Carrying The Shining Sword (894 words)

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I haven't re-written it from scratch after all. ... This is about first 1/4 of Chapter 1
Definitely needs more work ... Am I digging a bigger hole?

I've not fixed dialogue, lots of that. Hopefully a session or two with my editor and I'll get it write I mean right.

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Chapter 1

The river was wide here with many quays and barges on both sides. They had just passed under the largest bridge Kevlin had ever seen with four high spans on three pillars across the river.

“Kin ye toss a rope, Kevlin?” said Ghiloric, steering the boat. “Quit gawking at the bridge.”

“Yes.”

“There is one behind ye in the bow compartment,” he continued, “attract someone’s attention and toss, make sure one end is made fast.”

Kevlin turned from the dwarf holding the tiller to look. Alice had opened the hatch. He swung over the bench to face the bow and arranged it on his lap.

“It’s tied to a loop already,” said Alice.

“Oy!” shouted Ghloric toward the quay. “Megra, kin you toss a rope?

“Certainly”.

“It disney seem like an Elf Princess kind of thing.”

“What?” shouted back a docker.

“Make us fast!” shouted Ghiloric. He looked at Bill. “We have someone unconscious here, badly injured!”

Another man came. With a minimum of fuss the enchanted boat was tied bow and stern.

“Pass the injured one up?” said one of the men.

Kevlin saw Anrhi had awakened and she stood up slightly wobbling the boat.

“Better get Anrhi out of the way,” called Megra, “carefully though, she breaks easily.”

“I heard that about Dryads,” said the first docker, helping Anrhi out. “You have hollow bones, miss? You are very light.”

“Thank you,” said Anrhi, sitting at once on a large bollard.

“I’ll get out too, I can manage on my own,” insisted Alice, though the boat rocked alarmingly as she climbed on to the quay.

“Ghiloric,” ordered Megra, “go and lean at the side at the middle. I’m a better height to help Kevlin lift out Bill.”

“Just don’t bang him.”

Megra and Kevlin threw over Anrhi’s rugs to the quayside and in a moment the dockers had helped Kevlin and Megra lift Bill.

Megra, Kevlin and Ghiloric tossed out the remaining packs and climbed out. Megra gave the men a coin each. Corbie the rook flew from the boat and perched on Megra’s shoulder.

“Now what?” said Kevlin, “Manannán said he’d meet us at Dalrinat City, at the Abbey Infirmary rather than the City Infirmary?”

“I’ve been here before, there is nothing but the bridge, quays, warehouses, bit of a village and the Road Train Depot.”

“Is it close?” said Megra, “They will have a stretcher for emergencies in the baggage wagon?”

“Aye, it is,” said Ghiloric. He looked around. “You can see the office and waiting room, Kevlin?”

“Yes.”

“We’ll mind Anrhi and Bill,” said Megra, “go get tickets and persuade them to come and get Bill. Alice, support Anrhi, she’s going to fall off.”

Kevlin hurried off to the depot. Why wasn’t Anhri rested, had she damaged herself exhausting her Mage skill to try and heal Bill? At least the sort of coma like state Manannán had enchanted Bill with was good for another couple of days. Fortunately he didn’t have to use Glamour. The staff were quite happy to help when it was six fares and someone injured.

“Technically,” the porter explained, “if he had no money, we’d be obliged to take him to Rathlurgh Infirmary anyway.”

“He needs specialist help at Dalrinat City,” explained Kevlin.

Alice and Megra supported Anrhi as she seemed unwell and wouldn’t walk on her own. She was barely wake. 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 to be together anywhere, so Alice barely attracted any notice even though she was wearing the foreign clothes she’d brought from Ireland.

Kevlin peer around the wagon next to the baggage wagon. The other eight passengers were all Tuath Dé like himself. They were the only young people in the wagon.

The last group of four seats had been reserved for them. 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. The rook sat in Megra’s lap. 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 and hadn’t turned to look at him. With a clanking and jerk they set off. He looked at ahead at Megra, she slightly shook her head

“We should try to rest till lunch,” she suggested.

