Carrying The Shining Sword (894 words)

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Ray McCarthy

Sentient Marmite: The Truth may make you fret.
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Sequel to the "Under The Stone Of Destiny" and is stand alone story mostly.
I'm happy enough with the overall story etc, but as per usual I think my beginning is very weak. Really only the characters and their situation carries over from previous book so no need for a "what has gone before" section. I hope to Trad Pub the Celtic flavoured Fantasy stuff, perhaps USA. So I discussed Editing & Proof Under The Stone Of Destiny with a USA person (you know who you are) and have price, as well as with an inexperienced Irish person. So ideally this will get Edited & Proofing by same 3rd party. Actually to have more extensive 3rd party edit with my "Talent" SF series as I'm going to SP it. Those who have imbibed Maisie and her dialogue know who much that earlier series need serious Edit.

Let the Critters loose to snap at this.

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Carrying The Shining Sword

Chapter 1: Mothers and Fathers

Staff of the road train had to help them at Newbridge, because Anrhi seemed unwell and wouldn’t walk. She would barely wake. Bill had to be carried as he was comatose. The porter and the guard set up a couple of palettes for them in the baggage wagon. There was some excitement as a Dryad was rarely seen in Newbridge. No-one noticed Bill’s foreign biker leathers as he was wrapped up.


Megra and Ghiloric turned heads as it was unusual for an Elf and Dwarf together, so Kevlin and Alice barely attracted any notice even though she was wearing the foreign clothes she’d brought from Ireland. They sat in the next wagon to the Baggage. Alice sat at the window facing forward, with Ghiloric at the other side of the table at the window. Megra sat beside Ghiloric before Kevlin could decide where to sit. So he sat beside Alice. He tried to hold her hand but she snatched it back.


“Don’t,” she muttered.


Kevlin was puzzled by her reaction. Alice was looking out the window. With a clanking and jerk they set off. He looked at Megra, she slightly shook her head and said nothing.


Kevlin was disturbed from his dozing by Megra poking him.


“You should get us all some food,” she said softly in common, “do you have enough money?”


Ghiloric put a couple of ten crown pieces on the table.


“I’ll go,” he said, “thanks Ghiloric, I used the last of my coin paying our fares.”


“Ye are being the only one of us that wouldn’t attract attention,” said Ghiloric in the local Lounthian, but in his strong dialect.


“Try and find something suitable for Anrhi,” urged Megra.


“Yes.” Kevlin got up and carefully made his way up the narrow aisle, occasionally grabbing a hand hold as the road here seemed rough. Easier said than done to find something especially suitable for a Dryad. He was worried about her. The boat journey down river from the White Mountains should have been enough rest.


There was no food on the train. He found an attendant eventually.


“What do we do for food?” Kevlin complained,


“We will be stopping for refuelling and maintenance at Rathlurgh,” he explained, “very few Road Trains serve food. You’ll have longer than usual because a bearing needs replaced.”


Kevlin went back and explained.


“Some of us should stay and mind Anrhi and Bill,” said Megra.


“I suppose I should go with Kevlin and help carry food and water?” said Alice.


“No need,” insisted Ghiloric. “I know Rathlurgh, there are even some Dwarves with shops there. We’ll get Dryad sap for sure.”


“I’d like to go anyway,” said Alice, “We just rushed from the boat to the train. I’ve seen nothing yet, Megra.”


“You don’t need my permission,” said Megra, “I’m not in charge any longer.”


“Don’t I need someone’s permission Ghiloric?”


“Weel, 13 isn’t very old for Dwarf or Elf,” he explained, “but half grown up for a Tuath or Dryad. You’d be old enough to marry next year, though I suppose you’d need Drothnin’s assent, he’s probably your Guardian for a few years. You’d be wise though to stick with me and Kevlin in a strange town.”


“You’d be safe enough,” said Kevlin, “you just don’t want to be getting lost and missing the train.” Kevlin thought Alice looked quite alarmed at the idea she was nearly old enough to be married.


