First person, mark two....

Jo Zebedee

Aliens vs Belfast.
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blah - flags. So many flags.
Okay, let's see if this is closer, and if the whole thing is more grabby. There has been a chapter before this, so it's not the opening of the book but it is the first time we meet this point of view.

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The field is thick with mud. I tighten my hold on the handle of the cart, trying to keep it straight, but Jean has his side a little higher and it’s impossible. Sebastian will have to check its wheels tomorrow, before we set off. It’s crazy, but it has come to this; a cart is more important than any car we ever had.

Either side of the gateway into the field, Aidan’s people stand guard. Behind me, where it makes my back itch, the watchtower waits. We’re hemmed in, and I hate the spareness of my stomach that thought brings.

“Pull up on the right,” mutters Jean. “We’re going to get stuck.”

I try but the field is a mess of mud and half-trampled grass, a staging point which has never been prepared properly. I hate this country. I hate its rain. I hate the towers that guard our way. I hate Aidan, and the others who run this caravan, who promise we’ll see America soon, that we’re near the end of the road that leads to the sea. I hate, most of all, that I half-believe them, even though they’ve lied to us through hundreds of miles.

“Julia! Jean!” Jose waves the red and yellow rag that’s all he has left of his Spanish flag, and beckons us to him. I bite back a yelp as Jean changes direction, wrenching my shoulder, but put my head down and push; like a bulldog, I hide my hurt so that I’m not seen as weak. The weak die in the caravans. They fall behind and die, or they starve and die. Sometimes they just vanish in the night. But they always die.

“This way. Be careful. There’s a dip.” Maman joins us and puts her hand on the top of our equipment to hold it in place as we creep over to where Jose is waiting. As ever, he’s found a good spot. Well away from the latrines – a walk is better than the stink – and with a half-dug pit that will let us get a fire going quickly. He gives me a half-lidded look and glances to the left. There, through a gap in the hedge, the watchtower we passed is clear, and close. I hide a smile. Clever Jose.

We pull up the cart. I let go and rub the palm of my hand, over the rough, hardened skin. Like clockwork, our gang descend on the cart. Jose already has the kindling in the pit and is nursing a fire from it: Maman heaves the stockpot off the cart and fills it with water collected during a vicious rainstorm earlier. Once it’s bubbling, she’ll add the rabbit, already skinned by Jose.

Jean and I pitch the tent in silence, taking care to ensure the lines are tight and taut. As we work, Sebastian takes his place at the front of the camp. He’s thin, his muscles spare – in France, he was the biggest person I knew – but he looks threatening enough to keep our space safe.

Maman peels some half-mouldy vegetables and measures grain for the stew, each handful precious. My breath catches. Once, we were a family who donated to the food banks, before the drought reached us and we relied on those donating instead. Before we had to run, and we haven’t stopped since. Perhaps, when we reach America – if, says the other voice in my head, the one that keeps me alive – it will be different. Maybe there we will find space, and a new life. Papa believed, right to the end, that things would get better, that there was an end of the road for us where we would settle and be safe. I wish I had his hope.

I push in the last peg, using the heel of my boot to make sure it is flat to the muddy earth. The air is heavy, an oppression that builds around me. Jean stalks away before we have even unrolled the bedding.

“Hey!” I call, but he doesn’t turn around. He aims for the centre of the camp, where Aidan will be holding court. Jean will sit, listening, as they spit hatred of us, and he won’t argue. They treat him like a mascot, the little french boy. They’ll fill him with food from their fire – the best in the camp, better than anything I could dream of – and make him believe he matters.

I want to run after him, my little brother who relied on me through the first months, who sat on boats with me, sure we would die. I want to warn him that he means nothing to Aidan, that once we reach the ships – if there are any ships – he will be cast onto them as carelessly as the rest of us.

But I let him go. I’ve tried before and the gap between us is too wide. Instead, I wait for my own food and stare over at the watchtower, taking time to place everything I took in earlier, before the big man chased us off.

I imagine, of all things, a carrot, sweet and crisp and fresh. The bite of it. The rush of sugar I never used to notice, when all around us was rich and full, the savouring of it in my mouth.

As the storm breaks, I wait for full darkness, and my time.
 
