Dangnabbit *thuds head* take 6013....

Status
Not open for further replies.

Jo Zebedee

Aliens vs Belfast.
Supporter
Joined
Oct 5, 2011
Messages
19,507
Location
blah - flags. So many flags.
Okay, the sodding new thing. I cannot get this first chapter to work. So I'm falling back on the age-old does the second chapter work better. So, let's see.....


---------------------------------------------------------------------------------------------------------

The phone was startlingly loud in the high-ceilinged hall. Jean, her high-heels clipping on the wooden floor, hurried to the telephone desk and grabbed the handset off the receiver just before the answer-phone set in.

“Templeton House, Mrs Sweeney speaking.” She loved how that sounded. Templeton House, a place she would ever have dreamed of living in as a child. And Mrs Sweeney, not Jean, not just because it had more gravitas, but because it told people she had been the one to fight hard enough, and long enough, to capture Robert. Other women might have tried, dripping off his arm one after the other, but only she’d managed to keep him.

“Paddy-from-Castlewellan here.” The man had a broad country accent, so thick she had to concentrate to understand. She frowned, trying to place either the voice or the name, but neither came to mind.

“Yes?” she said. Perhaps he’d ask to do some work on the house, like the fellows who turned up every summer, offering to do her driveway. Travellers, quite clearly, not the sort of workmen Robert would tolerate.

“You asked me to be on the look out,” said Paddy. “For books and objects, like.”

Her back straightened, on alert, but she held herself in check. She’d had other such calls before. All, once investigated, had proved useless: false mediums using crystal balls made of lumps of glass; wise women who turned out not to have second-sight but a nosiness that kept them in secrets for years.

“Go on,” she said. Strange though these lines of enquiry might be, the police investigation had proved a dead end and a private investigator had turned up only hints. Where normal rules and rationality failed, a more esoteric approach might be effective.

“There was a death in Newcastle at the weekend,” said Paddy-from-Castlewellan.

“And?”

“The Grey Lady turned up.”

Jean stared out the window, eyes raking the wind-assailed driveway. The beech trees waved like they were alive and she couldn’t decide if she liked it or if it was unsettling. The man didn’t give anymore details, so she was forced to ask: “The who turned up?”

“The Grey Lady. She’s a banshee.”

“Go on,” she said, hiding her disappointment. A banshee, even if it were possible, wasn’t what she needed: a banshee knew what was to come, not what had been.

“One of the people who helped out was an artist. She was painting a picture of the harbour before it happened.”

“Yes?” By goodness, he was long-winded.

“Well, she saw the banshee.”

So what? The words were on the tip of her tongue, when his meaning sank in.

“Did anyone else see it?” She had to know there was no confusion, but already her heart was quickening with excitement.

“The man who died. He was of the family. They’re normally the only ones who see the Grey Lady. But this other woman did, down at the harbour. She told Anne, my sister’s best friend, who works in the bar. She helped with the first aid. That’s how she heard and she knows I'm on the look out for that kind of thing.” He paused, and she could tell there was a punchline building. “She even managed to grab the picture for me. I have it now.”

“You stole it?” She hadn’t asked anyone to steal but couldn’t bring herself to be disappointed.

“Aye.” His voice gave no hint of any shame. “And Anne’s right. The Grey Lady is in it. The artist definitely saw the banshee.” Another pause and she could practically hear the cogs turning in the man’s head. “Do I get my cut, Mrs Sweeney? You said you’d pay for any information on the old ways. I know it was objects I was to keep an eye out for, from house sales and the like, but this might still be useful? I have the picture, and her number and address. Our Jim works at the reception of the hotel she stayed at, and he slipped it to me. And her website – she has other pictures on it.”

She made sure to hide that she was secretly impressed. “Indeed you should get your cut. Paddy, wasn’t it? Let me give you my email.” She read it out, carefully and had him read it back. “Please send me a copy of the picture. Plus the bank I should send remittance to. Now, what was the address of the website, please?”

Carefully she copied it down and hung up. She went into the lounge and took her iPad off its charger, quickly inputting the website.

Disappointment filled her. The pictures on the website were landscapes, with few standing out. None screamed of any sort of psychic ability. She scrolled to the second page and stopped at one picture. It was darker than its companions, taking her attention in a way the others had not. It was a seascape, on a wild day. The water seemed to rake into land, so strong were the brush strokes, so precise and exact. She could nearly taste the tang of brine and the sudden chill of a squall hitting.

