Opening scene of a chapter out of W.I.P.

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Christopher Lee

Formerly BluePhoenix711
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Just looking for general advice. The scene is meant to be... not so much scary, but to invoke a sense of some sort of dread, but I think I've overdone it on some description and lost my way a bit. Any advice is helpful.

861 Words in length

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COFFIN SCENE

He had no idea how long he had been in the box, only that his clothes were sticking to his skin and his eyes were stinging beneath a sweaty brow. It was dark, ‘cept for one tiny hole about three quarters of an inch in diameter cut at eye level. A tiny ray of light pierced through it, spotlighting a mole on his right cheek. He squirmed in the tight enclosure, raised his head and peered through the hole with one eye shut. For a moment he could see nothing but a bright light, but then a whirring ceiling fan materialized into focus, hanging beneath white, spotty drop-ceiling tiles. He lowered his head back down and sighed. The lid of the box was just a couple inches above his protruding gut, making the act of moving his arm up to wipe his brow all the more difficult.

As he lay there, staring at the hole with the intensity of a prisoner staring at a barred window, he began to feel anxious. His heart beat a little harder in his chest, his hands began trembling a slight tremor. He inhaled deeply through his nose, counted to Three-Mississippi, and exhaled through his mouth. He continued this exercise for a few minutes more.

The light through the hole, which had been the first visible sign of hope since he had awoken, had now become something dark and malignant. A taunt. A tease.

Peek through all you want, fatty. You fat little peeping Tom! You’re never getting outta here alive.

“Shut up,” he muttered. It was the voice inside his head, again. The same voice that spoke up whenever he stood in a long line at the mall, surrounded by sweaty, irritable people eager to purchase their wares and migrate to the next store.

Migrate like cattle, the voice said. And you’re one of ‘em, fatty. A big fat cow grazing on all the slop they feed you and all your fat friends.

He’d been told that the voice wasn’t real, in a sense. His therapist had assured him during many a session that it was just his own voice, another part of him, but nonetheless him, expressing itself when his anxiety came out to play or his asthma started acting up and he couldn’t catch a breath. He was doing that now, his breathing shallow and wheezy. If it wasn’t so ****ing cramped! He would be okay if the box was just a little bigger.

A little rounder too, huh, fatty?

He was right, of course. A little rounder wouldn’t hurt, either.

The man's name was Jeffrey Vanderkam. He worked as a programming analyst for one of the largest software firms in the United States. He enjoyed using deduction and digital logic to crack issues and solve problems. Critical thinking was his passion. His favorite, though, was when he fixed one problem but caused several more. That was when the fun began.

But that was sitting in a desk chair, on his laptop, with a snickers bar and a twenty-four ounce Dr. Pepper beside him on the desk. When the chase for a solution had really begun, the Dr. Pepper would have a little ring of sweat around its base and the chocolate would be melting to the wrapper on the snickers bar. His neon yellow polo would be stuck to his back, a large damp spot trailing from neck to the crack of his ass.

But this wasn’t in his office. He didn’t even have a snickers bar or a Dr. Pepper to pick his energy up. Hell, at this point he would even settle for a butterfinger. After another half an hour of meditative breathing, Jeff had calmed down enough to really assess his situation. The last thing he remembered before waking up to this living nightmare was sitting on his couch at home, Playstation controller in hand, playing Call of Duty. Remember me... The new one in World War Two. He remembered it being dark out, as it was about nine-thirty when he had finally gotten showered, ate dinner, and sat down to relax for the night. He remembered the last game he played, at some place called Gustav Cannon. He remembered a sudden coldness in his living room. He remembered looking down the sight of his scope, picking off less experienced players with a sniper rifle from a discreet vantage point. It was freezing. He thought a little harder and could remember the match ending. He had done well: thirty-three kills to just two deaths. He remembered scooping his Dr. Pepper up off the table and taking a swig, swallowing ice cubes with it, despite having removed from the fridge over an hour beforehand. Definitely finishing it off, he thought. I remember an empty bottle. So cold... It was so cold.