Much nicer and it feels much more first person. I like this version much more.
(though it's changed significantly, so it considerably different in many regards).

I do have a general question though, since I do it a lot and it bothers me and I'd like to learn the ideal.
Is this the proper way to phrase these sorts of lines?
'Sebastian will have to check its wheels tomorrow, before we set off. '

Or is one of these better? And I get it, 6 or 1/2 dozen:
Sebastian will have to check its wheels, before we set off tomorrow.
Before we set off tomorrow, Sebastian will have to check its wheels.

I only ask trying to learn, so it may be right (or a matter of preference) as it stands.

Nice job, that's a lot of work to make such a change.

K2
 
Much nicer and it feels much more first person. I like this version much more.
(though it's changed significantly, so it considerably different in many regards).

I do have a general question though, since I do it a lot and it bothers me and I'd like to learn the ideal.
Is this the proper way to phrase these sorts of lines?
'Sebastian will have to check its wheels tomorrow, before we set off. '

Or is one of these better? And I get it, 6 or 1/2 dozen:
Sebastian will have to check its wheels, before we set off tomorrow.
Before we set off tomorrow, Sebastian will have to check its wheels.

I only ask trying to learn, so it may be right (or a matter of preference) as it stands.

Nice job, that's a lot of work to make such a change.

K2
Thank you - I think it's my writing superpower, doing what I'm damn well told and editing to make things better (cue half the Chrons turning up to tell me this version is much worse :D). After a couple of days with the ever patient @HareBrain putting up with my multiple questions, and an edit by the wonderful @Teresa Edgerton the path ahead is clearer, helped very much by the last critique thread. Now, I just need to sort things out.

Phrasing. I have phrasing that sets many people's teeth on edge (@The Judge winces in advance of me putting words to paper :D) so I'm probably not the right person to ask.... but I usually try to match the link with the action (that's what a lot of close editing is about, for me, getting things nice and tight). So, in this case, the action of the cart getting stuck links directly to the wheels, and the need for Sebastian to check they're okay before setting off links to the fact the cart is so important, hence why I have it this way around. That's probaby picky and I certainly wouldn't be annoyed if it was the other way around, as a reader, but it wouldn't feel right to me as a writer.

It'll be interesting to see what others think. :)
 
Hi Jo,
I haven't read any previous versions, but I do think this is working well. I think the POV character has a clear and strong voice right off the bat so that's what grabbed me first.
I'm reminded of an article written by Judith Tarr (though I can't find it now) about how one paragraph should raise a question in the reader's mind and the next should answer it and so on. There were a couple of places here where a paused in my reading to write a note that something was unclear to me only to find that the next paragraph gave me what I was looking for. So, had I not been critiquing the effect would have been perfect.
Also good verb use. ie nursing a fire, gives me a good sense of what he's doing but also seems to link into the situation as a whole.

By the end, I'm hungry for more. I want to know who Aiden is and why Jean wants to be there. I also want to know what my time is. Perhaps if I had read the first chapter I might be able to guess but either way, I'm interested. Great sense of foreboding there.

The pace slowed for me a bit in the middle but not in a bad way. Paragraph nine is more introspective but also gives a bit of back story which I was craving at the point. hard for me to know if it's enough or too much since I don't know what came before.
Is there any way to get a hint about what sort of danger the watchtower represents, or is it a good thing. I wasn't totally sure on its purpose.
Why does the POV hate Aiden and the lies but stay with the caravan? I'm assuming there's a good reason but I can't guess it other than that there may be no other option for the POV Character. This could be a non-issue if I'd read more than this except. Still, there's is enough her for me to get a feeling of a post-apocalyptic world of some kind or at least a refugee situation, though I don't know what they are feeing.
I didn't dig this line as much: I hide my hurt so that I’m not seen as weak. It felt less like the character's voice and more for the reader's benefit. Since it comes at a moment of pain and strain, I think I line of self-talk would fit better: Can't let them see the hurt. Can't let them think me weak. The weak die in the caravans. (Yes that's a bit clumsy but I'm not trying to write the line for you.)

