100th post and Ch 1 (1047w)

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SciFrac

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I know the tradition is 1000, but I've trimmed off a zero to speed things along. Anywho, this is my current chapter one for a psychological drama with a paranormal element introduced later.

I've received mixed reviews on this ranging from "dump it" to "essential". At the moment, I want to dump it because the next chapter starts 27 years later. Let me know if you consider this a dumpy prologue, or a story.

Dig in.

-----------------------


Chapter 1: The Aftermath


They all expected the boy to die. Blood filled his bandages. The morning rains lifted as paramedics ripped the gurney from their ambulance and burst through emergency room doors.

Nurses piled into hallways with gas tanks and rolling instruments. The child lay motionless, rushed down tight corridors into sterile, ready hands. A slower team wheeled his presumed mother to the morgue.

Doctors churned through pre-op procedures. A nurse removed his jacket, his T-shirt and jeans cut off. Hospital staff recoiled at the sight. Even the surgeons cringed.

The young victim faded on a frigid metal table. Nurses punctured both arms with IVs while others prepped surgical tools and halogen lamps. Beeps of life-support pinged against the tile walls. No one could identify the child, yet death approached.

A nurse layered blankets over his swollen body and packed ice around his head. When the operation launched, the battle began.

Surgeons barked and argued over strategy. Curses flared, egos flared, but the crew continued despite expectations. The boy required bone graphs and x-rays, volumes of blood, neuro-specialists, cranial reconstruction, a faint spark of pale hope, and the earnest prayers of all Heaven’s omnipotent gods.

But he lived.

In nine hours, doctors transformed the boy from victim, patient, to survivor. Word spread fast among the nurses working recovery, “I’m sure they’ll figure it out,” and soon every hospital employee gasped at the same unnerving truth: this boy didn’t exist. Nor did the female driver. Not on paper. Not in school records. Not in any government database.

No family members visited. No cards or flowers arrived. Not one inquiring phone call. The boy lay limp, day after day, unclaimed and nameless.

Not completely nameless. A nurse saved his jean jacket when she read the back tag, and placed it in his closet for safe keeping. Staff never confirmed or denied their suspicion, but everyone assumed the name written there in permanent blue marker was his.

Although police conducted extensive interviews, identity of the two victims eluded them. Reports confirmed the accident details- two cars, two victims, yet only one driver. An obvious hit and run, but the responding officer never saw a second driver. The criminal escaped.

Detectives pleaded in local newspapers and television. People posted signs on area telephone poles and public cork boards. Information trickled into various news outlets, and though police followed every lead, nothing significant materialized. Missing names and vague physical descriptions plagued the department for weeks. The crime lab hit dead ends. The car plates returned either stolen or unregistered.

Over proceeding weeks, the boy demonstrated encouraging signs. “He’s awake, get the doctor.”

Sean, they called him, tapped his index finger once for yes, twice for no, and medical tests painted a hopeful prognosis.

By now his room swelled with candy bouquets, flowers, balloons, and colorful over-sized poster cards from local elementary schools. A customary response from the compassionate Texas town.

People guessed the boy’s age at twelve, possibly younger. His thin, frail frame and jaunt features skewed their estimates, but he and the woman shared similar features. At least in photographs. Within six weeks, the hospital released her body for cremation. Police kept her DNA samples, finger prints, and dental records, although none of them matched any catalogued description.

One afternoon, a police chief visited the hospital to question Sean after he’d recovered enough to eat solid foods. The doctor agreed to let them speak, but warned him of difficulties with traumatic brain injuries. She inquired about progress in the investigation, but the chief had nothing. “Never seen anything like it. That’s why I’m here.”

“How could this happen, Chief?”

“Don’t know. The Mindton Blue are working on it, and I’m sure we’ll piece things together, ma’am. Could I see him now?”

They stopped inside Sean’s room; the balloons removed, the flowers had died weeks before, and now only the children’s cards lay piled against the far window. A weighty, white-dressed woman sat hunched next to Sean’s bed. As she spoke to him, Sean peered over her shoulder at the tall authority darkening his doorway.

The nurse continued prodding him with questions, “I know it’s difficult, honey, but please try. Anything will help.” The boy returned his eyes to the painting on the opposite wall, and sunk into the bed another inch.

She begged. “Nothing? Not even your name?”

He withdrew again. He curled his toes underneath the blanket at the end, and pulled his arms under the cool white sheets. He heard her voice and recognized the words, but his answer scared him.

The nurse repeated slower, “Sean Hasten. Is that name familiar?”

The doctor and police chief stepped in closer to the boy. The chief stood behind the seated nurse, and after a silence, the officer introduced himself, “Hi son. I’m chief Berryhill.”

Sean fixed his eyes on the painting across from his bed. The warm colors and playful sloops of yellow softened the room. That looked pretty.

“We’re trying to identify you and the woman driving. Have you seen her pictures?” The chief held out a large envelope. Sean eyed the manila file, then clinched tighter and pulled the covers up to his neck.

The nurse turned to the officer and lifted Sean’s jean jacket from her lap, “This is all we have.” Berryhill knew that already.

