Small excerpt meant to help build characters

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luci2also

Science fiction fantasy
Joined
Mar 18, 2012
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I had to tighten this to get it to fit the rules. It still works for me. I need to know if it works for anyone else.
###







Outside it's hot.

The morning sun nearly blinds, reflecting off the residue of dew left from the evening. The sky is its usual blue-red, a pinkish cast across the lesser moon that looms ever large in the sky.

The sun doesn't always scorch, but it tries. The humidity is what will kill you. New Terra has little ground water. That big star keeps burning it off and tossing it back into the air around us.

I wipe my forehead with the thin sleeve of my chenille overcoat. Its iridescence, in this light, draws the casual observer’s eyes away from an affectation of my skin. Even with its light fabric, a drip of sweat travels down the declivity, tickling my breasts. Underneath I’m scantly clad with short shorts and my favorite sports bra. The overcoat is plenty of coverage, reaching half way down my thigh. It hangs open, but, there's no one here to see.

The sun has been up almost an hour and it’s already this hot. I could go back inside, but it’s worse in there.

The ants are already dancing on the clots of fractured clay around the air conditioner. Seeming unperturbed by its spurious attempts to restart, they have dissipated considerably since shutting it down.

I finish bleeding the system. Something foreign, in the lines, is gumming it up. It could be one of these ants or a whole colony. The seals on this thing are worn enough to invite intrusion.

Removing the canister and filter rig, I give the system a good blow. I hear it sputtering across something. The way I've had to patch things, sealant might have intruded. I daren't pull all the lines apart until John agrees to invest in new parts. As I worry over this the chunk works lose, the air sings to me.

I clean my sloppy work, do a visual. I shake my head. Make the sign of the cross and say a few Hail Marys. That could be sacrilegious, because I ain't religious. It all looks as good as it can be. I have to recharge the system. I cap it while the air is still running through the lines.

It's a bust. And I mean a real bust. The leak is so evident I can see the few remaining ants being blown hither and yon. Normally I'd give the wrench a good toss. I've not been using the wrench for fear of making things worse.

The back door opens fortuitously and Jack's head is sticking out. He squints under the sun. He says, “Angie, how we doing out here?”

Stepping back I say, “Hot, sticky. This damn stuff is worn beyond its warranty period by almost a decade. Could use some better sealant. A few new parts.”

Jack steps out. His slight rotund midsection makes it difficult for him to stand on the stoop and shut the door. He does a half dance as he makes a hasty retreat. Grunting he disappears, the door closes. I'm thinking he couldn't stand the heat. His head comes out again, this time he lands in the sand. The door slams itself. Sheepishly he offers me a bag. He also offers a glass of amber liquid.

I wave a hand and say, “Thanks. You know I don't drink that stuff.”

I’m clutching my chenille together in front. I’d have to let go to grab both. I turn my back towards him as I take the sack.

Jack waves his hand pointing at the glass and says, “It's tea, with sugar, the way you like it.”

Setting the bag down, I take the tea from his huge fist. Inside the bag is everything I need to do this job proper. I give Jack a well deserved harsh look. I say, “Great, make me do this twice.”

Checking the ground for ants, I stomp a bit. Then I sit. The ground feels cool. I sip the tea slowly.

Jack shrugs, wiping his fingers on the towel draped over his shoulder. He says, “Yeah, Sorry I'm bad. I know. But, I listen and I picked this up a week ago. Figured it was due to quit soon.”

Sitting with my short shorts pressed against the clay, my knees pushed up towards my chin and my hiking boots touching where my bare thighs meet the hem on the shorts, I'm a bit contorted reaching for the bag. I pour the parts in my lap. Flattening the bag on the ground I lay the parts out there. Suppressing a grimace I look at Jack and exclaim, “Wow. Shiny!”

With wrench in hand I begin removing parts of the line. Jack steps into the little shadow offered by the structure of the bar. He shades his eyes looking across the desolation toward the line of trees that mark the lower edge of the mountains.

I look into the sky with its sparse clouds. The clouds sink down at night covering the ground like a cottony blanket. The sun comes up to burn these away in short order. Moisture hangs in the air for the better part of the first two hours, before clouds start to reform.

Jack follows my gaze, he says, “If this takes too long I can make an exception. Let you use that cot in back.”

The first time Jack made such an offer, I'm not sure what he expected to get out of it. Whatever, he didn't get it. One nice thing about Jack though, you only have to say no once. He hasn't made such an offer since. But, I'd been diligent about getting home early. Huffing a couple of times, I stop to sip at my sweet tea. I look at Jack. I say, “Na, That's ok. I'll get home a’right. B'sides. It's cooler up in them mountains.”

Jack nods, then becomes focused on his observation of my own intent process. He says, “Where and how did you learn to fix stuff?”

This is not the first time Jack's asked this. I stop and think about that. I'm certain each time I give him the same answer. I say, “I do'no, it just came to me one day.”

Jack scoffs. He half laughs and says, “Yeah, sure, don't tell me. You could go to town take the test and get licensed. No longer have to deal with the Tom’s here. I'm just say'in you'd have a good chance at a better career.”

I finish, check for leaks, slowly fill the line bleeding the air from the system. Everything is sealed and tight. Gathering Jacks tools, supplies, and decadent parts I stuff them into the bag and wipe my hands on the bag.

Jack raises his eyebrows. I nod, he slips back inside and in short-order the conditioner comes on and begins to cycle. I wait and watch. I begin to stand and look up.

Jack’s hanging half in and half out.

I wave and say, “She's all good.”

Jack comes out, then up, to give me a fatherly hug. He says, “You do good work.”

I shrug out of his grasp, put some distance between us. I do like the way he refrains from adding, for a clone, at the end of that sentence though.

Jack’s arms fall to his sides. He grins, “I'm serious. About schooling. I'd help pay for it. If you was my daughter …”

I shake my head, I say, “You'd miss me. Maybe you need to get yourself a real daughter.” As I think about that and what he tried that first night I think, maybe not.

Jack waves a hand. He says, “Na.” He goes quiet. I'm unsure which he has said no to. Then he says, “You still could come check and make sure everything is in working order.”

I finish my tea and hand Jack my glass. He bends down to the spigot, gives it a short blast of filthy water. I say, “That's okay, Jack. We have a good arrangement. I don't need to be indebted to you forever.”

Jack shrugs, looking toward the hills. Pulling the towel down he works the corner into the glass to polish it. Jack says, “I know you don't like working Toms.” His head points. “Like that one inside. Just a tourist. Passing through. Now with his face plastered to the table because he thought he could ply you with a few drinks.”

I'm looking at the ground. The ants are back en-mass. Back to worship this humming deity. I've restored their continuity perhaps their existence. I shake my head to clear it of Jack’s merciless words.

Turning away, I step towards the hills. It’s the first leg of the journey into the mountains. I'm not looking at Jack. So, just to be certain he can see I'm leaving, I shout, “I'll see you tonight, Jack. Take care of yourself.”

I need to get away from the heat.
 
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Wow. Really liked it!

I'm not going to do a full critique because, well, I'm still new, and I didn't find anything particularly wrong with it. Just a few points though:

1) the word 'declination' in the third para doesn't sit quite right with me, but I can see what you mean. Not sure what you'd use instead, but it's a bit clinical/geographical for describing someone's arm.

2) Two grammar points: should technically be Hail Marys instead of Hail Mary's (no matter what my Chrome spellcheck thinks), and I reckon this: “I do'no it just came to me one day.” should be 'I do'no, it just came to me one day.'

3) A more general thing: I like the way you describe her vestments but I'm not sure how indecent she is - is she topless under the chenille? I know she says she's holding it together at the beginning but whenever she's in action I'm conscious that she should be shielding her breasts from view, and it detracts me (not necessarily all readers...) from the story.
 
Wow. Really liked it!

I'm not going to do a full critique because, well, I'm still new, and I didn't find anything particularly wrong with it. Just a few points though:

1) the word 'declination' in the third para doesn't sit quite right with me, but I can see what you mean. Not sure what you'd use instead, but it's a bit clinical/geographical for describing someone's arm.
maybe I should have stuck with declivity the slop between the breasts.
2) Two grammar points: should technically be Hail Marys instead of Hail Mary's (no matter what my Chrome spellcheck thinks), and I reckon this: “I do'no it just came to me one day.” should be 'I do'no, it just came to me one day.'
Darn those spell checkers.
3) A more general thing: I like the way you describe her vestments but I'm not sure how indecent she is - is she topless under the chenille? I know she says she's holding it together at the beginning but whenever she's in action I'm conscious that she should be shielding her breasts from view, and it detracts me (not necessarily all readers...) from the story.

