HITS Crit 1 (1000 words)

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Dan Jones

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I've finally managed to make some progress on my new novel Hole In The Sky to the point where the plot is sorta, kinda pulled together, and I'm happy with where the characters are headed. So I'm taking stock of where I am so far, and thought it might be useful to throw out the first POV chapter of of the main characters, Grub.

Usual 1st draft caveats apply, but also usual questions, the most important of them being: is it engrossing? Thanks in advance for all comments.

~

Grub fished out a couple of the little red pills from the bottle and held them in his disfigured right hand, which shook terribly. A firecracker of pain sparked its way through his head, and he clenched his eyes shut with a wince. His legs buckled a tad, and he held out a hand against the cold brick to keep from falling completely.

Not now, for ••••'s sake.

Beyond the alleyway, screams and gunshots and the rhythmic chanting of anti-corporate slogans and other violent noises melded with the popping in his head, until he could hardly tell them apart. Ashli would be expecting him by now, but he couldn’t ignore the brainstorm. His human hand instinctively closed around the pills, but with only a thumb and ring finger it was tricky to hold them when his brainstorms came on, and they fell to the floor.

No!

His eyes flashed open as he felt them drop from his palm, and he sank to his knees in a panic, scrabbling around on the wet pavement to find them. The migraine smashed hammers upon the roof his skull ever louder, ever harder, trying to force their way out of his overworked brain. Grinding his teeth and whispering a babbling prayer of begging and profanity, both his prosthetic, robotic hand and human hand flailed around, until at last he felt the little gelcap and let out a little whimper of joy. With a desperate gasp he swallowed it, lapping up a slurp of the bitter, gritty rainwater like a dog to wash it down, and then he rolled onto his back, clenching his face into an ache as he muttered nonsense to pass the time until the pill took effect.

When the brainstorm eventually subsided, a minute that seemed an age, his pulse was drumming a desperate rhythm and only tiny rabbit breaths escaped his lungs. Spitting out the rainwater and rolling over to his knees, he allowed the pain to subside and for a moment bathed in that sweet feeling of subsidence, of a return to normality.

Or whatever the hell normality was.

Once back on his feet, his phone rang. He fished it out of a sodden pocket and wiped the screen with a sleeve.

Ashli.

He swiped open the call and tried to disguise his breathing. He probably looked like sh*t, but he reasoned, what’s new there?

“Ash.”

Ashli’s face, half-covered by a tatty black-and-white gingham scarf, beamed out of the screen. She looked pissed off. Again, nothing new there. The woman was set to permascowl. “Grub. Where the •••• are you?”

“I’m there, dude, I’m there.”

“You look like ••••.” Her face became even more irritated. “Have you been having one of those attacks? They’re just migraines, dude. This is more important.”

He bit his tongue. They weren’t just migraines. “No, man, no. I’m good.”

“Get the •••• out here, man, every person counts. You know that more than most.”

He nodded, closing the call. Peering out from the edge of the alley he sighed at the chaos before him on Zantrustraße, one of the city’s main thoroughfares. The crowd had swollen to double its size and now rolled along the road, greedily occupying both lanes, gobbling up every inch of free space. The brainstorm had cost him minutes that would mean he’d have to jostle for space through the crowd. The prospect of that filled him with anxiety, and a burst of sweat prickled him under his already sodden shirt. He probably stank like sh*t. Was it all worth it, all this protesting and demonstration crap? What did he possibly hope to achieve with this busted, broken down body? Maybe he should just let the kids do their thing.

In response, first came reason. He wasn’t really doing it for himself; fighting a terrible corporation like NEP-E was pointless for him, but for others, he was an important totem. A symbol of the corporate . For them to leverage justice, even recognition, he had to be visible. He regarded his disfigured hand and flexed it painfully. Phantasms of aches tingled along the ghosts of his missing digits. That had to be visible.

