3000th post! Something from the WIP

Dan Jones

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I've finally reached 3000 posts! In accordance with tradition here's the first bit of the prologue (yeah, yeah, I know) from my latest. Tear it to shreds, ye swarthy animals!

~

Run it again.

You can imagine it, can’t you?


Your brother is looking at you. He is inviting you to play. He is taller than you, only by degrees, but you are stronger; again, only by degrees. His freckle-dappled face bears the type of broad, gap-tothed smile only worn by carefree children outside on a perfect summer’s morning. The sun is out, the air is warm yet bristles with a gentle breeze promising better things coming from the west. It is a beautiful day on Sinjin, a perfect day to play.

Let’s build towers, he says.

You do not want to build towers. The mere suggestion of it irritates you. Why does this invitation stir up this reaction? Is it the inanity of it? The fact that you simply want to be left alone? The fact that the last time you built towers together your own collapsed while his remained standing? Or something else?

What do you see when you see your brother looking at you?

Do you see the bucolic scene around you? Do you see the trappings of your good fortune? Do you notice the sprawling sweep of your home, built in the late Gaian style, set into fifty acres of land? Or perhaps you see the robots tending to the garden with a gentle buzz, ensuring that its delicate eco-system is kept just-so? You do not see the labourers, because the labourers are far from here - you know this because you have heard the Citizens speak of them from time to time. The Citizens speak of the labourers the way you speak about pencils. You do not yet know why they talk about the labourers in this way, but you will, boy. What you do know is the labourers are not anywhere good, and not doing anything pleasant, and that they probably deserve to be wherever they are. To be sure, a couple of labourers have fallen on their feet; one of them serves drinks at the estate here, bringing out cold beers and fizzing citrus drinks, smiling in a way you know isn’t quite right but you can’t quite say how.

Come on, let’s build a tower. I got some new blocks from Savvo.

You shrug, and follow your brother. The labourer with the drinks looks up at you momentarily, but when he sees you looking at him he turns away and gives that yes sir of course sir didn’t mean anything by it sir look as though he’s one of those artifical pets that’s just felt the back of its master’s shoe. Those things are designed to take a punishment beating, too. Built right into the DNA.

–Oh look at mine. Here, you put them together like this.

Your brother gives you a demonstration. He creates a solid base, and then proceeds to create a tower in a way that your child’s mind can neither articulate nor comprehend, but it stirs a strong sense of something in you. No, a sense of many things, like you are in fact a frothing army of individuals with different aims and personalities and objectives who cannot organise themselves into a coherent formation. You like the tower, don’t you? It has a basic elegance to it, a childish sophistication. It stays up just when you think it will fall, and then it is fortified with blocks added in just the right place. There is a strange mathematical magic and logic to this - several Cartesian calculations fly through the mind of your brother as he assesses the structure, what it lacks and what it requires, what will make it strong and what will make it beautiful, and all these thoughts occur at the same time, all in an instant. It is admirable. Perhaps even awesome. Something worth emulating. Perhaps the invitation to play was worthwhile after all. Before long your brother’s tower is sufficiently high that he has to stand to complete it. His face is beaming with delight. In spite of the achievement - or perhaps because of it? - a not-insignificant part of you wants to knock it down, but another part of you wants to emulate it. That is the better part of you. It is only natural to emulate the towering figures you see. Do you remember when your father took you to the local Thes Buros server and you saw its gleaming spires?

Thes Buros is the most beautiful thing on Sinjin, he said. Without it, we would simply wither and die.

You did not question this. You knew you ought not to, because how could you question something that is so beautiful? Its silver architecture, unknowable and impenetrable, vast and terrible, an eldritch vault more sophisticated than anything that present-day man could conceive. A digitised behemoth that knows the fate of every Animas, every blade of grass, every molecule and every atom of carbon, oxygen, silicon and hydrogen on Sinjin. The power - and the fortune - of a planet locked into something fathomable to the human eye, and yet unfathomable to the mind. You saw the people paying homage to the Thes Buros server, dancing and drinking and moaning and swaying and oh Buros we thank you for the daily bread which sustains us we thank you for the animas and the florias and we thank you for our lives and some of them even do that thing that grown-ups do when their bodies intertwine in strange ways like some sort of exotic dance.

