Belated 9,000th post -- Doing the Coins

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HareBrain

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A couple of you have seen this before. It's the start of a finished novel I mostly wrote ages ago and reworked a bit this year, and which I'm not sure what to do with. I'd be interested in any feedback.

*******************

The last of the day had left the southern sky. Cal pressed his stomach against the promenade railing and hunched into the leather weight of his jacket. From the shingle bank came the rotted tang of weed dumped by the last tide, but now the sea was far out across the wet sand, beyond the range of the seafront lights. He glanced to his left, down the stretch of asphalt with its weather shelters, its snack vans, its scattered humanity. To his right, the amusement arcade at the pier’s landward end sent its jangling racket into the summer night.

Still no sign. But the coins had been strong. The Man would come.

Voices passed behind him. ‘She never, no way.’

‘Telling you mate, a whole aerosol.’

Cal watched the two boys join a group hanging outside the pier’s arcade. He’d seen them before: mostly a year or two younger than him, no one he recognised from college, no one who might ask him what he was doing here. The tallest leaned against a scrappy-looking motorbike, telling some story that made the others laugh. Boasting about a car he’d nicked, Cal imagined, or a drug he’d scored, or a girl. He turned back to the sea —

And snapped alert. Just as his eyes had left the group, he’d caught a figure behind them. His hands tightened on the railing as he shifted his gaze back, just enough, not too far …

No mistake. That long coat.

He straightened up and walked away from the group, legs unsteady. The noise of the arcade machines faded as he passed dog walkers, small groups heading between seafront pubs, a few lonely strollers — some of them close enough to touch, though they felt a world away. Passing by the doughnut van, he made a pretence of reading the price list, in reality checking he was still being followed. Only with he corner of his eye, nothing more, nothing that might risk dispelling the Man.

The cinnamon and sugar from the doughnuts faded into oil and vinegar from the fish and chip stall — again he checked, and still the Man followed, closer now, and then the only smell was salt, from the rotting weed, from the sea itself, and half-imagined from the sweat of those he passed, their skins yellow under the promenade lights. He passed the ironwork bandstand, whose Victorian builders had known only gaslight, and where someone had written in marker-pen what Chelle had done to Daz. He passed the weather shelter where a drunk had once thrown an empty beer-can at him. He passed the shuttered ice-cream booth. Ahead of him now was the end of the lighted section of the promenade, and it was deserted.

Beneath the last lamppost, he gathered his nerve. Here the seafront road turned sharply away to the left, taking the street-lighting with it. To his right, a concrete slipway led down to the expanse of low-tide sand, while ahead the promenade ran on, fading into the gloom between the beach and an unlit car park. Cal stuffed his hands into the pockets of his jacket, chilling his back with the sweat of his T-shirt. He stepped forward into darkness, his shadow lengthening rapidly ahead at first, and then more slowly, becoming indistinct as the last light fell behind. His chest tightened at the deepening of the presence at his back, the creep between his shoulder blades, the premonition of a hand … no, he had to focus, focus, not let his imagination loose. But it was stronger, more real — he could feel the Man taking solid shape in the deepening dark, perhaps acquiring features. He was now halfway down the length of the car-park, almost as far as he’d ever got. Ahead, the security lights of the holiday camp threw pink bars through its spiked steel fence: still some way off, but enough perhaps to illuminate the Man’s face — if he could just get a little closer, just hold out a few more steps. But his foreshadow had vanished into night, and the abyss stretched around him, and the chill on his neck was a breath —

He jerked round; the figure surged at him and he cried out, almost tripped on his heel. In a glimpse of silver eyes, the Man retreated and shrank and resolved into shadows, a trick of distant streetlights.

He swallowed hard, tried to calm his shaking. So close — and he’d got scared and turned too fast and wrecked it, like always.

But silver eyes: that was new. He looked up and down the empty promenade, to make sure no one had seen him jump from nothing, then hurried back home.

###

The closing theme from the ten o’clock news chattered through the lounge door as Cal sneaked past. But something gave him away — the TV cut, and before he could get up the stairs his mum came into the hall.

‘Nice walk?’ she said.

‘Uhm … yeah, it was OK.’

‘Bit warm for that old thing?’

Cal rolled his eyes; she’d never got over him rescuing the old jacket from one of her clearouts. ‘It’s for protection,’ he said. ‘In case I get into a fight.’

‘A fight …?’

‘Sure, the seafront’s a gang zone. Why d’you think I carry a knife?’

‘You don’t!’

He wanted to push it further, but the fear in her eyes stopped him. ‘Joke, Mum.’

‘Oh … good.’

‘Talk about fish in a barrel.’

