The Shorewalker - Opening

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Shorewalker

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This is plan A. This is the opening chapter of book 1 of a four book epic fantasy series. Not a lot happens, of that I am aware, but I'm aiming instead for immersion, mood and prompting questions in the reader.

I do have a plan B, C, D & E to open, but I don't like any of them as much as I like this. They either feel contrived - a mechanism to open with action - or they create problems with the order of the narrative.

Anyway, thanks in advance and have at it!


Accompanied by the rumbling growl of thunder, the slate of the late afternoon sky was ripped open as a jagged shard of lightning struck down for the vague bulk of the hills to the south. In the distance, hounds howled out their outrage and fear. A tingling charge hung heavy in the air, oppressive and threatening, and the gloom thickened as the blaze of the lightning died away. For a moment, pregnant silence held sway.


And then the skies split wide. Pouring from the rips came curtains of rain, these hammering down onto the tight streets and alleys of the city, sending folk scurrying for shelter in doorways and beneath overhangs. In mere moments, the thoroughfares were beneath water, garbage swirling across the cobbles like decaying water lilies. Urchins splashed laughing through the filthy runnels as old women wrapped shawls tight around hunched shoulders, hitching up ragged dresses in vain attempts to save their hems from a drenching. Run-off cascaded from the tiles of crooked roofs, small waterfalls that steadily increased in speed and power. As thunder again exploded over the rooftops, rattling window frames and sending vague tremors through the streets, the denizens of D’raynar waded for home. Behind shutters and grimy windows, the warming glow of lanterns being lit finally relieved some of the darkness.


Squeezing herself further back into the doorway, Jenn pulled her cloak tighter around her neck and pushed away the green shoots of envy. She could seek shelter should she wish - with autumn taking a firm grip, the city’s inns and taverns were no more than half-full - but she chose not to. What little coin she still possessed was not for the purchase of comforts. Not when she had more urgent needs.


Perversely, Jenn found herself relieved by the storm’s arrival. It had forced her to find shelter rather than continue on up the hill, delaying her arrival at journey’s end and giving her opportunity to think. True, the hundreds of leagues she had already travelled had been more than enough time to consider. However, this relatively short distance across the city somehow felt just as long as her many months on the road.


And here, huddled in this filthy doorway, drenched, cold, hungry and miserable, she wondered whether any of this made sense, whether any of it was sane…and whether her efforts would make the slightest bit of difference anyway.


But they had to; it was as simple as that. Giving up was an option she refused to entertain. Straightening from her huddle with a weary sigh, ignoring the icy fingers of rain that had breached her cowl to run down her back, she strode out of the doorway and into the teeth of the storm. With froth-topped rills of sewage lapping over her travel-worn boots and thunder barking out its anger, she set her jaw and turned up the hill.


I suppose this is entirely appropriate. It’s not like I expected some gleaming castle and shining knights to greet me when I finally got here.


Home was countless leagues and many months behind her, those months filled with danger, pain and fear. With an ache that was almost physical, Jenn missed the simple comforts that had been stripped from her; the soft caress of clean sheets on her own bed, the hearty aroma of pheasant and beef drifting up from the kitchens, the dappled sunlight cascading down through the branches of the hoary oak in the lily gardens behind the keep.


Trudging up the hill, the rain battering a chill into her bones, Jenn kept those memories at the front of her mind, keen-edged reminders of what had been lost.


And for that loss, she would insist that there be an accounting.


With the incline sharpening, the lane began winding back and forth, softening the slope. The small, grimy houses closed in. Half-timbered, or of rough stone, their unsteady cants almost brought their eaves together in arches above the thoroughfare, sucking more of the dim light from the day. Forcing one foot in front of the other, Jenn’s mood was as grim as her surroundings.


I cannot fail, I must not fail.


Head bent into the sheeting rain, it took her a moment to realise that the winding street had levelled out into a tight little square. There was an ancient, grime-encrusted fountain in its centre, the water from its spout long since dried up, and the cobbles of the square dipped and bowed, cupping puddles that were deepening by the heartbeat.