They had eaten the last of the rations the Warband gave them at dawn.

Later 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 see,” 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. “Perhaps she just needs proper Dryad food.”

“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. We always stop there for lunch. About another hour.”

Kevlin went back and explained.

“So no food for at least another hour,” he said.

Personally he was starving. They should have got food at the Newbridge, depot, but they’d only just caught the daily train.

“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. Well scenery and an Evil Enchanter’s tower thing, and stuff.”

“You don’t need my permission,” said Megra, “I’m not in charge any longer. I can certainly look after Anrhi on my own.”

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

“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 an Elf Princess.”

“Thanks,” said Alice.

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 and Alice stepped onto the Depot platform.

Didn’t Megra think he could fasten a cloak? Crazy, Kevlin thought

“What is it, Megra?” he whispered.

“Give Alice space,” Megra whispered, “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?”
 
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Only read the beginning, but this was a huge improvement - you had setting, POV, character, and conflict. Perhaps a little less dialogue might be more effective, but you can tighten up later. Either way, much better storytelling, IMO, certainly at the start.
 
I came in late to this and haven't read the first post. But I'll throw in my two cents. It bored me, to be honest. The unloading cargo part is way too long and way too inconsequential and prosaic. I could barely get past it. The rest of the story was tainted by that first bump, for me at least. Way too mellow. Not all stories need to start with a bang, but this started way too slow for me.
 
The unloading cargo part is way too long
Can you read the first post and compare please?
The only "things" unloaded is comatose Bill, some rugs and their packs. Is the whole scene till they get to the wagon too long and drawn out?
The other option is to start about a page later at the Abbey Infirmary.
 
I've compared, and this new draft seems to flow better paragraph to paragraph, I'll give you that. Switching around the structure was the right call. But I do find the scene where they are tying ropes and moving things around isn't really needed and the interactions between them (asking each other to do this or that, or go somewhere, or replying "yes", etc. are sort of empty for me. Maybe there are subtle undertones to those interactions that could make sense if I knew how the group has worked in the past though, Idk.)
 
Maybe there are subtle undertones to those interactions
Probably not.

Thanks for taking time to compare.

It's just not very good yet, but not at point to simply cut it entirely, I seem to be heading the right direction. I'll let the whole book mature in the cellar then read again, re-write / edit.

No beta reader has even started it yet!
Any one that wants to be a beta reader needs to read the earlier book too (P.Ms only) but doesn't have to read my tiresome SF.
 
Just do a little more setting at the beginning. Put us in a train station or wherever it is, a few sentences is all you need to make this a lot better.
 
train station or wherever it is
I call them Road Train Depots as there are no rails, Stations makes people think of railways?
I suppose they are like a hybrid of a bus station and railway station. The road trains are not terribly fast (up to 8 wagons and MASSIVE steam traction engine with maybe top speed of 20km per hour on the flat, typically 12kph). They are co-ordinated with semaphore inc a folding semaphore tower on the baggage wagon.
 
No idea what a road train is here... train or subway stations here, people bustling around, that sort of thing. Its clear they are getting off a train but a sentence or two about their actual surroundings may not be amiss.
 
I'm just location conscious, I allus start off setting the scene, hitting the reader over the head if neccessary, to make sure we are visually somewhere, anywhere. Then the characters and action seem a little more real. Also, you have 8-10 characters here, at least mentioned, and that can strain a reader if it isn't really clear who they all are. It's almost like each of them needs a sentence worth of description so we can see them instead of just hear their voices. All this can be done with a single paragraph, maybe two, capsule-style. Dialogue... well the general rule here is- don't use it unless it does a better job of moving the story along, than narration would. So you do that pretty well, and this could tighten up easily and be much better. Conclude opinionization.***
 
Minor point: A cloak is normally fastened with a brooch. Just the sort of error (assuming it is one) that spellcheckers don't pick up. Also, you have capitalised words in unusual places in this text, including this word. If that isn't deliberate (old-style English text often has the same) then this needs attention.

