Determined hope.

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anthorn

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Excerpt from a short story I'm writing. Set on an alienish world. About 1300 words.


The train passes beneath a sky turning the colour of purple, the smoke billowing from its chimney a yellowish green, and the people clutching at the side of the cattle car holding on as tight as humanly possible. The rest of the train is nothing to speak about, nothing to earn more than a cursory glance as it passes through. The sight of some 1940s Americano is no longer something to remark on. Neither is the head of the train, a giant head of a bull complete with vicious horns on either side of its skull.

Sasha has no recollection of how much time has passed since she’d hitched a ride from back east. There is no recollection on how long her arm that’s hooked between and around the wood boards has hurt. To think on this would remove focus from other things, things she could not afford to lose focus on. She hears exhilarated laughter but she doesn’t care. She concentrates on the landscape coming into focus as the train begins to slow. There are people in the fields dressed in the same dirt smeared overalls and the same weather beaten, life worn expression on their faces. The fields themselves are bluegrass.

The old man behind her calls out in a raspy voice. Three seconds later, he and the other two jump from the train and roll in the grass. One second later Sasha follows, rolling quickly to make distance between herself and the chugging wheels. The others keep low in the long grass as they wait for the train to fade into the distance, but Sasha does not. She watches the ribbon of smoke trailing through the sky and resists the urge to look back over her shoulder, back the way she came and back the way she can never return.

“Think they’ll come look for us?” asks one of the men.

“Don’t be stupid,” says the old man, rasping voice verging the line between cough and laughter. “Think they’re gonna risk a couple of fare jackers?”

Sasha ignores them and starts making her way toward the dozens of tiny lights on the horizon. She is only a few steps ahead before she hears them fall in behind her. I should expect trouble, she thinks. Cause though her flame red hair is short, her face nothing anyone but a mother would call pretty, she is still, under all the grime and the muck, a woman.

One of them, the old man, hurries to walk side by side with her. She looks at him out of the corner of her eye and sees him staring intently at her, eyes narrowing and then widening several times, tongue pushing against the inside of his cheek. “Not often you see a woman out here alone. Not often you see one jacking the fair either.”

Sasha does not reply. She’s distracted by the second man appearing at her left side. While the older man looks at her with what seems like genuine curiosity, this younger man is almost leering. She wonders where the third one has gone but his whereabouts are less pressing than the two at her sides.

“So where you from?” the old man continues. “Where are you going?”

She doesn’t respond.

“Doesn’t matter t’ me which way. We’re all going somewhere, am I right? I am, I am right.” He chuckles slightly. “There’s only one way to go from here, yes.” He motions to the lights on the horizon. “You’re going to New Haven.”

Again, Sasha does not reply. Besides, answering would only state the bleeding obvious. Where else can she go? There is nowhere else to go from here, not until New Haven.

“Safer with us,” the second man says, voice rich and deep. “Dangerous there for a woman alone.”

“Dangerous in truth,” agrees the old man. “More so for women. A haven in name alone. Take my advice if you can. Go to New Haven if you must, but do not linger. Do not trust those who approach you on the street. Just do your business and leave soon as you can. Trust me. It’s not worth the risk to you or your sanity. There’s nothin’ here for anything. Avoid it, please.”

She considers this briefly, keeping her gaze fixed on the lights up ahead. They were closer now, close enough to see that the lights were coming from pit fires and not houses. There were ragged lines of tents reaching either sides of them, spread out like fingers choking the land. New Haven lies beyond this. Over the hill and into the valley.

“Or,” sniggered the other, “you can come with us. We’ll look out for you real good like.”

Sasha flexes her shoulders, opens her long knee length coat from and reveals the knives and pistols slung across her belt. “Reckon I’ll be fine,” she says. At this the men fall silent and fall back a few steps. Satisfied, she quickens her own pace and soon she is alone on the path to New Haven.

#

It’s dark when she reaches New Haven and the town is lit up like the day. She notes its similarities to the other towns she’d been through, the almost identical appearance to the towns in those historical films called westerns. There is even a saloon a little ways down the street complete with swinging doors and a neon sign. She’s never understood this, that fascination with things dead and gone, probably never will. Why bother travelling from one planet to another if you are just going to remake the previous one?

