Magpie - excerpt one - seeking feedback

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sinister42

A sinister writer.
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Hey all,

By posting this here I may be breaking the rules of the 'Sekrit 7' thingy but since mine was a bonus story anyway I'm not too bothered.

I submitted this to Lightspeed Magazine and it was rejected. I'd like to know what you think of the story, why you think it might have been rejected, general feelings about writing style, tone, characters, that sort of thing. I'll post it in several batches over the next couple of months or so - it's a total of 6,800 words.

Here are the first 1,400 or so.


"Magpie"


“So what, you’re a bird? I’m confused.” Ellie furrowed her brow and fiddled with the shiny thing I’d brought back from Earth 1023.

“No. That’s not the only definition of ‘magpie,’ my dear,” I said.

I whipped out my tablet and typed the search in, then passed it to Ellie. “See? Definition two: ‘a person who collects things, especially things of little use or value.’ That’s what I do.”

She nodded, appearing to understand, her child’s mind wrapping itself around the concept. She was finally getting old enough that I could really explain to her where I was going, why I disappeared, why I wasn’t always there for her. Ellie was growing up fast now, and it was getting harder to break away from her. But eventually the Tiding would call me back, get me twisting the dials on the Wing and flitting off to a new dimension.

“So what is this thing?” She handed me the trinket. It was roughly spherical, with toothed gears connecting certain parts, clearly designed for some arcane purpose that I, a mere traveler between worlds, could never fathom. Still, a child’s curiosity demanded satisfaction, so I said this instead:

“It’s a transdimensional interocitor. See these gears? They capacitate the temporal flux of the gravitometric waves that emanate from this bit here.” I pointed at that bit there.

“Oh,” said Ellie. “I see.” She furrowed her brow again, and I could see the toothed gears inside her mind working again.

My phone rang. It was the Tiding.

“What?”

“Earth 2045. Your target is 45.515664 lat, -122.67868 long.” The voice on the phone was male this time, I thought, but the voice modulator made that a difficult determination.

“Alright,” I said, and disconnected.

“New mission?” asked Ellie.

“Yeah. Long trip this time. Have to go far northwest.”

“Where?”

“Don’t know yet.” I walked into the house and sat down at my computer, entering the coordinates into the map software. I put the spherical thing from Earth 1023 in the pile of stuff I still had to deliver to the Tiding. Ellie followed me and looked over my shoulder.

“Boston,” I said. “The west coast one,” I added. Boston was a small, run down nothing of a town. It had once been a major freshwater port, but it had lost that business when the river silted up during the last drought. Thankfully, it had an airship field. I booked myself a first class ticket for the next day.

“When will you be back?”

“Dunno. Soon, I hope.” I stood up from the computer and grabbed my go bag, packing some clothes and necessities.

My sister peeked her head in from the other room. “Next mission?”

“Yep.”

“No worries, we’ll hold the fort here.”

“Thanks.” I hated relying on her, but Ellie still wasn’t old enough to stay home alone.


***


I always had to remind myself that whatever I was looking at was “normal” for the world I was in, that some quirk of history or physics or geology or catastrophe had made this particular world different in specific ways from the world I lived in, and my world would be just as weird for a traveler from this one.

I stared up at a huge statue, an angry metal woman brandishing a trident, perched about twenty feet up on a platform above the front door of a building that looked like it had been designed by an argumentative committee. It was a blue and orange jumble of mismatched windows, a jangle of disjointed masonry, a cacophony of architectural digressions. The building didn’t so much soar majestically as squat insistently over the street, daring passers by to challenge its visual incoherence. I’d seen nothing like it in all of the worlds I’d traveled to.

The building itself sat in the middle of an urban center, all skyscrapers and tree-lined sidewalks, narrow streets where cars and buses competed with cyclists and light rail. The last time I’d been to an iteration of this city was on Earth 1246, and it was a megalopolis that stretched up the Pacific coast to the Canadian border. I hadn’t seen this statue or this hideous building then because I’d been hunting an artifact in a slum elsewhere in the city. And maybe they didn’t exist there.

I looked at the Wing, and it pointed me north along the red brick sidewalk. I heard children laughing and playing, and came across what looked like a day care tucked in a corner of a small covered plaza on the side of the building. The Wing told me my target was in the day care.