The boy twiddled some fingers under his sheets, and drew a silent, deep breath.

Berryhill leaned in and inspected Sean’s eye left uncovered from the bandage wrapped around his head. He was healing nicely.

“A phone number maybe? Anything?” the chief continued. “We need to contact your family son. Perhaps a guardian?”

“Your grandparents? Or a neighbor?” the nurse added. The burly woman reeked of old cigarettes and gaudy perfume. Sean’s eye bent toward the painting again; his mind an empty canvas.

The nurse shook her head. She slumped back in her chair, pulled both feet under, and fiddled with a stainless lighter in her front pocket, “That’s all we ever get.”

The doctor wrote a note on her clipboard. Berryhill straightened up then leaned to whisper, “You contact Child Services?”

Doc nodded yes.

The three adults agonized over the curious little puzzle bundled before them. Sean studied the painting across the room, but not a single thought entered his mind.
 
Just because it's tradition to let off fireworks on certain nights of the year, it doesn't mean we can't also do it on every other night of the year! ;) Excerpts posted for critiquing by dedicated members (whether they've hit 100 posts or 10,000) will never be turned away.

---

I get the sense that there's something important about what happens in the prologue (even if the character of Sean is irrelevant), and that it has relevance to something a character gets caught up in later in the story (does it relate to a case Berryhill has later on in his career, for example?).

I've probably been watching a bit too much television, but if you're not happy about it as a prologue, have you considered some sort of flashback?

Using older Berryhill as an example again, he could be sat at his desk, the only light in the room coming from his old lamp, staring at photos of incidents that should have been impossible. As he stares, he gets flashes of remembrance - kid in the room, saying nothing. Blank looks. Poor kid trying to burrow under the blankets... scared, maybe?

Or a nurse on shift that night who can still remember every detail like it was yesterday. The blood. The mess! By rights, the kid should have died. Miracles were worked that night, but by whose hand is unknown.

As it is, I like it. It has a franticness to it that suits it very well, particularly in the first half. It definitely doesn't feel like over 1,000 words.

A couple of things - I'd be worried if paramedics rip people out of ambulances if they're in such a bad state; and I suspect "bone graphs" is a typo for "bone grafts".
 
I didn't find it dumpy, but I did want more to happen. (That's just me) I'd remove one of the flares
Curses flared, egos flared

Why would a police chief inspect Sean's eye? And you've done a great job with the narrator, so I'm uncertain about the pov change in the last line. If 27 years is going to pass, you'd probably get away with it, or you could:

The three adults agonized over the curious little puzzle bundled before them. He studied the painting across the room, but nothing showed on his face.

But it's well-written, and easy to follow, seems to set us up nicely, now we're interested in the kid.
 
Thanks Lenny! The story is about Sean, so this is the major event that changes his life's direction. Yes, there are important events happening here that we see later, and yes, it could all be a flashback. That's why I'm wondering if it's needed. You're right about bone grafts! Ha! Totally missed that too, thanks. :)


Thanks Boneman. I think my wife suggested adding "egos" to one of those. Maybe I'll change it back. I wasn't intending to change POV, because I want to follow Sean as soon as possible. The Chief is just curious like anyone might be, it's not really important. I should prbably edit. Good call.
 
I know the tradition is 1000, but I've trimmed off a zero to speed things along.

Congratulations on your hundred. Let's make this as another tradition.

I've received mixed reviews on this ranging from "dump it" to "essential". At the moment, I want to dump it because the next chapter starts 27 years later. Let me know if you consider this a dumpy prologue, or a story.
The important thing for you to decide is: does the story needs a prologue and if it does, what "extra" it can bring in?

So don't dump anything because some geezer says so but instead stick to your guns and do it when and if you feel it's necessary to follow to advice.

Chapter 1: The Aftermath
Oh it's not a prologue but a chapter one.

They all expected the boy to die. Blood filled his bandages. The morning rains lifted as paramedics ripped the gurney from their ambulance and burst through emergency room doors.
Okay, omniscient voice that strangely feels like close third. It's nice intro and hooks the reader to the story, but as the reader get to third sentence, you drop in the weather description that has nothing to do with the current setting. So focus your narrative on boy please.

Nurses piled into hallways with gas tanks and rolling instruments. The child lay motionless, rushed down tight corridors into sterile, ready hands. A slower team wheeled his presumed mother to the morgue.
Two highlights. First, why nurses are carrying gas tanks in the hallways and what the heck are rolling instruments? Are they making cookies?

Second, although necessary information, you could had dropped "mother" information later on as at this moment the reader and most importantly you should stick the Point-of-View into the boy. And the omniscient narrator should just write enough of info for the reader to know what is going on and skip the rest.

Doctors churned through pre-op procedures. A nurse removed his jacket, his T-shirt and jeans cut off. Hospital staff recoiled at the sight. Even the surgeons cringed.

The young victim faded on a frigid metal table. Nurses punctured both arms with IVs while others prepped surgical tools and halogen lamps. Beeps of life-support pinged against the tile walls. No one could identify the child, yet death approached.
Why do they need to prepare the lamps? Aren't they always on at the emergency room? Does the reader need to know this bit info?

