Immortal Daughter - alternative opening

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Stewart Hotston

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So skipping ahead then - this is the first draft of what would then open the book...


He stretched his legs out. It wasn’t often that Idris flew first class. He knew it was conspicuous but he felt good about life so screw it. They were an hour out of Heathrow, passing over the west coast of Ireland. He’d managed to order dinner. Holding up the metal cutlery he’d been given he wondered why anyone believed those who paid more to fly were somehow less of a security risk than those who were herded in as if they were being done a favour to be allowed on the plane at all.

It irritated him how everyone colluded with such a state of affairs. Ordinary people payed good money to travel. Being asked to pay for basics like checking in bags or not having to sit in the middle seat exposed to whatever type of person you might wish to avoid angered him beyond all reason. He’d originally planned on flying economy. Except when he’d been booking the flight he’d been informed it would cost him fifteen pounds to choose a seat and forty five pounds to check in baggage.

Idris didn’t have any baggage to carry on, but that wasn’t the point. He was lucky, he had enough money to be able to fly first on a whim once in a while. So he had. Only that had irritated him as well. Angry with himself for thinking anyone would notice his protest. He regarded his actions as those of an idiot – protesting a service by paying more to get exactly what he was protesting about not having.

Still, a well-cooked piece of turbot with a passable glass of Vouvray promised to distract him for at least some of the flight. In his experience good food inevitably led to mercy.

He refused to think of how quickly he fell to thinking of those in other compartments as belonging there.

I’m too old to care about this, he thought. He sipped the champagne and looked out the window at the carpet of green below.


It was on the third time the woman went past that Idris took notice.

He unbuckled then unfolded himself from the seat so he could see where she was sat. The modesty barriers would have made that impossible without walking up to each of the other first class passengers except she was stood in plain sight at the rear end of the compartment.

She was smartly dressed in a charcoal two-piece suit. It was an expensive get up compared to what the cult normally wore.

We are in first class, he thought. After catching his eyes with a flicker of her gaze she reached up into the overhead compartment for a blanket.

Too late, he thought.

She plonked herself into her pod as he approached. He followed up, using the footrest designed to allow people to have dinner together.

“Hi.”

Her stare was cold. For a moment he thought he’d made a mistake.

“Can I help you?”

“You seemed restless,” he said. He saw only water on her shelf. Pointing at it, “a gin and tonic would help with nerves.”

“I’m fine.” She folded her arms. “What do you want?”

He held his arms up, palms out. “Nothing, like I say you seemed restless. I’ve flown a lot, always notice someone who’s uncomfortable.”

“Damsel in distress?” She asked, scowling. “Think I need some tender care to keep my little brain from overheating?” She made as if to call the steward.

Idris waited, gambling she wouldn’t follow through.

Her hand hovered over the button but didn’t press down. “If you’re going to use it, you need to press it so the light comes on. I can do it for you if you wish.”

“It doesn’t matter.” Her shrug was forceful.

“What have you done?”

She stared right at him, eyes wide, unblinking. “Nothing.”

“How did you find me?”

She opened her mouth to speak but looking over his shoulder said nothing.

He craned his neck to see the steward waiting patiently for him to give her his attention.

“Are you eating together tonight?”

“No, we’re not,” said the woman quickly.

“As she says,” said Idris.

The steward nodded with a fixed neutrality. “We’re about to serve dinner.”

Idris nodded. Turning back to the woman he said, “I’ll see you after supper.”


Sat in his pod his whole body twitched. He could hardly sit still, certainly couldn’t think about eating the meal put in front of him. He pushed the fish around the plate before noisily placing the knife and fork on the side of the tray. Everything felt wrong; the hiss of the air conditioning, the reverberation of the engines. He wanted to march back to her seat and smash the truth out of her.

By desert he’d calmed down. What exactly could happen while they were flying over the Atlantic? A second glass of wine steadied his nerves, stopped him viewing everyone in the cabin with suspicion.

He took a brandy instead of coffee. Reclining his seat as far as it would go before it turned into a bed, Idriss forced himself to sleep. His last thought was how the rush of the air conditioning sounded disapproving.
 
The trouble with this opening is that you spend an awfully long time establishing nothing more than a character called Idris is in first class on a plane, whose immediate concerns are petty and unsympathetic. When something happens it's simply to hit on a business woman, though it's never really clear whether he wants to romance or rape her. By the end it sounds as though the latter is the more possible.

The suggestion here is that you have a disposable character who were are not meant to feel much for, and because nothing concludes here, there's a danger that this could be another structural problem.

If you're going to present a character about to die, you can get the most out of them by making them sympathetic. James Herbert does this to decent effect in The Rats - there are a number of scenes that exist solely to show rats killing someone, but in each instance, Herbert makes the effort to humanise the person about to die.

If this isn't a disposable character, then the same argument applies that you need to humanise them in some way. I think it's been said before that readers will forgive a character almost anything, so long as you make them interesting.

I suspect what's really going on, though, is that you're not quite sure where your story starts - or at least, that you're worried it's not strong enough, and therefore you are trying to create a lot of background context to try and support it. It's common and easily done - the difficulty is finding focus enough on what is actually essential.

I may be completely wrong about all this, though. :)
 
It was on the third time the woman went past that Idris took notice.
It kicked in here for me. I felt like the first couple of paragraphs are drawing out the point too much, and I wonder if it is critical to the story? If it is, I think you'd be better served to slide it into the story elsewhere, and maybe just a quick mention, like - 'He felt a type of working class guilt at flying up here in first'.

After that, once we get to the action/dialogue, I like it. I feel like it has good momentum and starts building tension, and I'm interested in finding where it goes. The only bit that pulls me up is..
He wanted to march back to her seat and smash the truth out of her.
It's a big escalation and feels like it comes out of nowhere. We see that there is something going on, and that he's caught her out somehow, but to jump to thoughts of beating it out of her in this setting is extreme, and seems out of place.

There is also a slight vibe, which Brian alluded too, that Idris is bullying the woman, or worse. All we see is that she walks past a couple of times then glances at him. Maybe if we saw more of his thought process, that he recognised her from somewhere, or she had been following him in the airport, or even if she admitted some type of guilt or threatened him during the conversation, it would make him more relatable.
 
Have to agree with the others that your MC is eminently unlikable. I have no idea if this is your intention or not, but he is giving off major grump and creepazoid vibes to me. Not exactly ideal unless you are specifically setting him up to be the baddie.

This excerpt also suffers from a lack of 'stake.' Your other alternative opening had a child being separated from their mother and the implication of her 'specialness' as a hook. This one opens with a rather painful rant against airlines and continues to this guy creeping all over some random woman. There is no suggestion of danger or anything at stake, except Idris' strange paranoia which needs better contextualising for the effect you're intending, I think.

Your language is pretty decent, although I'd suggest 'plonked' is the wrong verb to use if you are trying to portray your lady as graceful and elegant, which is I think the idea. Plonked reminds me of an uncouth teenager.

My 0.02
 
thanks all. He's supposed to be unlikable, even misanthropic. There are things that will challenge that for him over the course of the story. I think the 'smash' the truth point needs to go as it's not reflective of who he is at any point.

@Coast I like your suggestion about contextualizing why he's so unhappy with her. In the section immediately after this it becomes quite apparent but a quick foreshadowing of that earlier would definitely help.
 
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