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100 Public Reviews Given
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Review Style
I tend to write very detailed reviews, going line-by-line through a piece. They take me some time to do, but I am very thorough.
I'm good at...
Imagery, sentence flow and structure, and focusing on the details.
Favorite Genres
Sci-fi, but I'll read most anything except poetry.
Public Reviews
1
1
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: 13+ | (3.0)
Hello shadowhunter Author Icon!

This is a review for "Chapter Comrade ClubOpen in new Window. for your piece "The Life Of An IntrovertOpen in new Window.. This item is up for review during our next round starting 4/1, but I like to review the pieces ahead of time so I can be of assistance to all the CCC members, if necessary.

*Bulletb*OVERALL IMPRESSION:

You have a good start to grabbing my interest in Rachel. I really enjoy the teaser at the end: “some would help her discover and think of herself the way she had never before.”

I think this is too short to be considered a chapter just yet, but I think you have a lot to work with to bump it up. You might want to consider instead of summarizing Rachel’s childhood, starting with a scene from her childhood (maybe one big event that can show many of what you state in the first two paragraphs or maybe a couple smaller events that can do the same as a whole). By using action at the beginning of the story, you get to grab the reader right off the bat. Then, you can pepper details through the scene about how Rachel looks instead of tossing it all out right away. Keep in min the old adage “Show, don’t Tell” and try to use actions, details, and descriptions to demonstrate the ideas you already have here. Draw the reader to these ideas and conclusions (she isn’t too social, she’s happy having just one or two close friends, she was upset when she learned she’d need to go to collage without Cecilia) instead of straight out telling us. One idea: write up the scene where Rachel first figured out she’d have to be more independent and go to school alone. This might be a great way to bring out your character’s likes/dislikes, fears, and history in an interesting and SHOWing way.

*Bulletb*GENERAL SUGGESTIONS:

*Noteo* Imagery - Try to work in details by using a variety of sensory input. Sound, touch, taste, and even vestibular movement will all add details to your work that will draw in the reader and really place them there. Some advice I’ve seen is to work at least 3 different senses into every scene, which helps to really bring the reader into the book rather then keep them on the outside looking in. Metaphors (and smilies) can help to create an immersive experience as well.

*Noteo* Unusual vs. Ordinary - One way you can make reader feel for Rachel is to show us what makes her NOT-ordinary instead of just showing us how normal she is. She may be ordinary in many ways, but there must be something unique about her that’s going to make the readers care about her, her life, and what changes she goes through in the book. From what I’ve read, it seems that close relationship with her cousin *might* be something interesting - or at least not-too-commonplace. But, you may have other ideas about your character that you can add in to this first chapter.

*Noteo* Repetition - Repetition is a good technique to emphasize important ideas and can add to rhythm of the prose. You want to be careful, though, to not overuse it and to only use it where it’ll be most effective. In this piece, you repeat “she enjoyed” many times and well as “she liked” and, in the 3rd paragraph, “then.” Think about if this is really necessary and how you might get these ideas across better without the repetition. (Note: if you work these ideas into a descriptive scene, you may be able to show this stuff through actions, dialogue, or thoughts instead of having to just tell us.)

*Bulletb*THE SPECIFICS: Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) I will quote your original text in blue and put my comments after the equals sign (“=“).

Straight auburn hair tied in a ponytail, glasses on the tip of her nose... = Keep in mind that eventually, you’ll want a strong hook sentence, something that really grabs a reader. I’ve heard you don’t really get a good first sentence (or even a good first chapter) until you’ve written the last chapter, but it’s good to kinda keep it in the back of your mind. What is a very interesting or intriguing thing about this story, this character, or this situation that will really make the reader want to read more?

...quotes of her favorite fictional characters printed on her tees, Nike's training shoes on her feet- Rachel was a completely ordinary girl, living a completely mundane life. - Try to work details into a scene over time instead of dumping it all at once.

And she enjoyed it that way. She enjoyed going to school with her cousin, Cecilia, she enjoyed not being the center of attention... - Think of how you can SHOW us this instead of simply telling us.

Cecilia disagreed to go to the same college as her cousin, saying it was time Rachel did things more independently. - I’m curious how this came about? If you describe a scene with this happening, you’ll also be able to work in more emotion, which can also help the reader connect to and feel for Rachel. The more invested in the character the reader is, the less likely they will put the book down. *Wink*

Then she punched pillows, then she unfollowed Cecilia on Twitter, then she texted her "crazy bitch", after which she followed her again on Twitter and apologized for being so mean. Then she cried again. - I would love to see this in my head! This would be a very emotion-packed (and character-revealing) scene.

Rachel recalled all of this as she stood outside her college's building. - Give us some details! *Smile* Where is she standing? What does she see? How is she feeling (maybe her heart is racing or her skin is tingling, or maybe she’s sweating and shaking due to the nerves?)

When she pushed open the door of her class, she did not have the slightest idea that with some of these people she would have the best of memories, with some the worst of fights and some would help her discover and think of herself the way she had never before. - Interesting teaser! This certainly makes me curious about what’s going to happen to Rachel and how she is going to change *Smile*

*Bulletb*FINAL THOUGHTS:

I’m very interesting in seeing how you develop this character and this story over time! Thank you so much for being part of the Comrade Chapter Club!

I hope you found some of this helpful. Please don’t hesitate to send me a message if I didn’t make something clear or you just want to chat about ideas or things I mentioned.

1UppyEar Author Icon

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*Gold* My review has been submitted for consideration in "Good Deeds Get CASH!Open in new Window..
2
2
Review of The Disappearance  Open in new Window.
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: E | (4.0)
Hello Lynda Miller Author Icon!

Congratulations on your winning bid in the "Genre Auction and FundraiserOpen in new Window.! I’m happy to have the honor of reviewing your work. This first review is on the prologue and backstory in "The DisappearanceOpen in new Window.: Caddo, Arkansas 1800s and Arkansas - 1970.

*Bulletb*OVERALL IMPRESSION:

You have an interesting story that really piqued my interest! A long history of an evil (?) son and murder, fairies and a magical ring, and love (that of Julia and Charles and Evelyn and John). I’m so curious about what has happened since the first deaths and the attempt on Evelyn’s own life. I want to get to know more!

*Bulletb*GENERAL SUGGESTIONS:

*Noteo* Beginning Sentence/Hook - I think the *ideas* you have for a hook is interesting. I want to know why someone is traveling down a steep mountain at night, waiting with a gun. However, your sentence is very long and rambling, with lots of little details that may not need to be stated so specifically (for instance, does “shifting to get comfortable” and “and waited” need to be said explicitly, or can you assume the reader will infer these things? See below for more ideas.)

*Noteo* Action Descriptions - You have several spots where there is action (the carriage incident, the ladder incident), and I get a good picture of what is happening in both of those. That said, I think you tend to write way more details than necessary, so it feels more like a play-by-play sports commentary rather than placing the reader naturally into the action. Upping the imagery with MORE sensory info (showing) will help, I think. I’ll point out examples below.

*Noteo* Dialogue tags - Oftentimes, you can replace dialogue tags with actions, body language, or description to really help place the reader into the scene rather that have a feel of reading it. I’ll note those places below with suggestions on how to tweak it a little. Additionally, especially (but not limited to) when a new character speaks, it’s good to prime the reader with some details before dialogue. This allows the reader to get an idea in their mind about what is happening, how the dialogue is being delivered, and who is talking before reading the stuff in quotes. For instance, when Julia begins talking to Charles, the reader would benefit from knowing more ahead of time about her mood, body language, or looks. AND, if you do that, you can remove “Julia said.” See below.

*Noteo* Sensory Descriptions - You do a great job with what your characters see, but also try to work in other sensory input. Sound, touch, taste, and even vestibular movement will all add details to your work that will draw in the reader and really place them there. *Wink*

*Bulletb*THE SPECIFICS: Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) I will quote your original text in blue and put my comments after the equals sign (“=“).

In the still of the night, a lone figure ran across the mountain road and slid, then crawled down part of the mountain, climbed into a tree, shifting to get comfortable, as he braced the Winchester between forked branches, and waited. = Like I said above, this is a very long and. What about rearranging to remove some things or say other things simply? This is a just an example, but how about something like: “A long figure, illuminated only by the twinkling stars, crab-walked down the darkened mountain. On the edge of the cliff, he perched into a tree and braced the Winchester between the forked branches. A twig snapped and tumbled down, hitting the craggy rocks far below with barely a sound.” After writing my suggestion, I’m wondering if the bit about him walking down the road is all that important. Can you start with him already sitting in that tree? I suspect the reason you have him walking is to show the reader that it’s a steep, mountainous area and he’s creeping/doing something sinister. If that’s the case, you might be able to do the same thing with him in the tree...just paint a picture of the tree being in a precarious spot (hence my reference to a twig falling far below) or something.

The night was beautiful. =If you use your other sentences and details to *show* us it’s beautiful night, you won’t have to *tell* us.

There wasn’t a cloud in the sky. The stars were so bright you could make out the little and big dipper. = This is just a little nit, but I think you can remove the thought about the sky being cloudless since you then stay how bright the stars are. There wouldn’t be clouds if the observer could see the stars, right? *Wink*

The milky way swept across the top of the earth like a blanket full of diamonds. = Well-said! Good imagery!

Nicole’s parents, = I’m curious if you mean Evelyn here? I haven’t read too far, so maybe Nicole is really the name you mean and I’ll find out later exactly who she is?

...were on their way back from dinner at Lillian’s, one of the best restaurants in town and a concert in the park. = How important is it that the restaurant is named? Is the fact that it’s the best restaurant in town important for later on in the story? What about the concert? If these details don’t matter to the stor later on, a much more simple “on their way back from a special dinner” would suffice. Maybe it was their anniversary? I only say anniversary because readers might be more heartbroken if they die on a special night rather than a typical one, you know?

Charles had bought a new carriage and wanted to show off his beautiful wife and the carriage. = Don’t tell us...show us! Maybe this can be part of the dialogue?

“Charles, what a lovely night you have given me,” Julia said. = Here, for instance, I’d suggest starting the line with something like: “Julia’s eyes sparkled. ‘What a lovely night you have given me, Charles.’ She clapped her hands together. ‘This new carriage rides so smoothly!” See how some action can replace the dialogue tag? Body language can say a lot, too. Sparkling eyes, clapping hands = Happy! *Bigsmile* I’m not sure the bit about telling her daughter about the night is all that important. I think it slows down the action.

“You are more than welcome my darling,” Charles said. “You look absolutely radiant in your beautiful new gown. I think blue must be your best color.” = I think this dialogue is also dragging. What idea are you trying to convey to the reader? They have a close relationship? They are in love? Does it matter to the story that she looks good in blue?

“I do indeed,” Charles said. “I will have to make sure Jacob doesn’t destroy it before we have had some... = I don’t understand why Charles would think Jacob (his son?) would destroy it. Maybe a little more hint at who Jacob is and his personality (I’m guessing he’s a teen or young adult who likes to play hard...maybe he was off-roading with the old carriage and had bent the axel? This is would good use of dialogue in this section, IMHO, instead of the niceties between husband and wife.