Somewhat over an hour later they turned off the main trunk road and came to a halt in the maintenance depot at the industrial sector of Rathlurgh.


“Alice,” said Megra, “Take of your waterproof jacket and borrow my cloak, you’ll not stand out so much.”


“I’m the only girl in trousers on the train, apart from you.”


“Working girls sometimes wear them,” said Megra, “I admit I only have them since we went up in the White Mountains, I never wore them before, but as Kevlin delights to tell everyone, I am a Princess.”


“Thanks.”


It was evident that Alice had never worn a large cloak fastened with a Broach before. Megra loaned her the second best broach, rather than the royal one she’d been wearing.


“I can’t seem to fasten it on.”


Kevlin moved to help but Megra put a hand on his arm and quickly showed Alice how to wear the cloak and fasten the broach. He hung back after Ghiloric stepped onto the Depot platform.


“What is it, Megra?” he whispered.


“Give Alice space,” Megra urged, “I have an idea that she had a bad experience of a man or boy before she came from Ireland. Perhaps too she is quite insecure, also you are hardly experienced with women?”


“I’ll be careful.” He hurried after the others.


“I’ll check Anrhi and Bill,” she shouted from the wagon door.


“I suggest we eat first and then less to carry back,” said Ghiloric, “I know a good place. We have nearly two hours. Likely more. Alice, do keep up.”


Kevlin realized she was stopping and staring.


Unsurprisingly it was a restaurant run by Dwarves with mostly Dwarves in it. Ghiloric spoke in Dwarvish and they were led to a table.


Rapidly he ordered.


“We don’t have time to waste agonizing over the menu,” he explained, “you’ll like it.”


“So, Alice,” said Kevlin, “what do you think of Rathlurgh?”
 
I'm struggling to get a sense of story and character here - your narrative voice is distant, and rather than trying to invoke any atmosphere, it seems more focused on trying to tell us points of information: where individual wagons are, and which character is seated where in each. I remember doing the same in my first draft, and in my situation it was simply because I was writing without a proper awareness of what POV use, and how to try to apply it properly.

I'm not sure of the setting, either - these carriages have windows, which makes them sound more like something from the 19th century. And I especially don't understand how so many people can get such a good look at the range of characters within these carriages, either. Carriages were tall vehicles for the rich - who could literally look down upon commoners. It was hard to get a good view of the people inside. That makes me wonder how much thought you've given to the technology and society here, and how ordinary people live and think.

Again, this may simply be an issue with POV - it appears that the important part of the scene may be Kevlin and Alice's relationship. However, even that opens as confused:

Kevlin isn't sure where to sit, so he sits beside Alice, and tries to hold her hand.

Suddenly, he's dozing, and Megra is poking him?

And then it all becomes dialogue, without any real character thought - I'm not sure what point the scene is trying to make, other than to give the reader points of information.


I think you have a basis for a story here, but that you may be lacking the storytelling tools you should really be using to draw a reader in. I've mentioned POV and character, so I'd strongly recommend you read up about these. There are some good book recommendations in this thread to help push you on that:
https://www.sffchronicles.com/threads/551724/

I know you're a techie who likes their tech stuff - but I think you would benefit from reading up on the technicalities of writing some more, as I personally find the exerpt lacking in the technical focus that it really needs.

2c.
 
I love this excerpt. As you are undoubtedly aware, it lacks the edginess of much contemporary writing. It reminds me of novels I enjoyed as a teenager. I will let other people evaluate its appeal for editors and a wider audience.

You say you're not happy with the beginning. Would it be better to start with the first sentence of the second paragraph, like this: Megra and Ghiloric turned heads at Newbridge. It was unusual for a dwarf and an elf to walk together.Kevin and Alice barely..."? You could rearrange and possibly trim the other information in the first two paragraphs.
 