Gazing forlornly down onto the square were a few tired houses, a blacksmith’s forge - one door swung wide even in the downpour - and a three-storey inn. Like the houses, the latter was half-timbered above a stone-walled ground floor and appeared in need of some attention, its panelling fading, its small windows dim and grubby. A sign hung above its door, creaking back and forth in the wind. The Fox And Staff, it declared, the creature in question up on its hind legs, wielding a long stick and grinning inanely.


Jenn wasn’t sure what she had expected, but after long months of arduous travel, it all felt a touch anti-climactic. The building stood quiet, no outward sign that it was what she sought, that it was even occupied.


Maybe I’ve got the wrong inn? Maybe I’ve got the wrong damned city?


Crazed laughter bubbled up in her throat, but she forced it down.


Then the thick oak door beneath the sign banged open. Out onto the rain staggered a large man, his booted feet slipping on the stones, his shirt and leather jerkin open to his hairy, bloated stomach. As he finally righted himself, dragging his greasy hair back from his red-rimmed eyes, a threadbare cloak flew out from the inn door. He snatched at it and missed.


“And if you show your ugly face in here again,” hollered a female voice from within, “I’ll have your balls hung above the hearth before you can say ‘’begging your pardon, ma’am’!”


The door slamming shut behind him, the man picked his sodden cloak up from the ground at the second attempt. Standing somewhat unsteadily, he finally noticed Jenn and offered her a gap-toothed grin that was decidedly unpleasant. The grin swiftly turned to a letch and Jenn’s indecision vanished. With a sudden turn of speed, she hid her face in her cowl, splashed across the square and pulled open the door to the Fox And Staff.
 
Heads up - this could sting:

This very much reminds me of what I was doing ten years ago, and the problem was both one of over-writing and also lack of focus.

The good news is that you probably have the bones of your story completed - the bad news is that you need to brutally cut away all the fluff that's suffocating it.

For example, the opening - I did the same, spending hundreds of words describing calamitous weather in order to give a sense of mood and foreboding. The first problem is that all the time you do this you're actually delaying the time it takes for the story to actually start. Secondly, forget about establishing shots - you are not writing a film but a novel - so instead throw us straight into the character and make the reader experience everything they do.

Which means you don't simply jiggle the text around so that you open with the character, then copy/paste your storm descriptions back in - you rewrite everything according to what the character experiences, and keep the descriptions to a minimum - the reader does not need two paragraphs of description to know that it's raining.

Additionally, don't let your descriptions become generic - be specific in the detail. Your description should make it clear that this is a unique world with your own unique names and details. Once you start writing your character experience, it should become more like that.

As for character - you're holding back, resulting in vague text. You want the reader to ask questions that are specific to the situation, not ask what's going on. You spend perhaps a thousand words telling us that someone has something in mind - but it's all tell, no show, distant and lacking emotional engagement. We have no reason to feel for this character because we need to feel them struggling in order to do so.

So, overall - you do have a nice use of words, but you need to be able to provide a sense of focus. Save your file, put it aside, then copy it into a new file and then brutally slash everything until all you're left with is the core. It can sound scary, but trust me, once you've tried it you'll start to see your story shine.

I'm also going to recommend you read Save the Cat by Blake Snyder, as that's great for learning about character development and personal struggle.

And sorry if I sound negative, but it's not actually as bad as it all sounds - it just means you have a bit more work ahead of you before I think you can say what you have is really polished. I'm sure you can do it - just be patient and focused. :)
 
I'm afraid it doesn't grab me. You've got some lovely description in there, but it's as though you're trying too hard, so that some of it seems overdone. I feel like the amount of description could easily be halved without damaging the story, and I'm afraid I don't feel any particular attachment to Jenn or why her quest (whatever it is) is so important. Perhaps that shows up in the next page or so, but I'm not sure I'd make it that far.

I'm not sure that "a letch" is a thing. A grin could turn lecherous. I think the drunken lecher is the most interesting character of the three you show us here, hopefully he shows up again.

The parts of description I don't like:
  • First two paragraphs
  • Thunder barking
  • The fox and staff sign, most of the description of the building (seems unnecessary to say it's like the other buildings)

Parts I do like:
  • The perverse enjoyment of the storm
  • "With the incline sharpening..." paragraph and the description of the square
  • The drunk

I feel like I've been a bit harsh, so apologies for that. I hope this is useful to you!
 