BANG! “What the, no!” The horse reared. = This works, but I think it’s a little awkward and could grab the reader in a stronger way. Instead of truncated dialoge and a simple “BANG!”, what about using strong imagery? Something like: “A bang split the night like an explosion. The horse whinnied and reared, throwing dust and stones into the air. Julia grabbed for Charles’ hand, feeling her body slipping away from him.” (note the possessive apostrophe I added after Charles).

“Hold on my love, hold on!” = I like how his first reaction is to try to get her. Perfect! What about having him almost succeed before her body goes airborne? Like, maybe he grabs her dress, but when the carriage rolls, it rips? This might be more heart wrenching!

Julia, grabbing for Charles hand, felt her body sliding, then airborne as the carriage rolled over and over, careening down the side of the mountain, bouncing from rocks and trees, throwing Julia and Charles out of the carriage, smashing them and the carriage into pieces. - This is a very long sentence and has a lot going on. The action is quick, but breaking it up into smaller sentences might increase the tension. My understanding is that when there’s action going on, you keep the sentences short, which speeds things up and increases suspense. Long sentences are best left for monologues and introspection. So as a continuation of my suggestions above, “...body slipping away form him. Just as his hands closed over her sleeve, the carriage rolled. The dress tore and Julia’s body like a rag doll careened down the mountain. Wood splintered. Screams ceased. The night was met with only Jacob’s deep laugher and whoops of success.” This is just a suggestion, of course, as I’m sure you can write a better description of what you were picturing in your head than I *Wink*

The next morning... = I’m not sure you need to really sum this up with the next morning. The reader can assume eventually the bodies are found and the bodies were recovered. Or maybe they weren’t, but I’m not sure it’ll matter to the story. Instead, I suggest moving right to the point: Jacob killed them and was happy about it.

Soon the entire estate and his sister, would all be his to manage. = I’m torn on whether you should state this outright or leave it unsaid, allowing the reader to wonder for a bit *why* he’d kills his parents. If you keep this as-is, you either need to remove the comma after “sister” or add one after “estate”. I’d also recommend removing “to manage” as that’s redundant, IMO.

“Darn it Evelyn,” (better known as Nana to the family) she said... = I’m confused who Evelyn is and who she is talking to. Why do you mention right here that she is Nana to the family? What family? It’s all very confusing. Also, you need a comma after “it” and probably should change the comma after “Evelyn” to a period.

Now I have to get the ladder and a new light bulb from the Butler’s Pantry. Back in the kitchen she opened the ladder, climbed up and unscrewed the bulb. = This feels very step-by-step and, as such, isn’t all that interesting to the reader. Maybe just skip from the thought of needing to change the bulb to setting up the ladder?

The ladder shook. What in the world? She thought as the ladder pitched back and forth. = Suggest you combind the first and second descriptions of the ladder into: “The ladder pitched bach and forth. What in the world?

Looking down, Evelyn didn’t see anything wrong. The feet of the ladder sat firm on the floor. Hmmm. = A lot of this can be simplified, as readers don’t need to read all the minutiae. “Looking down” isn’t needed, and I’d argue you should also remove “Evelyn didn’t see anything wrong.” This will tighten up the writing. So, my suggestion is: “The feet of the ladder sat firm on the floor.” I also think “Hmmm.” is unnecessary.

She resumed the slow turning of the light bulb into the socket. = I’d suggest a small mention of her being a little more careful this time. Maybe something like: “Steadying her feet, she turned the light bulb into the socket.”

Her fingers slipped and, as she grabbed the ladder for balance, one of her rings fell off and bounced on the floor. = This works well! My only suggestion is to work in some more imagery or sensory input. Did the ring bounce on the floor with a zing? Did the gold flash? Is the wood on the ladder rough or smooth? You don’t need a lot of this, but a little will help pull the reader into the action and reduce up the play-by-play feel to the description of events.

as she climbed back down to get the ring and put it in her pocket. I need to put this ring in my box. It’s way too big for my finger. My sweetheart gave it to me to take care of. He said it was magical and I certainly don’t want to lose it. = I feel like this breaks up the suspense that’s building with the ladder shaking and reduces the impact your flashback about the ring will have later on. One suggestion would be to have her start to go down and get the ring, but have the ladder lurch then, knocking her out. When the EMTS come and she wakes, she can beg them find her ring, which they do. Just a thought!

In her panic, she thought, Jacob! = This is intriguing! *Smile*

= I recommended a section break here, since at the end of the flashback, we are back in current time. I also suggest you use a little more time period details to make it clear when in time these events are taking place. So, in 1970 in the kitchen, there could be the sound of a refrigerator or something. I’m not sure when this flashback is taking place...1920? What clues can you give us that will help but not be intrusive? Maybe the music they are dancing to? Are there electric lights or candles?

Evelyn and John were dancing on the porch of their home. = What about something a little more descriptive, to place the reader into the action? Something like “John and Evelyn twirled in time to SONG”?

“It’s a beautiful night, Eve. I wouldn’t want to be anywhere else, but with you,” John said. = Recommend taking out the statement of the night. Either describe it (breeze, crickets, whatever) or just skip to his wonderful sentiment about wanting to be with her. I’d also suggest you use an action or body language to remove “John said”.

Lilith and Daphne, two tiny little faeries who were Evelyn’s’ friends, were perched on the balustrade. Lilith giggled. = I didn’t expect this! Very interesting. Is there a way you can introduce them to *describe* they are fairies instead of coming straight out and telling us off the bat that they *are* fairies? Maybe hints at wings or something? I like “perched” very much! Lead the reader there first...let them guess a bit and wonder.

“Stop Lilith, you’re interrupting them,” said Daphne. = How do fairies behave? Use their body language to really lead the reader into a good visual of what they are doing and their personalities. I suspect they are a big part of plot, so let us slowly get an understanding of how they might play a part (I’m guessing the Magic Ring came from them....but don’t tell us too much at once.)

“Evelyn, I want you to have this ring. You never know what is going to happen to me, and I want to make sure you are guarded against Jacob, even if he has been dead for decades,” replied John. = More body language! This feels important, so I’d expect more details.

The faeries will warn us when his stinking soul is around. = I’m guessing this is Jacob she is referring to, but I’m curious what her relationship is with the fairies. I’m guessing you’ll cover that later, so I think the hints are good here. *Smile*

“Okay, but I still want you to have this ring.” = More imagery, more emotion is needed, I think.

Two days later the town sheriff and Doc Burford came... = I’m wondering if this would work better also as a flashback, from Evelyn’s perspective. It might convey more emotion to the reader to see it happen from E’s perspective and experience her heartbreak instead of justing being told after-the-fact as you have it here. Maybe this flashback can happen later on...maybe after she wakes in the hospital, then remembers that day? Now, it feels like a lot of important information has been fed to us all at once, and there’s no guessing or tension to it: magic ring, fairies, evil ghost Jacob doing bad deeds through time for some as-yet-unknown reason, dead parents, dead sweetheart... I’d sugest you draw some of this out, but take away some of the details that aren’t pertinent. The challenge is to figure out which is which *Wink*

= Suggest a section break here to indicate the flashback is over.

While Evelyn lay on the floor by the ladder and lightbulbs, Lilith and Daphne raced to guide Mr. MacDougal to stop by for a visit. How did they do this? Does he see fairies too? Or are they sending messages or hints or something??

After being examined at the hospital... = This last paragraph doesn’t really pull me to Chapter 1. What’s your hook? Suggestion: getting her ring back, or a hint at the ring? Maybe the announcement that she knows for certain she was pushed? Maybe the fairies talk or say something, hidden in the room somewhere? I think you need something that plays on the mystery of Jacob and the magic ring, something intriguing to push me to want to go on.

*Bulletb*FINAL THOUGHTS:

You definitely have the beginnings to a great story. I am excited to read the next few chapters to see where things go! There’s magic and evil and a wonderful Evelyn who I’m rooting for!

I didn’t see any issues with contractions or POV changes, and I think your verb choices worked fine. Once to make changes, I can look back again and to more detailed proofreading and focus on those details if you’d like.

I hope you found some of this helpful. Please don’t hesitate to send me a message if I didn’t make something clear or you just want to chat about ideas or things I mentioned.

1UppyEar Author Icon

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*Gold* My review has been submitted for consideration in "Good Deeds Get CASH!Open in new Window..
3
3
Review of I've Had Enough  Open in new Window.
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: 13+ | (5.0)
Hello Winnie Kay Author Icon!

Occasionally, I click on the Read and Review link just to see what pops up. Today it was "I've Had EnoughOpen in new Window.. *Smile*

*Bulletb*OVERALL IMPRESSION:

You have a well-written short story that covers all the things I think a short short should cover: interesting characters that are described well in very few words, a problem needing a solution, and a comical ending. I LOVE how Cecil attempts to prevent any further fighting between his two sons, and, even if it doesn't, it starts raising money for a new TV. *TV* Having sons who also fight frequently, causing damage to the house on occasion, I'm taking your story as a potential solution for my own woes! Haha! *BigSmile*

One of the things I've been focusing on in my own writing is reducing (or eliminating) dialogue tags. I love how you use action, body language, and imagery to show the reader who is talking without constantly coming straight out with "he said." Awesomely done.

*Bulletb*SPECIFIC SUGGESTIONS: Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) I will quote your original text in blue and put my comments after the equals sign (“=“).

I actually don't have a lot to suggest here. Everything below is nit-picky and minor.

1. “Yeah, well at least yours doesn’t look like a Viking helmet." = I'd suggest taking out either "yeah" or "well" just to tighten things up a bit. Yes, both of them are very common in every day speaking, but written it just feels a little redundant to me. One of them is good, because it makes me hear the annoying tone Michael is probably using with his brother (yes, I *do* hear that in my house a lot as well!) *Wink*

2. } “Dad!!! Jesus, Dad, how could you do this?” = Same as above...the repetition of "Dad" just doesn't seem necessary to me. Maybe remove the first one?

3. The twins faces ... = twins' (with an apostrophe, as the two twins possess the faces)

*Bulletb*FINAL THOUGHTS:

Love the story and love how well you paint a picture in so few words! Well done! *StarB*

I hope you found some of this helpful.

1UppyEar Author Icon

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*Gold* My review has been submitted for consideration in "Good Deeds Get CASH!Open in new Window..
4
4
Review of This and that  Open in new Window.
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: E | (4.5)
Hello Pen Name Author Icon!

*BalloonO*Thank you so much for sharing your work with the WDC community. I am pleased to review "This and thatOpen in new Window. per your request.*BalloonO*


*Bulletb*OVERALL IMPRESSION:

This is a well-written piece, full of wonderful ideas and an amazingly varied vocabulary! I think it flows well and points out the dicotomy of life: pleasure and pain, struggles and successes, the fact that humanity can be cruel or generous.

*Bulletb*GENERAL SUGGESTIONS:

*Noteo* Sentence structure = You have many long and complex sentences. Your ideas are abstract and complex as well, so I suggest simplifying at times and varying the structure may help to convey your thoughts to the reader a little better.

