No more Prelude!!

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willwallace

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Taking everyone's comments under consideration, I've redone my 1st chapter, and dropped the prelude. Hopefully it reads better, now.


Chapter 1

“Check those readings again, Hui” Christopher snapped. “That can’t possibly be right-a galaxy doesn’t simply vanish!” Hui Sun, assistant astrophysicist at the Tombaugh station on Charon, was used to her boss’ temper. She had come to know that the gruffness was only an act he used to hide his awkwardness when dealing with people instead of machines. She calmly reassured him, answering “Chris, don’t worry, we’ll figure out what’s going on. It has to be something simple that we’re overlooking, I’m sure of it.” Shoulders sagging, Christopher gave her a contrite look, then grinned. Although he was nearly fifty years old, he could make himself appear almost boyish when he smiled. “Sorry, Hui, it’s just that I can’t for the life of me see what’s wrong. We have to either find out what’s causing the problem, or throw out all our latest data.”

The galaxy in question was designated A3444-JD, and was the most remote confirmed object they had detected, at a distance of over 14 billion light-years. Their observations at the Carl Sagan Observatory, centerpiece of the station on Pluto’s moon Charon, had given them a wealth of information on the object over the past several months since the instrument first came on line. But suddenly the huge telescope, the largest in space, was giving them trouble. Over the past two hours, it refused to supply any data from its primary target.

“Hui, please run the system diagnostics again, level five” Christopher asked, this time keeping his emotions under control. For the fourth time since the problem cropped up, Hui tapped out the commands on the console to initiate the self-diagnostics, this time at the most comprehensive setting. “I don’t know what good it’ll do, but I’ll cross my fingers this time for good luck” she said, smiling at Chris to relieve some of the tension. It was hard enough being on a small station orbiting Pluto some five billion kilometers from earth when things were going smoothly. When problems cropped up she, like everyone else, had to do their best to deal with them in a calm manner. With a crew of only ten it was imperative to nip any problems early, before they became long-term difficulties.

The construction of such a station so remote from earth would have been unthinkable just a decade ago. It had taken contributions from nearly every country on earth to make the building of Tombaugh a reality. From initial designs to the start of actual construction had taken two years, then transporting the station modules out to Charon and putting them together had taken another three years. For the last few months, all that investment in time, materiel and people had finally begun to pay off with the observations made by Sagan, as well the data now coming in from several other research projects at the station. The last thing Christopher and Hui needed was for the telescope to develop a fault. They both sat back to await the latest diagnostic scan results. Out the small viewing port they could see the barren landscape of Charon, visible by the station’s outer lights. At this distance the sun’s light barely had any effect, compared to on earth. At best, during Pluto’s day, the sun was about as strong a light source as a full moon is on earth. The station cycled its powerful outer lights on and off at roughly twelve hour intervals, more to give the inhabitants some semblance of normalcy when they looked outside, than for any real practical need.

After several minutes, with a soft chime the computer announced its results. As they scanned the screens imbedded into the control consoles, both of their faces registered disappointment, and shock. Chris slammed his hand onto the console, then turned and walked away, momentarily too angry to say anything. “This…is impossible” Hui breathed, running her hand absently through her long black hair. All the test results were completely normal. According to some of the most advanced technology available to man, A3444-JD had ceased to exist.
 
Hi will,
This is interesting and I'd like to read it all the way through without so much trouble, it's difficult.

First dialogue requires some form of punctuation such as::
“Check those readings again, Hui” Christopher snapped.
Needs another comma after Hui and I'm not happy with the choice of snapped as a dialogue tag.
“This…is impossible” Hui breathed, running her hand absently through her long black hair.
Again after impossible a comma would be helpful.
Also quite often you have the dalogue tag and a large chunk of narrative behind it with a comma and you might consider dropping the tag and putting a period at the end of the dialogue.
Like this::
"This is impossible." Hui ran a hand through her hair. (I also removed long black hair because I'm not sure whose POV if there is a POV this is. If it's supposed to be Omniscient I suppose it could stay.)