And that was it. That was the last thing he could remember. He remembered that chill entering his body. He stared at the hole in the box, losing himself in the light shining through it. Had someone poisoned his drink, perhaps? Or the snickers bar. Maybe that. His head was started to hurt. Why was it so cold that night? Why couldn’t he remember anything else? Why did it have to-”

A loud thud outside. Someone was there. Another loud thud. The light from the peep hole vanished, leaving Jeff in darkness. He gulped. Something began scratching at the lid of his box. That's when he felt the chill again. This time it rose up inside him, seemed to come from him, like a part of him leaving his body. He could see his breath, icy cold, even in the darkness.

Let's have us some fun. Shall we Jeffrey?
 
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I think you could benefit from tightening up the POV use - at the start we never really get any sense of the psychological experience of being trapped. Instead, you focus on physical movements, and also jump into camera mode to tell us he has a mole on his cheek - you can get away with that, but it might be better to try keeping with the character experience to make it more dramatic. Btw, by using derogatory language I don't think you're making him sympathetic, but instead actually denigrating the character - especially when you stop the narrative to tell us about his job and effectively imply that he's not worthy of our sympathy.

So, if you want us to connect with this character, more POV and character experience - but you may be going for a short-story where it's not required, in which case I'm kind of missing a hook for this in that I'm not sure why I should be invested in a character you don't seem to want me as a reader to be invested in.

Just initial thoughts.
 
Yes it is a bit distancing at present, and I found it a bit odd that he only 'began ...'
As he lay there, staring at the hole with the intensity of a prisoner staring at a barred window, he began to feel anxious
because it seems that someone would be on the verge of having a panic attack by then even if not claustrophobic as such. Waking up in a coffin with just a peephole?

Also not convinced someone would be able to raise their arm to their head at all if the confinement is as tight as it sounds especially as he is obviously not slim.

There is a touch of the omniscient narrator in places also such as the sentence about the mole, and the detail about sweat going down to his butt crack. That isn't the character's own viewpoint/internal dialogue. As he also doesn't appear to be a very sympathetic character it is difficult to be involved in the peril he is in; to care about it one way or another.
 
There's much that works well here but I agree with the others, the switches in POV throw me, especially the camera view mentioned by Brian amd the point where we get "The man's name was..."

I also agree that your description of the character makes it difficult to connect with him. Perhaps if you tied more of the negative descriptors to the voice in his head? You do some of that already and it helps set up the voice as the antagonist nicely. Giving some of the harsher description to the voice would distance it a little from the MC, make it seem more sinister and abusive , and leave more room for us to sympathise with him.

And I agree with pambaddeley that there were mixed signals about how calm/anxious the MC was at the start. He's covered in sweat but seems very rational and collected in his initial investigation of the coffin. Then, once he starts to freak out, he spends a half hour doing breathing exercises. First, I don't know how he kept track of time (maybe it seemed lika a half hour?) and, second, that seems like a long time to spend on a breathing exercise.

It is a bit verbose for me. I think you could cut out a lot of detail (about the game and his work, for instance) to help it flow. That said the sense of foreboding builds nicely through the piece. I'm left wanting to learn more about any enemies the MC might have made by hacking, the role the MC's mental health plays in all of this and the possibility of a supernatural element in the story. You've done a good job with all of that.
 
This could do with a lot of what I'm working on at the moment. You've written it at quite a distant PoV and I agree with the others that there are some technical PoV problems going on here, but really, it needs to be closer to the character if you want the reader to feel that dread you're aiming for.

I'd recommend you go and research what's known as "Deep PoV."

If you're interested in getting deeper into the characters head, then here are some tips I can share with you based on what I've noticed with this piece:


Try to think about what the character would think in a situation like he finds himself -- trapped in a coffin.