She stops outside the saloon and looks through the yellow tinted windows at the crowd inside. There are more men than women but that’s alright. Making her way to the bar, people turn from their drinks to look up at her. She does not look back at them. She swings her legs around a stool and places her palms flat down on the chipped wood surface of the bar. The barkeep, a man of indeterminate age, looks at her for a minute, then asks. “What you having missy?”

“A drink,” she replies. “Whiskey.”

The barkeep does not move to make the drink. “You got money?”

“You got Whiskey?”

“Yup, but I need to see money first.”

“Alright then.” She reaches into her pocket and hands the man five notes. “Should cover it.”

“One Whiskey comin’ right up,” the man replies.

The man pours one from a green bottle all scratched up on one side into a glass equally as scuffed. She downs it in one go and wipes her mouth on the back of her hand.

“Another?”

“Another.”

He pours another Whiskey and she drinks it-slowly this time-trying to savour the taste and finding it still tasted of ashes and blood. “You just arrive?”

Sasha nods.

“Where’d y’ come from?”

“East.”

“That so? Whole lot o’ people coming that way these days I reckon.”

“That so?”

“It is.”

Sasha considers this. Behind her someone breaks into a fit of uncontrollable laughter. Curiosity wins over simply not caring and she looks back. “Get a lot of them do you?” she motions to table filled with JFKs and Marilyn Monroe’s.

The barkeep makes a disgusted noise in his throat, keeps his tone pleasant. “You bet, but what can you do?”

“Not a lot I suppose.” More proof on mankind’s inability to detach itself from its past, that when they finally perfected cloning they recreated something from their past. Some decades ago there’d been a fetish for things of the world before. Companies with access to cloning machines shat out JFK after JFK and Monroe after Monroe, sold them to whore homes, museums, and anyone with more money than sense. When the trends moved onto other things the world was left with a thousand Monroe’s singing happy birthday to a thousand Kennedy’s.

“So, if you don’t mind me asking; what brings you to New Haven?”
“I’m looking for someone,” she says.

“Oh yeah?” the barkeep raises a bushy brow. “What kind of someone?”

“The dangerous kind.”
 
I think that' very well written! As for critique, the first paragraph was a bit confusing in terms of POV - it desribes the train from the outside point of view and then you switch to show things as Sasha sees them. At first I thought she was outside and saw the train pass by. Also, the story development felt a bit slow, but maybe thats just my taste...
 
I'm not sure what you're trying to achieve here but I'll mention the usual 'saw' that it's helpful to have some sort of hook with a bit of immediacy and leave that for other people to further explain. That is a part of the problems I had with that; but there are more I want to focus on.
Excerpt from a short story I'm writing. Set on an alienish world. About 1300 words.


The train passes beneath a sky turning the colour of purple, the smoke billowing from its chimney a yellowish green, and the people clutching at the side of the cattle car holding on as tight as humanly possible. The rest of the train is nothing to speak about, nothing to earn more than a cursory glance as it passes through. The sight of some 1940s Americano is no longer something to remark on. Neither is the head of the train, a giant head of a bull complete with vicious horns on either side of its skull.

The above is a colorful passage and interesting you use the color purple. While this doesn't look like the usual purple that people complain about it has a lot of the element in that it starts the story and I'm not sure how much relevance it has to the story and I have no idea why you might waste this key moment on a paragraph that does nothing.
What i mean by that is that you start with a colorful sentence and then follow by telling the reader that the next portion is-in your own words- nothing to speak about. This begins a downward pattern in your narrative and I'm not sure if you intend to be tongue-in-cheek or it just worked out that way. Quite literally it reads to me that I should just ignore the rest of the paragraph.

