Introductory Prose: Do You Want...

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MainComputer

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Hi, this is my first post here. I'm gonna paste the introductory piece of prose for a story I'm working on, and I'd love your feedback.

I'm looking for comments on my accomplishment of atmosphere, and my grammar and structure.

Not sure how to approach this yet, but for now I'll promise to give feedback on the posted work of two people who comment on mine. At least two. I hope that's courteous of me, because this is my first time on a forum. Given time, I'm sure I'll catch up to speed .

So, here it is:


Do You Want To Know Why I Hate You?

Stumbling through the neon-streaked shadows between the trees is a lost soul, a soul old enough to know better, but still too young to comprehend its fate. Holding onto the soul by a thread is a ripped and roasted child-druid. Without magic, without muse, this druid has been reduced to a fiend by his enemies, and is badly in need of a co-pilot to help guide him back to understanding.

Tears born of pain are dripping from this dead boy’s chin, falling down onto his blood-soaked clothes that are filthied from his many tumbles to the soft earth. His feet are falling into footprints that somehow, have been laid out before him.

The wanderer halts in his (or somebody else’s) tracks, lifts his head and wipes his eyes and sees that ahead of him in the woods stands another being: a silent prophet. He peers up at the prophet, who is becoming hazy in his tear-blurred vision, but as the boy stares he realises that the haze he sees is more than his distorted sight; the prophet is shimmering and wavering, slickly morphing into someone or something else. Without source or power, a cold blue light begins spilling forth from behind this messiah - or is it shining from inside of him? Whichever, it makes a silhouette of the prophet against the wooded background, and clears the leaf-carpeted floor between them of its shadows.

Without reason or consideration, the wanderer comes to a sudden epiphany of realisation - for some purpose this being is here to save him - for who could this be before him but The Creator, The Controller; The Computer? 'How can this be?’ thinks the boy. This revelation would mean that the Computerists where wrong, and everyone knows that could never be, even him.

With the coming of dawn, as the darkness all around begins to lighten, as this longest of nights turns to never-ending day, the radiance spilling forth from his saviour slowly turns its tail and heads back into its font, shining inwards. Honey-thick, the light flows down into the dark hole that this prophet is becoming, and as the light sinks deeper and is finally swallowed the kid gapes unbelievingly into the man-shaped black hole that remains and realises that, no, this is not his salvation - this is his damnation.
A cold fear begins to grow within the boy, but he cannot run or even turn his eyes from this nightmare. A cycle has begun and the dark shape before him folds and turns as once again the light climbs out from behind it, spilling forth with re-born intensity. The silhouette it reveals is less recognisable than before; nebulous, looming, demonic. Again, the light is consumed by the form… once more, the darkness begets light. Each time the wave of change grows more intense, beginning to create a wind in its wake it threatens to take a bite out of reality.

Through and within this maelstrom of energy the kid-cowboy can see a mist of information, a blinking atmosphere of interconnected actions and emotions that are the map of his life: his present, his past, and most horridly, his brief and inescapable future. Endings, are all that will happen this morning.

Possessed and petrified, the youth cannot shift a muscle to move from what he’s seeing. Tears of disbelief are pouring from the kid’s eyes; first a river, then a torrent, then a waterfall bursting from his fears and pains and regrets. Within the mists of the falls however, he can see there are rainbows - so pure and clear and solid that the beauty of them fills him with a sudden joy fit to rupture his heart.

This is too much. A soul may be an everlasting thing, but the mind can be as fragile as a memory (and this Ticket is one step too far for this toasted brain to handle), and along with the legs that hold it high, it collapses.
The fingers of the future reach into this broken head, and the hands of his own, personal demons drag the boy’s legs along, and ever down.
 
Hey, MainComputer. Firstly, welcome to the forums. There's no real hard and fast rules about posting work and critiquing here (though do check out the Guidelines), but it is good of you to offer some return feedback. Generally speaking it really only works if it's a two-way street. That being said, don't rush off trying to find something of mine to critique, I haven't posted in a while...