Cheers, people! Useful and appreciated...and most of it sorta known already. Verbosity is a failing right now.

One thing I would say is regarding Jenn's 'issue'. This is something that I've revealed slowly in the first few chapters, hence the vagueness here. I'll think that through again to see whether it's worth it, or whether to put it out there immediately.
 
Be warned, I have teeth. I also haven't read the other critiques yet.

This is plan A. This is the opening chapter of book 1 of a four book epic fantasy series. Not a lot happens, of that I am aware, but I'm aiming instead for immersion, mood and prompting questions in the reader.A question is a hook - provided it's asked in a hooky fashion ;) I see below you've tried to seek an action-led opening and often people think this is the way to an easy hook, but it's not at all the only way.

I do have a plan B, C, D & E to open, but I don't like any of them as much as I like this. They either feel contrived - a mechanism to open with action - or they create problems with the order of the narrative.

Anyway, thanks in advance and have at it!


Accompanied by the rumbling growl of thunder, the slate of the late afternoon sky was ripped open as a jagged shard of lightning struck down for the vague bulk of the hills to the south. In the distance, hounds howled out their outrage and fear. A tingling charge hung heavy in the air, oppressive and threatening, and the gloom thickened as the blaze of the lightning died away. For a moment, pregnant silence held sway.Opening with the weather is a real no-no if you hope to approach agents (if you're planning to self publish, it's entirely up to you). Whether that's fair or not, I don't tend to feel involved when long information about the weather starts the book for me. Frankly, why would some rain and lightning get me involved in a story? What does it tell me about the story?


And then the skies split wide. Pouring from the rips came curtains of rain, these hammering down onto the tight streets and alleys of the city, sending folk scurrying for shelter in doorways and beneath overhangs. In mere moments, the thoroughfares were beneath water, garbage swirling across the cobbles like decaying water lilies. Urchins splashed laughing through the filthy runnels as old women wrapped shawls tight around hunched shoulders, hitching up ragged dresses in vain attempts to save their hems from a drenching. Run-off cascaded from the tiles of crooked roofs, small waterfalls that steadily increased in speed and power. As thunder again exploded over the rooftops, rattling window frames and sending vague tremors through the streets, the denizens of D’raynar waded for home. Behind shutters and grimy windows, the warming glow of lanterns being lit finally relieved some of the darkness.You have around 250 words in which to hook an agent, I've heard. You've spent them telling me about a thunderstorm.... :)


Squeezing herself further back into the doorway, Jenn pulled her cloak tighter around her neck and pushed away the green shoots of envy. She could seek shelter should she wish - with autumn taking a firm grip, the city’s inns and taverns were no more than half-full - but she chose not to. What little coin she still possessed was not for the purchase of comforts. Not when she had more urgent needs.And here, the character is not shining through. It feels distant as an introduction to her. Perhaps it's the very formal language which doesn't feel like a character would really be thinking all of this.


Perversely, Jenn found herself relieved by the storm’s arrival. It had forced her to find shelter rather than continue on up the hill, delaying her arrival at journey’s end and giving her opportunity to think. True, the hundreds of leagues she had already travelled had been more than enough time to consider. However, this relatively short distance across the city somehow felt just as long as her many months on the road.And this is really all an excuse to dump back story. I still don't have any question raised in my mind or anything, really, to tell me what the story will be. I'm guessing standard medieval-style epic fantasy at this stage - and, really, that's not in vogue with agents etc at the moment. If your story is that, then fine, you've painted the picture. If it's not, you might be doing yourself a disservice with this beginning.


And here, huddled in this filthy doorway, drenched, cold, hungry and miserable, she wondered whether any of this made sense, whether any of it was sane…and whether her efforts would make the slightest bit of difference anyway.Getting bored now. Nothing has happened. I'm twitching to put the book down in the virtual book store in which I have picked it up to try....