The reason I say this sets a pattern is exemplified below.
Sasha has no recollection of how much time has passed since she’d hitched a ride from back east. There is no recollection on how long her arm that’s hooked between and around the wood boards has hurt. To think on this would remove focus from other things, things she could not afford to lose focus on. She hears exhilarated laughter but she doesn’t care. She concentrates on the landscape coming into focus as the train begins to slow. There are people in the fields dressed in the same dirt smeared overalls and the same weather beaten, life worn expression on their faces. The fields themselves are bluegrass.
Sasha has no recollection- this is repeated in the next sentence and what's more important is that the first sentence focuses on Sasha and the second sentence pushes the reader away from her with There is no... I think it might go better to stay with Sacha here and let her experience the story rather than tell the reader but mostly you continually drop into this telling phase.
What hurts even more is convolution of sentences that often occur in passive sentences that show up here though I'm not sure the sentences are passive they are convoluted; for example:
' There is no recollection on how long her arm that’s hooked between and around the wood boards has hurt.'
I would reword this; but it might be better to start at the top of the paragraph and give us the experience and show us what Sasha needs to focus on (which is not clear) and less of what she shouldn't focus on. Although I understand what the goal here might be in trying to establish what is going on around her and contrast that to the tension of her own concentration; the reader loses that because you spend too much time diverting their attention to what she shouldn't and probably isn't really noticing because she should be too busy with other things-although I'm not sure exactly what the other things are because we don't get any of that.

Now below we have a bit of a problem for me. The question becomes one of is she with these guys or not and it's confusing because initially she responds to the old mans call and does as they do which seems to indicate she's with them and I think that if you spent the upper portion of this building some tension within her with some elements of what she's doing it would help the reader understand exactly what's happening below here.

After they get off she suddenly acts like she not really with them and is a bit worried about them which could make some sense; but there's a big problem with this at one point and were going to that place now.

The old man behind her calls out in a raspy voice. Three seconds later, he and the other two jump from the train and roll in the grass. One second later Sasha follows, rolling quickly to make distance between herself and the chugging wheels. The others keep low in the long grass as they wait for the train to fade into the distance, but Sasha does not. She watches the ribbon of smoke trailing through the sky and resists the urge to look back over her shoulder, back the way she came and back the way she can never return.

“Think they’ll come look for us?” asks one of the men.

“Don’t be stupid,” says the old man, rasping voice verging the line between cough and laughter. “Think they’re gonna risk a couple of fare jackers?”

Sasha ignores them and starts making her way toward the dozens of tiny lights on the horizon. She is only a few steps ahead before she hears them fall in behind her. I should expect trouble, she thinks. Cause though her flame red hair is short, her face nothing anyone but a mother would call pretty, she is still, under all the grime and the muck, a woman.

One of them, the old man, hurries to walk side by side with her. She looks at him out of the corner of her eye and sees him staring intently at her, eyes narrowing and then widening several times, tongue pushing against the inside of his cheek. “Not often you see a woman out here alone. Not often you see one jacking the fair either.”

Sasha does not reply. She’s distracted by the second man appearing at her left side. While the older man looks at her with what seems like genuine curiosity, this younger man is almost leering. She wonders where the third one has gone but his whereabouts are less pressing than the two at her sides.

So you've built some tension and- who are these guys and where is the third member and now she's been flanked by them and they start talking to her. All good build up but it gets flushed away once the reader realizes that these insidious gentlemen are nothing more than the info-dump gang.
“So where you from?” the old man continues. “Where are you going?”

She doesn’t respond.

“Doesn’t matter t’ me which way. We’re all going somewhere, am I right? I am, I am right.” He chuckles slightly. “There’s only one way to go from here, yes.” He motions to the lights on the horizon. “You’re going to New Haven.”

Again, Sasha does not reply. Besides, answering would only state the bleeding obvious. Where else can she go? There is nowhere else to go from here, not until New Haven.

“Safer with us,” the second man says, voice rich and deep. “Dangerous there for a woman alone.”

“Dangerous in truth,” agrees the old man. “More so for women. A haven in name alone. Take my advice if you can. Go to New Haven if you must, but do not linger. Do not trust those who approach you on the street. Just do your business and leave soon as you can. Trust me. It’s not worth the risk to you or your sanity. There’s nothin’ here for anything. Avoid it, please.”