You also have dialogue from both characters in the same paragraph, which you can do because you have but it is not advisable. In at least one case you go from him to her back to him all in the same paragraph. You might try making separate paragraphs for each speaker. Breaking it up might also help keep relevant description within each paragraph and make it easier to read.

You should also wait for more comments from others; because I honestly had so much trouble sorting through this that I'm not sure I obtained a complete picture of what was going on.

With that in mind I had trouble keeping with this because of the basic struggle I've mentioned and the fact that little is happening that seems of importance and in many cases you tell me how the characters think and feel where you might benefit by showing more of how that looks and feels to them.
For example:
She had come to know that the gruffness was only an act he used to hide his awkwardness when dealing with people instead of machines.

All though this tells us he is gruff and she thinks it's because he hides his awkwardness and he has problem dealing with people though he does well with machines. If you had made his gruffness clear earlier with his word choices and shown his awkwardness in his posture and maybe even cleverly shown how well he works with machines; you could have spent the words here on showing us her reaction to his gruff awkward behavior. Of course if she only thinks this and it's not true then maybe you did this the right way.

This is better::
Shoulders sagging, Christopher gave her a contrite look, then grinned.

::but it needs help with the punctuation. It might work in theory, but causes problems and someone might pause while thier mind tries to remove the part between the commas and hear:: Shoulders sagging then grinned.
I'd either make it:

Shoulders sagging; Christopher gave her a contrite look, then grinned.
or
Shoulders sagging, Christopher gave her a contrite look and then grinned.

For both flow and clarity. Mind you, that is just me.

Both of those argue that this is her POV and so as I mentioned before I'd leave off the length and color of hair as that might not be something naturally coming from her POV. She's not really looking at her hair. Though she could be feeling the silkiness and possible gather in the description of length.

Once again this is my own preference to how the scene appears.

There still is a problem with the POV although one could argue this is an Omniscient POV. Sometimes it feels close to her and others it becomes closer to him. It might work better to try to pinpoint a POV from one character even if you mean to try to define Omniscient. It's very hard to do Omniscient with head hopping or at least to not look like head hopping while you do Omniscient.

Once more we should wait for more people to chime in because my own attention on this one is more scattered then normally.
 
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Tinkerdan has taken a look at the punctuation and POV, so I won´t get into that. A few other little things caught my attention though:
From initial designs to the start of actual construction had taken two years
The verb is limping. "It had taken..." could do the trick--or rearranging/modifying the sentence: "...actual construction two years had passed."
At this distance the sun’s light barely had any effect, compared to on earth.
This sentence doesn´t need comparison to earth. From what I´ve read, Pluto is pretty dark, compared to earth or not. And when you say effect, it seems too ambiguous. It´d do better IMO to talk about the important quality they miss from the sun, which is light/heat, like: At this distance sunlight was marginal, etc. If you say "effect", it automatically begs the question "effect on what/who? what for?", even if at an unconscious level for the reader. There´s no point to adding additional meaning to what doesn´t have any.
As they scanned the screens imbedded into the control consoles, both of their faces registered disappointment, and shock.
Two things here. I think "imbedded into the control consoles" is unnecessary, but this could just be me. It doesn´t add more detail to the environment by mentioning it, so it lacks purpose. The other thing I have trouble with is imagining disappointment and shock on the same face. Furthermore, if it was the fourth time they ran the diagnostics, the shock would´ve worn off by now, but they´d be feeling something a tad more intense than mere disappointment. Frustration/outrage/exasperation would be a more appropriate expression than shock or disappointment at this stage. Maybe even resignation.

Character description could be done with a bit more subtlety in the case of Christopher, and in this respect, as Tinkerdan proposed, show rather than tell.

As for the story itself, it starts off with a good, gripping mystery, downplayed by the possibility of equipment malfunction, giving the characters a small conflict already, that blows back up into a mystery. The pacing was good. So far, the premise is intriguing.
 
Taking everyone's comments under consideration, I've redone my 1st chapter, and dropped the prelude. Hopefully it reads better, now.

