1,127 words for critique

Ambriel

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The premise of the book is that an average mid thirties guy rather suddenly finds himself in possesion of a variety of magical abilties from the various fantasy novels he has read throughout his life. None of the magic in the book with be an exact copy of any others work but they will be as similar as legally possible. I am working on that extensively. I am looking for critiques on style, voice, if there are any grammatical errors or spelling that I missed, if it's too derivitive. Hope you enjoy.


Common Man’s Magic



Have you ever read a fantasy book with magic and thought “why don’t they try something else”, or “that’s really unimaginative’, or “I would have done…”. TO BE CLEAR I am talking about the characters in the book with that line of questioning NOT the authors. Have you ever wondered what it would be like to use the force from Star Wars, or the will and the word from The Belgariad, or a wand and spells like from Harry Potter, or even a crazy mashup of occult insanity like that arrogant scouser John Constantine? Are you really a nerd if you haven't? Be honest you and your friends have probably discussed this at length as have I and mine. Here is another opportunity for you to do it again, this time to my friends and I. Believe you me, I’ve done my fair share of Monday morning quarterbacking, but let me tell you the situation is a hell of a lot different when you’re actually in it. At this point you are probably wondering who the hell I am, how I know that it’s different, and what in the world I’m talking about.

Well, my name is Joshua Guillaume and I was, up until recently, a normal nerd. As normal as a nerd can be anyway. I always dreamed of having powers like the ones from the books. To be able to influence the world with nothing more than my will, or words spoken in ancient languages and maybe the odd burning plant. Oh, how I wanted it more than anything else in the world. I never imagined it would actually happen. I had a mundane job that I did every day during the week, my title was security officer, the details aren’t all that important. I even kept my job after I learned about my new powers. In fact, that’s where I discovered my abilities. It was after my thirty fourth birthday, I was back at work dealing with the smells that emanated from the patrons of the office, when I discovered that I could force the smell away from me. Not by waving my hand, that’s too obvious and I have to maintain some pretense of decorum, I can’t be rude. I just concentrated on the smell going away from me and it faded. However, much like when Belgarath told Aldur’s tower door to open and it did, it didn’t even register to me that what I had done was out of the ordinary. Frankly, I was just relieved that the awful smell of body odor and stale beer had disappeared. Now, my second time and moment of enlightenment did not take nearly as long as it took Belgarath, I highly recommend the works of David and Leigh Eddings give them a read at first opportunity. My second time was much more obvious than my first and only a day later, there were a bunch of screaming babies in the waiting area and as anyone would, I wished in my head that they would go to sleep. To my immediate shock they all did. I nearly fell out of my chair from the surprising and suddenly deafening silence. That could still have been a coincidence right? Well, the third time definitely convinced me that something was up. I was laying in bed and the TV remote was out of reach and, as all nerds have done at one point or another, I reached out and attempted to “force pull” the remote to me, thanks George for giving us all a new hope. This time I achieved the astonishing result of success, needless to say I was stupefied. I had to try to repeat the results, being the consummate nerd I had to experiment and see if, I don’t know, it wasn’t a fluke. So I started trying it with other items, and nearly had a real life version of that scene from all the Spiderman movies, you know the one.

