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Jo Zebedee

Aliens vs Belfast.
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blah - flags. So many flags.
And since I'm now getting fed up with social media in general, I'll probably be knocking around here a bit more again. Be feared, oh furry bear types.....

Anyhow, I now know what my next project is. Bad news for Inish lovers, I'm afraid - I have a deadline for a new Abendau book. But! The deal is this is a new trilogy, following up on the existing ones, and it must provide a new entry point for the series. The old timers will be in it, and carry significant story lines, but the focus is on the younger generations. So, this needs to stand alone. And not bore those already familiar. And hook. I do have an alternate opening, which brings in a broken Earth concept, but this one is more 'Abendau' in feel.

Have at it. I know there's too much telling, but I need to know what can be dropped and what's needed for context.

THE LAST SEER



The sun rose over the great desert of Belaudii, bringing the sand to life as it stretched the night’s shadows into memory.

Slowly, the Desert Prince climbed the rock stairs cut into this complex of caves he had taken for his own. He took his time, knowing there were eyes watching from inside the complex and from outside, in the desert, where many worshippers remained hidden in the pools of shadows not yet sun-touched. How many? Hard to tell but, everyday, it seemed more than the last.

He reached The Chamber of Our Lady, with its ornately hewn arch overlooking the sands. Either side, a sconce burned with the Light-Unending, a memorial to the redemption Our Lady had brought to the rotten sands of Belaudii, a light that had been lost for a generation and that he had taken a dark delight in rekindling. Every worshipper who returned to Our Lady, reclaiming her stolen shrines, was a dart that shone a light into his own past. Every sacred pool that renamed its icon Ankshara, as it should be, stealing back the Empress’ followers, was a boon to his soul.

He rose up the first step. Behind, the sun silhouetted him. He rose up the next. Now, his shrouded head would be clear to all below. If only his grandmother could see him now. She’d branded him a weakling, not able to match her power. His father, too, had never believed in him, preferring his sister. No one had valued him – even the tribes had cast him out and forced him to survive the desert. Weeks, he’d fought the sand, his body shrinking each day, sure a spider or a lizard would take him before the thirst or hunger.

He’d taken residence here, in the desert castle, to sleep on rocks removed from the dangers within the sand, and had known, even then, cold, hungry, thirsty, alone and so damned scared he’d been nauseated at every turn, that this was his place. That the face of Ankshara, carved into so many surfaces of this old ruin, never eradicated by the Empress, so deep in the desert did the building stand, had protected him.

He’d come to this place, and taken water from its pool, drinking it hungrily as his young body had filled out, the moisture saving him. He’d lit a fire in the courtyard to hold back the night’s darkness, burning old roots that he pulled up on the day, cooking the young spider he’d discovered and fought off, a champion’s dinner.

Slowly, they’d come to him. The desert loner, their prince. Gently, he’d reached to them, never admitting he was the tribesman they deemed dead, never showing his eyes they’d know so well, never pushing his hood back from a face they’d recognise not from himself but from his father. He’d touched them, using the skills the Empress had taught him to bind and control, and, from his father, how to empathise and give faith. Once bound to him, he’d sent them away to return at dawn for his blessing, to bring others, and others, and others, until, each day, the crowd gathered to hear him speak had grown, until they hung on his every word, until he’d built a community of followers.

He reached the top of the step and stood, framed in the archway. Slowly, he looked down and reached out with his psyche, gently, over the crowd, finding those who were scared, or lonely, and giving comfort. Finding those who were angry and giving peace. Finding those who were lost without anchor, as so many were on this lost, devastated planet, still recovering from a war that had not been its peoples’ but a galaxy’s war fought over their sands, through their cities, taking their children, their loved ones, their parents and friends.

Be with me, he sent to those, pulling them to him. Be safe, known you are my children.

He raised his arms. The sun framed him, warmed him. He lifted his head, the cowl hiding his features, and cast his shadowed eyes over the crowd. Look at me. Baelan, son of an Emperor, grandson of the Empress, heir to this planet although you don’t know it.

‘You have come!’ he called, the chamber catching his words, echoing them across the sands. Who had built this temple to know how to do this? His voice sounded older than he was, statesman like, not a tribesman not yet old enough to be an Elder. “Ankshara blesses you, children of Belaudii.”

Not children of the desert, for the tribes had done him no favours and gave him no succor. Nor the cities who would never see him as their own. But the planet’s, a new society cast of them all. He swept his psyche over the crowd, filling them with joy, binding them tighter.

“Let us give thanks for the light!” A cheer went up. “For the warmth of the sun, and the land that is ours.” Another, cheer, louder. “Let no one take it from us again. Let no one rename what is ours.” A roar, this time. “Be blessed, my people. Go forth, tell others that we congregate. Tell them that here, under the eye of the Desert Prince, is where they will find peace, and belonging.” He lowered his voice, made it kind. “Tell them they are loved.”

His chest swelled with pride. The tribes had labelled him a failure. They’d cast him out. Now, they came, amongst the growing crowds, to listen to his words. Next; they’d come to worship him.
 
That the face of Ankshara, carved into so many surfaces of this old ruin, never eradicated by the Empress, so deep in the desert did the building stand, had protected him.
One of the problems I see are sentences like this one that border on run-on. You have several of these, and they contain so many unconnected phrases (separated by commas) that it makes it hard follow the subject to the predicate.


