Pace and prose

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Paul Meccano

Meccano Magic
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Hi all.

1606 words to the chapter beak.
As much of my novel is edited to this level of clarity, I'm looking for opinions around pacing and prose.
1) Is this a style of interest to you?
2) Is the pacing good?
3) Would it be acceptable if I pass this on to a line editor?
3) Is the prose good enough for publishing?

I really appreciate any help you can provide.

Lander's Dream
12hrs 30min remaining


It felt odd to consider returning from death as something recognisable. Death's clamp suddenly releases, eyes open for a mind in turmoil. No light. No breath. Then, a rush of something other. And, much like the day he fell from the escarpment face, it was terrible pain that pierced his conscience but overlain this time with an odd-sounding electronic voice.
'Unknown parameters: the atmosphere outside is unsafe; do not release the main seal. This suit's revival protocol will engage just as soon as atmospheric levels return to normal or for three minutes every ten for a maximum of one hour. Oxygen tanks are set to conservation mode.
Mattesh choked.
Further pain then – a sharp blow that shook his head and twisted his neck. Again, and once more, until Mattesh was released to rumbling stampede – water and driftwood, tumbling stone and debris – a furious river. Air rushed in to fill his lungs – glorious air, sweet-tasting, and perhaps enough to choke on. Then, breathing dirty water, he coughed and spat. He soon discovered a purple-bruised morning sky for rolling over, as whirring and ticking, extending and retracting goggles flapped on and off from his face. And he could see it now: where soil and rock would usually fill this space, floodwater had instead created a whirlpool, where, like a piece of driftwood tethered to something unmoving, he was stuck and spinning as constellations whirred above. His suit, dutifully deploying a set of three floatation bags – news to Mattesh as unaware of their inclusion – in collusion with one was keeping him submerged as the remaining two, buffeted so squeaking for that, fought to keep him afloat,
The shout of an unknown man.
'Stop struggling; you'll take us both under!'

It took Mattesh a moment to realise that this man was shouting at him. A stranger who choked coughed and then spoke again. 'Stop, I said!' Their world was moving in powerful eddies. 'Your hand, we must release your hand. Can you hear me?'
'My hand! Where is my hand? Are you sure?’
'It's between two rocks. And no, don't try to look; this will hurt!'
'But I…'
'Trust me, pull.'
He joined the man, now tugging his forearm – the hand at its end, not feeling like his own on first discovery. Ligaments stretched as knuckles popped. Then, a grinding feeling as fingers on jagged stone drew a gurgle that sounded like death. Dragged free, he arrived at a grassy bank scattered with garbage, where teeth clenched from chattering, that waking arm cradled and falling to his knees; Mattesh exorcised one lasting, stuttering howl.
With that, the stranger reappeared to growl in his ear. 'Quiet man!'
Gulping down pain, Mattesh whirled on his knee to see who saved him.