But they had to; it was as simple as that. Giving up was an option she refused to entertain. Straightening from her huddle with a weary sigh, ignoring the icy fingers of rain that had breached her cowl to run down her back, she strode out of the doorway and into the teeth of the storm. With froth-topped rills of sewage lapping over her travel-worn boots and thunder barking out its anger, she set her jaw and turned up the hill.And here, I'm afraid is where I would stop (but I'm not a huge epic fantasy fan anyhow). She's miserable. She's sighing. She's mulling over whatever she's mulling over.


I suppose this is entirely appropriate. It’s not like I expected some gleaming castle and shining knights to greet me when I finally got here.


Home was countless leagues and many months behind her, those months filled with danger, pain and fear. More backstory - and we still don't know what is happening in the now or why we should care about her story. With an ache that was almost physicaland more grumpiness and misery - we like a character that gets on with things, or shows a bit of humour in trying circumstances. I understand how hard this is to do - I have one character who tends to the miserable, self reflective end of things, and occasionally needs a boot up the behind to get on with being the hero - but it's a real turn off for readers, Jenn missed the simple comforts that had been stripped from her; the soft caress of clean sheets on her own bed, the hearty aroma of pheasant and beef drifting up from the kitchens, the dappled sunlight cascading down through the branches of the hoary oak in the lily gardens behind the keep.


Trudging up the hill, the rain battering a chill into her bones, Jenn kept those memories at the front of her mind, keen-edged reminders of what had been lost.


And for that loss, she would insist that there be an accounting.Ho-hum. Lots of hints of something. She knows what's going on. Why don't I? I sense an author trying to be clever and not tell me, hoping to keep me reading to discover the mystery. For me, that never works. It just irks me.


With the incline sharpening, the lane began winding back and forth, softening the slope. The small, grimy houses closed in. Half-timbered, or of rough stone, their unsteady cants almost brought their eaves together in arches above the thoroughfare, sucking more of the dim light from the day. Forcing one foot in front of the other, Jenn’s mood was as grim as her surroundings.More information, more description of a miserable world, more moaniness from the character. Still no story...


I cannot fail, I must not fail.


Head bent into the sheeting rain, it took her a moment to realise that the winding street had levelled out into a tight little square. There was an ancient, grime-encrusted fountain in its centre, the water from its spout long since dried up, and the cobbles of the square dipped and bowed, cupping puddles that were deepening by the heartbeat.Info and description


Gazing forlornlycharacter misery down onto the square were a few tired houses, a blacksmith’s forge - one door swung wide even in the downpour - and a three-storey inn. Like the houses, the latter was half-timbered above a stone-walled ground floor and appeared in need of some attention, its panelling fading, its small windows dim and grubby. info and description A sign hung above its door, creaking back and forth in the wind. The Fox And Staff, it declared, the creature in question up on its hind legs, wielding a long stick and grinning inanely.Honestly, I'd start here and cut the whole part before it.


Jenn wasn’t sure what she had expected, but after long months of arduous travel, it all felt a touch anti-climactic. The building stood quiet, no outward sign that it was what she sought, that it was even occupied.


Maybe I’ve got the wrong inn? Maybe I’ve got the wrong damned city?


Crazed laughter bubbled up in her throat, but she forced it down.


Then the thick oak door beneath the sign banged open. Out onto the rain staggered a large man, his booted feet slipping on the stones, his shirt and leather jerkin open to his hairy, bloated stomach. As he finally righted himself, dragging his greasy hair back from his red-rimmed eyes, a threadbare cloak flew out from the inn door. He snatched at it and missed.


“And if you show your ugly face in here again,” hollered a female voice from within, “I’ll have your balls hung above the hearth before you can say ‘’begging your pardon, ma’am’!”Quite like this bit. At least something is happening.


The door slamming shut behind him, the man picked his sodden cloak up from the ground at the second attempt. Standing somewhat unsteadily, he finally noticed Jenn and offered her a gap-toothed grin that was decidedly unpleasant. The grin swiftly turned to a letch and Jenn’s indecision vanished. With a sudden turn of speed, she hid her face in her cowl, splashed across the square and pulled open the door to the Fox And Staff.

