Here we go again

Jo Zebedee

Aliens vs Belfast.
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blah - flags. So many flags.
Okay, this is where I've settled down to the opening scene of IC2, but I've made quite a few changes.

I don't intend to do a 'previously in IC' - I hate those, and I'd prefer to have the story work without needing it - plus, I really want to have the impetus that telling the complete story, with all its hang ups and history, in the now.

So, for those who've read IC (a quick tip for those new to critiquing - keeping the title out of your critique makes it harder for people to track it when you publish), does this feel like a good place to start. Enough new in it to keep interest but enough of a catch up?

For those new to IC, are you completely lost? I realise I haven't actually named the place or city here - it's Belfast - but does that matter?

--------

Neeta crouched in the darkness, the house cold around her. Under her feet the carpet gave a sour stench that should have turned her stomach, but actually gave comfort. It was the comfort of being home, she guessed, as much as anywhere had ever been her home.

Returning to North Belfast had brought some of her old sharpness back, too – the moment she’d entered its den of streets, she’d found herself moving more easily, with less fear. The red bricks, for all their cracks and age, felt more solid. Wind whistling through broken panes brought her skin prickling to life. The sound of something creaking on the roof – an aerial to pick up long-lost television channels, perhaps – felt natural. All of those had grounded her, although none as sharply as being in this house, in this street, with its memories closing around her.

It was from here that she’d commanded her gang of street urchins. Here that she’d given the order, on that hideous final night, to send them off into the darkness. From this window, she’d watched them be butchered by the Zelo. She’d stormed down the stairs, bristling with knives, a catapult, every street weapon she’d had, out to the final fight with the aliens. She’d stepped over Billy’s body – Billy, the littlest of them all, orphaned when he was only seven and now dead on her doorstep at nine. She’d strode down the drive, ready to take on the Zelo, the world, ready to kill as her team had been killed, to destroy and be destroyed. There had been so much killing it made her sick, even as she embraced the broken person the invasion had turned her into. She’d rebuilt her life through the gang and now they were under attack and it felt like her own body was being torn apart.

“Neeta!” Ciara had yelled from behind her. Neeta had swung in time to see her number two, the best friend she had ever had, struggling to hold off a Zelo that was twice the size of her. Neeta ran forward only to realise – too late, it had all been too late; she’d been a bloody fool who hadn’t seen this attack coming, who’d thought she was beyond danger, untouchable, Neeta-Sastry-the-street-fighter – that Ciara wasn’t calling for help. She’d been calling to warn Neeta.

A hand grabbed her wrist, twisting it so that one knife fell, bonelessly, to the ground. She turned on heel, ignoring the ripping pain in her shoulder, and kicked backwards, but she was off balance, and then she was off her feet, on the ground, the shiteater above her. The alien slammed onto her, pinning her to the ground. Her nostrils were full of the stench of sh*t and the screams of her team were all around her as she sank into blackness.

She’d woken in custody, the police having broken up the trouble – long after her team were dead, and the Zelo disappeared. A street fight, the police said, ignoring her accusations about the Zelo, assuming she was putting the blame where it wasn’t, trying to get them all off. None of the rest of her gang were there, and she remembered Billy, and Ciara’s screams, and her heart had placed them out of her mind’s reach, where her family were already filed under Can’t-Go-Back.

A new sound from downstairs brought her back to this night, not that. Her hands were tight clasped, her breathing shallow. A stealthy scuffle came from beyond the door, followed by footsteps on the staircase. It could be the police, come to fetch her. But caution had always been her defence: a few months of relative calm hadn’t removed her natural wariness. Let them enter the darkened room where she waited, let them show themselves first.

She faced the door. The handle went down. She drew herself to her full height, expecting Peters or Carter to appear, disgusted at her for running out on them. The door opened a crack and Neeta reeled back, gagging at the stench of sh*t and darkness that told her everything.

The door crashed against the wall. A Zelo ducked its head to fit beneath the frame. An adult, its skin a moving shield of scales that gave no easy target, excepting one small area between its eyes, where some scales were missing, leaving a thin crescent. Where its mouth should be, there was a gaping maw. She’d seen the alien kill before, knew the speed it could attack with, and how hard it was to damage.

Damage? Who was she kidding? With what, and how? She skittered backwards, out of range.

“We have come to collect you.” The alien’s fake-human tone was too flat to reveal any emotion. Assuming they even felt emotion. “Carter sent us.”