She frowned at the balustrade. Cal wished now he hadn’t mocked her concern so harshly, but he couldn’t think of anything to say. His jacket creaked as he made to carry on up the stairs. ‘Don’t suppose you fancy a quick game of Scrabble?’ she said. ‘Been so long, I’ve almost forgotten how to play.’

‘Uh … tomorrow, yeah? Things to do.’

‘Oh, OK,’ she said. ‘I should be getting to bed soon anyway.’

Up in the stuffy bombsite of his room, he dumped the jacket and peeled off his T-shirt, grimacing at its dampness as he crammed it into his already full laundry basket, followed by his sweaty jeans, boxers, socks. Despite his mum’s urging that he limit himself to two showers a day during the water shortage, he went for his fourth, though he tried to be quicker than usual. With a towel tucked round his hips, he returned to his room, and prepared to do the coins for the next day.

The seafront again, he hoped. And next time, he would control himself better at the end. He would turn more slowly, gradually building definition until the face was revealed. Discipline should come easier now the glimpse of silver eyes had showed progress was possible. He straightened his duvet and laid his jacket on top, neatly aligned and with the front zipped up, then groped deep in the dusty chaos of books and magazines and used coffee mugs under his bed until he found his cashbox. With the key from under the clock-radio, he unlocked the box and took out the Locations: three old paperback covers, stiff with sellotape from mending. One showed a long seafront scene, which seemed as much influenced by Munch’s Scream as the promenade in town; the second, a church modelled on nearby St Mark’s; the third, an ancient burial mound surrounded by yew trees. In the middle distance of each, a tall figure was inked in black.

Cal arranged the Locations on his jacket, one to each armpit and one where the navel would be. Then he dug past the other papers in the cashbox, the ones that gave him most reason to keep it locked and hidden, and rooted out the only actual money it contained: three fifty-pence pieces, each with its own provenance related to the Locations, the oldest from when he’d met the verger in St Mark’s churchyard and asked him to change a pound. Last out were the cigarette lighter and the safety pin. He held the pin in the lighter flame to sterilise it, and pricked his fingertip. He watched the blood-drop swell, the red fluid with its long list of constituent compounds, learned by heart to rob the fluid of its mystery and fear.

When enough had welled up, he dabbed a small drop on the head-side of each coin, and chanted softly:

By the jacket of him who wanted me dead
By the blood I spilled upon the Queen’s head
By three coins each seven-sided for luck
By three cardboard covers each ripped from a book
By the seafront, the church and the old hilltop barrow
Where should I go to find him tomorrow?


He threw the coins up, almost to ceiling height. Down they came — thwack, thwack, flump. His breath caught in surprise. Two coins had fallen on the burial mound; the third was on the leather right next to it.

Two strong sets of coins in a row … something was going on.
 
Very intriguing! A polished as ever, with only a few things for me to nitpick (mostly the comma splices).

Some good description of the dingy seaside town, though I'm not convinced salt smells, and intriguing supernatural elements, particularly in his room though you might perhaps have aroused a bit more spine-tinglingness about that bit -- it reads as rather humdrum as it is, with the mundane 50p pieces, and the chant could do with some serious work.

The only major thing which didn't quite work for me is the dialogue between Cal and his mother, which seemed to go nowhere. Although it showed the relationship between them, it might perhaps work better a little later on, when it's not interrupting the tension of finding the shadow-creature. As to which, calling the figure "the Man" felt like a cross between that "Who's da Man?" boasting thing and "Sticking it to The Man" as anti-establishment, and I don't think either image promotes the tension you perhaps need to create about the entity. Is it possible to give the creature a different name, or at least not to capitalise the noun?

As to what to do with the story? The short answer -- park it. You've got a third book of the Fire Stealers to write, so stop faffing about and get on with it! The long answer -- if it's already fully written and you're happy with it as it is, send it out to betas and get feedback on its entirety. If your betas think it works and there's nothing needs doing, then send it out to agents; but if it requires a lot more work, park it until you've got more time. For myself, the fact you've written it a while ago and haven't progressed with it meaningfully since suggests you're not happy with its structure; that being the case, I don't think you'll quickly be able to get it how you want, so it might be better to leave it now rather than throw more time at it when you've got more important things to write.
 
Beta here so a different perspective. I like The Man - it suits Cal. But I do think the story as it stands needs substantial work not just a tidy up so would perhaps benefit from a time when you have more time!
 
I like it, but maybe: "From the shingle bank came the rotted tang of weed >>> From the shingle bank came the tang of rotted weed.
At a penny a post you have 90 bux in coins. Merry Xmas. *
 
As her honor said, very intriguing. A well written piece so I've nothing to add. Except, of course, congratulations on the nine thousand.
 
