doomed chapter 1 part 1

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subtletylost

Formerly fishii
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Hi again peoples, Fishii here. I just want to thank all those who have been helping me out. I think I have the prologue worked out pretty well and was wondering if y'all wouldn't mind helping with the rest of the story... please.
(Sorry it's so long)

~~~
Chapter 1 (Part 1 of maybe 3)


It’s dark when I arrive at the theatre. I might be too late but it’s a two hour play and the parking lot is still full.

I walk in the door and go to head to the area where the play is being put on. I begin to push the door open but an usher stands waiting for latecomers.

“We don’t let guests enter in the middle of a scene. Do you have a ticket?” She stares at me. I feel like she can see through me. The look on her face says that she’s about to call security on me.

“I don’t need a ticket. I am in the show.”

She glares at me. “Yeah like I haven’t heard that one a million times before. Prove it or I call security.”

I start to panic if she calls security I might get banned form the theatre. I notice that she has a program under her arm. “If you doubt me that much you can check in your program.” She pulls out the program and turns to the cast pages. “My name is Maritza Ranchi and I play Mary Sue. I just thought I might arrive fashionably late that’s all. Now may I please go in?”

“Well Mary Sue, you are UN-fashionably late. But, I guess I can let you in at scene change.” She walks away and I slump to the floor. How long could it possibly be until scene change? I look around. There is a painting on the wall. It looks like a Van Gogh. I stare at it. I think the frame is cracked. I stand up and walk over to it. Yep, definitely cracked. I walk back and pace by the door.

One eternity later, I look at my watch. It is only eight fifteen. The play still has forty-five minutes left. She opens the door and I enter. Before she can tell me not to I run down the aisle and jump up on to the stage and duck behind the curtain.

I walk out on the other side only to be blinded by Jesse, the stage manager. She waves her flashlight in my face and scolds me, “You are sooo late. Lucky you had an understudy. Find somewhere that you’re not in the way and park it.”

I don’t dare cross Jesse. I don’t think she would hesitate to push me off the catwalk first chance she gets. I walk upstage and crawl behind the curtain. Before I know it I feel as though I am drifting off. I want to watch but I would just end up getting in the way and the audience was full. I stand up and shake my head.

I press myself against the wall. I can smell the curtain. It reeks of old moth balls and dust. I close my eyes.

When I open them I am floating in a sea of darkness. I drift along like a speck of dust. I float for hours or possibly mere minutes. A flame sparks to life ahead of me. It haunts my vision and I approach it, while a quiet voice toys with my mind.

It expands. I jolt out of the sea. The flames are out of control. The heat should be intense. I try to call out. The fire closes in. The voice surrounds me. I don’t understand. How did this happen?

A figure. In the fire. I gasp. It’s a girl. She looks like an angel. Her voice matches.

“Maritza, I am here to show you something. It’s important,” she says.
She holds out her hand. I take it. I get up. Crack. Whomp. Boards. Burning. Right where I was. That was close. My heart thumps wildly. The flames are intense. I am surprised we can breathe. Much less talk.

“Who are you?” I ask.

“You’ll know soon enough. Come.”

I follow closely, not wanting to be left alone in the inferno. We exit the flames. Outside it is wonderful. A cool breeze ruffles my hair and tickles my face. There are flowers and birds and trees and little animals everywhere. I turn around; both the fire and the theatre are gone. I turn back and walk to her.

“What is going on here?” I ask as I watch the animals walk up to us. I stare. “Do they not know to fear humans?”

“The animals can tell a good human from a bad one. If they,” she points at some kittens by my feet. One of them paws at my shoelaces. “approach you so willingly you must be the one.”

She walks ahead and I follow. “What do you mean the one? Who are you? Answer me!”

She ignores me and enters the trees. I have to concentrate or I’ll get lost. She weaves through expertly. She’s been here before. I think I have too.
On the other side she stops. “Are you going to tell me now?” I stop beside her. I look ahead of me and see that we are at a cliff face. Maybe she went the wrong way? I pace up and down a short ways. “What now?” I ask.

She points down the cliff. I see some bunnies hopping around. Butterflies float around their heads. “There.”

“What bunnies? That’s the important thing I need to see?”

“What?” She turns and looks. “NOT bunnies.”

“Then what?” I wait for her to respond. But she doesn’t. I stomp away, and then return. This girl is so frustrating. I look back down the cliff. A wolf walks out of the trees and approaches the bunnies. Run, bunnies run. I watch. I’ve never seen a real wolf before. I walk toward the animals. Maybe, I can get close enough to pet the wolf.

I approach silently. I don’t want to scare the animals. The noises of nature barely reach me as I concentrate on being silent. SNAP. A twig breaks and then sudden silence. All the noises of nature disappear. No more birds, or rattling leaves, nor even the far off sound of the bubbling creek.

I turn around. The girl is still in her spot. I shake my head and turn back to the animals. The wolf is stock still its ears twitching wildly, the bunnies are the same way. I look around. It’s deathly silent. I take another step and a scream pierces the silence. I look, the bunnies flee, the wolf is still stock still. It turns toward me. Oh no. It thinks I scared away its food. It’s going to eat me. I quickly look from the wolf to the girl and back. Neither move. The wolf gestures for me to follow. I do. It walks up to the cliff face and stops, its ears twitching.

I stop beside it. The silence is eerie. Another scream rips through the silence and a flock of birds rises up from somewhere down below. The wolf looks up at me and then angles its nose straight down the cliff. Great now forest animals want me to rock climb, can this day get any weirder? I look over the cliff; this is bad, I can’t see the bottom. I get down and inch my way over the edge. The wolf grabs my shirt collar in its mouth and I reach for a foot hold. I slowly make my way down.

After an eternity of climbing, about halfway down, my handhold crumbles. I slip and almost fall. Dear gods, if I make it down alive I’ll owe you big time. My feet slip off their holds and I dangle by my right hand. I grip wildly at the cliff pulling little loose rocks off until I find a solid hold. Inching down slowly I thank the gods for helping me. Soon I reach the bottom and see a forest stretching out in front of me. I am standing in a field that stretches off to the right and ends at a beach to the left.

A scream. But from where? I look to the right and the wolf bounds down a rock tumble. It walks up to me and brushes my leg. I follow it to the forest.
It leads me carefully. I avoid stepping on twigs or dried. The wolf crouches and slows down. It steps carefully, sneaking up on something. I look ahead and see a bush that stretches around something, presumably a clearing or maybe the wolf’s den. It stops and angles its head for me to come closer. I approach slowly; I don’t want to make any noise. The wolf noses the bush and I peer through.
 
Fishii just a quick note, I haven't time to do a crit yet, but actors generally have their own seperate entrance, over here it's called the stage door, and wouldn't go in via the theatre space. I'll try to get back to it later.
 
Hi again peoples, Fishii here. I just want to thank all those who have been helping me out. I think I have the prologue worked out pretty well and was wondering if y'all wouldn't mind helping with the rest of the story... please.
(Sorry it's so long)