Second came anger. Grub was slow to anger – surprisingly, some would say. People always thought he’d be consumed by anger after what had befallen him, but anger was frequently dampened by the great morass of depression that weighted upon him. But it was there; a dull spark of righteousness that propelled him from the alley and into the crowd. Above him the quasi-organics of Norstoengraz’s skyscrapers pulsed hideously: from some grew giant, suckered tentacles that shimmered a deep, burnished gold in the electric night; from others flapped aquatic creatures’ tails that became teeth that chattered and sang a miasma of harsh electronica and metal and old classical songs in alien tongues, while in the centre of other buildings giant eyes blinked and swivelled and rolled around like pool balls, whereupon others the material of the walls shifted and warped to create titanic vertical lawns, sprouting lush verdant before yellowing and flickering into stubby frost within seconds that evaporated into the indigo air, and other buildings lit up with the bioluminescence of a million tiny submarine jellies. The organica on Zentrustraße was more ostentatious than most other places, being the most moneyed part of the city, and so it made sense for the protest to gravitate here, but he hated coming face to face with the worst of the things he’d designed.

As they thrashed and screamed and paraded themselves above him and around him, the beauty of his designs made him terribly sad, and he turned his head down into his collar and focused on his shoes as he rushed through the crowd. Having one robotic leg meant he could only jog, and with a slightly lopsided gait, and moving quickly was a painful chore, sending waves of cramp up his human leg and his side, making him seethe through clenched teeth. Wheezing inaudibly against the noise, he caught up with the spear of the protest. Here the voices were loudest, the passion at its fieriest, the collective discontent at its most indignant. Men and women of all ages, waved phones, placards, and effigies of monstrous quasi-organic mutations above their heads, while screeching a handful of slogans.
 
I quite like this - I like the feeling of danger, I like the troubled cyborg character. What I have a bit of an issue with is the number of words, and particularly your adverb and adjective usage, and some of the writing style.

There's a lot of distancing going on, some odd bits of passive voice and some fairly major sentence construction issues. (For example: "Grinding his teeth and whispering a babbling prayer of begging and profanity, both his prosthetic, robotic hand and human hand flailed around, until at last he felt the little gelcap and let out a little whimper of joy." has a subject problem).

I've had three shots at parsing the penultimate paragraph and haven't succeeded - I think it needs to be a) three paragraphs and b) tidied up a lot.

In general, it feels like there's a good character and an atmospheric world wanting to break through, but the technical issues and over-writing are clouding the sky.
 
I agree with Robert about the style -- I like a nice bit of description, but the lushness of the penultimate paragraph makes it almost impenetrable. I think another problem with it, though, is that you don't really have enough of a hook here. There are two elements to this section: a migraine (or whatever) that seems to get resolved and then has no obvious consequence (apart from to make him late); and then a description of that part of the city, with some politics mixed in. But in neither case is he really advancing towards anything, it feels like. He is in that he's aiming to join the marchers, but this is almost lost in the description -- as is the fact that he has designed these organica and dislikes them, which to me is the most interesting thing. I'd much rather see that brought out through some purposeful interaction.
 
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I like this; however I'd start here although I can see why you'd tend to want to hide this and not have it at the front::
Grub was slow to anger – surprisingly, some would say. People always thought he’d be consumed by anger after what had befallen him, but anger was frequently dampened by the great morass of depression that weighted upon him. But it was there; a dull spark of righteousness that propelled him from the alley and into the crowd.

Above him the quasi-organics of Norstoengraz’s skyscrapers pulsed hideously:

from some grew giant, suckered tentacles that shimmered a deep, burnished gold in the electric night;

from others flapped aquatic creatures’ tails that became teeth that chattered and sang a miasma of harsh electronica and metal and old classical songs in alien tongues,

while in the centre of other buildings giant eyes blinked and swivelled and rolled around like pool balls,

whereupon others the material of the walls shifted and warped to create titanic vertical lawns, sprouting lush verdant before yellowing and flickering into stubby frost within seconds that evaporated into the indigo air,

and other buildings lit up with the bioluminescence of a million tiny submarine jellies.