Another minor error: "bearing needs replaced". Should be "bearing needs replacing" or the rather more formal "bearing needs to be replaced".

Sorry for the nitpicks.
 
I thought that didn't look right. I'm atrocious at spelling, but mostly I recognise the when the spelunking chequer has piked the rung words.
Thanks.
Broach is what you do to a cask of course? I've always found dictionaries useless for spelling, it was what was suggested at school. Personally I thought they were to look up meanings of words OTHER people used. Half time back then I wasn't even sure which was the first letter (s, c, k, q & g gave me difficulties).

I'm just terrible for random capitals. One reason why I need proof read.
Sorry for the nitpicks.
No problem.
You see why I resist the idea of self publishing (or even submitting) without someone edit and proofing?

Maybe I capitalise words if they are important to me or I have visualised them? I could read my own stuff a dozen times and not notice.
 
"Broach" can also mean bringing up a subject in discussion - usually a difficult one, IIRC. I suppose that meaning is an outgrowth of the one regarding barrels.

Incidentally, a grammar checker might be useful before handing it to a human to look at. Not the MS Word one, though; I've found that to commit some howlers.
 
Not the MS Word one, though; I've found that to commit some howlers.
It's really designed for technical writing. It can check a little if you turn most of the rules off and take its advice with a pinch of salt.

Broach seems infrequently used for either. Of course @Jo Zebedee has a good idea of how I pronounce Brooch :)
 
TEETH TEETH TEETH TEETH TEETH TEETH TEETH

I've read both excerpts now and , while the second is quite a significant improvement on the first (the first was really, really turgid) with respect to action, agency and some character, it still requires much improvement IMO.

One thing, before I get to the text itself, is I find it difficult to get past the email-style formatting of the piece, with a line break after each para. It just doesn't feel like a book to me, and only adds the sense of distance that exists between this reader and your characters.

You've gone for omniscient 3rd by the looks of it (or, if you haven't, then you you really really need to boost your POV voice, because it's not there and I'm not sure who it's supposed to be - is it Kevlin??), which is potentially nice - a lot of people (myself included) get hung up on close 3rd at the present, and it's probably the trendiest style to be writing in, but omni 3rd certainly takes me back to the sorts of books I used to read years ago, and that's no bad thing. But you're still too distant in the omni; I don't understand any of the characters' individual motivations, or even a sense of themselves.

This may not be helpful in itself so I thought about why this might be. Firstly, I think you've made the common error (I've done it, and plenty of others have on the crits board, too) of introducing too many characters at the start; it's too much to get one's head around, and I struggled to keep up. Secondly, and arguably worse, I couldn't differentiate between the characters; they seemed like a fairly homogenous group of folks (the Elf/Dwarf thing notwithstanding) setting about a fairly mundane set of tasks. It reminded me a bit of seeing construction workers at the side of the road. I can tell they're doing something, but I'm not entirely sure to what end, and even though they might be doing a good job, I'm not really sure I care about any of them. An example of some of the distant writing:

Alice and Megra supported Anrhi as she seemed unwell and wouldn’t walk on her own. She was barely wake. 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.
I really struggled with this. Everything about it is so darn vague. This is what I mean about distance. You mention four characters here and I've learned virtually nothing about any of them, except that Arnhi's unwell (which isn't a character trait). Is there any specificity you could add? Even when you're in omni, try not to think about capturing the "whole" scene, like a bird's eye view. You can still zoom in on little vignettes here and there; this para has scope for a bit of character exploration, but it's passed up.

Megra and Ghiloric turned heads as it was unusual for an Elf and Dwarf to be together anywhere, so Alice barely attracted any notice even though she was wearing the foreign clothes she’d brought from Ireland.
Same thing. Two more characters added, and I've got nothing. Plus the writing is a tad clumsy. By "turned heads" it read like they were turning their heads; I had to read it two or three times to make sense. The bit about Alice is telling us that not many people noticed her. Why on earth is that relevant? So I've got the three of moseying along, empty-headed, with no sense of feeling or agency. I'm just watching a load of people walking. Give me more, dagnammit!