For instance:

The man's name was Jeffrey Vanderkam. He worked as a programming analyst for one of the largest software firms in the United States. He enjoyed using deduction and digital logic to crack issues and solve problems. Critical thinking was his passion. His favorite, though, was when he fixed one problem but caused several more. That was when the fun began.

Put yourself in the mind of the character. Imagine you are Jeffrey and you were stuck in a coffin right this moment. Would you think about who you are and what you did for a job?



I'm pretty sure the answer would be: no, you wouldn't.

This also applies to the following:

he began to feel anxious

Any time you use sentences like "He began to feel" "He felt" "He could see/saw/looked" etc, then you are outside of the character's head.

The key to this is to describe anxious, not just tell us he was. You need to show us what being anxious does to Jeffrey, how he reacts, what thoughts go through his head. If you've ever been anxious about something in your life, then think about that. What did you feel that made you realise you were anxious?

Honestly, I wouldn't even mention the word anxious. I'd just describe the symptoms of it and leave it up for the reader to be like, "oh, I get it, this character is feeling anxious right now."


Here is another example:

For a moment he could see nothing but a bright light, but then a whirring ceiling fan materialized into focus

Part of getting us to connect to the character is to work on immediacy. Instead of using a "he could see" sentence like above, try something like this:

For a moment bright light blinded him, until his eyes adjusted and a whirring ceiling fan materialized into focus.



Other ways that can get you deeper is to show the emotion, which would work very well here:

He’d been told that the voice wasn’t real, in a sense. His therapist had assured him during many a session that it was just his own voice, another part of him, but nonetheless him, expressing itself when his anxiety came out to play or his asthma started acting up and he couldn’t catch a breath. He was doing that now, his breathing shallow and wheezy. If it wasn’t so ****ing cramped! He would be okay if the box was just a little bigger.

Don't tell the reader what the therapist said, have the character tell the voice that. You want the character to argue with the voice. You had the perfect opportunity to do this when you had Jeffrey telling the voice to shut up. Expand upon that shut up dialogue and integrate this paragraph into that conversation and the thoughts Jeffrey has when telling the voice to shut up.


Another thing I've noticed is the passiveness of the emotions. In the bit I quoted above, you talk about the asthma and how it affects his breathing, and then afterwards you tell us he is actually having trouble breathing that very moment. This breaks the reader's immersion with the character because we aren't going through the experience when Jeffrey does. We want to feel it at the same time the character does, not be told about it after its already started.

The trouble breathing would be more effective if it was reversed around. The asthma should come afterwards as an explanation.

But don't just tell us he suffers from asthma, have him try to look for his inhaler and realise he doesn't have it, or something like that. Show it like you are Jeffrey, not just talking about him.


I hope this helps. The concept behind your story seems very interesting and I think it has a lot of potential.
 
I would have to agree that this, in present form, would work best as a short. However, that said, it doesn't work to accomplish what you intend.
The self denigration could work if you could piece it between some real dread--which is what I feel missing.

Edgar Allen Poe has a number of great examples to pull from. The first one that come to mind is The Cask of Amontillado.

Myself; I dread enclosed spaces for a number of reasons.
The heat and stuffiness would increase the dread of the loss of oxygen only marginally ameliorated by the hole you mention.
I have restless legs and I'd equally dread the confinement because I'd have no place to walk it off.
Then the cramps--just the potential for them--and possibly no way to stop them.
And all those things added up would begin to describe how much a relief there might be if all my fears suddenly came to fruition and I was to mercifully pass out with the hope of never waking back up to the nightmare.

I'm not sure I'd have enough time from all that to begin to denigrate myself even through the proxy of the memory of my known detractors.

However, as a short story, as long as those thoughts figure into his predicament, it might all work.

Still, there is a need to work on the dread.

Dread that builds up until it begins to become clear that the denigrating memories are his only respite from his predicament and then only momentary as the whole process begins again. The real horror is that this is a nightmare that never stops. You don't wake up.
 
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