The organica on Zentrustraße was more ostentatious than most other places, being the most moneyed part of the city, and so it made sense for the protest to gravitate here, but he hated coming face to face with the worst of the things he’d designed.
I too had trouble parsing the long sentence.
The reason I separated the parts is to demonstrate what I use to determine if my attempt at a long sentence is working. If you have to use this many conjunctions then it might not be working. Though they help push the separate sentences together they manage to slow it down and make it confusing to me.

When I try to break it down I get this.


Above him the quasi-organics of Norstoengraz’s skyscrapers pulsed hideously.

Suckered tentacles shimmered a deep, burnished gold, massive in the electric night.

Aquatic creatures’ flapping tails became teeth that chattered and sang a miasma of harsh electronica and metal and classical songs, in alien tongues.

At the centre of other buildings, giant eyes blinked and swiveled and rolled around like billiard balls.

For some, the material of the walls shifted and warped to create titanic vertical lawns that sprouted lush verdant before yellowing and flickering into stubby frost and within seconds evaporated into indigo air.

Other buildings lit up with the bio-luminescence of a million tiny submarine jellies.
----
If I were to try to munge all this into one sentence, which somehow breaks some of my own rules, then I'd break those rules this way.
--

Above him the quasi-organics of Norstoengraz’s skyscrapers pulsed hideously; suckered tentacles massive in the electric night shimmered a burnished gold, aquatic creatures’ flapping tails became teeth that chattered and sang a miasma of harsh electronica and metal and classical songs in alien tongues, with giant eyes that blinked and swiveled and rolled around like billiard balls, others lit with the bio-luminescence of a million tiny submarine jellies, walls shifted and warped to create titanic vertical lawns that sprouted lush verdant before yellowing and flickering into stubby frost and within seconds evaporated into indigo air.

But that might not get the images correct and may mess a bit with your voice which is why you need to parse this down yourself or perhaps separate the sentences.
 
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Thanks all. I must admit I have a fondness for long sentences when I want I create an overwhelming sensory hit, of so many images that it's almost too much for the character to bear. Hypotyposis is a valid literary technique, but a tricky one, and it still needs to work for the reader, so I'll have to try and reconstruct it somehow. Good to know.

HB, yes you picked up on the most important character point - he hates his own creations. A paragraph or two later this is drawn out more, once he joins the protests. I wonder if this titbit is just enough for the reader right now - I don't want to drop an infodump about it.
 
I also like this, but thought some sentences and paragraphs overly long.

A few things jarred:
  • Reading "screams and gunshots" make me think of combat, which meant that the realisation that it was a protest was anticlimactic.
  • Beaming is a positive expression. It is smiling radiantly, according to the Oxford online dictionary.
  • Would he be able to jog through a protest crowd? To me, that suggests a crowd that's not fast-moving, rowdy or closely packed.
 
As far as being a first draft is concerned, I like this piece. Actually, I like it a lot.

From nature I don't have a problem dealing with long sentences. In this piece I think their use might have enormous potential.

A lot of talk is made of 'Show not Tell'. It's all about generating a sympathetic response to the prose in the reader. I am still learning how to do this effectively.

Recently, I have also been experimenting with an alternative 'Do not Tell'. This is about creating an empathetic response in the reader.

Grub appears to be a manifest dichotomy. This is what makes him interesting to me. This is what I want to know more about.

Let me explain. If handled correctly the intentional interspersion of long fluid and almost organic sentences, that suggest a feeling of near aimless wandering and purposelessness, with much shorter harsher ones, that convey the supposed data driven certainty of science and technology, might, in some abstract way, be capable of instilling, in the reader, the same feelings of tension, as this poor chap is dealing with in his own existence, in a far more direct and intimate manner. I think.
 
I wonder if this titbit is just enough for the reader right now - I don't want to drop an infodump about it.