For economy of words I took out the description of her clothing and put in scantily clad. If it detracts I should probably make her wear some clothing.
Thanks though it is helpful.
never hurts to tell what made you lose interest or distracts.
 
Hey Luci.

I'm probably not the best critiquer for this, as I can't stand present 1st-person - which makes me want to take every sentence and change it to past, because I always find present disjointed - but that's just me, I'm sure it works for others fine. I was able to read through the whole thing though, so knowing my hate of present tense, that's a good thing.

So, saying that, I won't comment on grammar, just nitpicky details - I'll agree with the declivity word though, I don't like it there.


For the most part I felt thrown in the deep end, like I should know something about the characters and what she is doing, yet didn't. Most of the dialogue really mean't nothing to me because I didn't have the background to go with it, which isn't necessarily bad, just means I need that background to be explained to me pretty soon otherwise I'd lose interest. This is especially bad with the repairs, as it's like your saying she does this and that, yet I don't see it because I don't know exactly how I'm supposed to imagine it.

I think there might be a bit too much description about the weather, especially when you revisit it here:

I look into the sky with its sparse clouds. The clouds sink down at night covering the ground like a cottony blanket. The sun comes up to burn these away in short order. Moisture hangs in the air for the better part of the first two hours, before clouds start to reform.

It doesn't really sound natural to me either. I'd prefer to hear something about their backgrounds, not necessarily hers - if you want to keep that from us for a bit- but maybe Jack's? And a bit about the establishment he is running. She could think about just what the "toms" are really like, could think a bit about the guy who tried to make moves when Jack mentioned him and just why she reacted unfavourably. Little things like that to give us a bit more depth to the characters.

We get a lot of description of her thinking about how she herself looks - maybe a bit too much? - but very little of Jack. I'd have her thinking a few things about him. We get the idea that they are close, yet I don't know why as I read this, and I'd like to know. If that comes pretty soon then guess it's fine though, but if not I'd start to lose any grounding in the story.


I think it has potential, and like I said, considering I was able to read it all is a very good thing, I've often thrown down present tense books before finishing the first page.



Hope that helps.
 
II don't write 1st present, but I've been reading a bit of it lately.


Outside it's hot.

The morning sun nearly blinds, reflecting off the residue of dew left from the3 the's in this sentence; could you lose this one? evening. The sky is its usual blue-red, a pinkish cast across the lesser moon that looms ever large in the sky.The last sentence seems overtly complicated to me.

The sun doesn't always scorch, but it tries. The humidity is what will kill you. New Terra has little ground water. That big star keeps burning it off and tossing it back into the air around us.a little bit of telling.

I wipe my forehead with the thin sleeve of my chenille overcoat. Its iridescence, in this light, draws the casual observer’s eyes away from an affectation of my skin. Even with its light fabric, a drip of sweat travels down the declivity?, tickling my breasts. Underneath I’m scantily clad within? short shorts and my favorite sports bra. The overcoat isgives? plenty of coverage, reaching half way down my thigh. It hangs open, but,I don't think you need the 2nd comma there's no one here to see.

The sun has been up almost an hour and it’s already this hot. I could go back inside, but it’s worse in there.telling, and distant, I think.
The sun's only been up an hour, and it's so hot, already. I'd go back inside, but it's worse there.

The ants are alreadyyou had already in the last paragraph dancing on the clots of fractured clay around the air conditioner. Seeming unperturbed by its spurious attempts to restart, they have dissipated considerably since shutting it down.I found the last sentence complicated.

I finish bleeding the system.here I went eh. She's bleeding the system? I'd have liked an indication of the action earlier. I thought she was looking up admiring the day, now I'm taken right out of it and back to the start. Something foreign, in the lines, is gumming it up. It could be one of these ants or a whole colony. The seals on this thing are worn enough to invite intrusion.

Removing the canister and filter rig, I give the system a good blowI don't know about that terminology.. I hear it sputtering across something. The way I've had to patch things, sealant might have intruded. I daren't pull all the lines apart until John agrees to invest in new parts. As I worry over this the chunk works lose,comma splice? I think, cos I'm looking for the and... the air sings to me.

I clean my sloppy work,and? do a visual. I shake my head. Make the sign of the cross and say a few Hail Marys. That could be sacrilegious, because I ain'tup to now her voice has seemed quite formal and posh, not she uses ain't, and I'm not sure I'm right about her. religious. It all looks as good as it can be. I have to recharge the system. I cap it while the air is still running through the lines.

It's a bust. And I mean a real bust. The leak is so evident I can see the few remaining ants being blown hither and yon.I like this line. Normally I'd give the wrench a good toss. I've not been using the wrench for fear of making things worse.

The back door opens fortuitouslydo you need? and Jack's head is sticking out. He squints under the sun. He says, “Angie, how we doing out here?”

Stepping back I say, “Hot, sticky. This damn stuff is worn beyond its warranty period by almost a decade. Could use some better sealant. A few new parts.”

Jack steps out. His slight rotund midsection makes it difficult for him to stand on the stoop and shut the doorsounds more than slight.. He does a half dance as he makes a hasty retreat. Gruntingcomma he disappears, the door closes. I'm thinking he couldn't stand the heat. His head comes out again, this time he lands in the sand. The door slams itself. Sheepishly he offers me a bag. He also offers a glass of amber liquid. this paragraph read very jerkily to me;
I wave a hand and say, “Thanks. You know I don't drink that stuff.”

I’m clutching my chenille together in front. I’d have to let go to grab both. I turn my back towards him as I take the sack.

Jack waves his hand pointing at the glass and says, “It's tea, with sugar, the way you like it.”

Setting the bag down, I take the tea from his huge fist. Inside the bag is everything I need to do this job proper. I give Jack a well deserved harsh look. I say, “Great, make me do this twice.” There's a lot of paras ending with dialogue, it keeps pulling me out a little.

Checking the ground for ants, I stomp a bit. Then I sit. The ground feels cool. I sip the tea slowly.

Jack shrugs, wiping his fingers on the towel draped over his shoulder. He says, “Yeah, Sorry I'm bad. I know. But, I listen and I picked this up a week ago. Figured it was due to quit soon.”dialogue here is good and has a distinct voice.

Sitting with my short shorts pressed against the clay, my knees pushed up towards my chin and my hiking boots touching where my bare thighs meet the hem on the shorts, I'm a bit contorted reaching for the bag. I pour the parts in my lap. Flattening the bag on the ground I lay the parts out there. Suppressing a grimace I look at Jack and exclaim, “Wow. Shiny!”
I think I'm starting to see now why I'm confused. there are whole paragraphs which are jerky, and have comma splices, and quick sentences, and then others like this where the sentences are long and a bit over complicated, and I'm finding it hard to find my rhythm as the reader. i don't mind either style, btw, but I do like it to be constant, within one scene.

With wrench in hand I begin removing parts of the line. Jack steps into the little shadow offered by the structure of the bar. He shades his eyes looking across the desolation toward the line of trees that mark the lower edge of the mountains.

I look into the sky with its sparse clouds. The clouds sink down at night covering the ground like a cottony blanket. like that.The sun comes up to burn these away in short order. Moisture hangs in the air for the better part of the first two hours, before clouds start to reform.

Jack follows my gaze, he says, “If this takes too long I can make an exception. Let you use that cot in back.”

The first time Jack made such an offer, I'm not sure what he expected to get out of it. Whatever, he didn't get it. One nice thing about Jack though, you only have to say no once. He hasn't made such an offer since. But, I'd been diligent about getting home early. Huffing a couple of times, I stop to sip at my sweet tea. I look at Jack. I say, “Na, That's ok. I'll get home a’right. B'sides. It's cooler up in them mountains.”

Jack nods, then becomes focused on his observation of my own intent process. He says, “Where and how did you learn to fix stuff?”

This is not the first time Jack's asked this. I stop and think about that. I'm certain each time I give him the same answer. I say, “I do'nodunno?, it just came to me one day.”

Jack scoffs. He half laughs and says, “Yeah, sure, don't tell me. You could go to town take the test and get licensed. No longer have to deal with the Tom’s here. I'm just say'in you'd have a good chance at a better career.”

I finish, check for leaks, slowly fill the line bleeding the air from the system. Everything is sealed and tight. Gathering Jacks tools, supplies, and decadent parts I stuff them into the bag and wipe my hands on the bag.

Jack raises his eyebrows. I nod, he slips back inside and in short-order the conditioner comes on and begins to cycle. I wait and watch. I begin to stand and look up.

Jack’s hanging half in and half out.

I wave and say, “She's all good.”

