The Inexorable Rise - Act 1, Chapter 1, PART 2

BT Jones

Well-Known Member
Supporter
Joined
Feb 12, 2020
Messages
715
Location
Australia
Okay @Guttersnipe, @Joshua Jones, @Jo Zebedee, @elvet, @Provincial, @jd73, @The Judge, @Toby Frost, @Guttersnipe, @sule, @pambaddeley, @AnyaKimlin, @IronTaurus, @tinkerdan, here is part 2.

Again, no obligation to read or avoid skimming. You will almost certainly find the same issues with this next 1,500 as the first, albeit with slightly more focus on the characters real world movements. Many, many thanks again for any feedback. Also happy for you to hold back to the 3rd and final post and summarise.


I shoulder my hysteria aside for a moment to concentrate on my physical senses. My first impressions are of coolness and confinement. This place has both temperature and dimension – and neither contradict; cold that is not simultaneously searing; a tangible surface that I can actually touch. Tactility: a startling sensation – it feels an age since I actually placed my fingers upon something, consciously at least.

My sensory endeavours broaden. I can feel my eyeballs pressing against my eyelids. They refuse to open, as if the skin has sealed over during the eons spent with them clammed shut. Despite this, I can still see a faint light; a corroded bronze glow, somewhere close by. With respect to smell, I detect a pungent, iatrical odour – unpleasant but benign. There is nothing to taste, and aurally, the shallow rumble of my own breathing is all I can hear, echoing around what is clearly a small space.

My attentions return to the one sense I can truly affect: touch. My legs are unresponsive, as are my hands, as if pinned by an iron veil. My head feels similarly restrained. I realise the surface I touched before lay behind me, my arms motionless at my sides. Instantly, I determine the veil is nothing more than gravity and I am prostrate. With the cognisance comes resolve and I rail against the force. Immediately, my straining fingers contact another surface, this time curved, hollow, and somehow damp. My head and feet make similar investigations and it is soon evident that I am contained with something: a chamber of some kind – a tomb?

But where might once have been panic, there is curious calm. Even inhumed, it is a predicament immeasurably less horrific than being in those pipes. Physically intact, motionless, and cool, with barely an echo of my prior suffering: it is comparative bliss. It is akin to hatching into a beautiful meadow after countless eons of natal imprisonment within solid rock, fathoms below ground.

The emancipative serenity persuades me to reach up once more to touch the curved top of this chamber; a material I now recognise as glass. With all my effort, I push…and the lid gives. My tomb has been opened, albeit by merely a fraction.

I hold the glass lid ajar – it is all I have the strength for – but am distracted by a rippling sensation over my skin. The tingling is closely followed by a drastic escalation in temperature, then a shortness of breath that prompts me to inhale deeply. There is something fell in the air: a toxicity inherent to the workings of this place. It is like a layer of ash enwoven into the air molecules themselves, or miniscule iron filings residual to the forge obeying the magnetic attraction of my respiratory system. Am I still in that place? The implication remains, but not the feeling.

Accompanying the contaminant are confounding sensations: dizziness, whimsy, and anomalous enlightenment. The heady mixture compels me to deliberate further on where I have been brought. As there can be nothing beyond the forge, perhaps I am between realms – an intermediate holding zone betwixt the levels? Limbo? But why?

The woozy merriment rakes a blackly comic concept from a redundant corner of my mind: perhaps eternal damnation does not work the way one might expect. Is there is a limit on just how many anathematized souls that place can hold within its walls, dimensionless or not? Eternity, by definition, is an exceptionally long time, and if that place services multiple civilisations simultaneously, there could be countless legion of the damned, ten miles high, threatening to flood the network. Does even a heinous foundry of that size and insidious construction require reset every few eons; the furnaces stoked, the coals replenished…, the pipes serviced. It is preposterous image: every inch of conduit within the manifold having to be flushed, cleaned, and tested by hordes of dutiful serfs in lurid overalls. And where must they park the dead and accursed while the system is reset? A holding vessel; an overflow tank.

My perverse amusement evaporates as the thought triggers metaphysical nausea once again. If my limbo persists only as long as it takes to reboot the network, then it means, undeniably, that I must ultimately return to the forge. Eternal is eternal after all, whether cyclic or seasonal. I am destined to repeat this torment, ad infinitum.

A shiver runs down my body. With my last intake of breath pressing against my ribs like a fist, I let go the glass lid, which clicks shut, and suckle on the crisp, clean air of the chamber once more. But the relief is physical alone.