More thoughts, then:

Peering out from the edge of the alley he sighed at the chaos before him on Zantrustraße

I'd think about possibly starting here. And I wouldn't explain so much about his reasoning. I'd have him join or follow the protest, but not yet tell us what it's about. Don't explain his reason and then his anger. Give us a taste of his anger, his reaction to the organica, but don't let us know why yet -- in the same way that you've shown us his altered body but haven't explained that. I think there could be a good hook in him just walking somewhere, clearly with purpose that we don't yet know, and quickly setting up some questions we want answered.
 
I'd think about possibly starting here.

I'll certainly give it a try. I can move the bit about the brainstorm/migraine. I don't want to lose it as his dependence upon medication to keep his brain in check is a critical aspect of his character, and I think introducing it early is important; the idea is to suggest that if he doesn't take the pills, something bad will happen.

Do you think just popping the pills without the sudden migraine would be enough to alert the reader to this dependence without showing the full on attack? I could show it after the protest (later in the chapter).

  • Reading "screams and gunshots" make me think of combat, which meant that the realisation that it was a protest was anticlimactic.
  • Beaming is a positive expression. It is smiling radiantly, according to the Oxford online dictionary.
  • Would he be able to jog through a protest crowd? To me, that suggests a crowd that's not fast-moving, rowdy or closely packed.

Good spots, Ti. Cheers
 
Ok, so let's assume you start from here. Red = delete, Green = delay, Blue = commentary


}}}}Peering out from the edge of the alley he sighed at the chaos before him on Zantrustraße, one of the city’s main thoroughfares. The crowd had swollen to double its size and now rolled along the road, greedily occupying both lanes, gobbling up every inch of free space.

[Now do the fumble for pills thingy]

The brainstorm had cost him minutes that would mean he’d have to jostle for space through the crowd. The prospect of that filled him with anxiety, and a burst of sweat prickled him under his already sodden shirt. He probably stank like sh*t.


Was it all worth it, all this protesting and demonstration crap? What did he possibly hope to achieve with this busted, broken down body? Maybe he should just let the kids do their thing.We don't know this guy, and we don't know the stakes, stakeholders, or, well...anything really. Too early to engage with his moral dilemma

In response, first came reason. He wasn’t really doing it for himself; fighting a terrible corporation like NEP-E was pointless for him, but for others, he was an important totem. A symbol of the corporate . For them to leverage justice, even recognition, he had to be visible. (same as above)

He regarded his disfigured hand and flexed it painfully. Phantasms of aches tingled along the ghosts of his missing digits. That had to be visible.


Now the phone call from his 'dude' friend



Second came anger. Grub was slow to anger (this is a POV shift to me, (albeit technically not). ie, we're getting his internal thoughts before, now you're blatantly addressing him in the third person)


– surprisingly, some would say. People always thought he’d be consumed by anger after what had befallen him (oh.., do tell...no-wait, don't. Show it later through dialogue or actions. :)),

but anger was frequently dampened by the great morass of depression that weighted upon him. (same as previous)

But it was there; a dull spark of righteousness that propelled him from the alley and into the crowd. (same again)


Above him the quasi-organics of Norstoengraz’s skyscrapers pulsed hideously: from some grew giant, suckered tentacles that shimmered a deep, burnished gold in the electric night;(full stop)
From others flapped aquatic creatures’ tails that became teeth that chattered and sang a miasma of harsh electronica and metal and old classical songs in alien tongues, while in the centre of other buildings giant eyes blinked and swivelled and rolled around like pool balls,


whereupon (only use 'whereupon' when all others words in the English language have been extinguished via the inevitable world wide dictionary meltdown of 2040){{{{{


I had to stop here. what you have at the moment is some great ideas, and maybe some great imagery, if it were stripped down quite a bit.

I think the issue here is two-fold, and is very very common.

1/ You underestimate your readers ability to 'fill in the blanks', or trust them to give you the benefit of the doubt, ie, trust you. This results in packing waaaaay too much info into a very small space. Which leads to clutter, which leads to reader disengagement.

