The Beginning of a book, unless this goes really badly. In which case I'll just die.

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cgsmith

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Hi,

It's my first time requesting a critique. I am not new to writing in so far that I have always be creating characters and stories and pictures and such. It's just that now I would like to not suck at doing it and I would like to do it on a grander scale, novels maybe.

Below are 1297 words that make up the first part of the first chapter of my second attempt at a novel. I have been working on not waffling so much, I am one of those writers who very easily writes everything, BiBo writing I believe its called, and wind up writing a lot of stuff but not very much actually happens.

I also just read the rules and this:

9) While you are free to request that potential critiquers address those areas that are of particular concern to you - style, pace, technical issues, etc. - be prepared to receive criticism in other areas as well. Fresh eyes may pick up on problems you yourself may have missed through familiarity, and may also reflect on the issues you wish to see addressed.

This made me realize that I don't really know what I should be concerned about the most. So however deeply you want to critique this, if at all, I would love to know what I need to work on the most.

Thank you.

.....

His shouts were lost in the snow. He turned, to look back along the cord that connected him to his sister. She had been reduced to nothing more than a smudge in a flurry of snow. “It’s a road.” He stamped his feet, it felt good to be walking on something solid after ploughing through so many deep drifts.

“Wait for me,” the cries of a panicking ten year old girl were only just audible over the sound of the wind. She was watching what her feet were doing and not where she was going so she tramped right into her brother. Jake steadied her but she shrugged him off.

“Look,” he figured she hadn’t heard, “road.”

Jenna peered at her feet, and shifted about as if to test out the new surface. She looked up expectantly.

Jake looked at the yellow line, barely discernible in the exposed patch of frosty tarmac. At one time the road would have went somewhere, maybe some quaint little hometown, bustling with people all going about their business, greeting each other in the morning, knowing each other's name. The idea of it hung in Jake’s head for a moment, just for a second until he realized that he’d never seen such a place - the little town he was thinking off was pieced together from worn magazines and old books - and the image of it melted away.

“Come here,” Jake pulled on the cord that connected the two and looked her over to make sure that she was still covered up properly. She was wearing a mishmash of patched and worn out clothes all held together under a faded yellow windbreaker, all things that had been scavenged. He turned her around making sure that nothing had come undone.

“I’m fine, God!” she shouted stamping her feet, “Let’s just go.”

“I have to double check, we can go over it all again from the beginning if you like? We’ll stand here all day if we have to.” He waited for her to respond, she just folded her arms stiffly. Jake knew from her mood that she was running out of steam, he didn’t need to look past the goggles and rags.

“Not long now, alright.”

If the worst came to worst then they could pitch the tent at their feet, but a better spot would make their night more comfortable.

They pressed on into the wind for a few more minutes, the temperature was slowly dropping along with the sun and the cold was beginning to seep through his clothing. Jake felt the ground change underfoot, a patch of flat ground, and the snow wasn’t so deep, it was a nice place to pitch a tent. The wind eased off a little too. Maybe, Jake thought, it was a just natural lull in the wind, or maybe there was some unseen obstruction ahead providing shelter. It didn’t matter, he shrugged off his rucksack and reeled in his sister.

“Ok, here we go, quick.” were all the words that needed to be spoken between the two who had erected their tent nearly a hundred times that year.

Each had their jobs to do. Jake laid out the tent under his feet conscious that if he let it blow away they would surely die. Jenna dealt with anything that wouldn’t be blown away if she dropped it, which to her credit she didn’t do, even though her hands were probably getting numb.

They were inside their little tent within ten minutes, Jake zipping up after him. The first thing he did was take out a wind up lantern and wind it for a minute, then hung it from a small loop in the ceiling.

“Right, check list.”

“Oh, god, I just want to sleep.”

“Jenna, we don’t want anything to get lost, it’s important, you know this.”

Jenna took a deep breath and expelled it very slowly, “ok.”

“Don’t grit your teeth.”

Jake knew that she needed sleep but procedure was important, especially when they were tired, and so far from somewhere safe, He went over his mental list out loud and they diligently located each item.

“Ok, feet, hands.”

Jenna yawned and reached for her sleeping bag.

“Feet, hands.” Jake said more firmly.

Jenna glowered at her brother then stuck out her hands. Jake removed her gloves and looked over her hands.

“Right, feet.”

“Jake, I’m fine.”

“Feet.”

He checked her feet in the same fashion, they were freezing.

“You have to tell me when you feet get cold like this Jenna. You can’t get frostbite out here.”

Jenna looked at him with a forlorn expression and said nothing.

