothing! And you think it’s different down here, you think keeping your eyes down will stop it being true? We’re all as empty and dead as the sky. All of us!

She glares around. Her eyes tangle with mine. Here we go.

Him!’ A finger stabs at me. ‘It’s him, right there! Why are you just standing there?’ she screams at the policemen. ‘You’ve got spears!’

Another joins in — ‘Get him! Kill him!’ — and now all the Crazies are shouting for my death, even the old guy, blood-masked faces twisted, eyes uncalmed and raging white. Gets me shaking, like it always does. Me and death, and only cage-bars between.

The taller guard hefts his spear. ‘Hoof it, unless you want this in the balls?’

I step back.

‘Three days till I’m out, you bone-white freak!’ The woman lunges her arm through the bars like she could claw off my face from there. ‘Three days, and I’ll kill you myself!’

‘Yeah, yeah …’ Soon as she’s out she’ll be puffing on a smoke or chugging a glass, and in half an hour we could pass in the street and she’d no more than give me a dirty look. But the knowing doesn’t calm me much. Could do with some weed myself, but I daren’t spend any of Mum’s money on tea, not when I might need all five dollars to get the fruit.
 
'Wall' makes me think of Stardust.

Is there anyway you could change it to past tense? I find present tense so stilted, and I know your writing isn't like that. I've only read the first few paragraphs of this, but it sort of feels like I'm reading a screenplay.

edit: read more. I like the 'beardy' and the 'crazies.' Sounds very intriguing!
 
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See, I love this -- I really like its chaotic, inside-the-head immediacy. I had very little idea of what was going on (except the obvious stuff) but I really, really want to know.

It's rough and crazy and -- I think -- wonderful.

(but I like first person present)
 
Actually I like it. I have no problem with the present tense - but i enjoy plays - and there's a nice clear voice. Whether a whole book of it might be hard, I suspect it might. Partly because of the long paragraphs, in the close pov, I feel like I need air part way through. I think, though, I'd like it interspersed with something a little less immediate.
 
Me too. There were a few points where the sentences were so disjointed it tripped me up a bit (grab the hat, slide the shutter closed), but that's the chaotic nature of it, and in a way, works as intended.

I don't think I could read a whole book like this, but it was certainly interesting. It portrays the way the boy thinks? His mind feels like its racing really quick without taking everything in, only catching glimpses here and there.
 
Thanks for the feedback so far. More positive than I expected.

Whether a whole book of it might be hard, I suspect it might. Partly because of the long paragraphs, in the close pov, I feel like I need air part way through.

I don't think I could read a whole book like this.

I think this is going to be the problem if I ever go back to it. It's a much more "intense" (for want of a better word) version of first-present than something like Hunger Games, and sometimes reading other parts of the book there are places even I find it a bit taxing. But I couldn't rewrite in past tense or third person -- I've tried, and it just dies.

I could probably break up the longer paragraphs though!
 
There are some places where it trips me up, but overall I think it's good. Interesting if not strange imagery.

But I couldn't rewrite in past tense or third person -- I've tried, and it just dies.

Can you alternate chapters between present tense and past?
 
Can you alternate chapters between present tense and past?

I don't think that would work -- for one thing, there's no way this narrator could be looking back on his past (or not credibly).

The solution might be to ease back on the stream-of-consciousness (sense-impressions + thoughts) voice sometimes, and use a more Hunger-Games-type narrative (which is pretty much past tense converted to present). I think this might be best where there's quite a lot of information, such as long dialogue sections.

(And thanks, Crystal.)
 
Just wanted to mention, that sometimes, when starting a first person present tense book, I've been aware of it, for a few pages, then suddenly I'm really in the story and the fact it is present tense is forgotten; I've got used to reading it. I hope that makes sense.
 
As you joined in Oct 2008 HairBrain there is little point trying to critique the writing as you will have grown and improved in that time.

The bit of the storyline shown here is interesting. The first person does make it a little bit difficult, but despite that it does seem to work well in the section posted. As an idea, bearing in mind I have no idea where it is going; it has captured my imagination and I would like to know more of your constrained and fearful society with weed, whatever that is. Your suspense is good, showing just enough to keep the reader interested. You may need to start from scratch again, (my first attempt will be re-started again - good idea - poor writing) but you your idea seems good, or what I have seen of it anyway. The consensus seems to be, more please, and I’m happy add my voice as well.
 