She considers this briefly, keeping her gaze fixed on the lights up ahead. They were closer now, close enough to see that the lights were coming from pit fires and not houses. There were ragged lines of tents reaching either sides of them, spread out like fingers choking the land. New Haven lies beyond this. Over the hill and into the valley.

“Or,” sniggered the other, “you can come with us. We’ll look out for you real good like.”

Sasha flexes her shoulders, opens her long knee length coat from and reveals the knives and pistols slung across her belt. “Reckon I’ll be fine,” she says. At this the men fall silent and fall back a few steps. Satisfied, she quickens her own pace and soon she is alone on the path to New Haven.

So they prove to pose no threat: the tension dies a meaningless death; and we take a token moment to allow the femme fa·tale to brandish her wares which edges into trop-iness.

#

It’s dark when she reaches New Haven and the town is lit up like the day. She notes its similarities to the other towns she’d been through, the almost identical appearance to the towns in those historical films called westerns. There is even a saloon a little ways down the street complete with swinging doors and a neon sign. She’s never understood this, that fascination with things dead and gone, probably never will. Why bother travelling from one planet to another if you are just going to remake the previous one?

She stops outside the saloon and looks through the yellow tinted windows at the crowd inside. There are more men than women but that’s alright. Making her way to the bar, people turn from their drinks to look up at her. She does not look back at them. She swings her legs around a stool and places her palms flat down on the chipped wood surface of the bar. The barkeep, a man of indeterminate age, looks at her for a minute, then asks. “What you having missy?”

“A drink,” she replies. “Whiskey.”

The barkeep does not move to make the drink. “You got money?”

“You got Whiskey?”

“Yup, but I need to see money first.”

“Alright then.” She reaches into her pocket and hands the man five notes. “Should cover it.”

“One Whiskey comin’ right up,” the man replies.

The man pours one from a green bottle all scratched up on one side into a glass equally as scuffed. She downs it in one go and wipes her mouth on the back of her hand.

“Another?”

“Another.”

He pours another Whiskey and she drinks it-slowly this time-trying to savour the taste and finding it still tasted of ashes and blood. “You just arrive?”

Sasha nods.

“Where’d y’ come from?”

“East.”

“That so? Whole lot o’ people coming that way these days I reckon.”

“That so?”

“It is.”

Sasha considers this. Behind her someone breaks into a fit of uncontrollable laughter. Curiosity wins over simply not caring and she looks back. “Get a lot of them do you?” she motions to table filled with JFKs and Marilyn Monroe’s.

The barkeep makes a disgusted noise in his throat, keeps his tone pleasant. “You bet, but what can you do?”

“Not a lot I suppose.” More proof on mankind’s inability to detach itself from its past, that when they finally perfected cloning they recreated something from their past. Some decades ago there’d been a fetish for things of the world before. Companies with access to cloning machines shat out JFK after JFK and Monroe after Monroe, sold them to whore homes, museums, and anyone with more money than sense. When the trends moved onto other things the world was left with a thousand Monroe’s singing happy birthday to a thousand Kennedy’s.

“So, if you don’t mind me asking; what brings you to New Haven?”
“I’m looking for someone,” she says.

“Oh yeah?” the barkeep raises a bushy brow. “What kind of someone?”

“The dangerous kind.”

For the remainder I'd have to reiterate that you seem to be telling or in most cases leading the reader by the nose and for some readers the nose ring is going to start chaffing quickly. If you want to hook readers like myself you might have to look for more involvement with the main character and start giving her a personality that I can love or hate and maybe relate to.

Some interesting notions here; but if you want them to come to life you need to bring the character to life. But I'll have to admit that that's my opinion and my preferences talking there.
 
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Yes I see present tense all over this.

Present tense does not = immediacy.

You still have to work that into the narrative. And if you have convoluted hard to read sentences that will slow it down. I've heard complaints from people that present tense is too intense and immediate but that only applies when your writing makes it that way; otherwise you're relying on an illusion of something that doesn't exist.

