The Godly Things. Chapter One - Opening paragraphs

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S Blake-Smy

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So, here is the opening few paragraphs of my submission to United Agents recently. It is probably obvious why it may have been rejected, but the whole experience was one I learned a lot about myself from; so all is good in the end!
Anyway, I am actually still on my first draft of the entire book, so I am expecting glaring mistakes to exist; But Your input would be appreciated in the process.





Chapter One
'When all is said and done...'


At the very centre of a desiccated alien metropolis, surrounded by a circular road a hundred metres wide, is a dome. Its surface is ornately embossed with a baroque fractal pattern; strands upon strands of detailing that seem to bend around each other, suggesting dimensions within its design that shouldn't be possible upon a simple wall. Within this dome is a great hall containing a circle of pillars reaching between the ground and high ceiling, and at the centre of these is a plinth, upon which stands a crystalline shard.

Here, on the dusty ground before this shard, she lay. The quakes from the scorched, dying planet getting stronger as it swung further into the grasp of the singularity that was devouring the planetary system. Dust was thick in the air as with each tremor it was dislodged from the cracks and crags of the crumbling structure around her. She winced at the disturbance, and looked at the ground by her side; the blood from the wound was spreading out into a large pool, and although the dust was soaking some of it up, it was still very wet on the marble floor. She began to feel cold and very tired.

'So, how long now?', she asked.

The golden corona of the Intelligence's avatar surged a little as it turned and stepped back towards her, kneeling at her side. 'Not long', it said. 'The gravitational waves have already done too much damage to the structure of the planet, it will break apart long before it reaches the event horizon.'

'Sucks, doesn't it?!'

The Avatar frowned a little at the remark, 'Well yes, I suppose; although, I can think of far better adjectives to describe the process.'

As painful as it was, she couldn't help but laugh, 'No, I was being flippant. I meant, it's not fair'.

The Avatar nodded, 'Ahh, okay. Although fair doesn't come into it really, at the end of the day I was outsmarted and out-thought. It never occurred to me that a collapsed star would be flung at me as a means of attack. The situation as it stands is quite simple... I lost.'

She gasped as the muscles of her damaged stomach cramped suddenly, squeezing more blood out of the wound and making her feel for a moment like she was about to pass out, but she didn't; The cramp passed and the pain dulled into the background haze again. 'Damn it!', she took a deep breath and exhaled slowly.

'You need some distraction from the pain?', it asked.

'I could do with a strong drink; don't suppose you have a mini bar around here?'

The Avatar tilted its head slightly to the side and smiled, 'You fascinate me', it said to her.

'I feel so fulfilled for knowing that.'

'I mean, your whole species; you shouldn't be here. There is no reason for you to exist. And yet, you do.'

She laughed, 'Ta daa', and another shot of pain lanced outward from the wound. I have to stop doing that, she thought.

'You say that you evolved naturally from within the Manifold, the "Universe", but the Manifold is supposed to be barren and sterile; merely an area to enact the game. The constituent elements are there as resources for the players to devise ways of fighting and destroying, not to form something more... individual.'

'I suppose that may account for our lack of contact with alien life... despite our efforts.'

'Highly likely; though, that may have been a blessing as well. The participants in this "game" do not broadcast their location by default, for fear of an attack they are not prepared for. When you and your group found me I had already accepted defeat, but if I had come across your signals previously, I probably would have seen you as an opponent to attack and destroy. After seeing your level of technology, I doubt I would have looked further to notice what an anomaly you are', the Avatar said, ‘Or even cared.’

The ground rumbled heavily again from the titanic stresses wreaked on the world by the nearby behemoth, and in the distance they heard the crashing of rock and other material as the buildings of the city around them continued to fall to the broken ground. More dust fell from the ceiling and walls of the great hall, and a large crack appeared, rapidly climbing up the wall and across the ceiling high above.

She felt a pulling sensation along her body as if the floor was tilting slightly, and she grimaced as it caused a fresh stab of pain.

'Gravity has shifted slightly, do you feel it?' the Avatar asked her.

'Yeah, a little. I feel like I should be sliding towards the wall over there. Anyway, how many others are there in this "game" of yours?' she asked.