Well, I hope this is the kind of feedback you're looking for. This is my first time giving critique on Chrons so I don't know all the habits around here yet.
-CK
 
A thought about the names: "Julia" is not particularly French. It would be "Julie," but if you want the readers to actually hear it in their mind as French, maybe you need to pick a more specifically French name? Like Céline or Camille or Berthe or whatever. Similarly , "Jean" seems too cliché, and it will be first read by an English speaker as "Gene." How about something like Jean-Claude or Jean-Pierre, or maybe simply Pierre, which is still cliché but will be read as French from the get-go. And if Sebastian is supposed to be French, his name should be spelled "Sebastien."
 
A thought about the names: "Julia" is not particularly French. It would be "Julie," but if you want the readers to actually hear it in their mind as French, maybe you need to pick a more specifically French name? Like Céline or Camille or Berthe or whatever. Similarly , "Jean" seems too cliché, and it will be first read by an English speaker as "Gene." How about something like Jean-Claude or Jean-Pierre, or maybe simply Pierre, which is still cliché but will be read as French from the get-go. And if Sebastian is supposed to be French, his name should be spelled "Sebastien."
Thank you! Very useful :) I have considered changing Jean a few times and Julia once had a convoluted (now lost) backstory about why she was called it. It should be changed - you’re correct. :)

Sebastian was on me! My bad, thank you :)
 
Hi Jo,

I didn't read the previous version but overall found this fairly engaging.

For me, I thought it could be a little richer and have more immediacy. There are elements that put you there in the moment but I felt there could be more - where is the squelch of the mud, the difficulty of everything being soaked through, the tent peg that won't stay in the ground?

There is little dialogue and although they are well rehearsed, it seems that they would need to talk setting up camp. It's fine that they don't but why not? Tired, hungry, miserable from being soaked through by the rain?

There is a balance with the reflective elements, that provide the information (didn't find it overly infodumpy), but for me personally I could be a little bit closer to the moment and receive the info a little bit slower. I love the hook of line of sight to the watchtower - great.

The only thing that pulled me out of the story was the cart. The second sentence had me imagining a two wheeled cart being pulled. Jean changes direction and I'm still on pulling a two wheeled cart - then she's pushing it. And she's pushing it with a handle? So now I'm confused when reading it and wondering if it has four wheels. I think that what I imagined was something that might be pulled by a horse but in fact the cart is much smaller, almost an oversized wheelbarrow?

I hope that's useful.
 
Hi Jo - Some comments - usual techniques.

Okay, let's see if this is closer, and if the whole thing is more grabby. There has been a chapter before this, so it's not the opening of the book but it is the first time we meet this point of view.

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The field is now (gives more imeadiacy IMO) thick with mud(,) I tighten my hold on the handle of the cart. I trying to keep it straight, but Jean's has his side is a little higher and it’s impossible. I'll have Sebastian will have to check its wheels tomorrow, before we set off. It’s crazy, but it has come to this; a cart is more valuable than the now useless cars important than any car we ever had. (not quite true in most cases - The car was THE tool back then, but now the cart wins)

I stopped here in case I'm getting too picky. Let me know if you want me to continue in a similar vane.

Hope I helped

Tein
 
Much nicer and it feels much more first person. I like this version much more.
(though it's changed significantly, so it considerably different in many regards).

I do have a general question though, since I do it a lot and it bothers me and I'd like to learn the ideal.
Is this the proper way to phrase these sorts of lines?
'Sebastian will have to check its wheels tomorrow, before we set off. '

Or is one of these better? And I get it, 6 or 1/2 dozen:
Sebastian will have to check its wheels, before we set off tomorrow.
Before we set off tomorrow, Sebastian will have to check its wheels.

I only ask trying to learn, so it may be right (or a matter of preference) as it stands.

Nice job, that's a lot of work to make such a change.

K2

K2,

The original sentence uses the direct voice which is considered better style as the subject is at the beginning of the sentence. However, the comma should be removed IMHO since the 'before we set off' doesn't seem so important as to break-up the sentence for it.

Your second sentence is a classic example of the passive voice and generally should be avoided. It certainly can be used in dialogue as people do indeed talk this way, and/or to show someone who is weak, indecisive or indirect in the conversation.

Bren G
 
K2,

The original sentence uses the direct voice which is considered better style as the subject is at the beginning of the sentence. However, the comma should be removed IMHO since the 'before we set off' doesn't seem so important as to break-up the sentence for it.

