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Warren_Paul

Banishment this world!
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As you can see, I talk too much, so it's time to follow the tradition and post up another piece.

I had a real hard time picking out a section to post up - mainly because so many were above the word count and I couldn't find suitable places to split the scenes into partials.

Luckily I found a piece that comes in at 1382 words, which is still big - and I apologise for that - but allows me to ask an important question about character voice. For those who've read a section I posted up in Writing Group, you might recognise this as being part of the same scene but shown from a different perspective.

This scene is the beginning of chapter 3, so some context and character introductions come before it.

This piece is a traumatic experience from the PoV of a child - I apologise if some people find it too emotionally gruelling to read because of that - but my question is; does the voice come across as an absolutely terrified child? Of course, all other comments are welcome.

Thanks. I'm going to cross my fingers and step away for a bit here. :)

* * *​

Shouting echoed down the hall behind us, and gunfire too. My Leg legs hurt, painful shocks attacked my feet. Mamma pulled me along, my hand enveloped in hers, nearly ripping my arm out of its socket.

Benjamin dangled from my other hand, my only friend. I didn’t care that he couldn’t talk back. I’d been so happy when Mamma had given him to me. He was all I’d managed to take when the bad men had broken into our house and forced us to run away.

The loud banging sounds of scary machines nearly drowned out Papa’s voice, barely able to hear him tell us to keep running. I had to look back, as if my body gave me no choice. Papa stopped and turned to face the bad men chasing us. He aimed his gun at them.

Bullets raced past him, hitting the wall at his side, and a light above. Sparks showered down around him. His eyes closed, his finger settled on the trigger.

Mamma pulled me through a set of double doors and I lost sight of him, but I heard the gun shoot, twice. I’d always been able to recognise Papa’s rifle. It had a different sound to the bad men’s guns. I didn’t hear the rifle fire a third time.

My chest felt like it was freezing. I couldn’t breathe, could barely keep going, but Mamma never slowed once. We raced across a large room, past the scary machinery and underneath a set of stairs. Only then did Mamma let me go. I hugged Benjamin, terrified when I heard what sounded like thunder. I knew it was the bad men coming though, and not a storm. There were so many of them.

Mamma clawed at a metal panel in the wall. It came free, revealing a small tunnel on the other side. A vent. But it wasn’t big enough. Mamma would never fit through it. She drew me to her, kneeling so I could see her face properly.

‘Listen Kateryn. No matter what you hear, no matter what happens, don’t make a sound.’ She shook me when I didn’t say anything. ‘Not a sound. Promise me!’

‘I promise!’ I cried, trying my best to be brave and not cry, but it was too hard. I was too scared. And then I was climbing into the vent.

‘No, don’t leave me!’ I said, when Mamma put the cover back in place and I realised she wouldn’t be following me. ‘Mamma!

I peeked through the gaps in the cover and heard shouting. Mamma glanced over her shoulder. Then she left me. She left me. What little light the gaps gave me went out. Something covered them. I wrapped my arms around Benjamin and hugged him so tight it felt like he’d become part of me. His fur tickled my face. My tears soaked into it, but I did as I was told; I didn’t make a sound.

The heavy thump of running got closer, the vent rattled loudly in my ears. I squeezed my eyes shut. A sharp jab of pain stung my tongue. I’d bitten it.

The vibrations stopped, but the shouting didn’t. ‘On your knees. On your knees!’

‘I won’t let you have her,’ Mamma said. She sounded both angry and afraid at the same time.

The sound of gunfire cut through the walls, vibrated up the vent. I shook, covered my ears, gritted my teeth, tried not to scream, but it didn’t help. The sound was like being cut with a sharp knife, piercing me with every shot. It stopped. The silence was deafening.

Slowly, I lowered my hands. My breaths came in short, painful bursts; in time to my quiet sobbing. With Benjamin in one arm, I shuffled forward, placed my ear against the metal cover and listened, hoping Mamma would come to let me out. She didn’t. I heard nothing, felt nothing.

I ran my hand over the cover, feeling every groove that meant a gap in the metal and wondered if I could open it from the inside. It looked heavy. I pushed and the cover gave way a little bit, but not enough. I was too scared to try harder.