“Damn it,” Jake unzipped his jacket and slipped each of her freezing feet under his arms, and shuddered. Jenna looked grateful but said nothing.

“I just... It’s just important, alright. Don’t roll your eyes, what do you think we are going to do if your toes start falling off?”

“I don’t know, do I.”

“Oh, come on, you won’t be laughing if your feet turn black will you? They turn black and start to smell and then they fall apart bit by bit,” the smirk melted away, “If you’re lucky you will starve or freeze to death before the gangrene kills you.”

Jake reached into the middle and most insulated part of his rucksack and pulled out a thermos that he had filled with boiling water in the morning. It should still be hot enough to make warm tea. When he looked up again he was met by Jenna’s watery eyes. She shrunk back into her clothing.

“Listen, we are careful, aren’t we? I’m not going to let anything like that happen, you just have to listen to me, that’s all. I know it’s hard work sometimes but we are doing alright.”

Jake poured out some of the barely steaming water into two cups and added some tea leaves. He looked at Jenna, still retreating into herself like a frightened turtle.

“I want to go home.”

“We can’t go home, you know that. Here, drink.”

“No.”

“Drink, Jenna. We have been walking for hours, you need to drink.” He held out the cup to her, “come on, please, just drink, it’ll warm you up. Look I’ll even put a little sugar into it.”

Jake unzipped a compartment within his rucksack and took out a screwed up piece of paper that was once a half kilo bag of sugar. There was maybe a tablespoon or two left, he poured a little into Jenna’s cup and stirred it with his finger. Thankfully she accepted it, leaving Jake to wonder if it wasn’t some ingenious ploy all along to get a sweet tea.

“It wasn’t good there, you know that, Lynn wasn’t good.”

They sat and drank their tea in near silence. Jake watched as Jenna slowly began to drift off, lifting the cup out of her hands before she spilled it. He gulped down the last of her cup, unwilling to waste the sugar, and helped her into her sleeping bag making sure that she was zipped up properly.

He touched her nose, it was cold, and her eyes opened momentarily.

“I love you.” Jake said and tried to smile warmly.

He climbed into his own bag and turned out the light. It was utterly dark but the sound of the wind and driving snow painted a picture of a powerful blizzard blowing just outside the fabric of the tent. He felt his eyes closing slowly even though he tried to keep them open, then he became unaware if they were open or closed, and then he became unaware whether or not he was even conscious. Finally, in a blink, the pitch black was gone and it was morning, and everything was calm.

...

 
It's always scary sharing your work. No matter if you are reading it aloud to a writing group or posting it in a forum. It's a big step and (for me at least) it doesn't get easier!

My first question to you is this, how many ten year olds do you know? Jenna strikes me much, much younger, around five or six.

There's so much potential here, and a lot to like. Other's will dig far deeper than I on edits, but here's some things to get you started.

Watch for repeat words. Eg: snow in the first paragraph.

You start close to Jake, which I like, but the cries of a panicking ten year old girl pulls the reader away and distances them.

“I’m fine, God!” she shouted stamping her feet, “Let’s just go.” While I know what your trying to convey, this reads like she's addressing God. "God!" she shouted stamping her feet, "I'm fine. Let's just go."


The sibling protective element is there, but I am sure these two will bicker just as much. I do like the imagery and visual way you have with words, by the end of your piece, I want to know what/where they are going... which is a good thing ;)
 
This has emotional appeal, good sensory detail, and an effective sense of urgency. The characters are appealing, and it certainly makes me want to keep reading.

I think you might want to take a look at some technical details. You have a tendency to create run-on sentences with comma splices.

They pressed on into the wind for a few more minutes, the temperature was slowly dropping along with the sun and the cold was beginning to seep through his clothing.

It would seem better to start a new sentence with "The temperature . . ."

Watch out also for dialogue punctuation. Lots of people have trouble with this.

“Look,” he figured she hadn’t heard, “road.”

This should be:

"Look." He figured she hadn't heard. "Road."

“Wait for me,” the cries of a panicking ten year old girl [ . . .]

This should be:

"Wait for me." The cries of a panicking ten year old girl [ . . .]

On the hand:

“I love you.” Jake said [. . .]

Should be:

"I love you," Jake said [ . . .]

See the difference in punctuation?

Once in a while you use more words than necessary, or repeat words.

Jake reached into the middle and most insulated part of his rucksack and pulled out a thermos [. . .]

This is awkward, I think, and might be better as

Jake reached deep into his rucksack and pulled out a thermos [. . . ]



The first thing he did was take out a wind up lantern and wind it for a minute, then hung it from a small loop in the ceiling.