Another thing, you just explained above that "a slower team" moved his mother to morgue. So how come he's John Doe at the moment?

A nurse layered blankets over his swollen body and packed ice around his head. When the operation launched, the battle began.

Surgeons barked and argued over strategy. Curses flared, egos flared, but the crew continued despite expectations. The boy required bone graphs and x-rays, volumes of blood, neuro-specialists, cranial reconstruction, a faint spark of pale hope, and the earnest prayers of all Heaven’s omnipotent gods.

But he lived.

In nine hours, doctors transformed the boy from victim, patient, to survivor. Word spread fast among the nurses working recovery, “I’m sure they’ll figure it out,” and soon every hospital employee gasped at the same unnerving truth: this boy didn’t exist. Nor did the female driver. Not on paper. Not in school records. Not in any government database.

No family members visited. No cards or flowers arrived. Not one inquiring phone call. The boy lay limp, day after day, unclaimed and nameless.

Not completely nameless. A nurse saved his denim jacket when she read the back tag, and placed it in his closet for safe keeping. Staff never confirmed or denied their suspicion, but everyone assumed the name written there in permanent blue marker was his.

Although police conducted extensive interviews, identity of the two victims eluded them. Reports confirmed the accident details - two cars, two victims, yet only one driver. An obvious hit and run, but the responding officer never saw a second driver.

The criminal escaped.
Nice. The prose is flowing and even though it feels in places like first draft it's still good enough. You definitely got some chops as a story teller and all you need is more practice. Without you're going to get annoyed when you start approaching the agents and other literary folk as they're going dump on sight.

So what I want to notice in this one is that you need to start learning things names. For example jeans aren't made of jeans but from denim fabric. And that is the bit of research you could had done to avoid to repetition in your work.

The second thing, the last sentence. In places you can drop just a single line out from the paragraph to form its own one, and then you can use to connect the pieces together.

Think about it when you start doing your second edit.

Detectives pleaded in local newspapers and television. People posted signs on area telephone poles and public cork boards. Information trickled into various news outlets, and though police followed every lead, nothing significant materialized. Missing names and vague physical descriptions plagued the department for weeks. The crime lab hit dead ends. The car plates returned either stolen or unregistered.

Over proceeding weeks, the boy demonstrated encouraging signs. “He’s awake, get the doctor.”
Good flow up to this point, but as you drop into the dialogue, you HAVE TO start also focusing on the characters. The prose has to sift from distant omniscient and zoom closer. And when you do that, the dialogue start to appear as you can done here, but you have forgotten the most important thing, the speech tag.

So identify the speaker please and for the sake of the story expand the dialogue. Start forming characters and drama as the main PoV is waking up and what's happening there is something that the readers want to know.

Sean, they called him, tapped his index finger once for yes, twice for no, and medical tests painted a hopeful prognosis.

By now his room swelled with candy bouquets, flowers, balloons, and colorful over-sized poster cards from local elementary schools. A customary response from the compassionate Texas town.

People guessed the boy’s age at twelve, possibly younger. His thin, frail frame and jaunt features skewed their estimates, but he and the woman shared similar features. At least in photographs. Within six weeks, the hospital released her body for cremation. Police kept her DNA samples, finger prints, and dental records, although none of them matched any catalogued description.

One afternoon, a police chief visited the hospital to question Sean after he’d recovered enough to eat solid foods. The doctor agreed to let them speak, but warned him of difficulties with traumatic brain injuries. She inquired about progress in the investigation, but the chief had nothing. “Never seen anything like it. That’s why I’m here.”

“How could this happen, Chief?”

“Don’t know. The Mindton Blue are working on it, and I’m sure we’ll piece things together, ma’am. Could I see him now?”

They stopped inside Sean’s room; the balloons removed, the flowers had died weeks before, and now only the children’s cards lay piled against the far window. A weighty, white-dressed woman sat hunched next to Sean’s bed. As she spoke to him, Sean peered over her shoulder at the tall authority darkening his doorway.

The nurse continued prodding him with questions, “I know it’s difficult, honey, but please try. Anything will help.” The boy returned his eyes to the painting on the opposite wall, and sunk into the bed another inch.

She begged. “Nothing? Not even your name?”

He withdrew again. He curled his toes underneath the blanket at the end, and pulled his arms under the cool white sheets. He heard her voice and recognized the words, but his answer scared him.

The nurse repeated slower, “Sean Hasten. Is that name familiar?”

The doctor and police chief stepped in closer to the boy. The chief stood behind the seated nurse, and after a silence, the officer introduced himself, “Hi son. I’m chief Berryhill.”

Sean fixed his eyes on the painting across from his bed. The warm colors and playful sloops of yellow softened the room. That looked pretty.

“We’re trying to identify you and the woman driving. Have you seen her pictures?” The chief held out a large envelope. Sean eyed the manila file, then clinched tighter and pulled the covers up to his neck.

The nurse turned to the officer and lifted Sean’s jean jacket from her lap, “This is all we have.” Berryhill knew that already.
As you can see I'm not commenting on every paragraph and that should tell you that your prose is good enough, but when I read the last para I just couldn't let it pass.