“You’re a liar.” Neeta retreated, not taking her eyes off the Zelo. Memories of the past crowded around her, and it was all she could do to keep breathing, to not give into the rising panic. Ciara’s screams. Billy’s body. Her parents, dead in the street. “You were here, on the last night. I know your markings. I remember them.”

She remembered everything.

A curtain rose in the breeze, spooking her. She pushed it away, too hard, too strong, adrenalin all through her. The curtain pole clattered down, making her flinch away, and the alien took its opportunity to attack, barrelling towards her, stunning her – even now, after all the time she’d fought them – with its speed.

She crouched and grabbed the pole. She threw it, javelin like, aiming for between its eyes. This was how she’d always had to fight the aliens, tooth and claw, with whatever came to hand. The curtain pole hit, true and hard, knocking a single scale to the floor.

But the alien had slowed, surprised at the attack, and she had a chance. She bounded onto the window sill, almost overbalancing in the glass-less window. The yard below was empty. No police or army. No help from anywhere. The alien tried to grab her, to pull her back, to do who-knew-what and she thrust herself forward, through the window frame. She’d rather die than be taken.

She landed with a crash that threatened to cave in the roof of a playhouse that had broken her fall. Where was the child whose place it had been? Alive, with her life changed? Or dead? There was no way to know – but today, at least, her playhouse might save another.

She scrambled over the roof. Shouts came from behind her. The aliens were quicker than her, relentless hunters. She had nothing except her knowledge of these streets. She’d been brought up not two roads away, in the house where she’d nursed her dying grandmother.

She clambered onto a wall skirting the garden, and then jumped down, landing on her hands and knees. She pushed up and sped down the next alley, taking the corner at a skid. She could hear the hunt behind, but didn’t look back. If they caught her she was doomed. Wasting time to check wouldn’t help.

Down another alley. Around a corner, almost hitting a dustbin whose rattling would surely have given her away. She got her bearings from the remains of a pre-invasion supermarket, bypassing its open car park to dash through the shattered front door of a house. She raced down its empty hallway and out the back door, into the garden.

She skidded on the muddy path, arms out for balance, mouth open in a silent yell. This was what it had been like during the invasion. Every night, outrunning curfew, aliens, the police. Every night, heart drumming with fear. Every night, alive not dead like so many.

The end of the garden gave way without warning, soft mud betraying its lack of solidness. Neeta stifled a yell and threw herself forwards, landing in a creek that wound along the bottom of the street. Water came over her boots, making her gasp at the cold. She splashed along, getting in and out on alternate sides, until she picked up a second creek that criss-crossed hers before a final, wider, stretch of river came into place. This one tracked the old railway line, leading to a bird sanctuary there was no longer any need for – the invasion had brought wildlife back like nothing else could have – and beyond it a park. Once there, she could go anywhere – back to Belfast by a different route, inland to Newtownabbey, or up the coast towards Carrick, Larne and beyond.

She dared a look back. There were no aliens in sight, but that didn’t mean she was safe. The Zelo would be remorseless their hunting. She set off and, as she ran, she flung back her head and laughed. Bring it on.
 
This is personal taste, but it makes me skittish when a writer doesn't commit to their opening's present. You set the scene here but then immediately there's a lot of pluperfect stuff about what happened before. Then the Zelo appears, good, but almost immediately we're into a full-on flashback. It's almost like you're saying "OK, nothing much is happening right now, but exciting things happened earlier, so I'll show those". Which is rubbish, because something exciting *is* happening now -- the Zelo coming for her, which is well-written and effective. I'd much rather you focused on the present, and left all the past stuff (both pluperfect and flashback) to be slotted in later. It jumps around too much.

Apart from that, I slightly question her musings on the play-house's former owner in such a stressful situation, but otherwise I've no complaints about the writing, and the chase is well handled and immediate. I can see why you'd want it up-front. I imagine there are good reasons why you decided not to have the chase as the story present, but I think going into flashback so soon is a structural problem, for me at least.
 
I also find the flashbacks too long and detailed, maybe a paragraph summary that she lost some friends there fighting zelos without a full play-by-play. A few times the flashbacks slipped into preterite and I thought story was coming back to the now before it actually did.
 
Thanks both - the addition of the link of the past to the present scene was to establish a bit more about the character, as I worried that without knowing why we should care about her, the scene would lack buy-in.

I might have overdone the amount of back story - but does the principle feel right?

This might be all I need?