Okay, oof, sorry. That doesn't work for me, I'm afraid. The writing itself seems fine (so, yay!) but the structure doesn't support a hooky start. You say you want to ask questions - but you don't. You hint at something but don't give me enough to know what you're actually hinting at, and therefore I don't ask any question. I feel, if it were me, I'd go back to the drawing board.

RE letch - we use the term here (Northern Ireland)
 
I don't have time to do a detailed crit at the moment, but I have to agree with what I've seen in my brief skim of those above.

I think you need a stronger opening than this one. Your writing is lovely, but even if this is an epic fantasy, the start still needs to grab the reader quickly to make them NEED to read on. I think holding back on Jenn's problems is a mistake. We don't get even vagely invested in her as a character in the excerpt you've given us, and I have to agree with Jo that she comes across as morose and unlikeable. Unless you let us see why she's so miserable, no one is going to care.

If she'd been jilted by a lover, I need to feel jilted and betrayed too as I read this. If her family have been slaughtered, I need the dragging grief and flashes of guilt that she'd probably feel. If she's been done out of her rightful fortune, I need righteous indignation and a determination to put things right.

I think it's all too vague. She's just generally unhappy, and the weather isn't helping. Focus! Why is she unhappy? And much more important, what is she going to do about it? She needs agency, a will to put things right, or she's just a moaning Minnie. It doesn't matter if you tell us why later on, because I, like Jo, wouldn't have read far enough to find out.

I'm sorry, because I know it's not what you want to hear, but I hope I've shown you where you can strengthen the beginning a little. Keep your chin up, because you write really well, but it definitely needs tweaking before you sub it to anyone.
 
Great descriptive language.
I'm a fan of Edward Bulwer-Lytton and this type of description can be useful if it is carried right.
However, in this instance I almost feel you could get away with reducing the first two paragraphs to 'It was a dark and stormy night.' And be done with it. This might remove several problem it created for me in reading this.

The most important is POV point of view. I take it that this is meant to be in Jenn's POV. The third paragraph tells me this. However it also makes it clear that the first paragraph is likely not anywhere close to that POV and the second paragraph is questionable those somewhat closer in that it's in the same vicinity.

At best the first paragraph might be defined as a series of images the POV might have in mind while recalling the bulk of hills to the south, perhaps she walked through those. She can't be seeing it from where she is. The second brings us closer to where she is and to a place where at best the sky would be a thin swatch between crowded building if she were looking up. The hills would most likely be less then visible.

I'll pause for a moment to point out that you have vague bulks of hills in one place and vague tremors and though as a single word it might be economically descriptive, in these instance they seem only vaguely helpful. Perhaps if you remove one it might not make the other stand out so much.

Back to the POV, which we find huddling in a doorway wrapped tightly in a cloak and probably unable to see as much as what has been described above. We actually seem to be in some omniscient POV that is apparently panning around like a camera until it falls upon Jenn.

The first two paragraphs don't seem to serve any purpose other than to confuse this reader.

After that there seems to be a jumble and mix of the story because we're now trying to get into the head of the main character and it almost seems like she's resisting.

I'm confused, but that seems normal for me.
It's not until I reach here that I'm even remotely convinced she might be here looking for revenge. At first it seems like she might be there for some silly quest that's yet to be defined.

Trudging up the hill, the rain battering a chill into her bones, Jenn kept those memories at the front of her mind, keen-edged reminders of what had been lost.


And for that loss, she would insist that there be an accounting.

I'm still not sure though unless I can hook this into the previous paragraph--however I'm not sure that that is appropriate or even close to the plot.

Perhaps this...(Using some of your own words).
Trudging up the hill, the rain battering a chill into her bones, with an ache, Jenn missed the simple comforts that had been stripped from her; the soft caress of clean sheets on her own bed, the hearty aroma of pheasant and beef drifting up from the kitchens, the dappled sunlight cascading down through the branches of the hoary oak in the lily gardens behind the keep; keen-edged reminders of what had been lost.

For that loss, she would insist that there be an accounting.

::However I'm unsure that this is what you are driving at.