Stood firm, but with an open gate ready to run, the man was holding a shard of glass, retrieved, no doubt, as Mattesh was tending his arm. He had it firmly gripped point down, ready to defend himself. And as Mattesh watched on, down arm and wrist then over his hand to reaching its tip, water fell in diamond droplets. For a tangle of wet hair and half-in-shadow, the man appeared ghostlike, hard to tell if he was glaring or not, lips forced so tight for the cold he could have been frightened, angry, amused, or even repulsed. But Mattesh knew already that this man was scared witless; dilated pupils and ever-widening eyes had betrayed that truth. In fact, he was probably convinced he had just saved his own executioner. And a man on edge like that was probably dangerous.
Mattesh raised a hand. 'I'm in no state to harm you, even if I wanted to.'
Round-faced, his saviour was strangely close-shaven but roughly so for pocked skin revealed by that same diamond light. Security…damn it!
The man stepped back. 'Who are you? What's that thing you wear?'
Over the top of incessant gurgling, for ears still waterlogged but given to draining, he could hear the putt-putt of plasma projectiles, with the buzz of drones and SINS in the distance. Mattesh was about to answer but stopped himself.
Have they discovered me already?
'I'll not ask again. I said who are you?'
'I'm alone, escaping them.' Mattesh said, pointing to where the sky was ablaze – bright pink and purple – to where flares currently lighted the broken face of the dam. A transport lowered to the ground moved closer until disappearing behind the closest hill. It was gone. The next flare went up but bright to render the sky a blank page.
'You did this?' The man said, white-eyed. He retreated, unable to see for a moment.
'Not me, but whoever did put us all in danger.' Mattesh said, cursing – this hand of his was throbbing.
'You said they’re after you?’
'Not me, not exactly. But whoever blew the dam must have accessed the barrier near here. I also came through.'
The man shifted – that glass tip reflected blood-red. 'That much I already gathered. But they're killing people, many, not just a few. And it's quite a coincidence, don’t you think, because they do seem to be looking for someone important, like…?' A weary gesture, almost pointing at Mattesh.
Mattesh angered. 'I told you it wasn't me. But they will round everyone up in this...wherever we are.'
'The sixteenth?' The man said suspiciously.
'I don't understand.'
'I can see that.' He said, tense still. 'Few survived here in the sixteenth; like I said, all are rounded up, interrogated and then killed on the spot. The whole lot was evacuated, don’t you know, just like the other quadrants. Someone knew this attack was about to happen.' He paused, deep in thought, wagged a finger, '…And you're not sixteenth, are you, one through fifty-two either. At least, judging by that suit, you're not…what is that thing?’
'You're right, I'm not from here.' Mattesh said, pulling his suit collar down to reveal his Server marker.
'A Lost!' the man said, almost dropping his weapon.
He looked around nervously and hugged that shard to his chest. 'A lost, down here. In a rubberised space suit, and escaping too. From where exactly, a SINS transport or something?'
'Something like that.' Mattesh said. ‘But look, I need to get out of here.'
'To where exactly?' The man laughed. 'I've been trying to do that for years.' He looked around once more. 'Look, if you are Lost, and I can see that you are, then SINS should have been onto you by now – onto both of us?'
'Right. And I promise to tell you everything. But right now I have to get to the City. And, well, maybe you can help by getting me as far as the inner barrier. Can you do that?'
'Ha!' The man baulked, incredulous, then soon became serious. He looked to wonder until, bright-eyed, he said, 'You have a way in, don’t you?’


Mattesh could feel this man's anguish, the pain of being stuck here. He knew exactly how it felt to be choice-less, but if he did reveal his the B-tick – it could be the difference between someone willing to help and someone willing to kill for it. He knelt to retrieve the backpack, thinking still, not yet ready to speak. The seal was tight, meaning the equipment, including the B-Tic, was safe. He made his decision and shook his head. '…I don't have a way in just yet. But I do have choices you don't; I used to smuggle so have a few tricks up my sleeve. He patted the backpack, 'a radio being one.'
The man raised his eyebrows.
'Trust me, I'm not tagged yet; for the moment, I'm as free as you are.’
The man smiled at that. Maybe for the tone conveyed, or perhaps some form of knowing, perhaps even trust, his saviour seemed to understand, allowing Mattesh to relax.
'Tell me then, Slaver,' the man said, kneeling to mirror Mattesh. 'I do know a good truth when I hear one, so if I took you to someone I know…a man who offered a route to the inner barrier. What then? Do I go too, however, you intend to get in? You…you take me with you, right?'
Mattesh considered his position. 'What will it take then,…’ He said, one hand up and looking for a name.
Then, throwing that glass shard into the floodwater. ‘'My name is Howard,'
'…Okay,’ Mattesh said, considering the ovoids in the bag. One thing at a time, take it easy… ‘When we find this man, what will it take to barter, Howard, because I don't have much to trade?'
'Who does around here? It would take a brave man to try and possess anything in this place, wouldn't it?' Howard sniffed through a running nose and wiped it on his sleeve to continue. 'It's true, few get to travel so close to the inner barrier, but a brave man like you should do well in negotiation. Don't you think…?' Howard said, also looking for a name.
 