I frowned. What in the many earths could be so important that I have to break into a day care and terrorize a bunch of children to steal it?

But there was nothing for it. I’d just have to be quick about it and portal out of there before I was caught.

I stepped over the short wall separating the day care’s outside play area from the street.

“Hey, you can’t be in here,” said someone. I stared at the Wing. My target was a small toy currently being chewed on by a toddler in the corner. Fantastic. I strode over and yanked it out of the kid’s mouth, then turned and started to run, the kid’s screams behind me, and sounds of adults running toward me, yelling at me.

I tripped over something and fell, the breath knocked out of me, the Wing clattering away. Someone grabbed me and yanked me back up.

“What the hell, lady?” It was a tall man in a blue uniform. I guessed him to be police. “I’m going to have to take you in.”

I punched him in the throat. He gagged and fell to his knees. I scooped up the Wing and the artifact, vaulted over the low wall, and ran.

It was the middle of the day and the sidewalks were busy with pedestrians, and I found myself elbowing and shoving people out of my way as I ran, trying to get to a safe spot where I could portal out of there.

I risked a glance down at the Wing. It was cracked along the front display, and I prayed that it was still functional. Probably not a repair shop for it around here.

I ducked into a parking garage on a less busy side street and pressed myself against a wall, catching my breath. The voices of my pursuers were too close. I ran upwards, spiraling around the garage looking for a dark corner. I dropped to the ground and crawled underneath a vehicle, willing myself to become invisible.

The Wing’s display flickered on, and I tried to initiate a portal. It fizzled. One of the contacts had bent and wouldn’t make the connection. I couldn’t make a portal here anyway; I was two stories above ground and the fall on the other side would hurt.

My pursuers had entered the parking garage. I heard shouts of “In here!” and “Get a flashlight!”

I held my breath, hearing the footsteps approach. I thought of Ellie, of my world, of just how far away I was, about how many times I’d come close to being caught. What could be so important about a child’s toy?

My pursuers were only a few feet away, shining a light under all the cars.

Screw this. I crawled out from under the car and ran for it. There was a set of stairs on the other side of the garage. I shouldered the door open and jumped down them two at a time, my pursuers chasing me, having heard my rather dramatic exit. I pointed the Wing in front of me and willed it to portal. It fizzled.

“sh*t!” I shoved it in a pocket and kept running. A car screeched to a stop in an intersection in front of me, colored lights flashing, siren on. A voice told me to stop. I closed my eyes and vaulted over the vehicle, landing hard on the other side and sprinting away. This kind of escape was way beyond my pay grade.

A screeching of brakes and sirens – multiple cop cars surrounded me. A narrow window of escape into an alley. I took it, hoping it wasn’t a dead end. I ducked behind a dumpster, tried the Wing again. It fizzled. I fiddled with the contacts, working them back into position, and tried again. The voices were right behind me now, way too close. I had seconds.

Finally. A shimmer appeared in front of me, and I jumped through it.
 
I'm not familiar with short stories and their needs - but that first section certainly wouldn't be advised even opening a novel, as it lacks immediacy and urgency, and is effectively an infodump. I would have thought a short story would need to be even more efficient.
 
Hey all,




"Magpie"


“So what, you’re a bird? I’m confused.” Ellie furrowed her brow and fiddled with the shiny thing a bit vague - which makes this, the opening line, weak. I’d brought back from Earth 1023.

“No. That’s not the only definition of ‘magpie,’ my dear,” I said.

I whipped out my tablet whoof! Lord Flashheart ;) and typed the search in, then passed it to Ellie. “See? Definition two: ‘a person who collects things, especially things of little use or value.’ That’s what I do.”as an opening, it's not very grabby. If the important thing is the object we need to be interested in it - or know why they are.