Jack comes out, then up, to give me a fatherly hug. He says, “You do good work.”

I shrug out of his grasp, put some distance between us. I do like the way he refrains from adding, for a clone, at the end of that sentence though.

Jack’s arms fall to his sides. He grins, “I'm serious. About schooling. I'd help pay for it. If you was my daughter …”

I shake my head, I say, “You'd miss me. Maybe you need to get yourself a real daughter.” As I think about that and what he tried that first night I think, maybe not.

Jack waves a hand. He says, “Na.” He goes quiet. I'm unsure which he has said no to. Then he says, “You still could come check and make sure everything is in working order.”

I finish my tea and hand Jack my glass. He bends down to the spigot, gives it a short blast of filthy water. I say, “That's okay, Jack. We have a good arrangement. I don't need to be indebted to you forever.”

Jack shrugs, looking toward the hills. Pulling the towel down he works the corner into the glass to polish it. Jack says, “I know you don't like working Toms.” His head points. “Like that one inside. Just a tourist. Passing through. Now with his face plastered to the table because he thought he could ply you with a few drinks.”

I'm looking at the ground. The ants are back en-mass. Back to worship this humming deity. I've restored their continuity perhaps their existence. I shake my head to clear it of Jack’s merciless words.

Turning away, I step towards the hills. It’s the first leg of the journey into the mountains. I'm not looking at Jack. So, just to be certain he can see I'm leaving, I shout, “I'll see you tonight, Jack. Take care of yourself.”

I need to get away from the heat.

I liked the scene, and the characters, but as you'll see above I couldn't quite settle and get immersed. I found it fluctuated too much between formal and informal, long and short sentences. the dialogue at the end of the paragraphs kept pulling me out, too, and I'm not sure why that is, but I expect dialogue to start the action, or to be seperate. As it was, the dialogue that I would have expected to lead the action, seemed secondary, and this is maybe deliberate (seems to be, in fact), so I assume this is a stylistic thing, which didn't entirely work for me. I would read on in the hope it would settle down, and let me hear her voice a little more consistently.
 
I liked the scene, and the characters, but as you'll see above I couldn't quite settle and get immersed. I found it fluctuated too much between formal and informal, long and short sentences. the dialogue at the end of the paragraphs kept pulling me out, too, and I'm not sure why that is, but I expect dialogue to start the action, or to be seperate. As it was, the dialogue that I would have expected to lead the action, seemed secondary, and this is maybe deliberate (seems to be, in fact), so I assume this is a stylistic thing, which didn't entirely work for me. I would read on in the hope it would settle down, and let me hear her voice a little more consistently.

Oh wow. Fail, fail, and fail.
Here's an exercise. Take the first person and translate that to close third person. You will quickly find that it is easily done.That's what I do sometimes after I finish. Not often though. Bottom line for me is that first person and close third person are much the same animal. I find first person more engaging.

I'm going to wait for more input before I consider what changes I'd make. But I can see that I hit a nerve. For that I'm not sorry. I love first person and I'm aware of an overwhelming prejudice in the posts here against it.

I also enjoy the dynamic energy of present tense and was curious if there were equal amounts of prejudice against that. I don't see much use of it here.

Past tense to me creates the feel of telling even when you're showing because what your showing already happened and is done with and gone.

It is curious that that dynamic energy somehow got reduced to pedantic ramblings for one of you. But my style is often jagged and I have to watch that. I won't apologize for changing the readers pace though I'm not sure if it is healthy to demand the same pace for an entire scene.

The worst though and the best because it is the focus of the reason I submitted this is that so far the readers are too distracted to catch a theme that I was working with. I say that because i believe with all this red here I'm pretty sure we're starting to gut a part of it. It looks like that's a fail too. It would be a shame if it was just the first person and the present tense acting as a distraction.

So again I'll wait a bit.

I can see the telling now.
Though I'm not sure that the showing's disjointedness is as jumpy as you think it is.

Apparently my words hid the fact that the air conditioner was acting up ie: it kept spuriously restarting. I guess some people have conditioners that spuriously stop and start as a normal function so perhaps it needs a bit about smoke that's coming off and flames. Though I assure you neither of those is happening. I must work on it to clear that up. I do know that while standing over the cooler technicians shoulder at work a marked sign of dysfunction was a serious amount of false or failed starts.

Anyway since that was missed then it's understandable to be lost as to why she's working on it. It also requires missing that she shut the thing off. Perhaps that was missed because of the ants diminished in numbers thing. The diminishing ants are a bit of license taken there for something later. maybe I could separate it out at the risk of looking like I'm telling again.
If i go too far ill sully further reviews so I should quit and wait for some more.

Thanks though this is all telling me a lot- or should I say Showing me a lot.

Oh one more thing.

In those tells I do need some help.

I see this all the time. Too much tell, but often the person suggesting this fails to realize that the writer felt a need to tell this and couldn't find a good way to show it.
An example of how you would turn this to a show would be more helpful. And it would far exceed the power of the words "to much tell". You don't need to do it for every tell situation but for the first or second it would be helpful to know that you really do know a show from a tell and are not repeating what someone said to you.
 
My YA fantasy is first-person, present-tense and Springs managed to read around 50,000 words of it and give an excellent, balanced and fair review.

The beauty of first-person, present-tense is its ability to pull the reader right inside the character's head and take them on a journey. This doesn't do that there is very little of how she feels early on, it tells the story but doesn't show me your character experiencing it. At present it might as well be third-omniescent, past-tense. Show is more important in this narrative style.

The best example of how to pull a reader in quickly with a character is Dolly Parton. Songs like, ''Me and Little Andy'', ''Joshua'', ''Jolene'', ''To Daddy'' etc are worth looking at she has a Shakespearean ability. Try to remember your character has five senses, smell, touch, hearing, sight and taste are more important in present tense to give it a vibrancy.

The Bookshelf Muse - this can be a useful resource for first person writing because facial expressions and body language are a good way to give the reader an insight into other character's emotions.

Outside it's hot.

The morning sun nearly blinds, reflecting off the residue of dew left from the evening. The sky is its usual blue-red, a pinkish cast across the lesser moon that looms ever large in the sky.

The sun doesn't always scorch, but it tries. The humidity is what will kill you. New Terra has little ground water. That big star keeps burning it off and tossing it back into the air around us. (This is too much information all at once. By the second paragraph i am already disconnected from the character, and I suspect forms a good part of the problem previous critiquers have mentioned. Show it: have her stand up and shield her eyes from it, gaze at the blue-red sky. Have her feel parched, explain about the ground water (her mouth could be as dry as the ground) )

I wipe my forehead with the thin sleeve of my chenille overcoat. Its iridescence, in this light, draws the casual observer’s eyes away from an affectation of my skin. Even with its light fabric, a drip of sweat travels down the declivity, tickling my breasts. Underneath I’m scantly clad with short shorts and my favorite sports bra. The overcoat is plenty of coverage, reaching half way down my thigh. It hangs open, but, there's no one here to see. (Way too many words to say she is wearing an overcoat and undies, as a reader I have no reason to care about her yet. Give me that and I may care about what she wearing. This is purple prose, a touch of which I love in a work but not as my first introduction to a character's clothes. Before I've met the character. What affectation? Why does it matter if the coat covers her if she has it open anyway ? There is no one there to see, so there isn't a casual observer.)

The sun has been up almost an hour and it’s already this hot. I could go back inside, but it’s worse in there. (we know the sun is hot, you've told us and she sweated (you showed us)- how about mentioning here the AC is busted ? I don't have AC, but how about it doesn't make the usual noise or something that indicates all is not well)

The ants are already dancing on the clots of fractured clay around the air conditioner. Seeming unperturbed by its spurious attempts to restart, they have dissipated considerably since shutting it down. (is she watching this happen? - you can say that and say what she feels as she watches them, that brings the reader in and gives them a more intimate relationship with her)

I finish bleeding the system. Something foreign, in the lines, is gumming it up. It could be one of these ants or a whole colony. The seals on this thing are worn enough to invite intrusion. (Now you have sprung it on me that she is working on the system (I am guessing the AC?) )

Removing the canister and filter rig, I give the system (try not to use the same word twice close together, either once or more than twice to indicate a deliberate pattern) a good blow (explain how - she pursed her lips and placed them to the gap in the canister and blew?? - not everyone can fix the AC). I hear it sputtering across something. The way I've had to patch things, sealant might have intruded. I daren't pull all the lines apart until John agrees to invest in new parts. As I worry over this the chunk works lose, the air sings to me. (is this hardwork how does she feel doing it)

I clean my sloppy work, do a visual. I shake my head. Make the sign of the cross and say a few Hail Marys. That could be sacrilegious, because I ain't religious. It all looks as good as it can be. I have to recharge the system. I cap it while the air is still running through the lines.