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Hi Paul -- don't forget the word limit here in Critiques is 1500, and this was a little over so I've removed the last few paras to keep you the right side of that (and frankly, it's not going to affect any feedback that it's omitted).

With regard to your thread about editing, yep, in my view there's a lot here that could be pruned without any loss to the story. The first section, up to the unknown man's voice, comes in at just under 300 words, but could be condensed to about half that, resulting in a faster, more engaging read.

Also with regard to editing, the first para contains two mistakes that I quickly saw (I can't believe it really is his "conscience" which is pierced, and I'm pretty sure it should be "overlaid" as it's the past of "overlay" you want, not "overlie"), and there are other mistakes including punctuation errors which I picked up on only quickly scanning, so you need to check things a little more.
 
I'm having a difficult time following the events clearly wo pausing and re-reading occasionally. This isn't something I'd normally read style-wise, so my lack of following can easily be chalked up to personal taste.
 
I like the writing. Some editing would help me like it more.

While it's clear that the opening paragraphs are about disorientation, after several readings I'm still disoriented. I found the section fascinating but I couldn't wait for it to end. [a fair sign of good writing about disorientation]

floodwater had instead created a whirlpool, where, like a piece of driftwood tethered to something unmoving, he was stuck and spinning as constellations whirred above. His suit, dutifully deploying a set of three floatation bags

If his arm is caught in the rocks due to the fall, his experience is not like he is "tethered to something unmoving" it is like his hand is caught in something unmoving. And he certainly isn't spinning.

Or maybe he is caught in a whirlpool with someone else spinning with rocks attached to his hands.
Also, during my first couple read throughs I missed the meaning of the super subtle phrase:

he arrived at a grassy bank

Maybe a little more emphasis on the movement between spinning in a whirlpool and arriving on dry land. After so many words about disorientation maybe stronger grounding phrasing to bring the character and the readers onto solid ground.

The paragraph starts with:
He joined the man, now tugging his forearm – the hand at its end, not feeling like his own on first discovery. Ligaments stretched as knuckles popped. Then, a grinding feeling as fingers on jagged stone drew a gurgle that sounded like death. Dragged free,
There was punctuation, nonetheless my first several reads attributed the phrase "Dragged free" with the long explanation of tugging at the arm.

and now that I'm thinking about this more, wouldn't he and his rescuer be "dragged under" into the whirlpool the moment his hand was released from the rocks? What are the threats?

I might add that they have a nice long conversation and initiated a negotiation all without another though to the mangled hand.

Oh, and another quibble. Why is this called a quadrant when there are clearly more than four of them?

Anyway. Great start.
 
Hi Paul -- don't forget the word limit here in Critiques is 1500, and this was a little over so I've removed the last few paras to keep you the right side of that (and frankly, it's not going to affect any feedback that it's omitted).

With regard to your thread about editing, yep, in my view there's a lot here that could be pruned without any loss to the story. The first section, up to the unknown man's voice, comes in at just under 300 words, but could be condensed to about half that, resulting in a faster, more engaging read.

Also with regard to editing, the first para contains two mistakes that I quickly saw (I can't believe it really is his "conscience" which is pierced, and I'm pretty sure it should be "overlaid" as it's the past of "overlay" you want, not "overlie"), and there are other mistakes including punctuation errors which I picked up on only quickly scanning, so you need to check things a little more.
Hi Paul -- don't forget the word limit here in Critiques is 1500, and this was a little over so I've removed the last few paras to keep you the right side of that (and frankly, it's not going to affect any feedback that it's omitted).

With regard to your thread about editing, yep, in my view there's a lot here that could be pruned without any loss to the story. The first section, up to the unknown man's voice, comes in at just under 300 words, but could be condensed to about half that, resulting in a faster, more engaging read.