Merciful Upholder, could I be more cursed? Being in a state of perpetual disintegration was a horror I had not thought it possible to surpass, but my torment thus far lies superseded by this new outrage: that my ever-so-fleeting respite be spent trying to guess which second of it will be the last before I am returned to that stone antechamber to burn anew. It is the ultimate in damnation.

In a panic, my hands survey the interior of this holding chamber. The material at my back is softer, more pliable than the glass roof. Could it be a trapdoor? Could those dreaded pipes be behind it, valved, waiting for the service cycle to be completed in order to open? Or does the foundry reside on the other side of the glass?

Is the answer in the anatomy of the construct? If there can be nothing lower than that place, then I must be above it and it must be beneath me now, at my back. The chains of events are clear: my remains were syringed from the manifold and injected here, into a man-shaped mould. Does remaining guarantee my fate? And, were an alternate course of action available, dare I take it?

Hope is a clown, but my rational mind cannot dismiss the possibility that I could willingly leave this obscurity of my own volition. The notion of choice, alone, seems alien, but my respite has stirred a conceptual manumission within me. I know, after all, that this glass case lifts upon touch. Subject to me possessing the requisite strength, it is entirely conceivable that greater effort could open it all the way.

Of course, with every possibility come myriad potential hazards. Accepting the pipes lay in wait behind me, could excessive movement cause the trapdoor to give way? What if, in my efforts to break free of this void, I inadvertently expedite my reclamation? And what might I find on the other side of this glass hatch? What if that which lay beyond the tomb is a worse fate – an insidious torture trap reserved solely for the seditious?

No, there can be nothing worse. I must advance. If, in my attempts to break free, I merely accelerate my inevitable return, then what have I lost?

A muffled noise outside clenches my adolescent mutiny, prompting my eyelids to finally unstitch. A dull brass light is cast into my synapses, flickering eerily, but is swiftly consigned to an aura surrounding a black silhouette that appears without warning, almost preceding the fell footsteps that conveyed it here.

I harden as stone, motionless, as the featureless head peers into my tomb. Just as quickly as it is there, however, it is gone again, to the sound of further footfalls, and something else besides – something discordant and crackly. It is like the breath of wind…or a whisper, perhaps: a voice.

Great Fountainhead. My ability to misplace whole strands of memory from my time in the forge continues to mystify, this element more than any other: for it is, indeed, a voice, and straight away, unmistakeably, I know to whom it belongs.

I know it from that place. The recollection engulfs me like an avalanche and bowls me straight back to that moment. I relapse into disquietude as I remember now that it was there during the whole ordeal, speaking to me throughout. That deathly location-less susurration, orbiting me. It was an alien tongue, words beyond language – unrecognisable sounds beneath texture, but with osmotic implication.

Receipt was unequivocal, yet I struggle now to remember the particulars of what I heard in decipherable terms. The wavelength of the divulgence was primal, instinctive. It spoke in broad brushstrokes of raw emotion that transcended the unintelligible gibberish I could hear. Instantly, I could be in no doubt as to why I had been delivered to that place. The guilt was sickening, the sense of hopelessness overwhelming.

It had questions of its own as well; cynical, rhetorical queries it derived pleasure from asking. Why had I not heeded the warnings? Was it callous ignorance that drove me to take that which must never be taken, or was it simply arrogant disregard for the wisdoms passed down by myriad generations? Did I understand that my residence in the inchoate kingdom was now forfeit as penalty for my disobedience; that I had renounced all birthright protections; that I was now forever condemned to scour the inside of the foundry pipes with my bone fragments?
 
First there are some great phrases in here: "hope is a clown" "my eyes unstitch", "my adolescent mutiny". I like the tendency towards ponderous, gothic language.

I think for me, what stands out now is the filtering - the "I hear", "I see", "my senses". We are experiencing everything through the perceptions of the character. Consider presenting everything around them as is, with their voice and in their style, but without the added layer of them being between it. That will not only help the reader engage with the world, but also identify with the character better by ironically making the character less present, and adding to the sense that readers are the character, or certainly very close alongside him. As an exercise, search out instances of "me" and "my" and see if some can be reworked or trimmed away.

Funny that for all his (or her) sombreness and the threads of fear they precipitate, they are being thwarted by simple stuff like lifting the lid off a coffin. This character reminds me of Voldemort in the HP series, slowly coming back to life, or maybe a vampire, awakening after the first bite, down in some forgotten boiler room. I don't know why, but I get the sense that he's bad, evil, and troubled. Something about the dark and heavy tone. There are quite a number of five-dollar words here, but they do work to support the voice so I don't mind them, though it is very easy to let them hold total dominion over the text.
 