She nodded, appearing to understand,this is a big tell her child’s mind wrapping itself around the concept. She was finally getting old enough that I could really explain to her where I was going, why I disappeared, why I wasn’t always there for her. This is moving into info dump territory Ellie was growing up fast now, and it was getting harder to break away from her. But eventually the Tiding would call me back, get me twisting the dials on the Wing and flitting off to a new dimension.i'm expecting the average slush pile reader to have made their decision right about now, and you've given them nothing to want to read on for. (Sorry, I know this sounds harsh but I know you found it hard not to get more feedback on it and I think it would be good for you to know why maybe - I'm not a slushpile reader so could be miles off the mark - this isn't working.) by now, you need to have set the conflict, the central question, the thing we go oooooh about. That could be your mysterious object, but it's certainly not an info dump about a child's age and understanding. If it's the object, get us interested in it. What does it do? Is it dangerous? Why should we care about it? If it's the magie-collection story line that's the hook, tell us what that means. Does he collect artifacts for a reason? Is there conflict in that. In a short story that conflict needs to be raised early.

“So what is this thing?” She handed me the trinket. It was roughly spherical, with toothed gears connecting certain parts, clearly designed for some arcane purpose that I, a mere traveler between worlds, could never fathom. Still, a child’s curiosity demanded satisfaction, so I said this instead:

“It’s a transdimensional interocitor.so he does know? See these gears? They capacitate the temporal flux of the gravitometric waves that emanate from this bit here.” I pointed at that bit what bit where - be specific. When you are wooly like this the reader isn't kept with you and their attention wanders. there.

“Oh,” said Ellie. “I see.” She furrowed her brow again, and I could see the toothed gears inside her mind working again.

My phone rang. It was the Tiding.

“What?”

“Earth 2045. Your target is 45.515664 lat, -122.67868 long.” The voice on the phone was male this time, I thought, but the voice modulator made that a difficult determination.

“Alright,” I said, and disconnected.and he felt? What does the call mean to him? You know but we don't - guide us (within reason)

“New mission?” asked Ellie.

“Yeah. Long trip this time. Have to go far northwest.”

“Where?”

“Don’t know yet.” I walked into the house and sat down at my computer, entering the coordinates into the map software. I put the spherical thing from Earth 1023 in the pile of stuff I still had to deliver to the Tiding. Ellie followed me and looked over my shoulder.

“Boston,” I said. “The west coast one,” I added. Boston was a small, run down nothing of a town. It had once been a major freshwater port, but it had lost that business when the river silted up during the last drought. Thankfully, it had an airship field. I booked myself a first class ticket for the next day.

“When will you be back?”

“Dunno. Soon, I hope.” I stood up from the computer and grabbed my go bag, packing some clothes and necessities.

My sister peeked her head in from the other room. “Next mission?”

“Yep.”

“No worries, we’ll hold the fort here.”

“Thanks.” I hated relying on her, but Ellie still wasn’t old enough to stay home alone.so, that's what - about 500 words? What has happened? Really? He has had a call, found an object and told us an awful lot of backstory. I still don't know what I should care about - him? Ellie? The object? I know very little about what he cares about.


***


I always had to remind myself that whatever I was looking at was “normal” for the world I was in, that some quirk of history or physics or geology or catastrophe had made this particular world different in specific ways from the world I lived in, and my world would be just as weird for a traveler from this one.this is more engaging - and asks a question. Which makes me wonder what the above section adds? We often feel we need to tell the reader more than we actually do. Hook me with this and I'll be happy to find out about Ellie etc later - but i suspect you'd already lost your slushpile reader by now.

I stared up at a huge statue, an angry metal woman brandishing a trident, perched about twenty feet up on a platform above the front door of a building that looked like it had been designed by an argumentative committee. It was a blue and orange jumble of mismatched windows, a jangle of disjointed masonry, a cacophony of architectural digressions. The building didn’t so much soar majestically as squat insistently over the street, daring passers by to challenge its visual incoherence. I’d seen nothing like it in all of the worlds I’d traveled to.

The building itself sat in the middle of an urban center, all skyscrapers and tree-lined sidewalks, narrow streets where cars and buses competed with cyclists and light rail. The last time I’d been to an iteration of this city was on Earth 1246, and it was a megalopolis that stretched up the Pacific coast to the Canadian border. I hadn’t seen this statue or this hideous building then because I’d been hunting an artifact in a slum elsewhere in the city. And maybe they didn’t exist there.