The last group of four seats had been reserved for them. 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. The rook sat in Megra’s lap. So he sat beside Alice. He tried to hold her hand but she snatched it back.
Dear me. Apart from the very last line, which hints at some conflict and character, this had me almost screaming at my internet security settings. It tells me nothing you couldn't say in about 5 words: "they all took their seats..."

Of course, all of this this might be a consequence of this being the second book in a series, and you're assuming familiarity with the characters on the readers' part. Maybe. But even so, I think there's a case of Too Many Cooks here. If you do want to change it to 3rd close (as you've said earlier in the thread) then IMO perhaps it would be better to open with one of the characters awake while all others around them are asleep. This negates the need for some of the confusing dialogue (too many speakers, not enough dialogue tags to indicate who is who), and also gets us in the head of one of your protagonist and moves the character exploration along.

As for the plot, I think there's something quite good there, but it seems to be lost amongst all the unnecessary stuff and flabby writing. Where's the urgency? Isn't one of them in a coma? Aren't any of them worried about that? What are they getting on the road train for? The answers may well be in there but they're a bit hidden at present.

I'm not going to do a line edit as you've said you'll get that done regardless, and if it's in this excerpt I guess it'll be present throughout, so I'll just stick to this high-level critique. I hope it helps.

However, despite me probably sounding slightly harsh... there are some good things here, which mark it out as worth persevering with:
The setting = good!
The Road Train idea = love it, very cool.
Story = potentially interesting, even though it's currently buried beneath layers of irrelevant prose and dialogue.

You're right. It does need a lot of work, and possibly a radical restructure but there's something in there. And remember, it's all just my opinion!
 
Isn't one of them in a coma?
Yes, deliberately magically induced for same reason ones are deliberately medically induced, to stabilise the patient.
Perhaps Kevlin needs to be thinking about their situation as a slight info dump to get this across?

You have very good points and introducing all six of the characters at once is a problem. Maybe I should start the story later.
How do I get across that Alice (from Co. Limerick) looks like a typical Tuath Dé (human) to anyone but is wearing 1970s casual / hiking clothes?

Adding more dialogue tags is easy of course.

Much food for thought. Thanks.

I need Beta Readers, ideally some teenage (I've none)
 
So it is Kevlin who's the POV here? In that case, he needs to be at the heart of the narrative. That doesn't necessarily mean the central figure with respect to action, but we ought to have a sense of his interpretation of things: their situation, a sense of hope, his fears, his frustrations towards other members of the group. There's bound to be something going on his head, so show us what it is.

Yes, deliberately magically induced for same reason ones are deliberately medically induced, to stabilise the patient.
Ok, you see that's an quite an interesting point, but it's lost. You're burying the interesting stuff and showing us inconsequential stuff like unloading the boats. Make the coma an early focal point. Help the reader a bit - perhaps mention that Kevlin knew the Tuath De did something similar using medicine, and for good reasons, but maybe our human medically-induced comas are barbaric or primitive by comparison to their magic. And even if it is Book 2, I don't think it'd be the worst thing to quickly point out why they've induced the coma. I don't know - just something that hints at his mindset. Thinking back on it, I think my idea of having Kevlin by himself at the beginning so we get a more personal and intimate introduction to him before the others wake up / arrive / whatever makes some sense.

How do I get across that Alice (from Co. Limerick) looks like a typical Tuath Dé (human) to anyone but is wearing 1970s casual / hiking clothes?

Not sure what you mean. Do you mean she looks human, but she is wearing anachronstic clothes from the 70s? To understand why this is odd we need more context - are the other onlookers humans, or dwarves, or what? What is the period setting? For example, if her clothes are from the 70s, she wouldn't look that out of place to someone from 2015 - perhaps a bit of a fashion victim, but nothing that weird. And why are her clothes relevant? More pertinently, why are they relevant from Kevlin's perspective? Or does Alice feel like she sticks out but Kevlin thinks she's over-reacting about it? Something more to try and weedle out of the text, I think.