Thanks @Brian Turner . Yes, I wasn't going to post this at all, I'm so unhappy about it. I wondered though had it ANY redeeming qualities such it was worth keeping and editing.

I did already buy some books you suggested over the last year of me being here. Thanks.

It's maybe 9 months or more after the first extract, in "Under The Stone Of Destiny" that tripped you up. Barens setting up his market stall in the cobbled square and being approached by Kevlin and Megra presenting to be street urchins. T

these carriages have windows, which makes them sound more like something from the 19th century.
The actual time period is nowish, but it's not here.
I struggle to see where I mention carriage?
The porter and the guard set up a couple of palettes for them in the baggage wagon.
It's a Road Train. A series of linked wagons pulled by a steam traction engine on regular roads.

I don't want to infodump, especially as readers of the previous (as yet unpublished) book would know about Road Trains.

I may have to ditch this piece of link story and start with the major incident triggering the plot in this adventure. The last story ends with these characters going downstream in a boat from the White Mountains.
 
it lacks the edginess of much contemporary writing
Yes, well. A lot of so called "edgy" or "contemporary" seems to fall over the edge and just be rude, nasty, gratuitous sex/violence/language etc just for the sake of it. I enjoy writing what I'd like to read. Maybe when edited to a level of sane intelligibility some other people might like rather tame easy going old fashioned stories. On pure money making level there might be better plans, but on filling my hours with something enjoyable, I find writing beats TV and Computer games etc.

Even cost of 3rd party Editing for a book is less than a Pay TV sub per year, or going to pub, or smart phone bill pay data plan or a Health Club Membership etc, so since I have none of those, even as a vanity hobby I could afford five or six edits a year, if I had an income. I think I can write about that many books a year, maybe more if I could afford a full time editor. So if there was a demand for my stories I could keep me + one other employed :D
 
I agree with Brian. It doesn't seem to have much urgency: not that it needs crazed action, but that I'm not sure where the scene is going. The opening suggests trouble - at least two characters seem to be seriously ill, and the others need to sort that out as soon as they can - but then they get on the train and just sort of chat. I don't mean that it's badly written because it isn't, but given the drastic-sounding setup, they don't seem to be striving to solve their problem or really all that worried about it. I think part of the problem is that the things they do to try to improve the situation, such as finding food, have quite a gentle, unhurried quality to them. If it is stabilised, then I think you should say that it is (for now).

Another thing for me is the number and type of characters. You have to introduce a lot of people, and say what they are. Although you do say that they're elves, dwarves and so on, I imagined them all as teenagers. I'm not sure if I should do or not. If that's the intended audience, then good, I suppose, but I would expect creatures from different species to be quite noticably different. But if they've already been introduced in a previous book, this may well not be a problem at all.

I think the writing is clear, and those issues aside I think it works pretty well. I like the way that you write about them: it doesn't try too hard. If anything, I'd have put more detail in.
 
By "edginess", I meant stories that are pared down to only their essential elements. I was not implying that your story should be edgy, but simply acknowledging that you had made a deliberate stylistic choice; one that appeals to me but may not appeal to all readers.
 
If it is stabilised, then I think you should say that it is (for now).
Thanks for pointing that out. Anrhi is seemingly just tired and Bill is in a magically induced coma (by Manannán Mac Lir) to stabilise his injury till specialist help is available.
I will think how to indicate there isn't anything they can do (they are headed to the specialist Healing Mages/Infirmary at the capital). Bill is either going to die or get help. Manannán Mac Lir thought (in last book) that sending him through Portal to our world would kill him. (J.K. Rowling would have had him die in last book, end of inconvenient boring person)
So perhaps simply starting the story when they arrive at the City would be solution? But I wanted the bit of tension between Alice & Kevlin. They were getting on so well in the mountains. She confuses him. I maybe need to be closer to Kevlin or do it 1st Person from Kevlin POV?
It's supposed to be Kevlin 3rd person POV, hence we don't know what Megra is doing when they go to get food ...
Any suggestions?
 
