Sigh...me again. Victorian Steampunk fantasy, short story, 1200 words

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WriterJosh

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I seek opinion yet again. I hesitated to post this because I'm pretty new to these boards and yet have already put two posts up for review. I don't want people to get tired of seeing my name on these posts.

But, I do want to know something specific about this one. This is a short story, and it stars two people of my own invention, however, in these 1200 words, neither character appears, and the "star" is only given mention. I feel like I could cut some stuff here, or possibly introduce the character a little earlier (he's the Professor Ketterly brought up in the third section).

This board has always been good at pointing out where my weaknesses are, so I'd love to know what you think of this.


Comes a Dark Horseman
A figure on horseback stood at the far east end of the street, silent and shrouded by billowing clouds of steam. There was something wrong with his appearance, but George Hutchinson did not wish to stare too long. He only wanted to get inside before the rain started.


The horse did not move an inch. The figure astride it seemed to hunch in the saddle. The rider stared down the dark, quiet street.


A distant whistle sounded as a steam engine puffed its way north west from Fenchurch to Moorgate. As the last piping note faded, the air lay heavy with unnatural silence. Commercial Street was shrouded with a thick layer of fog. Hutchinson could barely see his own hands in front of his face, let alone the spectral shape of the rider and his strangely unmoving horse.


He passed by a man standing on the corner of Commercial and Thrawl. Hutchinson kept walking. He would not let himself be bothered by either stranger tonight.


By the light of a gas lamp, he saw young Miss Mary coming his way. She was humming to herself.


“Mr. Hutchinson!” she called. Hutchinson lifted his face and smiled at her. “Can you lend me sixpence?” Inwardly, he groaned. The last of his money had been squandered in Romford. He sadly explained this to Mary.


“Good morning, then,” she said. “I must go and find some money.” He shook his head at her retreating figure. Whatever she could need money for at this hour of the day couldn’t be good, but he decided it didn’t concern him.


Just as he was about to turn back in his original direction, Hutchinson saw the stranger at the corner of Thrawl Street step from the darkness and call to Mary. From what he saw, the man did not belong here. No laborer he; the man was dressed in astrakhan, a soft felt hat covering his thick dark hair and a pair of aviator goggles over his eyes. They did little to hide his appearance. Bushy brows, pale skin, hook of a nose. An aviator?


Mary made nice almost immediately with the stranger, who murmured to her too low for Hutchinson to hear. After a moment they strolled off, arm in arm.


Hutchinson was saddened by this, and a trifle disgusted. Miss Mary was a pretty thing. She could have herself a fine man, if she could ever pull herself out of her squalor and become a fine woman. He turned and headed for his flat. In the distance, he heard three clanging tones of a clock.


The figure on horseback suddenly shifted position. The horse beneath him sprang to life in a screech and clank of old gears. A dull roar sounded from the beast, and a cloud of vapor rose from its muzzle. The mechanical mount and its gaunt, eerie rider began a slow, methodical trot down Commercial Street. The rider held something large and oddly shaped beneath his arm. In the mist, Hutchinson thought he saw the glint of eyes on the object. He decided great haste was required.


He never saw Mary Kelly again.


#
“And you’re certain of what you saw?” asked the Inspector, smoothing his whiskers. The Kelly girl was the seventh murdered in this fashion. He was slowly growing beyond exhausted.


“More than certain!” said the stout woman. “I’ll never forget that horrible face!”


Abberline’s brow creased. A year ago, he would have dismissed this Prater woman as either lying or insane, but now he paused and wondered. Of the last six deaths, twice prior a figure similar to the one Elizabeth Prater was describing had been glimpsed, but never observed so openly.


“This means I’ll be next, don’t it?” she was wailing. “All my life I been taught you ain’t supposed t’look ‘im in the eye! That means he come for you next!”


“I somehow doubt this…apparition is responsible for the crime,” said Abberline. “Isn’t that right, Dr. Phillips?”
“Aye,” said the stocky physician. “The, ehrm, body, was in bad shape, to be sure, but it appears a common slash to the throat what done the poor lass in.”


Abberline frowned. The body had been in abysmal condition. The girl had been disemboweled, her breasts sliced off, her right arm partially severed, and her genitalia removed. Just like the other six. Clearly the work of a madman, but could he leap to the notion of this fantastic creature?