*Noteo* Unnecessary Repetition? = Your first paragraph is full of “I’ve”s (I’ve known, I’ve felt, I’ve watched, etc.). Coupled with references to “my” and “me,” it feels like overkill. I’d suggest reducing the number of these, as I feel they stand out too much and take away from the effectiveness of your beautiful prose. One thought: You are obviously the person writing this, so you might be able to avoid this all together and just write from your perpective. Instead of I’ve felt sunshine... you could just state it as fact: “Sunshine holds my happiness and warmth...” (you might even remove “my” here as well). Instead of I’ve been swallowed by my own solitude... you could try “Swallowed by my own solitude, I’m left a prisoner..” or something similar. Play with the wording to see if you can keep this in first person POV without having to continually say “I.”

*Bulletb*THE SPECIFICS: Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) I will quote your original text in blue and put my comments after the equals sign (“=“).

I’ve felt the dollar stretch to its limits; the poor choice to live above ones means, continuing on with futile attempts to stay afloat. = This sentences feels too complicated. I’d suggest choosing either the poor choice to live above one’s means or a futile attempt to stay afloat, but not both. This would simplify the punctuation (a comma would suffice), which would make it more reader-friendly. Note I added an apostrophe into “one’s” as it’s a possessive.

...ignorance creep into a soul and leave it withered like some rusty autumn leaf; = Beautiful imagery here! Because of this, I’d suggest finding a better, more poetic word for “leave”: “abandon” or something?

poison of intolerance. = Well-stated. *Smile*

leaving me feeling like the prisoner who looks up into the night sky through his barred windows; terror has crept in and abated like the rising and falling of so many ancient and slumber-less tides. = This sentence is pretty complex. I suggest simplifying or creating two sentences.

Through the rear view mirror I’ve watched moral dissidents... = Add a comma after “mirror”

disappear around the bend and become lost and doomed to be forgotten in disgrace. = Recommend choosing either “lost” or “doomed” but not both, mainly for simplification’s sake.

...on a sad mothers lips = “mother’s” as you’re referring to one person and her lips are her possession.

And yet I’ve been crushed by generosity from the helping hand. = Comma after “yet”. Also, one litte nit: recommend “a helping hand” instead of “the helping hand”.

The crazed look of curiosity has been sated in untold hearts, the true magic stems from its unquenchable nature. = Suggest a slight wording change: “...untold hearts, true magic stemming from its...”

overwhelmed by joy and pride... = Recommend choosing “joy” or “pride” but not both.

from watching young ones succeed and find their happiness, whatever it may look like. = Two suggestions: “young ones succeed TO find their happiness” and I don’t think you need “whatever it may look like” as that would be implied by not stating the specifics. I think the readers will understand that one person’s happiness will differ from another’s.

I’ve seen the light struggle to hold back the dark, the battle of the human soul is always being fought, even within our interactions with one another, cold and insincere as they may seem. = This sentence is extremely complicated and I think is a run-on. Suggest ending the sentence at “dark” with a new one starting with “The battle...” Also, what do you think about rewording to “...even within our cold and and insincere interactions with one another” which would allow the sentence to end there instead of having a whole extra phrase at the end.

Fear not the night young poet, you can only find the rainbow by braving the tempest. = Lovely!!

*Bulletb*FINAL THOUGHTS:

You seem to have a great perspective to share with readers. This is an inspiring piece to make anyone feel good about the human race! *Smile* You portray wonderful balance of humanity’s strengths and weaknesses, and leave the reader with hope. Well done!

I hope you’ve found this helpful. Please feel free to contact me if you have any questions about what I’ve written or what to discuss ideas further.

1UppyEar Author Icon

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5
5
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: 18+ | (3.0)
The Great Escape - Part One

Hello Lady H Author Icon!

I am reviewing "The Great Escape (Part One)Open in new Window. because you so graciously reviewed mine! *Bigsmile* Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) When I cite examples, I will quote your original text in blue and put my comments after the equals sign (“=“).

*Bulletb*FIRST IMPRESSION:

Luce is a fun character. You’ve done a great job making her likable to the audience, realistic, and full of both strengths and weaknesses. You’ve started to create a strong voice for her as the narrator, so keep working on that. Her words choices and the way she goes about telling what’s happened/happening to her is very appropriate for her age. I’d like to see a bit more about her personality, but I think that will naturally develop as you revise and edit this chapter and get further along in the book. *Smile*

You have the start of something interesting, I think, but the story takes a long time to develop. By the end of this chapter, I do not know where things are going. There’s a gentle suggestion of something unusual with no people about on the streets and all the locked being doors, but that’s it.

Honestly, this chapter is bogged down with small details that are unnecessary to development of the plot or the character. Think hard about what is necessary and pertinent to the plot and do not worry so much about describing to the reader Luce’s every step. Remember you want to hook the reader with Chapter 1, so you might want to delay some of the minor details until later on in the book. If you tighten up the writing, you’ll really be able to create an intriguing beginning to this story.

*Bulletb*GENERAL SUGGESTIONS:

*Noteo* Filter words - See if you can remove things like “I looked” and “I noticed” as using these pull the reader out of the character’s point of view. Since you then go on to describe what it is she looked at, saw, thought, etc., you can just leave out those words and tell us the actual things she saw, thought, etc.

…but as I approach I realise I could probably… = Remove “I realize” (it’s spelled with a z here in the US but I don’t know if you do *Wink*)

my brain begins to kick into gear and I realise I'm in desperate need of water. = Recommend: “…my brain kicks into gear. I need water.

Then suddenly I hear = Delete all this. “I hear” is filtering, and “suddenly” isn’t needed.

I rest my forehead on the cool glass, aware that I am still covered in beads of sweat,… = If her thoughts are on paper, then she is obviously aware of them and you don’t need to tell us that *Wink*

I take a moment to study my appearance. = Remove entirely. No person says this to themselves, or to anyone. Just go about having her describe herself. But don’t too much much at once…if you toss some of this description in throughout the previous paragraphs and action, we the readers will already have a good picture of what she’s looking like right now, so you don’t have to info-dump.

*Noteo* Begin, started, etc. - Remove these across the board. The simple fact that you’re are writing down when something starts, begins, etc is enough to show us a thing started or began, so you don’t need to tell us first.

I'd began to sweat and as I move through the dancers = Find another way to say this. Maybe something like “Sweat tickled down my back as I…” or something else that shows us she’s sweating with something we can feel/picture in our heads.

I make it to the top of the stairs and begin my decent, = Simplify: “I run down the stairs…” No need to tell us she made it to the top if she’s going to start running down them.

*Noteo* Long, complicated sentences - You have extremely long sentences with lots of commas and conjunctions. They may be grammatically correct, but they can be confusing. Sometimes they include way too much information. The prose will flow better if you break things up into simpler sentences (though you certainly want to vary sentence length and structure.)

It had definitely been one of the worst in a long time, the highlight being my parents big argument over dinner, ending with my mum shouting that she was going to file for divorce, before dragging her hastily packed suitcase out onto the front porch, and sitting on the steps in silence while waiting for her taxi to pull up. - Here’s lots of great detail, but it might work better broken up into a couple sentences.

It started with me being beaten to the shower by my older-by-two-years brother, back from university for the summer to gloat about how much smarter he is than me, doing a masters in Physics at Oxford University. = How important are these details? If some or all of this doesn’t speak to the plot, then it might not be important (especially in the first chapter).

I barrel through it, charging down the corridor as fast as I can, which is much harder than I thought because it's only just hit me just how much pain my feet are actually in, on top of running in heels. = Maybe do something simpler, more to-the-point. “My feet hurt from the heels but I barrel down the corridor anyway.” You don’t need “as fast as I can” because “barrel” and “charging” both get that point across in a wonderful way so the former is redundant only serves to weaken the verbs. “Just hit me” is more of a filtering phrase, as it’s obvious that she just thought of it because you just wrote it that way.

On the second-to-last step my heel catches the edge, and losing my balance (or what I have left of it) I tumble forward,. just managing to stick my hands out in time before I face-plant to/on{?} the floor, pain shooting like electric currents (or other metaphor) up both my legs and arms. = Just some ideas to shorten the sentence and make it easier to follow.

The cool air hits me like a bucket of ice, and I don't know if it’s the drastic change in temperature, the relief of being out of that place, too much drink or maybe just a mixture of all three, but I can't move more than a few paces before I have to grab hold of the bollard bordering the road and am violently sick into the drain. = I love the imagery here, so just cut out some of the stuff that isn’t all that important to rehash (remember, the reader knows she’s had too much to drink, is probably relieved to be out of that place, and it’s cold).

*Noteo* Telling vs Showing - Throughout this piece, you tend to tell us a fact, then support it with great details and explanations. Take out the first piece! Since you have great detail and explanations, you can assume the reader with come to the conclusion on their own without having to be told.

It's like nothing I've ever seen before, and truly indescribable. = Take out this entire sentence and just jump to the details.

It’s disorientating, the flashing strobe lights flicking on and off every millisecond… = Skip “It’s disorienting” and just describe: “Strobe lights flick on and off every millisecond…” If described well (which I think you do a great job of, BTW) then we readers will know that it is, indeed, disorientating. Make us feel the disorientation, don’t just tell us it IS, IYKWIM.

When I don't say anything but look vaguely uncomfortable, = Describe what “vaguely uncomfortable” looks like. Use body language and facial expressions to show us instead of tell us.

The sound is deafening, the music seeming to beat out of every corner of the room, surrounding you in the heavy thump, making it impossible not to move. = Remove “The sound is deafening” and just describe. Remove “seeming” to make a more powerful statement: “The music beats out of every corner of the room, the heavy thump making it impossible not to move.” or even “… to stand still”

*Noteo* Adverbs - The general rule is if you need an adverb (word ending in -ly), then you haven’t used the best verb to begin with. This isn’t always the case, and you’ll see plenty of successful writers using adverbs throughout their writing, but it’s the general advice I’ve been seeing a lot recently.

“She turned quickly” = Could be: “She spun”.

Silently he offers me one, = Could be: “He offers me one, lips curved into a tight smile.” which would indicate he’s not speaking and is, in fact, silent.

violently sick into the drain = Could be: “retched into the drain”

landing inelegantly on the concrete pavement, legs askew. = By saying “legs askew,” you show us it’s inelegant, so no need to tell us it is, too.


*Bulletb*MISCELLANEOUS:

Skip forward a bit, and I'm late for my A Level Maths exam. Only by ten minutes, but it still didn't bode well for the exam paper. = Again…important? I have to say, reading about her school day step by step isn’t all that interesting. Maybe you can just summarize the important parts in one paragraph instead of several? I know all of these bad events add up to one bad day - they play a large part in her jumping out the window and going to the club.

The dance floor fills the majority of the room, and is packed full of sticky, sweaty bodies, writhing and wiggling to the thumping beat of the music. = Here’s an example of simplifying the writing to really get to the point of what your’e describing. I used red to mark out things that you might consider removing to focus the suntans into its important parts and provide a much more (IMHO) clear description. It’s only an example , though, so feel free to ignore my suggestion! *Wink*

manoeuvring, = Is this spelled correctly?

… she turns to me and sticks out her hand. “Hi I'm Jules. You've never been to a place like this, right?”A bit baffled, I shake her hand, “Lucy. I mean Luce. And no, I haven't how did you guess?” = Good dialogue! Its the first in this chapter, which I point out just to point it out *Wink* You also need a period after “I haven’t.”