As cool as this was it could be simple telekinetic and telepathic abilities right? Not to demean either of those but, making people sleep, smells go away, and pulling objects through the air doesn’t necessarily mean magic, does it? So I decided to try other things. I put the remote in a separate room, concentrated on it being in my hand and sure enough it appeared, now I was getting into the realm of magic!! “What else should I try?”, I thought to myself, “There are so many stories of magic to draw from.” I could try all the different things that I thought the characters in the books I’ve read should have tried. I figured I should take lessons from certain books that seemed rather authoritative on matters. For instance, no trying to destroy things after all I hadn’t been transported to a different universe, I was still beholden to the laws of physics. That meant no trying to create something out of nothing though, pesky conservation of matter. Invisibility perhaps, no better leave that for later, this was only my first week with magic. “Could I possibly create an illusion of something?” I thought, scratching my head. “Yeah, let me try that”, so I focused on as clear a picture of an apple as I could, pictured it on the table, and holy sh*t it worked!! As clear as day there was an apple sitting on the table, but was it solid? I reached out to pick it up and my hand didn’t pass through it, I actually picked up my illusionary apple. That had some fun prospects. I figured I better wait on trying to transfiguration until I learned more about anatomy, again bound by real physical laws I didn’t want to damage my internal organs. I decided to indulge my curiosity further by turning to my rather large collection of action figures. I took some of my favorites and decided to see if I could make them move of their own volition. Not giving them consciousness but more along the lines of making them automatons, like the stone soldiers Professor McGonagall animated in Harry Potter. That was a lot of fun to play with, I could make some of my favorites go toe to toe with each other in ways then never would. Like having Kakashi from Naruto fighting Broly from Dragon Ball Z. Of course there were limitations, I couldn’t have them use any of the special techniques from their respective shows, since they were still only made of plastic and their abilities didn’t exist in the real world. Also, as I said they are some of my favorites, so I didn’t want them to destroy each other and end up looking like a wizard chess set.
 
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First of all, well done for putting something up here in Critiques. It's always nerve-racking to expose one's writing to others, and we all know the stomach-churning when someone responds.

Anyhow, the idea of a man coming into powers he's read about is an interesting one. However, an idea alone doesn't make a story. We need a plot, something happening, some kind of conflict. I know this is only the opening, and it's always tempting as a writer to think we've got another 100k words or so to get on with the action, so we can be slow starting off. Unfortunately, that isn't the case. We need to start as we mean to go on, ie with something that grabs the reader. Unfortunately I don't think this does. To my mind, you'd be far better off starting with something a little more interesting and then, when the reader is hooked, drop in how and why the powers manifested.

I did like the voice you've got here, and a shortened first para could well work if you then went into something more gripping. To be honest, though, the more I read, the more this guy seemed, well, something of a sad-sack and not someone I'd particularly want to spend any time with, which is fatal when using a first person narrator. Now, I'm very far from being a nerd, so I'm probably not among your chosen readership anyway, but nonetheless it's worth your while thinking about this character and trying, from the start, to make him a little more interesting as a person. Give him more depth, more humanity, with his nerdship as an eccentric foible, not the be-all and end-all of his existence. Not least, consider how realisation that he suddenly has magical powers would actually affect someone psychologically -- young children would undoubtedly take it in their stride, but adults would surely have a greater reaction than simply a moment of stupefaction and then "This is cool, let's experiment!"

As this is only an early draft I won't nitpick, but a couple of things leapt out at me. Questions -- even rhetorical ones -- require question marks, so the first line, including the quotes, needs a couple, and he's "lying in bed" not laying (unless he's a chicken...!). And do break up the paragraphs -- long paras like this can be overwhelming, and while literary novelists can get away with them, for the most part for us lesser beings it's better to have just perhaps three or four sentences, giving the readers a break and impelling them on. (Thinking about it, I'm sure that if this had been more spaced out I'd have had a slightly better reaction to it than I did -- the long paras being the visual equivalent of a boring guy cornering me at a party so I can't escape while he witters on!)

Sorry I can't be more enthusiastic about this at this stage, but as I say I'm not your likely readership and true nerds may well be happier with this kind of beginning. Meanwhile, good luck with it, and keep plugging away!
 
First of all, well done for putting something up here in Critiques. It's always nerve-racking to expose one's writing to others, and we all know the stomach-churning when someone responds.

Thank you for that, I must have refreshed the page a hundred times waiting for someone to respond.

However, an idea alone doesn't make a story. We need a plot, something happening, some kind of conflict.

So, I do actually have a plot in mind. Would you suggest bouncing back a forth a bit between him experimenting with the powers and him getting tangled up in plot line?

To be honest, though, the more I read, the more this guy seemed, well, something of a sad-sack and not someone I'd particularly want to spend any time with, which is fatal when using a first person narrator.