You have got away from using the speech tags, but as the prose is getting more complicated you need tostart focusing on those things. Seriously.

The other thing, PoV shift. Not acceptable. You have zoomed close to Sean and stuck there for a while, so why the jump on info that the chief only knows. Could you not have written it differently?

The boy twiddled some fingers under his sheets, and drew a silent, deep breath.

Berryhill leaned in and inspected Sean’s eye left uncovered from the bandage wrapped around his head. He was healing nicely.
Are we in Sean's PoV or in the Chief's one? What is more important or are you doing the omniscient thing and drop into the each and every person thoughts? Decide please.

“A phone number maybe? Anything?” the chief continued. “We need to contact your family son. Perhaps a guardian?”

“Your grandparents? Or a neighbor?” the nurse added.
The burly woman reeked of old cigarettes and gaudy perfume. Sean’s eye bent toward the painting again; his mind an empty canvas.


In here we go from chief to nurse and then you drop in info about the nurse. Why does the readers need to know that? And if that's not all you go from chief to omniscient and drop back into Sean's PoV.

Not good.


[q
uote]
The nurse shook her head. She slumped back in her chair, pulled both feet under, and fiddled with a stainless lighter in her front pocket,
“That’s all we ever get.”

The doctor wrote a note on her clipboard. Berryhill straightened up then leaned to whisper
, “Are you going to contact --

Doc nodded yes.


The three adults agonized over the curious little puzzle bundled before them. Sean studied the painting across the room, but not a single thought entered his mind. [/QUOTE]


I'm not going to comment on what in the red but instead I'll focus on the blue dialogue. It's a bit more advanced than your own writing and you should study why I had done it the way I had done it, as it skips the obvious and allows the reader to make the connection. And that is what I would love to see more in your prose.


Even though I might sound harsh in here all what I say are my honest opinions. Remember opinions. I wrote them so that you can see where you do drop out from the map and start doing the no-no things. But even then, you should learn that sometimes to no-no things are allowed. I'm just not going to tell you why and how as that is something that you'll learn later on, and at the moment you should only focus on making your prose as best as you can.


Also don't drop this as I believe it contributes to overall story.

 
Thanks CTG. Lots of good insights there. I see how the POV is moving around, and that wasn't intentional, so there is plenty to clarify. Some of those details about the instruments and the nurse are meant to set the scene, but I'm wondering how much is needed. I've considered cutting a lot of those initial paragraphs since the story is not about hospital or staff. This is exactly why I posted this section.

A couple things you listed may sound out of place to you, but they sound like Texas to me, so there might be a cultural difference involved as well. I appreciate you giving your honest opinions though. That's all I ask.

You caught the "prologue vs chapter" thing. Because Ch 2 starts decades later, I was wondering if this sounds too much like a prologue. I'm really split on whether to keep, so thanks for your vote. Great comments. The learning curve continues on!
 
Chapter 1: The Aftermath


They all expected the boy to die. Blood filled his bandages. The morning rains lifted as paramedics ripped the gurney from their ambulance and burst through emergency room doors. Good opening. I like the sense of urgency.

Nurses piled into hallways with gas oxygen? tanks and rolling instruments. The child lay motionless, rushed down tight corridors into sterile, ready hands. A slower team wheeled his presumed mother to the morgue.

Doctors churned through pre-op procedures. A nurse removed his jacket, his T-shirt and jeans cut off. Hospital staff recoiled at the sight. Even the surgeons cringed.

The young victim faded on a frigid metal table. Nurses punctured both arms with IVs while others prepped surgical tools and halogen lamps. Beeps of life-support pinged against the tile walls. No one could identify the child, yet death approached. Kind of a non-sequitur. I think it would make more sense if you dropped the word 'yet'.

A nurse layered blankets over his swollen body and packed ice around his head. When the operation launched, the battle began.

Surgeons barked and argued over strategy. Curses flared, egos flared, but the crew continued despite expectations. The boy required bone graphs and x-rays, volumes of blood, neuro-specialists, cranial reconstruction, a faint spark of pale hope, and the earnest prayers of all Heaven’s omnipotent gods. If Heaven is capitalized, shouldn't gods be as well?

But he lived.

In nine hours, doctors transformed the boy from victim, patient,I'd drop 'patient' to survivor. Word spread fast among the nurses working recovery, “I’m sure they’ll figure it out,” and soon every hospital employee gasped at the same unnerving truth: this boy didn’t exist. Nor did the female driver. Not on paper. Not in school records. Not in any government database. I submit that this is not all that shocking to get a 'John Doe' as a result of an accident. I think sad would be more appropriate.

No family members visited. No cards or flowers arrived. Not one inquiring phone call. The boy lay limp, day after day, unclaimed and nameless.

Not completely nameless. A nurse saved his jean jacket when she read the back tag, and placed it in his closet for safe keeping. Staff never confirmed or denied their suspicion, but everyone assumed the name written there in permanent blue marker was his.

Although police conducted extensive interviews, identity of the two victims eluded them. Reports confirmed the accident details- two cars, two victims, yet only one driver. An obvious hit and run, but the responding officer never saw a second driver. The criminal escaped.