As a consequence of this lack of trust that you'll be given this, em, trust - you are saying to your reader 'hey, I've loads of ideas here, there is LOTS going on, lots of really good stuff coming - for real'. So, you are cramming them all in, from the get-go. Before we even know where we are, what or who we're dealing with, what time of day it is/isn't Does every one call each other 'dude' and 'man' now? - wait did he say 'human hand?' wow, now that's interesti-- WAIT, wtf is happening now? and now? AND NOW????
Arghhhhhhh!!!

2/ Telling not showing. I know this is tricky to get right, but wow, you do have lots of it in here. You're telling us his thoughts, feeling, beliefs, apparent background issues, etd. But it would be a lot better to see it in action, and through dialogue. The reader will wait, honest. For real. I mean, we have a robotic hand!! C'mon! That's worth a few pages of not knowing Every Possible Single Thing about the plot and character, there is to know, isn't it?
It's robotic!!!
 
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I really like this, but the run on sentences in the last couple paragraphs are challenging to read.

To Stuart's last point, I did pick up instantly that his other hand isn't human. Well, my initial reaction was, "it better not be." For some reason I thought alien, not robotic, but I would have waited a while to hear more instead of a blase hey it's a robot hand.
 
Overwhelmed in a good way by those epic sentences. The only other author I've personally come across who has made me feel disorientated and take a breath with their sentence structure is Cormac McCarthy, so you're in good company. Thumbs up. I was quite dizzied, but liked it.

I do like this, and am intrigued to see more. I would agree with a previous poster about pushing Grub and his dislike of the things he's created to the forefront a tad quicker.

Two tiny not picks (sorry)

The names of the city/planet didn't really jive with me. But that's a personal preference.

And "dull spark" didn't really work for me. I regard something sparking as being bright. Dull flame would work better perhaps? Again, this would be a personal choice.

All in all. Beautiful written for a draft. There's a real confidence about this piece that I'm drawn too.

Thanks for posting. Wish I could give a greater insight.

v
 
Thanks Stuart and Martin for the thoughts, and thanks Vaz for the fabulous feedback, that's fantastic.

Stuart, that's really a good crit, some good spots in there. I knew there was something not quite right about parts of the text, but couldn't quite tell what, so you've helped to clarify it in my own mind. You know it's funny, where you say I'm cramming loads of info into this beginning; I thought I was holding loads back! But now I can see from a reader's perspective that might not be the case. Thanks muchly :)
 
Late to the party, sorry, although I did have a read of most of what's been said above.

My overall impression is that I enjoyed it, there's a clear character and a clear sense of place. What is missing for me is rhythm. We're in a crazy environment, but the huge sentences and long descriptions take us away from the urgency. Thing is, I know your style, so I'm loath to be too critical of it, and as I don't approve of rewriting other people's work (unless they're then going to let me write the rest of the book - what's the point?) I won't Beanify it.

A few thoughts on this and that though:

in his disfigured right hand, which shook terribly

This is an example of something I believe could be efficient-ised in draft 2 to reduce word count. I'd be quite happy if it were 'in his shaking, disfigured...'

and he held out a hand against

His action of holding his hand already tells us it's 'out' and can be safely deleted, I think.

he felt them drop from his palm

Felt distances me from Grub's experience a little.

Grinding his teeth and whispering a babbling prayer of begging and profanity, both his prosthetic, robotic hand and human hand flailed around, until at last he felt the little gelcap and let out a little whimper of joy.

I'm not sure if he has a prosthetic, and a robotic hand, and a human hand the way this sentence is written.

With a desperate gasp he swallowed it,

Would he be desperate after he'd just whimpered with joy? I know waht you're going for, but I'm not sure desperate is the right word.

lapping up a slurp

This seems tautological (I really hope that's the right word or I'm going to look like a right ol div). I think you should just have slurp as lapping kind of intimates that.


Think there needs to be a comma between dog and to, to give it an easier rhythm.

With a desperate gasp he swallowed it, lapping up a slurp of the bitter, gritty rainwater like a dog to wash it down, and then he rolled onto his back, clenching his face into an ache as he muttered nonsense to pass the time until the pill took effect.

This is one of the examples of the long sentences. Whenever I use then in a long sentence, I try it with a full stop and no 'then', and start a new sentence. It would make this a lot easier to read.