Haha, ouch this character is based heavily on me. I like to think I’m more fun to spend time with than how you’ve interpreted him. I do understand your meaning and take no offense. You’re right, I am more than just a nerd. That being said, after some action inserted in the proper way, do you think I should describe him more physically, and personality wise? I was a little concerned about a wordy description, I didn’t want him to sound arrogant talking to his audience.

Not least, consider how realisation that he suddenly has magical powers would actually affect someone psychologically -- young children would undoubtedly take it in their stride, but adults would surely have a greater reaction than simply a moment of stupefaction and then "This is cool, let's experiment!"

I wrote that as I envisioned myself reacting to it, but you’re right, I’d probably have a bigger reaction. You’ve got me itching to go to the lounge and start another thread with “how would you react if you suddenly had fantasy novel magic powers?” Since there’s not really a psychological study available for that. I was trying to write from the perspective of someone who knows about what power can do to a person, and also trying not to give him too much power right away.

I also realized after you talked about jumping into some action right away, that I set myself up perfectly for it with the little intro I have. Talking about Monday morning quarterbacking and the reader having the opportunity to do so, then doing nothing with it. Doh, I’ll take the opportunity to correct that this weekend.

Thank you for the critique, I will definitely do some more work, and return for more. Please don’t take any of my response as contradictory, I am very happy to listen to any feedback given.
 
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So, I do actually have a plot in mind. Would you suggest bouncing back a forth a bit between him experimenting with the powers and him getting tangled up in plot line?
It depends on how much power he has when the plot starts. If he's still not got much, then it would be reasonable for him to be experimenting while the plot happens, so you're still working on a linear time-table. If on the other hand the experimenting has all happened before the plot begins, then that means flashbacks, which obviously are used a lot in fantasy but if there are too many then some readers may find them disruptive to the flow.

Another technique is to start with something exciting which is in effect a flash-forward, as it happens some months on, then Ch 2 starts at the beginning and the subsequent chapters go in a linear fashion leading up to the events in Ch 1, and thereafter continue from there. (I always think this is a bit of a cop-out, as the beginning isn't exciting enough on its own, but Adrian Tchaikovsky has done it in at least one novel, and I've just re-read Jack Vance's Emphyrio which does exactly that.)

It may be that you need to need to try various different ideas to find out where and how the story best starts. Indeed, it might not be until you're well into the plot before you realise just where the start ought to be.

Haha, ouch this character is based heavily on me. I like to think I’m more fun to spend time with than how you’ve interpreted him. I do understand your meaning and take no offense. You’re right, I am more than just a nerd. That being said, after some action inserted in the proper way, do you think I should describe him more physically, and personality wise? I was a little concerned about a wordy description, I didn’t want him to sound arrogant talking to his audience.
No, no lengthy description! And have him show personality, rather than describe it, which you've actually already done. Did you realise the three examples of beginning magic you've chosen for him are all done for his own benefit? Which makes him sound lazy, possibly self-obsessed and certainly a little selfish, far more like a teenager than a grown man. And having the figures fight are exactly what a teenage boy would do.

Having him come into his powers by helping someone would throw a different light on him ie he's compassionate and looking out for others because it's his nature, not because he's suddenly got these powers and wants to show off. Alternatively, you could have him wish something bad happens to a bully, then he's mortified when it happens and the bully is hurt. You could even foreshadow the plot in some way.

Is he married, widowed, divorced, dating or very happy in his single state? Does he have friends? What does he do apart from moan at work and watch TV?? Show something of his life in an interesting way as the plot starts.
 
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Did you realise the three examples of beginning magic you've chosen for him are all done for his own benefit? Which makes him sound lazy, possibly self-obsessed and certainly a little selfish, far more like a teenager than a grown man. And having the figures fight are exactly what a teenage boy would do.