'Now there's a question. I am afraid I'm not sure of the correct answer to that. I myself have destroyed 346 participants during my time here.'

'Which is how long exactly?'

'Well, let me see; you measure time according to a revolution of your home planet around your star. Taking what I have learnt from you, I would say that my recollection stretches to a little fewer than seven billion, nine hundred thousand and fifteen of your years. Give or take a decade.'

She balked a little at that, ‘You’re kidding me, surely?’

‘No.’

She thought for a second, trying to imagine living to that age, but it was such a long time she found that it became just a really big number, ‘I guess I shouldn’t be surprised at that, if what you say is true about the ‘Manifold’. I’m still finding all these revelations a bit hard to grasp.’

The ground around them shifted again, dramatically, which caused the crack running up the wall to spread. The air was filled with dust again and a few more lumps of the structure fell away, crashing down to the floor around them. The Avatar looked up and sighed, 'Not long now...'.

Once the pain in her side had abated again, and she felt like she wouldn't pass out by merely breathing, she looked across at the strange glowing figure kneeling beside her, 'So.... I'm dying; you're dying.'

The Avatar smiled at her, 'Yes, I suppose we are, it's a strange feeling.'

'Strange? I'd say it’s a complete pain in the arse!' she replied

'That as well, yes, but rather profound… to end; to cease to be. A thought occurs to me when faced with... this prospect of death.'
 
On first glance - there are technical errors (dialogue punctuation is consistently out) and not enough character experience to give a voice.

To submit to open windows the technical stuff must be spot on - you will always be up against experienced writers and don't want to be an easy rule out.

There is a workshop sticky thread here called The Toolbox. Many of us started at page one and worked out way through. For technical help, it'a the best resource I know.
 
On first glance - there are technical errors (dialogue punctuation is consistently out) and not enough character experience to give a voice.

To submit to open windows the technical stuff must be spot on - you will always be up against experienced writers and don't want to be an easy rule out.

There is a workshop sticky thread here called The Toolbox. Many of us started at page one and worked out way through. For technical help, it'a the best resource I know.

Great, I'll give the toolbox a look. Dialogue is something I know I have a lot to learn about, so I'll be concentrating on that!
 
the blood from the wound was spreading out into a large pool

This is probably your start. The rest before it is so dissociated that it's difficult to feel engaged. Remember, the strength of a novel is being able to experience other people's lives, so you need to carefully consider Point of View (POV) use.

You do put in some physical experiences, which is good - but it's all very superficial. Considering the dramatic circumstances, isn't this person going to be focused on something - ie, what they were trying to do, and any feelings of failure or success associated with that? Instead, it's snarky dialogue which means you retain distance from the character.

Additionally, you are in danger of rendering the opening as an infodump, which is another potential flag - especially as the character lays down bleeding while someone talks at her, thus robbing her of agency.

My best recommendation would be to read Jeff Vandermeer's Wonderbook, as it's a concise but comprehensive guide to all the tools of the writing process, from beginning to advanced. That will help illustrate POV use, keeping close to the character, avoiding infodumps, etc.

2c
 
Their conversation says several things to me:

They are both resigned to the fact that death is assured; there's no escaping a black hole yet the process could take so long that eventually panic would end and everything would seem pointless. So rather than plead for a way out, or pain relief, the human prefers to ask her questions, the problem is that she can't do anything but die with that information. In that situation though, I'd still ask the questions.


The next thing is that the avatar comes across as lacking in emotion; talking over the person bleeding out and offering a clinical description of how yer woman is going to get spaghettified but has enough of a sense to wisecrack and be fascinated. she's being two things.

I want to know more about the predicament these two have gotten themselves into and some backstory. I know it's perfectly acceptable to open with a scene from the middle or the end but in this context I can't get into these characters, as I know they're about to die and how.

As someone else mentioned, chop off the top of the plant down to the stem where the lady is swimming in her own marinara sauce and you're good on that score. Maybe trim down the descriptions of the room cracking and stuff, maybe take out the dust falling down line and the crack but keep the falling debris.. maybe have a chunk hit the bleeding girl.