As you joined in Oct 2008 HairBrain there is little point trying to critique the writing as you will have grown and improved in that time.

It's strange, but though I've improved hugely in writing the kind of story I've been working on since -- multi-POV, third-person, etc -- I've reread the first 130 pages of this one since posting the above, and apart from some tightening, and de-intensifying the voice in places, nothing jumps out at me. It's as though none of my recent experience translates back to this.

So if anyone does want to critique this four-year-old prose in detail, it would still be useful.
 
I've reread the first 130 pages of this one
Ahem. What's happened to revising TGP? What's happened to writing the first draft of TEP?

So if anyone does want to critique this four-year-old prose in detail, it would still be useful.
Useful if you were going back to this soon WHICH YOU ARE NOT GOING TO DO, ARE YOU? :rolleyes: **


** What we really need here is a smiley with a nagging face.
 
famous last words, HB: I'll have a go....


In the distance, the Wall. So hazy, the ridgeline’s almost faded to sky, like there’s nothing between us and the desert. Twelve from seventeen, makes five years since I was up there. i found that line difficult, I had to read it twice. Every day, I used to climb it. Like an itch in my mind now, reminding me — like I think better without the like the Wall wants me up there again, is calling me in the silence. But that’s just today being all weirded up because a Far Trader’s coming, and it gets in the air, the idea of journeying.

And sod that. Enough hassle going to the shops.

Stairs creaks creak? outI was a little confused if you meant the stairs were in the common area in the common area, then Mum flaps past the curtain into the kitchen. ‘What are you doing?’and I was a little confused who said this cos we're in his pov, and then it looks like the mum speaks at the end.

I step away from the back door. ‘Nothing.’

‘There’s a novelty.’

I sigh, slide the shutter across the spy-hole.

‘Here.’ She counts onto my palm the money she’s fetched from upstairs. ‘Five dollars. And if you see Mr Abrams, keep out of his sight.’

I bury the notes in my pocket. ‘How will I know him?’this next little bit read as an info dump; it seems surprising that he has to ask, given that she's telling him he already knows how to recognise one.

‘If you can’t recognise a Far Trader, give your eyes to someone who can use them better. Now, I don’t know if he’ll come straight here or if he’ll go to the Council first — so no lollygagging at the Crazies, or the History-Man.the at threw me; are they places or people? And when you get back, come round the rear, just in case.’

‘Why don’t I just dig a hole in the ground and hide in that?’

‘I’m not in the mood, Yuri.’ But her dark eyes soften, a little. ‘You think I like it, having to keep you out of his sight? But it’s the world —’

‘— worldIf it's an interruption I think it would work better without repeating world. we live in,’ I say along with her. ‘I know.’

‘It’s only a couple of days. And if this goes well, people will look on us differently. Both of us.’

I hope it’s true, so I nod.i really liked that line, there's something very innocent about it.

Grab my hat from its hook, and out the back doorI'd like an I at the start. There’s a metre width of shade against the wall, with it being north-facingknowing the way the wall's facing seems old for this voice, plus why tell us? i'm sure it's not what's going through his mind. — enough for me to hide from the sun while I pull my hat on, and roll down my sleeves to their fraying cuffs. Then it’s out into shouting fire, the Gorgon-blast of the skydidn't understand this line, sorry.. A drongo calls from one of the orange trees as I walk round the front of our tea-house, but no other voice, no other noise in the stone-hot afternoon; only my boots scuffing dust down Voronov Street, past the turning to Jasmine Villas.New para? Sweat sucks at my trousers; the sun beats on my shirt like Mum’s taken the iron to it with me inside. North Street is busy — kids heading for History-Man, farm workers leading animals to market. I tag behind a mule, its haunches all drowsy swaying, its panniers piledI'd do piled with because my first image was empty panniers piled inside each other, which isn't what you meant, I don't think. Melons though, not persimmons. Strange to think my life-road might fork today, and what decides between the highway or the dung-track could be whether I find those squashy fruit at market. But Dad once told me, the whole world turns on an axis as thin as a thread.