Suddenly, light blinded me and I threw up my arm to block it out. The cover was torn away. A shadow fell over me, amber eyes surrounded by a dark face filling my vision. His mouth broke into a smile that terrified me.

‘So this is the child that will destroy the world,’ he said. I shuffled backwards, clutching Benjamin, until I was pressed up against the end of the vent. It bent upwards, stopping me from going any further. It wasn’t far enough.

He reached for me, his large hand like a dark shadow coming to suffocate me. I swallowed my scream, swallowed my breath, my tears; the lump in my throat, and curled up into a ball, tucking my knees against my chest.

The light burst into a thousand tiny snowflakes. The ground shook, the room beyond the vent vanished, the man too, and then the walls of the vent followed him. I floated in a pure white nothingness, but my eyes were drawn to the woman.

She smiled, her silver eyes sparkling with sympathy. Her long, brown hair floated around her head as if she was underwater, and feathered wings sprouted from her back. Six of them, all green like emeralds.

She stretched her wings out, arched her back and the nothingness shattered apart, returning me to the vent in the middle of an earthquake. I screamed, covered my head and buried it in my lap, pressing my face against Benjamin’s fur.

Slowly, the earthquake died away. I peeked out from between my knees. The dark man was gone, the bright light was gone too. Another woman stood in view of the vent, looking at me. She looked pretty, but not as pretty as the brown haired woman. This woman was blonde and dressed like she was going to war. I thought she might be a soldier, but I’d never heard of a woman joining the army.

As if a moment later she forgot I was even there, the woman turned away. She left me, just like Mamma had.

I shuffled out of the vent. The concrete was cold on my feet. The loud thump of machines shook me, continuing their casual work as if not bothered at all by what had happened here. One by one, the people who operated them appeared from the shadows, but none of them came any closer. They were scared. I knew, because I was scared too.

My eyes fell to the bodies littered around me like a collection of broken dolls I’d finished playing with. Their skin was all red and black, as if they’d died in a fire. I flittered from one to the next, until I settled on the one most familiar to me. Mamma? My heart started to beat faster than it should, my tears came back, hurting so much more than before. Mamma?

I dropped to my knees beside her, shaking Mamma, but she wouldn’t wake up. My hands came away red. I stared at them, only just noticing the blood covering the floor; the blood that came out of Mamma. Mamma?

‘Please Mamma, wake up.’

She didn’t.

Mamma!’ I lurched up in bed, panting for breath. Sweat ran down my face, saturating my neck. Night closed in around me, the stars hidden away by the walls of my room. The village was deathly silent.

I wiped the sweat from my brow and calmed my nerves. That nightmare again. Every night, the same one. I rested my cheek against my knees and tucked them up against my chest. Fur tickled my palms. An illusion, I’d lost him. I couldn’t even remember when. So much of my past was a fuzzy blur; I’d blocked it out.

I’d lost all desire to curl back under the blankets, the feelings left behind by my nightmare still so close to the surface. My shift stuck to me, soaked with my sweat, making my skin itchy. I needed to get out of it, and get clean. There was one luxury I’d come to enjoy in Tūmau Ngiha; one luxury that would help wash away the bad memories.

*​
 
Hi Warren,

Congrats on 2000!

I'm not going to be able to do the whole thing but in my opinion you're overdoing the descriptions (I do this too).

Also, the child's voice comes and goes a bit. How old is she?

If she's little -- e.g. 5 or 6 -- I'd lose stuff like 'socket', 'kneeling so I could see her face properly' -- I'd shorten the sentences or at least run things together because sometimes your sentence structures are quite sophisticated. e.g. "it came free, revealing a small tunnel.." --> "It fell off. There was a hole in the wall."

I've put in a lot of red but most of it is detail. Basically -- you need to trust yourself. You've got a small child (automatically sympathetic) in a terrifying situation and as long as you keep things moving along, we'll feel for her. The stuff about the toy and the little hand and all that, felt too deliberate for me.



e.g.
Shouting echoed down the hall behind us, and gunfire too. My Leg [typo?] legs hurt, painful shocks attacked my feet. [I'd go with either the legs hurting or the feet being shocked -- not both] Mamma pulled me along, my hand enveloped in hers, nearly ripping my arm out of its socket. [I don't think you need the middle bit -- we'd assume Mamma was holding his/ her hand and it's totally normal for children to be used to holding much larger hands so this feels like heart tugging and external narrator-voice to me]