Also I don't know what her name is so am gonna call her shelly. dunno why. and the Avatar lady can be claire.


The technical stuff is probably going to be my falldown as well so I can't comment on that :p

I like the premise; black holes? yes please. Weird sentient things flinging planets about? I'm up for that. I do need to know more about shelly and claire from the get-go though. Maybe this bit could be the prologue?

In any case, keep up the good work :)
 
Yeah, I think starting out with a scene where both your characters are resigned to their fates is missing an opportunity for dramatic tension. I mean, death throes are hard enough in real life, there's not much incentive to slog through one as a reader unless you're emotionally invested in the characters, which at this stage we aren't.

Why not have the woman desperately fighting for a solution to their problem while the Avatar logically and clinically assesses their chances as sub-optimal and begins to self-destruct or something? The ol' classic 'hope is what makes us human' debate :D Presuming of course that there's a plot twist and one or both of them survives this scene. :)
 
Hm... where's the hook? The one that snags your reader?

It's a case of describing the problem your protagonist is facing or describing a fascinating character. Jane Austen got the first sooo.... right in her Pride and Prejudice novel. A fascinating character usually has traits that contradict each other, which in a way, is a form of problem. In this case Brian is probably near the mark - though I must admit if she was bleeding the way you indication, she would either feel light-headed and not quite with or be in pain depending on what the cause of the wound is. So I would concentrate probably get your protagonist to focus on trying to make sense of why she feels lightheaded or trying to get the pain sorted out.

Also look for words that you can cut. You use desiccated in the first paragraph and dusty in the second. They both give the same impression of dryness... use the stronger and drop the weaker.
 
Thanks for your input, Stephen and Appello. I have queried the need for this ordering of events and leaving everything in chronological order, instead of dropping this section in at the begining; but it has the unfortunate effect of raising the possibility of the reader suddenly nearing the end of the book and realising that they have been reading a different story to that which they assumed at the begining ( not something that I feel would necessarily be a good thing ) and I always end up putting it back in this order.

This first chapter is a bit longer than the paragraphs I have put here, and it leads to the fact that the Avatar is actually having a bit of an existential crisis at the prospect of death and its significance (It is essentially immortal and due to it never being beaten in battle before, hadn't contemplated the implications of 'ending') the chapter lays down the question that the story is based around (for obvious reasons I won't go into here) as well as introduce the most important parts of the story's solution -- being the avatar and 'the woman'. But the word count was too high, and it is the technical aspects that are the main purpose of the critique -- very glad that there is something intriguing in the content, even if the characters are still a little 'superficial' though.

One thing I have learned from the comments so far is that I had failed to mention that 'the woman' is infact high-as-a-kite from rather strong opiate based painkillers that she had previously injected herself with and adds to her whimsical attitude to the situation she is in (the rest of the book being the path to this situation and the implications for everyone else back on earth) -- I will remedy this with immediate affect as well as tighten up the descriptive elements and develop the dramatic effect a little in the scene.

Thanks for looking at the content of the scene aswell as the technical aspects though! I wish I could have put a little more down but the chapter really is too big -- once I have improved my technical skill, I hope there is some surprise for people to get grabbed into the book.


Edit: Thanks Serendipity for your comment. The Hook (hopefully) is actually at the end of the chapter and emerges after the word count would have allowed for here -- maybe I should bring it in a little earlier but I havent found a way of doing it yet -- and the chapter kind of ends on it. I would hope that a reader would read the whole chapter to find it before giving up, But Brian and the others are correct in that the characters have to be strong enough to carry the reader through to that point.
 
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I think Serendipity is right on the mark -- neither of your characters seems especially alarmed or distressed. They're both very controlled and calm (if upset). For me, it feels like a scene that might have me crying buckets later in a book when I had the chance to get to know the characters, but here it doesn't engage me because I know what's going to happen -- the world is ending and they're going to die. There's no suggestion anything else is possible and it feels a bit like a chance to get in backstory (which is always a tricky one!)

I think you probably need an earlier hook or a question to grab people's attention, even if it's not a big explosion or a vampire creeping through someone's bedroom window.