I almost forgot this. The first sentence of this next quote caused me confusion about object and subject and you may want to address that.
Gazing forlornly down onto the square were a few tired houses, a blacksmith’s forge - one door swung wide even in the downpour - and a three-storey inn. Like the houses, the latter was half-timbered above a stone-walled ground floor and appeared in need of some attention, its panelling fading, its small windows dim and grubby. A sign hung above its door, creaking back and forth in the wind. The Fox And Staff, it declared, the creature in question up on its hind legs, wielding a long stick and grinning inanely.

This tells me a few tired houses were gazing forlornly down into the square.

However, in truth, the subject seems to be missing.
Perhaps...
Gazing forlornly down onto the square, there were a few tired houses, a blacksmith’s forge - one door swung wide even in the downpour - and a three-storey inn.

However...
She gazed forlornly down onto the square where there were a few tired houses, a blacksmith’s forge - one door swung wide even in the downpour - and a three-storey inn.
::Might work better.
 
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Right, then, people, things are achanging...

Your input has been greatly appreciated and with few exceptions, taken to heart (including tinkerdan, who although a bit late to the party, has nailed a number of things that I'd already realised).

I'm going to ruthlessly cull the passage, take out a chunk of the description and sharpen the focus on the POV character. However, rather than simply relying on making a silk purse out of a sow's ear, I think the following will now be my opening, followed by an abbreviated version of the above.

It's an unpolished first draft, but thoughts on this, if you don't mind...

Chapter1

“State your business in D’raynar, lad!”


His face florid and jowly, the Town Guard was close enough for Jenn to smell the sharp tang of his sweat and the sour ale on his breath. Dressed in livery, breastplate and helm, he held his pike horizontal before him, barring her path.


Jenn kept her eyes on her worn boots, her face hidden away in the cowl of her cloak. “Just hoping to meet with some…friends, sir.”


Her voice must have surprised the man, for he stepped forward and pulled back her cowl. He started, and she imagined that her cropped hair and haggard features had not been what he was expecting. He recovered his composure quickly.


“Not a lad at all, then, eh?” His smile was unpleasant. “Still, the question remains…what do you want in D’raynar? Do these friends have names?”


The fear that had been a frequent companion rising, Jenn could not meet the guard’s eye. Neither was she keen on providing a true answer. This time last year, she would have been ordering men like this around, but that was before her old life had been scoured away by fire and steel. Now she viewed everybody with suspicion, wondering whether they would be the one to slip the blade between her ribs.


On the muddy track before the hulking city gates, she shuffled and mumbled, the desire to flee balanced by the exhaustion that had her legs feeling like lead.


“I asked you a question, girl.” Jenn was tall, but still the guard loomed over her. “You don’t look the sort we want in the city without good reason.”


As happened often, anger came hot on the heels of fear. She wanted to tell the odious man exactly who she was, exactly what she had lost, and then demand apology. Instead, she slid her gaze up at the ominous skies, these pregnant with rain, and then the high, crenellated walls of the city. She reminded herself of what she hoped was inside.


Salvation.


“Please, sir, I just need to…”


“Is there a problem, Grandol?”


Jenn’s interrogator turned at the sound of the voice. A second guard approached, an older, rotund man. He had just allowed three laden carts to rumble in through the gates without much in the way of questioning.


“Not really, captain. This girl wants in, but won’t tell me anything of her business.” The tall man sized Jenn up again. “I reckon we’ve got enough beggars of our own without adding to their number.”


“Well, she might not be the best dressed traveller we’ve ever seen,” the second man stopped at Grandol’s shoulder, “but that doesn’t mean she’s going to be leeching off the good citizens.”


Jenn would still not look up, but she liked the tone of the man’s voice. It sounded reasonable, kindly even, a laugh not far from his lips.


“So, lass, why have you come to D’raynar? It’s not that we don’t appreciate visitors, but we’d prefer it if they had good reason to be here.”


“I need to find some people,” Jenn mumbled, shifting her travel pack around on her shoulder nervously. As vague as the answer was, it was at least the truth.


“Which people, lass?” pressed the older guard.


Jenn hesitated, wondering whether honesty would buy her laughter or a time in the city gaol. What did she truly know of those she sought, other than they were mercenaries and good with cold steel?


That had been enough to bring her halfway around the world, though. She needed men handy with blades and the appetite to use them. For what had been done to her family, answer had to be given.