“…Safe?” Prater was asking.


“Pardon?” Abberline had been drifting in reverie.


“I said, are we safe, Inspector?” Prater still sounded near hysteria, but now also seemed a trifle annoyed.


“I daresay ‘safe’ is not a word I would use to describe the Whitechapel area as a whole at the moment,” said Abberline. “But all the same, try to put this from your mind. Stay indoors tonight, lock your doors, latch your windows, and heed no noises. I should advise your neighbors of the same.”


Without waiting for her reply, Abberline returned to the steam-carriage. Lowering his motoring goggles into place, he fired the ignition and blared the whistle. He guided the carriage to H Division Precinct.


#
“You cannot seriously be suggesting what I think you’re suggesting,” said Arnold, coughing as he waved away the smoke from his calabash.


“I would not have mentioned his name if I did not think his services were warranted.” Abberline stood solemnly before the superintendent’s desk.


Arnold rose and frowned at the Inspector. “Out of the question,” he said. “We are not in the business of employing frauds at H Division. Perhaps you became too accustomed to not having your methods questioned at Whitehall or the yard, Inspector, but here we practice genuine police work.”


“Professor Ketterly is no fraud,” said Abberline. “He comes with recommendations from Oxford and Cambridge, and is a celebrated member of the British Order of Alchemists.”


“The British order of…!” sputtered Arnold. He stood and paced to the window and back to his desk as he spoke. “We shan’t explore my opinion of the esteemed Order of Charlatans. Godley, tell the good Inspector that we simply cannot tolerate…”


“In point of fact, sir,” said Godley, rising from his chair. “The professor has a solid reputation in numerous past cases. His methods might be…unconventional, to be sure, but I would hardly call him a fraud or a charlatan. And as the Inspector has observed, it is not merely the Prater woman who saw this apparition.”


“Yes, well, Whitechapel is renowned for its lushingtons and opium-addled dollymops! Who can trust their word? Are we to believe our murderer is a ghost?”


“I’m not certain the being described is our suspect,” said Abberline. “But there does appear to be a connection. As to what, I admit that this falls outside my purview. That is why I believe it would be prudent to retain the good professor to investigate this matter. The principle case would remain with H Division, but it would be folly to ignore such a striking connection.”


“Folly,” repeated Arnold. “Folly is what I face from my seconded chief Inspector. Nonetheless, Abberline, if I’m unable to put a cap on this foolishness, then hire the fellow. And be it on your head.”
 
Comes a Dark Horseman

A figure on horseback stood technically the horse is standing, not the figure on its back. Well, its unlkely at the far east end of the street, silent and shrouded by billowing clouds of steam. There was something wrong what was wrong? with his appearance, but George Hutchinson did not wish to stare too long. He only wanted to get inside before the rain started.


The horse did not move an inch. The figure astride it seemed to hunch in the saddle. The rider stared down the dark, quiet street.


A distant whistle sounded as a steam engine puffed its way north west from Fenchurch to Moorgate. As the last piping note faded, the air lay heavy with unnatural silence. Commercial Street was shrouded used shrouded above with a thick layer of fog but it was steam earlier. Hutchinson could barely see his own hands in front of his face if that bad, he shouldn't be able to see the rider at all, let alone the spectral shape of the rider and his strangely unmoving horse. for a man keen to get indoors, he's spending a lot of time staring


He passed by a man standing on the corner of Commercial and Thrawl. Hutchinson kept walking. He would not let himself be bothered by either stranger tonight.


By the light of a gas lamp, he saw young Miss Mary coming his way. She was would be smoother to cut this and insert a comma instead humming to herself.


“Mr. Hutchinson!” she called. Hutchinson He lifted his face and smiled at her. probably needs a new paragraoh, as the action between was his “Can you lend me sixpence?” Inwardly, he groaned. The last of his money had been squandered in Romford. He sadly explained this to Mary. I'd rather read him speaking the words


“Good morning, then,” she said. “I must go and find some money.” He shook his head at her retreating figure. Whatever she could need money for at this hour of the day couldn’t be good, but he decided it didn’t concern him.


