First 472 words to a dystopian short story.

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Tecdavid

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Here's the opening to something I plan on entering into a competition. Just a short story of about 5000 words, the theme is general dystopian, and I'm trying to give it a character-centred touch. Nothing much to it, really. How d’you fancy it? Would you read on?


~~~~~~~

It all began with the suits, really. With the outfits of grey, pockets lined with green and gold. Theirs was a group who took such formal wear, and all the jewelled watches and gold-capped pens that came with it, to heart. They were young back then, after all – around mid to late twenties. Young, and all too easily impressed by their gain in life. The world was their oyster, and all that. The Class, they’d called themselves, and it was a fitting name; they were clever, of course, and class – socially speaking – was what they had to flaunt to keep their lessers awestruck. With awe came obedience.


Samuel Reed, one among the Class, looked out at the toppled tenement he and his boys once called home, with a rain-dampened cigarette held in his wrinkled, claw-like hand. Quite frankly, better memories were made of the day it fell, and shattered the street below, than of the days he’d lived inside it. And that building was not alone; this street – Bullchurch Street – consisted largely of ruins. The grand hotels and theatre houses now played home to the drifters and addicts, the places’ opulent contents either tossed aside or sold off to feed the owners’ habits. The whole city was a place of habits now – a place of addiction and helplessness. No drug nor substance had ever crippled a people quite the way Samuel’s had. How curious it had been to watch Mr. Reignhold – the uppity, prim, well-statured man who ran Samuel’s local – devolve in the shivering, unkempt wreck he was today. Scribblings and graffiti now smothered his tavern’s walls, and the walls of most buildings here, each speaking of “uprisings” against the Class, or “cures” for what the Class’s infamous product had done to the people. It had been curious to read those scribblings, too, and watch them turn less and less eligibly written as time passed by. As the addictions and their effects grew.


He licked his lips; the smoking oft left them dry. He took in the damp, sullen smell of this place, of Bullchurch Street, and tasted the way the recent rains’ scent mingled with the gripping smell of the smoke. The building had fallen during a rare riot against the city’s affluent. The affluent who let this happen. And Samuel simply smiled to drink in the sight of that building’s shattered windows, mangled radio mast, and broken brickwork. That riot, and the rush of excitement it brought, had opened his eyes. Things were better this way. Backing a popular product, and growing powerful off its success, was only satisfying for so long. Delighting in the fear and hatred that product had earned him, however, was a thrill.The world had been his oyster, but he’d long since split it open. Now all he had was the shell to entertain him.

~~~~~~

The story is mainly geared around Samuel's cruel outlook, which reveals more of itself as the story goes on. How does this feel as an opening to something like that?

 
Does sound a bit gritty at that. What I'm not clear about is how that first paragraph relates to the rest. Is that all part of Samuel's thoughts and feelings on the subject despite the fact that he is one among the class?

Either way that first paragraph is like the top to a coke bottle and will be removed and thrown in the trash when the reader drinks up the rest. If it is what Samuel feels then you might want to start with the second paragraph and leak that information to us slowly.

As far as the world is their oyster (it sounds too cliché to me.) If it is a snarky comment meant to reflect Samuel's feelings again maybe he could change it up a bit and just do::
The world and oysters and all.

If that first paragraph is not part of Samuel's feelings but some sort of commentary about common opinion then you might want to rethink it because I popped it off and tossed it pretty quick. But that might just be me.

Also, to me, the cigarette came off as a prop meant only to give you some moments to add smell to his senses. There doesn't seem any other reason for him to have it. His prop might be masking other smells that are more important in the scene but then it is your scene and the cigarette might be vital.

Then we do the oyster thing again which now becomes more intimately tied what with that and the shell. Would he open it with his sword?

This is just me and I'm definitely over thinking things.
 
I'd have to agree with Tinkerdan that the first paragraph doesn't seem to fit with what follows. I do accept that the "Class" are important to the story, but are they so important to the opening or can they wait a bit?


I liked it all if I'm honest, even the opening. The writing style was very interesting and I felt it worked. The measure of any success - I would have read on.


I liked the oyster comment, cliché yes, yet it felt right where it was.