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I meant stories that are pared down to only their essential elements.
Can be too much the literary equivalent of Feng Shui. I do think it can be quite important in a Short Story, esp. a shorter one with punch line / twist in tale / gives you wry smile in last paragraph. But I think it's a style choice for a target audience of people who like stories, but find actual reading tiring and time consuming :)
 
I'd presumed a secondary-world setting
If you mean somewhere not on this Earth, yes. Warning Infodump :D
It's the mysterious Celtic Like "Otherworld" of Legend. But those stories are 1000 to 2000+ years old, probably, so likely the "Otherworld" could have any self consistent tech you like. They know what Electricity is in a sense. Also with the occasional Portal Traffic though only 600+ years have passed for 2,500 of our years and lack of Famine, Plague, Major Civ crashes etc they have progressed from what's painted in the old tales by a mix of their own efforts, the Dryads (who are also from somewhere else) and info "pinched" via the Portals (Mounds of Celtic Legend, but each is unidirectional)
The Elves and Dwarves are the only natives. They are actually same species, which might explain why they don't get along too well.

Still getting feedback from Beta readers on the 1st book. Ultimately it's not the worldbuilding that counts but story/plot, characters, dialogue, action etc.

No dragons. Funny the Welsh myths have them in Ireland (as well as Wales and England) and I struggle to think of ANY older Irish story with a Dragon.

So for Ireland/Us the story is set 2,500 years after Manannán Mac Lir Leads the Tuath Dé away from the Milesian Celts, but for the Tuath Dé, Manannán Mac Lir and the Morrigna it's only 600+ years since they arrived. Some of the Old Norse arrived later after the Æsir-Vanir war, ones that didn't agree with the outcome. Unlike the some Tuath Dé "Heroes" (due to Druid's Sleep) none of the famous Norse "gods" or other old pre viking characters are alive.

Hy Brazil, Magh Meall and Tír na hÓige are purely Tuath Dé names for the continents. A coastal Part of Hy Brazil is called Vanaheim divided as Norromrade, Mittomrade and Sodromrade by Elven and Dwarven territory.

Imagine our Earth is Civ IV game played to give history as we know it, and the Otherworld's Civ IV is played with disasters off and peeking at what the other players doing Earth do, on their faster clock.
 
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Although you do say that they're elves, dwarves and so on, I imagined them all as teenagers. I'm not sure if I should do or not. If that's the intended audience, then good, I suppose, but I would expect creatures from different species to be quite noticeably different. But if they've already been introduced in a previous book
Yes, these are all Teens, from 13 (Alice from Limerick and Dryad Anri ) to 18 (the Elf Princess Megra and Bill from Birmingham) Ghiloric the Dwarf is younger than Megra, and about a year+ older than Kevlin (Tuath Dé = human, descended from Bronze Age Atlantic Celts).
All in the previous book and Audience is Teenage or precocious 8+ year olds.
My daughter is painting Anrhi ... Unfinished
anrhi_1_sml.jpg

Dryads have no bust (they lay eggs) and slanted leaf like ears. They live on a maple syrup like tree sap, a tree from their own world brought with them.
Their world isn't accessible. Perhaps it was destroyed.
They are nymphs, they rarely cocoon and become adults, breeding in the Nymph state.
 
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I did already buy some books you suggested over the last year of me being here.

It might be worth re-reading the sections on POV use, and then consider the strengths and weaknesses of your own choice, and see how you might shore it up with that in mind.

Yes, well. A lot of so called "edgy" or "contemporary" seems to fall over the edge and just be rude, nasty, gratuitous sex/violence/language etc just for the sake of it.

Be careful of confusing form and content. You have a couple of characters who have apparently undergone violent experiences enough to leave them injured. That at least invites a degree of tension. It doesn't mean to say you have to add sex and gore. :)

Warning Infodump

Er, why are you trying to explain your story? That's what the story is supposed to do!
 
why are you trying to explain your story?
Indeed, That's why I said warning.
But actually none of that is the story.