Just as he was about to turn back in his original direction, Hutchinson saw the stranger at the corner of Thrawl Street step from the darkness and call to Mary. From what he saw, the man did not belong here. No laborer he; the man was dressed in astrakhan, a soft felt hat covering his thick dark hair and a pair of aviator goggles over his eyes. They did little to hide his appearance. Bushy brows, pale skin, hook of a nose. An aviator?


Mary made nice almost immediately with the stranger, who murmured to her too low for Hutchinson to hear. After a moment they strolled off, arm in arm.


Hutchinson was saddened by this, and a trifle disgusted. Miss Mary was a pretty thing. She could have herself a fine man, if she could ever pull herself out of her squalor and become a fine woman. He turned and headed for his flat. In the distance, he heard three clanging tones of a clock.


The figure on horseback suddenly shifted position. How does he know, given the fog and distance? The horse beneath him sprang to life in a screech and clank of old gears. A dull roar sounded from the beast, and a cloud of vapor rose from its muzzle. The mechanical mount and its gaunt, eerie eerie how? Needs to be shown rider began a slow, methodical trot down Commercial Street. The rider held something large and oddly shaped beneath his arm. In the mist, Hutchinson thought he saw the glint of eyes on the object. He decided great haste was required.


He never saw Mary Kelly again.



#


“And you’re certain of what you saw?” asked the Inspector, smoothing his whiskers. The Kelly girl was the seventh murdered in this fashion. He was slowly growing beyond exhausted.


“More than certain!” said the stout woman. “I’ll never forget that horrible face!”


Abberline’s brow creased. A year ago, he would have dismissed this Prater woman as either lying or insane, but now he paused and wondered. Of the last six deaths, twice prior a figure similar to the one Elizabeth Prater was describing had been glimpsed needs to be rephrased , but never observed so openly.


“This means I’ll be next, don’t it?” she was wailing. “All my life I been taught you ain’t supposed t’look ‘im in the eye! That means he come for you next!”


“I somehow doubt this…apparition is responsible for the crime,” said Abberline. “Isn’t that right, Dr. Phillips?”
“Aye,” said the stocky physician. “The, ehrm, body, was in bad shape, to be sure, but it appears a common slash to the throat what done the poor lass in.”


Abberline frowned. The body had been in abysmal condition. The girl had been disemboweled, her breasts sliced off, her right arm partially severed, and her genitalia removed. Just like the other six. Clearly the work of a madman, but could he leap to the notion of this fantastic creature?


“…Safe?” Prater was asking.


“Pardon?” Abberline had been drifting in reverie.


“I said, are we safe, Inspector?” Prater still sounded near hysteria, but now also seemed a trifle annoyed.


“I daresay ‘safe’ is not a word I would use to describe the Whitechapel area as a whole at the moment,” said Abberline. “But all the same, try to put this from your mind. Stay indoors tonight, lock your doors, latch your windows, and heed no noises. I should advise your neighbors of the same.”


Without waiting for her reply, Abberline returned to the steam-carriage. I assumed they were in an office until now Lowering his motoring goggles into place, he fired the ignition and blared the whistle. He guided the carriage to H Division Precinct.



#


“You cannot seriously be suggesting what I think you’re suggesting,” said Arnold, coughing as he waved away the smoke from his calabash.


“I would not have mentioned his name if I did not think his services were warranted.” Abberline stood solemnly before the superintendent’s desk.


Arnold rose and frowned at the Inspector. “Out of the question,” he said. “We are not in the business of employing frauds at H Division. Perhaps you became too accustomed to not having your methods questioned at Whitehall or the yard, Inspector, but here we practice genuine police work.”


“Professor Ketterly is no fraud,” said Abberline. “He comes with recommendations from Oxford and Cambridge, and is a celebrated member of the British Order of Alchemists.”


“The British order of…!” sputtered Arnold. He stood and paced to the window and back to his desk as he spoke. “We shan’t explore my opinion of the esteemed Order of Charlatans. Godley, tell the good Inspector that we simply cannot tolerate…”


“In point of fact, sir,” said Godley, rising from his chair. “The professor has a solid reputation in numerous past cases. His methods might be…unconventional, to be sure, but I would hardly call him a fraud or a charlatan. And as the Inspector has observed, it is not merely the Prater woman who saw this apparition.”