It's a bust. And I mean a real bust. The leak is so evident I can see the few remaining ants being blown hither and yon. Normally I'd give the wrench a good toss. I've not been using the wrench for fear of making things worse.

The back door opens fortuitously and Jack's head is sticking out. He squints under the sun. He says, “Angie, how we doing out here?”

Stepping back I say, “Hot, sticky. This damn stuff is worn beyond its warranty period by almost a decade. Could use some better sealant. A few new parts.” (is she talking to herself or shouting to Jack?)

Jack steps out. His slight rotund midsection makes it difficult for him to stand on the stoop and shut the door. He does a half dance as he makes a hasty retreat. Grunting he disappears, the door closes. I'm thinking he couldn't stand the heat. His head comes out again, this time he lands in the sand. The door slams itself. Sheepishly he offers me a bag. He also offers a glass of amber liquid. (why is he sheepish what about his expression gives her that impression? Right now you tell us he is sheepish - the Bookshelf Muse will help with this)

I wave a hand and say, “Thanks. You know I don't drink that stuff.” (why would he offer it her? This doesn't make sense)

I’m clutching my chenille together in front. I’d have to let go to grab both. I turn my back towards him as I take the sack. (is Jack not her partner? Who is he?)

Jack waves his hand pointing at the glass and says, “It's tea, with sugar, the way you like it.”

Setting the bag down, I take the tea from his huge fist. Inside the bag is everything I need to do this job proper. I give Jack a well deserved harsh look. I say, “Great, make me do this twice.” (why didn't she take it up with her?)

Checking the ground for ants, I stomp a bit. Then I sit. The ground feels cool. I sip the tea slowly. (try rearranging it to remove the then )

Jack shrugs, wiping his fingers on the towel draped over his shoulder. He says, “Yeah, Sorry I'm bad. I know. But, I listen and I picked this up a week ago. Figured it was due to quit soon.”

Sitting with my short shorts pressed against the clay, my knees pushed up towards my chin and my hiking boots touching where my bare thighs meet the hem on the shorts, I'm a bit contorted reaching for the bag. I pour the parts in my lap. Flattening the bag on the ground I lay the parts out there. Suppressing a grimace I look at Jack and exclaim, “Wow. Shiny!” (The dialogue just doesn't make sense. Part of the reason is too much description between the interactions. Again there are non of her thoughts and feelings here)

With wrench in hand I begin removing parts of the line. Jack steps into the little shadow offered by the structure of the bar. He shades his eyes looking across the desolation toward the line of trees that mark the lower edge of the mountains.

I look into the sky with its sparse clouds. The clouds sink down at night covering the ground like a cottony blanket. The sun comes up to burn these away in short order. Moisture hangs in the air for the better part of the first two hours, before clouds start to reform. (This isn't relevant to the scene)

Jack follows my gaze, he says, “If this takes too long I can make an exception. Let you use that cot in back.”

The first time Jack made such an offer, I'm not sure what he expected to get out of it. Whatever, he didn't get it. One nice thing about Jack though, you only have to say no once. He hasn't made such an offer since. But, I'd been diligent about getting home early. Huffing a couple of times, I stop to sip at my sweet tea. I look at Jack. I say, “Na, That's ok. I'll get home a’right. B'sides. It's cooler up in them mountains.” (so who does the air conditioning belong to ? and if it isn't hers why the heck is she wearing a heavy overcoat and undies?)

Jack nods, then becomes focused on his observation of my own intent process. He says, “Where and how did you learn to fix stuff?”

This is not the first time Jack's asked this. I stop and think about that. I'm certain each time I give him the same answer. I say, “I do'no, it just came to me one day.”

Jack scoffs. He half laughs and says, “Yeah, sure, don't tell me. You could go to town take the test and get licensed. No longer have to deal with the Tom’s here. I'm just say'in you'd have a good chance at a better career.”

I finish, check for leaks, slowly fill the line bleeding the air from the system. Everything is sealed and tight. Gathering Jacks tools, supplies, and decadent parts I stuff them into the bag and wipe my hands on the bag.

Jack raises his eyebrows. I nod, he slips back inside and in short-order the conditioner comes on and begins to cycle. I wait and watch. I begin to stand and look up.

Jack’s hanging half in and half out. (hanging half in and half out? This had my mind going in the wrong direction)

I wave and say, “She's all good.”

Jack comes out, then up, to give me a fatherly hug. He says, “You do good work.”

I shrug out of his grasp, put some distance between us. I do like the way he refrains from adding, for a clone, at the end of that sentence though.

Jack’s arms fall to his sides. He grins, “I'm serious. About schooling. I'd help pay for it. If you was my daughter …”

I shake my head, I say, “You'd miss me. Maybe you need to get yourself a real daughter.” As I think about that and what he tried that first night I think, maybe not.

Jack waves a hand. He says, “Na.” He goes quiet. I'm unsure which he has said no to. Then he says, “You still could come check and make sure everything is in working order.”

I finish my tea and hand Jack my glass. He bends down to the spigot, gives it a short blast of filthy water. I say, “That's okay, Jack. We have a good arrangement. I don't need to be indebted to you forever.”

Jack shrugs, looking toward the hills. Pulling the towel down he works the corner into the glass to polish it. Jack says, “I know you don't like working Toms.” His head points. “Like that one inside. Just a tourist. Passing through. Now with his face plastered to the table because he thought he could ply you with a few drinks.” (Tom? paying sex partner? As in cat? Who is inside?)

I'm looking at the ground. The ants are back en-mass. Back to worship this humming deity. I've restored their continuity perhaps their existence. I shake my head to clear it of Jack’s merciless words.

Turning away, I step towards the hills. It’s the first leg of the journey into the mountains. I'm not looking at Jack. So, just to be certain he can see I'm leaving, I shout, “I'll see you tonight, Jack. Take care of yourself.”

I need to get away from the heat.


I'm sorry to sound harsh, but I read to the end of this and I don't know your character or understand who Jack is. I don't get why she is in just her underwear and coat, what is her relationship to him? I know more about the planet and the air conditioning.

Your descriptions when they weren't using purple prose were good and this piece could work. At present it doesn't make the most of the narrative you have chosen and it is confusing. Springs and Warren Paul are right - it is disjointed, choppy, hard to follow and the dialogue doesn't flow naturally.

Also and this a huge, personal prejudice of mine - I hate stories of longer than 75 words, were the character has no name. It drives me bonkers!
 
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Bottom line for me is that first person and close third person are much the same animal. I find first person more engaging.

I'm going to wait for more input before I consider what changes I'd make. But I can see that I hit a nerve. For that I'm not sorry. I love first person and I'm aware of an overwhelming prejudice in the posts here against it.

Hey Luci.

There is nothing wrong with 1st-person, when used effectively, it's the best writing style for getting right into the character's head. My gripe is just with present tense, but like I said, that's just me. You might get people like Hex come along, for instance, who loves present tense I believe?

I did have another thought, not sure if it's been mentioned yet or not, haven't actually looked at the other critiques properly. But in the scene the ground is described as being cool. I'd have thought, if it was a really hot day, wouldn't the ground be hot, or at least warm? Unless it's in the shade, and if it is, I missed it in the descriptions. Just a nit-picky thought, but it sort of just slipped in there while I was working - good excuse for a distraction. :)

The way this scene started gave me the impression that it was the first scene in the book? If it's not, that's cool, which means there are context things we aren't aware of that if we were, would influence the responses we give on critiques, but there isn't much that can be done about that because of the word limit. Easiest thing is to give a quick infodump before you start the excerpt of any details that matter which we might have missed in a previous scene - like for instance, why is she off fixing somebody else's AC system and dressed in that fashion? If it was described in a previous scene, that's cool, but possibly mention it next time. :)

EDIT:

Don't worry about cutting bits out of scenes - if you have - so that it fits into the word limit, if the excerpt finishes halfway through a scene, that's better to post up, than if bits and pieces of it are left out so that it's under the limit. We aren't expecting to critique a whole story on this forum. :)
 
My YA fantasy is first-person, present-tense and Springs managed to read around 50,000 words of it and give an excellent, balanced and fair review.

The beauty of first-person, present-tense is its ability to pull the reader right inside the character's head and take them on a journey. This doesn't do that there is very little of how she feels early on, it tells the story but doesn't show me your character experiencing it. At present it might as well be third-omniescent, past-tense. Show is more important in this narrative style.