You have a couple of characters who have apparently undergone violent experiences enough to leave them injured.
yes, but it's a once a book climactic thing and I'm still not sure about it at all. Still time to change the previous book... not published yet. Need better feedback on 1st book.
 
Okay, teeth coming. Be warned, I'm in an editing mood. :D

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Carrying The Shining Sword

Chapter 1: Mothers and Fathers

Staff of or off? Not sure, but it pulled me up the road train had to help them at Newbridge, because Anrhi seemed unwell How? Show me instead of telling me. and wouldn’t walk. She would barely wake. Bill had to be carried as he was comatose. The porter and the guard set up a couple of palettes pallets, I think for them in the baggage wagon. There was some excitement as a Dryad was rarely seen in Newbridge. No-one noticed Bill’s foreign biker leathers as he was wrapped up. So, it's all telling. What sort of excitement, for instance? A crowd gathering, someone calling someone else?


Megra and Ghiloric turned heads as it was unusual for an Elf and Dwarf together, so Kevlin and Alice barely attracted any notice even though she was wearing the foreign clothes she’d brought from Ireland. They sat in the next wagon to the BaggageI assume there's a reason it's capitalised?. Alice sat at the window facing forward, with Ghiloric at the other side of the table at the window. Megra sat beside Ghiloric before Kevlin could decide where to sit. So he sat beside Alice. He tried to hold her hand but she snatched it back.Where are they in relation to the first paragraph? Who are they in relation to the first paragraph? Who is telling me all this, and how are the two paragraphs connected. It's okay to use omni, but even then things are clearly connected.


“Don’t,” she muttered.


Kevlin was puzzled by her reaction. Alice was looking out the window. With a clanking and jerk they the train set off. He looked at Megra, she slightly shook her head and said nothing.And now nothing's happening. And the first paragraph said something was, and now we're leaving whoever was in that paragraph behind in Newbridge and I'm feeling cheated and huffy because that all sounded interesting. ;)


Kevlin was disturbed from his dozing by Megra poking him.


“You should get us all some food,” she said softly in commonWhat's common, a language? I'm wondering if it should be capitalised to make that clear. Personally, too, I think a full stop would be better here as it reads like two sentences of dialogue. , “do you have enough money?”


Ghiloric put a couple of ten crown pieces on the table.


“I’ll go,” he technically Ghiloric said,Definitely full stop here. If you use a comma you're running the two parts of the dialogue together. “thanks Ghiloric, I used the last of my coin paying our fares.”


“Ye are being the only one of us that wouldn’t attract attention,” said Ghiloric in the local Lounthian, but in his strong dialect.


“Try and find something suitable for Anrhi,” urged Megra.


“Yes.” Kevlin got up and carefully made his way up the narrow aisle, occasionally grabbing a hand hold as the road here seemed rough. better, a nice show and I feel like I'm on the train Easier said than done to find something especially suitable for a Dryad. He was worried about herNow, who's the dryad? Megra? . The boat journey down river from the White Mountains should have been enough rest.Then why's he worried about her?


There was no food on the train. He found an attendant eventually.


“What do we do for food?” Kevlin complained,full stop


“We will be stopping for refuelling and maintenance at Rathlurgh,” he explained, “very few Road Trains serve food. You’ll have longer than usual because a bearing needs replaced.”


Kevlin went back and explained.About here I'm crying out for any sort of character experience. It's a list of who did what, when. How does he feel that there's no food? Is he annoyed he didn't check? Is he worried? Dejected? If I'm not shown how he responds, then I'm in limbo.


“Some of us should stay and mind Anrhi and Bill,” said Megra.


“I suppose I should go with Kevlin and help carry food and water?” said Alice.Hang on, have they reached the stop? When? Also - what has any of this achieved? I've learned nothing about the character, or the plot. The only things I have learned is stuff that could be dropped into any scene.