In the background a building could be seen, its tower stretching like a single finger against a darkened sky. She recognised it as Ballygally Castle, the hotel with the supposed ghost. She picked up the smallest smudge of white at the top window, as if a face watched from above. She zoomed in, checking, and, yes, it was in the ghost-room in the turret’s window.

The ping of an incoming email drew her away. Quickly, she opened the attachment and leaned in, glasses perched on the end of her nose. The picture of the harbour was rough, obviously a working sketch but that it had been painted by the same artist was undeniable – even in the rough pastels there was a semblance to the structure and feel of the Ballygally picture. She found herself pulling her scarf around her neck, as if there was a chill in the air.

The harbour in the painting had been captured as both bleak and oddly beautiful. There, amongst the boats, her grey dress sweeping the quayside, was the undeniable figure of a woman.

She had to sit down. Her head was light. She sank onto the couch, a smile breaking, part disbelief, part delight. This artist was the real thing: finally, she might get the answer she’d waited so long for. Once again, as with Robert, she'd been the one who had waited for the right moment, and it had paid off. She pinched the screen, making the image bigger.

Oh, and just how it had paid off.
 
I do like this, and I think it has a stronger character voice than Amelia's opening, but I don't think it quite works as an opener; there's too much context missing, without which there isn't enough hook. I think it would work perfectly as a second scene, which was clearly your original intention.

That doesn't help you with the first, of course, except that now I see the amount of detail about the painting and so on, it leads me to think that you don't need the painting, or the ghost, as the subject of Amelia's intro -- indeed it would seem a bit repetitive. So you can focus on something else, something that happens at Ballygally either just before or just after, something with enough detail missing to let us put the pieces together rather than it being done for us.

A couple of other points.

She loved how that sounded. Templeton House, a place she would ever have dreamed of living in as a child. And Mrs Sweeney, not Jean, not just because it had more gravitas, but because it told people she had been the one to fight hard enough, and long enough, to capture Robert. Other women might have tried, dripping off his arm one after the other, but only she’d managed to keep him.

This feels a bit of a lengthy diversion to happen in the moment between her speaking and the man answering, but it's not uncommon to have in an opening couple of paras, so I'd cut it some slack. However, this --

The beech trees waved like they were alive and she couldn’t decide if she liked it or if it was unsettling.

-- seems an odd thing for her to try to decide at that moment, just after she's been told about the Grey Lady. It makes her seem easily distracted. Of course, if that is her character, all well and good.
 
Should that be

a place she would never have dreamed of living in as a child.

Jo?
Ah, grammar. That old chestnut ;) (thank you!)

@HareBrain - that has been the reaction from readers so far - that it gives the context to the picture scene and makes it okay to start with that scene after all. Which is no good obviously - to have an opening scene that only works after chapter two....

And then I'm stumped as to where to open. Bah.
 
Okayyyyuu...3 hours and half a notebook later. If I took this back to Amelia's childhood and her first 'event' and show the family shushing her ability and curbing it. Cheers, Bryan, who always gets me thinking. Looks like I #amwriting :)
 
Okayyyyuu...3 hours and half a notebook later. If I took this back to Amelia's childhood and her first 'event' and show the family shushing her ability and curbing it. Cheers, Bryan, who always gets me thinking. Looks like I #amwriting :)

Just a thought Jo, if going back to childhood then howzabout summet happening to Jean Sweeney in parallel? Spooky event that affects both of them?


Zombie alien evil cyborg with a death ray
 
The trouble with this piece is that if your story is about a single protagonist, then you really want to introduce them in the first chapter unless there's a good reason not to. There's the problem that readers will latch onto the first character they become focused on, and Chapter 2 doesn't appear to be about Amelia at all.

If I took this back to Amelia's childhood and her first 'event' and show the family shushing her ability and curbing it.

That sounds like a Prologue, not a Chapter 1. :)

With the pieces you've already posted, there was a problem with lack of character focus on Amelia that you started to address in later revisions. In both sets there was also a supernatural event that came across as somewhat forced - in which case, are there any spooky situations or events in your own life you can draw on and bring into this, to help create a more natural and honest sense of something ominous?