This might be better as something like

The first thing he did was take out a lantern and wind it for a minute, then hang it from a small loop in the ceiling.

Note that you don't have to tell us it's a wind up lantern if you tell us he winds it. Also note the correct "hang" rather than "hung."

Speaking of verb tenses:

At one time the road would have went somewhere [. . .]

Should be

At one time the road would have gone somewhere [. . .]

You need to watch out for these things, because they pull the reader out of the story.

As a side note, some people would say it's acceptable to use "alright," particularly in dialogue, but I might suggest "all right."

Good luck with a promising start!
 
Yes, it is a lot with nothing really happening. You could work things in to tell why they are out there and where they're going, and someone will undoubtedly be along to explain that better than I'm likely to. I'll stick with mechanics, which are more my specialty.

Your dialogue attribution needs to be straightened out, all the way through. These --

“Wait for me,” the cries of a panicking ten year old girl...
should be
"Wait for me!" The cries of a panicking ten-year-old girl...
or
"Wait for me." The cries...etc.

because you only want the comma if it's followed by a way in which someone said it. As in --

“Feet, hands.” Jake said more firmly.
which would be
"Feet, hands," Jake said more firmly.

I agree with milly about this one, which sounds like she is addressing God --

“I’m fine, God!” she shouted stamping her feet, “Let’s just go.”
should be more like
"I'm fine -- God!" she shouted, stamping her feet. "Let's just go."
or milly's example.

It appears that Victoria has slipped in with a lot of this while I was typing, so I won't add more at the moment.

It is an interesting start, and I would want to know more about what's going on, but I do think you could fit some of that into this part as well.
 
I'm commenting from the perspective of a reader (and one who does not enjoy minimalist writing) rather than a writer or editor.

I thought this excerpt was original and interesting, with protagonists who differed from the standard mould. There are a lot of grammatical errors and some flab, but I worry that you might lose the freshness of the story if you focus too much on technical aspects in the first draft. Perhaps experienced writers can advise you on this.

Red means I don't think you need this.
Green means comment.
Blue means suggestion.
.....

His shouts were lost in the snow. He Jake turned, to look back along the cord that connected him to his sister. She had been reduced to nothing more than a smudge in a flurry of snow. “It’s a road.” He stamped his feet,; it felt good to be walking on something solid after ploughing through so many deep drifts.
Perhaps start with the comment about the road and the foot stamping action, then finish the paragraph with him turning to look at his sister. Then abbreviate "the cries of a panicking ten year old girl" to: "her panicked cries"
“Wait for me,.The cries of a panicking ten year old girl were only just barely audible over the sound of the wind. She was watching what her feet were doing and, not where she was going, so she tramped right into her brother. Jake steadied her but she shrugged him off.

“Look.,he He figured she hadn’t heard,.Road.”

Jenna peered at her feet, and shifted about as if to test shuffled, testing out the new surface. She looked up expectantly.

Other people have commented on punctuation, so I won't comment further on that.
Jake looked at the yellow line, barely discernible in the exposed patch of frosty tarmac. At one time the road would have went gone somewhere, maybe some quaint little hometown, bustling with people all going about their business, greeting each other in the morning, knowing each other's name. The idea of it hung in Jake’s head for a moment, just for a second until he realized that he’d never seen such a place - the little town he was thinking off was pieced together from worn magazines and old books - and the image of it melted away. The image, pieced together from (memories of) worn magazines and books, hung in Jake's head for a moment.

“Come here,” Jake pulled on the cord that connected the two and She just bumped into him so she's already close. looked her over to make sure that she was still covered up properly. You show this two sentences later.She was wearing a mishmash of patched and worn out clothes, all held together under a faded yellow windbreaker, all things that had been scavenged. He turned her around making sure that nothing had come undone.

“I’m fine, God!” she shouted stamping her feet, “Let’s just go.”

“I have to double check, we can go over it all again from the beginning if you like? We’ll stand here all day if we have to.” Use something shorter. He waited for her to respond, but she just folded her arms stiffly. Jake knew from her mood that she was running out of steam, He he didn’t need to look past the goggles and rags. Beware of comma splices.

“Not long now, alright. Just until we find a better spot.

If the worst came to worst then they could pitch the tent at their feet, but a better spot would make their night more comfortable. This is a tell, not a show.