Present tense will be all that active and more if you drill down into the POV because we should be able to see, feel, taste and smell the sweat rolling off them with all the excitement or terror or even the moments of numb indecision.

If you tell the daylights out of something it doesn't matter what tense you use.

Below I've put together a rather hasty example of what I'm driving at.

Don't look up, don't look down and Sasha curses as she fails to listen to her own advice as purple skies break through the billowing yellow-green fog that clutches at her lungs trying to encourage her to get lower and beneath it all; but down there and inches away it looks like rolling death. Her sweaty hands betray her as she once again loses focus while she tries to get a glimpse of the other bodies clutching close to the sides of the train; she wonder's how they keep a grip. Her wet hands could just as well be greased. Maybe older hands with more creases have better traction or maybe its just the will to survive. She holds tighter and looks straight ahead into the smoke; however she's uncertain if the bile that's rising through her nausea and shakes is better or worse than ingesting the the caustic heat. It's a free ride that will cost her more than she has bargained for.

I have no idea what your character is made of or where your story is going so perhaps you would do it differently.
 
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<<colour of purple>> a writerism if there ever was one;purple can't be anything BUT a colour
<<and the people clutching at the side of the cattle car holding on as tight as humanly possible.>> possible writerism again:"people" and "humanly possible"
<<The rest of the train is nothing to speak about, nothing to earn more than a cursory glance as it passes through. The sight of some 1940s Americano is no longer something to remark on. Neither is the head of the train, a giant head of a bull complete with vicious horns on either side of its skull.>>This whole paragraph doesn't work:the first sentence has a superfluous/tautological part.Two times "head " in a short space;then:head and skull.I know of no bull with horns on its shoulders,so again: superfluousness
<<recollection on>>ouch!!!ouch!!!
<<She concentrates on the landscape coming into focus as the train begins to slow.>>That's some speed you're talking about,for a steam train

<<think on>>reflect ON,think of
<<There are people in the fields dressed in the same dirt smeared overalls and the same weather beaten, life worn expression on their faces>>think abou rephrasing:if only for the phrase "life-worn",which sounds awkward to say the least
<<Three seconds later, he and the other two** jump from the train and roll in the grass. One second later Sasha follows, rolling quickly to make distance between herself and the chugging wheels.>>Again,doesn't work:as a reader ,I imagine the protagonist timing the jump with her chronometer **who??
<< “Think they’re gonna risk a couple of fare jackers?”>>this sounds wrong,you can't "risk people"
<<rasping voice verging the line between cough and laughter.>>might want to rephrase that,
and "verging a line"" isn't the best of English
<<Cause though her flame red hair is short, her face nothing anyone but a mother would call pretty, she is still, under all the grime and the muck, a woman>>ouch.,think about rephrasing that
Some remarks: determined hope sounds pretty oxymoronic/paradoxical
you might want to explain to the reader firsthand the contradiction I felt between "alien world"
and an obvious frontier town western type of thingy,if you get my drift
 
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<<colour of purple>> a writerism if there ever was one;purple can't be anything BUT a colour
<<and the people clutching at the side of the cattle car holding on as tight as humanly possible.>> possible writerism again:"people" and "humanly possible"
<<The rest of the train is nothing to speak about, nothing to earn more than a cursory glance as it passes through. The sight of some 1940s Americano is no longer something to remark on. Neither is the head of the train, a giant head of a bull complete with vicious horns on either side of its skull.>>This whole paragraph doesn't work:the first sentence has a superfluous/tautological part.Two times "head " in a short space;then:head and skull.I know of no bull with horns on its shoulders,so again: superfluousness
<<recollection on>>ouch!!!ouch!!!
<<She concentrates on the landscape coming into focus as the train begins to slow.>>That's some speed you're talking about,for a steam train