Of vodka. = How would she know it’s vodka? It’s her first time at a club, and she’s just turned 18.

managing to get it all down but choking on the vile liquid as I slam the glass back down. = Nice!

after the five shots I'm struggling to stand up straight. = Holy crap, I’d be flat on the floor passed out in my own vomit after 5 shots. And then she keeps drinking…You might want to limit the number of shots here *Wink* (Disclaimer: I am a lightweight when it comes to alcohol. But 5 shots at a time still sounds like a lot for anyone, let alone a novice.)

…producing a plastic bag full of tiny white pills. = The pills sound important to the plot.

“Magic.” = This seems to be a hint that these pills aren’t just simple drugs.

There's something in his face that I can't read, beyond the flirtatious bartender gag. Something darker, and I'm instantly reminded of the blue eyes on the dance floor earlier. = Suggestion to simplify: “There’s a darkness in his face that goes beyond the flirtatious bartender gag. Those blue yes from the dance floor flash in my mind.”

The doors had closed behind me, blocking out the music so now all I can here is a dull thud, but it's still enough to make my head throb and make me feel incredibly dizzy. = Good details. Try to take out “make me feel” You might consider ending the sentence after “thud” then “My head throbs to the beat and spins like a child’s top” or something.

I stay like that for a moment, = You don’t need this. A pause will be implied with the rest of the sentence and the next sentences.

I'm frozen in place, and time seems to hover there with me. = I like this better than most of the previous sentences. It’s short but full of imagery. Maybe use this with the “all-fours” part, maybe even bringing in something about the ache in her knees and palm of her hands from hitting the concrete?

Even though the complex most probably shut hours ago, I'd heard enough stories to know that right now, the pavement and car park should be littered with those too drunk to stay, those throwing up and those in search of an early morning feast. = Long sentence.
Except my bag isn't there. = Her night is getting worse and worse, and this is making the story better and better *Wink* You’re doing a great job building on the suspense and making everyone feel so bad for her! Good job!

All the glass doors are chained shut, just like the complex ones. = This seems important and piques my interest!

*Bulletb*THE ENDING:

Nothing, absolutely nothing about this night makes any sense in my head what so ever. Nothing. = I think I know where you’re trying to go, but I don’t know if that comes across yet. I suspect you need focus on more of the strange, unusual happens and less on the mundane, regular stuff, so the weird stuff sticks out to the reader a lot more…we need a few bells going off in our heads. As it is now, it just feels like she was a naive teen at a adult venue who had drugs pushed at her. I suspect, though, there’s a lot more you have in your mind of what is going on, so I think we need more clues to get us to that point.

I begin to head for home, my head thoroughly thumping and very very confused indeed. = You don’t need to know this now, as it takes a lot of time and thought to develop, but a stronger hook on to the next chapter will be needed to get the readers to move on. Often stopping in the middle of the action (possibly when she discovers all the doors are chained closed) will make people turn to see what happens. I haven’t read the next chapter yet, so I don’t know where things are going, but your hook might even be in the next chapter *Wink* Like I said, don’t worry about it now, but think about where it makes the most impact to stop.

*Bulletb*FINAL THOUGHTS:

Don’t be discouraged! Remember when I told you that the current version of my first chapter was a far cry from my first one, and that I had to spend a lot of time editing to remove adverbs, filtering words, mundane play-by-play stuff, and add in stuff to create suspense? Well, this chapter of yours is very much like mine was way back in September! *Wink* First drafts are always just the beginning, and they always improve with editing and love. *Smile*

I hope you found some of this helpful. Please don’t hesitate to send me a message if I didn’t make something clear or you just want to chat about ideas or things I mentioned. Let me know when you do a revision and I can take another look at it if you’re interested.

1UppyEar Author Icon

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6
6
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: 18+ | (3.5)
Hello AuthorS Author Icon}!

Thank you so much for sharing your work with the WDC community and request a review from me on "The Devil's Empire: Chapter 1Open in new Window. (Well, ok, you asked for Chapter 3, but I decided to start at the beginning. I'll get to the next chapters too!).

*Bulletb*FIRST IMPRESSION:

Your writing flows well, and you’ve obviously planned out the history of this particular world as is evidenced by Maurice’s background referenced this chapter. The history of the colony is rich and the relationship between Tolus and Maurice is complex and long-term. I was surprised to hear the king was only 38 - I automatically thought the king would be older, like maybe in his 50s, though I think that is a bias and not because of what I was reading from your words. *Wink*

The King’s dreams/visions/terrors of the bloody woman left an impression on me. This seems significant, and I suspect it will have some long-lasting influence on Maurice and the plot. The visuals here were strong and his emotion around the entire incident is clear and well-developed. Good job *Smile*

You’ve done a great job of introducing us to the king! He seems like an interesting guy and someone I want to learn more about, especially since he’s doing some bad things (ordering a woman killed, drinking to excess) while he still seems to be a Good Guy (loves his wife unconditionally, concerned over his friend’s loyalty, working hard to keep his kingdom successful, etc.). He seems to be a character with both strengths and weakness, and that makes reader much more able to like him and identify with him. *Smile*

*Bulletb*GENERAL SUGGESTIONS:

*Noteo* More imagery to put the reader into the action - For the most part, I felt like this chapter was just going through the nuts and bolts - he moved here, said this, saw that, thought something else. You might want to up the imagery and include a lot more sensory description to help immerse your reader into the story more fully and allow a strong mental image to be created in their head. By interspersing imagery, dialogue, detail, and thoughts, you can retain a lot of what you already have but use it in a way that adds to the story instead of just becoming a basic retelling of the facts. Remember to use at least 3 of the 5 (or 6) senses in each scene, and don't neglect taste and smell *Wink*

*Noteo* Dialogue tags - When you can, try to remove them (stuff like, “he said,” “he whispered,” etc.) Use imagery, body language, description, and action to reduce the need for these things. I’ll note some examples below.

*Noteo* Adverbs - The general rule is if you need an adverb (word ending in -ly), then you haven’t used the best verb to begin with. So, for example, “He walked quietly” could be “He tiptoed”. This isn’t always the case, and you’ll see plenty of successful writers using adverbs throughout their writing, but it’s the general advice I’ve been seeing a lot recently. I’ll give more details below.

*Bulletb*THE SPECIFICS: Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) I will quote your original text in blue and put my comments after the equals sign (“=“).

The King had been enjoying his afternoon walk through the palace gardens when word was brought to him. = How had he been enjoying his walk? What made the walk enjoyable? More imagery would help drop the reader into the setting. Also - is this walk all that important? As a hook to draw your readers into the action, could you maybe start off with Maurice being handed the envelope or something else that is directly on-point for the main event in this chapter (maybe his nightmare, or his drinking, or something).

“The Prime Master has news, your Grace. He says it is urgent,” the young squire had said, looking up at the King. = Here’s another good spot for imagery BEFORE the quote. As it’s written, we have no idea who is talking until we get to the end of the line. When you first introduce a character with dialogue, it can be helpful to precede it with some cues to the reader on who is speaking and that a new person is on-scene.

Maurice hated to be summoned, and Tolus knew it. = Here, you’re TELLING the reader this idea, but …

“Get on with it Tolus, you know I hate it when my walk’s interrupted. This better be important.” = Here, you’re SHOWING the reader the same thing. You only need one, and I think the later one is better anyhow.

“Your Majesty, a letter has arrived from Zaphirose in the New Lands.” Said Tolus Solientell, as he handed the letter to King Maurice. = Here’s a good example of how to remove a dialogue tag. “…’in the New Lands.’ Tolus handed the crumpled envelope to King Maurice.” In my example, it’s obvious that Tolus had spoken, so you don’t need to tell the reader explicitly. I also changed “the letter” to “crumpled envelope” as an example on how to add imagery. Totally use your own words and construction, though. *Smile*

Of course that’s what this is about. = What? I don’t understand this here. He’s obviously come to a conclusion he knows what’s in the letter, but it seems out of place at this point.

The room is one of the most intimate in the palace, finely decorated … = The details in this paragraph, and the history in the next several, might work really well interspersed with the action and dialogue that goes on in this scene. Instead of telling us a whole lot at once, or spending so many words on detail in one paragraph, you can drop the details in over time and it tends to keep readers interested and help propel the story.

The King stared into his cup, swirling it in circles and watching the wine match the movement of his wrist. = Nice details. “The king stared” and “watching” are filtering words that you might want to consider removing. Here’s an example to show what I mean: “The King swirled his cup in circles, the wine matching the movement of his wrist.” Since you’re in his perspective, you don’t need to tell the reader that he was looking at something….just describe the thing that he’s looking at. Does that make sense?

“That fucking city.” He said without looking up. = I’m surprised a King would use “fuck,” but I think it’s a good thing since I suspect it speaks to his character. He's a “young” king at 38, right? This word choice seems to suggest to me that he’s a bit unconventional, maybe very driven, and also is unguarded with Talus. I like it *Smile*

…not a day goes by without some problem arising.” He continued before taking a big gulp of wine. = Suggestion: “He sat his cup down with a thump” or something that tells us what he *did* and not what he *didn’t* do.

“Don’t…” the King interrupted angrily. “Do not try…” = Here’s an example where you could use action to remove dialogue tags. Something like “Don’t…” The King slammed his hand on the top of his wooden desk. “Do not try…”

…patient with this damned city,” the wine made him grow angrier instead of calmer. = Well done! I like how this informs the reader about his character a little bit. Also, put a period after “city” and capitalize the “The” before wine.

“Stop.” The King said abruptly as he turned and walked… = Here’s another example for removing dialogue tags. Since he turns and walks away, it’s pretty apparent that he “said it abruptly,” so I think you can just leave out the tag and write: “Stop.” The king turned and walked to the large wooden…” Though, having written that, I wonder if you could find a more descriptive word for “walked,” like stomped, marched, clomped, scuffed…something that could also get across the way his walking sounded on the hard floor.

“You see your majesty, most monarchs are fragile. A loss of this caliber would prove lethal to them…[SNIP]…I see you raising the Arizian Empire from this tragedy to the most powerful colonial power the world has ever seen.” = I think all this is good, but it’s long. Think of how you can summarize it instead of having Tolus going on for so long. You want to hook your readers, so the first chapter needs to have a little more focus and less long discussions, IMHO.

We can now rebuild the city from its foundation up.” = I’m confused. I thought the city WAS created as an experiment and had thus been designed from the ground up (maybe not by the King, but maybe his father?).

And suddenly, for the first time in his thirty-eight years, Maurice became suspicious of Tolus. [SNIP] Perhaps Tolus was planning on leaving him once she finally passed. = Another interesting paragraph with lots of good information, but it’s long. Think how to condense it, and keep in mind some of this information doesn’t necessarily need to be in the first chapter, as you can slip it in later chapters.

It was the wine that was making him suspicious. But his nightmares about the woman had been feeling more and more real, and wine was the only thing that helped him forget. = I love this! It’s kinda of an off-handed thought, but yet I think it might be important. It’s certainly suggestive of how upsetting these nightmares are.

”The dreams I told you about are getting worse. I cannot sleep without seeing her. I dream of her showing up at my chamber’s door, her stomach bloody. Laying a wrapped, bloody blanket at my feet. I’ve never been able to look inside it, but I hear its cries…” = Powerful!