~~~
Chapter 1 (Part 1 of maybe 3)


It’s dark when I arrive at the theatre. I might be too late but it’s a two hour play and the parking lot is still full.

I walk in the door and go to head to the area where the play is being put on. I begin to push the door open but an usher stands waiting for latecomers.

“We don’t let guests enter in the middle of a scene. Do you have a ticket?” She stares at me. I feel like she can see through me. The look on her face says that she’s about to call security on me.

“I don’t need a ticket. I am in the show.”

She glares at me. “Yeah like I haven’t heard that one a million times before. Prove it or I call security.”

I start to panic if she calls security I might get banned form the theatre. I notice that she has a program under her arm. “If you doubt me that much you can check in your program.” She pulls out the program and turns to the cast pages. “My name is Maritza Ranchi and I play Mary Sue. I just thought I might arrive fashionably late that’s all. Now may I please go in?”

“Well Mary Sue, you are UN-fashionably late. But, I guess I can let you in at scene change.” She walks away and I slump to the floor. How long could it possibly be until scene change? I look around. There is a painting on the wall. It looks like a Van Gogh. I stare at it. I think the frame is cracked. I stand up and walk over to it. Yep, definitely cracked. I walk back and pace by the door.

One eternity later, I look at my watch. It is only eight fifteen. The play still has forty-five minutes left. She opens the door and I enter. Before she can tell me not to, I run down the aisle and jump up on to the stage and duck behind the curtain.