It was from here that she’d commanded her gang of street urchins. Here that she’d given the order, on that hideous final night, to send them off into the darkness. From this window, she’d watched them be butchered by the Zelo.
 
I worried that without knowing why we should care about her, the scene would lack buy-in.
I'm not sure that's how it works, though. Your first paragraph, for me, easily generates enough sympathy for the character to create buy-in.

This might be all I need?

It was from here that she’d commanded her gang of street urchins. Here that she’d given the order, on that hideous final night, to send them off into the darkness. From this window, she’d watched them be butchered by the Zelo.
I'd say yes, that amount would be fine. The trouble then is that if you replace all the backstory stuff with just that, there's not enough space until the Zelo arrives; the pacing's too quick. I think you could take a bit more time, in the present, to generate a sense of foreboding, with maybe her interacting with the surroundings in the present in a way that provokes specific memories (such as the "From this window" bit you have already.)

I'm not sure you've made it clear what she's actually come back to this place for at this particular time? You could do something with that.
 
I'm not sure that's how it works, though. Your first paragraph, for me, easily generates enough sympathy for the character to create buy-in.


I'd say yes, that amount would be fine. The trouble then is that if you replace all the backstory stuff with just that, there's not enough space until the Zelo arrives; the pacing's too quick. I think you could take a bit more time, in the present, to generate a sense of foreboding, with maybe her interacting with the surroundings in the present in a way that provokes specific memories (such as the "From this window" bit you have already.)

I'm not sure you've made it clear what she's actually come back to this place for at this particular time? You could do something with that.
Ah yes that kind of got lost. I’ll pop it back in :D
 
Firstly, it's very well-written (as ever). Secondly, I agree with the others that either you need to lose a lot of the flashbacks or open with the flashback, but as "now". If this was me - and this is purely how I would do it - I'd open with a slightly jumbled, very first-person "filmed in shakycam" version of the flashback. Then, later, I'd show Neeta being back in the house (probably to find something and not just to reminisce), which would trigger shorter memories as she moves towards her target. But there's not one way of doing this.
 
Scattered notes
  1. I couldn't decide if Neeta has a mental disorder (basically, the aliens are hallucinations) or if this is all "real."
  2. I imagined a lot more time had passed between the flashback and the current than one night. I imagined years.
Is this the opening? It tells me a little about Neeta's character and background but I don't know yet if this is a SF book ("real" alien invasion) or a psychological study. It doesn't quite make me want to read more - perhaps because it ends with Neeta's escape. The recounting of what happened to her gang is slightly info dumpy. I think if I was more sucked in by the character I would take it better.
The terror of the chase at the end is well done. The aliens aren't scary because of their description which sounded comical to me. I don't know if this is intentional. (In real life Aliens smelling of bubblegum would still be pure terror, but in a book, aliens smelling of anything but death and decay put me in a more comical mood. Aliens smelling of poo makes me think this is a windup).

that one knife fell, bonelessly, to the ground
This does not work for me. Knives do not have bones.

and the alien took its opportunity to attack, barrelling towards her, stunning her – even now, after all the time she’d fought them – with its speed.
startling would be better. I thought she was actually stunned by the Alien's move.
 
Scattered notes
  1. I couldn't decide if Neeta has a mental disorder (basically, the aliens are hallucinations) or if this is all "real."
  2. I imagined a lot more time had passed between the flashback and the current than one night. I imagined years.
Is this the opening? It tells me a little about Neeta's character and background but I don't know yet if this is a SF book ("real" alien invasion) or a psychological study. It doesn't quite make me want to read more - perhaps because it ends with Neeta's escape. The recounting of what happened to her gang is slightly info dumpy. I think if I was more sucked in by the character I would take it better.
The terror of the chase at the end is well done. The aliens aren't scary because of their description which sounded comical to me. I don't know if this is intentional. (In real life Aliens smelling of bubblegum would still be pure terror, but in a book, aliens smelling of anything but death and decay put me in a more comical mood. Aliens smelling of poo makes me think this is a windup).


This does not work for me. Knives do not have bones.


startling would be better. I thought she was actually stunned by the Alien's move.
Thank you, really useful.

This is the sequel to a book about an alien invasion - so it’s finding the balance between enough for new readers and not boring old readers. But yes, the alien is real - I’ll up the visceral a little.

If I added something at the end to show that the chase is only starting, would that help with the tension? They’re about to send to tracking airships after her.

It’s been about 18 months since the flashback and a year since the end of the last book - I’ll make that clearer.