<<think on>>reflect ON,think of
<<There are people in the fields dressed in the same dirt smeared overalls and the same weather beaten, life worn expression on their faces>>think abou rephrasing:if only for the phrase "life-worn",which sounds awkward to say the least
<<Three seconds later, he and the other two** jump from the train and roll in the grass. One second later Sasha follows, rolling quickly to make distance between herself and the chugging wheels.>>Again,doesn't work:as a reader ,I imagine the protagonist timing the jump with her chronometer **who??
<< “Think they’re gonna risk a couple of fare jackers?”>>this sounds wrong,you can't "risk people"
<<rasping voice verging the line between cough and laughter.>>might want to rephrase that,
and "verging a line"" isn't the best of English
<<Cause though her flame red hair is short, her face nothing anyone but a mother would call pretty, she is still, under all the grime and the muck, a woman>>ouch.,think about rephrasing that
Some remarks: determined hope sounds pretty oxymoronic/paradoxical
you might want to explain to the reader firsthand the contradiction I felt between "alien world"
and an obvious frontier town western type of thingy,if you get my drift


Well, yeah. Did you not know that steam trains can go fast? I mean obviously not if they're going up hill, but on flat grounds they do.


Also, the whole contrast between old west towns and alien landscapes/world is deliberate. I reached the word count limit before I mention it, although I mentioned a little bit before. It's about how even though we're all going to go to alien worlds in the future, we're most likely going to try and recreate what we have on earth. There's also a bit about once people got the cloning technology down pat, they started making clones of famous people like JFK and Marilyn Monroe.
 
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[Hi there,


Never done this sort of thing before but if I’m ever going to write something that gets better response than “well it’s not terrible” I guess I have to start thinking more critically.]



The train passes beneath a sky turning the colour of purple, the smoke billowing from its chimney a yellowish green, and the people clutching at the side of the cattle car holding on as tight as humanly possible. The rest of the train is nothing to speak about, nothing to earn more than a cursory glance as it passes through. The sight of some 1940s Americano is no longer something to remark on. Neither is the head of the train, a giant head of a bull complete with vicious horns on either side of its skull.


[Although I like that the colours are weird - and helped set up the alien world tone - I didn’t think the opening sentence was very evocative. Like Scott Westerfeld’s Uglies opens with “The sky was the colour of cat vomit.” Maybe something more like that.


I get that saying something is nothing to speak about is something that people say, I don’t think it works in this paragraph, I’d like to know a little about what kind of train we are talking about because a train that isnt worth talking about to me looks like the trains i see passing through my hometown - not your story world.]



Sasha has no recollection of how much time has passed since she’d hitched a ride from back east. There is no recollection on how long her arm that’s hooked between and around the wood boards has hurt. To think on this would remove focus from other things, things she could not afford to lose focus on. She hears exhilarated laughter but she doesn’t care. She concentrates on the landscape coming into focus as the train begins to slow. There are people in the fields dressed in the same dirt smeared overalls and the same weather beaten, life worn expression on their faces. The fields themselves are bluegrass.


[How fast is the train going that the landscape is blurred, I mean the foreground would be easily blurred with speed but the distant landscape? idk it just doesn’t quite make sense. I always picture landscapes as drifting lazily by in these sort of situations.


I thought the last sentence seemed a little tacked on and that you could add that little bluegrass a bit earlier in the paragraph, maybe “There are people in the bluegrass fields” or something.]




The old man behind her calls out in a raspy voice. Three seconds later, he and the other two jump from the train and roll in the grass. One second later Sasha follows, rolling quickly to make distance between herself and the chugging wheels. The others keep low in the long grass as they wait for the train to fade into the distance, but Sasha does not. She watches the ribbon of smoke trailing through the sky and resists the urge to look back over her shoulder, back the way she came and back the way she can never return.


[I think “chugging” is quite a friendly word for something that could potentially crush your characters to death. I’d have went with something meaner.. squealing, screaming, grinding, pounding but maybe not those, something better :/]


“Think they’ll come look for us?” asks one of the men.


“Don’t be stupid,” says the old man, rasping voice verging the line between cough and laughter. “Think they’re gonna risk a couple of fare jackers?”


[Repetition of rasping mightn’t be needed.]


Sasha ignores them and starts making her way toward the dozens of tiny lights on the horizon. She is only a few steps ahead before she hears them fall in behind her. I should expect trouble, she thinks. Cause though her flame red hair is short, her face nothing anyone but a mother would call pretty, she is still, under all the grime and the muck, a woman.