What are they doing? You had asked your father.

Thes Buros is a Creator, he said. They’re copying it. Emulating it.

Yes, you know better than to question something that is beautiful. When it causes people to act this way it has undeniable power. In that moment did you not see something worth emulating? And in seeing it you very quickly - if not consciously - recognised the qualities of something worth emulating.

You have that same sense now. Your brother’s tower. Elegance, strength, form.

You look at your blocks. You do not overthink it, and begin putting one upon the other.

–That’s really good! he says, but you barely hear him. And you suspect that it may not be a genuine appraisal. Still you progress, and in putting blocks of different shapes in unexpected orders you too are now existing on the thin border between chaos and order, where anything is possible but where the risks are almighty. An excitement is building within you, and you feel a twinge of pride. Perhaps one more block on the top just there…

The tower topples over with a crash and fragments into an abstract mess, leaving you slack-jawed for a moment. Your brother also has a look of oh no upon him for a fraction of a second, but as the blocks spread out upon the grass he cannot help but burst into laughter at the scene.

–Oh, that’s bad luck!

The armies within you stir. They are agitated. They are suddenly readied and stuck at the Hot Gates, overheating and liable to blow, whipping their own blood and bile into a little frenzy. And why not? Why ought his efforts to be rewarded with the glory of edificial structure, while yours are cast into the grass? What’s fair about that? Isn’t it simply a random matter, a quirk of happenstance that determines whose efforts are to be rewarded, while the efforts of others become so much dust? Or is it that dreadful word he just said, luck? Are we to determine the matters and the movements of people just by luck? I know these words mean little to you now. But do not fight them.

His laughing becomes a drone. Your fists become balls. Your face is a hot mask. Your breath rises to the quick. What will you do?

Some decisions are made so quickly that perhaps it is inaccurate to describe them as having been made at all. They are reactions, instincts, reflexes built from ancient biological architectures that have been honed by millions of years of culling the extraneous fat. What remains, by definition, must be perfection. Until that too is pared back even more. If that is so, what is perfection? Is it an empty space?

You are on him. The building blocks – yours and his – are now scattered. A squeal erupts and he hits you over the head but you have surprised him with the attack and such is the adrenaline coursing through your veins that you barely register the impact. You hit him on the head with a block, and it catches him in the eye. He squeals again. The noise is awful, so – again, it cannot be said to be a decision, can it? – you wrap your hands around his throat, and you squeeze.
 
Congrats on reaching 3,000 and well done for adhering to ancient custom!

This was an interesting piece, as well written as your work always is, and certainly intriguing with the use of second person which you handled very well. However, (you just knew there was a "but" coming, didn't you?!) for me it was too much -- too long, too ostentatiously erudite, too trying to be clever for clever's sake. The de haut en bas tone of the narrator was well done, but I found it neither welcoming nor engaging. There's a lot of cerebration here, but no heart. There's also, to my mind, not enough of a story and things actually happening.

If this were in the middle of the story, my cavils would be unimportant (well, they're still probably unimportant, but you know what I mean), but if this is the beginning of the prologue when you're trying to get the reader to read on, I wonder if it's going to count against you. Certainly, if I'd picked this up as a book, by about half-way through this prologue I would have been flicking through the pages looking to see how much more there was of it and if the rest of the novel were written in this style, with a view to putting it straight back down if things didn't pick up and change style very quickly.

So it might perhaps be worth thinking of pruning this. The flashback/memory within the flashback/memory added depth to the world-building, but I don't think it added enough to justify its length. Similarly, some of the condescending and supercilious comments from the narrator -- the boy grown up?? -- could be reduced, as indeed could some of the world-building itself. If you're intending for more interpolations of this voice, then perhaps some of that could be inserted later, when you've got the readers engrossed in the story itself.