They pressed on into the wind through the growing darkness for a few more minutes. We already know it's windy., the temperature was slowly dropping along with the sun and the cold was beginning to seep Jake shivered as the cold seeped through his clothing. Jake felt the ground change underfoot, a patch of flat ground, and the snow wasn’t so deep, it was a nice place to pitch a tent. The wind eased off a little too. Maybe, Jake thought, it was a just natural lull in the wind, or maybe there was some unseen obstruction ahead providing shelter. It didn’t matter, he shrugged off his rucksack and reeled in his sister. I think this paragraph could be trimmed a lot. Words like saw, heard and, in this context, felt are veil words that create distance from the experience. On the other hand, I would like to know more about Jake's feelings. If he's blanking out emotion to survive on sheer grit, I'd also like to know that.

“Ok, here we go, quick.” were all the words that needed to be spoken between the two who had erected their tent nearly a hundred times that year.

Each had their jobs to do. Jake laid out the tent under his feet conscious that if he thlet it blow away they would surely die. Jenna dealt with anything that wouldn’t be blown away if she dropped it, which to her credit she didn’t do, even though her hands were probably getting numb. This would be a good place to bring in interaction with the environment -- the wind almost tugging the tent from his hands, for example.

They were inside their little tent within ten minutes, Jake zipping up after him. The first thing he did was take out a wind up lantern and wind it for a minute, then hung it from a small loop in the ceiling.

I like the dialogue, but I think it could be trimmed, as shown in red. Also, I'd like to know how Jake is feeling.
“Right, check list.”

“Oh, god, I just want to sleep.”

“Jenna, we don’t want anything to get lost, it’s important, you know this. this is important.

Jenna took a deep breath and expelled it very slowly, “ok.”

“Don’t grit your teeth.”

Jake knew that she needed sleep but procedure was important, especially when they were tired, and so far from somewhere safe, He
Jake went over his mental list out loud and they diligently located each item.
I think you need a bridging sentence to make it clear that they're moving on from the equipment check to a check of well-being.
“Ok, feet, hands.”

Jenna yawned and reached for her sleeping bag.

“Feet, hands.” Jake said more firmly. How does Jake feel? Is he irritated? Does he feel sorry for Jenna? Is he grieving for their parents and home?

Glowering, Jenna glowered at her brother then stuck out her hands. Jake removed her gloves and looked over her hands.

“Right, feet.”

“Jake, I’m fine.”

“Feet.”

He checked her feet in the same fashion, theyHer feet were freezing. What was Jake's reaction?

“You have to tell me when your feet get cold like this Jenna. You can’t get frostbite out here.”

Jenna looked at him with a forlorn expression and said nothing.

“Damn it,” Jake unzipped his jacket and slipped each of her freezing feet under his arms, and shuddered. Jenna looked grateful but said nothing.

“I just... It’s just important, alright. Don’t roll your eyes, what do you think we are going to do if your toes start falling off?”

“I don’t know, do I.”

“Oh, come on, you won’t be laughing if your feet turn black will you? They turn black and start to smell and then they fall apart bit by bit,” the smirk melted away, “If you’re lucky you will starve or freeze to death before the gangrene kills you.”

Jake reached into the middle and most insulated part of his rucksack and pulled out a thermos that he had filled with boiling water in the morning. It should still be hot enough to make warm tea. When he looked up again he was met by Jenna’s watery eyes. She shrunk back into her clothing.

“Listen, we are careful, aren’t we? I’m not going to let anything like that happen, you just have to listen to me, that’s all. I know it’s hard work sometimes but we are doing alright.”

Jake poured out some of the barely steaming water into two cups and added some tea leaves. He looked at Jenna, still retreating into herself like a frightened turtle.

“I want to go home.”

“We can’t go home, you know that. Here, drink.”

“No.”

“Drink, Jenna. We have been walking for hours, you need to drink.” He held out the cup to her, “come on, please, just drink, it’ll warm you up. Look I’ll even put a little sugar into it.”

Jake unzipped a compartment within his rucksack and took out a screwed up piece of paper that was once a half kilo bag of sugar. There was maybe a tablespoon or two left, he poured a little into Jenna’s cup and stirred it with his finger. Thankfully she accepted it, leaving Jake to wonder if it wasn’t some ingenious ploy all along to get a sweet tea.

“It wasn’t good there, you know that, Lynn wasn’t good.”

They sat and drank their tea in near silence. Jake watched as Jenna slowly began to drift off, lifting the cup out of her hands before she spilled it. He gulped down the last of her cup, unwilling to waste the sugar, and helped her into her sleeping bag making sure that she was zipped up properly.

He touched her nose, it was cold, and her eyes opened momentarily.

“I love you.” Jake said and tried to smile warmly.

