Second Launch, 1st pages of A Distant Blue Light

Michael Bickford

Lost Coast Writers, Redwood Coast
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Humboldt County, FarNorCal
I abandoned the ungendered pronoun experiment. Hope this is clearer. I added more dialog attribution, but I don't like how it interrupts the flow of dialog so I want to keep it to a minimum. Can you follow who is speaking? Can you feel the differences that attract them to each other and the contradictions in their relationship that will complicate things? Do you wonder how this situation came about?
Thank you for reading.


A Distant Blue Light

PART ONE

1.0 Launch


“Orbital Industries Transport Module 5 requesting permission to engage boosters.”

Naz has never been so nervous. Twelve years as an astronaut, countless surface launches and big burn accelerations, the last ten as a pilot, yet she’s twitching like it’s her first blast out of Palmdale. Always wired and ready, she doesn’t remember sweat ever accumulating faster than her flight suit could wick it away. Like a tight tropical greenhouse pressing in all around her, she feels the urge to rip it off, come up for cool air. Leaving earth orbit for the first time would be enough to make her sweat, but far more is being launched in the next few minutes than a transport module to a five-year mission. This is also the start of her honeymoon.

She glances at Del, her flight engineer and new husband, strapped into the acceleration seat to her right. Locked in as usual, she thinks. He won’t even look my way until we come out the other side. A tremor of resentment tinged with envy rises, but immediately melts into admiration. He’s gonna take some getting used to, but you can do this, Nazareth. It’s all gonna be worth it. She allows her glance to become a gaze that lingers into a relaxing sigh. He is pretty ****ing beautiful, though. Del does not seem to notice her smiling at him.

“Permission certified, OIT5. Final clearance on your request. Looking good you two!”

Drumming a rhythm on her armrests, Naz refocuses. She jumps a little into her belts, recoils, and presses into the e-foam, steeling herself for the gs to come. “Roger, Mora. Your call, Del.”

The flight engineer is remarkably calm. Del has experienced only two previous acceleration events—the initial ground-launch, two weeks ago, and a subsequent relaunch into their current geosynchronous orbit at L2. His cool confidence, based partially on that very dearth of experience, is more fundamentally grounded in deep self-knowledge. He is in fact quite aware of Naz’s scrutiny. He enjoys her fascination with his unflappable demeanor. Now a wry smile tightens his lips, his eyes fixing her in his peripheral vision while he assesses data in the holographic display before them.

“Enga–agment?” he drawls.

“Is that a joke?” Naz’s nervous energy adding a slight screech.

“Sort of. I mean, we never really did that part.” His premeditated breakdown of her concentration is working perfectly.

“Oh. O–K.” Naz’s steel melts away. She looks over at him again, but he is set on the display as if someone else had just spoken. Naz squints at him and plays along. “I’m saying yes all over again then, if you’re asking.”

“Roger that.”

“Having second thoughts?” I gotta get a rise outta this guy.

“Negative.”

“Oh, just negative thoughts.”

“Negatory on the negatives.”

“Ha! That’s good, cuz it’s too late now.”

“Roger that,” says Del and finally sends a sidelong smile Naz’s way, slowly nodding.

“You are full of surprises, Delta V, that’s for sure,” say Naz, and with another staccato drumroll she puts her game face on again. “Let’s pop the cork on this bottle-rocket!”

Checking for scratch-worthy readouts, they scan once more the red and green graphics that pulse and crawl across the display, the starfield beyond the flight deck’s view-port dimmed by its artificial brilliance. All flight data are nominal. Though Naz’s biodata looks like a flunked polygraph—biofeedback failing her as usual with heartrate, blood pressure, endocrine readings all in the yellow—Orbital’s AI knows that these are within Naz’s nominal range as well. Only her slow, deep breathing keeps her O2 saturation green. Del, on the other hand is either a stone-cold liar, or naturally calm in stressful situations. Naz' heart eases a few beats per minute knowing the latter to be the case.

“Ready to engage auxiliary engines on this end. Orbital Industries Transport Module 5 requesting final clearance. Just say the word, Mora.”

“Roger, OIT5. The window is open and L2 Control is green. We are GO for full auxiliary burn on your mark. See you on the other side!” The faux enthusiasm in Mora’s usually calm voice strikes them both as funny, but neither of them laugh. Mora isn’t capable of being intentionally humorous.

“OK, then. No joke this time. Engaging on my mark, 3 – 2 – 1 – Engage auxiliary engines.”