I walk out on the other side only to be blinded by Jesse, the stage manager. She waves her flashlight in my face and scolds me, “You are sooo late. Lucky you had an understudy. Find somewhere that you’re not in the way and park it.”

I don’t dare cross Jesse. I don’t think she would hesitate to push me off the catwalk first chance she gets. I walk upstage and crawl behind the curtain. Before I know it I feel as though I am drifting off. I want to watch but I would just end up getting in the way and the audience was full. I stand up and shake my head.

I press myself against the wall. I can smell the curtain. It reeks of old moth balls and dust. I close my eyes.

When I open them I am floating in a sea of darkness. I drift along like a speck of dust. I float for hours or possibly mere minutes. A flame sparks to life ahead of me. It haunts my vision and I approach it, while a quiet voice toys with my mind.

It expands. I jolt out of the sea. The flames are out of control. The heat should be intense. I try to call out. The fire closes in. The voice surrounds me. I don’t understand. How did this happen?

A figure. In the fire. I gasp. It’s a girl. She looks like an angel. Her voice matches.

“Maritza, I am here to show you something. It’s important,” she says.
She holds out her hand. I take it. I get up. Crack. Whomp. Boards. Burning. Right where I was. That was close. My heart thumps wildly. The flames are intense. I am surprised we can breathe. Much less talk.

“Who are you?” I ask.

“You’ll know soon enough. Come.”

I follow closely, not wanting to be left alone in the inferno. We exit the flames. Outside it is wonderful. A cool breeze ruffles my hair and tickles my face. There are flowers and birds and trees and little animals everywhere. I turn around; both the fire and the theatre are gone. I turn back and walk to her.

“What is going on here?” I ask as I watch the animals walk up to us. I stare. “Do they not know to fear humans?”

“The animals can tell a good human from a bad one. If they,” she points at some kittens by my feet. One of them paws at my shoelaces. “approach you so willingly you must be the one.”

She walks ahead and I follow. “What do you mean the one? Who are you? Answer me!”

She ignores me and enters the trees. I have to concentrate or I’ll get lost. She weaves through expertly. She’s been here before. I think I have too.
On the other side she stops. “Are you going to tell me now?” I stop beside her. I look ahead of me and see that we are at a cliff face. Maybe she went the wrong way? I pace up and down a short ways. “What now?” I ask.

She points down the cliff. I see some bunnies hopping around. Butterflies float around their heads. “There.”

“What, bunnies? That’s the important thing I need to see?”

“What?” She turns and looks. “NOT bunnies.”

“Then what?” I wait for her to respond. But she doesn’t. I stomp away, and then return. This girl is so frustrating. I look back down the cliff. A wolf walks out of the trees and approaches the bunnies. Run, bunnies run. I watch. I’ve never seen a real wolf before. I walk toward the animals. Maybe, I can get close enough to pet the wolf.

I approach silently. I don’t want to scare the animals. The noises of nature barely reach me as I concentrate on being silent. SNAP. A twig breaks and then sudden silence. All the noises of nature disappear. No more birds, or rattling leaves, nor even the far off sound of the bubbling creek.

I turn around. The girl is still in her spot. I shake my head and turn back to the animals. The wolf is stock still its ears twitching wildly, the bunnies are the same way. I look around. It’s deathly silent. I take another step and a scream pierces the silence. I look, the bunnies flee, the wolf is still stock still. It turns toward me. Oh no. It thinks I scared away its food. It’s going to eat me. I quickly look from the wolf to the girl and back. Neither move. The wolf gestures for me to follow. I do. It walks up to the cliff face and stops, its ears twitching.

I stop beside it. The silence is eerie. Another scream rips through the silence and a flock of birds rises up from somewhere down below. The wolf looks up at me and then angles its nose straight down the cliff. Great, now forest animals want me to rock climb, can this day get any weirder? I look over the cliff; this is bad, I can’t see the bottom. I get down and inch my way over the edge. The wolf grabs my shirt collar in its mouth and I reach for a foot hold. I slowly make my way down.