Also with regard to editing, the first para contains two mistakes that I quickly saw (I can't believe it really is his "conscience" which is pierced, and I'm pretty sure it should be "overlaid" as it's the past of "overlay" you want, not "overlie"), and there are other mistakes including punctuation errors which I picked up on only quickly scanning, so you need to check things a little more.
Hmmm, I obviously wasn’t conscious when I made that particular mistake. I won’t overlay make my point either…as a dyslexic I do still need an editor, and although it doesn’t directly effect punctuation or grammar, it can discombobulate, which in turn often effects the whole.
Thanks
 
I like the writing. Some editing would help me like it more.

While it's clear that the opening paragraphs are about disorientation, after several readings I'm still disoriented. I found the section fascinating but I couldn't wait for it to end. [a fair sign of good writing about disorientation]



If his arm is caught in the rocks due to the fall, his experience is not like he is "tethered to something unmoving" it is like his hand is caught in something unmoving. And he certainly isn't spinning.

Or maybe he is caught in a whirlpool with someone else spinning with rocks attached to his hands.
Also, during my first couple read throughs I missed the meaning of the super subtle phrase:



Maybe a little more emphasis on the movement between spinning in a whirlpool and arriving on dry land. After so many words about disorientation maybe stronger grounding phrasing to bring the character and the readers onto solid ground.

The paragraph starts with:

There was punctuation, nonetheless my first several reads attributed the phrase "Dragged free" with the long explanation of tugging at the arm.

and now that I'm thinking about this more, wouldn't he and his rescuer be "dragged under" into the whirlpool the moment his hand was released from the rocks? What are the threats?

I might add that they have a nice long conversation and initiated a negotiation all without another though to the mangled hand.

Oh, and another quibble. Why is this called a quadrant when there are clearly more than four of them?

Anyway. Great start.
Thanks for this.
You picked up on the one thing I knew that I needed to change, all others are welcome news. For a while, I know was especially worried about word count, but, without the skills to keep it concise, made mistakes that later were, and still remain hard to see.
It’s probably no surprise this is one of my more complete and better executed chapters (it becomes less disorienting, although you are right, that is the idea, at least to it’s greatest extent).
I’m glad you liked the style.

Much gratitude.
 
In case it's of help, by way of example I've had a go at editing that first section down, and though on this first pass I haven't got it down to half, I have taken over a third off already:

Returning from death was painful, Mattesh discovered. No light, no breath, only turmoil, then a rush of something other, closely followed by agony throughout his body. Then an electronic voice.​
“Unknown parameters. External atmosphere unsafe. Do not release main seal. Revival protocol will engage once atmospheric levels are acceptable, otherwise for three minutes every ten for one hour. Oxygen tanks set to conservation mode.”​
Further pain – a sharp blow shaking his head, twisting his neck. Then again and again, until he was released into the rumbling stampede of a furious river, of trees and tumbling stone. A gasp of sweet, glorious air, then a mouthful of debris-filled water. Choking, coughing, head spinning, he caught glimpses of a purple-bruised sky as his suit’s retracting goggles flapped on and off.​
A whirlpool held him, the suit’s flotation bags seemingly battling each other, alternately submerging him and keeping him afloat, while the water constantly dragged him towards its vortex, without ever moving him.​
“Stop struggling!” a man’s voice yelled at his ear. “You’ll take us both under.”​

Obviously, although I've tried to keep your wording as far as possible this is my voice not yours, so it won't be what you'd produce if you made cuts, but it might give you some idea what you could achieve just by looking closely at each word and deciding if it earned its place in the whole.
 
Agree generally with @The Judge . I see quite a few syntax errors surrounding speech (where it starts and ends). In many cases a new paragraph should begin. There are some missing speech marks.

As for the pacing, I found it slow. In general it's over descriptive in my opinion (but I find the same of much modern writing, so you may want to take this with a pinch of salt).

When large chunks of exposition take place via conversation I always find it awkward. It has an 'as you know Bob' feel to it (even when Bob actually does not know!) I would try to break the speech up somewhat. For example:
"I don't think you should do that," I said.
She glared at me and, swearing profusely, told me to mind my own business.
"Fine, have it your way," I replied, meekly.
 