Oof that stings a bit, haha, but I see your point. Upon reflection I think that I’ve over compensated in my desire to not make him appear immediately perfect and be over powered. My intent with the first two was really to show that he missed the signs that he had powers and the third was the lightbulb turning on. From there it was testing the waters before he started meddling in other peoples lives. I can come up with different examples of beginning magic though, I’m trying to avoid overt public displays at first because of the attention it would draw.

Is he married, widowed, divorced, dating or very happy in his single state? Does he have friends? What does he do apart from moan at work and watch TV?? Show something of his life in an interesting way as the plot starts.

Would you recommend a re-write with these details included, or intersperse them into the story more? I actually was just about to get to his friend’s introductions and the building of his team.

Again thank you for your advice, I know you’re coming from a good place in critiquing the character and you’re making me do some self reflection at the same time. You’ve also given rise to a question I had not yet asked myself. Of course it’s going to be a fantasy novel, but I had not thought to ask if I want to to be an adventure or a mystery etc. When I said I had a plot in mind I really meant I had a protagonist and antagonist set up for the plot. Perhaps I overestimated my preparedness.
 
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My intent with the first two was really to show that he missed the signs that he had powers and the third was the lightbulb turning on.
That's fine. But think how different he would appear if someone said the smell made her feel ill and he wished he could help her. Or if there's only one screaming baby and the mother is at her wit's end and he then wishes, for her sake, the child would go to sleep. Or if he wishes a woman at work would smile at him as he wants to ask her out, or perhaps he's shy and wishes she'd ask him out.

There's no need to make all three examples altruistic, just consider what his character should be -- making him not perfect -- and come up with things that fit how he thinks and acts.

Would you recommend a re-write with these details included, or intersperse them into the story more? I actually was just about to get to his friend’s introductions and the building of his team.
The questions weren't so much to make you dump the answers on the page as to make you think about him and his character, but usually the earlier you drop hints about someone the better. It's important, though, to do it in a way that's natural eg "Since Fred's death I'd got slovenly about the house, and the fridge was a cess pit, the milk gone rancid again." so he wishes the milk was fresh and lo and behold it is. That gives us information about him and an example of the magic he can't ignore. He's done that for himself, but not from aversion to other people or from laziness as your original examples. You see the difference?

Anyhow, I've given you a lot to think about, so stir the ideas around, and start writing the next scenes. There's no need to try and get the first one perfect at this stage, just plough on and see where it goes. That's what a first draft is for. Then when it's written, and you've gained more experience, you can come back and make any necessary changes to the opening.

Of course it’s going to be a fantasy novel, but I had not thought to ask if I want to to be an adventure or a mystery etc.
Find out as you write it! What you want and what the characters make it might not be the same thing!

When I said I had a plot in mind I really meant I had a protagonist and antagonist set up for the plot. Perhaps I overestimated my preparedness.
Well, I've not even had an antagonist when I've started writing some things, so that's not a problem! You might, though, have been a tad precipitate in wanting feedback so early on in the writing. But you're approaching my comments with the right attitude -- consider and reflect, and take what you think helps -- which is the important thing.
 
You might, though, have been a tad precipitate in wanting feedback so early on in the writing.
Actually, I am going to contradict you this time, I think this has helped a lot. I’ve always been the type of person who learns from interaction with people rather than trying to research things on my own. That’s not to say that I don’t research, but asking questions and talking out answers is far more effective for me. This has been immensely beneficial and I’ll shall return with a better sample as early as next week.
 
Maybe try spending a little time doing a character study of you MC. Nothing big, just enough to help with letting your MC help in the story telling/development.
 
Maybe try spending a little time doing a character study of you MC. Nothing big, just enough to help with letting your MC help in the story telling/development.

Funny enough, the DM for our TTRPG’s that we play has said the same thing to me on many occasions. This time it will be easier though because the character is largely based on me.
 
There are a lot of cool things happening here that I would like to hear more about. I think each of these could be its own section or short chapter.
I was back at work dealing with the smells that emanated from the patrons of the office, when I discovered that I could force the smell away from me. Not by waving my hand, that’s too obvious and I have to maintain some pretense of decorum, I can’t be rude. I just concentrated on the smell going away from me and it faded.

there were a bunch of screaming babies in the waiting area and as anyone would, I wished in my head that they would go to sleep. To my immediate shock they all did.