“I…I’m looking for the Watch.” Her boots remained inordinately interesting. “I’ve heard that I might find them here.”


The younger guard snorted, a sound of derision that was cut off as the captain slapped him on the arm. Her head remaining bowed, Jenn felt the first few drops of rain splash onto it, chill and large. She needed to get inside D’raynar and not just because of the elements. There were other things out there, dangerous things, and she was possessed of a certainty that they were getting closer.


The elder guard spoke again, his tone sympathetic. “Lass, the Watch are not the sort of people you should be around. They’re dangerous people. Besides, whatever it is you want them for, they’ll expect a fee and…Well, no offense, but you don’t look like you have two bits to rub together.”


Jenn could feel the tears coming again, the indignities heaping on her shoulders. There was a time when she had wanted for nothing, a time when she would have rolled through wide city gates in a gilded carriage.


However, it was anger that arrived first. Finally she raised her head and glared at the captain.


“I need the Watch and I need them now!”


The man stared at her, his gaze running over her face as his own slowly melted in understanding. He sighed. “I do believe that you do, lass.” Stepping aside, and dragging Grandol with him, his arm swept towards the gates.


“D’raynar welcomes you. Go safe and I hope you find what you need.”
 
Much stronger. A few 1st draft issues, but you'll sort those out at the next pass. I'd work with this one, if I were you.

Not sure about this phrase, though:



It makes her sound a bit like a spoiled brat (which, of course, she might be!).

Thanks a lot!

And yes, she is/was a bit of a princess (literally) and despite her reduced circumstances, retains a touch of temper. Old habits die hard.
 
I've come here after reading the thread on novel length, curious to see what you were writing. I agree with the comments on your first pass and the second. (I'm another one who'd understand "letch" by the way - as a noun or a verb.)

A direct comment of my own - and understand that I am not a keen reader of high fantasy and fancy prose - I am a fan of Bujold, Huff, Butcher's Codex Alera and the like.

"His face florid and jowly, the Town Guard was close enough for Jenn to smell the sharp tang of his sweat and the sour ale on his breath. Dressed in livery, breastplate and helm, he held his pike horizontal before him, barring her path."

I'm all for realistic historical colour, but this knocked me back, especially so early on the first page.

First off, I don't like the sentence starting with "His face florid and jowly"
Secondly, not sure if she would care about his uniform and breastplate unless it was unusual. If you were writing a modern police procedural, would you necessarily describe a policeman's uniform?
Thirdly you are starting with the more remote things and circling in to the personal - same thing you did in a bigger way with the storm in your first draft. So you have started with the guard's appearance and then moved onto what trouble he is causing her - I'd aim the other way around.
Fourthly - speaking as a re-enactor - pikes were traditionally 16 to 18 feet tall - hold it horizontally and you'd block the whole road. Half-pike, halberd? Personally I'd go with halberd as it has all sorts of usefully nasty stuff on the end.

In terms of the description, I'd try more towards

"At the last moment, the Town Guard blocked her path with his halberd, scowling at her. She was so close she could smell his sweat and a puff of sour ale accompanied his words."
You might add something like "She forced down the thought that with his fat bulk in the way, the halberd was unnecessary. His breast plate had a patch of rust, and his livery jacket a frayed collar. Her father's captain of the guard would have set him digging latrines, or thrown him out altogether as useless."
 
Further thoughts - you've done some excellent work on picturing the town. Speaking as a re-enactor I like to see the sort of details you've got. (As folks have said, how you write it needs work, but I think what you are thinking of is good.)
Speaking as a reader and writer, I think what you've managed in your writing so far is to have a clear "film" running in your head as the character travels through the town, but that is only part of the way to tell the story.
Even in the second pass, you are not far enough into the character's head - you have a film running for the setting and other players in the scene, you know what YOU want from the scene, but I think you haven't quite got into the character's viewpoint - as in thinking LIKE the character. You know from the outside who you want her to be and where you want her to go, but you are still a bit outside looking in. Having something like the last bit I suggested in my previous post - the why of her noticing the livery, the breast plate and the like, is what helps the reader immerse themselves. (Or at least it does me.)
 