In case it's of help, by way of example I've had a go at editing that first section down, and though on this first pass I haven't got it down to half, I have taken over a third off already:

Returning from death was painful, Mattesh discovered. No light, no breath, only turmoil, then a rush of something other, closely followed by agony throughout his body. Then an electronic voice.​
“Unknown parameters. External atmosphere unsafe. Do not release main seal. Revival protocol will engage once atmospheric levels are acceptable, otherwise for three minutes every ten for one hour. Oxygen tanks set to conservation mode.”​
Further pain – a sharp blow shaking his head, twisting his neck. Then again and again, until he was released into the rumbling stampede of a furious river, of trees and tumbling stone. A gasp of sweet, glorious air, then a mouthful of debris-filled water. Choking, coughing, head spinning, he caught glimpses of a purple-bruised sky as his suit’s retracting goggles flapped on and off.​
A whirlpool held him, the suit’s flotation bags seemingly battling each other, alternately submerging him and keeping him afloat, while the water constantly dragged him towards its vortex, without ever moving him.​
“Stop struggling!” a man’s voice yelled at his ear. “You’ll take us both under.”​

Obviously, although I've tried to keep your wording as far as possible this is my voice not yours, so it won't be what you'd produce if you made cuts, but it might give you some idea what you could achieve just by looking closely at each word and deciding if it earned its place in the whole.
I get the need for editing, and while your example fits my need, I can’t see a problem with this. That said, I will need to rewrite in my own style as, personally, I find this particular edit a little cold – the reason I struggle to edit myself. Too far and it feels like a text book description – no character, and not me either. Too little and I’m left with too-sharp a set of scissors.
Thanks.
I will take advantage of this cruel but valuable culling.
 
Agree generally with @The Judge . I see quite a few syntax errors surrounding speech (where it starts and ends). In many cases a new paragraph should begin. There are some missing speech marks.

As for the pacing, I found it slow. In general it's over descriptive in my opinion (but I find the same of much modern writing, so you may want to take this with a pinch of salt).

When large chunks of exposition take place via conversation I always find it awkward. It has an 'as you know Bob' feel to it (even when Bob actually does not know!) I would try to break the speech up somewhat. For example:
"I don't think you should do that," I said.
She glared at me and, swearing profusely, told me to mind my own business.
"Fine, have it your way," I replied, meekly.
Editing issues noted (I managed to balls up my copy/paste and lost my formatting) syntax noted.

You can’t please all the people all the time…. That said, I get it, description can become tiring. I’ve included all and everything and should be able to cull.
Thanks

Howard is a strong B character, his interactions and mannerisms are important to the plot (he is hiding his true identity). I hear what you are saying however, heavy exposition can be a drag and your example helps.

Gratitude
 
I find this particular edit a little cold
I can see that. For myself, if I were writing this scene -- and coincidentally I have written a character plunging into a racing river -- I'd have tried to have more emotion/feeling coming out, but here I wanted to avoid adding stuff, and it would have been at the expense of the SF technology/worldbuilding which I guessed you wanted to keep.

I will take advantage of this cruel but valuable culling.
Thinking about it, you don't have to be quite so ruthless as I've been here. If you could knock, say, 25% off each and every scene, that's going to bring you down to under 125k for the novel, which will be a good sight easier to sell to an agent than 165k.
 
I can see that. For myself, if I were writing this scene -- and coincidentally I have written a character plunging into a racing river -- I'd have tried to have more emotion/feeling coming out, but here I wanted to avoid adding stuff, and it would have been at the expense of the SF technology/worldbuilding which I guessed you wanted to keep.


Thinking about it, you don't have to be quite so ruthless as I've been here. If you could knock, say, 25% off each and every scene, that's going to bring you down to under 125k for the novel, which will be a good sight easier to sell to an agent than 165k.
As a late starter, and due to an unfortunate upbringing, I didn’t start reading until I was 20. I struggled to read but loved to immerse myself in other worlds. I soon discovered descriptive works, not so much emotional, were very important to me. I struggled to relate to most protagonists, and pathetic fallacy held weight.
Later, as I grew emotionally I finally found depth in both, although personally speaking, when written works neglect description (and I don’t mean character movement or reaction but geographical, that of fauna and flora) I feel bereft of sensual input.