And bonelessly, I wondered if that would come up as I’ve looked at it with the same thoughts as you had here - and still haven’t decided if it stays or goes!
 
If I added something at the end to show that the chase is only starting, would that help with the tension? They’re about to send to tracking airships after her.
Yes, something like her hearing the chopping of the airship blades.

And bonelessly, I wondered if that would come up as I’ve looked at it with the same thoughts as you had here - and still haven’t decided if it stays or goes!
Do you want to convey the Alien broke her arm, or that the knife fell away uselessly?
 
For those new to IC, are you completely lost?

No... I think I'd rather be a good deal more lost. Maybe this is just your style and if so, I apologize, but I found it wordy, in-her-head think-y, and expository-y. We spend a lot of time in the past (I felt like I was in a whirlwind of back story at times, ie it was a tad disorienting) and comparatively little in the present. I also can't fathom the reason for us starting at the old "clubhouse". I like what @HareBrain said above, and while I would consider that a guideline and not a rule, I think he has a strong point in this story's case. There are later paragraphs that would be improved by completely cutting earlier paragraphs. Sentences that would be improved by the removal of phrases and words or simply condensed down. I found it a lot of work to stick with it, but the action bits helped. Still even they were laden with back story at times... all that back story to remember and sort out makes the read a load.

If this is the opening then the promise that I feel you the author is making to me is that this will be a story of revenge bringing redemption. Not sure if that's where it is actually headed, but that seems to be the promise.

Are you pantser or a planner, Jo? What draft are we reading? I get the impression--and I could be completely off-base, it's just a feeling--that you're writing your way into the story and it's early days? Maybe you were just thinking then about feedback on narrative with the aim of leaving the prose till you get the story locked down? If so, my advice would be to focus on making this opening as good as it can be with no back story and then go back and add little tidbits of back story here and there that will drag the reader forward out of the need to resolve the tidbit mysteries you've created.

Anyways, my two-bit tidbits. Best wishes to you and the story.
 
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I don't think your prose style is really the problem. Like I said, there were action sequences that drew me in, descriptions of the environment or what's happening, things that centered me in the story that I quite enjoyed. I think maybe you're caught between a Scylla and Charibdes over how to tell the story to both newbies and existing audience, and haven't found that groove yet.

I would add that our protag is in close combat with the aliens but we have little idea what they look like, their abilities, their concrete threat. Expo' is going to the past rather than the conflict happening in front of us.

@Toby Frost 's thoughts are strong too. You have a story problem to figure out and it's not fully resolved yet: how to deal with the readers' different knowledge levels. It's a cool problem to have. Suck it up! lol
 
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I always enjoy your writing Jo, and this is no exception. My thoughts in no particular order:

-agree with the others who said there's probably a bit too much backstory/flashback at the start, and condensing it would help to keep the immediacy of the scene's present action

-my brain wanted to know why she was in the house/what she was doing back in Belfast, and the answer to that was like an itch that didn't get scratched

-agree that the reflection about the child's playhouse felt jarring and out of sync with the fast-pace of the scene, and dragged me out of things a bit. I can't imagine someone having time for that kind of reflection while they run for their life.

my 0.02 :)
 
Cheers all, back to this (which is pretty close to what I had to begin with...) to put into context the changes I made: it was felt that I needed to establish why the reader would want Neeta to escape, that I needed to establish that she was an underdog to be rooted for, and that it would be stronger if I could give a connection with the house she was in (which I agree with, but I can do that later, too) rather than it just being a random house.

Neeta crouched in the darkness, the house cold around her. Under her feet the carpet gave a sour stench that should have turned her stomach, but actually gave comfort – here, she felt at home. The red bricks, for all their cracks and age, felt more solid than the modern safe house she’d been housed in, with Josey and John. Wind whistling through broken panes brought her skin prickling to life. The sound of something creaking on the roof – an aerial to pick up long-lost television channels, perhaps – felt natural.

A new sound from downstairs brought her to alert, her hands tight clasped, her breathing shallow. A stealthy scuffle came from beyond the door, followed by footsteps on the staircase. It could be the police, come to fetch her – she’d phoned in her location to Carter, shortly after arriving here. She’d tried to explain to the cop that she hadn’t felt safe, being collected from the house, that she’d wanted to be on her own ground instead, but he’d been dismissive of her. Pissed off, she supposed. But caution had always been her defence: a few months of relative calm hadn’t removed her natural wariness. Let them – whoever it was; Carter, Peters, or some lackey – enter the darkened room where she waited. Let them show themselves first.