“I must be going now. It’s late and I must speak to the Queen tonight. Convene the roundtable early in the morrow. We will hear their thoughts then.” = As an ending, I think this segment works to draw me into the next chapter, rather than the little niceties you have at the end. Keep in mind you always want to try to end on a note that will make the reader turn the page and not set the book down.

*Bulletb*FINAL THOUGHTS:

You have the beginnings of an interesting story. At this time, I cannot guess the plot, though I suspect it has to do with rebuilding the city and moving his family to the colony during the rebuilding process (I’m guessing they will all go instead of sending one child as it seems like his wife would not allow them to be split up). Of course, that’s just a guess! *Wink*

Your characters are well developed and I really like how you've interwoven “history” (though fictional) throughout. It seems like the past will help to set up the future, and I think there’s a lot going on that we, of course, don’t know about yet. Which is exciting!

I hope you found some of this helpful. Please don’t hesitate to send me a message if I didn’t make something clear or you just want to chat about ideas or things I mentioned. Let me know when you do a revision and I can take another look at it if you’re interested.

1UppyEar Author Icon

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7
7
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: 13+ | (4.0)
Hello Smee Author Icon!

Thank you so much for sharing your work with the WDC community. I found "Beyond the Darkness - Chapter 1Open in new Window. listed at "Newbies Academy REVIEW REQUESTSOpen in new Window. and wanted to send you some feedback. This is just a quick review for the "Invalid ItemOpen in new Window., so if you’d like something more in-depth, contact me directly and we can discuss it. *Smile*

*Balloon2* A Green Team review from "The Newbies Academy GroupOpen in new Window. "Invalid ItemOpen in new Window.. *Balloon2*

*Bulletb*OVERALL IMPRESSION:

This is a very interesting beginning to a intriguing story! I can completely identify with Sej’s feelings at the very beginning of the story. *Wink* What a creative idea to use the ink as some portal or something. I’m very curious what is going on and what is going to happen to Sej.

You provide a lot of detail throughout this chapter - things are so well described, that I can easily mentally picture the scene in my head. One question: In the first section when he is in his study, what things did he *hear* ? You do a great job with the visual descriptions and even the touch sensations (the burning of the liquor). *Smile*

Glint - LOVE IT! I love how you used this repetition to increase Sej’s interested in the ink blot AND increase reader suspense. Good job!

I enjoyed the confusion while he was falling thought he black inky hole portal thing. One thing I found a little cumbersome was all the mental questions in this section, though. You have 4 paragraphs describing what’s happening, but I think you could consolidate into 2 at most, making the imagery very intense and less repetitive. I’ll mention some specifics below.

One thing to look for in here is filter words. Try to see if you can remove things like “he looked” and “he noticed” as using those pulls the reader out of the characters point of view a little bit. And since you have such great description, I think you’d want the readers to stay put in the scene. *Wink*

Lovely hook to the next chapter! I really want to know what happened and who was talking to Sej, and why the light needs to be blown out! *Smile*

*Bulletb*THE SPECIFICS: Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) I will quote your original text in blue and put my comments after the equals sign (“=“).

Just a couple for now - again, I can do a more detailed, line-by-line review later if you’re interested.

The darkness shrouded him instantly. It covered him as thickly as a blanket, allowing no glimmer of direction or location. = In this case, I like the 2nd sentence over the first, and think you don’t even need the first sentence because #2 is lovely and really says the same thing. Does that make sense?

There was no feeling that he was falling. No wind rushing past his ears, no coldness. He felt like he simply hung there, suspended by infinite darkness. = Here, too, you *could* remove the sentences telling us what it WAS NOT like, and just use the sentence that shows us what it *IS* like. I’m not saying you have to, but more just some ideas on how you might tighten up the writing.

*Bulletb*FINAL THOUGHTS:

I’m intrigued *Smile*

You write well and this sounds like a fun, action-filled story with lots of twists and turns.

I hope you found some of this helpful. If what I wrote isn't clear or don't make sense, please don't hesitate to ask. Thanks again for posting!

1UppyEar Author Icon

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8
8
Review of The 19th Green  Open in new Window.
Review by 1UppyEar Author IconMail Icon
In affiliation with WdC SuperPower Reviewers Group  Open in new Window.
Rated: 13+ | (4.5)
Hello Donkey Hoetay Author Icon

Thank so for requesting a review from me. I very much enjoyed reading your story and writing up this review for "The 19th GreenOpen in new Window..

*Bulletb*OVERALL IMPRESSION:

What a fun short story with a twist! This really had me guessing and I love how you slowly tossed in some clues as to what was going on. It took me a good part of the way through to start suspecting what was going on, and I had a good guess near the end, but it was still a shock at the very end! *Smile* Your story is well developed and well-written.

One suggestion I have is to try to limit your use of dialogue tags. A good part of your piece is dialogue, and reading “he said” and “he asked” gets a little repetitive. I’ll give some suggestions below in the Specifics section. In the same vein, look out for filtering words (e.g. he saw, he thought).

*Bulletb*THE SPECIFICS: Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) I will quote your original text in blue and put my comments after the equals sign (“=“).

The course at Eaglecrest never looked more spectacular. = Only after-the-fact do I realize this is a clue as to what’s going on! *Smile*

The early morning rays glanced off the dew on the freshly cut grass near hole one. The smell of the azaleas wafting over the virgin turf would have been intoxicating to any golfer's enthusiasm, and it certainly was not wasted on the pair warming up at the first tee. = Nice description. I suggest instead of dumping it all at once, that you weave it in throughout the beginning dialogue. Maybe something like: ”Doesn't get any better than this, Danny.” Mike Webber inhaled the intoxicating scent of azaleas over the virgin turf. “Nothing beats being first on the course at early light.” He twisted his club across his back as he warmed up near the first hole.

"No, I suppose not," said Daniel Frost with a cheeky smile. = It’s been suggested to me, especially when first introducing characters and their dialogue, you have some descriptive about that person before what they say. So, for instance, here you might go with something like: “Daniel Front flashed a cheeky smile. “No, I suppose not.” …”

He had waited for Mike to repeat those two sentences, and they came on cue just like clockwork. = Just a little nit here: you use “repeat” which to me indicates Mike has said this thing once already today. But what I think you mean is that Mike starts every golf round with this same statement. What about something like: “Those two sentences came on cue just like clockwork as they did every round.” or something.

"Whatever you say Mr. Webber. Sure, why not... um, what was this surprise you said you had for me this morning?" asked Danny. = First, you need a comma after “say” as you alway precede an name addressing someone with a comma. Also, I know you’re trying for natural dialogue, but I think it’s cleaner if you take out the eclipses and the “um”. I like the colloquial “Whatever you say” bit. *Smile*

"Ah... yes. I played with this super golfer yesterday on the course. He's actually the new club professional here now. Big shot guy from up north. Anyway, we got to talking about his game and career and all. He{’s} mentioned that he was looking for a good caddy for when he goes off on tournaments. I immediately thought of you. What do you say, are you iInterested?” = My suggestions are in red. I think this is a bit long and cumbersome, so I gave my suggestions in-line. Feel free to ignore them *Wink*

"Oh hell yeah! I'm... wow, thanks for thinking of me, Mr. Webber. I'm definitely interested." = Suggest you get rid of the first “I’m” and the ellipses.

“Great. Well tThe even bigger surprise is…”

He's going to join us over on the tenth hole with his golf cart.” = Is it necessary to mention the golf cart here?

That way,hHe can get a look at you and your game, and see if he likes you. How’s that eh?" = A few more suggestions to make the dialogue a little more on-point. You also need a comma: “How’s that, eh?” or take out the “eh”.

He planted his tee into the soft mud and settled over his ball. He swung his club-head flush onto the dimpled sphere and she flew long and straight down the fairway. = Two consecutive sentences that start with “He” - think how you might switch that up. I like how you refer to the ball as “she” *Wink*

"Nice shot, Danny boy," said Mike. He looked at the smiling young man shoulder his golf bag, and stride to the next hole. = No comma after “bag”. Also, you could bring up the “pat on the back” part from below to replace “said Mike.” For, for example: “Nice shot, Danny boy.” Mike patted him on the back. The young man shouldered his golf bag and strode to the next hole. Mike wanted him to be the best golfer to ever come out of Macon County.”

… and quickened his pace to pat him on the back. = If you take my rewording suggestion above, I think you’ll want to delete the rest of this sentence.

This was the son he never had, he thought to himself. The son he had longed to have with his wife. = I like how you’ve brought the wife in here like this. I don’t know that the repetition of “son” here is beneficial, though. Maybe use just the last line and not the first one. Or maybe “This was the son he and his wife had longed for” or something.

"Hey, Mr.Webber, how's your wife doing now? Still in the hospital?" asked Danny, as he selected a seven-iron from his bag. = Recommend putting Danny’s action in front of the dialogue here, as you’ve started most of your lines to this point with dialogue. And, I think you could take out “asked Danny.” Maybe start with “Danny selected a seven iron [are the club names/designations really hyphenated?] from his bag. “Hey, Mr. Webber. How’s your wife doing? Still in the hospital?”” The fact that it ends in a question mark will key your reader into the fact that he asked it *Wink*

"Yes she's still in the hospital. = Comma after “Yes”

There hasn't been much change. I think she can recognize me now, but it's tough to tell. She still can't squeeze my hand though. = You’re missing an end-quote here.

"Aww sorry to hear that, Mr. Webber. I'm still praying for her." = Here you don’t have any actions or dialogue tags, and it works well! *Smile* Because there’s only two people in the scene, the reader will follow this without issue. Good!

"Look... a couple of things," said Mike hesitantly. He swung at his ball and it landed not too far from the hole. "First, I want you to start calling me Michael okay. No more 'Mr. Webber'. Second, I gotta question for you; is it bad that I don't like visiting Sarah in the hospital?" = A couple things here [sorry, couldn’t resist]: First, this is a bit long, so I think you can re-work it. Suggest you remove “…a couple things,” and jump right into “Look…Please call me Michael, okay? No more Mr. Webber.” And second, would an older man really ask a young guy [I’m thinking Danny is like 15 or 16] such a serious question about a dying wife and feelings of guilt? That part struck me as odd. I think you have it here so that we can see that 1. He loves his wife, and 2. He’s golfing a lot, which really is weird (but well-explained, once we know the truth *Wink*)

I suppose you don't really have to be physically there all the time. As long as you're there in spirit, I guess it's okay," said Danny thoughtfully. = This is a clue! *Smile* Can you *describe* Danny being thoughtful instead of telling us he is? Maybe he scratches his chin or scrunches up his forehead or something?

"Hmm. I didn't think of it that way. I mean, when I had my heart attack earlier this year, she was there every second. Every time I opened my eyes, Sarah was at my bedside. I guess I'm trying to measure up to her by the bar she set, huh?" = This is very well written!

They approached the fifth tee. = I like how you use this to indicate that time has passed!

Chatting about NASCAR and the Atlanta Falcons and other mundane topics frequently overheard on a golf course. = Fragment sentence. I don’t have a problem using them, if there’s a purpose, but this one doesn’t seem to have a particular purpose or make any specific point. Maybe just combine with the previous sentence?