I need Beta Readers, ideally some teenage (I've none)

There are bound to be some younger / YA readers on the site. Maybe post something up in GWD?
 
Do you mean she looks human, but she is wearing anachronstic clothes from the 70s?
Sequel issues :(
It's all clear in Book 1

How to explain in Book 2?
Have a skipable Prologue?

Alice is human and from early 1970s Ireland in Book 1. By now in Ireland it is about 1995. By end of book it's about 2011 to 2014 in Ireland.
Bill um... unintentionally followed her, and is from Birmingham. It was early 1970s when she left. Her clothes are not technically Anachronistic but would mark her out as someone recently through a Portal from the "Old World" (our world).

A quick recap of Celtic Legend (Irish, Welsh, Arthur, pre-Anglo Saxon etc):
All of this becomes clear in 1st book.
The Tuath Dé are of course human too, defeated by Milesian (or other Iron Age) Celts about 550 to 500 BC, and in legend led away by Manannán Mac Lir. But Mythologised in Celtic Legend as Fair Folk, Gods and even Sidhe (means Mound), They were Celts too, maybe settled in. In almost ALL the oldest stories the Time is different in the Celtic Otherworld (Tir naOige, Hy Brazil, Magh Meall, The Blessed Isle, Fairy Realm, Avalon etc), people there for weeks find years have passed, for many years find generations have passed. Lewis copied this for Narnia, but the other way round.
900 to 1500 years after the era of Tuath Dé, the Irish monks renamed them Tuatha De Danann. Danann means of Danu, the Celtic Godess the Danube is named after. Danu doesn't ever seem to have been important in Ireland. The two big River Goddesses are what the Shannon and Boyne are named after.
My Myth:
The world Alice has deliberately "stepped into" using her magic has seen only 600 years pass since 500BC. The Elves and Dwarves (one species) are the natives, Dryads arrived next, then the first Humans (Tuath Dé). Later the AEsir-Vanir and Jotunn (Ogres/Giants) arrive via Swedish Portals to Hy Brazil and have their Sidhr magic. All the three species on have different but related magic, except for the proto-viking AEsir-Vanir. However the technological / Industrial aspects are like late 1700s, (they get info and items by Tuath Dé travelling to Ireland occasionally as per Legends of Sidhe and Celts).
Megra: Elf Princess, no magic. Over 18
Ghiloric: Dwarf, a Wizard. About 16
Anrhi: A hollow boned, pale green Dryad. All the Dryads live as nymphs (c.f. some amphibians that never become Adults or only do if pond dries out). She's a Mage. Only 13
Bill, Human from Birmingham in 1970s. 18
Kevlin: Local Tuath Dé, 15 and Telepath with ability to do Glamour (famous thing). So really as human as Alice.
Alice: Her father (secretly, she nor mother knew) and grandfather came from Otherworld, thus while she is an Irish girl, (13), she knows about Magh Meall from her Grandfather and Grandmother. She's a rather inexperienced Enchantress. Her grandfather is not even middle aged yet (he wasn't in Ireland long) and is a little known son of Manannán Mac Lir (Donal is hardly mentioned in actual Legend). Manannán Mac Lir and Donal are still young 600 years after the Tuath Dé moving to Magh Meall (one continent in the Otherworld) due to the Druid's Sleep.

So trick is to draw in people that hadn't read Book1 (as it's really a standalone tale, the continuity is the characters) and start at correct place in story to have the plot which is nothing to do with healing Bill. I maybe should have had him die in 1st book. I still could. Not published :) The plot actually is about Kevlin, Alice, Ghiloric and Anrhi unravelling who has poisoned the Elven Emperor and his daughter Megra. Perhaps that's where I should start the story, except Book 1 ends with Manannán Mac Lir saying he'll meet them at Dalrinat City and sending them off in the boat he enchanted down the river.

Or does Alice feel like she sticks out but Kevlin thinks she's over-reacting about it?
Alice really really doesn't want people to know she is from Ireland. She's delighted there is no question of being "sent away" as too long has passed in our world.
 
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