“Auxiliary engines engaged. T zero established at 13:47:53, UST, on Twelve July, 2152.” With a touch on an activator and a coded gesture within the display field, Del initiates the firing sequence and they feel the initial jolt.

The reusable boosters that will power the newlyweds out of L2 orbit press their backs into their twin acceleration seats. Fighting the rising gs, Del slides a gloved hand across the padded console between them. Naz, sensing this, reciprocates. “I know this is the right thing to do, Naz,” says Del.

After a micro-second of hesitation she feels certain Del doesn’t notice, Naz says, “I do too.” Here’s hoping.

The engines’ lowest frequencies rumble in their headsets and vibrate the two pleasantly. Gs multiply rapidly. Gloves still touching, the couple relax as they have been trained to do, mindful of their breathing—inhale, count, hold, count, release, count, repeat. Display off, they monitor their own bodies for strain, communicating occasional mutual support with their hands. Through the view port the starfield is clear and beautiful now, still and unmoving as they rush toward it.

As the invisible weight builds up on their chests, they sink deeper into the e-foam, letting the computers do the work until the big burn is over and they can float freely in the spacecraft that will be their home for the nine-month journey to the cluster of asteroids they will be mining.
 
I liked that you got deeper into the character's heads. As a reader it felt a lot more welcoming and comfortable, having more knowledge about who these characters are. I think as far as dialogue attribution goes, most readers are able to follow a two person conversation that follows the pattern of ABAB, etc. So long is attribution is given at the start, I would think that most readers would be able to follow who is speaking without additional attribution, if you don't like how some of it interrupts the flow.

I think this is a very good start, keep writing.
 
This is a much better intro. We get to experience something of the characters and connect with them much better than the first attempt. There are still some rough edges, but at this stage it's more important to just get the story down and worry about editing after.
 
I echo the recommendation to keep writing the story. Probably circle back to the intro for additional editing and critique once the plot flow has been fleshed out. One suggest, as you are writing, think about the point of view that best tells the story. Currently, it seems to be third person omniscient with various parts being external narrator, internal to Naz, internal to Del. I feel that this tends to keep the reader at more of a distance relative to a third person close. I wouldn't change anything at the moment, just keep the point of view in mind as you write.
 
This does read a lot better.
I do have a question about POV.
When I started reading it it almost seemed to be 3rd to Naz.
However it jumps a bit toward Del and when it does, for some reason I felt like it was Omniscient Subjective hoppng between Del and Naz.
I'm not sure what you might be shooting for.
 
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I liked that you got deeper into the character's heads. As a reader it felt a lot more welcoming and comfortable, having more knowledge about who these characters are. I think as far as dialogue attribution goes, most readers are able to follow a two person conversation that follows the pattern of ABAB, etc. So long is attribution is given at the start, I would think that most readers would be able to follow who is speaking without additional attribution, if you don't like how some of it interrupts the flow.

I think this is a very good start, keep writing.
Thanks so much, sule!
Some people were confused as to who was speaking in first version. I think I split the diff with this one.
Since you’re on to this dialog-mechanics thing, I’ll ask about a constant problem with tense/dialog sense. Maybe you could give your opinion?
When a character speaks simultaneous with an action, do you prefer the speech first, then the description of the action, or the other way round? Quoting the lines in question from my piece:
“Auxiliary engines engaged. T zero established at 13:47:53, UST, on Twelve July, 2152.” With a touch on an activator and a coded gesture within the display field, Del initiates the firing sequence and they feel the initial jolt.
Since this is present tense I struggle to indicated smoothly the simultaneity of the dialog with the action. I think it works well enough the way I do it, but it’s a little thing that keeps coming up in present tense, which I otherwise really like. What are your thoughts on this?
thanks again for the read/response
 
Having commented on the first one, I have to chime in here too. This is definitely better.

There was no sense of listening to a radio announcement, starting with names is much better and more immersive. I like internal thoughts in italics, but with a first-person narrator I can see scope for confusion. That doesn't have to be a bad thing, but it's worth bearing in mind.
 