Benjamin dangled from my other hand, my only friend. I didn’t care that he couldn’t talk back. I’d been so happy when Mamma had given him to me. He was all I’d managed to take when the bad men had broken into our house and forced us to run away. [this is too much for me -- (a) it feels like deliberate heart tuggery, (b) it doesn't so much slow the action as totally destroy it.
If you need to keep it, I'd play with the order of the first sentence -- My only friend, Benjamin, dangled... or Benjamin, my only friend, dangled... because I think as you have it, her hand is her only friend]


The loud banging [sounds -- no need]of scary machines nearly drowned out Papa’s voice, barely able to hear him [who was barely able to hear him? because written this way it's the loud banging, which makes little sense -- how about making it a specific occasion -- Papa screamed something but the loud banging of scary machines drowned...? -- in fact this bit feels kind of adulty]tell us to keep running. I had to look back, as if my body gave me no choice. [I like that but I think it could be shorter -- e.g. 'My body forced me to look back' or something] Papa stopped and turned to face the bad men chasing us. He aimed his gun [at them -- no need. And I think the shorter sentence is punchier].

Bullets raced past him, hitting the wall at his side, and a light above. Sparks showered down around him. His eyes closed, his finger settled on the trigger. [I like this but I'm not sure how she sees it -- she's running the other way and he turned to face the men]

Mamma pulled me through a set of double doors and I lost sight of him, but I heard the [his?] gun shoot, twice. [I’d always been able to recognise Papa’s rifle. It had a different sound to the bad men’s guns.-- if you took this bit out, you'd imply exactly the same thing without slowing the action with backstory] I didn’t hear the rifle fire [again?]a third time.

My chest felt like it was freezing. I couldn’t breathe, [could barely keep going,-- too much, I think] but Mamma never slowed once. We raced across a large room, past the scary machinery [one of the banging ones?] and underneath a set of stairs. Only then did Mamma let me go. I hugged Benjamin, terrified when I heard what sounded like thunder. I knew it was the bad men coming though, and not a storm. There were so many of them.

Mamma clawed at a metal panel in the wall. [that, I really, really like]It came free, revealing a small tunnel on the other side. A vent. But it wasn’t big enough. Mamma would never fit through it. She drew me to her, kneeling so I could see her face properly. [I don't think a child would consider this -- how about "kneeling so her face was right next to mine" or soemthing like that?]
 
Sorry, should have specified the age. She is a young 10 in this scene.


Thanks, Hex. I did wonder if some parts were perhaps a bit overdone. Wasn't entirely sure though.
 
Congrats on 2000 posts, though I'm not sure congratulations are in order for spending what must have been most of your past year on here. :p


I think you've set yourself a very difficult task here. It might be just me, but writing first-person past from a ten-year-old's POV throws up all kinds of questions, mostly, who is she relating this to and when? And these questions arise for me because the voice feels wrong. Would a ten-year-old use a semi-colon, or the verb "clawed"? My experience of that age-group telling stories is that's it's mostly "and then this and then this and then this" (admittedly I haven't seen any examples of written stories recently, but memories of my own suggest they'd be a lot less sophisticated than this). So why is her voice so different? For me, it creates a problem with suspension of disbelief.

If she's significantly older when she's narrating this, then the language should be appropriate to that age.

Does it need to be in first? I think the general feel of the language here would work well in third, giving an impression of her age without having to realistically reflect her own usage.
 
Well it is a nightmare, as you can see by the last couple of paragraphs, but it was my intention that she is so caught up in it that it is as if she is ten-years-old again and experiencing it as it happens - which is typically normal for nightmares. When she wakes, she's back to her seventeen-year-old self. So for the rest of the book, she is seventeen/eighteen.

I didn't really want it to be in 3rd, as I was limiting 3rd-person to only interlude chapters between parts. Not the first time 3rd has been suggested for this WIP, but I'm not really sure I understand the difference, as the 3rd-person scenes I've written come across much the same as the depth of the 1st-person. Or maybe that is the problem in and of itself? :eek:

I get the point with the semi-colons and such. But wouldn't it be so horrible to read a scene using basic sentence structure? I'll see what I can do about simplifying it though. Thanks.
 