After an eternity of climbing, about halfway down, my handhold crumbles. I slip and almost fall. Dear gods, if I make it down alive I’ll owe you big time. My feet slip off their holds and I dangle by my right hand. I grip wildly at the cliff, pulling little loose rocks off until I find a solid hold. Inching down slowly I thank the gods for helping me. Soon I reach the bottom and see a forest stretching out in front of me. I am standing in a field that stretches off to the right and ends at a beach to the left.

A scream. But from where? I look to the right and the wolf bounds down a rock tumble. It walks up to me and brushes my leg. I follow it to the forest.
It leads me carefully. I avoid stepping on twigs or dried leaves. The wolf crouches and slows down. It steps carefully, sneaking up on something. I look ahead and see a bush that stretches around something, presumably a clearing or maybe the wolf’s den. It stops and angles its head for me to come closer. I approach slowly; I don’t want to make any noise. The wolf noses the bush and I peer through.

Hi Fishii,

I like what you're doing. Just a few suggestions. Mainly I've inserted a bunch of commas where I think they should go, and highlighted a "form" that should be a "from". And I think you can just "head to" the area where the play is being put on (the "stage"?), rather than "go to head to".

You can always have security on the stage door, too.

I inserted leaves, because you avoid stepping on twigs or dried.

The only other thing is this bit:

“The animals can tell a good human from a bad one. If they,” she points at some kittens by my feet. One of them paws at my shoelaces. “approach you so willingly you must be the one.”

The way I think it should go is: “The animals can tell a good human from a bad one. If they,” she points at some kittens by my feet; one of them paws at my shoelaces, “approach you so willingly you must be the one.” The speaker's sentence probably shouldn't be broken by two sentences and a full stop before she resumes speaking the same sentence. Or maybe it's just me.

As always, it's just my opinion. Hope it helps.
 
Fishii, thanks for posting!

Like the use of description especially post-frame journey but I'm not a fan of first person viewpoint novels so to be fair, I found the continuous use of "I..." frustrating. However, don't take that as a criticism; that's just me! :)

On a character note, whilst the story is engaging you haven't done enough to make me like the "lead" character at this stage. I can appreciate how frustrating it is to appear late at the theatre but there's not enough humanity in the early sections to my eye- yet!

As it reads, the lead could be anyone; the most likeable, trust worthy and hard working actress in the world, a prima donna about to undergo a life changing rite of passage, or the reluctant chosen one summoned through a fiery portal to change events for better or worse.

However, I wasn't getting enough set up to create any image in the character's mind with the pre-picture section, apart from she was "playing" at being the prima donna and didn't really believe her own sell to the doorman that she was unfashionably late!

Why did she do that? Does she say what she thinks other people want to hear? Play the role expected of her? That sequence told me a bit about her character but I wanted a bit more. Nice piece of writing, that; it opened up questions in my mind without providing all the answers, making me "work" as a reader.

Talking of which, I loved the step through the picture bit! Second half seems a bit dreamy? Keep expecting her to wake up. Nothing is described in too much detail giving me the impression she doesn't see or feel the detail, almost as if she IS in a dream (nod to Chris Nolan; the mind populates the background)

Enjoyably intriguing to make me read more if you posted, though!

Jacob
 
Heya Fishii,

Usual caveats about comments being my opinion, it’s your story so do whatever you like, etc.

I have a few issues here, in that I think the first person style isn’t working. At the moment, it kind of reads like a video game, the way things work skimp on details and so on. For example, I was expecting the protagonist to find something in the cracked picture that would be a clue as to how she might gain entrance to the theatre. Similarly, the way the usher doesn’t appear until she tries the door (i.e. hits the action key while standing in front of it) is a little too simplified.

On other things, it might benefit from a little research. My fiancée is an actor, and whenever she is in a show she knows everyone who works in the theatre (ushers, bar staff, management), since they’re effectively working together for weeks during rehearsal and so on before the show even starts.

On dialogue, we’re back to video games, in that it's a little rpg voice bubble. I find that reading dialogue aloud as if it was a script really helps me to get a handle on the way words flow. Also, I’m not sure if the scene with the usher works at all. An actor wouldn’t say anything like “I just thought I might arrive fashionably late that’s all.” The way that the protagonist doesn’t seem to care about being late is pretty unrealistic. Similarly, phrases like ‘Do they not know to fear humans?’ are strange, especially since most kittens I have met don’t tend to fear humans very much.