The dew still glistened off the Bermuda grass blades. Their footprints left behind as clearly as if it had been snowing. = I think you intended for these two sentences to be one. Add a comma after blades and use a lowercase “their”. Nice visual, good description. *Smile*

It was a par three hole, = Does this matter? Feels out of place to me, though I’m not a golfer (but am familiar with golf and it’s terms).

and ahead on the green, they could see a small group gathered. = Suggest taking out “they could see” as these are not necessary. Just tell us what they see. “Ahead on the green, a small group gathered.”

They seemed to be listening to a taller figure as they surrounded the hole. = Clue! *Smile*

"Hmm I guess we weren’t the first ones on the course this morning. What are they doing, i Is that a class or something?" asked Mike. = Also suggest you use an action instead of a dialogue tag here. Could be something simple like “Mike set his clubs down” or something.

Okay… this is what we do. We play short of the green so we don't hit anyone, then just ask if we can play through when we get closer. = You’re missing a end-quote here.

"Perfect solution," said Danny. = Necessary?

It struck a head-stone shaped hazard however, and careened far away from the target. = Another clue! I think this is TOO MUCH of a clue, though. It stuck me as odd that someone would think a rectangular piece of stone looked like a headstone. But I don’t know if you need it this obvious or not. I suggest you change it to something a little less obvious, like “a rectangular rock, almost looking like a headstone…” or something and see how that works.

On the way there Mike shaped his hand around his mouth and shouted politely. = Nicely described! Add a comma after “there” too.

Hearing his voice echo from the tree line. = Fragment.

The robed instructor seemed to raise both hands in the air = Suggest you take out “seemed” and change to “raised both hands in the air…”

He watched the group with a flat affect, = Describe instead of staying “flat affect.” Obviously, in hindsight, I know why he’s “flat” but show us this by describing his face or other body language (or lack thereof).

Dressed in those black uniforms and all. Geeze," remarked Mike. = I think “geez” doesn’t have an e. Also, try to remove the dialogue tag.

They played a few more holes with nice shots coming from both players. = Remove “coming”

Look him straight in the eye and give that man a firm handshake okay." = End sentence at “handshake” and then have “Okay?” as a question.

There wasn't another soul there when they laid their golf bags down. = Love “soul”! *Wink*

Mike did a couple knee bends while waiting for the golf pro to arrive = I don’t think you need “for the golf pro to arrive” as I think you’ve done a great job establishing to the reader what’s going on and who they are waiting for.

He'd never really had anyone fuss over him like this. His own father …[snip]… only came to his senses when that dinosaur overturned with Danny at the wheel. They still hadn't spoken to each other since that incident. = Um, WOW! So well worded! So chilling. Totally makes sense both when I was reading it not knowing what was really happening AND in hindsight after the big reveal! Totally, insanely awesome! *Smile*

Mike Webber paused with his knee bends = I don’t think you need this. Just the fact that he cocks his head will indicate he stopped the knee bends, I think.

He could hear the whirr of a golf buggy approaching. = Rework so you can remove “He could hear”. These filtering words only serve to remove the reader from the action.

Just then, a cart popped around from the bridge over the pond, = You don’t need “Just then” either, as “A cart popped around..” indicates it just happened. This is often the case with things like “suddenly” and “without warning” as well.

"Well hey buddy. You made it. Great!” = Recommend: “Hey, Buddy, you made it.”

…exclaimed Mike. He stepped in for an initial handshake but then moved in closer for the one-handed bro hug. = You can get rid of the dialogue tag and just go to the action. “Mike stepped in for an…”

An unsmiling Chuck shook his hand but was taken aback by the attempted hug. = You show us with body language in the next sentence that he is indeed taken aback, so I think you can deleted “but was taken aback by the attempted hug.”

"Hey... Fred right? How's it going?" asked Chuck, looking up at the heavens. = I think you’ve used a few “hey”s already, so really think about where you want them. I know we use them in real spoken dialogue, but they get repetitive and are unnecessary in written dialogue.

"No, it's Mike. I'm good, I'm good, glad you could make it man. = Comma after “it”

"Yeah thanks. It came with the job along with that new condo right next to the clubhouse. Hey, is it going to rain or something? 'Cause if it is, I'm going back in okay," said Chuck, still checking out the skies. = I can’t figure out a few things here. What *is* his job? And, why is he looking up? And, even more, why does he think it’s going to rain? Wasn’t it a nice day?

He's a mighty fine golfer and I think he'll be perfect to act as your caddy in the future.

Danny, come on son, come meet Chuck Billups," he said as he turned to let Danny slip in for a handshake. = Recommend removing “he said” here and just go with, “He turned to let Danny slip…”

"Is this a joke?" asked Chuck. = What about starting with an action of Chuck’s: Chuck’s mouth twisted into a scowl. “Is this a joke?”

"Well, where is he? Who are you talking about?" quizzed Chuck, gesturing with his arms. = Suggest removing “Well” and using either “Where is he?” OR “Who are you talking about” but not both. Also, I like the “gesturing with his arms” but think you could easily remove “quizzed Chuck”.

…There’s nobody here but us," said Chuck with some degree of irritation. = Show us the irritation instead of telling us he’s irritated. Does he narrow his eyes, cross his arms, frown?

"What in the Hell! Danny, say something to Mr. Billups son. Don't be shy." = I’m not clear at this point if Mike can see Danny or not. Also, “What in the Hell” sounds out of place here, like he’s already angry, but that seems a bit soon.

"Who are you talking to man?" Chuck asked again. = This feels redundant.

"He's standing right in front of...Wait... Danny. s*** where the hell did he go? = Recommend removing this and just use the stuff after it: “I swear to you Chuck...he was standing right here with me just a second ago."

"Look pal. Don't sweat it. It happens to the best of us. You think you have a buddy and suddenly he vanishes. You're getting up there sooo...you know, you might expect these things." = This is funny. I like it *Smile*

You wanna get in these last nine holes before the rain comes? It looks like there might be some lightning too. Hop on. Put your bag on the back and let's go," barked Chuck. = I’m still not understanding the rain when the day was so beautiful earlier.

Mike reluctantly played the hole with Chuck and hopped on his fancy cart. = What’s the deal with the fancy cart?

But even though he was distracted, his ball bisected the narrow fairway perfectly. Far better than the shank that Chuck produced. = I like this. This “perfect day” for Mike is really great.

But Danny kept on walking, almost gliding, towards the forest as if he didn't hear Mike at all. = Creepy *Smile*

Chuck watched with his mouth open, = I love this perspective change! It works great.

was going to be pretty much dead to him from now on. = Ha! I get it *Smile*

A small drop of rain hit him in the back of his neck and he heard a faint rumble of thunder rumbled far in the distance.

He stopped admiring his shot and flung Mike's other club into his bag and headed for his home. = Often, it’s better if something stops to just move on to the next idea/action instead of saying something stopped. It stops by omission, if that makes sense. Just start with “He flung Mike’s other club…”

'Got hit by frikking lightning on a course once before, and it for damned sure, is not happening again.’ = I don’t think you need a comma after “sure.”

He peeled off the course in his souped up cart. = Souped-up has a hyphen, I do believe.

whoah! = I don’t think it’s spelled that way, but Woah looks wrong too. whoa?

He decided to follow the procession of black cars and sure enough they lead him straight to more familiar settings. The limo turned into the clubhouse driveway and stopped. He saw his condo ahead as he sped pass the other cars. He thought he'd have just enough time to shout off another obscenity to the limo driver before scooting back to his parking space. He skid stopped just as they opened the back door of the limousine Hearse to let the bride out. = Lots of sentences starting with “He” here. You can definitely take out “He thought” (just skip to the thought he had). Think about rearranging and rewording to make this flow better. What is “He skid stopped”? I think you mean either “skidded” or “stopped” there. You also have “limousine Hearse” and I don’t understand why Hearse is capitalized or why you have them both together. I understand the limo IS a hearse, but it’s written weird. THAT SAID: I love this! You’re slowly revealing the punchline, so to speak. If you clean up the prose a bit to make it flow, this is going to rock! *Smile*

And to the bride = Not sure about starting this with “And” here.

She blushed and said, "Sarah. Thanks, but Michael is the only man for me. I'm supposed to meet him here. Do you know him?” = AW!!!! This made me smile and nearly cry at the same time! Very well delivered!

The black-robed priest rested his hand reassuringly on Mr. Frost's shoulder and paused.

Through a quavering jaw he sobbed, "I never told Danny I loved him. But I did. I truly did and I wish he could hear my words now.” = BAM! And THAT’S the shocker right there. Up until that point, I was kinda guessing what was going on, and then Sarah appeared and was like, “Yup, I got it.” Then this, and I was floored! Well done! Very well done!

Danny had heard...and he crossed over peacefully. = Aw. So sweet. So sad. And so happy, too.

*Bulletb*FINAL THOUGHTS:

This story is both sad and happy, dark and not-quite-so-dark. I love how you’ve create characters that we feel for and sympathize with in such a short piece. They have personalities, they have a history and, indeed, a future. Kudos to you!

If you’d like me to, I would happily take a peek at your revisions. And if you want to chat about anything I wrote here or want to discuss ideas or things (I find talking to other helps me solidify my ideas better than just talking to myself *Wink*), by all means, send me an email. I hope what I wrote here is helpful in some way to you!

Thanks again for requesting this review!

1UppyEar Author Icon

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Rated: 13+ | (3.5)
Hello Lynda Miller Author Icon

Here is the review you requested. I’m happy to discuss anything related to what I’ve written or anything else…I find a continuing dialogue regarding a piece is often more helpful than just a one-time review.

*Bulletb*OVERALL IMPRESSION:

You certainly have the makings of a great, engaging story! You have a old, beautiful house with a rich history in a beautiful setting, with a ghost and some interesting local characters *Smile* The unusual happenings within the house add a spooky air.

The narrator has a wonderfully strong voice, which makes this short story very unique. I love the words you use to convey her personality and character, like “tummies” - she’s a grandmother, so that’s totally a word a grandmother would use, even to adults (through habit *Wink*

That said, I think there are several things you can do to make this more engaging to the reader. As I mentioned in my email, I assumed this was a fictional story when I wrote the review, but almost everything still applies. When you’re writing something - anything - you want to engage the reader. Hook them in. Provide detail to immerse them in the experience. Create tension or suspense. Come to a conclusion. So here are some general ideas.

*Bulletp* A beginning sentence that grabs the reader, followed by a more active paragraph - I will explain more in the Specifics, below, but you want to make this as interesting to the reader as you can, right from the start. It doesn’t matter whether this is fiction or 100% true, or “based on a true story” (which, IMHO, I think you might want to take a lot of this true stuff and add in some fiction…you really do have the start of a great spooky fictional story, as you’ll see by my suggestions below).

*Bulletp* A lot less TELL, and a lot more SHOW. For the most part, everything is being told to the reader. I realize this is written in 1st person and the narrator is sharing her vacation experience with us, but she can do that in a more active way rather than just recounting every step she took and everything she thought and did. Put us into the action more. Remove filtering words (“I saw,” “I decided,” and “I thought,” for instance). Use details to make the point instead of making the point and then giving us the details. Dialogue between the characters might also help to pull the reader into the scene. I’ll share some ideas below.