Detectives pleaded in local newspapers and television. People posted signs on area telephone poles and public cork boards. Information trickled into various news outlets, and though police followed every lead, nothing significant materialized. Missing names and vague physical descriptions plagued the department for weeks. The crime lab hit dead ends. The car plates returned either stolen or unregistered. Since there are only 2 plates involved (assuming both vehicles in the accident) I would be more specific i.e. "The plates on the car he was in were unregistered; those on the other vehicle were stolen."

Over proceeding weeks, the boy demonstrated encouraging signs. “He’s awake, get the doctor.”

Sean, they called him, tapped his index finger once for yes, twice for no, and medical tests painted a hopeful prognosis.

By now his room swelled with candy bouquets, flowers, balloons, and colorful over-sized poster cards from local elementary schools. A customary response from the compassionate Texas town. Good way to set the scene without data dump.

People guessed the boy’s age at twelve, possibly younger. His thin, frail frame and jaunt features skewed their estimates, but he and the woman shared similar features. At least in photographs found where? Within six weeks, the hospital released her body for cremation. Police kept her DNA samples, finger prints, and dental records, although none of them matched any catalogued description.

One afternoon, a the police chief (assumedly there is only one chief in the gurus diction) visited the hospital to question Sean after he’d recovered enough to eat solid foods. The doctor agreed to let them speak, but warned him of difficulties with traumatic brain injuries. She inquired about progress in the investigation, but the chief had nothing. “Never seen anything like it. That’s why I’m here.”

“How could this happen, Chief?”

“Don’t know. The Mindton Blue who? are working on it, and I’m sure we’ll piece things together, ma’am. Could I see him now?”

They stopped inside Sean’s room; the balloons removed, the flowers had died weeks before, and now only the children’s cards lay piled against the far window. A weighty, white-dressed woman sat hunched next to Sean’s bed. As she spoke to him, Sean peered over her shoulder at the tall authority darkening his doorway.

The nurse continued prodding him with questions, “I know it’s difficult, honey, but please try. Anything will help.” The boy returned his eyes to the painting on the opposite wall, and sunk into the bed another inch.

She begged. “Nothing? Not even your name?”

He withdrew again. He curled his toes underneath the blanket at the end, and pulled his arms under the cool white sheets. He heard her voice and recognized the words, but his answer scared him.

The nurse repeated slower, “Sean Hasten. Is that name familiar?”

The doctor and police chief stepped in closer to the boy. The chief stood behind the seated nurse, and after a silence, the officer introduced himself, “Hi son. I’m chief Berryhill.”

Sean fixed his eyes on the painting across from his bed. The warm colors and playful sloops of yellow softened the room. That looked pretty.

“We’re trying to identify you and the woman driving. Have you seen her pictures?” The chief held out a large envelope. Sean eyed the manila file, then clinched tighter and pulled the covers up to his neck.

The nurse turned to the officer and lifted Sean’s jean jacket from her lap, “This is all we have.” Berryhill knew that already.

The boy twiddled some fingers under his sheets, and drew a silent, deep breath.

Berryhill leaned in and inspected Sean’s eye left uncovered from the bandage wrapped around his head. He was healing nicely. How did the chief know? Assumedly he hadn't seen the eye before...

pulled both feet under, and fiddled with a stainless lighter in her front pocket, “That’s all we ever get.”
“A phone number maybe? Anything?” the chief continued. “We need to contact your family son. Perhaps a guardian?”

“Your grandparents? Or a neighbor?” the nurse added. The burly woman reeked of old cigarettes and gaudy perfume. Sean’s eye bent toward the painting again; his mind an empty canvas.

The nurse shook her head. She slumped back in her chair,

The doctor wrote a note on her clipboard. Berryhill straightened up then leaned to whisper, “You contact Child Services?” Up to this point you have kept a distant PoV I would keep that PoV, and I would keep the dialogue out.

Doc nodded yes.

The three adults agonized over the curious little puzzle bundled before them. Sean studied the painting across the room, but not a single thought entered his mind.

I liked it. I would keep reading.
 
IMO this is 10 of 10. The narrative flows right along and carries the reader with it, just far enough and no further. There's no doubt as to what is the central mystery and you've established an intriguing sense of enigma that will hook most readers to read more. The other things that were mentioned can be established as the story gets along. Unless this is intended for use in a very short story don't change a thing.

Well, one thing. It's an excellent prologue; but will just confuse the reader as Chapter 1 if the rest is 27 years later, especially since it's called "The Aftermath", which I would definitely keep as it increases the mystery
 
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It was pretty easy to read, I liked the language and tone. I'm a bit focused on cutting things down to size at the moment so I think it could do with some trimming. I've put some suggestions from my thoughts...

-----------------------


Chapter 1: The Aftermath


They all expected the boy to die. Blood filled his bandages (cant really fill bandages with blood, they can soak, drench etc but fill i think sounds like bags and boxes of things). The morning rains lifted (were lifting?) as paramedics ripped the gurney from their ambulance and burst through (the) emergency room doors.