He climbed into his own bag and turned out the light. It was utterly dark but the sound of the wind and driving snow painted a picture of a powerful blizzard blowing just outside the fabric of the tent. He felt his eyes closing slowly even though he tried to keep them open, then he became unaware if they were open or closed, and then he became unaware whether or not he was even conscious. Finally, in a blink, the pitch black was gone and it was morning, and everything was calm.

...
 
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Hi cgsmith, well done on the first crit post.

IMO your strengths are the two characters and their relationship; you've captured their mutual dependency but retained some of the niggles of a sibling relationship through just a few actions - that's skilfully done.

Outside of the character interactions the writing is a bit flabby. If you tighten up the prose it'll flow much better, giving you better pace and better clarity. Think about what you're trying to say, and don't oversay it; from your intro it's clear you're at least partially aware of your tendency to overwrite (and I was a sucker for doing exactly the same thing) which is a good start. For example, look at this paragraph:

He climbed into his own bag and turned out the light. It was utterly dark but the sound of the wind and driving snow painted a picture of a powerful blizzard blowing just outside the fabric of the tent. He felt his eyes closing slowly even though he tried to keep them open, then he became unaware if they were open or closed, and then he became unaware whether or not he was even conscious. Finally, in a blink, the pitch black was gone and it was morning, and everything was calm.

He climbed into his own bag and turned out the light. Outside in the pitch, the wind and snow continued to blow and drive. Unbidden, his eyes closed, and in a blink, the black was gone and it was morning, and everything was calm.

Hopefully the second one flows much more quickly while getting over everything you said before.

There's quite a lot of flab in there like that, so it's a case of stripping it out to keep the plot moving in most cases. The stuff that I've taken out there isn't necessarily badly written or anything, but it's pretty redundant. Keep things moving. Stripping out the flab will also allow to add in extra plot if you need it (which also happened to me - on a previous WIP I stripped out about 30,000 words in one draft, and managed to add in more plot...)

Victoria has given you some good technical advice on dialogue tags - definitely learn that stuff, because it's quite jarring when you get it wrong, and there isn't a (credible) agent in the land who'll accept a MS with those errors.

But... it is interesting; the characters are your shining light, so keep everything focused around them, and keep up the good work!
 
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On reflection, I think you've stripped some of the tension out of the story:

  • A ten-year-old child would be vulnerable to hypertension (due to low mass to surface area and higher metabolic rate) and exhaustion, but this is presented as a theoretical risk rather than a current danger. Jenna could be close to collapse, but "looked expectantly" does not suggest this (at least to me). Jake fusses about her when they stop, but does not seem worried that she won't have enough endurance to reach shelter.
  • Surely, pitching a tent in open country during a blizzard is risky, but you don't use those risks, the sense of venturing through the unknown and the risk of not finding a suitable site as tools to build tension. Instead, you write, "If the worse came to worse, then they could pitch the tent at their feet".
  • You introduce the risk of frostbite, but once again indicate that it is a general risk, not an immediate concern.
However, these are only some suggestions for tension and character growth. You are likely to find other, and better, opportunities as you develop the story.
 
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  • A ten-year-old child would be vulnerable to hypertension (due to low mass to surface area and higher metabolic rate) and exhaustion, but this is presented as a theoretical risk rather than a current danger. Jenna could be close to collapse, but "looked expectantly" does not suggest this (at least to me). Jake fusses about her when they stop, but does not seem worried that she won't have enough endurance to reach shelter.
  • Surely, pitching a tent in open country during a blizzard is risky, but you don't use those risks, the sense of venturing through the unknown and the risk of not finding a suitable site as tools to build tension. Instead, you write, "If the worse came to worse, then they could pitch the tent at their feet".
  • You introduce the risk of frostbite, but once again indicate that it is a general risk, not an immediate concern.

On reflection, I think the first point is a salient one. Jake might not necessarily know about metabolic rates and such, but he could certainly see the symptoms and guess at her heightened risks.

The second point could also add a bit more of an immediate goal to the scene, so their first goal is "find a better place to camp." That might help engage the reader a bit more. At the moment they don't have an immediate goal. Again, it runs the risk of overwriting the scene, but could add an extra flavour to it.
 
<<His shouts were lost in the snow.

“Wait for me,” the cries of a panicking ten year old girl were only just audible over the sound of the wind. >>

some clumsiness in there;shouts lost in the snow,but just audible over the wind?

Ok,I stopped reading halfway ,not every sentence needs to be riveting,but the thing lacked a bit
of va va vroom,if you get my drift.
but:that's just personal opinion,and you obviously care about characterization,which i like.
Where are you going with this?Post disaster?
 