“No need,” insisted Ghiloric. “I know Rathlurgh, there are even some Dwarves with shops there. We’ll get Dryad sap for sure.”


“I’d like to go anyway,” said Alice, “We just rushed from the boat to the train. I’ve seen nothing yet, Megra.”


“You don’t need my permission,” said Megra, “I’m not in charge any longer.”


“Don’t I need someone’s permissionccomma Ghiloric?”


“Weel, 13 isn’t very old for Dwarf or Elf,” he explained, “but half grown up for a Tuath or Dryad. You’d be old enough to marry next year, though I suppose you’d need Drothnin’s assent, he’s probably your Guardian for a few years. You’d be wise though to stick with me and Kevlin in a strange town.”


“You’d be safe enough,” said Kevlin, “you just don’t want to be getting lost and missing the train.” Kevlin thought Alice looked quite alarmed at the idea she was nearly old enough to be married.


Somewhat over an hour later they turned off the main trunk road and came to a halt in the maintenance depot at the industrial sector of Rathlurgh.Oh, so they haven't. Right, sorry - maybe that needs madde clearer above.


“Alice,” said Megra,full stop. Otherwise you have Alice, Take off your “Take of your waterproof jacket and borrow my cloak, you’ll not stand out so much.”


“I’m the only girl in trousers on the train, apart from you.”


“Working girls sometimes wear them,” said Megra, “I admit I only have them since we went up in the White Mountains, I never wore them before, but as Kevlin delights to tell everyone, I am a Princess.”


“Thanks.”


It was evident that Alice had never worn a large cloak fastened with a Broach before. Megra loaned her the second best broach, rather than the royal one she’d been wearing.


“I can’t seem to fasten it on.”


Kevlin moved to help but Megra put a hand on his arm and quickly showed Alice how to wear the cloak and fasten the broach. He hung back after Ghiloric stepped onto the Depot platform.


“What is it, Megra?” he whispered.


“Give Alice space,” Megra urged, “I have an idea that she had a bad experience of a man or boy before she came from Ireland. Perhaps too she is quite insecure, also you are hardly experienced with women?”


“I’ll be careful.” He hurried after the others.


“I’ll check Anrhi and Bill,” she shouted from the wagon door.


“I suggest we eat first and then less to carry back,” said Ghiloric, “I know a good place. We have nearly two hours. Likely more. Alice, do keep up.”


Kevlin realized she was stopping and staring.


Unsurprisingly it was a restaurant run by Dwarves with mostly Dwarves in it. Ghiloric spoke in Dwarvish and they were led to a table.


Rapidly he ordered.


“We don’t have time to waste agonizing over the menu,” he explained, “you’ll like it.”


“So, Alice,” said Kevlin, “what do you think of Rathlurgh?”
[/QUOTE]

My comments were pretty much the same through to the end. I didn't find enough character experience, found little to grip me with the scene, and felt a little miffed that the cool first scene seemed to mean nothing. Sorry. :(
 
Definitely full stop here. If you use a comma you're running the two parts of the dialogue together.
I must imagine the dialog without speech tag, to get ending of tag a . or , ?
When? Also - what has any of this achieved? I've learned nothing about the character, or the plot.
I'm not sure that the entire scene shouldn't be simply scrapped. Just start with Bill being treated in the Infirmary?
How does he feel that there's no food? Is he annoyed he didn't check? Is he worried? Dejected?
Yes, since it's all suppose to be from Kevlin's viewpoint I miss a huge opportunity, especially as they have eaten rather erratically over the last month.
Very good points.
. better, a nice show and I feel like I'm on the train
Thanks. It's a "train" on the road, I'll not bore you with why they didn't bother with rails.

Now, who's the dryad? Megra?
I'm seriously writing it bad if you think Megra is the Dryad. Megra is Elf Princess and not a Magus (neither is Bill).