*Bulletp* Expand the sensory detail (sight, sound, smell, taste, feel, and sixth sense feelings) as well as give us a better idea as to the emotions the narrator is experiencing to provide a much richer environment for the reader to get lost in. This relates back to the previous bullet (show, don’t tell) but also will help us get into the narrator’s POV. For instance, it’s not enough just to tell us the narrator was shocked…set up the scene so we feel the shock ourselves. The setting is unique, both the house and the area in Maine, so use descriptives to really place the reader there, so they understand not just that you, the narrator, thought it was “pretty” or “nice” or “had a good time” but also that THEY would find it pretty, nice, or have a good time there.

*Bulletp* Think about the point of the story, (and, if you’re going to use this to create a fictional story, then also think about the plot and the action), and remove detail that is not helping the story along. Stuff like the step-by-step things she did “First we did this, then that, then we walked here, then we walked there…”- these things bore the reader and prevent you from getting to the great parts of the story (the strange happenings, the unusual caretaker, the ghost!) *Wink* All the little details about the vacation, where they ate, and what they saw detract from the events that happen IN the house. If you want to keep a lot of that here and still engage the reader, you need to provide a lot more detail to immerse the reader into the vacation too, so they can experience it. It’s not simply enough to say “we had a good time” - you need to show the reader that a good time was had by explaining it, detailing it, and provide sensory input so they can imagine themselves there, too. As you’ll see below, I suggest you do some reorganization of the parts to the story, to lead up to the ghost. Start with small happenings that are weird (like the hole in the wall, the bed breaking, the door falling off and hitting Dee in the head, the picture, etc.) and build up to the appearance of the ghost, the seance, the cemetery. You may want to continue to pepper some of the vacation things in with the strange goings on in the house, but I personally think you should make the house be the main setting, especially as the story progresses.

{ebullet:p} You might want to consider the most important parts of your vacation and then remove some of the things that just aren’t all that interesting to the general audience. Because I believe you’ll want to increase the details to paint a stronger picture for the reader, you’ll end up increasing the length of this piece by a significant amount. This will necessitate shortening other things. Things that might not necessarily be needed might be: all the different restaurant visits (maybe just detail one of them, then skip over or briefly summarize the rest), the sister and niece’s poor whale watching experience (it wasn’t experienced by YOU, so really it’s not all that pertinent to the story and, since you weren’t there, you won’t have all the juice detail the readers will be more interested in).

*Bulletb*THE SPECIFICS: Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.)

It started out as any normal vacation we went on. - I suggest a different beginning, something that will grab the reader and pull their interest in. I like how you started with her voice right off the bat, however, so definitely don’t lose that! Later on in this paragraph, you mention you come to this particular vacation spot because of Stephen King. I think *this* is your hook! What about using a bit of that conversation between the narrator and the husband to start? Dialogue can be a great way to drop the reader right into the story. Alternatively, you could also start with "My favorite vacation spot is near Bar Harbor, Maine, because, of course, Stephen King lived there.” Though I personally believe a snippet of the conversation *about* Stephen King would be more interesting, as it would show both who is with her (her husband and Dee) and also give us a sense of the narrator’s voice and the personalities of each character.

I usually rented a house for a month, then friends would visit and the last week we would bring our grandchildren up with us. = I don’t think this detail is all that important. Maybe you can work that in later in a more natural way‚ possibly when seeing the twin bed room she can think something like "Oh, this room will be perfect for the grandkids when they come later in the month,” or something.

Next my husband had a look at the ones I picked out and then we make a decision and put down a deposit to hold it for our dates. = Again, not an important detail. I think everyone has a similar experience, and this is drawing out the introduction, losing the reader already, IMHO. Get to the story, namely, the HOUSE *Smile*

...it literally crossed the parking lot of a church, and still we could not find the house. = This conflicts with the "it started out as a normal vacation” idea you started with, because of course it *wasn’t* a normal vacation when you couldn’t even find the house. And, that brings me to what types of stories readers enjoy. If it was a normal vacation, you’d lose readers right away. Readers tend to want to see all the things that go wrong…that’s more interesting *Wink* So keep that in mind as you edit…the normal stuff you can skip over, but the interesting stuff is what we want to know about. And since it’s a “too weird to be true” story, I think you’re going to want to really focus on the weird happenings more than the typical vacation things everyone experiences. I’m reading a book right now about creating good stories, and on of his principles is “The Ceiling Fan” effect…long story short, he asked a class of children what they did on summer vacation, and got a lot of “I played with my cousin, I went here…” stuff. But when he asked “What went WRONG on summer vacation?” he got a really great story of a boy who was having a jumping-off-the-bunkbed contest, who ended up getting caught in the ceiling fan. The entire classroom was engaged in the story and the story was much more interesting. Since you have a REALLY great and UNUSUAL experience here, you need to USE it! Make that the focus of your story and only pepper lightly the other details of your vacation in to provide additional color.

It was only a moment we were on the street when my friend Dee (who always went with us) - I think you should let us know right off the bat that Dee is with them. This can be accomplished with a dialogue at the beginning, where both the husband and Dee can make a few comments. This would naturally allow the narrator to introduce her friend in an SHOWing way, versus TELLing us there.

We looked to the right and uUp on this hill loomed a huge white house… = Here’s an example of filtering words. Things like “I looked up,” take the reader out of the narrator’s head. Instead, just SHOW us what she saw. This is also a good place to add in some description about what she saw. “On the hill loomed a huge house surrounded by seven foot grass swaying on each side of a beaten path…” It might even be good to mention the peeling paint and even use a metaphor or even anthropomorphize. “…hill loomed a huge, white house with peeling paint, sad like a lost child” or something. Interspersing some detail with some action, like driving, the oncoming night, and even dialogue will allow you do give us a lot of description without info-dumping.

It took a bit of luck and a husband who never gives up, = I personally don’t think this part is all that necessary to the story. There isn’t a spot later in the story where his stick-to-it-ness is used (though, if he were to be faced with a scary thing in the cemetery but still trudge through and find the headstone, or something, then this *would* be a good thing to keep here as it’ll set up his character to do something that maybe other people wouldn’t). I think you can shorten this introduction to the simple things: 1. Stephen King/Maine vacation, 2. House hard to find, and 3. It’s a total dump. Condensing this and adding detail might make it more intriguing to the reader.

...it was a sight I, or anyone else in the car, will never forget. = Don’t tell us it’s a sight the narrator will never forget, show us! “It was totally dark except for one lone light bulb burning on the back porch.” - This is great detail here, and I think this paints the picture without you needed to tell us it’s a sight that won’t be forgotten. Adding something like "The peeling green paint, the rickety front porch, and the vacant windows brought a chill to my bones.” would really get your point across in a paint-the-picture sort of way, allowing the readers to really develop the mental image they have of this house.

The first thing out of my husbands mouth, was "I will take us to the Bar Harbor Hotel, we don't have to stay here.” = This dialogue is great, and very telling. We don’t need to know every detail about how bad the house looks, because anyone who would look at it for two seconds and suggest they go to a hotel must be looking at something in pretty bad shape. *Smile* Just watch your punctuation. What the husband said is two sentences, or the comma should be a semi-colon.

But, because my friend Dee and I are adventurous and trooper = You’re telling us this. Instead, find a way to show us! Maybe a dialogue between her and Dee…something like “I don’t know, Dee, it might be interesting…” and she can say “Well, you know I’m always up for an adventure! What could go wrong?” or even have one of them suggest in a joking tone that it could be haunted, which would be some foreshadowing, but I don’t think the reader would pick up on that at this point, since the characters are joking *Smile*

...we said no we haven't been inside yet. Lets go inside and if it is really bad, then we'll go to the hotel. = I suggest instead of telling the reader what was said, that you include the dialogue in order to show us. We’ll be more engaged in the story that way. I realize this might mean you make it up, since this story is based on what really happened to you and you might not remember exactly what was said. You’re a writer…you can take some liberties *Wink*

We tromped through high grass which really needed to be mowed… = Try to lead us to the idea that it needs to be mowed instead of outright telling us. Something like “We tromped through the grass which was so high, I could have used a machete to clear us a path…” or even “The grass practically tickled my chin as I walked through…” As you edit, think about how to include imagery, metaphors, and other literary techniques to keep the story interesting and engaging.

It was fairly nice and so was the utility room = Describe so you can show us. Use details and more sensory input. Remember to use not just what is seen, but also what can be heard, felt, tasted (the air tasted of ancient dust), and smelled (dank, stale, of old books, musty, etc.) A good rule of thumb to to use at least 3 different senses in each scene to provide a very detailed and “3-dimensional” picture.

My husband went to get the breakfast groceries we had picked up along the way. = Is this an important detail? Can you leave it out?

Dee and I began to search the downstairs. = Take out “began to.” Anything like “started to,” “continued to” and “tried to” slows down the action and removes the reader from the POV. Your experience on that vacation is important…make sure you keep the reader engaged by keeping them in the narrator’s head.

Right off the kitchen was a very strange room. It was long but not wide. = How was it strange? Instead of telling us it’s strange, describe it in such a way that we understand it’s unusual. I also wonder if it’s all that important to the story. So far, at this point of the piece, I’m not sure where the story is going. The next bit is all an info dump…just spending a lot of words tells us what the house looks like. I honestly skipped a lot of this during the first and second read through. If the description of the rooms of the house are important, then I’d suggest you intersperse the detail with action and conversation that move the story forward. Since the ghost is a big deal later on, maybe you can slowly build toward that detail. Note things that, in hindsight, point toward an unseen presence in the rooms. Maybe things get moved or go missing. Maybe things don’t add up in some way (a picture changes, a dent in a recently-fluffed pillow, etc.) Use several of your “strange happenings” throughout to build up the tension and the reader’s interesting, starting with the small things, then building to the bigger ones. This MIGHT mean that you are recounting the vacation out-of-order, or maybe not. Again, you’re the writer, so you have the ability to change things if they work better in your story. *Wink*

I can’t tell you why, but I didn't want to sleep there. = It might be more captivating if she *could* tell us something. Maybe she had a weird sense or tingles or something? Or it smelled weird, or smelled a way that was not congruent to the state of the house, like smelled of fresh roses (why would it smell fresh and sweet when it’d been unoccupied for some time?) Think of how you can build the suspense in this story, whether it’s a true story or fictional. Every new thing should be building toward the big event later on.

The second bedroom was beautiful …[snip]...also had the very nice renovated bathroom … = “beautiful” and “nice” aren’t very descriptive and tell us instead of show us. Can you use more description to get us to the realization that the room is “beautiful” and “nice” instead? The curtains, the linens, the floor, the paint job, the light fixtures, the furniture…You don’t have to give an exhaustive list of these things but instead a couple examples that would stand out to you if you had been there. And don’t just describe it….but describe the things that are going to be important later on. What do you need your reader to remember about the house, the rooms, the stuff inside? Maybe you don’t remember everything detail…that’s ok! Make it up!