On that note, don't know if it helps, but here is an eg of a young 12 year old's writing (I have her permission...)

We all went inside of the room. Inside of the room they had to sit at a long oval shaped table with enough seats for all of us and even more. I do remember sitting with Kate and Uncle Alan. "First of all before I go on. You need to know this was a baby boy - " began Mr Ora.

(dang she's good, I better keep working... :D)

I thought the voice shifted quite a bit, WP, some of it was too adult, some seemed very young eg.

Bullets raced past him, hitting the wall at his side, and a light above. Sparks showered down around him. His eyes closed, his finger settled on the trigger.

That bit seemed old, the sparks showered, finger settled.

Whereas this bit:

Benjamin dangled from my other hand, my only friend. I didn’t care that he couldn’t talk back. I’d been so happy when Mamma had given him to me. He was all I’d managed to take when the bad men had broken into our house and forced us to run away.


reminded me of something my 7 year old might think. (Although it would be young for her.)

If it's an adult having a dream/flashback, why not just start it as the adult and go into the pluperfect -then you can have it as if it was happening, but with an adult voice? Just a thought.
 
Well it is a nightmare, as you can see by the last couple of paragraphs, but it was my intention that she is so caught up in it that it is as if she is ten-years-old again and experiencing it as it happens - which is typically normal for nightmares. When she wakes, she's back to her seventeen-year-old self. So for the rest of the book, she is seventeen/eighteen.

D'oh! Sorry, I read your comment that she was ten before I read the piece, and that stuck in my head and I didn't notice the change in tone at the end.

Forget my previous point, then. If I'd known at the start she was 17 (as I would have done if this isn't the very start), it wouldn't have been a problem.

Having said that, do people really regress in age when they dream about past events? (I'm not sure I've ever dreamt about a past event, so I wouldn't know.)
 
I'd have said the toy thing was young for my almost-6-year old. It's the sort of thing I'd identify as a 2-3 year old thinking, maybe. Perhaps it's different for girls?
 
Ah, the pluperfect... nice effect, but very tricky to get right. I'll think about it.

Thanks.


Edit:

Having said that, do people really regress in age when they dream about past events? (I'm not sure I've ever dreamt about a past event, so I wouldn't know.)

Interesting thought. I'd have believed so, but maybe if the reality isn't quite like that then perhaps it works in my favour? :D

I'm in the same boat; I've never had a nightmare about my past.

I'd have said the toy thing was young for my almost-6-year old. It's the sort of thing I'd identify as a 2-3 year old thinking, maybe. Perhaps it's different for girls?

It might well be far too young. Although I suspect that when a child leads a traumatic life from day one, has no friends, never got to even meet another child, and has to live in seclusion, then part of her personality would still be stuck back in that very young age. It's a psychological issue. I've known kids that still relate to stuffed toys as companions even in middle-grade. But maybe I need to get an expert opinion on that.
 
You need a doctor... girls tend to be mad about stuffed toys and very attached to them for much longer than boys. (Long suffering mother to about 75 stuffed dogs, each with individual names, places to stay etc etc.) But the bit about I was so happy that felt too young, too simplistic. Plus, it's not that part she'd be happy about, it'd be whatever made that one special, so his bent ear, his lead, his nice pink fluffy paws that got all dirty when he went for a walk (see, long suffering...) :p :)
 
You need a doctor... girls tend to be mad about stuffed toys and very attached to them for much longer than boys. (Long suffering mother to about 75 stuffed dogs, each with individual names, places to stay etc etc.) But the bit about I was so happy that felt too young, too simplistic. Plus, it's not that part she'd be happy about, it'd be whatever made that one special, so his bent ear, his lead, his nice pink fluffy paws that got all dirty when he went for a walk (see, long suffering...) :p :)

Interesting. But I'd fear going into detail about the toy would be drawing even further away from the action. I think Hex has it right in that I should cut the part where she thinks about the toy out and just mention him in passing.

But that is a very good detail to bring in at some other point. Thanks.


EDIT: If it's any consolation, my other half was still attached to stuffed toys at 23 years old.* :rolleyes:


* Of course more in a collecting sense, but each one of them was still memorable to her.
 
I quite like this, Warren. It needs a little work, but I know that writing a child is really hard. I would have placed her age at 7. So if you want her older, I would have her aware that she's acting young.