Your second sentence is a classic example of the passive voice and generally should be avoided. It certainly can be used in dialogue as people do indeed talk this way, and/or to show someone who is weak, indecisive or indirect in the conversation.

Bren G
I don't really see the passive voice there at all, let alone a classic case of it. The passive voice would be "The wheels will have to be checked," etc.
 
I agree with K2 yet again on this one. It's a much stronger piece and more engaging throughout. I am much more clear on what is happening and more curious as I read through it.

I especially like this part below as it is well written and provides me a glimpse early on of what that the journey will be. I see an epic journey to reach America which likely means - fight our way to a harbor, somehow get on the last boat (which will be hard enough I am sure) and once you do, get me across the Atlantic (which I am sure will have its own challenges!). Also, the conflict starting between Julie and Jean is more than hinted at and I secretly hope it will brew into Cain and Able proportions.

I hate this country. I hate its rain. I hate the towers that guard our way. I hate Aidan, and the others who run this caravan, who promise we’ll see America soon, that we’re near the end of the road that leads to the sea. I hate, most of all, that I half-believe them, even though they’ve lied to us through hundreds of miles.


Here's a few things that you might consider to polish it.

The word 'spare' and 'spareness' is used in ways that I think most North American's are not familiar with, and so it seems odd. I suspect you may be across an ocean and if so, it *may* confuse readers across the pond. That said, you may wish it to have an Irish flair (or other) and so it would be entirely fitting in that case.

The air is heavy, an oppression that builds around me. -> I believe I understand what you are trying to say here but it just doesn't seem to work. Maybe build it out a bit more and add more descriptive language to create the allusion. Something like this as an example-> The thick, humid air presses down and wraps around me like metal chains.

In this example, you're not telling (ie the air is heavy), rather, you are showing (thick, humid air presses) and the chains create the image of oppression.

“Hey!” I call, but he doesn’t turn around. -> Nothing wrong with this line, but it could be more direct. Also, and there are debates about this, probably many in this very forum, but more traditional stylists would assert there is only 'said' and 'replied' and not 'call', 'shouted', 'cried' etc. Totally your call :) but I rewrote it using said, and so, maybe consider -> "Hey!" I said, but my call had no effect as he continued forward.

If you wish to continue with 'call', it's more direct to use -> “Hey!” I call, but he continues forward. Or maybe "...but he doesn't hear me.' These are small things but they can add up if done frequently during the length of a novel.

Again.. well done!

Bren G
 
I don't really see the passive voice there at all, let alone a classic case of it. The passive voice would be "The wheels will have to be checked," etc.

Fair enough. However, I do believe it stands though as the first sentence is direct and easier to read. It's like:

On Sunday, I went to church vs I went to church Sunday.

Nothing is gained by writing it with the comma as it has a more passive quality (though not in the technical definition as you've corrected). It's a matter of style and preference of course of which the author has full control of course.
 
I think what's weighing this down is a tendency to over-explain or labour a point, a niggle made into a genuine problem by the choice of perspective and tense. First-person present is unforgiving of asides and explanations; they can make a character seem self-conscious, even pretentious. Economy and careful use of implication are your friends.

Other than that, eminently readable stuff.

A quick illustrative revision:

At the entrance to the field the road degrades into a slurry of gravel. I tighten my grip on the cart, trying to keep it straight, but Jean has his side a little higher and it’s impossible.

Either side of the gate, Aidan’s guardsmen slouch in the drizzle. One waves us on. Behind me, where it makes my back itch, the watchtower waits.

“Pull up on the right,” mutters Jean. “We’re going to get stuck.”

I try but the ground is a mess of mud and grass; nothing solid to brace against. God, I hate this country. I hate its rain. I hate the towers. I hate Aidan, and the others who run the caravan and promise we’ll see America. I hate, most of all, that I still half-believe them.

“Julia! Jean!” Over to the side, Jose waves the rag that’s all he has left of a Spanish flag, beckoning. I bite back a yelp as Jean changes direction, wrenching my shoulder. The hood of one of the guards turns toward me. I put my head down and push.