I'm afraid that I'd say much the same as before. The writing is fine, if not to my taste, but not enough is happening. There's a little more sense of something existing apart from the narrator, but although he does move about a bit, it lapses back into his semi-poetic musings. I think to an extent the wordy, slightly Lovecraftian style is muffling the sense of events or direction. Anyhow, I'm going to step out here and just say that it's not for me. I hope it goes well.
 
You know what might be kind of neat? To take each of these paragraphs and use them as epigraphs for regular chapters of more conventional narrative goings-on.
 
I deliberately tried to read this as a separate piece, ie as if this were the beginning of a new scene, and to that extent it works a little better since things are happening in the first paragraphs here. However, for my taste it was still all too slow, too verbose, too stuffed -- it's the literary equivalent of a Victorian sitting room, all frills and furbelows which would be bad enough, but in your case it's the domain of a compulsive hoarder with a taste for tchotchkes who has never thrown away any knick-knack in his life, so the few good or interesting pieces of furniture and fittings are buried beneath excess decoration and over-ornamentation. By the time I'd got to para 8 I'd had enough and couldn't bring myself to read further.

Really, I know this is hard to hear but you have to ask yourself who you are writing for. If it's just for yourself, then our opinion doesn't matter, and you can keep every word of this opening and glory in its lavish opulence. If it's for a niche group of literati, well, good luck in finding them! If, however, you were hoping to sell the work to the general SF-reading public -- particularly if you're thinking of going the trad route and trying to get a SF publisher -- then to my mind you have to scrap this whole opening and produce something which is more reader-friendly.

In that respect, of course, you're at a disadvantage in that you're not reading a lot of SF so you're not au fait with the market. What I'd suggest is you do some research as to the best selling SFs of the last 10 years and read the opening pages of each of them on Amazon. I'd be astounded if any of them have more than a few paragraphs of writing of this kind, if there is any at all, let alone the thousands of words you've produced.

In any event, good luck with it.
 
Sorry I missed the first tag. I did go back and read the first version. I am not good at expressing myself when it comes to critiques, so I'll just give you my impressions.
I got lost in your words, and by the end, did not know where the story was going. But, each paragraph was lovely to read - I'd call it 'dense' reading. There are a lot of very specific descriptions to take in, so while my brain woks through that, I lose track of what the story is about.
 
Thanks @jd73, @Toby Frost, @The Judge and @elvet. I posted as was, unchanged, for continuity and completeness, but I have already decided to try and rework it to something "user friendly". I certainly wasn't aiming for high art, per se. At the same time, I'm not going out of my way to cater for the masses, so perhaps my work will ultimately fall between two stools. Anyway, I appreciate you all giving the time and I will spare those of you who are not keen any further tagging.

Thanks to @Luiglin I am now reading again so I hope to avail myself of a decent cross-section of work in the coming months to perhaps help enlighten my mind to the different styles and themes and techniques out there.

And thanks, @jd73 for the suggestion. That is an interesting idea! Not sure it works with the remainder of the story but, quite frankly, everything is on the table right now.
 
Another way of using some of it would be via a few occasional flashbacks -- he/she trying to recapture the initial helplessness. It wouldn't give you that build up you wanted, but the advantage is that one or two paragraphs at a time would be digestible -- or could be easily skim-read -- so you wouldn't be putting people off reading the whole thing.
 
I'll keep my thoughts brief and try not to echo most of what has already been said.

I thought it was good, but that the pace of it was too slow. The slow pace felt intentional, but as a reader it still seemed like things were dragging on too much. I felt this mainly from the pauses for the character to remember and internalize things--for me there were too many of these disruptions, and they kept me from being pulled into the story.

Again, on a sentence level a lot of your phrasing is beautiful and unique. My main thought was that it could be trimmed down to keep the reader from losing the thread of what was going on.
 
– it feels an age since I actually placed my fingers upon something, consciously at least.

Take the adverb out and find an alternative for something - a tangible surface or similar (vague words beginning with some dilute the strength of a sentence) and this is a cracking idea for an opening line.

Within this I still think you have what you need but it's being buried in a lot of description. Description is great but it's that delicate balance between drawing us in and losing the character. It also places me, my, I at the start of the sentences too often which disrupts the flow.

I'm going to take a liberty, for which I apologise. I'm not going to rewrite anything but just pull out the bits that have me rooting for your character.

It feels an age since I actually placed my fingers upon something, consciously at least. They [My eyeballs] refuse to open, as if the skin has sealed over during the eons spent with them clammed shut. I can still see a faint light; a corroded bronze glow, somewhere close by. With respect to smell, I detect a pungent, iatrical odour – unpleasant but benign. The shallow rumble of my own breathing is all I can hear, echoing around what is clearly a small space. Immediately, my straining fingers contact another surface, this time curved, hollow, and somehow damp. My head and feet make similar investigations and it is soon evident that I am contained with something: a chamber of some kind – a tomb?