Also on the scenes, there’s no opinions or descriptions that one might expect in a first person pov that might reduce a lot of the uses of the letter I. There is no sense of the character at all, and there are a lot of ways you can bring this in to make it a story rather than a list of things that happen.


For example, if you don’t mind, I took a little liberty in order to show you what I mean:

It’s dark when I finally get to the theatre, a stately old building that had never grown out of the forties. Though the box office had been dropping, a lot of regulars loved the old world feel of the Grand Vic, with its red carpet, the old fashioned ticket booth and the huge art deco chandelier in the foyer.
Sprinting up the steps and through the heavy, brass doors, I see Paul standing by the main entrance to the auditorium. With a grin he taps his watch. ‘You’re dead, Maritza,’ he tells me. ‘Jess has been checking on the radio every ten seconds.’
I give him a breathless nod and sneak into the auditorium, wishing that the Vic’s stage door wasn’t blocked by junk. Paul’s never going to let me live this down, assuming I even have a job tomorrow.
The Best and Brightest is in full swing, and the seats are full. Not surprising for opening night, but likely this is the highest number we can expect all run, given the number of die hard theatre goers in Beaconsfield. God, they’re probably all here tonight, and I’ve missed it.
Angie, my understudy, is on stage in her athletics costume, no doubt the only one who is happy I’m late. I watch her as I sidle up the left hand aisle. She’s not too bad I suppose, but she tends to go over the top on the monologues.


By throwing in little details you can convey setting, and start to form up an idea of the character from little opinions.



On the ‘dream’ sequence, I have a few issues too. Thanks to Joss Whedon revolutionising fantasy dialogue, a lot of the old tropes should be avoided. Having mentor characters keeping secrets and making arch comments doesn’t really work nowadays. Assuming the main character is a saviour of some kind, why wouldn’t the ‘angel’ tell her everything straight away instead of ‘You’ll know soon enough.’

Finally, I think that it would really benefit from reading the whole thing aloud. There are a lot of punctuation errors that change the effect of sentences, and if you take note of the pauses and so on, it will help provide a little more direction as to where to position commas and so on.



Anyway, like I said, just opinions, so take anything with a grain of salt. Hope this helps. [FONT=&quot][/FONT]
 
Actually those opinions help more than one might think... I knew something was missing, I thought it was just my experience in theatre, (only at the high school level), that was messing me up. Yeah I'll add more description and yes it IS a dream. The reason she doesn't just tell her is because her job is only to lead her to the cliff. She is forbidden to do anything else.

If I worked up the descriptions do you think it would help the first person point of view style?
 
I think it would certainly help create a more sensory read. One of th egreat things about first person is that it allows you to completely live within a character in the way that third limited and third omni don't. We should smell whatever she smells, and think of whatever she thinks of when she smells them, and so on. It is a way to really jump into character development head first. Usually in other povs writers will tend ot have more than one main character- generally with first person it is the onyl one (though not always, of course).

I've always found that first person was immersive and sensory as opposed to external and narrative driven, so you might as well make the most of what the style offers!

On the angel again, perhaps she could tell him that she is forbidden to speak of it instead?
 
Fishii just a quick note, I haven't time to do a crit yet, but actors generally have their own seperate entrance, over here it's called the stage door, and wouldn't go in via the theatre space. I'll try to get back to it later.

That part threw me as well. Once noticed, it took me out of the scene entirely.

I think there are some nice touches in terms of character introspection, so you are obviously trying hard with this.

However, the lack of reality with the situation made the entire confrontation with the usher completely unbelievable - actors go through the stage door. Even if going through the front, she would not be let in just mentioned she played. However, actors are usually setting up all day in a new theatre, or else spend the week rehearsing, so either way she would almost be certainly known to the house.

Again, though, she would be expected to be backstage an hour at least before the show started, regardless of her entrance time, so the fact that that the performance is already on would normally induce utter panic - something that did not come across in the first section of the scene. It was as if the actor did not care so much, which begged the question of why should the reader care?

So there are positives and negatives with this piece - more positives with the writing, though it does need tightening up and structuring better, but clear negatives with writing something you do not seem to be familiar with.

If you continue with this piece as is, then for goodness sake, join an amatuer dramatics group first. :) Take a part in a play first. It's the little details that make things more real ...
 
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