A couple of general points. I'm not sure why you've chosen to use italics for the first two paragraphs, but unless there's a very good reason I'd suggest you reconsider, as it's a tad confusing when the rest of the text save the memory of speech is plain. And I guessed that the boy was going to kill or at least try to kill his brother in paragraph 5 so the rest of it was spent waiting for the violence to happen. If you're happy for that, fine, but if you want the aggression to come as a shock, I'd suggest you try and disguise his antipathy (not to say psychopathy) better at the beginning.

Not sure if that's help, but good luck with the story anyway!
 
Your cavils are never cavillous, if you get my drift, m'lady.

I will try and pare it back a bit - it is wordy. I think looking over it again I have, like Eric Morcambe, played the right notes but not necessarily in the right order. You're right - the shock of the aggression is lost because of the slow build up, so that could be made more sudden, with the introspective stuff happening later.

Just as an aside, only the prologue is written in second person. There's about another four hundred words or so and that's it. Then it reverts to the narrative proper. Around half of the book is written in present 3rd omni, and the other half is in close 3rd past.
 
Overall, I liked it. It started strongly and ended strongly, but I got impatient with the three longest paragraphs, and I would cut these the hardest, and prune the worldbuilding to the minimum necessary to give the flavour of the upcoming epic (which it feels like it's going to be, though that might be partly because of your list of "ingredients" in the other thread).

I assume the tense inconsistencies are accidental? (Says/said/had said.)

I'm not sure about the narrator calling him "boy". It suggests (to me) that the narrator is a specific, older person, whereas without it, it could be the boy's consciousness or conscience, or anything else. Depends what impression you want to give. I do think second-person works here. If I'd been browsing this as a novel, I probably also would have checked to see how much was going to be in second, but as a prologue it has the sense of standing apart, showing the themes that are going to be developed through the whole novel. I can't see the same scene being as effective in third.

And congrats on the 3000th!
 
Just adding a quick impression -I found the Thes Buros thing compelling and this was the hook for me; it had me wondering what was going on with that ...it stuck with me too after reading it (def got me thinking). The strangulation was unsettling, there seemed to be a nice sort of pace going and then it hit -I've no clue how @The Judge saw that coming and it gave me a hop. Overall it felt like there was something big in the making, good luck with it.
 
The strangulation was unsettling, there seemed to be a nice sort of pace going and then it hit -I've no clue how @The Judge saw that coming and it gave me a hop.
Sheer brilliance, of course, that's how! ;)

Actually, I was just talking about this to my writing group the other day. I enjoy reading murder mysteries and doing cryptic crosswords and puzzles, and the stories I write tend to be concerned with secrets and hidden things, so I have a tendency to place clues in my writing which lead to the answer of whatever is hidden. But as a result I often fail to make things clear because I'm expecting my readers to pick up those clues and deduce what to me is obvious, which most people don't because they're just, y'know, reading, not thinking that there's some kind of coded message in front of them which they have to decipher!

But it means that when I read I am conscious of possible clues as to what's coming. Here as soon as the brother is mentioned and it's clear there's antipathy towards him from the "you" coupled with the greater strength and being annoyed at his tower collapsing, I saw a psychopath in the making. And since the narrator wouldn't be bringing the story up for no reason, that pointed me towards murder, or at least the attempt. Whether that is the point of the story, or it's all a red herring and Dan is setting us up for the that's twist coming, I don't know!
 
Here as soon as the brother is mentioned and it's clear there's antipathy towards him from the "you" coupled with the greater strength and being annoyed at his tower collapsing, I saw a psychopath in the making.
That's insanely incisive, and pretty much bang on the money. You clever sausage.

The prologue continues for another few hundred words, which sees the denouement of the brotherly attack (FWIW it is "merely" an attempted murder - the attacking brother gets distracted by something and the second brother survives).

But now you've said that it's got me thinking about your previous comment. You see, the character's psychopathy is meant to be flagged, so now I'm thinking I have got it in the right order, as taking away the slow build-up and all that stuff about the armies and Hot Gates would make the violence more sudden (and maybe more shocking) but might take away the psychological aspect. Or maybe it wouldn't.
 
as soon as the brother is mentioned and it's clear there's antipathy towards him from the "you" coupled with the greater strength and being annoyed at his tower collapsing, I saw a psychopath in the making. And since the narrator wouldn't be bringing the story up for no reason, that pointed me towards murder,
'elementary, my dear Watson' ...I still wouldn't have spotted it, well done!
 