“Yes, well, Whitechapel is renowned for its lushingtons and opium-addled dollymops! Who can trust their word? Are we to believe our murderer is a ghost?” the dialogue's working well for me. I'm no expert but it sounds reasonably authentic


“I’m not certain the being described is our suspect,” said Abberline. “But there does appear to be a connection. As to what, I admit that this falls outside my purview. That is why I believe it would be prudent to retain the good professor to investigate this matter. The principle case would remain with H Division, but it would be folly to ignore such a striking connection.”


“Folly,” repeated Arnold. “Folly is what I face from my seconded chief Inspector. Nonetheless, Abberline, if I’m unable to put a cap on this foolishness, then hire the fellow. And be it on your head.”

It needs tightening, I think, particularly the start, but the scene is set well. Once again, I'm not overly au fait with the genre, but hasn't Whitechapel murders been done before? In fact, done ..... to death! ;)
 
It needs tightening, I think, particularly the start, but the scene is set well. Once again, I'm not overly au fait with the genre, but hasn't Whitechapel murders been done before? In fact, done ..... to death! ;)

They have, I'm sure. In this case, I was focused less on the murders themselves and more about the figure on horseback. I am still concerned that I need to introduce the central character sooner.

Actually, minus the figure on horseback, the opening scene actually happened in real life, including the dialogue.

Thanks for all the comments, I knew I needed some work here and there. Actually, I wonder if the scene with Elizabeth Prater is necessary at all. In fact, I don't think it is. Everything she says is later repeated.

what was wrong?
My attempt was to set the reader on edge about this horseman. I wrote this before I came up with the title. I didn't want to come right out and say what was wrong in the first paragraph, especially as it becomes quite clear later exactly who (well, what) this is.
 
Haven't read anything before this, so these are just my thoughts. I'm not really a steampunk reader, so you might want to take with a pinch of salt. Be warned, I'm one of the picky critters. :)


Comes a Dark Horseman

A figure on horseback stoodno, not if he's on horseback :) at the far east end of the street, silent and shrouded by billowing clouds of steam. There was something wrong with his appearancecan you be a little more exact? Also, if there's billowing clouds etc how can he see well enough to be sure its his appearance that's wrong and not the clouds obscuring it?, but George Hutchinson did not wish to stare too long. He only wanted to get inside before the rain started.


The horse did not move an inch. The figure astride it seemed to hunch in the saddle. The rider stared down the dark, quiet streetreally struggling to understand how he can see so much detail.


A distant whistle sounded as a steam engine puffed its way north westdoes the direction matter? from Fenchurch to Moorgate. As the last piping note faded, the air lay heavy with unnatural silence. Commercial Street was shrouded with a thick layer of fogwasn't it steam earlier?. Hutchinson could barely see his own hands in front of his face, let alone the spectral shape of the rider and his strangely unmoving horse.I think this all needs a wee bit of fixing -- there's a lot of detail yet to add atmosphere you've made it hard to see the detail. I think you'll have to decide which to sacrifice.


He passed bydrop by? a man standing on the corner of Commercial and Thrawl. Hutchinson kept walking. He would not let himself be bothered by either stranger tonight.For a man not bothered, he paid a lot of attention to the horseman.


By the light of a gas lamp, he saw young Miss Mary coming his way. She was humming to herself.


“Mr. Hutchinson!” she called. Hutchinson lifted his face I didn't get a sense of him looking down, more around. and smiled at her. “Can you lend me sixpence?” Inwardly, he groaned. The last of his money had been squandered in Romford. He sadly explained this to Mary.Pet peeve, I hate being told about dialogue, I'd rather it was written out. Mainly because this way seems like it's telling, and the other like it's showing/taking me with the scene. Plus, it'd be a nice chance to get to know Hutchinson


“Good morning, then,” she said. “I must go and find some money.” new paragraph?He shook his head at her retreating figure. Whatever she could need money for at this hour of the day couldn’t be good, but he decided it didn’t concern him.right about now, I'm wondering when the story is starting... I liked the enigmatic figure, but now he's just wandering around chatting to a child who doesn't seem scary. I wonder if the conversation with Miss Mary adds anything just at this stage?