The best example of how to pull a reader in quickly with a character is Dolly Parton. Songs like, ''Me and Little Andy'', ''Joshua'', ''Jolene'', ''To Daddy'' etc are worth looking at she has a Shakespearean ability. Try to remember your character has five senses, smell, touch, hearing, sight and taste are more important in present tense to give it a vibrancy.

The Bookshelf Muse - this can be a useful resource for first person writing because facial expressions and body language are a good way to give the reader an insight into other character's emotions.




I'm sorry to sound harsh, but I read to the end of this and I don't know your character or understand who Jack is. I don't get why she is in just her underwear and coat, what is her relationship to him? I know more about the planet and the air conditioning.

Your descriptions when they weren't using purple prose were good and this piece could work. At present it doesn't make the most of the narrative you have chosen and it is confusing. Springs and Warren Paul are right - it is disjointed, choppy, hard to follow and the dialogue doesn't flow naturally.

Also and this a huge, personal prejudice of mine - I hate stories of longer than 75 words, were the character has no name. It drives me bonkers!
Outside it's hot.

The morning sun nearly blinds, reflecting off the residue of dew left from the evening. The sky is its usual blue-red, a pinkish cast across the lesser moon that looms ever large in the sky.

The sun doesn't always scorch, but it tries. The humidity is what will kill you. New Terra has little ground water. That big star keeps burning it off and tossing it back into the air around us. (This is too much information all at once. By the second paragraph i am already disconnected from the character, and I suspect forms a good part of the problem previous critiquers have mentioned. Show it: have her stand up and shield her eyes from it, gaze at the blue-red sky. Have her feel parched, explain about the ground water (her mouth could be as dry as the ground) )
(I apologize for your discombobulation but the reason for this is it explains why she's in her underwear. I will consider this take on the show I like show but sometimes it takes more words and words are limited here I won't post this here fixed)


I wipe my forehead with the thin sleeve of my chenille overcoat. Its iridescence, in this light, draws the casual observer’s eyes away from an affectation of my skin. Even with its light fabric, a drip of sweat travels down the declivity, tickling my breasts. Underneath I’m scantly clad with short shorts and my favorite sports bra. The overcoat is plenty of coverage, reaching half way down my thigh. It hangs open, but, there's no one here to see. (Way too many words to say she is wearing an overcoat and undies, as a reader I have no reason to care about her yet. Give me that and I may care about what she wearing. This is purple prose, a touch of which I love in a work but not as my first introduction to a character's clothes. Before I've met the character. What affectation? Why does it matter if the coat covers her if she has it open anyway ? There is no one there to see, so there isn't a casual observer.)
(Whats important is the overcoat and her skin because shes not quite human. sorry that go lost on you ill try to be more direct)

The sun has been up almost an hour and it’s already this hot. I could go back inside, but it’s worse in there. (we know the sun is hot, you've told us and she sweated (you showed us)- how about mentioning here the AC is busted ? I don't have AC, but how about it doesn't make the usual noise or something that indicates all is not well)
(you should see this down below. but somehow you muddled it so I must not have said it quite simply enough.)

The ants are already dancing on the clots of fractured clay around the air conditioner. Seeming unperturbed by its spurious attempts to restart, they have dissipated considerably since shutting it down. (is she watching this happen? - you can say that and say what she feels as she watches them, that brings the reader in and gives them a more intimate relationship with her)
(in looking at ants she's looking at ac . its making those bad noises you spoke of yourself and it has been shut down so why wouldn't she be working on it? Again sorry somehow this just isn't clear.)


I finish bleeding the system. Something foreign, in the lines, is gumming it up. It could be one of these ants or a whole colony. The seals on this thing are worn enough to invite intrusion. (Now you have sprung it on me that she is working on the system (I am guessing the AC?) )
(Shouldn't be a surprise but what the heck-surprise- where were you all this time obviously something made you lose the story. For you the story fails)

Removing the canister and filter rig, I give the system (try not to use the same word twice close together, either once or more than twice to indicate a deliberate pattern) a good blow (explain how - she pursed her lips and placed them to the gap in the canister and blew?? - not everyone can fix the AC).(I am afraid that might begin to fall into the TMI catagory- not sure all the readers need that- especially here) I hear it sputtering across something. The way I've had to patch things, sealant might have intruded. I daren't pull all the lines apart until John agrees to invest in new parts. As I worry over this the chunk works lose, the air sings to me. (is this hardwork how does she feel doing it)(Oddly again I've distracted you because this is not about the work and that's TMI again.)

I clean my sloppy work, do a visual. I shake my head. Make the sign of the cross and say a few Hail Marys. That could be sacrilegious, because I ain't religious. It all looks as good as it can be. I have to recharge the system. I cap it while the air is still running through the lines.

It's a bust. And I mean a real bust. The leak is so evident I can see the few remaining ants being blown hither and yon. Normally I'd give the wrench a good toss. I've not been using the wrench for fear of making things worse.

The back door opens fortuitously and Jack's head is sticking out. He squints under the sun. He says, “Angie, how we doing out here?”

Stepping back I say, “Hot, sticky. This damn stuff is worn beyond its warranty period by almost a decade. Could use some better sealant. A few new parts.” (is she talking to herself or shouting to Jack?)(uh jack is right there so i just don't know)


Jack steps out. His slight rotund midsection makes it difficult for him to stand on the stoop and shut the door. He does a half dance as he makes a hasty retreat. Grunting he disappears, the door closes. I'm thinking he couldn't stand the heat. His head comes out again, this time he lands in the sand. The door slams itself. Sheepishly he offers me a bag. He also offers a glass of amber liquid. (why is he sheepish what about his expression gives her that impression? Right now you tell us he is sheepish - the Bookshelf Muse will help with this)(If you could follow this it seems he let her do all this work without telling her he had these parts.)

I wave a hand and say, “Thanks. You know I don't drink that stuff.” (why would he offer it her? This doesn't make sense)(this happens in real life deal with it. tea sometimes looks like ale.)

I’m clutching my chenille together in front. I’d have to let go to grab both. I turn my back towards him as I take the sack. (is Jack not her partner? Who is he?)
(That remains undecided because it was way pages earlier sorry)

Jack waves his hand pointing at the glass and says, “It's tea, with sugar, the way you like it.”

Setting the bag down, I take the tea from his huge fist. Inside the bag is everything I need to do this job proper. I give Jack a well deserved harsh look. I say, “Great, make me do this twice.” (why didn't she take it up with her?) (now you lost me with this question- I guess that its unclear that the bag of parts brought to her after the fact now makes her previous work work that didn't need to have been done.)

Checking the ground for ants, I stomp a bit. Then I sit. The ground feels cool. I sip the tea slowly. (try rearranging it to remove the then )(The ants are always there the stomping rearranged them but you can't remove them.)

Jack shrugs, wiping his fingers on the towel draped over his shoulder. He says, “Yeah, Sorry I'm bad. I know. But, I listen and I picked this up a week ago. Figured it was due to quit soon.”

Sitting with my short shorts pressed against the clay, my knees pushed up towards my chin and my hiking boots touching where my bare thighs meet the hem on the shorts, I'm a bit contorted reaching for the bag. I pour the parts in my lap. Flattening the bag on the ground I lay the parts out there. Suppressing a grimace I look at Jack and exclaim, “Wow. Shiny!” (The dialogue just doesn't make sense. Part of the reason is too much description between the interactions. Again there are non of her thoughts and feelings here)(She is sitting squatting while working and that shows some of her attitude at the moment. The wow shiny is simply ironic sarcasm she doesn't often see shiny new parts. Sorry again I can't help make you think until I fix this.)

With wrench in hand I begin removing parts of the line. Jack steps into the little shadow offered by the structure of the bar. He shades his eyes looking across the desolation toward the line of trees that mark the lower edge of the mountains.

I look into the sky with its sparse clouds. The clouds sink down at night covering the ground like a cottony blanket. The sun comes up to burn these away in short order. Moisture hangs in the air for the better part of the first two hours, before clouds start to reform. (This isn't relevant to the scene)( Oh but it is because when the clouds roll in they will trap the heat and it will stay hot and get much hotter until someone walking out there will be in danger of their life.) (It's the reason for Jacks offer of a bunk.)

Jack follows my gaze, he says, “If this takes too long I can make an exception. Let you use that cot in back.”

The first time Jack made such an offer, I'm not sure what he expected to get out of it. Whatever, he didn't get it. One nice thing about Jack though, you only have to say no once. He hasn't made such an offer since. But, I'd been diligent about getting home early. Huffing a couple of times, I stop to sip at my sweet tea. I look at Jack. I say, “Na, That's ok. I'll get home a’right. B'sides. It's cooler up in them mountains.” (so who does the air conditioning belong to ? and if it isn't hers why the heck is she wearing a heavy overcoat and undies?)Well you see in the scene before- I cant post because no serial posting and this post was too long. It is Jacks bar Jacks air conditioner and she is his employee sorry I have no help for you this is why this should not have been posted here.)