Good advice, Wayne. Thanks.
Yes, I always circle back and circle back as I go forward—a requirement to keep a long piece consistent. I am going to keep the internal 3rd person POV alternating between Naz and Del. There are only a few other characters, so it shouldn't be too confusing. And they are different enough that it shouldn't be confusing once I rework it all a few times through. But right, right, right!!! about damning the torpedoes and getting the whole thing down before getting too bogged down in the eddies of recircling rewrites! I think I've hit a happy medium with the trans gender presentation of Naz. I'm deep in back story right now while they are in transit and getting to know one another (and you they) better before they arrive at the mining facility and the plot actually begins. The first third of the novel is intended as in-depth character work and world-building.
Thanks for your read and response. This is so valuable to me and I so appreciate everyone's ideas and kind-but-truthful crit!
 
This does read a lot better.
I do have a question about POV.
When I started reading it it almost seemed to be 3rd to Naz.
However it jumps a bit toward Del and when it does, for some reason I felt like it was Omniscient Subjective hoppng between Del and Naz.
I'm not sure what you might be shooting for.

Thanks, tinkerdan.
Yes, I am going with 3rd person POV switching between Naz and Del. Tricky, but it's a technique I enjoy myself—switching internal 3rd person POV—and it fits well with these two mostly isolated from all others and increasingly more intimately involved with one another's psyches. There will be increasingly longer sections from each of their POVs. Starting off with shortersections because I know it can be jarring for the dear reader. If I do it right (I've done this before in short story form, successfully, imo) it should develope a rhythm—short-short; longer-longer; quite long-quite long; then back to variations on that rhythm. Eventually, for the exciting conclusion they should merge into 3rd person action as they experience the same things—quite possibly moving into that subjective omniscience for the finale, I dunno. I am a fan of shifting POV.
It will create kinks that will have to be worked out in later revisions after the whole story is out n down, but as I write their disparate back stories and bringing them forward I see them as almost melding into a single personality. So I'm excited about the challenge of making that real.
Thanks so much for your thoughts.
 
Having commented on the first one, I have to chime in here too. This is definitely better.

There was no sense of listening to a radio announcement, starting with names is much better and more immersive. I like internal thoughts in italics, but with a first-person narrator I can see scope for confusion. That doesn't have to be a bad thing, but it's worth bearing in mind.

Thanks, Saiyali!
Yes, I'm getting into some tricky stuff, but I'm game. I like shifting POV.
I'll keep your thoughts in mind.
 
When a character speaks simultaneous with an action, do you prefer the speech first, then the description of the action, or the other way round? Quoting the lines in question from my piece:
“Auxiliary engines engaged. T zero established at 13:47:53, UST, on Twelve July, 2152.” With a touch on an activator and a coded gesture within the display field, Del initiates the firing sequence and they feel the initial jolt.
Since this is present tense I struggle to indicated smoothly the simultaneity of the dialog with the action. I think it works well enough the way I do it, but it’s a little thing that keeps coming up in present tense, which I otherwise really like. What are your thoughts on this?
I think you're right in this instance with the way you've written it that it feels more correct for the action to follow the dialogue. I'm no expert on this, and it feels to me that a lot of this is probably determined on a case by case basis, figuring out each time which way reads better.
 
Agree with others that this is a much stronger opening! By the end I have a much clearer sense of who is who (nervous Naz and calm Del). Excited to hear more about this story as it develops.

Can you follow who is speaking? Yes Can you feel the differences that attract them to each other and the contradictions in their relationship that will complicate things? I can tell they have contrasting personalities, but somehow they are also complementary — I can also tell from the dialogue that they may not always approach problems the same way, and at some point in the future Naz may get frustrated with Del's calmness Do you wonder how this situation came about? Not particularly — since their flight control knows they are married, I assume this is normal in this world
Thank you for reading.
 
“Auxiliary engines engaged. T zero established at 13:47:53, UST, on Twelve July, 2152.” With a touch on an activator and a coded gesture within the display field, Del initiates the firing sequence and they feel the initial jolt.
I feel this one is out of order. The current dialog confirms the action has been taken, so it should follow. If the dialog comes first, it should be forward looking, e.g., "Engaging auxiliary engines ...."

As the reader will encounter things sequentially, don't try to express them as simultaneous, just have them happen rapidly in sequence.
 
I feel this one is out of order. The current dialog confirms the action has been taken, so it should follow. If the dialog comes first, it should be forward looking, e.g., "Engaging auxiliary engines ...."

As the reader will encounter things sequentially, don't try to express them as simultaneous, just have them happen rapidly in sequence.
another good call! Now I’m not sure.
I’m gonna write it both ways and read one, react, wait, read the other one, react, wait, rinse, repeat, and see which one sounds right. Could be a toss-up.
I think sule is right about it being a case-by-case decision. I want an algorithm!
 