BaggageI assume there's a reason it's capitalised?
I'm terrible for random capitals. maybe I should call it baggage wagon?
He tried to hold her hand but she snatched it back.Where are they in relation to the first paragraph? Who are they in relation to the first paragraph?
I must be writing this very badly, I'm confused by your confusion.

Summary:
There are six of them and a rook "familiar" of Alice's Tuath Dé Grandfather (I have forgotten the Corbie the rook!) just arrived on an open boat at Newbridge. They need to get Bill to Infirmary at the Capital City (via Road train) as Newbridge is just a train depot, village and river quays. They don't understand why Anrhi the Dryad is still feeble, the sleeping she did on the boat should have revived her.

I just need then either to write this from scratch or junk it.
I wonder should the Irish Girl, Alice, be the POV rather than the native Tuath Dé, Kevlin. No, that wouldn't work, because I don't want anyone to know why she left Ireland yet. I just need to do Kevlin better.
Bill can't be main POV as he is most minor character.
A Dryad, Elf or Dwarf are bit beyond me to do what they are thinking.

Thank Muchly.
 
They need to get Bill to Infirmary at the Capital City (via Road train) as Newbridge is just a train depot, village and river quays. They don't understand why Anrhi the Dryad is still feeble, the sleeping she did on the boat should have revived her.

This sounds like a potentially exciting premise. If the purpose of your scene is to show this, then keep focused on this - don't put background details, such as who sat where, into the foreground.

I just need then either to write this from scratch or junk it.

Rewriting is an ordinary, if sometimes tiring part of the writing process. The first draft - which I presume this is - is just about trying to make some sense of the scene. The rewriting helps shape it, and provide focus. Don't sweat it - all writers go through this process. :)

I wonder should the Irish Girl, Alice, be the POV

My personal suggestion is that the most active character should ideally be the POV character for a scene.

By active I don't mean moving about - I mean the one with the most conflict and meaning relevant to that scene. This can't always be the case - but passive characters make for weaker scenes, so avoid them where possible.

With regards to this scene - who is potentially the most worried about this situation, but also most resolved to do something about it? That's potentially your POV character.

2c.
 
To explain. You start with a paragraph describing people being taken on the train (although thag could be clearer - I thought on first read they were being taken off the train). You don't tell us Kelvin or any of the other later characters are there. You then skip back onto the train. You haven't told me Newbridge is a staging post and launch into a new scene that doesn't appear connected and introduce a whole set of new names. By the time Bill and the dryad come back into the story I've forgotten their names or anything about them.

You need to slow it down. Introduce the pov character at the very start. Link the story. Just because it's obvious in your mind who everyone is, it isn't to everyone else. And six names are a lot to take in right at the start - better to have a couple, embed them, then add the next and the next.
 
The first draft - which I presume this is
Yes. Worse than that. It was 1st draft of the epilogue of 1st book, but my most faithful beta reader on reading the 1st book she told me I was mad to not simply end with them all riding in the boat in the White Mountains.

You don't tell us Kelvin or any of the other later characters are there.
They all leave boat and get on train with the Train Staff (guards?) helping with Bill etc. As I hadn't edited this since chopping it off the the other book, I realise now how the confusion about who is where and who they are arises. Need to make this work for people NOT fresh from finishing last book!
I mean the one with the most conflict and meaning relevant to that scene.
I'm trying to do this entire book single POV, so it has to be Kevlin. I might even try writing it all 1st person ... but I suspect that's beyond me. I have finished the entire book 1st Draft with ONLY what Kevlin sees/hears, apart from one omni paragraph I need to re-write as Alice telling Kevlin what she saw?

So rather than simply ditching this scene, I'll take my summary and rather than edit this, write it as if the first book doesn't exist or half forgotten, and see what you all think of it.
It it's just too tedious to read, then I'll start with Manannán Mac Lir and the Elf Mage Lahro at the infirmary explaining to Bill his options.
 
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