I was laying in bed and the TV remote was out of reach and, as all nerds have done at one point or another, I reached out and attempted to “force pull” the remote to me, thanks George for giving us all a new hope. This time I achieved the astonishing result of success

I focused on as clear a picture of an apple as I could, pictured it on the table, and holy sh*t it worked!! As clear as day there was an apple sitting on the table, but was it solid? I reached out to pick it up and my hand didn’t pass through it, I actually picked up my illusionary apple.
Instead of telling the reader what happened, consider showing the reader as it happens. By stretching the discovery period out, you can pique the reader's interest to discover the mystery of what is going on.
 
This reads like an essay, not a first person account of events in the near past or distant pass.

Use it as notes if you like what happens in it, but write it happening.


Also, are you sure you want to assume every reader is a fantasy nerd who shares that perspective? I like the occasional fantasy read, but I have never spent any time considering any of the stuff in paragraph 1.
 
Instead of telling the reader what happened
This. All of this. It's a good idea but it is all telling--even when you veer into showing (the remote in the other room) it's told not shown.

The voice is fun-- laid back, folksy, denigrating (though, amusingly, denigrating about things often said of nerds (i.e. BO and poor hygiene)) while speaking to their people. I can see it grabbing readers because it is engaging, but what's on the page isn't engaging yet.

I agree with @Swank that this is backstory/notes for yourself. Characters striving to do things engages and draws in readers. Tension, conflict, desire, discovery, loss -- those engage readers because characters do them, actively, on the page. In magical dawning books, the discovery of, and realization that they have access to magic is typically the act 1 climax that upends their known life.

Two suggestions on reworking this (if this is helpful, cool, if not, sorry!)
  1. The Harry Potter Classic
    1. Droll life --> Sees someone else getting what he wants (family, love, parents, friends)
    2. Weird thing happens/ Tease 1 --> Moment of happiness/wonder --> Return to drudgery
    3. A way out --> Weird thing happens #2 --> World upends and changes for the narrator
    4. Normalcy balanced against adventure and absurdity but opening into a wider world of history/conflict/etc into which the MC is inserted without choice, and the MC learns about the thing he wants most (bio-parents)
    5. Drudgery, but it's fun now bc the MC is with friends and it's "different" --> MC Goes about solving the problem (no bio parents) the wrong way --> Finds the thing that gives him what he wants
    6. Broader conflict draws him in and he has to fight --> fights with found family vs biological family
    7. Return to original drudgery, but knowing the world is bigger than they imagine
  2. The Ferris Buehler / Citizen Kane
    1. MAJOR EVENT / CLIMACTIC ACTION -- record scratch, You're probably wondering how I got here
    2. Droll life --> broader conflict and fight (until point 6 above)
    3. Return to the major event, Broader conflict draws him in and he has to fight --> fight
    4. Their world has changed and they're not the same.
They're deeply similar but use different in's for the audience. They also both completely focus on the progression, not telling others how they progressed. It's a cool idea and worth exploring and building out.

Final note: using a David and Leigh Eddings reference as your first name drop is.... rough. Yes, they wrote seminal books but their reputation is deservedly tarnished. I know there's a difference between the art and artist, but I can't see a reference to them without thinking of child abuse (maybe that's just me) but there's equally good references without the baggage.
 
The Ferris Buehler / Citizen Kane
  1. MAJOR EVENT / CLIMACTIC ACTION -- record scratch, You're probably wondering how I got here
  2. Droll life --> broader conflict and fight (until point 6 above)
  3. Return to the major event, Broader conflict draws him in and he has to fight --> fight
  4. Their world has changed and they're not the same.
I think this is the one I am going to go with. I have a start on the First chapter and I have an idea for a fight scene already typed up. Would it be too cheesy to actually right "record scratch" lol

Final note: using a David and Leigh Eddings reference as your first name drop is.... rough. Yes, they wrote seminal books but their reputation is deservedly tarnished. I know there's a difference between the art and artist, but I can't see a reference to them without thinking of child abuse (maybe that's just me) but there's equally good references without the baggage.
I had no idea that there was anything about child abuse in their past. That is heartbreaking because I love their books so very much. There are plenty of people whom I am positive I would not like as a person if I met them but I can separate, as you said, the art from the artist. In fact I find I am forced to do so with a vast majority of Hollywood as I vehemently disagree with most of their beliefs.
 