And it's a dream, she could almost be aware she's dreaming, trying to wake up even.



* * *​

Shouting and gunfire echoed down the hall behind us, and gunfire too. My Leg remove legs hurt, painful shocks attacked my feet. Mamma pulled me along, my hand enveloped in hers, nearly ripping my arm out of its socket. To keep in the child's view, I would suggest removing 'nearly ripping...' This is very adult. I would use instead, that she trips, and Mamma pulls her back to her feet, something like that.

Benjamin dangled from my other hand, my only friend. I didn’t care that he couldn’t talk back. I’d been so happy when Mamma had given him to me. He was all I’d managed to take when the bad men had broken into our house and forced us to run away. I feel the underlined slows it down.

The loud banging sounds This is not needed of scary machines nearly drowned out Papa’s voice, Could Papa actually shout? Have dialogue, perhaps? barely able to hear him tell us to keep running. I had to look back, as if my body gave me no choice. Papa stopped and turned to face the bad I already know they're bad; she's running away from them. men chasing us. He aimed his gun at them.

Bullets raced past him, hitting the wall at his side, and a light above. Sparks showered down around him. His eyes closed, his finger settled on the trigger. He's facing away from her.


Mamma pulled me through a set of double doors and I lost sight of him,but I heard Slows it down a little. 'A gun fired twice' ... or similar the gun shoot, twice. I’d always been able to recognise Papa’s rifle. I recognised Papa's rifle. It had a different sound to the bad men’s guns. I didn’t hear the rifle fire a third time.


*


 
Because this is in the PoV of a ten year old, and the audience is mostly made from the adults, your first person isn't coming from close enough perspective. I know that sounds silly, but in times, she sounds a bit too adult for my liking.

Shouting grew louder down the hall behind us and then there was those horrible booms. Louder and faster than a thunder could strike. My Leg legs hurt, painful shocks attacked my feet. Mamma pulled me along, her hand squeezing mine so hard that I was afraid it was going break, cos it hurt so much.

Benjamin dangled from my other hand. He's my only friend. And I didn’t care that he couldn’t talk back as long as he were in safe with me. I’d been so happy when Mamma had given him to me. He was all I’d managed to take when the bad men had broken into our house and forced us to run away.
Sorry had to break here to do explaining. I'm trying edit this for you so that it only takes in account the ten year old PoV as I feel it should be presented. The end at the second para felt a bit too much telling, but I was also a bit afraid to mark it for cutting as it's also a crucial info. So, as always, you decide which bits you're going to take out and which you're going to leave in.
The loud banging, crackling and breaking noises sounds of scary machines nearly drowned out Papa’s voice as he shouted us barely able to hear him tell to keep running. I looked back and saw Papa stopped and turned to face the bad men chasing us. turning around the corner to pop his gun.

Bullets raced past him, hitting the wall at his side, and a light above. Sparks showered down around him. His eyes closed, his finger settled on the trigger, as he fell down spraying crimson dust in the air.

"PAPA!!!"
I felt you needed to add a bit more drama in the crucial moment to echo MC's emotions.
Then Mamma pulled me through a set of double doors and I lost sight of him, but I heard the gun shoot, twice. I’d always been able to recognise Papa’s rifle. It had a different sound to the bad men’s guns. I didn’t hear the rifle fire a third time.

My chest felt like it was freezing (what?:confused::confused::confused:). so tight. I couldn’t breathe, could barely keep going, but Mamma never stopped. We raced across a large room, past the scary machinery :confused: and underneath a set of stairs. Only then did she let me go. I hugged Benjamin, terrified he was going to die when I heard what something that sounded like thunder. And somehow I knew it was the bad men coming though baddies had not stopped, and not a storm. Their footsteps sounded like horses racing. were so many of them.

Mamma torn down a metal panel in the wall. It came free, revealing a small tunnel on the other side. A vent. But it wasn’t big enough. Mamma would never fit through it. She drew me to her, kneeling so I could see her face properly.

‘Listen Kateryn," She knelt next to me. "No matter what you hear. No matter what happens, don’t make a sound.’ She looked so angry. So frightened. ‘Not a sound. Promise me!’

‘I promise!’ I cried, trying my best to be brave and not cry, but it was so hard. I was too scared. But then I swallowed my tears and climbed into the vent.