Just as he was about to turn back in his original directionso why did he walk this way if he was just going to go back?, Hutchinson saw the stranger at the corner of Thrawl Street step from the darkness and call to Mary. From what he saw, the man did not belong here. No laborer he; the man was dressed in astrakhan, a soft felt hat covering his thick dark hair and a pair of aviator goggles over his eyes. They did little to hide his appearance. Bushy brows, pale skin, hook of a nose. An aviator?

I have guests and have to stop here. Good luck with it!


 
Haven't read anything before this, so these are just my thoughts. I'm not really a steampunk reader, so you might want to take with a pinch of salt. Be warned, I'm one of the picky critters. :)


Comes a Dark Horseman

can you be a little more exact? Also, if there's billowing clouds etc how can he see well enough to be sure its his appearance that's wrong and not the clouds obscuring it?

How's "The rider's shape seemed wrong somehow"...I really don't want to provide too much detail. I also poured on the steam and fog (both are present but I will have to differentiate) a tad too thick. The rider is only partially obscured. Hutchinson can see his outline, but no detail, like a silhouette. So I'll say that instead.

For a man not bothered, he paid a lot of attention to the horseman.

I was hoping to convey a sense of urgency; that Hutchinson is bothered by the site of the horseman but doesn't want to know who or what he is. Kinda like when you're downtown at night and you see someone who looks dangerous, but you don't want to attract his attention so you pretend you don't see him. I should ramp up Hutchinson's nervousness.

right about now, I'm wondering when the story is starting... I liked the enigmatic figure, but now he's just wandering around chatting to a child who doesn't seem scary. I wonder if the conversation with Miss Mary adds anything just at this stage?
Mary is about to be a victim. The rider is still there, and about to move. Don't worry, I haven't forgotten him. What I do need to do is make the reader more aware of just how nervous Hutchinson still is, even while being distracted by Mary.

so why did he walk this way if he was just going to go back?
Sorry, I'll have to clarify this. He hadn't turned to walk in a different direction. He had turned to observe Mary and the stranger.
 
My attempt was to set the reader on edge about this horseman. I wrote this before I came up with the title. I didn't want to come right out and say what was wrong in the first paragraph, especially as it becomes quite clear later exactly who (well, what) this is.

Indeed, we've probably all done it -- I might even have edited one of my own scenes last night where a character figures something is up, but doesn't say why. But I think we do have to give some indication, or at least show the character puzzling over it e.g.

There was something not quite right about the rider, something that set his teeth on edge, but no matter how much he tried, he couldn't quite figure out what it was...
 
I seek opinion yet again. I hesitated to post this because I'm pretty new to these boards and yet have already put two posts up for review. I don't want people to get tired of seeing my name on these posts.

Just a quick note to say that don't hesitate to post as most people on here really do like to help, but do make sure that you learn something every time. If you keep coming back to us with the same mistakes people will soon grow tired of it, but if we can see that you're learning and improving, then I'm sure there won't be a problem.
 
Indeed, we've probably all done it -- I might even have edited one of my own scenes last night where a character figures something is up, but doesn't say why. But I think we do have to give some indication, or at least show the character puzzling over it e.g.

There was something not quite right about the rider, something that set his teeth on edge, but no matter how much he tried, he couldn't quite figure out what it was...
Thanks. I've got some ideas as to how to get this across. Spoilers; it's a Dullahan.
 
Just a quick note to say that don't hesitate to post as most people on here really do like to help, but do make sure that you learn something every time. If you keep coming back to us with the same mistakes people will soon grow tired of it, but if we can see that you're learning and improving, then I'm sure there won't be a problem.
I hope I am learning. I know I've gotten some valuable feedback, and hope I'm applying it well.
 
I made some attempts at heightening the since of tension and Hutchinson's nervousness. Also I did add an exchange between Mary and Hutchinson.

Here's some examples (I won't repost the whole thing; feels like spamming):

There was a figure on horseback at the far east end of the street, silent and silhouetted by billowing fog. Something about him raised George Hutchinson’s hair. Musn’t stare, he thought. The shadowy figure did not concern him. And he certainly did not wish to draw the rider’s attention.
The horse did not move an inch. The figure astride it seemed to hunch in the saddle. The rider stared down the dark, quiet street.