Nerves twitch my stomach, thinking like that. Town centre gets nearer: houses higher, more tightly packed. Now shops, bakeries, laundries. The ranting of a Crazy grows over the chatter. North Street empties into Prosperity Square. Across the wide space, the Mercantile Council building takes up the whole southern side, whitewash on whitewash and no flaking render, with its bell tower and its bright copper spire. And there’s the plane tree with the deep shade under, where the sun can’t reach me even hatless; and there are the sweetmeat sellers and the tea vendors, samovars steaming; and the History-Man, bent-backed beardy setting up his booth, with his apprentice.i found so much description in his voice a bit surprising, would he really notice all this? Or is it just to tell me?

Mum said no lollygagging at the Crazies, but she won’t know. There they are, same old spot, near the East Street entrance. I stop a few metres away: no point drawing their attention.

‘Contentment to you all, is it?’ A woman’s shouting, blood wet on her forehead. ‘You’re being lied to, and you won’t even see it, won’t even look, you cattle!’

Five cages on the flat-bed cart. Only just caught them: the drivers are hitching the oxen to take them back to jailthe oxen?. Two policemen stand by, smoking lotus-grass, spear-blades sheathed. Once a month, this exhibition: every History-Man day, before the beardy gets his show going. Five criminals brought out to mind everyone what it’s like with no weed. As well as the raver, there’s another woman and two men, being taunted by kids who hold little cups of lotus-grass tea close to the bars and snatch them away again; and an old man at the ox-end of the cart I’m sure was here last time.I definitely need a break in here somewhere. I'm losing the thread. A long stretch, to have no weed a whole month. Wonder what he did for that. He’s picked his forehead open — they all have, but his is gouged down to the skull, his face all fresh blood over dried, and red under his nails. Must have lost a lot of blood in a month. Lost the strength to shout, to rave, even to grab for the kids’ cups. Just sits there sobbing, picking, dying probably.

‘It’s all in the sky!’ The woman keeps raving. ‘Emptiness forever! An endless nothing! And you think it’s different down here, you think keeping your eyes down will stop it being true? We’re all as empty and dead as the sky. All of us!

She glares around. Her eyes tangle with mine. Here we go.

Him!’ A finger stabs at me. ‘It’s him, right there! Why are you just standing there?’ she screams at the policemen. ‘You’ve got spears!’

Another joins in — ‘Get him! Kill him!’ — and now all the Crazies are shouting for my death, even the old guy, blood-masked faces twisted, eyes uncalmed and raging white. Gets me shaking, like it always does. Me and death, and only cage-bars between.

The taller guard hefts his spear. ‘Hoof it, unless you want this in the balls?’

I step back.

‘Three days till I’m out, you bone-white freak!’ The woman lunges her arm through the bars like she could claw off my face from there. ‘Three days, and I’ll kill you myself!’

‘Yeah, yeah …’ Soon as she’s out she’ll be puffing on a smoke or chugging a glass, and in half an hour we could pass in the street and she’d no more than give me a dirty look. But the knowing doesn’t calm me much. Could do with some weed myself, but I daren’t spend any of Mum’s money on tea, not when I might need all five dollars to get the fruit.[/QUOTE]

I liked the implied danger from the three days. I liked his voice. Sometimes, though, i think it got lost in the info, but I really really like it, (and I'm not a big 1st/present reader. But somehow, I'm getting to appreciate it as I'm reading more.)

Hope it helped.
 
Thanks Springs, that will be useful at some point. (But not yet, because I'm being watched.)
 
The Judge's avatar is too small for me to tell, but I thought Lady Justice was blindfolded ;)
 
A common misconception. My eyes are wide open. And my sword is very, very pointy. :D


From wikipedia:

For example, atop the Old Bailey courthouse in London, a statue of Lady Justice stands without a blindfold;https://en.wikipedia.org/wiki/Lady_Justice#cite_note-4 the courthouse brochures explain that this is because Lady Justice was originally not blindfolded, and because her “maidenly form” is supposed to guarantee her impartiality which renders the blindfold redundant.https://en.wikipedia.org/wiki/Lady_Justice#cite_note-5
 
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Note to self: be nice to the lady with the pointy sword :) My Lady

As I fall over springs1971 who appears to be kissing The Judge's boots. :p


Back on topic (so we don't get in trouble)

HareBrain. I found it strangely hypnotic and I look forward to reading more ;)
 
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