Nurses piled into hallways with gas tanks (sounds a bit car like when i read this a 2nd time) and rolling instruments. The child lay motionless, rushed down tight corridors into sterile, ready hands. A slower team wheeled (a woman, presumed to be his mother) his presumed mother to the morgue.

Doctors ( and nurses prepared the boy for surgery, cutting the ruined clothes from his broken body; the sight of which caused even the hospital staff to recoil in horror. Noone could identify this child, only death came to claim him, for he was fading fast) churned through pre-op procedures. A nurse removed his jacket, his T-shirt and jeans cut off. Hospital staff recoiled at the sight. Even the surgeons cringed.

The young victim faded on a frigid metal table. Nurses punctured both arms with IVs while others prepped surgical tools and halogen lamps. Beeps of life-support pinged against the tile walls. No one could identify the child, yet death approached.

A nurse layered blankets over his swollen body and packed ice around his head. When the operation launched, the battle began.

Surgeons barked and argued over strategy. Curses flared (flew, two flares jars a bit), egos flared, but the crew continued despite expectations. The boy required bone graphs and x-rays, volumes of blood, neuro-specialists, cranial reconstruction, a faint spark of pale hope, and the earnest prayers of all Heaven’s omnipotent gods (is there more than one god in heaven - actuallly is heaven exclusively a christian thing?).

But he lived.

(i think this bit needs more guidance on what you are trying to say, which is why ive put the suggestions i have below) In nine hours, doctors transformed the boy from victim, patient, to (nameless) survivor. Word spread fast among the nurses working recovery, “I’m sure they’ll figure it out,” ("someone will know who he is") and (but) soon every hospital employee gasped at the same unnerving truth: this boy didn’t exist. Nor did the female driver. Not on paper. Not in school records. Not in any government database.

No family members visited. No cards or flowers arrived. Not one inquiring phone call. The boy lay limp, day after day, unclaimed and nameless.

Not completely nameless. A nurse saved his jean jacket when she read the back tag, and placed it in his closet for safe keeping. Staff never confirmed or denied their suspicion, It was never confirmed but everyone assumed the name written there in permanent blue marker was his. So they called him Sean.

Although police conducted extensive interviews, identity of the two victims eluded them. Reports confirmed the accident details- two cars, two victims, yet only one driver. An obvious hit and run, but the responding officer never saw a second driver. (but the other driver had) escaped.

Detectives pleaded in local newspapers and television. People posted signs on area telephone poles and public cork boards. Information trickled into various news outlets, and though police followed every lead, nothing significant materialized. Missing names and vague physical descriptions plagued the department for weeks. The crime lab hit dead ends. The car plates returned either stolen or unregistered. (what car plates, there could only be two, their car and the other drivers?)

Over proceeding weeks, (Sean)the boy demonstrated encouraging signs. “He’s awake, get the doctor.”

Sean, they called him, (could tap) tapped his index finger once for yes (and), twice for no. (All the) medical tests painted a hopeful prognosis.

By now his room swelled with (bouquets of) candy bouquets, (and) flowers, (.There were) balloons, and colorful over-sized poster cards from local elementary schools. A customary response from the compassionate Texas town.

People guessed (Sean's) the boy’s age at twelve (i don't think they would need to guess, if he has been in hospital and its a modern society they would have a pretty accurate idea i think), possibly younger. His thin, frail frame and jaunt features skewed their estimates, but he and the woman shared similar features. At least in photographs. Within six weeks, the hospital released her body for cremation. Police kept her (records) DNA samples, finger prints, and dental records, although none of them matched any catalogued description.

One afternoon, a police chief visited the hospital to question Sean after he’d recovered enough to eat solid foods. The doctor agreed to let them speak, but warned him of (the) difficulties with traumatic brain injuries. She inquired about progress in the investigation, but the chief had nothing. “Never seen anything like it. That’s why I’m here.”

“How could this happen, Chief?”

“Don’t know. The Mindton Blue are working on it, and I’m sure we’ll piece things together, ma’am. Could I see him now?”

They stopped inside Sean’s (more sullen?) room; the balloons removed, the flowers had died weeks before, and now only the children’s cards lay piled against the far window. A weighty, white-dressed woman (dressed in white) sat hunched next to Sean’s bed. As she spoke to him, Sean peered over her shoulder at the tall authority darkening his doorway.

The nurse continued prodding him with questions, “I know it’s difficult, honey, but please try. Anything will help.” The boy returned his eyes to the painting on the opposite wall, and sunk into the bed another inch.

She begged. “Nothing? Not even your name?”

He withdrew again. He curled his toes underneath the blanket at the end, and pulled his arms under the cool white sheets. He heard her voice and recognized the words, but his answer scared him.

The nurse repeated slower, “Sean Hasten. Is that name familiar?”

The doctor and police chief stepped in closer to the boy. The chief stood behind the seated nurse, and after a silence, the officer introduced himself, “Hi son. I’m chief Berryhill.”

Sean fixed his eyes on the painting across from his bed. The warm colors and playful sloops of yellow softened the room. That looked pretty. (this last sentence jars a little, is that the boys thoughts, or are you saying it as the narrator, it was a pretty picture?)