I looked at the Wing, and it pointed me north along the red brick sidewalk. I heard your filter words are standing out, especiallu since you're in first. Do you need I heard? Or just Children laughed and played....? children laughing and playing, and came across what looked like a day care tucked in a corner of a small covered plaza on the side of the building. The Wing told me my target was in the day care.

I frowned. What in the many earths could be so important that I have to break into a day care and terrorize a bunch of children to steal it?

But there was nothing for it. He fot over that quickly, i'm not sure i like him. I’d just have to be quick about it and portal out of there before I was caught.

I stepped over the short wall separating the day care’s outside play area from the street.

“Hey, you can’t be in here,” said someone. I stared at the Wing. My target was a small toy currently being chewed on by a toddler in the corner. Fantastic. I strode over and yanked it out of the kid’s mouth, then turned and started to run, the kid’s screams behind me, and sounds of adults running toward me, yelling at me.

I tripped over something and fell, the breath knocked out of me, the Wing clattering away. Someone grabbed me and yanked me back up.

“What the hell, lady?” It was a tall man in a blue uniform. I guessed him to be police. “I’m going to have to take you in.”

I punched him in the throat. More. How did that feel? Cartilage crunching? Did she do it with a fist or open handed? Does she know how to do this, or is it by instinct? Keep the reader with you. He gagged and fell to his knees. I scooped up the Wing and the artifact, vaulted over the low wall, and ran.

It was the middle of the day and the sidewalks were busy with pedestrians, and I found myself elbowing and shoving people out of my way as I ran, trying to get to a safe spot where I could portal out of there.

I risked a glance down at the Wing. It was cracked along the front display, and I prayed that it was still functional. Probably not a repair shop for it around here.

I ducked into a parking garage on a less busy side street and pressed myself against a wall, catching my breath. The voices of my pursuers were too close. I ran upwards, spiraling around the garage looking for a dark corner. I dropped to the ground and crawled underneath a vehicle, willing myself to become invisible.

The Wing’s display flickered on, and I tried to initiate a portal. It fizzled. One of the contacts had bent and wouldn’t make the connection. I couldn’t make a portal here anyway; I was two stories storeys above ground and the fall on the other side would hurt.so why did she try?

My pursuers had entered the parking garage. I heard shouts of “In here!” and “Get a flashlight!”

I held my breath, hearing the footsteps approachagain - filter words are weakening this. I held my breath. Footsteps approached. I thought of Ellie.... See how much more immediate that is? . I thought of Ellie, of my world, of just how far away I was, about how many times I’d come close to being caught. What could be so important about a child’s toy?

My pursuers were only a few feet away, shining a light under all the cars.

Screw this. I crawled out from under the car and ran for it. There was a set of stairs on the other side of the garage. I shouldered the door open and jumped down them two at a time, my pursuers chasing me, having heard my rather dramatic exit. I pointed the Wing in front of me and willed it to portal. It fizzled.

“sh*t!” I shoved it in a pocket and kept running. A car screeched to a stop in an intersection in front of me, colored lights flashing, siren on. A voice told me to stop. I closed my eyes and vaulted over the vehicle, landing hard on the other side and sprinting away. This kind of escape was way beyond my pay grade.

A screeching of brakes and sirens – multiple cop cars surrounded me. A narrow window of escape into an alley. I took it, hoping it wasn’t a dead end. I ducked behind a dumpster, tried the Wing again. It fizzled. I fiddled with the contacts, working them back into position, and tried again. The voices were right behind me now, way too close. I had seconds.

Finally. A shimmer appeared in front of me, and I jumped through it.

Nice ending, and a nice second part to the story. Honestly, I'd lose the first bit completely. i'd also try to show the reader your protagonist is female from the off - taking the wing from her purse, brushing her long hair from her face or even a line of thought, 'Geez, Molly, this place has changed.'
 
I like this story. The voice is good and my attention was grabbed. But not until the protagonist actually jumped to the alternate Earth. As Brian and Jo have said, immediacy is best, and especially so in short fiction. I would start during the chase itself, you can throw in info about the architecture and so on right away during a chase, letting the reader know she is in an alternate reality. Plenty of chance to throw in emotional value about her daughter too,fear that the wing is broken, that she would never see her daughter again, stuff like that.

I am not qualified to crit on the technical aspects of writing, I have a long suffering editor for stuff like that, and am doing my best to keep her sane despite my poor punctuation!