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“It’s a road!” Jake shouted through the snow. He turned back to look along the cord that connected him to his sister. She had been reduced to a smudge in a flurry of snow. He stamped his feet; it felt good to be walking on solid ground after so many deep drifts.

“Wait for me!” The panicked cries of his ten-year-old sister were barely audible over the wind. She was watching her feet, not where she was going, so she tramped right into her brother. Jake tried to steady her, but she shrugged him off.

“Look.” He figured she hadn’t heard. “Road.”

Jenna peered at her feet and shifted about as if to test out the new surface. Pleased, she looked up expectantly.

Jake looked at the yellow lines, barely discernible on the exposed patch of frosty tarmac. At one time, the road went somewhere, some quaint, little hometown, bustling with people going about their business, greeting each other in the morning, knowing each other's names. That idea hung in Jake’s head for a moment, just for a second, until the reality sunk in, that he’d never seen such a place – a fantasy pieced together from worn magazines and old books – and the image of it melted away.

“Come here.” Jake impatiently pulled on the cord. He looked her over to make sure she was still properly covered up. She had on a mishmash of patched and worn-out clothes held together under a faded yellow windbreaker; they had all been scavenged. He turned her around, making sure nothing had come undone.

“I’m fine! God!” she shouted stamping her feet. “Let’s just go.”

“I have to double check. We can go over it again from the beginning if you'd like. We’ll stand here all day if we have to.”

He waited for her to respond; she just folded her arms stiffly. Jake took the hint that she was running out of steam; he didn't need to see beneath the layers of clothes.

“Not long now, alright,” he comforted her.

If the worst came to the worst, they could pitch the tent at their feet, but finding a better spot would make the night more comfortable.

They pressed on, against the wind, for a few minutes. The temperature was slowly dropping with the sun, and the cold was beginning to seep through Jake's clothing. He felt the ground change to flat ground – the snow wasn’t so deep – it was a nice place to pitch a tent.

Just then, the wind eased off a little. Maybe, Jake thought, it was a just natural lull in the wind. Or maybe there was some obstruction ahead providing shelter. It didn’t matter. He shrugged off his rucksack and reeled in his sister.

“Ok. Here we go. Quick,” were the only words that needed to be spoken; they had erected their tent nearly a hundred times that year.

Jake laid out the tent under his feet, conscious that if it blew away, they would surely die. Jenna, meanwhile, dealt with everything that couldn’t be blown away if she dropped it. To her credit, she didn’t drop a thing, even though her hands were getting numb.

within ten minutes, They were inside their little tent, Jake zipping up after him. The first thing he did – took out a lantern, wound up the battery for a minute, and hung it from a small loop in the ceiling.

“Right, check list.” He always had to take the lead.

“Oh God, I just want to sleep!”

“Jenna, we don’t want anything to get lost. It’s important, you know this.”

Jenna took in a deep breath and let it out very slowly. “Ok.”

“Don’t grit your teeth,” he belabored.

He knew that she needed sleep, but procedure was important, especially when they were tired and far from safety.

“Ok. Feet, hands.”

Jenna yawned and reached for her sleeping bag.

“Feet. Hands,” Jake said more firmly.

Jenna glowered at her brother before she stuck out her hands. Jake removed her gloves and looked over her hands. “Right. Feet.”

“Jake, I’m fine.”

“Feet!”

He took off her boots, her feet were freezing. “You have to tell me when your feet get cold like this, Jenna – you can’t get frostbite out here.”

Jenna looked at him with a forlorn expression, but saying nothing.

“Damn it!” Jake unzipped his jacket and slipped her feet under his arms. He shuddered. Jenna looked grateful, but again said nothing.

“I just... It’s just important, alright! Don’t roll your eyes. What do you think we are going to do if your toes start falling off?”

“I don’t know, do I?”

“Oh come on, you won’t be laughing if your feet turn black, will you?" Jake thought she needed to learn this lesson. "They turn black and start to smell, and then they fall apart, bit by bit…”

Her smirk melted away.

“If you’re lucky, you will starve or freeze to death before the gangrene kills you.”

With that, Jake reached into the middle, most-insulated part of his rucksack and pulled out a thermos that he had filled with boiling water. Even though he filled it that morning, it should have been hot enough to make warm tea. When he looked up, he was met by Jenna’s watery eyes – she shrunk back into her clothing.

“Listen, we are careful, aren’t we? I’m not going to let anything like that happen, you just have to listen to me, that’s all. I know it’s hard work sometimes, but we are doing alright.”

Jake poured some barely steaming water into two cups and added some tea leaves. He looked at his sister, still retreating into herself like a frightened turtle.