Good luck with this one, it has legs. Let us know how you get on in the competition.
 
~~~~~~~

It all began with the suits, really. With the outfits of grey, pockets lined with green and gold. Theirs was a group who took such formal wear, and all the jewelled watches and gold-capped pens that came with it, to heart. They were young back then, after all – around mid to late twenties. Young, and all too easily impressed by their gain in life. The world was their oyster, and all that. The Class, they’d called themselves, and it was a fitting name; they were clever, of course, and class – socially speaking – was what they had to flaunt to keep their lessers awestruck. With awe came obedience.given the theme of general dystopia, I actually rather like it as an opening.


Samuel Reed, one among the Class, looked out at the toppled tenement he and his boys once called home, with a rain-dampened cigarette held in his wrinkled, claw-like hand. Quite frankly, better memories were madedidn't understand were made, but I'd go along with it and assume it's a concept to be revealed? of the day it fell,not sure about this comma and shattered the street below, than of the days he’d lived inside it. And that building was not alone; this street – Bullchurch Street – consisted largely of ruins. The grand hotels and theatre houses now played home to thedrop the? drifters and addicts, the places’ opulent contents either tossed aside or sold off to feed the owners’ habits. The whole city was a place of habits nownice – a place of addiction and helplessness. No drug nor substance had ever crippled a people quite the way Samuel’s had. How curious it had been to watch Mr. Reignhold – the uppity, prim, well-statured man who ran Samuel’s local – devolve ininto? the shivering, unkempt wreck he was today. Scribblings and graffiti now smothered his tavern’s walls, and the walls of most buildings here, each speaking of “uprisings” against the Class, or “cures” for what the Class’s infamous product had done to the people. It had been curious to read those scribblings, too, and watch them turn less and less eligibly written as time passed by. As the addictions and their effects grew.Personally, I'd drop the last line, I think the average reader will make the jump and it might add to the foreboding not to have it entirely spelt out.


He licked his lips; the smoking oftoft didn't feel like his voice to me left them dry. He took in the damp, sullen smell of this place, of Bullchurch Streetdon't we already know he's in Bullchurch street? , and tasted the way the recent rains’ scent mingled with the gripping smell of the smoke. The building had fallen during a rare riot against the city’s affluent. The affluent who let this happen.here, for me, it's threatening to drag. In a novel you'd get away with it, but a short really has to start rolling and keep rolling. I think we've grasped most of this concept from above, and if it's important we know why the building fell, I'd be inclined to get it in above. And Samuel simply smiled to drink inand drunk in? how can he smile to drink in? the sight of that building’s shattered windows, mangled radio mast, and broken brickwork. That riot, and the rush of excitement it brought, had opened his eyes. Things were better this way. Backing a popular product, and growing powerful off its success, was only satisfying for so long. Delighting in the fear and hatred that product had earned him, however, was a thrill.The world had been his oyster, but he’d long since split it open. Now all he had was the shell to entertain him.

~~~~~~


Overall, I rather like it, but I think to stand out it might need something more driving it than the mc's outlook, unless that casts a mirror on something else to make us ask questions. Dystopian in particular needs to ask questions of us, I think, to succeed. Good luck with it!
 
I'm not sure if I can validly critique a short story, as I'm more used to novels.

However, what strikes me about this opening is how much telling there is - it's an infodump, with no character experience, and a focus on the visual.

You asked about this character's cruel outlook, but I'm not convinced we've seen anything of him - other than him looking at a landscape in exposition that merely tells me as a reader that this is post apocalyptic.

Additionally, I sense a lack of focus - what does the entire opening paragraph say about this figure? That they were once rich? Surely you can say that in fewer words?

And then there are times when it feels like you are trying to rush in as much information as possible - for example, the following sentence is about many different things:

Samuel Reed | one among the Class | looked out at the toppled tenement | he and his boys once called home |, with a rain-dampened cigarette | held in his wrinkled, claw-like hand.

Is that sentence about Samuel Reed's background, his looking over a view, or about the hand holding the cigarette?

For the entire piece, determine what you are trying to tell us, and do so in as few words as possible so that we can quickly get drawn in. Because, IMO, you are taking far too long to set the scene here.

2c.
 
You have good descriptions of the world they're in but I think some of it can be dispearsed throughout the story. I'd like to see you describe the way these people look so I can get a good picture of them, right now all I see is a world but no bodies.
 
Thanks, everyone.
The story takes place across three scenes. The first is like this, although it has more action and some proper dialogue further in (You know, I probably should've just fired it on here instead of this snippet!). The second is more of a retrospect on why the city's suffering, and the third returns to some action. It's honestly a character study story more than anything else, but I wanted to see how well the first few paragraphs set the scene.

If things remained this way, would you be drawn into reading more? Or is the initial lack of goings-on just too off-putting?
 
I read it and I liked it a lot, but most of what I thought has already been said. You have polarised your audience which I think is a great achievement (I know that sounds odd, but I think it's so much better than people saying 'Yeah, it's alright, I can take it or leave it').

Much of what has been said as criticisms are also true, but in terms of where you're going, and what you're after, I think you're well advised to break those rules. It may be a bit tell-y, it may be a bit detached, but to my mind it reads like a hard-boiled detective style which works great! If you were using this style to write about a showdown between rival warlocks/planets etc, then, no, it'd be incongruous, but for this, I think it works.

I liked it all if I'm honest, even the opening. The writing style was very interesting and I felt it worked. The measure of any success - I would have read on.


I liked the oyster comment, cliché yes, yet it felt right where it was.

This, and;

~~~~~~~
given the theme of general dystopia, I actually rather like it as an opening.

Overall, I rather like it, but I think to stand out it might need something more driving it than the mc's outlook, unless that casts a mirror on something else to make us ask questions. Dystopian in particular needs to ask questions of us, I think, to succeed. Good luck with it!

...this. I strongly agree with.

Thanks, everyone.
The story takes place across three scenes. The first is like this, although it has more action and some proper dialogue further in (You know, I probably should've just fired it on here instead of this snippet!). The second is more of a retrospect on why the city's suffering, and the third returns to some action. It's honestly a character study story more than anything else, but I wanted to see how well the first few paragraphs set the scene.

If things remained this way, would you be drawn into reading more? Or is the initial lack of goings-on just too off-putting?

As a character study, it may not be the best route for a competition, but who cares, eh? ;) I liked it and would read on.

Best of luck.

pH
 
I have some experience with short stories, both the writing and the critiquing of them. Here's my advice:

Don't start with an infodump like the first paragraph. A lot of slush reader eyes will glaze over at this, leading them to automatically reject the story without ever going on to read the rest. And frankly, the paragraph adds very little in return. Instead, lead with paragraph two, omitting "one among the class." People will figure out what "the class" is and get enough of a gritty dystopian feel from the body. Now the story feels much more visceral and immediate.
 
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