A distant whistle sounded as a steam engine puffed its way from Fenchurch to Moorgate. As the last piping note faded, the air lay heavy with unnatural silence. Whisps of fog were everywhere, lengthening shadows, adding an eldritch feel to familiar sights. The spectral shape of the rider and his strangely unmoving horse loomed in his peripheral vision. Mustn’t look, he told himself. You don’t see him.


By the light of a gas lamp, he saw young Miss Mary coming his way, humming to herself. He had not realized his heart was thumping loudly until he felt it slow now that he saw someone he knew.
“Mr. Hutchinson!” she called.
“Mornin’, lass.” He doffed his cap.
“Can you lend me sixpence?” asked Mary.
Inwardly, he groaned. “’Pologies, my dear. The last of me money I squandered in Romford.”
“Good morning, then,” she said. “I must go and find some money.”



The stranger at the corner of Thrawl Street emerged from the darkness and called to Mary. Hutchinson liked the man’s look no more than he did the rider.


The rider was still there. Hutchinson’s face began to break out in sweat. What could the horseman possibly want?
 
Comes a Dark Horseman
A figure (for an opening line ‘a figure’ is vague and doesn’t do anything for me. It might be that you’re trying to add mystery, but it didn’t work for me in that way.) on horseback stood at the far east end of the street, silent and shrouded by billowing clouds of steam (I like this sentence). There was something wrong with his appearance (again, this reads as vague to me), but George Hutchinson did not wish to stare too long (This line could work well as an opening ‘Georg Hutchinson did not want to stare too long’). He only wanted to get inside before the rain started. (This doesn’t add anything for me.)

The horse did not move an inch ('move an inch' is cliché?). The figure (Figure is still vague, if he guesses or knows what it is with the clouds and steam, have him say so, if he doesn’t know what it is, have him guess?) astride it seemed (seemed to hunch? Either it looks hunched or it doesn’t) to hunch in the saddle. The rider stared down the dark, quiet street.

A distant (‘a distant whistle’ makes the writing come across as passive, lending no immediate world building or atmosphere if that makes sense. It’s mainly the word choices like figure, distant, seemed, something wrong. You’re not being direct enough for me). whistle sounded as a steam engine puffed its way north west from Fenchurch to Moorgate. As the last piping note faded, the air lay heavy with unnatural silence. Commercial Street was shrouded with a thick layer of fog. Hutchinson could barely (could he or couldn’t he?) see his own hands in front of his face, let alone the spectral shape of the rider and his strangely unmoving horse.

I stopped here for fear of repeating myself. Other than the above, watch you adverbs. If you research into it, they don’t add anything to your work and are something you should be looking to cut. So, for me, the overall feeling was that it was too passive and felt like even you didn’t really have a good idea of what things looked like in your head before you wrote this scene. The good news is that it can be fixed and that the writing itself isn’t bad, it just lets you down with the passive / adverbs / vague world building.


EDIT: As always, I want you to know that I don't offer advice on things I don't like. I can read your work with edit mode off and be happy and enjoy it, but if you were happy with comments like that then you wouldn't be asking for help. I pointed out things I felt could help you and I hope you can decide what can help and what may just be a difference in taste and style.
 
Thanks again, Christian. Much of what you pointed out was similar to what the other replies have said. I just posted selections from my newest edit. Did I manage to fix some of the concerns you had?

I will reconsider the word "figure". To me, when I read sentences like that, I feel a sense of unease. After all, if it was a man, wouldn't the writer have said "man"? What's wrong with this guy? But if you don't get that sense, it's possible many others also might not.
 
A figure on horseback stood at the far east end of the street, silent and shrouded by billowing clouds of steam. There was something wrong with his appearance, but George Hutchinson did not wish to stare too long. He only wanted to get inside before the rain started.
The horse did not move an inch. The figure astride it seemed to hunch in the saddle. The rider stared down the dark, quiet street.

You have conflicting descriptions in my humble view here. Shrouded by clouds, yet George can see him. Unmoving horse, with rider staring back down the shrouded and cloudy street.

A distant whistle sounded as a steam engine puffed its way north west from Fenchurch to Moorgate. As the last piping note faded, the air lay heavy with unnatural silence. Commercial Street was shrouded with a thick layer of fog. Hutchinson could barely see his own hands in front of his face, let alone the spectral shape of the rider and his strangely unmoving horse.
Repeating images, and again for me conflicting images. “Could barely see his own hands” Yet the horse and rider are visible.
He passed by a man standing on the corner of Commercial and Thrawl. Hutchinson kept walking. He would not let himself be bothered by either stranger tonight.
By the light of a gas lamp, he saw young Miss Mary coming his way. She was humming to herself.
It’s very busy for a quiet street!