You still have a disconnect in your POV use, and follow this pattern:

1. Character makes generic statement
2. Narrator steps in the explain the technical details it refers to

The result is that you now have two distinct voices telling the story, rather than a single coherent whole.

Ideally, you want to look at having the characters tell us through their dialogue and internal exposition what's happening for a stronger third person view.

Read up on POV use - see if something like this helps:
http://www.amazon.co.uk/dp/0898798213/?tag=brite-21
 
@tinkerdan & Ihe

Thanks for taking the time to read this over and post such helpful comments. Darn pov keeps tripping me up, I have to continue to struggle with that. The punctuation mistakes, while annoying, are at least easily corrected. I see where showing shock and disappointment simultaneously would be quite a trick to pull off, I might change it to just "disbelief".

Shoulders sagging; Christopher gave her a contrite look, then grinned.
or
Shoulders sagging, Christopher gave her a contrite look and then grinned. Either of these is much better than what I have, time to flip a coin:) .
 
You still have a disconnect in your POV use, and follow this pattern:

1. Character makes generic statement
2. Narrator steps in the explain the technical details it refers to

The result is that you now have two distinct voices telling the story, rather than a single coherent whole.

Ideally, you want to look at having the characters tell us through their dialogue and internal exposition what's happening for a stronger third person view.

Read up on POV use - see if something like this helps:
http://www.amazon.co.uk/dp/0898798213/?tag=brite-21

I just might have to get that book, from the US site though. Only $4 for the ebook, not too bad. If it helps me figure out pov it's well worth it :) .
 
Others have commented on the grammar.

In relation to a crit on certain aspects of it.

The light of the sun on Pluto would be more than you would think. Physically, it would appear in the sky as barely larger than a normal star. In terms of output of light, it is still going to be around 100 to 250 brighter (depending on where Pluto is in its orbit) than the moon. It would, in essence appear to be an intensely bright star. (I'd also use this point later, as a show not tell - eg. Hui was careful to not look at the sun directly as it could still damage his/her retina, despite it seeming to to be little more than a star)

http://blogs.discovermagazine.com/b...ig-does-the-sun-look-from-pluto/#.VThbXZN6Klc
http://blogs.discovermagazine.com/b...ow-bright-is-the-sun-from-pluto/#.VThaPJN6Klc

The naming convention of the Galaxy is off. Naming conventions for galaxies are, in order of preference.

  1. Traditional name where approved by the International Astronomical Union and where this is widely used in general or professional literature (e.g. the Andromeda Galaxy)
  2. The Messier object number (e.g. Messier 30)
  3. The New General Catalogue number (e.g. NGC 1)
  4. Any relatively unusual catalog name that is widely used in general or professional literature and that is more commonly used than the IC or UGC number (e.g. Arp 220, Mrk 33)
  5. The Index Catalogue number (e.g. IC 2)
  6. The Uppsala General Catalogue number (e.g. UGC 1)
  7. The most commonly used scientific designation given by any other catalog
I suppose yours could fall under 4 or 7. I couldn't find it on Google, so I presume you just threw together letters and numbers? (I've been guilty of that before and cleaned it later)

I bring these points up as you are clearly going for a tone of authenticity. With New Horizons closing on Pluto, there will be a renewed interest, and Sol's appearance from there would probably be a geek-fun media topic. The designation thing would likely appeal to about 0.1 % of your readers who would be clued up on the subject. All it would take is one of them to put that on a review to potentially devalue your authenticity in other readers minds.

Can the disappearance of the galaxy be moved to the top? I would suggest rather than them reviewing the data, have them actively observing it and then it vanishes. That makes it more immediate rather than them piecing together something that has occurred over a two hour window..

Also... I love a good infodump, although I fully accept that isn't a majority view. Lord knows in hard SF I know it is difficult not to use them, even necessary at times but the preference is always show not tell. Even I would suggest that two in the space of what would be a page or so is too much, especially for a first page. The design and construction of the space station can probably come later... preferably by characters exploring it (In fact, I probably don't really need to know how long it took to design the place, wasted words).