I’d meant to reply earlier and did not get round to it, but it’s continued to rattle around in my head. The reason for the rattle being, perhaps, that I find it really well written, but frustrating.

Times are different now, but once upon a time I used to buy books by my impression of the first page. I guess that’s not so important these days as bookshop browsing is ancient history.

However, if this was the first page that I was looking at I wouldn’t have bought it, despite elements that are very interesting (the man, the coins). because it doesn’t pull me in quickly enough.

(1) I’d cut the boys voices and have a bit more on Cal’s inner world/ impressions/ perceptions and the general feel of the night. For me the boys voices are uninteresting and I can’t see value in featuring them. If their purpose is to show Cal’s general openness/ receptivity to impressions that enables him to pick up on the undercurrents in the night then perhaps it can be done without giving the snatches of conversation.

(2) I’d like the seriousness of the situation vis a vis Cal’s worried anticipation of “The Man” to be made clear earlier, maybe by lines 7 or 8, so I’d be drawn in quicker.

(3) In the same vein, I find the lengthy interaction with his mother irrelevant.


Anyway. Congratulations. Impressive, whatever I say.
 
What strikes me about the opening is that it's mostly focused on the visuals - a cinematic experience - rather than a character experience for a novel. This leaves me unsatisfied, because I'm left with a series of stage directions but with no sense of purpose to drag me into the story.

I suspect you are being too precious with your darlings, and that rewriting from fresh without trying to hang onto familiar phrases might put you in better stead.

2c.
 
Thanks all. I think I'm probably hiding too much internal stuff in this section, hence the visual emphasis.
 
It's not quite clicking with me and I can't quite put my finger on why. It could be what Brian said; it could be I have no immediate sense of the stakes for Cal; it could be that he's something of a cipher, a character to whom an important event is happening rather than a person (which possibly links into Brian's point). Or something else entirely. It feels rather voice neutral to me.

Its interesting, its well written, I trust you implicitly as a writer... but something isn't clicking. I'd read the rest mind, but the start isn't selling me.

And I think you should park fixing it until you need a Fire Stealers break.
 
Sorry for the delay, I've just read this (and TJs) so don't feel neglected by my (inartful) late crit!

You know I'm presold to your style and the passage is full of vibrancy and sense of place. I've very little in the way of negative reactions.

My favourite feature of all is the explicit description on the promenade, and as I've said, the sense of place. It's evocative of 1980s holidays to Scarborough, Southsea, and although commented upthread that a lot is described without much happening, I'd disagree that being a weakness; actually for me it's a great strength. When descriptive scenes are written this well, I could read page after page of it (except if it's written by Thomas Hardy ;) )

The only thing in that regard though, is the bleakness makes me think of a rainy autmnal day, especially the line 'hunched into the leather weight of his jacket' (which, itself seems somewhat awkward, if I'm honest). When it became clearer it was summer, I was surprised. Mind you, summer twilit/ gloaming can be just as eerie as brooding grey autumn/winters so, whatevs...

I can see TJ's point about da man and sticking it to da man, and I wonder if you could rebadge the dark entity as simply 'Man'? I recall a chilling episode of Paranormal Survivor or whatever those REALLY channel series' are called in which they dramatise paranormal encounters, where a toddler was being attacked by an entity who he referred to as 'Man'. It really came across as eerie hearing him say 'Man says "no" ' or 'I can't sleep, because Man won't let me.' However, I didn't think of 'Da Man' until TJ said so, but I do think a more evocative name would suit this story.

Boasting about ... a drug he’d scored, or a girl

I know you need 'drug' to be singular for 'girl' to work, but I don't think anyone -even non-drug users- would refer to it as 'a'. Maybe you could change to 'a draw', 'a baggie' , 'a wrap', 'a twenty,' etc.

The section with his mum is also dreary and depressing with its hint of a bland relationship and perhaps ineffectual parenting, but I'd agree that it's too long. It might be an idea to cut out the scrabble bit, or maybe be even more brutal, but I like the Ten o'Clock News passage and the fact that he wants to push her (for what I assume is some kind of reaction/attention).

I loved the rhyme; in candle magic and other forms of New Age magic rituals, the petitioner is encouraged to write their own spells; I've done it many times and it really personalises the ritual and brings a much more effective result. He's clearly making his own magic up; the ritual as you've described is far removed from the dogma of Wicca or Christian/Old Tradition wording. (and at next Chrons meet, I'm happy to bring one of my practial ritual books if you want to see some texts written in Wicca and Old Tradition styles, for side-by-side comparison.)

So, those are my thoughts. Oh and a bit BA, too...

pH
 
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