“Mr. Hutchinson!” she called.

Different character, new line. Hutchinson lifted his face and smiled at her (if he was looking down how did he see her coming?).
New character “Can you lend me sixpence?” she called again, shivering in the chill night air.
Inwardly, he groaned. The last of his money had been squandered in Romford. He sadly explained this to Mary. Why did you drop out of dialogue here?

“Good morning, then,” she said. “I must go and find some money.”
Very wooden and un-natural. Would you say that?
New character He shook his head at her retreating figure. Whatever she could need money for at this hour of the day couldn’t be good, but he decided it didn’t concern him. – Food? Drink? Or just to have. Money is nice, I like money! Author telling here and if money was so unimportant why bother introducing Mary at all?

Just as he was about to turn back in his original direction, Hutchinson saw the stranger at the corner of Thrawl Street step from the darkness and call to Mary. From what he saw, the man did not belong here. No laborer he; the man was dressed in astrakhan, a soft felt hat covering his thick dark hair and a pair of aviator goggles over his eyes. They did little to hide his appearance. Bushy brows, pale skin, hook of a nose. An aviator?
Was that a brick you hit me with because it felt like one? Too obvious mate, sorry.
Mary made nice almost immediately with the stranger, who murmured to her too low for Hutchinson to hear. After a moment they strolled off, arm in arm.

Hutchinson was saddened by this, and a trifle disgusted. Miss Mary was a pretty thing. She could have herself a fine man, if she could ever pull herself out of her squalor and become a fine woman. He turned and headed for his flat. In the distance, he heard three clanging tones of a clock.

The figure on horseback suddenly shifted position. The horse beneath him sprang to life in a screech and clank of old gears. A dull roar sounded from the beast, and a cloud of vapor rose from its muzzle. The mechanical mount and its gaunt, eerie rider began a slow
and methodical trot down Commercial Street. The rider held something large and oddly shaped beneath his arm. In the mist, Hutchinson thought he saw the glint of eyes on the object. He decided great haste was required. I suspect a comma splice and I’m rubbish at spotting them. Too many verbs for me as well.

He never saw Mary Kelly again. #

I would have preferred if you’d made it clear it was an interview from the start. “And you’re certain of what you saw?” asked the Inspector, smoothing his whiskers. The Kelly girl was the seventh murdered in this fashion. He was slowly growing beyond exhausted. Who, the inspector or the first character?

“More than certain!” said the stout woman. “I’ll never forget that horrible face!”
– I do hope she’s been introduced before.

Abberline’s brow creased
is he the inspector?. A year ago, he would have dismissed this Prater woman as either lying or insane, but now he paused and wondered. Of the last six deaths, twice prior a figure similar to the one Elizabeth Prater was describing had been glimpsed, but never observed so openly. – Keeping track of characters is proving difficult.

“This means I’ll be next, don’t it?” she was wailing. “All my life I been taught you ain’t supposed t’look ‘im in the eye! That means he come for you next!”

“I somehow doubt this…apparition is responsible for the crime,” said Abberline. “Isn’t that right, Dr. Phillips?”


“Aye,” said the stocky physician. “The, ehrm, body, was in bad shape, to be sure, but it appears a common slash to the throat what done the poor lass in.”

Abberline frowned. The body had been in abysmal condition. The girl had been disemboweled, her breasts sliced off, her right arm partially severed, and her genitalia removed. Just like the other six. Clearly the work of a madman, but could he leap to the notion of this fantastic creature?

“…Safe?” Prater was asking.

“Pardon?” Abberline had been drifting in reverie.

“I said, are we safe, Inspector?” Prater still sounded near hysteria, but now also seemed a trifle annoyed.

“I daresay ‘safe’ is not a word I would use to describe the Whitechapel area as a whole at the moment,” said Abberline. “But all the same, try to put this from your mind. Stay indoors tonight, lock your doors, latch your windows, and heed no noises. I should advise your neighbors of the same.”