Now personally I would still trim the adjectives and adverbs, shortening the sentences would make it more tense but that's a style thing. This paragraph gives me a character to care for and the indication of a story. I'd suggest removing actually, consciously at least, With respect to smell etc and then see how you feel about it.
 
Last edited:
One comment only.
I cut and pasted this into word and made it arial with no italics and it was much easier to read and comprehend.
For purpose of critique I would suggest you nix the italic for easy on the mental eyes.

In all honesty the first when attached to this one makes me wonder if I would make it through both before giving up.
Not because of prose; because it is too long for so little to be happening beyond the endless and almost seeming meaninglessness of the narrators in depth analysis.

Translates to...it needs shortened so you can get the the story. I would probably get closer without the italics for such a long stretch.

I'm sure that first person present tense is there for some effect, but it might be affecting the reader because of the nature of the narration itself. Have you tried it in past tense?

Though this is written well and the prose has an intellectual quality there is something missing in engagement and possibly even rhythm or beat.

Okay I said one comment and I lied.
I shoulder my hysteria aside for a moment to concentrate on my physical senses. My first impressions are of coolness and confinement. This place has both temperature and dimension – and neither contradict; cold that is not simultaneously searing; a tangible surface that I can actually touch. Tactility: a startling sensation – it feels an age since I actually placed my fingers upon something, consciously at least.
coldness
confinement
temperature
dimension
cold
searing
tangible surface
tactility

Each sentence, each clause, instead of building onto the next, seems to just restate the previous until I guess the reader has a full grasp that there is temperature and confinement here, yet there are so many good words so I don't think its that as much as the extra adverbs and adjectives modifiers.

I shrug my hysteria and engage my senses temperature and dimension, coolness and confinement, a cold but not searing tangible tactile startling sensation as I've not placed fingers upon in a seeming long time.

One thing I left out was the neither contradiction--because I failed to understand what that meant in the middle of all this.

I think you should consider culling your paragraphs and pruning till you have all the good stuff stacked as well as you can.
 
Last edited:
Thanks again, everyone. Thank you for the compliments @sule. Nice idea @The Judge. Given the remainder of the act jumps between perspectives, it might be hard to achieve this. But it's definitely worth considering. And lovely, @AnyaKimlin - that would be a good opening paragraph. This is almost certainly the kind of way I will rewrite this. My initial thoughts are that I would potentially identify a separation of mind and body in some way, so that the character's body keeps moving and keeps the action flowing, and it is interspersed at relevant points by these flashbacks of where he thinks he was.

And note, @tinkerdan. This was mentioned in the beta reading reports I commissioned. In the sense that internal 'thoughts' are italicised, I figured that when the whole piece was internalisation, I would simply make it all itallics. But I think you are right. People tend to find it distracting, especially where I use bold in lieu of itallics (be cause its already in itallics).

I will make this change on my rewrite. Potentially, I can use this to separate the 'body' and 'mind' parts.

I will tag those of you that are still interested on the last part next week, so you can at least see where this ends up.
 
One more note on a second read through.
You say prostrate.
I think of flat face on the ground. sometimes flat facing ground but with head held up in reverence.
Or curled up face on the ground.
Feet and face touching ground.

However it seems like by description he is on his back, because he has to make an effort to get his feet and head to the surface and he reaches up.
That is confusing and doesn't seem correct for the term prostrate. Making that portion more difficult to read and imagine at the same time.

He seems to be supine.

Also: did you mean the following
It is akin to hatching into a beautiful meadow after countless eons of natal imprisonment within solid rock, fathoms below ground.
to be a supreme form of self deception.
Because everything you have described so far could lead to him right now being in a natal imprisonment within solid rock, fathoms below ground for all he knows.
 
Last edited:
One more note on a second read through.
You say prostrate.
I think of flat face on the ground. sometimes flat facing ground but with head held up in reverence.
Or curled up face on the ground.
Feet and face touching ground.

However it seems like by description he is on his back, because he has to make an effort to get his feet and head to the surface and he reaches up.
That is confusing and doesn't seem correct for the term prostrate. Making that portion more difficult to read and imagine at the same time.

He seems to be supine.

Also: did you mean the following

to be a supreme form of self deception.
Because everything you have described so far could lead to him right now being in a natal imprisonment within solid rock, fathoms below ground for all he knows.