“I want to go home,” she said.

“We can’t go home, you know that. Here. Drink.”

“No,” was her only reply.

“Drink, Jenna. We have been walking for hours, you need to drink.” He held out the cup to her.

“Come on, please just drink, it’ll warm you up. Look, I’ll even put a little sugar into it.” Jake unzipped a compartment in his rucksack and took out a screwed-up piece of paper that held a half kilo of sugar once – there was maybe a tablespoon or two left. He poured a little into Jenna’s cup and stirred it with his finger. Thankfully, she accepted it, leaving Jake to wonder if she had an ingenious ploy all along to get sweet tea.

“It wasn’t good there, you know that. Lynn wasn’t good.” He kept talking to her.

They sat and drank the tea in silence. Jake watched his sister slowly begin to drift off; he lifted the cup out of her hands before she spilled it. He gulped down the last of her cup, unwilling to waste the sugar, and helped her get into the sleeping bag, making sure she zipped up properly.

He felt her nose – it was cold. Her eyes opened momentarily.

“I love you.” He tried to show her a warm smile.

He climbed into his sleeping bag and turned out the light. It was now utterly dark, but the sound of the wind and driving snow painted a powerful picture for him – a blizzard just outside the fabric of the tent. He felt his eyes closing slowly, even though he tried to keep them open. Then he entered a state where he was unaware if they were open or closed, or whether or not he was even conscious. Finally – in a blink – the pitch black was gone; it was morning, and everything was calm.

[[[[[[[[[[[[[[

good ending point even tho its a temp one

sometimes less is more. go for the simplest way you can convey something without losing meaning, read it aloud and make sure the reader will be able to read it easily. some technicalities with punctuation, but there are more important issues. nothing too major tho; keep writing this story!!!

the problem is there is a "mystery buildup". you keep up opening up new jars of mystery without closing the old ones. you open too many and the reader will just get tired and leave. you want the jars to wax and wane in number to vary the suspense. use this tool. you have to feed us some bits. we have the "Lynn" mystery. the "where did he get the water from" mystery. the "how long have they been on the road" mystery. the great big "why are there no more normal towns" mystery.

also make sure everything follows logical sense. why does he tug on her cord when she's right next to him after bumping into him. why doesn't she react?
 
It's not a bad start, but IMO you could benefit from tightening the prose and focusing more on tension.

Story openings should ideally seek to quickly establish context, theme, stakes, and conflict. At present I struggle to see any of those at work in this piece.

Sure, the cold and the snow is a problem, but I didn't get a sense of this being as big an issue as it could be - frostbite is a danger, but so is exhaustion, exposure, and hypothermia. If conditions are as bad as the opening suggests, then this could be a life of death situation - yet that never really came across for me.

You also spend a lot of time with dialogue that doesn't really add much to the story - I would suggest you condense, even summarise, some of this, and push more on Jake's thoughts on the stakes. Mix it up together, and see what you get.

2c.
 
His shouts were lost in the snow. He turned, to look back along the cord that connected him to his sister. She had been reduced to nothing more than a smudge in a flurry of snow. [new line for dialogue here since you're talking about two different people and it might confuse the reader who is talking.]

“It’s a road.” He stamped his feet, it felt good to be walking on something solid after ploughing through so many deep drifts. [These first couple lines are a bit disjointed. What does not being able to easily see his sister have to do with him realising he's walking on a road now? It feels like you missed out a sentence here.]

“Wait for me,” the cries of a panicking ten year old girl [If this character is his sister, then refer to her by name or as sister, not girl. "Girl" is distanced from the PoV character. To Jake she is his sister, not some girl.] were only just audible over the sound of the wind. She was watching what her feet were doing and not where she was going so she tramped right into her brother. [This is shallow, and more how she would describe the action. Describe what Jake sees, rather than telling us why she walked into him. Her calling out to him implies she is far back, but the way this is written, it feels like she bumps into him as soon as he turns around.] Jake steadied her but she shrugged him off.

“Look,” he figured she hadn’t heard, “road.” [I would cut out the telling statement here and replace it with the action of him pointing at the ground.]

Jenna peered at her feet, and shifted about as if to test out the new surface. She looked up expectantly. ["Expectantly" is a bit weak for describing her expression. Give us a little more, a cute trait unique to her like something with her eyes or mouth that sounds adorable. It's a good way to instantly make the reader like her. Also, at this point we aren't given all that much information to figure out what exactly she is expectant about either.]