When the brainstorm eventually subsided, a minute that seemed an age, his pulse was drumming a desperate rhythm and only tiny rabbit breaths escaped his lungs. Spitting out the rainwater and rolling over to his knees, he allowed the pain to subside and for a moment bathed in that sweet feeling of subsidence, of a return to normality.

I wasn't convinced by rabbit breaths and as the 'a minute that seemed an age' seems to be an aside, it might be easier to read with hyphens (Or dashes, whatever the right name is) either side of it, to replace the commas.

Or whatever the hell normality was.

Definitely lose 'Or' IMO. It's a nice aside but there's a logic problem with 'or' at the front.

He probably looked like sh*t, but he reasoned, what’s new there?

More immediacy of his thoughts would come if you got rid of 'but he reasoned' and just semicoloned it.

Again, nothing new there. The woman was set to permascowl

Would the full stop not be a semi?

“Get the •••• out here, man, every person counts. You know that more than most.”

Ashli is this focus of urgency and anxiety so I would expect she would not speak so lengthily. Or perhaps more staccato. In that sense I don't like the "you should know that more than most" - not just because of the lack of urgency, but also it makes me think I'm meant to be storing that bit of info; something's happened to Grub in the past which will make Ashli's words clearer. If that's the case, I think you need to be a bit more veiled there, a bit more canny.

He nodded, closing the call. Peering out from the edge of the alley he sighed at the chaos before him on Zantrustraße, one of the city’s main thoroughfares. The crowd had swollen to double its size and now rolled along the road, greedily occupying both lanes, gobbling up every inch of free space. The brainstorm had cost him minutes that would mean he’d have to jostle for space through the crowd. The prospect of that filled him with anxiety, and a burst of sweat prickled him under his already sodden shirt. He probably stank like sh*t. Was it all worth it, all this protesting and demonstration crap? What did he possibly hope to achieve with this busted, broken down body? Maybe he should just let the kids do their thing.

In response, first came reason. He wasn’t really doing it for himself; fighting a terrible corporation like NEP-E was pointless for him, but for others, he was an important totem. A symbol of the corporate . For them to leverage justice, even recognition, he had to be visible. He regarded his disfigured hand and flexed it painfully. Phantasms of aches tingled along the ghosts of his missing digits. That had to be visible.

In draft 2 will this be pruned?

Phantasms of aches tingled along the ghosts of his missing digits. That had to be visible.

I really did not understand what it was that had to visible.

Second came anger. Grub was slow to anger – surprisingly, some would say. People always thought he’d be consumed by anger after what had befallen him, but anger was frequently dampened by the great morass of depression that weighted upon him.

Four angers.

Norstoengraz’s

Awesome name.

creatures’ tails that became teeth that chattered

Two thats. Could the second one be which?

So, it's go the Dan seal on it, and I liked the set up, but there's so much density in there, there's no real inciting thing, or 'hook' (Yuk, I hate even typing that ;) ). I finished it the first time and was not sure what it was that was urgent and why he should be berated by Ashli. I think that's the only thing that is a problem for me.

I like his conflict, and his law-unto-himself-ism, but it's not coming through enough with all the description and long sentences. the opening paragraph up till 'not now for **** sake' is clear and almost transparent despite the density. If you can carry that on through the later paragraphs I think you'll be fine.

There you 'ave it.

pH
 
Fab feedback, Ph, thanks for taking the time.

I really did not understand what it was that had to visible.
This is one of those instances when, upon reading the original text, I had no idea what the hell I'd meant to say! It took me about five re-reads to realise that I'd meant to write "He had to be viisble," so it was in fact a typo. Good spot, doe ;)

And other interesting points in there, too. I've never opened a novel before with a big "set-piece" before*, and that probably shows in the information overload. Draft 2 will see some pruning, for sure, and I'll consider how to drip drip some of those titbits of information into the text.

*Actually, this isn't chapter 1, but it's the first chapter "proper", if that makes sense. Probably not.
 
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