Jack nods, then becomes focused on his observation of my own intent process. He says, “Where and how did you learn to fix stuff?”

This is not the first time Jack's asked this. I stop and think about that. I'm certain each time I give him the same answer. I say, “I do'no, it just came to me one day.”

Jack scoffs. He half laughs and says, “Yeah, sure, don't tell me. You could go to town take the test and get licensed. No longer have to deal with the Tom’s here. I'm just say'in you'd have a good chance at a better career.”

I finish, check for leaks, slowly fill the line bleeding the air from the system. Everything is sealed and tight. Gathering Jacks tools, supplies, and decadent parts I stuff them into the bag and wipe my hands on the bag.

Jack raises his eyebrows. I nod, he slips back inside and in short-order the conditioner comes on and begins to cycle. I wait and watch. I begin to stand and look up.

Jack’s hanging half in and half out. (hanging half in and half out? This had my mind going in the wrong direction)(cant help you maybe take an asprin)

I wave and say, “She's all good.”

Jack comes out, then up, to give me a fatherly hug. He says, “You do good work.”

I shrug out of his grasp, put some distance between us. I do like the way he refrains from adding, for a clone, at the end of that sentence though.

Jack’s arms fall to his sides. He grins, “I'm serious. About schooling. I'd help pay for it. If you was my daughter …”

I shake my head, I say, “You'd miss me. Maybe you need to get yourself a real daughter.” As I think about that and what he tried that first night I think, maybe not.

Jack waves a hand. He says, “Na.” He goes quiet. I'm unsure which he has said no to. Then he says, “You still could come check and make sure everything is in working order.”

I finish my tea and hand Jack my glass. He bends down to the spigot, gives it a short blast of filthy water. I say, “That's okay, Jack. We have a good arrangement. I don't need to be indebted to you forever.”

Jack shrugs, looking toward the hills. Pulling the towel down he works the corner into the glass to polish it. Jack says, “I know you don't like working Toms.” His head points. “Like that one inside. Just a tourist. Passing through. Now with his face plastered to the table because he thought he could ply you with a few drinks.” (Tom? paying sex partner? As in cat? Who is inside?)(Again my fault for writing so big its in the part you won't see)

I'm looking at the ground. The ants are back en-mass. Back to worship this humming deity. I've restored their continuity perhaps their existence. I shake my head to clear it of Jack’s merciless words.

Turning away, I step towards the hills. It’s the first leg of the journey into the mountains. I'm not looking at Jack. So, just to be certain he can see I'm leaving, I shout, “I'll see you tonight, Jack. Take care of yourself.”

I need to get away from the heat.

I have all my answers to my questions about this thread;

Obviously I have work to do if I want people to figure out what I mean. instead of having them for some reason rewriting it in their head and making it say what I don't mean. That's helpful because I can fix that somewhat.

But it won't happen with the size limit here. So it won't happen here in this thread.

Posting this was a Big mistake and any further comments will just waste people's time.

I posted this after condensing it to fit because it would fit.
That left too many questions in the reviewers mind and I can't get to the heart of what I posted this for because everyone is distracted by the lack of what they feel should be adequate development of characters.

I did learn that some people have a problem connecting the dots if they aren't lain out in a row neatly for them. I've never had this problem. But then I totally understood Memento. I'm leaving the dots ill just have to throw breadcrumbs around them to help get people to the clues.

Obviously this whole scene doesn't work and sucks in and of it self, which is bad. It is meant to be able to stand by itself so that failed. I know i can make it work but won't post it here because it won't fit. It's meant to be a part of a larger piece.

I did get a whole bunch of hints on the writing skills which is a plus.

I won't post here again unless i find something that's a complete story this short so I don't have any illusions about getting fair review.

I'm not saying the review wasn't fair. I'm saying this post doesn't belong here.

The only posts that would work here would be complete short stories of a very small nature.

Anyway please anyone else looking at this do not waste your time reviewing this it is history.
 
I didn't muddle up the bit about the AC - the suggestion is to mention earlier why she is there and what she is doing.
 
Morning Luci2also.


The first thing I think I'd like to say is at no point have I said I don't like 1st person, or that I had any difficulty with your pov or tense. As Anya has pointed out I've read hers in the same pov/tense and another from the Chrons, a recent book in the same, and even - gasp - use it myself, mainly in short work.


The sun doesn't always scorch, but it tries. The humidity is what will kill you. New Terra has little ground water. That big star keeps burning it off and tossing it back into the air around us.a little bit of telling.An example of how you would turn this to a show would be more helpful. And it would far exceed the power of the words "to much tell". You don't need to do it for every tell situation but for the first or second it would be helpful to know that you really do know a show from a tell and are not repeating what someone said to you

Not a big one for repetition, me. :), but even if I was, and you didn't agree, ignore it. would have done something like;

I look at the ac unit (I'd try to bring this in early to centre the reader, and give them the visual image of where they were) and a drip of water falls from it. Nearly immediately, it's steaming in the scorching sun. No wonder, New Terra has so little ground water, it gets burnt up and tossed into the air as quick as it can. Already, it's so hot and humid, the sweat's trickling down my back. I crouch beside the AC, knowing I need to get it going before the humidity kills us.

It's a bit clunky, as I'm trying to use your words and blend them with my scene, but using something like water evaporating, or sweat running down, is more immersive. IMHO, which all of this is.

Oh wow. Fail, fail, and fail.
absolutely not. Your first critique liked it, WP liked it with a few nits, I had a few problems, crossing over to WP's, but stated that overall I liked the piece. So, I'd call that a distinction, merit and pass.

Here's an exercise. Take the first person and translate that to close third person. You will quickly find that it is easily done.That's what I do sometimes after I finish. Not often though. Bottom line for me is that first person and close third person are much the same animal. I find first person more engaging.
I think we talked about this recently in gwd, and I was saying that this technique had really helped me. Any crits I had were not about 1st person, or tense, but about little things getting in the way of me being fully immersed. This would have been the same whether in 1st or 3rd close.

I'm going to wait for more input before I consider what changes I'd make.
Good. I am an amateur writer, the same as you, and mine is only an opinion. There was a crit recently where I was the only one of about 6 reviewers who didn't like the piece. That's fine, and i'm sure the person whose piece it was said, well 5 out of 6 is a result, took what they wanted from mine and moved on.


But I can see that I hit a nerve. For that I'm not sorry. I love first person and I'm aware of an overwhelming prejudice in the posts here against it.
I'm sorry, you didn't hit a nerve. The crits I raised with you are similar to those I'd raise in any critical analysis - which IS what we're asking for on this board. I have no prejudice against first, if I had, I wouldn't have read it. I'm currently working on a piece 1st/past.


Apparently my words hid the fact that the air conditioner was acting up ie: it kept spuriously restarting. I guess some people have conditioners that spuriously stop and start as a normal function so perhaps it needs a bit about smoke that's coming off and flames.
So, I'm not a techie, as I've evidenced so many times on the Chrons. No, I didn't realise there was anything other than an untoward fault. Perhaps, if it's important for the reader to know, use the dialogue. "Again?"
"Yep, keeps going off, and it shouldn't." "Is that something I should worry about? Is it gonna cost me?" "No, it's just weird."
It's one thing to ask a reader to join the dots, another if it's in a specialist field. Then we might need a little bit of guidance.


So, sorry if I upset you, or offended you with my critique. i think if you read through again, you'll find it's not meant to be negative, but rather to pick up on the bits that took me, the reader, out of your scene a little, in the hope you might find it useful. It is no different from a lot of the critiques given here, and I'm surprised if, having seen the critiques board and read the sort of feedback given, that it wasn't expected by you. Good luck. :)
 
Hello Luci2also :)

First of all, I think this is your first post in critique, and when I posted mine I found it very scary, so well done for posting this. If this isn't your first post, well done again - I think I will be just as scared next time.

If you've shortened this piece, it might be why some information has become lost, and why it is not getting across to me everything you want to say.

In many ways I felt you were telling me about things, rather than showing me. I longed for some internal thoughts, and more emotion. Therefore I think more explanation of who people are, and why they are doing things, rather than showing what they are doing would help.

I do read and write in first person. I love first person books, so for me if you added a bit more emotion, and let me get into the head of the character, rather than her telling me things, I am sure I would be pulled in better.

I hope that helps a bit. And of course, this is only my opinion, nothing more. All the best with your writing.