“We’re trying to identify you and the woman driving. Have you seen her pictures?” The chief held out a large envelope. Sean eyed the manila file, then clinched tighter and pulled the covers up to his neck. (I think this bit of dialogue needs to be softer, the police cheif is meant to be asking a 12 year old boy, with brain injuries some questions.. i think the language he is using is too officious and to the point. Something like "We were hoping you could help us with something, do you think you could have a look at some pictures and tell us if you see anyone you recognise?" )

The nurse turned to the officer and lifted Sean’s jean jacket from her lap, “This is all we have.” Berryhill knew that already.

The boy (Sean) twiddled some fingers under his sheets, and drew a silent, deep breath.

Berryhill leaned in and inspected Sean’s eye left uncovered from the bandage wrapped around his head. He was healing nicely.

“A phone number maybe? Anything?” the chief continued. “We need to contact your family son. Perhaps a guardian?” (follow on from before, soften this a little?)

“Your grandparents? Or a neighbor?” the nurse added. The burly woman reeked of old cigarettes and gaudy perfume. Sean’s eye bent toward the painting again; his mind an empty canvas.

The nurse shook her head. She slumped back in her chair, pulled both feet under, and fiddled with a stainless lighter in her front pocket, “That’s all we ever get.”

The doctor wrote a note on her clipboard. Berryhill straightened up then leaned to whisper to her, “You contact Child Services?”

Doc nodded yes. (She nodded in reply).

The three adults agonized over the curious little puzzle bundled before them. Sean studied the painting across the room, but not a single thought entered his mind.
 
chapter1 the aftermath by scifrac

First of all this worked well for me. It peeked my interest and I'd like to know more about this character. I would only agree with some people here in that if this character never shows up again I'd be disappointed.

On another note this scene stands alone in it own special way and I think a lot of people have trouble discerning that and there is no way to please those people.

Only you the writer knows if something should or shouldn't be there or for that matter if there is something missing. What is important is the voice of how it's been put together.

There seems to be a number of potential problems none of which exist in the writing.

This lacks some of the usual blood gut and gore and anticipatory cliffhanger-ishness that so many people seem to think has to happen in the first page of a book.

This generally seems to get them to start picking at the fat in the pages so you will have room to give them more meat.

Now there were some objections to things that happened- keep in mind none of these people who objected identified themselves as doctors nurses or emergency techs- still you should be sure about your facts. Regardless their objection again seems to be that you are boring them with the details.

This is your novel if this fits it fits and there's not enough page there to bore the pants off of anyone so go for the details you want just be sure of accuracy. Even if you have to make up your own procedures to create the atmosphere of accuracy.

Next-unless you are asking for ghostwriting then I'd be careful about letting some of the comments here change your style of writing. There is nothing wrong with your style until you let them make you believe there is.

There is no right way or wrong way to tell the story. This is your story your voice. I liked this voice and I'd hate to see it change to everyone else unless it gets your story written more smoothly and quickly and still looks like your voice at the end.
 
Joan, thank you. I always see room for improvement, but I appreciate the encouragement. Didn't expect that.

Nubins, very extensive post. You have some intersting additions, and I assume all the red is to be deleted? Still deciding how much detail is needed, because I find I need less and less. The story is really about the boy and his search for identity, so I keep fiding new things to delete. Thanks for your comments.

Amberwaves, thanks for your vote of confidence. And don't worry, the whole book is about this character! :) There are some comments that I will take, and some I might consider, and some that won't work. Of course, every person's persepective is truly helpful, and there are several aspects I had not seen before.

Great job everyone! :D
 
-----------------------


Chapter 1: The Aftermath


They all expected the boy to die. Blood filled his bandages. The morning rains lifted as paramedics ripped the gurney from their ambulance and burst through emergency room doors.

Nurses piled into hallways with gas tanks and rolling instruments. The child lay motionless, rushed down tight corridors into sterile, ready hands. A slower team wheeled his presumed mother to the morgue.

Doctors churned through pre-op procedures. A nurse removed his Whose? Mate nurses are not uncommon. jacket, his T-shirt and jeans cut off. Hospital staff recoiled at the sight. Even the surgeons cringed. Wouldn't they have seen it all before? RTAs are common!

The young victim faded on a frigid metal table. Nurses punctured both arms with IVs while others prepped surgical tools and halogen lamps. Beeps of life-support pinged against the tile walls. No one could identify the child, yet death approached.

A nurse layered blankets over his swollen body and packed ice around his head. When the operation launched, the battle began.

Surgeons barked and argued over strategy. Curses flared, egos flared, but the crew continued despite expectations. The boy required bone graphs and x-rays, volumes of blood, neuro-specialists, cranial reconstruction, a faint spark of pale hope, and the earnest prayers of all Heaven’s omnipotent gods.

But he lived.

In nine hours, doctors transformed the boy from victim, patient, to survivor. Word spread fast among the nurses working recovery, “I’m sure they’ll figure it out,” and soon every hospital employee gasped at the same unnerving truth: this boy didn’t exist. I doubt that this is unusual!Nor did the female driver. Not on paper. Not in school records. Not in any government database.