I think I have to redo that sentence, @tinkerdan. Reading it back just now, it doesn't sound right, and I can't put my finger on exactly what I was trying to say at the time! :unsure:
When I am rewriting it, with the appropriate context, I think I will be able to make it more meaningful and less obscure!

And, yes, checking 'prostrate', it seems primarily - but not exclusively - 'face down', so I will temper my use of the term from hereon-in.

Thanks again for the assistance!
 
Hi @BT Jones,

You are certainly getting a lot of feedback!

I like this much better. It made more physical sense and I felt it was pulling in a direction that was interesting. Now I do want to read more.

My overall impression now is that you are trying to write prose poetry. The dream you had must have been hideously disturbing, because that is what is coming out of the text. Perhaps it would be helpful to you and the story if you were to deal with your reactions to the dream by writing a poem about it, then went back to the text to rewrite it more objectively with the intention to entertain rather than to evoke the dream.

’Fathom’ when referring to a depth is (I believe) technically speaking a measure of the depth of water, so really should only be used to describe a depth of rock if there is some poetic reason to misuse it. I didn’t notice anything in the context to suggest it was adding depth to the story (sorry for the pun).

One last thing: I read Lolita and enjoyed it immensely even though I needed a dictionary next to me in order to understand the text. However that was a phenomenal novel of great power, and the deliberate obscurity of the vocabulary was designed to show that the speaker was a pretentious git. I assume this was not your intention. Since you appear to be writing a conventional horror story I feel less inclined to spend time with it if, e.g. I am not only supposed to stop to check the meaning of ‘manumission’ but also take time to work out what you mean by conceptual manumission - it disturbs the flow of the storytelling, takes me right out of the story and kills the pleasure of reading it stone dead. Your poetical turns of phrase appeal to me very much, but I would rather read them in a poem which I can take my time to savour. In this story they have the effect of turning it into a bucking bronco: I am having to work so very hard to interpret your words and simultaneously hold on to the thread of the story that I am no longer able to enjoy it as it should be enjoyed.
 
Last edited:
Hi @BT Jones,

You are certainly getting a lot of feedback!

I like this much better. It made more physical sense and I felt it was pulling in a direction that was interesting. Now I do want to read more.

My overall impression now is that you are trying to write prose poetry. The dream you had must have been hideously disturbing, because that is what is coming out of the text. Perhaps it would be helpful to you and the story if you were to deal with your reactions to the dream by writing a poem about it, then went back to the text to rewrite it more objectively with the intention to entertain rather than to evoke the dream.

’Fathom’ when referring to a depth is (I believe) technically speaking a measure of the depth of water, so really should only be used to describe a depth of rock if there is some poetic reason to misuse it. I didn’t notice anything in the context to suggest it was adding depth to the story (sorry for the pun).

One last thing: I read Lolita and enjoyed it immensely even though I needed a dictionary next to me in order to understand the text. However that was a phenomenal novel of great power, and the deliberate obscurity of the vocabulary was designed to show that the speaker was a pretentious git. I assume this was not your intention. Since you appear to be writing a conventional horror story I feel less inclined to spend time with it if, e.g. I am not only supposed to stop to check the meaning of ‘manumission’ but also take time to work out what you mean by conceptual manumission - it disturbs the flow of the storytelling, takes me right out of the story and kills the pleasure of reading it stone dead. Your poetical turns of phrase appeal to me very much, but I would rather read them in a poem which I can take my time to savour. In this story they have the effect of turning it into a bucking bronco: I am having to work so very hard to interpret your words and simultaneously hold on to the thread of the story that I am no longer able to enjoy it as it should be enjoyed.
Thanks @Provincial, and I welcome the feedback. I certainly prefer there to polarising reactions than none!

The language used in this piece is specifically chosen for the identity of this particular character. There are some dark and rather horrific elements in Act 1, but the general tone is more of a sci-fi thriller. This opening is, in many ways, a red herring for the overall piece, which probably begs the question 'why do it at all?'

It's a Catch 22. The build up in tension and ominousness isn't released until the very end of the chapter and segues to a style and tone that most people reading the chapter wouldn't expect. But if its TOO dark and ominous for most readers, they are not going to read on, are they?!?

One of my beta readers absolutely adored this, especially the end of the chapter (2 were less enthused!!). She totally understood what I was trying to do and why. I guess this is just the balance I need to find, especially as I have already alienated one or two forum members I think.

I'll save the rest of the discussion until the 3rd & final post next week.

But thanks again for reading. The reactions (positive AND negative) are immensely helpful. It gives me great confidence and happiness to be a part of this great collective!
 

Similar threads


Back
Top