Crystal
 
I won't bother critiquing this since you evidently have an aversion for red comments in every other sentence, which nit-picking it would create, and you've also evidently decided you require no further help with it.

With my mod's hat on, though, two points.

First, as Warren has already said, it's usually better to cut off a scene half-way rather than prune it internally to make it fit the 1500 word limit -- if you want the whole thing to be read, then you can add the second half of the scene in a separate thread after a day or two. Further, we are perfectly capable of being able to pick up on someone's style and draw attention to defects in only a few hundred words.

Second, no one likes being critiqued. However, if one is serious about improving one's writing it is a necessity and raising objections about the critiques is self-defeating, quite apart from being extremely bad manners. There is also little point in responding to the critiques at length and in self-justification. If you are seeking clarification of a point, or asking for further help, all well and good. Otherwise, if you don't agree or you think the critiquers have misunderstood, there is nothing to be gained by making an issue of it, and plenty to be lost. Better by far simply to thank them for their time, and move on. We certainly don't expect -- nor will we tolerate -- comments which appear to suggest the critiquers are ignorant of certain issues and/or plain stupid.

You have received a great deal of good advice here in thoughtful critiques which have been more than fair both in the way they have been presented and what they have said. it is up to you to make use of it.
 
Okay, I'll start by saying that although I'm not the biggest fan of present tense, it didn't grate too much in this. In fact, by the end, I was coming to like the voice of the narrator.

It was a bit info-dumpy in places. However, we're all guilty of that at times, which is why we have rewrites and edits and further drafts (and swearing sessions :)).

Right, for this, I'll use
RED for anything I consider to be an issue
BLUE for suggestions; and
PINK for comments and thoughts

Anyway, I hope you won't think me too harsh. I've tried to mix both good and bad and please remember, they're only my opinions.

I had to tighten this to get it to fit the rules. It still works for me. I need to know if it works for anyone else.
###

Outside it's hot.

The morning sun nearly blinds, reflecting off the residue of dew left from the evening. The sky is its usual blue-red, a pinkish cast across the lesser moon that looms ever large in the sky. Should 'from the evening' just be 'overnight'.

The sun doesn't always scorch, but it tries. The humidity is what will kill you. New Terra has little ground water. That big star keeps burning it off and tossing it back into the air around us.

I wipe my forehead with the thin sleeve of my chenille overcoat. Its iridescence, in this light, draws the casual observer’s eyes away from an affectation of my skin.
This sentence sounds (to me) more like an omniscient narrator, rather than a personal viewpoint. Also, 'affectation' according to the OED is 'behaviour, speech or writing that is artificial and dsigned to impress', so I got confused by how it related to skin in this instance.
Even with its light fabric, a drip of sweat travels down the declivity, tickling my breasts. Underneath I’m scantly clad with short shorts and my favorite sports bra. The overcoat is plenty of coverage, reaching half way down my thigh. It hangs open, but, there's no one here to see.

The sun has been up almost an hour and it’s already this hot. I could go back inside, but it’s worse in there.

The ants are already dancing on the clots of fractured clay around the air conditioner. Seeming unperturbed by its spurious attempts to restart, they have dissipated considerably since shutting it down.
I loved the first sentence about the ants, which was vivid and strong. But, the second sentence seemed a bit of an info-dump, very different in tone from the sentence before it. Would you consider taking the first sentence and tacking it on to the next paragraph? It mentions ants in the AC, therefore suggesting they may have broken it.

I finish bleeding the system. Something foreign, in the lines, (no commas) is gumming it up. It could be one of these ants or a whole colony. The seals on this thing are worn enough to invite intrusion.

Removing the canister and filter rig, I give the system a good blow. I hear it sputtering across something. The way I've had to patch things, sealant might have intruded. I daren't pull all the lines apart until John agrees to invest in new parts. As I worry over this the chunk works lose, the air sings to me. These two words didn't quite work for me here. 'sputtering' is technically correct, but makes me think of a car engine, not breath through a filter; and you use 'chunk' having previously stated she doesn't know what's causing the blockage.

I clean my sloppy work, do a visual. I shake my head. Make the sign of the cross and say a few Hail Marys. That could be sacrilegious, because I ain't religious. It all looks as good as it can be. I have to recharge the system. I cap it while the air is still running through the lines.

It's a bust. And I mean a real bust. The leak is so evident I can see the few remaining ants being blown hither and yon. Normally I'd give the wrench a good toss. I've not been using the wrench for fear of making things worse.
The last couple of paragraphs come across as slight info-dumps. It's good descriptive writing and I like the images being shown, but it slows the story down for me and I want to find out who the characters are.

The back door opens fortuitously and Jack's head is sticking out. He squints under the sun. He says, “Angie, how we doing out here?” Why is it fortuitous? You can probably remove 'He says', as it should be obvious who's speaking.

Stepping back I say, “Hot, sticky. This damn stuff is worn beyond its warranty period by almost a decade. Could use some better sealant. A few new parts.”

Jack steps out. His slight rotund midsection makes it difficult for him to stand on the stoop and shut the door. He does a half dance as he makes a hasty retreat. Grunting he disappears, the door closes. I'm thinking he couldn't stand the heat. His head comes out again, this time he lands in the sand. The door slams itself. Sheepishly he offers me a bag. He also offers a glass of amber liquid.
Is he slight or rotund? Slightly rotund wouldn't work for me, as you can be slightly fat, but not slightly obese, which is what I think of rotund as being.

I wave a hand and say, “Thanks. You know I don't drink that stuff.”

I’m clutching my chenille together in front. I’d have to let go to grab both. I turn my back towards him as I take the sack.

Jack waves his hand pointing at the glass and says, “It's tea, with sugar, the way you like it.”

Setting the bag down, I take the tea from his huge fist. Inside the bag is everything I need to do this job proper. I give Jack a well deserved harsh look. I say, “Great, make me do this twice.”

Checking the ground for ants, I stomp a bit. Then I sit. The ground feels cool. I sip the tea slowly. You could combine the sentences, removing the sections highlighted, I think.

Jack shrugs, wiping his fingers on the towel draped over his shoulder. He says, “Yeah, Sorry(comma) I'm bad. I know. But, I listen and I picked this up a week ago. Figured it was due to quit soon.”

Sitting with my short shorts pressed against the clay, my knees pushed up towards my chin and my hiking boots touching where my bare thighs meet the hem on the shorts, I'm a bit contorted reaching for the bag. I pour the parts in my lap. Flattening the bag on the ground I lay the parts out there. Suppressing a grimace I look at Jack and exclaim, “Wow. Shiny!”
It feels a little bit of an info-dump describing the exact pose, even though I like the description, again. Also, you may want to watch using words such as 'shiny' - I had a Firefly moment (not a bad thing:p, but it took me out of your story and made me think of someone else's).

With wrench in hand I begin removing parts of the line. Jack steps into the little shadow offered by the structure of the bar. He shades his eyes looking across the desolation toward the line of trees that mark the lower edge of the mountains.

I look into the sky with its sparse clouds. The clouds sink down at night covering the ground like a cottony blanket. The sun comes up to burn these away in short order. Moisture hangs in the air for the better part of the first two hours, before clouds start to reform.

Jack follows my gaze, he says, “If this takes too long I can make an exception. Let you use that cot in back.”

The first time Jack made such an offer, I'm not sure what he expected to get out of it. Whatever, he didn't get it. One nice thing about Jack though, you only have to say no once. He hasn't made such an offer since. But, I'd been diligent about getting home early. Huffing a couple of times, I stop to sip at my sweet tea. I look at Jack. I say, “Na, That's ok. I'll get home a’right. B'sides. It's cooler up in them mountains.” Perhaps me, but it seemed a change in her speech pattern for her to say 'them' instead of 'the'. It might simply be due to not having more of her to read.

Jack nods, then becomes focused on his observation of my own intent process. He says, “Where and how did you learn to fix stuff?”

This is not the first time Jack's asked this. I stop and think about that. I'm certain each time I give him the same answer. I say, “I do'no, it just came to me one day.”

Jack scoffs. He half laughs and says, “Yeah, sure, don't tell me. You could go to town take the test and get licensed. No longer have to deal with the Tom’s here. I'm just say'in you'd have a good chance at a better career.”

I finish, check for leaks, slowly fill the line bleeding the air from the system. Everything is sealed and tight. Gathering Jacks tools, supplies, and decadent parts I stuff them into the bag and wipe my hands on the bag.

Jack raises his eyebrows. I nod, he slips back inside and in short-order the conditioner comes on and begins to cycle. I wait and watch. I begin to stand and look up.