It felt so tight, and it was so dark and dusty. And then the light disappeared. I turned around saw Mamma's fingers disappearing with last bit of light. "No," I cried. "Mamma, don't leave me."

‘No, don’t leave me!’ I said, when Mamma put the cover back in place and I realised she wouldn’t be following me. ‘Mamma!

I peeked through the gaps in the cover and heard shouting. Mamma glanced over her shoulder. Then she left me. She left me. What little light the gaps gave me went out. Something covered them. I wrapped my arms around Benjamin and hugged him so tight it felt like he’d become part of me. His fur tickled my face. My tears soaked into it, but I did as I was told; I didn’t make a sound.

The heavy thump of running got closer, the vent rattled loudly in my ears. I squeezed my eyes shut. A sharp jab of pain stung my tongue. I’d bitten it.

The vibrations stopped, but the shouting didn’t. ‘On your knees. On your knees!’

‘I won’t let you have her,’ Mamma screamed. She sounded both angry and afraid at the same time.

The sound of gunfire cut through the walls, vibrated up the vent. I shook, covered my ears, gritted my teeth, tried not to scream, but it didn’t help. The sound was like being cut with a sharp knife, piercing me with every shot. It stopped. The silence was deafening.
Sorry I have to break here. Two last para's should be connected. They should flow pretty much together to imply Mamma fought back and the baddies drilled her down.
Slowly, I lowered my hands. My breaths came in short, painful bursts; in time to my quiet sobbing. With Benjamin in one arm, I shuffled forward, placed my ear against the metal cover and listened, hoping Mamma would come to let me out. She didn’t. I heard nothing, felt nothing.

I ran my hand over the cover, feeling every groove that meant a gap in the metal and wondered if I could open it from the inside. It looked heavy. I pushed and the cover gave way a little bit, but not enough. I was too scared to try harder.

Suddenly, light blinded me and I threw up my arm to block it out. The cover was torn away. A shadow fell over me, amber eyes surrounded by a dark face filling my vision. His mouth broke into a smile that terrified me.

‘So you are the destroyer of this is the child that will destroy the world,’ he said. I shuffled backwards, clutching Benjamin, until I was pressed up against the end of the vent. It bent upwards, stopping me from going any further. It wasn’t far enough.

The man reached in, his large hand like a dark shadow coming to suffocate me. I swallowed my scream, swallowed my breath, my tears; the lump in my throat, and curled up into a ball, tucking my knees against my chest.

The light burst into a thousand tiny snowflakes. The ground shook, the room beyond the vent vanished, the man too, and then the walls of the vent followed him. I floated in a pure white nothingness, but my eyes were drawn to the woman.

She smiled, her silver eyes sparkling with sympathy. Her long, brown hair floated around her head as if she was underwater, and feathered wings sprouted from her back. Six of them, all green like emeralds.

She stretched her wings out, arched her back and the nothingness shattered apart, and returned in the world that was shaking. returning me to the vent in the middle of an earthquake. I screamed, covered my head and buried it in my lap, pressing my face against Benjamin’s fur.

Slowly, the earthquake died away. I peeked out from between my knees. The dark man was gone, the bright light was gone too. Another woman stood in view of the vent, looking at me. She looked pretty, but not as pretty as the brown haired woman. This woman was blonde and dressed like she was going to war. I thought she might be a soldier, but I’d never heard of a woman joining the army.

As if a moment later she forgotten I was even there, the woman turned away. She left me, just like Mamma had.

I shuffled out of the vent. The concrete was cold on my feet. The loud thump of machines shook me, continuing their casual work as if not bothered at all by what had happened here. One by one, the people who operated them appeared from the shadows, but none of them came any closer. They were scared. I knew, because I was scared too.

My eyes fell to the bodies littered around me like a collection of broken dolls I’d finished playing with. Their skin was all red and black, as if they’d died in a fire. I flittered from one to the next, until I settled on the one most familiar to me. "Mamma?" My heart started to beat faster than it should, my tears came back, hurting so much more than before. "Mamma?"

I thought she needed to voice mamma rather than think it.

I dropped to my knees beside her, shaking Mamma, but she wouldn’t wake up. My hands came away red. I stared at them, only just noticing the blood covering the floor; the blood that came out of Mamma. Mamma?