She faced the door. The handle went down. She drew herself to her full height as the door opened a crack and Neeta reeled back, gagging at the stench of sh*t and darkness that told her everything about who – what – was there.

The door crashed against the wall. A Zelo ducked its head to fit beneath the frame. The alien was an adult, its skin a moving shield of scales that gave no easy target, excepting one small area between its eyes, where some scales were missing, leaving a thin crescent. Where its mouth should be, there was a gaping maw. She’d seen the alien kill before, knew the speed it could attack with, and how hard it was to damage.

Damage? Who was she kidding? With what, and how? She skittered backwards, out of range.

“We have come to collect you.” The alien’s fake-human tone was too flat to reveal any emotion. Assuming they even felt emotion. “Carter sent us.”

“You’re a liar.” Neeta retreated, not taking her eyes off the Zelo. A curtain rose in the breeze, spooking her. She pushed it away, too hard, too strong, adrenalin all through her. The curtain pole clattered down, making her flinch, and the alien took its opportunity to attack, barrelling towards her, shocking her – even now, after all the time she’d fought them – with its speed.

She crouched and grabbed the pole and threw it, javelin like, aiming for between its eyes. This was how to fight the aliens, with tooth and nails and whatever came to hand. The curtain pole hit, true and hard, knocking a single scale to the floor.

The alien had slowed, surprised at the attack. She had a chance. She bounded onto the window sill, almost overbalancing in the glass-less window. The yard below was empty. No police or army. No help from anywhere. The alien tried to grab her, to pull her back, to do who-knew-what and she thrust herself forward, through the window frame. She’d rather die than be taken.

She landed with a crash that threatened to cave in the roof of a playhouse of a long-dead child. She scrambled over the roof. Shouts came from behind her. The aliens were quicker than her, relentless hunters. She had nothing except her knowledge of these streets. She’d been brought up not two roads away, in the house where she’d nursed her dying grandmother.

She clambered onto a wall skirting the garden, and then jumped down, landing on her hands and knees. She pushed up and sped down the next alley, taking the corner at a skid. She could hear the hunt behind, but didn’t look back. If they caught her she was doomed. Wasting time to check wouldn’t help.

Down another alley. Around a corner, almost hitting a dustbin whose rattling would surely have given her away. She got her bearings from the remains of a pre-invasion supermarket, bypassing its open car park to dash through the shattered front door of a house. She raced down its empty hallway and out the back door, into the garden.

She skidded on the muddy path, arms out for balance, mouth open in a silent yell. This was what it had been like during the invasion. Every night, outrunning curfew, aliens, the police. Every night, heart drumming with fear. Every night, alive not dead like so many.

The end of the garden gave way without warning, soft mud betraying its lack of solidness. Neeta stifled a yell and threw herself forwards, landing in a creek that wound along the bottom of the street. Water came over her boots, making her gasp at the cold. She splashed along, getting in and out on alternate sides, until she picked up a second creek that criss-crossed hers before a final, wider, stretch of river came into place. This one tracked the old railway line, leading to a bird sanctuary there was no longer any need for – the invasion had brought wildlife back like nothing else could have – and beyond it a park. Once there, she could go anywhere – back to Belfast by a different route, inland to Newtownabbey, or up the coast towards Carrick, Larne and beyond.

She dared a look back. There were no aliens in sight. She’d lost them. She grinned, breathing deeply. A low drone wiped the smile from her face. A Zelo transporter lifted off from the main sewage farm in the lough, followed by another. They flanked each other and began to move towards the York Road area, clearly in a search-pattern.

Swearing, she turned away from Belfast and, once again, began to run.
 
I like this version! I have some questions about the story, but these are natural questions and shouldn't affect the writing (Why does she want to be picked up from a house in Alien territory? Why does she want to go back to Police custody after escaping from a safe house? Basically the exact circumstances of why she's here and what she wants are unclear to me, but I assume that will be clarified next)

modern safe house she’d been housed in,
"house" repeated.

The door crashed against the wall. A Zelo ducked its head to fit beneath the frame. The alien was an adult, its skin a moving shield of scales that gave no easy target, excepting one small area between its eyes, where some scales were missing, leaving a thin crescent. Where its mouth should be, there was a gaping maw. She’d seen the alien kill before, knew the speed it could attack with, and how hard it was to damage.
Nice description of the alien!
 

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