I'm not trying to take a swipe here - you're a good writer - I just wonder if maybe you're holding back on something that might help here?

Totally appreciate the difficulty of getting that right beginning, though. :)
 
I think.... The version with the character focus went against the grain of the story as it stands. To have this as an event happening to a character who wants to fight it or be active, or anything else, doesn't support the rest of the story without context. Which, yes, might require a prologue - if it's hookier I'd roll with it. Or it might take a change of point of view if Amelia isn't active enough. But I don't think there's a hidden reason why this isn't working - just that it's not the right place to start the story. :)

Danny/Kerry - I don't want to explore Jean's background at this point as it would be spoiler-city.
 
Okayyyyy... When in desperation try it in first, and then convert it back. This emerged. (Rough version, but you'll all get the gist). Better? It feels more right:

It happened in a place where it never should have. On a sunny day, at a harbour picturesque enough for Amelia to have pulled out her sketchbook and pastels to try to capture it. When she was relaxed and not ready.

First, the tightness in her chest. Always that, and then the thunder-headache that pinched her sinuses, even though the sky was clear. And then the panicked reminder that she couldn't let anyone see what was happening. Her aunt's shrill voice carved through the headache. People would think she was weird. Aunt Hilda's bony hands digging into her shoulders, her face up close. Amelia would never get a boyfriend if he knew. Like she'd even wanted one. That she'd never get a shag. That she'd be bullied forever.

The sketchbook dropped from her hands, rattling to the ground. She wanted to clap her hands over her ears to escape the shrieks that came from the woman on the opposite quay, that rose and fell and didn't stop.

And then hands grabbing her arms. A 'quick, missus, there's a man not well.' Running down the quay after a couple of teenagers to the old man on the ground. And still the bloody shrieking, on and on and on.

She'd crouched by the man, and he didn't look good. Sallow face, clammy skin. A weak hand clawing at her t-shirt.

"You see it, too?" he'd asked. "I'm not crazy?"

And she hadn't been able to lie. Not in his last, long moments. Instead, she'd nodded her head.

Later, she'd regret that. When the man had been taken away in the ambulance - but he'd been dead, they'd covered his face - and the teenage boy told the bar-lady who'd come over with the blanket the medics had used.

"She saw the Grey Lady," he'd said, and Amelia had backed away. She wasn't to tell. No good would ever come of it. His goth girlfriend looked at her like an insect, just as Hilda had said.

She'd left then, hurrying back to the hotel and Joe, and she knew something had happened - again - more vividly than ever before. On a day when she should have been safe. It had happened, but she mustn't tell.
 
Yes, I think that works, with some polishing (you change from perfect to pluperfect for one thing). It's a much stronger voice than your previous Amelia openings.

Because it's quite fraught, you might then want to calm down the start of Jean's chapter: hush, furniture polish, measured footsteps walking across parquet to the telephone table. "Startlingly loud", "hurried", etc, might feel too close to the first chapter.
 
Shag-tastic :D

Does it mean the same on both sides of the Atlantic?

I hope so. :)

Right! No one say anything else! If i have to try again i'll cry. Oh and, bunny-boy, help a non-grammatician out. The plu-what, where?! ;) (i bet i'd catch it with distance but i'd never know why it was wrong :)
 
Last edited:
The plu-what, where?!

You do know it, you just don't know its name. Pluperfect is when you're overall using the past tense, but referring back to something that happened before that.

You go from she did that ("the sketchbook dropped"), to she had done that ("she'd crouched").
 
You do know it, you just don't know its name. Pluperfect is when you're overall using the past tense, but referring back to something that happened before that.

You go from she did that ("the sketchbook dropped"), to she had done that ("she'd crouched").

I do. Poor @Ursa major taught me it ages ago. It still makes my head hurt. :)

(and ty).
 
The way I tend to look at it, the future tense is one step forward, the past (perfect) tense is one step back, and the pluperfect tense is two steps back. I don't know if that helps at all.
 
It happened in a place where it never should have. On a sunny day, at a harbour picturesque enough for Amelia to have pulled out her sketchbook and pastels to try to capture it. When she was relaxed and not ready.

This is much better IMO. I commented on your other thread about opening paragraphs. I'm not sure it's perfect, but this for me is more of a grabber as a first line.
 
Status
Not open for further replies.
Back
Top