This passage turns on the geography of the place the Prince has taken refuge in. It is described as a harsh ruin in the middle of a dry desert that has been completely abandoned. Yet it has water, firewood and food. Despite being in the middle of nowhere, other people have found out there is a man incongruously living there and have decided to travel what must have been great distances to also live in this unforgiving place just to watch him. Either this ruin was abandoned because it is mostly unable to sustain life and is distant from settlements, or it isn't. If it isn't, the Prince is just living on the edge of a town or in a small community - not boldly by himself.



He’d taken residence here, in the desert castle, to sleep on rocks removed from the dangers within the sand, and had known, even then, cold, hungry, thirsty, alone and so damned scared he’d been nauseated at every turn, that this was his place.
Most of the language is formal - kind of 'high fantasy'. That mood is broken by youthful "so damned scared".


Overall, a long passage where very little happens and the Prince seems to reflect frequently on his ousting. If this were Dune, Herbert would just mention this moment in the past tense and show you the resulting active organization. So you could eliminate the whole thing if it isn't working for you. It just depends if there is some mood you wanted to establish with this passage and if it is worth re-writing to focus on that mood. Is that mood about his growing confidence, his anger? Or is it about the mood of his worshipers and their growing adoration?
 
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Congrats on the insane post count! I shall return in the next couple of days.

(Yes, you may speculate that the only point of this post was as part of a doomed attempt to catch up.)
 
I think it basically works, but probably could work better. It boils down to "outcast starts a cult in the middle of the desert that's going to cause trouble," which is a good set-up for a story (so hook) but feels rather familiar (anti-hook). It would help if there was something unfamiliar about it without losing the basics. I think there might also be too much focus on what has happened before rather than what is happening now. Having said that, the family elements immediately pique the interest.

Weeks, he’d fought the sand, his body shrinking each day, sure a spider or a lizard would take him before the thirst or hunger.
Without knowing more, this risks it sounding comically like he's shrinking to the point where a normal-sized lizard or spider might eat him. But then you have this:

cooking the young spider he’d discovered and fought off, a champion’s dinner.
in which it seems the spiders are huge (or he genuinely is tiny). It's a bit confusing to have to grapple with those possibilities at the same time as trying to orient ourselves with the other elements.
 
I liked the writing - it quite efficiently drew a picture of the person and his motivation. It might hook me as the start of a story, or a prologue. I had the same issue as @Swank about him surviving in the desert and people finding him, but I am willing to overlook it to see what happens next. I'm sure this part can be fixed with a little thought.

I like the subtle mention of the spiders which hints that these are the not finger sized arachnoids we are used to, so this is likely not Earth.

What bothered me is that it the promise of the story (at this point) seems to be "a Dune book". A desert. People hiding in shadows. A messiah. A scarcity of water. Politics of succession and empire. That doesn't work for me because I've read a bit of Dune and that was enough for me, and I don't want to read another Dune book, but it might be just the ticket for people into Dune-line things.

If it isn't going to be "a Dune book" I personally would have liked some indication of why this is going to be different.
 
I liked the writing - it quite efficiently drew a picture of the person and his motivation. It might hook me as the start of a story, or a prologue. I had the same issue as @Swank about him surviving in the desert and people finding him, but I am willing to overlook it to see what happens next. I'm sure this part can be fixed with a little thought.

I like the subtle mention of the spiders which hints that these are the not finger sized arachnoids we are used to, so this is likely not Earth.

What bothered me is that it the promise of the story (at this point) seems to be "a Dune book". A desert. People hiding in shadows. A messiah. A scarcity of water. Politics of succession and empire. That doesn't work for me because I've read a bit of Dune and that was enough for me, and I don't want to read another Dune book, but it might be just the ticket for people into Dune-line things.

If it isn't going to be "a Dune book" I personally would have liked some indication of why this is going to be different.
Thank you this is useful and it is definitely a danger with opening with this scene. Only one story strand is set on a desert planet and it isn’t Dunelike in the sense of spice or giant worms, but it does have a tribal element and there is lots of sand. The rest of the story takes place in separate planets and cultures.

When I have the alternate opening ready I might post it and see if it works better. :)

Thanks!
 
Firstly just a technical point for discussion. I was always taught not to use abbreviated forms like he'd or they'd (unless it is in dialogue, of course). I'm curious to see what others think about this. It perhaps relates to the excellent point that @Swank made about the phrase 'so damned scared'. When I tried to watch the TV Series Wheel of Time (a clear DNF for me) I noticed much of the dialogue felt quite 2020; somewhat lazy or slangy in tone. In my opinion it is better to aim for a timeless style in fantasy or SF. Or invent something unique, as done very effectively in A Clockwork Orange.

I also agree with @Swank about a couple of the longer sentences needing attention (a minor editing issue). I don't really know much about YA writing. Does the text have to be easier to read (less complex sentence structures)?

Perhaps, if this is the opening text of the novel, there could be a little more drama in the first 300 words or so. Perhaps begin with the Desert Prince addressing the adoring crowd and then describe the caves and temple later. There is something shocking and disturbing about the adulation of thousands for a single person standing before them (students of modern history would probably agree). Alternatively, perhaps this morning happens to be one of those when a fearsome lizard or spider has to be dealt with before getting on with the day. Something like that.
 

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