‘Please Mamma, wake up.’

She didn’t move.

Mamma!’ I lurched up in bed, panting for breath. Sweat ran down my face, saturating my neck. Night closed in around me, the stars hidden away by the walls of my room. The village was deathly silent.

I wiped the sweat from my brow and calmed my nerves. That nightmare again. Every night, the same one. I rested my cheek against my knees and tucked them up against my chest. Fur tickled my palms. An illusion, I’d lost him. I couldn’t even remember when. So much of my past was a fuzzy blur; I’d blocked it out.

I’d lost all desire to curl back under the blankets, the feelings left behind by my nightmare still so close to the surface. My shift stuck to me, soaked with my sweat, making my skin itchy. I needed to get out of it, and get clean. There was one luxury I’d come to enjoy in Tūmau Ngiha; one luxury that would help wash away the bad memories.

It's a very good story. Really engaging and I'm really sorry that I needed to do some heavy editing to get the real story flowing. And I hope like the edits. Well done and congratulations on two thousand.
 
Congratulations on the 2,000th!!

I've got to echo everyone else, Warren. To me the dream part is simultaneously both too young and too old -- you need to use simpler sentence constructions and drop some of the adult words (eg vibrations/vibrated, enveloped, piercing, collection) but also drop some of the more babyish words (eg scary, bad men).

Re her being trapped in a younger psychological age, from my reading I think you've got it slightly wrong. No matter what the trauma of her earlier life, if she's had loving parents who have protected her as much as possible, particularly if her mother is there, then she will be fairly "normal" even if she has been isloated and never played with another child, because she will know no different. It is this incident which will have the major effect on her, most especially the loss of her mother -- so that as an adult, she will forever be reverting to the age of ten. The female lead in my SF has a traumatic incident at the age of five, and is similarly trapped there, so I checked this out a little.

For me, also, there is too much here in the dream -- you are showing it as if it were an action sequence in a film, eg the bullets whizzing past, but a child isn't going to see or understand all of this. It would simply be a list of emotions and sensations, not a grammatically perfect rendition of what actually happened. It's also overly manipulative to my mind -- you're deliberately milking the scene, like having sweeping violins playing musak in the background. If you want to keep it in first person like this, you've got to break it down, so it's less coherent and more realistic, but also avoid going too much for the heart-rending bit -- let the emotion come without forcing it. I'm a great believer in understatement, though, rather than the more mawkish sentimentality of a Dickens, so that's perhaps a personal prejudice. Anyway, an alternative here, might be to write it in a more clinical way in third person, never using her name ("The young girl" or whatever) since that kind of distancing can also be a consequence of trauma, in which case you could have the action-sequence type writing there and show everything. That might then be rather more intriguing when she wakes up from the dream.

And less of this knocking of soft toys, please. You'll hurt their feelings.
 
It's not a bad piece, but have trouble being drawn into it at the moment - mainly because it's an action scene, which means issues of conflict tend to be externalised rather than internalised - yet it's internal conflict that draws us to characters and their stories.

There were a few words I might have chosen differently to be more in keeping with a 10-year old child's POV. However, there are a number of stories out there which use younger protagonists, and in every instance I think they all fail to convincingly portray their age. Has never stopped their books being successful. Either way, might be worth referencing Orson Scott Card's "Ender's Game" and also Bran's POV's from George R R Martin's "Game of Thrones" to see whether they are of any help with POV.

Overall, though, not bad - my preference might be to have more of an emotional journey through this scene, a sense of terror, fear, loss, and revelation, love even - you have the external elements there - just might be better to focus on their internal effect rather than details of the gunfight. That's probably just a personal stylistic preference, though.
 
To echo Judge, I think there is a bit too much in this dream.

Most of the time, when you encounter a dream scene it's mostly recognizable as a dream. Things aren't necessarily realistic; scenes blur and flow together, things can be unrealistically exaggerated, a lot of details are neglected.

The keys aspects are the feeling of pursuit, the stand and loss of the father, the abandonment (heroic or not) by the mother, the discovery and horrible reaching... then the savior, the woman, the burnt and... Mamma!

Focus on these aspects. Emphasize them and their effect on Kateryn, and worry less about reality of the scene.
 