In general, I think, it's a good plan to start with something engaging -- and a question. People doing stuff are generally engaging -- actively doing stuff. The information will be of interest to the reader when they have a context for it; by front-loading like this, I wonder if you risk putting people off before they reach your hook? If you absolutely need this chapter at the start, perhaps consider stripping it right down, making her more active (even if it's futile activity) and getting as quickly as possible to your hook. Save the information for a later chapter when it will answer the reader's questions (and the fact that you know she's off her face on pain killers doesn't remove the issue that it looks like an authorial slip-up unless you address her calm/ lack of pain and explain it)

It's well written and I enjoyed the descriptions, so I think it's just a bit of structural tweaking that needs to happen. They say agents and editors judge on the first page, if you're lucky (if not, they judge on the first sentence or two), and a page is about 500 words.
 
Thanks, Hex. You and everybody else has given me much food for thought, and also lit a little fire under me. I'm going to have a rethink and go over all my graphs, charts and timelines to see if I can do something to restructure or give the opening more gravitas and punch (and learn more about the technical side of dialogue).

I thank you all for your comments, and will take them all onboard and get the little army of grey cells in my head to cogitate on new possibilities!
 
I really like this.

The two paragraphs of opening description need a bit of polishing (first sentence of second paragraph especially awkward) but should stay to set the scene.

I really like this conversation against a backdrop of destruction. I like the Avatar who reminds me a little bit of Marvin in Hitchhikers Guide – your very first sentence also reminds me of Hitchhikers – which is good in my view (but I'm not getting the expectation of a comedy. More I'm feeling this might be a bit philosophical? Anyway I'm intrigued). I really like the way they maintain this humorous off beat, tone, and I'm intrigued to find out more about what is going on. As an opening it also reminds me a bit of a Sheri S Tepper novel Seven Moon Dance about the destruction of a planet (think that's the one) – again, this is intended as a compliment. I feel you've done really well on not giving away too much, while at the same time intriguing, but not completely confusing, the reader.

By the time I got to the end of the passage, I really, really wanted them not to die.

For me, there is sufficient voice and character in this. Having skim read other comments I can see that some others don't agree. I think people do have different personal responses. As some people have said, close third person is a fashionable way of writing, but it's not compulsory. Personally I really like Omniscient Point of View. The two writers I mentioned – Adams and Tepper – both write OPOV. Different styles have different merits so I don't think you should feel you have to change, though yes, you should polish some things (dialogue punctuation).

Again, I really enjoyed it and would like to read more.
 
Should add - if they do die straight off, as a reader I'm going to be well pissed off (and risk that I might just put down the book) and if the whole book is how they get to that point, and then in the final chapter they actually die - not sure I'm happy with that either, though it could work. It think it does have to be at least open-ended at the start, whether they are going to die or not...anyway, this shows you have definitely hooked me in. It's just if they immediately die then that's the hook gone again. Most likely.
 
Thanks aThenian, It's good to read a differing opinion, and I'm so glad that it had the affect you describe. I have a lot of thinking and re-planing to do regarding the other sugestions, but the 'story' will remain the same, and although the inevitable is always as it must be... I think you would appreciate where the story takes these two characters ;-)
 
I liked it too, for the most part. I can see her trying to manage pain and just get through the dying process rather than being calm -- the only thing that made me twitch regarding this is her "Anyway", which felt too lackadaisical, even if she does turn out to be high on painkillers -- I'd be wary of that, as it's easier for us to engage with someone in well-described pain than someone who should be in pain but isn't really.

The other thing that threw me slightly is the Avatar's "Highly likely" paragraph: at this stage I'm still trying to work out if this is a story I want to invest in, and his explanation takes too much concentration at this stage, for me anyway.
 
Thanks, HareBrain. Those are both dialogue mismatches which jar me as well. There are a number of these through out the manuscript that are written in bright red because at the time of writing I just had to get the points down on the page in order to get the jist of what is being said in the conversation. They are to be attacked with vigor on the revisions and corrections for the second draft!

By the end I hope to be a succinct as is possible :)
 
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