Without waiting for her reply, Abberline returned to the steam-carriage. Lowering his motoring goggles into place, he fired the ignition and blared the whistle. He guided the carriage to H Division Precinct.

I lost the plot with the profusion of characters here all coming thick and fast. Scenes with a lot of characters are difficult to manage and here for me, you over cooked it.

I've run out of time but will return to tidy up.
 
Thanks again, Christian. Much of what you pointed out was similar to what the other replies have said. I just posted selections from my newest edit. Did I manage to fix some of the concerns you had?

I will reconsider the word "figure". To me, when I read sentences like that, I feel a sense of unease. After all, if it was a man, wouldn't the writer have said "man"? What's wrong with this guy? But if you don't get that sense, it's possible many others also might not.

The examples you've posted still don't work for me, but I'm glad that you've defended yourself in regards to the word 'figure'. It shows that you're thinking about it and considering that everyones' view points are not always right. It took me a long time to understand the difference and to start refining my own style. It doesn't always work out that way, though, but at least you're heading in the right direction.
 
Only one thing I take issue with:

Very wooden and un-natural. Would you say that?
I didn't invent that line. That's what Mary Kelly actually said, according to the witness interview George Hutchinson gave. I suppose I could change it, given that it's my world and it doesn't have to happen just like it did in our world, but I liked the idea of keeping the beginning the same as real life with the exception of making the stranger an aviator and adding the horse.
 
Thanks for all the feedback, everyone.

I am still working on the intro. I'm going for atmospheric, moody. I want the reader to have some unease but I'm not going for an overt horror feel. I have cut and tightened the first few paragraphs significantly, and let me tell you that the version I first posted was heavily edited from the initial draft. The first version was bloated with a LOT of filler with my initial attempt to set the scene.

Also, I cut the second part entirely. We don't need the witness interview. I suppose that was me again trying to include more historical detail; Elizabeth Prater and Dr. Williams were real, but they add nothing that isn't repeated later.
 
I had no idea it was a quote as I don't have the knowledge you do. Most readers would be in a similar position, so my point hasn't changed but its an interesting answer you've given me all the same.

The first section is not working too well, over described and hard to follow. Focus on clarity for the reader more I'd say. I felt like you we're trying too hard in the first section.
The second section is much better. It's a conversation being used to info dump but I didn't mind that too much this time. There was very little background given, as in, the office and what surrounds the characters was left vague.
Despite all that, I liked the scene and idea which you'd done enough to get across to me. Focus on clarity for the reader and choose words carefully, picking one with the meaning you need most.
 
I had no idea it was a quote as I don't have the knowledge you do. Most readers would be in a similar position, so my point hasn't changed but its an interesting answer you've given me all the same.

The first section is not working too well, over described and hard to follow. Focus on clarity for the reader more I'd say. I felt like you we're trying too hard in the first section.
The second section is much better. It's a conversation being used to info dump but I didn't mind that too much this time. There was very little background given, as in, the office and what surrounds the characters was left vague.
Despite all that, I liked the scene and idea which you'd done enough to get across to me. Focus on clarity for the reader and choose words carefully, picking one with the meaning you need most.
The second part...do you mean the part with Prater being interviewed? You said office, so I wonder if you meant the last part.

That first section is going to bug me. I've re-done it a lot since I first put it up, but I don't want to drop it entirely. It's necessary to establish mood and the horseman.
 
Actually, I was reading in the car and missed the break. It felt like a run on, you've not set up a new scene but just jumped into the next block of dialogue. Anyway, background and scene setting are important to bed the reader in some.

I wouldn't drop the first scene, your writing gut is right, it's important. Take your time, edit, leave for a bit and edit again. Leaving gaps between rewrites really does help. I miss words out, use clunky and confusing lines in first drafts and all that, and still miss words and use clunky lines after editing. So chill, enjoy the fun of writing and let it flow. Edit later, edit again and then roll with it. Try not to stress too much as it will show in your writing, or so I think.
 
why not rider instead of figure? that is a gender neutral designation.
horses jostle, and shake themselves like dogs do.. if you wish to use a period term that denotes woodeness you could refer to the horse as being - quiescent, without stirring. holding an eerie motionlessness, like an abandoned hobbyhorse. he was reminded of the static chargers of tin solders he had played with as a child.
 
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