[I thought that last sentence was quite cumbersome. Aside from anything else I see flame red hair as a feminine thing to begin with and that makes the rest of the sentence confusing for me.]


One of them, the old man, hurries to walk side by side with her. She looks at him out of the corner of her eye and sees him staring intently at her, eyes narrowing and then widening several times, tongue pushing against the inside of his cheek. “Not often you see a woman out here alone. Not often you see one jacking the fair either.”


[In fact, the guy sidling up to her and saying “Not often you see a woman out her alone” kind of makes that last sentence a little redundant. ]


Sasha does not reply. She’s distracted by the second man appearing at her left side. While the older man looks at her with what seems like genuine curiosity, this younger man is almost leering. She wonders where the third one has gone but his whereabouts are less pressing than the two at her sides.


“So where you from?” the old man continues. “Where are you going?”


She doesn’t respond.


“Doesn’t matter t’ me which way. We’re all going somewhere, am I right? I am, I am right.” He chuckles slightly. “There’s only one way to go from here, yes.” He motions to the lights on the horizon. “You’re going to New Haven.”

[the guy strikes me as a little bit finicky and <I had the perfect word but it’s gone now. like not confident, looking for validation from anyone he talks to>]


Again, Sasha does not reply. Besides, answering would only state the bleeding obvious. Where else can she go? There is nowhere else to go from here, not until New Haven.


“Safer with us,” the second man says, voice rich and deep. “Dangerous there for a woman alone.”


“Dangerous in truth,” agrees the old man. “More so for women. A haven in name alone. Take my advice if you can. Go to New Haven if you must, but do not linger. Do not trust those who approach you on the street. Just do your business and leave soon as you can. Trust me. It’s not worth the risk to you or your sanity. There’s nothin’ here for anything. Avoid it, please.”


[liked the dialogue but not the “Avoid it, please”]


She considers this briefly, keeping her gaze fixed on the lights up ahead. They were closer now, close enough to see that the lights were coming from pit fires and not houses. There were ragged lines of tents reaching either sides of them, spread out like fingers choking the land. New Haven lies beyond this. Over the hill and into the valley.


“Or,” sniggered the other, “you can come with us. We’ll look out for you real good like.”


Sasha flexes her shoulders, opens her long knee length coat from and reveals the knives and pistols slung across her belt. “Reckon I’ll be fine,” she says. At this the men fall silent and fall back a few steps. Satisfied, she quickens her own pace and soon she is alone on the path to New Haven.

[hee hee, I can practically see the looks on their faces.]

#


It’s dark when she reaches New Haven and the town is lit up like the day. She notes its similarities to the other towns she’d been through, the almost identical appearance to the towns in those historical films called westerns. There is even a saloon a little ways down the street complete with swinging doors and a neon sign. She’s never understood this, that fascination with things dead and gone, probably never will. Why bother travelling from one planet to another if you are just going to remake the previous one?


She stops outside the saloon and looks through the yellow tinted windows at the crowd inside. There are more men than women but that’s alright. Making her way to the bar, people turn from their drinks to look up at her. She does not look back at them. She swings her legs around a stool and places her palms flat down on the chipped wood surface of the bar. The barkeep, a man of indeterminate age, looks at her for a minute, then asks. “What you having missy?”


[What does indeterminate age mean? I know that it’s hard to guess with some people and you are never going to guess somebody’s age to the day but I don’t know if there is any use in being so vague.]


“A drink,” she replies. “Whiskey.”


The barkeep does not move to make the drink. “You got money?”


“You got Whiskey?”


“Yup, but I need to see money first.”


“Alright then.” She reaches into her pocket and hands the man five notes. “Should cover it.”


“One Whiskey comin’ right up,” the man replies.


The man pours one from a green bottle all scratched up on one side into a glass equally as scuffed. She downs it in one go and wipes her mouth on the back of her hand.


[Maybe just “She downs it and wipes her...” short and snappy like the action.