No family members visited. No cards or flowers arrived. Not one inquiring phone call. The boy lay limp, day after day, unclaimed and nameless.

Not completely nameless. A nurse saved his jean jacket when she read the back tag, and placed it in his Whose closet? closet for safe keeping. Staff never confirmed or denied their suspicion, but everyone assumed the name written there in permanent blue marker was his. Obviously! What else would they assume!?

Although police conducted extensive interviews, identity of the two victims eluded them. Reports confirmed the accident details- two cars, two victims, yet only one driver. An obvious hit and run, but the responding officer never saw a second driver. The criminal escaped.

Detectives pleaded in local newspapers and television. People posted signs on area telephone poles and public cork boards. Information trickled into various news outlets, and though police followed every lead, nothing significant materialized. Missing names and vague physical descriptions plagued the department for weeks. The crime lab hit dead ends. The car plates returned either stolen or unregistered.

Over proceeding weeks, the boy demonstrated encouraging signs. “He’s awake, get the doctor.”

Sean, they called him, tapped his index finger once for yes, twice for no, and medical tests painted a hopeful prognosis.

By now his room swelled with candy bouquets, flowers, balloons, and colorful over-sized poster cards from local elementary schools. A customary response from the compassionate Texas town.

People guessed the boy’s age at twelve, possibly younger. His thin, frail frame and jaunt features skewed their estimates, but he and the woman shared similar features. At least in photographs. Within six weeks, the hospital released her body for cremation. Police kept her DNA samples, finger prints, and dental records, although none of them matched any catalogued description. Do they match the boy?

One afternoon, a police chief visited the hospital to question Sean after he’d recovered enough to eat solid foods. The doctor agreed to let them speak, but warned him of difficulties with traumatic brain injuries. She inquired about progress in the investigation, but the chief had nothing. “Never seen anything like it. That’s why I’m here.”

“How could this happen, Chief?”

“Don’t know. The Mindton Blue are working on it, and I’m sure we’ll piece things together, ma’am. Could I see him now?”

They stopped inside Sean’s room; the balloons removed, the flowers had died weeks before, and now only the children’s cards lay piled against the far window. A weighty, white-dressed woman sat hunched next to Sean’s bed. As she spoke to him, Sean peered over her shoulder at the tall authority darkening his doorway.

The nurse continued prodding him with questions, “I know it’s difficult, honey, but please try. Anything will help.” The boy returned his eyes to the painting on the opposite wall, and sunk into the bed another inch.

She begged. “Nothing? Not even your name?”

He withdrew again. He curled his toes underneath the blanket at the end, and pulled his arms under the cool white sheets. He heard her voice and recognized the words, but his answer scared him.

The nurse repeated slower, “Sean Hasten. Is that name familiar?”

The doctor and police chief stepped in closer to the boy. The chief stood behind the seated nurse, and after a silence, the officer introduced himself, “Hi son. I’m chief Berryhill.”

Sean fixed his eyes on the painting across from his bed. The warm colors and playful sloops of yellow softened the room. That looked pretty.

“We’re trying to identify you and the woman driving. Have you seen her pictures?” The chief held out a large envelope. Sean eyed the manila file, then clinched tighter and pulled the covers up to his neck.

The nurse turned to the officer and lifted Sean’s jean jacket from her lap, “This is all we have.” Berryhill knew that already.

The boy twiddled some fingers under his sheets, and drew a silent, deep breath.

Berryhill leaned in and inspected Sean’s eye left uncovered from the bandage wrapped around his head. He was healing nicely.

“A phone number maybe? Anything?” the chief continued. “We need to contact your family son. Perhaps a guardian?”

“Your grandparents? Or a neighbor?” the nurse added. The burly woman reeked of old cigarettes and gaudy perfume. Sean’s eye bent toward the painting again; his mind an empty canvas.

The nurse shook her head. She slumped back in her chair, pulled both feet under, and fiddled with a stainless lighter in her front pocket, “That’s all we ever get.”

The doctor wrote a note on her clipboard. Berryhill straightened up then leaned to whisper, “You contact Child Services?”

Doc nodded yes.

The three I had to read again to confirm that 3 adults are present. adults agonized over the curious little puzzle bundled before them. Sean studied the painting across the room, but not a single thought entered his mind.

A fair effort. However I am not sure if the omnipotent viewpoint is best. You could equally well write it from the viewpoint of one of the emergency doctors, which would give it a greater focus, and potential for emotional involvement without going over the top.
The writing also seems a bit overheated. I should think that several times a week a critically injured child is brought into the emergency department of a hospital, and several times a week they have a patient who can't or won't disclose their identity. At any rate, an unidentifiable patient is a common plot element in TV hospital soaps (they had one on "Holby City" last night, for instance) and there are plenty of homeless and illegal immigrants around who will be less than eager to give their identities. In short, I'm afraid that my reaction to "Unidentifiable boy!!" is "So what?"
I can't see from here where the author is based, but I note that this is set in the USA...
Also note that while not all readers will know anything about boats (my nitpick elsewhere this week), they almost all will have watched TV soaps or drama-docs, so your description of medical matters had better be A1.
 
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