Thanks a lot for the input, Montero...much appreciated. Halberd is now in use. (y)

Regarding the guard speaking first, I thought of it as being the first thing Jenn was looking at as the story opened. We drop into her head as she is confronted, so we have the mini-action and then her response.

As for the description of the city, and not being deep enough in her head, I'm considering how best to address this. Yes, it is a bit film-rollish (although I've played around with original opening to get tighter), but I sort of personally prefer that to the 'She walked past the open door to a blacksmiths and then turned left onto a street where ths sweet scents of freshly baked bread mingled with manure.' I think it's that repetition of 'she' or 'she did' that's putting me off...
 
I find the new opening much better, as well. There is still room for cutting, though, particularly the captain repeating the guard's questions. You can move through that quicker. Also, there's too much description (for my taste) while facing the guards. This interrupts the flow and slows the pace.

That said, this looks strong.
 
Thanks a lot for the input, Montero...much appreciated. Halberd is now in use. (y)

Regarding the guard speaking first, I thought of it as being the first thing Jenn was looking at as the story opened. We drop into her head as she is confronted, so we have the mini-action and then her response.

As for the description of the city, and not being deep enough in her head, I'm considering how best to address this. Yes, it is a bit film-rollish (although I've played around with original opening to get tighter), but I sort of personally prefer that to the 'She walked past the open door to a blacksmiths and then turned left onto a street where ths sweet scents of freshly baked bread mingled with manure.' I think it's that repetition of 'she' or 'she did' that's putting me off...

:) on Halberd

Regarding the rest - um, not quite what I meant.

What I am trying to get at is "why does she care?" "why does she notice certain things and not others?"

And I was initially applying that to the guard. Why does she care enough that he is wearing livery and a breastplate when all guards would wear livery and a breast plate? I just did a riff of a reason as to why it would be high enough in her attention for her to comment on it. Maybe it is tatty, maybe it is unusual for a guard at a one-horse town to have a livery, maybe it is in unfamiliar colours - she is a long way from home. But for her to notice what the guard is wearing in such detail, is like a modern person being stopped by a modern policeman and describing it as "the policeman in his navy blue uniform, flat cap and baton stepped forwards and blocked her way". Would you actually bother unless the POV is reacting and thinking "hey, my first London bobby, I thought they wore helmets" or some such.

A description of the town as you walk through it is fine, and when I am writing such things especially the first time my character goes there I usually take several passes at the writing - one of the later stages is effectively where you've reached - running a film in my head and describing it. There is then a final step (for me) which is again why does the character care enough to comment? So is it a familiar street and oh look, there is Mrs Jones, punctual as ever, taking her dog for a walk. Or is it totally new and in which case is there some comparison? - streets muckier than at home, streets while mucky better than she'd expected, a bit of a crummy place for such an important organisation as the Watch.
Not a lot of but a bit here and there. At present all the emotion is in she is tired, the houses are tired ("Gazing forlornly down onto the square were a few tired houses").
Also, on this further thought, I've realised something else that I didn't like about the town description was that she has reached her goal but her reaction doesn't match that event. Her life has recently just gone to sh*t, but here she is, almost at the Watch, and is she thinking "I've done it, I am nearly there, I am about to meet the Watch wa hoo". Nope, she is giving the reader a long depressed rendition of how much her life has gone to sh*t. My preference would be for her to be thinking about the Watch, and all the backstory comes a bit later either in her explanation when she talks to them, or after she's met them - when it will either be "the heap of sh*t is about to end because of the watch" or "oh no, the heap of sh*t is continuing, how much more can I take, is there any other way to fix this?"
You can hint at how far she has fallen before then, with things like "my father wouldn't have hired that slob", or "my father's chancellor would have kept these streets in better repair" but the whole depressed my life has gone to sh*t while it does set the scene, for me is a long whine. And would someone who has had the gumption to walk that far, whine that much?
 
Cheers for all that!

There are a number of reasons why Jenn doesn't celebrate her arrival and these become clear as the chapter continues. However, the opening chapter is not all doom and gloom. As it progresses, certain things occur that begin to lift her spirits.
 
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