An idea that springs to mind is Hui (or whoever) is on an EVA and notices some micro meteor pitting from the three years it took to travel the 5 billion kilometers (check the distance in the time period the story is, it ranges from 4.5 to 7.5 billion km, so nearly doubles. It's orbit is 250 odd years)

I know you probably have and are doing tons of research into this and, if anything like me you're loath to simply bin it. One of the ways I resisted the temptation to drop research points into my main text that didn't really have a place beyond irrelevant back story was by writing an authors note on the end where I could put it. If people were interested in it they could read it, if they weren't then not. I have had several comments that people really liked that.

My general comments are that I'm interested, very interested in the story. It seems right up my tree. I look forwards to finding out more.
 
Hi, let me jump in with an observation that no one has made yet. I think the focus strays away from a large and mysterious problem - how does a whole galaxy just vanish? The first line of dialogue is an expression of quite understandable surprise. I didn't feel he was being "gruff" at all. I mean, wow! Where did that galaxy go? So when I say the focus strays, I mean that the narration inserts a lot about the characters' personalities and their emotions which I did not find as interesting as the galaxy-gone-missing problem.

If you didn't have this really groovy problem of a missing-galaxy, and the story's tension revolved around how to these 2 survive and not go crazy while traveling on a long, deep space voyage... then I would be more interested in their emotions and their relationship. NOT that I'm recommending you slash it all out -- I'm suggesting that you take a second look about the arrangement, and the placement especially on the first few paragraphs.

As for the POV hopping, I find that I do that sometimes in early drafts when I'm not strongly attached to any one character. It happens when you're still "outside" your story and watching it, like a t.v. program in your mind, instead of going deep and "being" in your story. Maybe the POV you've picked is not the right one to tell this story? Who do you really want to be, Hui or Chris? One useful exercise to try is rewriting a page or two in first person narrative to see who is the voice that's speaking to you.
 
@ralphkern
I used this source in writing about the sun as it appears from Pluto-
http://coolcosmos.ipac.caltech.edu/ask/153-What-would-the-Sun-look-like-from-Pluto-
Looking at other sources they all agree with the article you cite, that's it much brighter than that. So a little rewriting is in order there.

I made up the star designation, using as a reference a real object A2744-JD.
EDIT-I assume in the next 100 or so years we'll discover more distant objects than we currently know of, so it makes sense to me that it would be an object not known at this time.

I'm glad to hear that you find it interesting, and thanks for the comments.
 
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@ Denise Tanaka

I've redone it yet again, and I think the pov is straightened out(I hope). I'm going to fix the error about the sun's strength, pointed out by raplhkern, and look at tweaking the beginning a bit , so we'll see how that comes out.

Thanks for the taking the time to read and comment :)
 
So when I say the focus strays, I mean that the narration inserts a lot about the characters' personalities and their emotions which I did not find as interesting as the galaxy-gone-missing problem.

I think it´s fair to say that when a galaxy vanishes, anything not immediately related to that will feel dull. A mystery can overshadow other aspects of the story. It´s the curse of SF :D.
 
I think it´s fair to say that when a galaxy vanishes, anything not immediately related to that will feel dull. A mystery can overshadow other aspects of the story. It´s the curse of SF :D.

It's a fine line, I would say, between providing enough information so the reader can understand the world you're trying to build, which then explains the characters actions in a certain context; and just dumping so much info that the reader tunes out. If an element is going to be repeated throughout the book then it's easier to have the information spread out over multiple chapters. But if it's a scene that's only used once, it's more difficult to avoid the infodump.
 
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I myself, when trying to write a story with a big mystery, tend to rush the infodump. I´m as impatient to reveal it as a reader would be to find out. It indeed is a fine line. Prolonging it just the right amount of time makes the reveal that much more cathartic. The problem is not knowing the correct moment for the reveal. Take too long and interest is lost and the impact diluted, bring it out too soon and the reader won´t have been invested in the story long enough to feel the impact, and the story loses tension afterward. Give too much away during the plot and there might not even be a point to a reveal at all... A fine line indeed.

I like how the OP´s story begins, and the mystery is a good one. The pressure will be on for the handling of the eventual reveal to not disappoint. Lots of good luck!
 