Overall, this is a story I would like to read. I am a great believer in immediacy, urgency and emotional impact though, so a fast paced start with immediate threat would certainly do it for me.

Edit - I certainly wouldn't try to explain handwavium science either, it never really works. A simple "It collects gravimetric information." without any explanation, would work (even though, that is also, made up rubbish).
 
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Good stuff so far - thanks. A lot to chew on. :)
 
So the consensus so far is that:

-I should start with the second scene and eliminate the first bit altogether, or tweak it considerably to lessen the 'info dump' ness of it
-I need to make it clearer that my main is female, because I have absolutely no description of her in the first scene
-Her motivation for taking the toy out of the kid's mouth makes her potentially unlikeable/unrealistic

@Jo Zebedee - Thanks for all the detail. I'll need to go through and really think about a lot of it. I'm pretty sure we Americans still spell it "stories" when referring to buildings, though.

It's interesting - I tend to swing to both extremes. Sometimes I infodump, and then I have other scenes that move way too fast and don't give enough detail. This has been pointed out to me on numerous occasions.
 
I think there is a difference from people that read shorts, and learned to write from them, and those that read novels and write novels. The tightness factor is key to a short story. Don't worry about back story, and if you have to explain everything, then maybe it is not right for the piece. I often think a short story should be a tale set in an already moving world.

Picture a war going on...it brewed for centuries...tribes feuding, and now advanced races, still butting heads. Finally something breaks, and they are at war. It's ten years later and our young soldier has only had training for a week, before having a plasma rifle tossed into his, still growing hands.

The audience doesn't know this...but you do...now start the story.

The air smelled of charred meat, and it reminded Kal of the neighbourhood parties his family would host when he was just a kid. A blast hit the wall just above him; rubble falling on his helmet, snapping him out of his memories. Marla frowned at him as she waved the group forward, obviously trying to keep them under the bridge and away from the drone's sight.

And so on.

That's kind of how I approach the start of a story. Often in my horror pieces, I do things a bit different. I have a crazy scene building up the tension and anticipation, and it typically doesn't involve the MC. Sometimes this works and others it doesn't, but I really try to never info dump. I much prefer to show and leak stuff, which can really help you build the story up leading into the climax.

So I am with these guys. First scene is not necessary at all. No need for that info.

Edit: All that being said, I forgot to say, I like the idea, and really like your writing style. Good stuff!
 
The first part, I would interweave some of that info-dump in her exploration of the city, while maybe talking to a virtual assistant over an earpiece or something, if you must.

As a side note, all that cacophony, jumble, mismatched, jangle, incoherence, etc... Overdid it IMO, even if you were going for quirkiness/visual annoyance.

I did like the idea of these senseless missions to retrieve useless objects. Quite the job description. No need for further explanations on the system IMO. The conveyed "mystery" is part of the nonsensical nature of a magpie's job.

So far so good.
 
Right on. Well, I've already taken these suggestions and done some slashing & burning. The first scene is gone and it starts with the second scene. I've trimmed the description of the building and some of my other descriptive language. I also changed it so that she steals the toy from the floor of the day care instead of stealing it literally out of a kid's mouth, and she hesitates a bit longer before running in there. I'll post the second excerpt in a week or so (is that an appropriate delay between excerpts?)

For those who are interested, the "Earth 2045" depicted in the story is our world, specifically Portland, Oregon (which was almost called Boston based on a literal coin flip). The statue she's looking at is called Portlandia, and the crazy looking building is the Portland Building. The latitude/longitude designations given are accurate.
 
A propos of nothing, the next story I'm working on is about werewolves.
 
I agree that the first section should be cleaned up or removed, but I really enjoyed the second bit. The energy and pacing felt good, and I wanted to see whether she ended up back in the right reality. Honestly, I didn't mind not knowing her gender at first. It was a neat little surprise, but that's me. I would make sure that the gender reveal is made fairly early, to save the reader from confusion later on.

Quite good! Keep it up.
 
The big problem with the introduction is not as much the info dump, though that is a thing, but that we can see the tools you are using to hide it. I can see you trying to cover your own tracks in that scene whereas you hide better later.
 
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