I don’t know about glasses being scuffed so much (I work in a bar and see lots of old glassware) they sort of lose their sheen and develop lots of very faint scratches, get discoloured, get chipped, that sort of thing. Scuffed doesn’t seem like the right word to me.]



“Another?”


“Another.”


He pours another Whiskey and she drinks it-slowly this time-trying to savour the taste and finding it still tasted of ashes and blood. “You just arrive?”


Sasha nods.


“Where’d y’ come from?”


“East.”


“That so? Whole lot o’ people coming that way these days I reckon.”

[why is he so unsure about this that he only reckons instead of knows?]

“That so?”


“It is.”


Sasha considers this. Behind her someone breaks into a fit of uncontrollable laughter. Curiosity wins over simply not caring and she looks back. “Get a lot of them do you?” she motions to table filled with JFKs and Marilyn Monroe’s.


The barkeep makes a disgusted noise in his throat, keeps his tone pleasant. “You bet, but what can you do?”


“Not a lot I suppose.” More proof on mankind’s inability to detach itself from its past, that when they finally perfected cloning they recreated something from their past. Some decades ago there’d been a fetish for things of the world before. Companies with access to cloning machines shat out JFK after JFK and Monroe after Monroe, sold them to whore homes, museums, and anyone with more money than sense. When the trends moved onto other things the world was left with a thousand Monroe’s singing happy birthday to a thousand Kennedy’s.


[I really really like this bit of your story, very thought provoking.


I think there is good opportunity here to play with the reader's expectations too. Like I have an image in my mind of JFK in his suit, setting the trend of not wearing a hat in the 60’s or whatever and Marilyn in that white dress.


Are they wearing scruffy clothes, although obviously not, it’s nice to destroy the image, at least the image I have, of a pair heros.


Aren’t they brilliant people too, a great leader and a very intelligent woman? How have their faired in your world? Is a JFK clone only a skin deep copy with a dumbed down brain so that he was fit for the sex industry or is there a brilliant man trapped by his place in society. It must be hellish if that’s the case.


I could honestly read a novel about this.]




“So, if you don’t mind me asking; what brings you to New Haven?”

“I’m looking for someone,” she says.


“Oh yeah?” the barkeep raises a bushy brow. “What kind of someone?”


“The dangerous kind.”


[Well, I want to keep reading at this point, so, er job done I guess]
 
Ok, cool.

Your opening descriptions were interesting to me as a reader but mixing descriptions with the disinterest of the character did you no favors (shot yourself in the foot you did). You poo pooed your own world building and made me wonder why I should bother reading on. I’d split the character POV from the scene setting, because the world building was interesting.

Did you really need the journey to New Haven? I’ve done this myself, wrote in sections that don’t add a lot of value. These can be good sections, but padding is padding. I don’t think this first section added value. You introduce characters that you immediately write out again. A train journey and then she walks into town. Why is my simple question? You develop character and world building, but plot pace and tension are the price you pay. There is always a trade off to consider, but here it felt forced to me.

You could be a lot tighter across the whole section and you overwork images and concepts for me. Trust your reader more, challenge them to keep up and see how this goes for you. Also; by being tighter, this helps maintain pace, because there is less for the reader to wade through.

1,300, but why should I read on? Your character is going somewhere but I don’t know why. The reasons for character actions are important and I feel your holding back from the reader. A reveal later may be too late, as your reader (ME!) will have stopped reading.

Word repeating, specifically “the” – do a word search and see what I mean.

On the plus side the mood was good and the world concept excited me. Dialogue felt natural, even for a cheesy western/SciFi mash up, which is a big plus I’d say. Loads of good stuff is happening and the writing quality is way up there, but for me you’re not being critical enough or demanding more of yourself. It’s all in the detail, one word instead of four. Does this progress my plot or is it vanity writing for me the author. Focus on clarity of character actions, setting and so on. Look at what you do and write and ask – does this belong?

Lastly, by the war and peace volume of my reply you can see you got my interest. Keep at it.
 
Thank you for all the replies. Didn't notice the the thing until it was mentioned. This short story is turning into a novel without an ending. Phew.
 
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