Jake looked [Repeated use of "looked" within adjacent sentences, use another word for the repeat. Squinted?] at the yellow line, barely discernible in the exposed patch of frosty tarmac. At one time the road would have went somewhere, maybe some quaint little hometown, bustling with people all going about their business, greeting each other in the morning, knowing each other's name. The idea of it hung in Jake’s head for a moment, just for a second until he realized that he’d never seen such a place - the little town he was thinking off was pieced together from worn magazines and old books - and the image of it melted away.

“Come here,” Jake pulled on the cord [This sounds very rough treatment for his little sister, but also, if she is close enough to bump into him then isn't she already close enough for him to look her over anyway?] that connected the two and looked her over to make sure that she was still covered up properly. [Instead of just telling us why he is doing this action, perhaps describe it as a checklist of actions he's ticking off in his mind followed with a nod, "yes" or such?] She was wearing [Try to avoid using "She was" "He was" as this tends to make the sentence sound passive. There are also tighter alternatives.] She wore a mishmash of patched and worn out clothes all held together under a faded yellow windbreaker, all things that had been scavenged. [It might be nice here to add some sentimentality to the description of the clothes, perhaps mentioning whether something was her favourite and even though it was in tatters she wouldn't let him replace it with another piece of clothing, etc.] He turned her around making sure that nothing had come undone. [Repeated telling of why he is looking her over, could be worked into the checklist I suggested earlier.]

“I’m fine, God!” she shouted stamping her feet, “Let’s just go.” [I don't think the blaspheming adds anything to the sentence. I think it sounds better without it, especially considering her age. I don't know, maybe her dialogue, and not just in this bit, but the entire scene is how ten year olds talk these days.... Personally, I'd think a bit more about the maturity level of her dialogue throughout the entire chapter and whether or not that's how a ten year old would really talk in the given situation.]



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I'll stop there as I've already given you a lot to consider and it can be applied to the rest anyway, saving me from having to repeat myself. The setting sounds interesting, and I'm curious to know why they are trudging through a snowstorm, and what happened to the world. So I think you did a somewhat decent job of pulling the reader in -- of course there is still much more that can be done to make it something great, but I believe you will get there as I see lots of potential with this.

Good work.
 
Snow tends to be odd. The two children are light. With snow like that there would be a crust that lighter people could walk on, like children.
It would collect around objects but leave a space right around the objects free. A hollow or cavity. That is where you dig out and pitch your tent.
They should have insulating survival blankets, the mylar foil ones on the tent walls. You want several curtains of insulation up to retained body heat. First you would stomp out a base for your tent in the snow .. Otherwise the heat would melt into slush the snow underneath the tent.
Each child should have a collecting bag for any wood bits they find as they go along.it would be carried across their front so they can access it. The leader on the line and the tag should both have walking sticks to balance with in snow, to ascertain whether the next is a deep drift I've a boggy bit. Otherwise look for wooden bits. Straw, hay, fluff. These are all tinder.
You set these into a steel tin with a pop can atop, and light it. Its now a mini Brazer. You melt the snow in the pop can until the water is hot. Then old plastic water bottles get the warm water inside them and are tightly sealed. You put it in an extra sock and instant hot water heat source. Then one gets put into each sleeping bag to warm each child. Snow is set inside the tent in a tin to melt and provide water for the morning.
Anything wet would be taken off before getting into the sleeping bag. If her nose is cold, she should sleep with a light scarf across her face, if they don't have a ski mask sort of garment for them to wear.
In the morning each child gets another hot water bottle, inside the clothes, to warm them as they walk. A pinch of tea or lemon could be put in the water. So when they stop, the tea is "brewed".
The girls listlessness and tears are a sign of hypothermia.

Rituals are important, as is routine. I would go so far as to have them pray or say a wish or a pledge or another good thought to end their day with. Maybe a story?
The only part I don't understand is why would they lose themselves far from the road again right after they found the desirable road?
 
I liked it. You clearly know about camping and hypothermia and that was woven into the tale without being condescending and reverting to a list of facts. You kept that brief and succinct. Are you a mountaineer?

Most the grammar issues are covered above and using full stops instead of commas cropped up at times

I didn't like cord at the beginning. I immediately thought they were twins being born. Not sure if anyone else picked up on that? Rope? Why are they tied together on a road, assuming it's flat. I know the weather is bad but you may need to expand on that.

As others pointed out -- you need a reason why they are their and as Jake is lying in his bed at the end that is a good opportunity to reflect on what is happening. Use his thoughts to show/tell the reader a glimpse of what has brought them here.

Last thing, ceiling in a tent. Not sure about that but not sure what to offer back. Ridgeline?
 
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