I can site Peter F Hamilton as a writer (for me) who goes too far with description. His books are crazily long, I have no idea how publishers made that leap of faith (other than through shorter works garnering audience – which may well be the case).
I find Jeff Noons Vert to be utterly confusing yet truly inspiring. And Frank Herbert’s Dune overwhelming (much better on Audiobook) yet undoubtedly the man was pro.
What I’m saying is this: if I can achieve an accessible narrative that speaks to young men or women who find themselves in the same position I was in, personally I’d be happy.
So is correctness the aim, is it good communication or both?

I too came to the same conclusion on culling; balance is key, this really is no different.
25% it is.
 
as a dyslexic I do still need an editor, and although it doesn’t directly effect punctuation or grammar, it can discombobulate, which in turn often effects the whole.
Dyslexic here too. I find that for every hour of writing I do; I need to do at least three in proof-reading and editing. With intermittent time away to un-discombobulate.
 
Let's talk about sentences. Many of these are hard to read because they lack a structure or have odd quirks that resist predictable parsing:

Stood firm, but with an open gate ready to run, the man was holding a shard of glass, retrieved, no doubt, as Mattesh was tending his arm.
This is a sentence that at first seems to be about a stance, then it is about a man, then it is about a piece of glass. Grammatically, you would say "Standing firm but with an open gate as if ready to run, the man was holding a shard of glass, no doubt retrieved as Mattesh was tending to his arm."
The problem with using a lot of commas is that you end up with what looks like a bunch of unconnected phrases and a sentence that lacks a core. Rearranging it to form fewer phrases leaves a clear emphasis "the man was holding a shard of glass", and the rest of the sentence provides two phrases - one describing the man, the other on the origin of the glass.

It felt odd to consider returning from death as something recognisable.
It felt odd to consider, or it felt odd to return from death, or it felt odd to be something recognizable? This sentence doesn't mean anything much because it is full of mushy concepts like "consider", "felt" and "recognize". Is the feeling important, or the death, or the recognition? Right now it is none.

it was terrible pain that pierced his conscience but overlain this time with an odd-sounding electronic voice.
I think you're referring to a previous injury, but "this time" makes a mess of "terrible pain overlaid by an electronic voice". The sentence loses punch because it is referring to three different things instead of the two things that provide the incongruity that has shock value.

This suit's revival protocol will engage just as soon
A robot said "just as soon as"???? This is a phrase grandma uses to announce when dinner will be served in regards to the cornbread coming out of the oven. It is not the language of a technician.

Again, and once more, until
No, and not, never. That's how it feels.

news to Mattesh as unaware of their inclusion – in collusion with one was keeping him submerged as the remaining two, buffeted so squeaking for that, fought to keep him afloat,
"inclusion - in collusion" Is this a supposed to be funny? It doesn't seem like the right kind of writing for homophone word play.

What does "buffeted so squeaking for that" mean? I can't imagine this is grammatically correct even in a more lyrical use.

Dragged free, he arrived at a grassy bank scattered with garbage, where teeth clenched from chattering, that waking arm cradled and falling to his knees;
This essentially says that the grassy bank has teeth, and an arm that fell to his knees. I'm pretty sure that's not what you intended.


The problem with attempting to write in a manner that exceeds the way you would speak is that you can put together sentences that trip up the reader so much that their perception is torn from the story entirely as they try to read and re-read the passage just to make sense of it. Don't take the reader out of the story by challenging their abilities. And I would bet you would have trouble reading this section aloud without considerable practice.
 
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Let's talk about sentences. Many of these are hard to read because they lack a structure or have odd quirks that resist predictable parsing:


This is a sentence that at first seems to be about a stance, then it is about a man, then it is about a piece of glass. Grammatically, you would say "Standing firm but with an open gate as if ready to run, the man was holding a shard of glass, no doubt retrieved as Mattesh was tending to his arm."
The problem with using a lot of commas is that you end up with what looks like a bunch of unconnected phrases and a sentence that lacks a core. Rearranging it to form fewer phrases leaves a clear emphasis "the man was holding a shard of glass", and the rest of the sentence provides two phrases - one describing the man, the other on the origin of the glass.