Hello, willwallace! You've got an interesting premise here, and you've received sound, thoughtful responses from everyone. I really agree with Denise that the heart of the piece is, and should be, the disappearing galaxy. This is where the drama, the tension, the excitement is for the reader. My thought is that more focus on this, and a bit less focus (this early on) on the history of the observatory and the station would really rev up the tension and excitement of the story.

The other thing I'd mention is what tinkerdan so astutely pointed out:
Also quite often you have the dialogue tag and a large chunk of narrative behind it with a comma and you might consider dropping the tag and putting a period at the end of the dialogue.

A few examples of this:

“Hui, please run the system diagnostics again, level five” Christopher asked, this time keeping his emotions under control.

“This…is impossible” Hui breathed, running her hand absently through her long black hair.

She calmly reassured him, answering “Chris, don’t worry, we’ll figure out what’s going on.

I agree with tinkerdan that the added narrative could be broken away from the dialogue tag with a period. But also, in some cases this added narrative is telling us information that could be conveyed alone by dialogue--the things Chris or Hui Sun say to each other should--usually--be enough to let us know their fears, their emotions, their intentions.

I think too you could greatly benefit from separating each person's dialogue into separate paragraphs. It does make it easier to tell who is speaking...it perhaps contributes to an easier understanding of each person's identity and personality...it could eliminate some 'he said' 'she asked' moments (if Chris has just asked Hui a question...and his paragraph ends with a quotation mark...and then the next paragraph begins with a quotation mark, it would have to be Hui speaking, so no 'she said' would be needed. I like eliminating dialogue tags whenever possible.). But another major benefit to breaking up dialogue into separate paragraphs for separate speakers is that it helps to vary the length of your paragraphs. Instead of the reader being confronted by a wall of large paragraphs (I do this myself, in honesty), he/she would see a tableau of varied-length blocks of text. I think this makes for an easier reading experience, but also might help to make a reader more accepting of a long info-dump type of paragraph (because sometimes you just need one!:)).

Okay, I am not sure if any of this was helpful. But there is promise here, willwallace...I hope you will keep posting excerpts! Best of luck, CC
 
More food for thought. This opening chapter is, like every other books opening one, important to setting up the rest of the story so it has to be done and redone until it's right.
Hello, willwallace! You've got an interesting premise here, and you've received sound, thoughtful responses from everyone. I really agree with Denise that the heart of the piece is, and should be, the disappearing galaxy. This is where the drama, the tension, the excitement is for the reader. My thought is that more focus on this, and a bit less focus (this early on) on the history of the observatory and the station would really rev up the tension and excitement of the story.

The other thing I'd mention is what tinkerdan so astutely pointed out:


A few examples of this:







I agree with tinkerdan that the added narrative could be broken away from the dialogue tag with a period. But also, in some cases this added narrative is telling us information that could be conveyed alone by dialogue--the things Chris or Hui Sun say to each other should--usually--be enough to let us know their fears, their emotions, their intentions.

I think too you could greatly benefit from separating each person's dialogue into separate paragraphs. It does make it easier to tell who is speaking...it perhaps contributes to an easier understanding of each person's identity and personality...it could eliminate some 'he said' 'she asked' moments (if Chris has just asked Hui a question...and his paragraph ends with a quotation mark...and then the next paragraph begins with a quotation mark, it would have to be Hui speaking, so no 'she said' would be needed. I like eliminating dialogue tags whenever possible.). But another major benefit to breaking up dialogue into separate paragraphs for separate speakers is that it helps to vary the length of your paragraphs. Instead of the reader being confronted by a wall of large paragraphs (I do this myself, in honesty), he/she would see a tableau of varied-length blocks of text. I think this makes for an easier reading experience, but also might help to make a reader more accepting of a long info-dump type of paragraph (because sometimes you just need one!:)).

Okay, I am not sure if any of this was helpful. But there is promise here, willwallace...I hope you will keep posting excerpts! Best of luck, CC

Hopefully I get some time this weekend to polish it up a bit. Thanks for the input, CC(and everyone else). :)
 
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