I want an algorithm!
The closest I can come to an algorithm is the concept of putting a reader into either dialog mode or description mode. I got this from the Brandon Sanderson lectures at Writing lectures by Brandon Sanderson . It is my impression that this is common creative writing belief and not merely a personal opinion of Brandon's, but do not have enough background for that assumption. This is largely a stylistic choice, though, and following that advice would require a significant reorganization of the current text.

In looking at the sequence of exchanges, it seems the story starts with Del asking permission to fire boosters, Mori giving permission, Del asking again for permission, Mori again giving permission, Del confirming action taken, Del taking action and then shifting into full description mode. To me, the confirmation and action are redundant and either could be omitted. Purely personal opinion, but either the dialog or the description is sufficient to convey to the reader that the boosters are fired and having both does not really add to the reader's understanding.

One caveat - I find that it is easier to refine a basic introduction when I have much of the following story in place. For me, seeing how the story progresses makes it much easier to determine which parts of the introduction are aiding the story and which parts may be detracting. Get some more of the story written before spending time refining the opening.
 
The closest I can come to an algorithm is the concept of putting a reader into either dialog mode or description mode. I got this from the Brandon Sanderson lectures at Writing lectures by Brandon Sanderson . It is my impression that this is common creative writing belief and not merely a personal opinion of Brandon's, but do not have enough background for that assumption. This is largely a stylistic choice, though, and following that advice would require a significant reorganization of the current text.

In looking at the sequence of exchanges, it seems the story starts with Del asking permission to fire boosters, Mori giving permission, Del asking again for permission, Mori again giving permission, Del confirming action taken, Del taking action and then shifting into full description mode. To me, the confirmation and action are redundant and either could be omitted. Purely personal opinion, but either the dialog or the description is sufficient to convey to the reader that the boosters are fired and having both does not really add to the reader's understanding.

One caveat - I find that it is easier to refine a basic introduction when I have much of the following story in place. For me, seeing how the story progresses makes it much easier to determine which parts of the introduction are aiding the story and which parts may be detracting. Get some more of the story written before spending time refining the opening.
All good stuff. Thanks
Yes the circling back becomes more perfunctory until the final one when getting things really in synch might require more revision, omission.
There is a lot of redundancy in the opening scene to be shaken out later. I over-write then cut away the chaff.
One thing I’d like to make clearer—either there in the opening or later—is that there are multiple levels of permission and certification going on for launches from the international L2 base. As the story moves forward the political and private/public economics of space enterprise and exploration will be delineated as I see it. It wasn’t just Mora and the company giving permission to launch. They don’t own the L2 orbital interchange. There’s L2 Control and over-laying international structures in charge. Certification and authorization before permission. I want to allude to that here at first and describe the political/economic structures over the course of part one. Maybe a little more exposition or a more explicit, less subtle allusion to there being multiple powers at play? Or is a little redundancy explained later OK?
I’ll circle back on it after the structure become clear in backstory and plot action and see.
Thanks again. So glad I found you folks to bounce ideas around with. My usual groups just don’t do Sc-fi. This is SO great!
 
This isn't bad! First off, I should tell you that I wasn't put off by the nongendered experiment of the previous post, so consider that as you move forward.

My one thought for this piece is this: I don't really have a sense of setting, year, or world-building. I'm not quite sure who these folks are, either, though the details you have go a LONG way to painting that out. The biggest problem is you're painting them on a white background. I think maybe if you take some time to give us a setting, maybe a year, maybe even a sense of early stakes, this will move much better.

I suggest trying the story grid approach to this scene: 5 Commandments of Storytelling: What They Are and How to Use Them

Inciting Incident
Causal
Coincidence
Progressive Complication
Active Turning Point
Revelatory Turning Point
Crisis
The Best Bad choice
Irreconcilable goods
Climax
Resolution

You've got the inciting incident - the launch. (Causal.)
Progressive complications: this is dangerous, it's a five year mission (Star Trek theme plays), and she just got married. The thing is, those are really SETTING - they're past, active things, not added on to what's happening.
Crisis: there's really no point for her to make a decision here between a best bad choice or irreconcilable goods.
Resolution: therefore, since she has no action to make or decision to take, there is no resolution.

Does that help? Of course, this scene is going to continue, and you'll have plenty of time to ADD those things, but I think this might be what you need to keep this story going. I like the characters, and I really like the personalities you've displayed and the setup. You've got this!! Keep writing.
 

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