It felt odd to consider, or it felt odd to return from death, or it felt odd to be something recognizable? This sentence doesn't mean anything much because it is full of mushy concepts like "consider", "felt" and "recognize". Is the feeling important, or the death, or the recognition? Right now it is none.


I think you're referring to a previous injury, but "this time" makes a mess of "terrible pain overlaid by an electronic voice". The sentence loses punch because it is referring to three different things instead of the two things that provide the incongruity that has shock value.


A robot said "just as soon as"???? This is a phrase grandma uses to announce when dinner will be served in regards to the cornbread coming out of the oven. It is not the language of a technician.


No, and not, never. That's how it feels.


"inclusion - in collusion" Is this a supposed to be funny? It doesn't seem like the right kind of writing for homophone word play.

What does "buffeted so squeaking for that" mean? I can't imagine this is grammatically correct even in a more lyrical use.


This essentially says that the grassy bank has teeth, and an arm that fell to his knees. I'm pretty sure that's not what you intended.


The problem with attempting to write in a manner that exceeds the way you would speak is that you can put together sentences that trip up the reader so much that their perception is torn from the story entirely as they try to read and re-read the passage just to make sense of it. Don't take the reader out of the story by challenging their abilities. And I would bet you would have trouble reading this section aloud without considerable practice.
Hi Swank

I’m cool with all of this. I have a problem when it comes to your tone.
We’ve just had an interesting discussion on another thread and it feels like you’ve just come over here to make me look stupid.
I am dyslexic. Once upon a time (as you like quaint phrases) I was used to feeling stupid for not being able to write at all. That doesn’t stop me from grappling with large ideas, or from learning
I choose to learn, so I will say thanks for all
of you valid points and ask that you too stay open.
 
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Dyslexic here too. I find that for every hour of writing I do; I need to do at least three in proof-reading and editing. With intermittent time away to un-discombobulate.
Oh, and I get your point now; I’ve been writing for six years, and learning to write from scratch as I go. Five of those years I’ve spent on one novel.
Itreat it bit like my own personal Severn Bridge painting job (if you get that analogy), and finished my first draft in the first year.
Personally then, my editing time is at the far end of what seems works for you. I have the added issue of not finishing school, all due to a crazy upbringing. And self tutoring tends to throw up some unusual, if not then downright weird ideas on phrasing.
I see it as both, a chain and ball for now, but also, once I am able to write effectively, my edge.
 
Hi Swank

I’m cool with all of this. I have a problem when it comes to your tone.
We’ve just had an interesting discussion on another thread and it feels like you’ve just come over here to make me look stupid.
I am dyslexic. Once upon a time (as you like quaint phrases) I was used to feeling stupid for not being able to write at all. That doesn’t stop me from grappling with large ideas, or from learning
I choose to learn, so I will say thanks for all
of you valid points and ask that you too stay open.
A friend of mine is a painter. He is color blind. He doesn't tell any of his potential clients he is color blind because that has nothing to do with whether the painting is good or not, or whether they should buy one. There are no galleries for the color blind or publishers for the dyslexic.

I didn't come over to make fun of you. I spent half an hour writing up examples to demonstrate the pitfalls and cures for your invented writing style, which aren't at all different from many other aspiring writers' sentence problems. The only thing that is shared between the two threads is that you tend to lack a certain concreteness that makes it hard to follow your meaning. And I don't know if that is simply a style problem or that you are conceptualizing things that I can't understand.

My critiques are generally like this. Plenty of other people gave you warm, snuggly words of encouragement. But you are here asking for help improving, and that doesn't come from being told you did a good job; considering your disabilities. You are fully capable of writing very well, and I gave you some things to think about as you craft more of these obviously carefully styled sentences.

But I will bow out if this process upsets you.
 
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