The very fact that it is a dream can justify every single one of the crits I saw, the mixing of "ageisms", the distant POV, everything. OTOH it is remarkably difficult to write in any way realistically from a child's viewpoint and particularly so if the scene involves a lot of action and fear. Yet your overall meaning remains clear and unmistakable. The only problem I saw was that the shift from dream to reality at the end could have been a little more dramatic.

Oh, and congratulations on 2000 posts. It's nice to see that people still spend time on the net constructively.
 
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I think this works quite well as narrated by a child of middle years -- maybe 10 or 11? The emotional impact is powerful. I have to admit that the bit about "destroy the world" put me off a little bit -- why do characters in fantasy always have to deal with events of gigantic proportions? (Not knowing the background, I thought this was more of a non-fantasy suspense story. Introducing the fantasy element in this particular way gave me a jolt.)

(Oh, and I am reading this "nightmare" as a memory of something that really happened, not just a bad dream. Otherwise, I have to ask what the point of it was.)
 
Re her being trapped in a younger psychological age, from my reading I think you've got it slightly wrong. No matter what the trauma of her earlier life, if she's had loving parents who have protected her as much as possible, particularly if her mother is there, then she will be fairly "normal" even if she has been isloated and never played with another child, because she will know no different. It is this incident which will have the major effect on her, most especially the loss of her mother -- so that as an adult, she will forever be reverting to the age of ten. The female lead in my SF has a traumatic incident at the age of five, and is similarly trapped there, so I checked this out a little.

Ah, so I was close, just not quite. Good to know. Thanks.

Anyway, an alternative here, might be to write it in a more clinical way in third person, never using her name ("The young girl" or whatever) since that kind of distancing can also be a consequence of trauma, in which case you could have the action-sequence type writing there and show everything. That might then be rather more intriguing when she wakes up from the dream.

I bit hollywoodised I guess. Would you think that slipping out of 3rd and into 1st when the dream ends would work though? Or is it going to be that I should just write her whole character in 3rd? I suppose I could line break it, but that would damage the effect of waking up a bit.

It's not a bad piece, but have trouble being drawn into it at the moment - mainly because it's an action scene, which means issues of conflict tend to be externalised rather than internalised - yet it's internal conflict that draws us to characters and their stories.

I guess maybe in context that would be solved since by this point we already know the character.

Either way, might be worth referencing Orson Scott Card's "Ender's Game" and also Bran's POV's from George R R Martin's "Game of Thrones" to see whether they are of any help with POV.

Yes, I always felt GRRMs PoVs involving the stark kids all sounded older than their characters really were. And Dany too, considering how old she is in GoT.


I think this works quite well as narrated by a child of middle years -- maybe 10 or 11? The emotional impact is powerful. I have to admit that the bit about "destroy the world" put me off a little bit -- why do characters in fantasy always have to deal with events of gigantic proportions? (Not knowing the background, I thought this was more of a non-fantasy suspense story. Introducing the fantasy element in this particular way gave me a jolt.)

(Oh, and I am reading this "nightmare" as a memory of something that really happened, not just a bad dream. Otherwise, I have to ask what the point of it was.)

It is a memory of something that really happened. I think in context you'd already know this was a fantasy novel, since this isn't the first chapter.


Thanks everyone for your comments. They have been very helpful. I wonder about something Crystal said about trying to wake up. Maybe I could play with that to show that it is a dream and get away with the adultish voice. Of course I'd take out the very young voice if I went that way. Although, getting the age of the voice right would work in with the psychological side...

Anyway, I'm happy enough to get comments that it's a good scene, which means that once I've got the adjustments made to it, then the scene will be very good.

Thanks.
 
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Would you think that slipping out of 3rd and into 1st when the dream ends would work though? ... I suppose I could line break it, but that would damage the effect of waking up a bit.
I don't see why it wouldn't work moving from 3rd to 1st -- and the dislocation of the change of tense would mirror her shock and emphasise the waking. It may well be one of those things that sound fine in (my) theory but which don't work in practice, but it might be worth having a play with it just to see.

Really, it very much depends on whether you want us to know the ins and outs of the incident or you just want to concentrate on the emotion of it. For instance, my female lead also has nightmares, and the prologue is one of them, and I've written in a very disjointed way, so you can't be sure who is talking or exactly what is happening (though I'm also hampered in that she's got her eyes shut at the time... :eek:).
 
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