The voice is fun-- laid back, folksy, denigrating (though, amusingly, denigrating about things often said of nerds (i.e. BO and poor hygiene)) while speaking to their people. I can see it grabbing readers because it is engaging, but what's on the page isn't engaging yet.
The comment on BO and pushing away the bad smells which comes with the patronage of the building he works in. How ever, I am changing that particular detail as someone pointed out the financial issues of the groups endeavors. So they are all going to be moderately successful in their respective careers.
 
Final note: using a David and Leigh Eddings reference as your first name drop is.... rough.
Would you recommend using The Inheritance Cycle instead as Paolini’s magic was directly inspired by them?
 
Would you recommend using The Inheritance Cycle instead as Paolini’s magic was directly inspired by them?

Maybe ask yourself if you need a list of overt references? You could just lay in some subtle nods...

'What was that?' Billy asked. His eyes were wide.

'What was what?' I replied, trying to act casual.

'You were talking to that moth.'

I scoffed. 'Are you mental? No I wasn't.'

'I saw you.' He pointed wildly. 'You caught that moth in your hand. Then you whispered something to it, and then you let it go.'

'You saw that?'

'Yeah I saw that.'

I shrug. 'I kinda figured out I can talk to moths now.'

'You're Gandalf.'

I couldn't help but grin. 'Yeah, I suppose.'

'So are the eagles coming?'


It doesn't even have to be this overt - let the reader make the connection. They'll get a little kick when they see your character do something that references this thing that they read or saw.

Also my main advice to you would be to read, read, and read. Then read some more. But! Think about what you are reading. Look at how novels are written, how they are structured, the mechanics of it, the dialogue, the descriptions, the action beats. Find a passage that really works for you, and work out why it really works for you. The more you do this, the more aware you'll be about what you might be doing wrong, and how to do things right - but right in your own way.
 
Maybe ask yourself if you need a list of overt references?
So I’m kinda trying to pay homage to Ernest Cline with what he did with the eighties in Ready Player One, but on a broader spectrum for nerds.

One of the main facets of the story is that he uses the books he’s read as references for ideas of how to use magic. So referencing The Will and the Word from the Belgariad, or using a wand like Harry, these books were impactful to him.
 
So I’m kinda trying to pay homage to Ernest Cline with what he did with the eighties in Ready Player One, but on a broader spectrum for nerds.

One of the main facets of the story is that he uses the books he’s read as references for ideas of how to use magic. So referencing The Will and the Word from the Belgariad, or using a wand like Harry, these books were impactful to him.

I'm not saying not to reference them, but perhaps think of organic ways to do that within the context of the story. I'd also be wary of praying homage to a book that paid homage to a bunch of other things. It's fine to take that as inspiration - but look for a new angle to make it fresh and interesting.

I will admit to not making it far into either the novel or movie of Ready Player One, but just having a quick look at the first few pages, the character is at least actively doing something when dropping the references - waking up and describing his surroundings while going to play a video game, watching Family Ties for a reason - because Halliday liked it, and that's an introduction to that character and the Hunt and a way to segue into a description of his family life...
 
the character is at least actively doing something when dropping the references
Oh yeah, I am planning on, for instance, referencing The Flash when he suggests going back in time to save his little brother. One of the other characters is quite literally going to whack him over the head with the Flashpoint Paradox issue of the flash. He’s also going to attempt to turn himself into a bird, but because of the laws of physics he’s going to end up being a massive bird and come up with a different way to fly or forgo flight altogether.
 

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