Very well done Dan and your use of the second person was done wonderfully in my view and I did read all the way to the end quite happily.

But... and there's always a but, but better a but than a butt - silence, not even a giggle, so I carry on. The pace was slow, and while I made it to the end I didn't have much of a sense of the story to come, not that I was too bothered if I'm honest. The writing was very good, second person which is not used much and done well, but the investment needed to keep going as a reader is a lot. I might find myself skipping forward and flicking past pages to see if the pace picks up, and if it didn't I suspect I might start to struggle. That said however, for the section posted, you had me. I am sure you have the skill to mix it up, and my only issue was pace in a very well done section of writing. All covered in the posts above so no more repeating from me.

Good solid writing, well done.
 
I feel like you got a bunch of really solid critiques and clear notes on what is working here. I don't know what to add to those, except to say that the sentence "You know better than to question something that is beautiful" is a particularly great turn of phrase, and one that I think could repeatedly tie back into the world and characters you are creating. Instead, I will lay out the questions that reading the passage brought out in me.
  • Does the "run it again" imply some sort of video recording style memory in the narrator, a hidden interlocutor, or something else? It strongly suggests to me that the scene here, including the presumably invisible thoughts, is embedded in some sort of physical or digital device rather than just an organic brain.
  • Is this supposed to be an alien land or a futuristic (dystopian?) Earth? Most of the descriptions, names, and behaviors seem alien to me, but there are two specific references to Earth history (Hot Gates and Cartesian) that knocked me out of that space
  • What is the importance of the terms animas and florias as opposed to the traditional Earthly names? Combined with the discussion of emulation, it made me feel like everything here was somehow artificial, not just the robots and artificial pets. However, that clashed with the statement that the narrator had a father (who presumably created him in a traditional way) and that the people having sex are said to be copying the creative server, which I think means they are procreating and not just simulating the procreative act for the server that actually births humans.
  • How old is the narrator supposed to be, and does that matter? There was a gap between the actions taken and language used that gave me the sense of being in the brain of a supergenius six year old, which seems plausible to your world.
 
Thanks everyone for the comments, I appreciate it.
  • Does the "run it again" imply some sort of video recording style memory in the narrator, a hidden interlocutor, or something else? It strongly suggests to me that the scene here, including the presumably invisible thoughts, is embedded in some sort of physical or digital device rather than just an organic brain.
  • Is this supposed to be an alien land or a futuristic (dystopian?) Earth? Most of the descriptions, names, and behaviors seem alien to me, but there are two specific references to Earth history (Hot Gates and Cartesian) that knocked me out of that space
  • What is the importance of the terms animas and florias as opposed to the traditional Earthly names? Combined with the discussion of emulation, it made me feel like everything here was somehow artificial, not just the robots and artificial pets. However, that clashed with the statement that the narrator had a father (who presumably created him in a traditional way) and that the people having sex are said to be copying the creative server, which I think means they are procreating and not just simulating the procreative act for the server that actually births humans.
  • How old is the narrator supposed to be, and does that matter? There was a gap between the actions taken and language used that gave me the sense of being in the brain of a supergenius six year old, which seems plausible to your world.

We're verging on spoiler territory with three of those questions! And at least one person who's responded to this thread has expressed an interest in reading it, so I won't answer those questions - sorry ;).

So - if you don't mind - I'll skip questions 1, 2, and 4, and just answer 3 about the naming conventions. I have a slight running theme in my books about different types of robotics, artificial life and AI being used in future settings (I work in robotics), and the naming conventions reflect what these fake lifeforms might be called at that point. So in this respect, Animas is a corruption of animals, as they are synthetic. Ditto florias for flowers / flora etc etc. In one of my previous books I had robotic dogs called Walkstalkers, elephants called eletusks, tigers called tigrons etc. You're right that the human children would have been created naturally.
 

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