“This way. Careful; there’s a dip.” Maman joins us and steadies the load as we slog over to where Jose is waiting. As ever, he’s found a good spot. Well away from the latrines and with a shallow pit that will shelter a fire. He gives me a heavy-lidded look and slides his eyes to the left. There, through a gap in the hedge, the watchtower we passed is clear, and close. I hide a smile. Clever Jose.

We pull up the cart. I let go and rub the palms of my hands, smearing blood from where the callouses have cracked. Like clockwork, our gang descend on the cart. Jose has kindling in the pit and is nursing a fire from it; Maman heaves the stockpot off the cart and fills it from the barrel.

Jean and I pitch the tent in silence. As we work, Sebastian takes his place at the front of our camp, hipshot and arms folded. He’s thinner these days, his muscles spare, but he has his height, and his sunken eyes still threaten enough trouble to keep our space safe.

Beside us, Maman scrapes mould off vegetables and measures grain for the stew. Small handfuls. Will they be bigger, when we reach America? Papa believed, right to the end, that things would get better.

I push in the last peg, stamping it flush with the heel of my boot, and straighten. The drizzle has stopped but the air is still heavy; the clouds low. Jean stalks away, leaving me with the rolled-up bedding.

“Hey!” I call, but he doesn’t turn around. He aims for the centre of the camp, where smoke already rises and Aidan will be holding court. Jean will sit, listening, as they spit hatred of us, and he won’t argue. They treat him like a mascot, the little french boy. They’ll fill him with food from their fire – the best in the camp – and make him believe he matters.

I want to run after him, my little brother. I want to warn him that he means nothing to Aidan, that once we reach the ships – if there are any ships – he will be slung aboard with the rest of us. Instead I wait for my own food and stare at the watchtower, taking time to place everything I took in before the big man chased us off. After a while the pot boils, and Jose tosses in the rabbit carcasses he has skinned.

The wind gusts from a new direction and I imagine, of all things, a carrot, sweet and crisp and fresh. The bite of it. The rush of sugar I never used to notice, when all around us was rich and full, the savouring of it in my mouth.

As the storm breaks and the fire spits and hisses, I wait for full darkness, and my time.
 
A thought about the names: "Julia" is not particularly French. It would be "Julie," but if you want the readers to actually hear it in their mind as French, maybe you need to pick a more specifically French name? Like Céline or Camille or Berthe or whatever. Similarly , "Jean" seems too cliché, and it will be first read by an English speaker as "Gene." How about something like Jean-Claude or Jean-Pierre, or maybe simply Pierre, which is still cliché but will be read as French from the get-go. And if Sebastian is supposed to be French, his name should be spelled "Sebastien."

I personally think Celine is great name for a character ;) I would also like to add, on behalf of all us named Celine, that it would be nice to not be the antagonist for once - Celine always tends to be like, the evil witch or the evil mermaid in my experience. I just want to be the good guy!! :D

(Side note: I know how intensely bonded I am to my character names, and if you are this far in, it might feel unthinkable to change your character's name. I know I would feel that way!)

Anyway, back to the story -
 
I personally think Celine is great name for a character ;) I would also like to add, on behalf of all us named Celine, that it would be nice to not be the antagonist for once - Celine always tends to be like, the evil witch or the evil mermaid in my experience. I just want to be the good guy!! :D

(Side note: I know how intensely bonded I am to my character names, and if you are this far in, it might feel unthinkable to change your character's name. I know I would feel that way!)

Anyway, back to the story -
Writing story on that one. When I wrote my first books, my trilogy, the baddy was called Averlyn. She'd been called that since I was about 15 (I am not 15 anymore, nor near it). Anyhow, in book two I put in a plot line where LYN at the end of a name denoted something very important about my main character - and that could not be anything to do with the baddy, due to family stuff and plot things.

Luckily, an eagle eyed beta caught it and asked what the secret reveal about this was going to be, just before I hit the publish button on book one! I did a control + H and turned her into Averrine in one quick swoop. I still occasionally slip up and call her Averrlyn, though. :)

So, yeah, I've changed this one to Julie (although, Celine is very nice - but it feels just a little too old for this character, which might be silly) and the brother to Jean-Pierre just for those who are getting tripped up on the French (that one is irking me a lot more, it's like pandering to dumbing things down) and we also have Eric, because I couldn't be bothered hunting out my keyboard's accent.... :D
 

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