Now onto your work. I've only given it a quick skim so far, so these really are only initial thoughts. From what I can see your grammar is fairly tight, though there are a couple of instances that could be improved (mostly misplaced commas).

As far as structure is concerned - was it a conscious decision to use the present-tense, and if so what was your reasoning behind this? For me, it's a little jarring. This just might be because it's an unusual choice, and one I don't normally see much of. But to me, it read more like a synopsis than a fully developed story. I know this is something I do a bit - write a story plan in the present tense, and then expand it out into a more flowing narrative. You seem to be doing a lot more telling than you are showing in this excerpt, and you also seem to skirt between a casual and a formal style.

Probably because of these facts, I wasn't really drawn into the atmosphere of the work. It was a touch confusing for me, trying to work out what was going on, though I'll be the first to admit I'm a straight-forward kind of person, and I like my prose direct...

Anyway, hope this helps a little...
 
This piece contains a lot of clever sentences and beautiful metaphors, but I'm afraid you've over-done it a bit, no matter how clever or beautiful.

I disagree with Culhwch, the present tense did kind of suck me in, but because of the many, many metaphors and the too formal style every now and then, the sucking in wasn't as much as I expected it going to be.

Because of this style, it's hard to picture what really is going on. My mind kept being distracted because I had to think about something not happening all the time, but something that is somehow similar. You might want to re-consider the amount of comparisons.

A lot of sentences are clever, but using them this much, may sound you like you're too smart, and just want to impress the reader with your incredible intelligence. If you're too smart, it'll scare your readers away.
 
I'm with Culhwch, I didn't like the tense it was written in. It felt dispassionate and disconnected from the characters. I prefer writing that is more immediate. If I were to re-write this, I might do it in this fashion:

It stumbled through the neon-streaked shadows between the trees - a lost soul old enough to know better, but still too young to comprehend its fate. Ripped and roasted, a child-druid held on to the soul by a thread. His enemies had reduced him to a fiend without magic, or muse. He desperately needed a co-pilot to help guide him back to understanding.

Tears born of pain dripped from the dead boy’s chin, falling down onto his blood-soaked clothes, filthied from many tumbles to the soft earth. Step by step his feet followed the trail of strange footprints laid out before him.

I've tried not to change the meaning of what you've written - merely the tense. Can you feel the difference? Your description is very good, but rather than the cold, onlooking style you used, this tense helps the reader feel more connected with your character.

Just a suggestion.
 
Wow. Great feedback! Thanks.

I'm not sure what to say. The feeling I was trying to attain with this piece was dispassionate and disconnected, so I guess I achieved that. However, I appreciate what you're saying. It's gonna be hard to suck the reader in with this I guess. Gonna have to give some thought to that.

I really can see the difference in readability with your adaptation Mark, but I don't really want to go that far. I will have to put some effort into striking a balance.

I'll just say that this is only introductory prose, and the first true chapter that follows takes a massive swing, much more like your suggestion Mark. In addition, the first true chapter lets up on the heavy metaphors and the very formal style - it’s much more relaxed, light-hearted and playful.

So - thought needed on how to smooth the reader through this prose without scaring them off too much.

I've found all your advice helpful. Thanks.

The prose is meant to be confusing too. It’s a flip-back piece. When you've almost finished my story you're supposed to re-read this intro and get the 'ah... that’s what was going on!' rewarding feeling.

Marky - thanks for the compliments - not very often people say I might sound too clever! D’oh!

I'm saving all your comments and taking another look at the piece. I'll ask you all for further comment once you've read a bit more of my work (if you can be bothered!). I am away for business for a few days first however, and will post on my return – and also read some posts here and leave feedback.
 
A comment on the atmosphere: I liked it. Very dark and mysterious.

Having just read your reply, I see no problem with difficult words etc. if it is properly mitigated by a more casual structure later. Just make sure your agent, when you send it, knows it too ;)
 
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