Jack’s hanging half in and half out.

I wave and say, “She's all good.”

Jack (He) comes out, then up, to give me a fatherly hug. He says, “You do good work.”

I shrug out of his grasp, put some distance between us. I do like the way he refrains from adding, for a clone, at the end of that sentence though.

Jack’s arms fall to his sides. He grins, “I'm serious. About schooling. I'd help pay for it. If you was my daughter …”

I shake my head, I say, “You'd miss me. Maybe you need to get yourself a real daughter.” As I think about that and what he tried that first night I think, maybe not.

Jack waves a hand. He says, “Na.” He goes quiet. I'm unsure which he has said no to. Then he says, “You still could come check and make sure everything is in working order.”

I finish my tea and hand Jack my glass. He bends down to the spigot, gives it a short blast of filthy water. I say, “That's okay, Jack. We have a good arrangement. I don't need to be indebted to you forever.”

Jack shrugs, looking toward the hills. Pulling the towel down he works the corner into the glass to polish it. Jack says, “I know you don't like working Toms.” His head points. “Like that one inside. Just a tourist. Passing through. Now with his face plastered to the table because he thought he could ply you with a few drinks.”

I'm looking at the ground. The ants are back en-mass (en masse). Back to worship this humming deity. I've restored their continuity perhaps their existence. I shake my head to clear it of Jack’s merciless words.I love the 'humming deity' line.

Turning away, I step towards the hills. It’s the first leg of the journey into the mountains. I'm not looking at Jack. So, just to be certain he can see I'm leaving, I shout, “I'll see you tonight, Jack. Take care of yourself.”

I need to get away from the heat.

I found this interesting and it definitely had possibilities. A tech-savvy clone in a dry off-world colony who works as a prostitute as well? That's what I got from Angie. Jack is a bar owner, I think. Unfortunately, I didn't get as much insight into who they were as people as I would have liked, which I think Anya said as well. However, that could be developed as the story progresses.

As I said at the start and in a couple of notes through the work, there's a bit of info-dumping going on. That can be easily fixed, though and it gets less once you have the characters interacting. It's just something for the dreaded edit.

One thing I noticed in your speeches were a lot of 'I say', 'he says'. Sometimes you could possibly get away without them, especially when it's obvious who's speaking. Could some alternatives be 'I tell him', 'he asks', 'he suggests'?

Anyway, please continue with your writing. I'd be interested to see how this develops. Good luck.:)


EDIT: Wa-hey. My 500th post!
 
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I have to admit I was quite surprised, and I too apologise if any of my comments have offended you, Luci.

TJ mentioned commenting on people's comments, it's hard not to give into the urge to justify what you have written in some way, and I admit that I too have been like that in the past - although I never intended it to come across that way. Sometimes when I'm thinking about things, seeking to understand them, it sometimes comes across as arguing, which isn't my intention, but people will likely take it that way. I've in fact done this recently, which I regret. We just have to bite our tongue and get on with it. If the critique upset you, take a break, relax, then come back and see if there was anything useful in the critique, if not, leave it and move on.

You're never going to agree with everything that's been said in critiques, and if comments aren't relevant due to lack of context, just say thanks and ignore them, and make use of the comments that are relevant. If there are none that are relevant, that's probably a good thing, because it means that, in context, the scene would work.

If we make a comment that looks like we didn't understand what was written, it's likely because that bit of writing needs more clarification. We don't have all the information you do, so will see things differently to how you see them. You will likely look at the scene and understand what is said, because you know what you were trying to say, but we don't have that knowledge.

It's scary putting up critiques, we would hope that nothing negative comes back, but unfortunately there will almost always be some negative comments. But they are the best comments, because they tell you how to improve things.
 
There is no way I'm going to apologize for defending my work. And, I was full aware that in doing so I would cause someones ire to rise. I am a bit sorry that some took it personal and that I was rejecting their critique. And even though I expected this reaction I am disappointed.

So I will try to restate what was said and meant in my rant.

It appeared to me that some-not all- of the reviews were done without fully reading the whole piece. I would think the word limit size would be ideally suited for allowing you the luxury of doing this before jumping into it.

It might be that there was so much lacking in clarity that you did read it all and were still at a loss. For that I would have thought it best for you to say I lost you all the way through to the end.

I had a sense of it being something different from that.

It sounds like someone jumped in and started critiquing each sentence as it grew under their gaze. Without realizing till much later on that the story was too disjointed for them to follow.

The next is that under the constraints even if I had just split this it would have still caused some of the people too many problems. In hindsight I needed a lengthy explanation of previous events.

Even so I should not have eviscerated my baby just to get it into one post or separate it into several posts. Condensing her a bit was a bad choice.

And that was what made me realize that this was not the place for this.

I honestly did not want you to rewrite this for me. Especially when, on the face of the reviews, you have no Idea where I'm going with it.

The up side is I took what I could from this and made it better. And now it has returned to its former size which is much too large to be acceptable here.

It is most likely far from perfect but I have a lesson learned.

I will not post the refurbished work- that wasn't a threat back when; that was a fact.

I hesitate to post anything again because of the reaction to my defending what I had written. I think a writer should do that. I don't put it on paper if I didn't think it should be there to begin with. If my defense of the work has to be perceived as an attack on the critic I should probably not bother the critic.

I don't see it as an attack any more than the critic should see what they do as an attack on the author.
 
I felt your response, particularly to Anya, was extremely rude.
Of the people who responded to YOUR request for a critique, some, myself included, are preparing their own work for a submission in a couple of weeks, yet were good enough to stop and read yours (yes, I read it, twice. Three times now, actually) and make comments that YOU had asked for.
I have no problem with you disagreeing with my critique, no problem with you querying, or even saying that it wasn't helpful and asking me not to critique in the furture.
I do have a problem with a response which seemed rude and, indeed, derogatory. Or an indication that I, as the critiquer, needed to evidence my understanding before it could be accepted. A critiquer is a reader first, and anything someone has to say to advise you that, in their opinion, your piece didn't seem to develop characters as you hoped it would, and was difficult to follow, is, in my mind, valuable.
You do indeed have a right to defend, but in doing so you were rude and dismissive, to people who had shown nothing but courtesy in their words to you.
I won't be responding again to this thread, but I thought it was worth putting on record my feelings regarding your response. Best of luck.
 
Blimey. I disagree with people sometimes but I'm never rude! Luci, you haven't even thanked half the people who've spent time trying to help you, you haven't even acknowledged Aber!

I came here to comment on the 'prejudice against 1st person*' comment, but then read the rest of the thread. Just... stunned.


*I love first person. Reiver writes in it, Hex writes in it. You're doing 1st person present which is a different kettle of fish.
 
You appear to misunderstand what I said. I did not call upon you to apologise for defending your work -- I merely pointed out that it serves no purpose. It doesn't make you appear right, just defensive, touchy and unable to accept that your "baby" contains flaws, and it certainly doesn't encourage people to engage with you and assist you further. And since it inevitably leads to unpleasantness, as here, we discourage it.

However, making snide insinuations about those who have given freely of their time and help is not acceptable whether or not you agree with their comments. If you are not able to see the difference between critiquing a piece of writing, and criticising a person, then frankly you have a great deal of work ahead of you.

It is up to you whether you wish to post anything further. If you do, we expect you to abide by the way this forum is run. If you cannot accept that, then indeed it might be best if you find yourself a site which allows you to behave as you wish.
 
I hesitate to post anything again because of the reaction to my defending what I had written. I think a writer should do that.

Not, however, in a critiques forum.

There are three good reasons why it is useless to defend your work in a forum like this one: 1) This is not the court of public opinion. Your reputation as a writer is not at stake here. 2) You are not going to change anyone's opinion of what they have already read. (Were you responding to a review, you might hope to reach people who had not read your work and were considering whether or not to do so. In this thread, everyone has already done so, and formed their opinions.) 3) Your writing has to stand on its own. If and when it's published, you won't be standing there at every reader's shoulder explaining that they are carelessly misreading you. I'm sure you know this, intellectually. You may not on an emotional level. If not, then you are probably not ready to post your work for critique.

There are also reasons why it is worse than useless: 1) It wastes everyone's time. 2) It causes ill-feeling. 3) It may discourage those who were about to write their first critiques from writing any critiques at all, for fear of being pilloried for their opinions. It takes courage to put up your writing for critique in a public forum. For many people, it also takes courage to write the critiques. Intimidating them is a good way to cause the number of critiques here to dwindle. The moderation staff takes a dim view of anything that is likely to make that happen.

Edit -- Oops. Sorry, TJ. We cross-posted, due to the length of time I spent composing this message.
 
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