We didn't really investigate much else as we were tired and wanting to go to bed. However we did want to explore the second story,… = I don’t understand why she first says she didn’t want to investigate but then did want to do so. It’s contradictory and slows things down. This may have happened in real life, but it’s not so captivating to read. I suggest you take this part out and just skip to the wine and exploration part.

so with a little wine in our glasses, we tromped up the stairs, = I like this detail “with wine in our glasses” *Smile* This is a good example of SHOWing! You didn’t say, “We each poured ourselves a glass of wine and drank some of it…” you showed us they had wine. Good job!

,,,which made a hazardous spiral turn to the left...We walked into another kitchen. It only had the kitchen cabinets and… = More detail that I wonder if we need right now. Still wondering where the story is going and what the plot is. Reading about your vacation isn’t really the point of this…it’s more how you experienced some strange happenings on that vacation. So don’t bother with all the little details that don’t directly lead to the ghost stuff, because I think the only people who will find that compelling are the people who experienced it. Remember, you’re using type-written words here, not voice and inflection. I suspect you’ve told this story many times IN PERSON, but there you can convey emotion with tone of voice and use body language. In writing, you must keep on-point, remove extraneous details that aren’t that engaging, and use imagery to get those same points across.

It was spooky in itself and had looked like it had not been used for some time. = Describe instead of telling us it’s spooky. Make it look spooky in our minds. Details! Sensory input! *Smile*

There were lots of wasps nest at the top. = Good detail, and this gets the idea across that it wasn’t used in a while.

You could see right out over the water and watch all the sailboats and the restaurant down at the bottom of the hill. = And how did this make her feel? What was her state of mind? Does this make the hell-hole of a house worth staying at? Why is this important? I think this detail is great and helps with development of the setting, so I think this might be a good thing to mention even earlier than you have. “My husband draped his arm across my shoulder. 'Wow, look at that view!’ It took my breath away despite our accommodations.” or something.

When she pulled back the headboard, there was nothing but a black hole in the wall all the way down to the cellar. = This feels important! Describe it with detailed imagery. How did it make her feel? What was the look on her husband’s face? On Dee’s? How did they respond? And then, make sure the hole IS important. I don’t remember it being mentioned later on in the story…but I think it could be used as an important clue to what happened in the house that led to the lady haunting it.

All of us cringed. = This is good. Add more detail.

I told her she could take one of the other bedrooms but she said no, she would stay there. = I suggest making this dialogue. It’ll engage the reader and get the point across better than if the narrator simply summarizes.

If it were me, not on your life! = GOOD!! I love this internal thought she has. I think it’ll have more impact if coupled with an external dialogue with her husband and friend, then let us get a good glimpse of what she’s thinking. Her voice is strong here and I think it does a great job showing us more about there character.

My husband and I went back upstairs … = Here’s more step-by-step narration which, frankly, isn’t too exciting. You might want to consider how to only discuss the important parts to the story. I am working on a 1st Person POV novel and have had the same issue…I feel like I need to account for every second of what my character is doing, but people are telling me how boring that is and it just slows things down. I’m now spending time figuring out what is important about each scene and then trying to skip in time to only those important parts. Think about what the main events are in this story. Use time skip techniques, like “an hour later” or “after getting ready for bed” or stuff that will indicate that time has passed doing normal, typical, and boring human things that the reader won’t find interesting. Because, really, does a reader want to read about anyone brushing their teeth, taking a shower, using the toilet, and then walking down the stairs to breakfast? Just skip to breakfast! *Wink* Again, focus the retelling of these events to the unusual things that happened, not the mundane things everyone experiences on every vacation.

This really bothered me, = In what way? How? Why? What were her internal thoughts? Does she have any hypotheses as to what might be up there? Does she get an unusual feeling about it?

I took pictures because I wanted the realtors to know we did not leave it this way. = I LOVE this detail!! It’s really speaks to her character *Smile*

There were two highlights of this vacation. The little grocery store, which is what everyone wants in their town, and the place we rented videos. - If these are the highlights, then focus on theses instead of all the step-by-step details. Though, I’m wondering why the ghost wasn’t the highlight of the vacation? What about these places make them highlights? What role do they play in the story? How do they further the plot? Why should the reader care about these two places? YOU may have enjoyed being there, but think about what the reader will gain from reading about them.

The video place will be told later on in this story. = This struck me as odd. Why mention it if she’s not going to talk about it until later?

We bought several things, plus some meat from the meat market, who actually had a real butcher. = Important detail?

We tried our best to clean the stove, the burners and the refrigerator…. = Things are dragging on and I truly have lost interest in this story. You’ve already tried to clean this stuff, why bring it up again? This speaks to the point of editing reality to make it much more interesting to keep a reader engaged. In real life, we do repeat a lot of things. But when we are reading about them, we have the liberty to skip those humdrum life things. We read to escape, to learn, to see new things…not to experience the things in life we always experience.

This is when I went upstairs to wash my face, brush my teeth and take a quick bath. = Take out. Just skip to the important parts.

The mirror was so old it was hard to see what I was doing = Great detail!! Love this! More details like this will really color your work. This is an old house with old things….use them to really bring the reader into where you were. Let us see and feel and touch these things!

After dressing I began noticing the walls. There was wallpaper… = Remove the “I began noticing the walls” and just describe the walls.

because there was a nice breeze at night. = “nice”? Describe the breeze with sensory detail, to really paint a picture for your readers. How did it feel? Smell? Did it move the curtains or rustle her hair?

Once dressed I went downstairs. Dee was dressed, and my husband, who had dressed before breakfast… = Dressed, dressed, dressed. More step-by-step description which probably isn’t necessary. This might be a good time to skip in time - stop after describing the breeze, then skip to the lobster place. Don’t bother saying, "were ready to drive around. So off we went. It was as great day and fun,” since you don’t even take the time to describe it. Maybe a “After a long drive enjoying the Maine scenery, we stopped at a lobster place…” And then give us lots of detail about the place, the lobster, the company you enjoyed…IF it it important to the story. Personally, and you might not agree, I think you should just focus on the events in the house. But if you do want to includes some/many/most of the details from that month-long vacation, you’ll need to really make us experience them too (and maybe just use the best of the best and not all of them.)

Whew it really did smell. = Describe. I don’t really want to know…but an “Ew…” factor will really grab the reader *Wink*

...then took our wine upstairs to the screened-in porch and watched the sunset and night come in. It was wonderful. = Describe. More detail. How did it make her feel? Don’t tell us it’s wonderful, SHOW us it’s wonderful.

At bedtime, I told my friend about the stairs right by our bedroom. = Use dialogue here?

However, we did notice there were thirteen different colors of carpet throughout the house. = What’s the significance? It’s weird, but is there a point related to the plot? Is thirteen important? And if so, then maybe you need to bring it back up later on.

when they moved their suitcases into the room and placed them on the floor, very sudden like, the bed leg broke all on its own. = This is weird! *Smile* Is this related to the ghost? What did the people think? What was their reaction? How did it sound? This is a really good spot to not only provide detail, but also build suspense and possibly even foreshadow to the ghost, so I highly suggest you spend more time on this scene and really put the reader there by using a lot more description.

He brought some bricks and put them under the bed's leg. We all just looked at each other. = Some more questions: What did the looking at each other signify? Can you clue the reader into what these people were thinking or feeling? Why is the caretaker and the bricks all that important here? How does this play into the point of the story?

Not one of us said a word = Why not?

We were terrified. = Show us. Describe their reactions. How did the narrator feel? What did they hear?

My friend said she was not sleeping downstairs in that bed, so we took her and her husband upstairs to the bedroom with the twin beds (the larger of the two). She made her husband pushed the beds together because she was not going to sleep in a bed by herself. = This might be more impactful as dialogue instead of a summary.

We had just had the scare of our life. = This statement won’t be necessary if you paint a detailed picture above about how scary it was.

The next morning we had a great breakfast. = You’ve just spend a little time building up some suspense, then you just peter out with a nice breakfast. This may be how it really happened, but I’m not sure you’ll keep readers interested. I’m wondering if you changed the order so the young lady ghost could appear even before the morning, while they are going up to bed or something? You’ve built it up, so keep building. And if you reorder so that some of the weird things happen, like the picture and the door falling on Dee, then you’ll have built a lot of suspense before the big reveal: the ghost.

I must have looked funny because he looked at me and asked what was wrong. When I said I just saw a lady go into Dee's room, they all looked at me like I had lost my mind. But, I had know I saw a ghost! = How did she feel? What was everyone’s reaction? I can’t believe she’d say “I just saw a ghost” and then move on to “This day was fun!” Since this feels like an important part of the story, maybe one you’ve been leading to the whole time, spend more time on it.

In the mean time, various things happened to us. = I’m wondering if you could use these various things throughout the story to help build up suspense. Right now, you have lots of details about what the narrator did on vacation, and then lots of details about the unusual happenings. Maybe if you intersperse the unusual things with action (like the various vacation spots and things she did) and dialogue, you might create more tension and interest on the part of the reader.

There was a picture which hung in the living room where the TV was. It was a nice little replica of a sailboat in the water. Something you would buy at a garage sale. It broke all by itself. We couldn't help but notice it. = This is good. I suggest you have the narrator explain it as it is happening rather than in a retrospective. This would allow you to share her feelings and thoughts and really help the reader feel what the narrator is feeling. This is more building of tension. And, possibly, if you put this before she see the ghost, the reader will be guessing “what’s going on?”

"The door fell on the lady's head, so you need to send the caretaker." He showed up later and fixed the door. No apologies, nothing. = I’m wondering why the caretaker seems to blasé about all these incidents. Why does he not care that the bed broke and the door fell? Does he know the house is haunted and doesn’t want to lose business? Is this a commonplace occurrence, so he’s just like ‘Oh, yeah, another weird event here. I’m used to it.”? I’m just confused.

It was the pumps and heaters. It was dark and gloomy and a bit scary. = DESCRIBE. Show us what is down there. What does it sound like? How does it feel? What makes it scary?

We are a very curious pair and we sometimes it got us into trouble, but we always fared well. We went back up and said we would show Walker, when he came back. = So why did they wait?! If they are curious, then they should go explore! Us readers want to know what’s over there too! If it’s spooky and it’s scary, then keep building that suspense. What’s the point if you just have the characters walk away? If that’s what really happened in real life, then maybe just leaving it out rather then leaving the readers hanging would work better? Or take some liberties and go exploring, even though you didn’t in real life, then have something scare them away so they don’t actually discover anything. Rats? Bats? Snakes? A sound? A cold feeling?

We then decided to go to the little library they had and look up the history of the house. = This is good, but it feels like a winding down of the story and should be nearer the end after they’ve experienced all the crazy stuff. If they start to build clues to the lady and what happened to her, then those clues could lead to them eventually going to the library. What i suggest is you build up, using the weird events, to the ghost. Make sure you freak the readers out a bit with detail and sensory stuff. Then they see the ghost and the characters freak out. Maybe they talk to the caretaker who then shares some local folklore, THEN they have the seance, then they discover more clues (either the lady hints at it someone or the cemetery gives them more info, or they discover a book), THEN they go to the library and discover this stuff out - and make sure you eventually tell the reader this info they’ve discovered. As it is, we never learn much about the lady or the history of the house. Think of the story as an arc, with first the house, then the weird events, then the ghost at the top of the arc, then have the library and all the information they find on the defending part of the arc, as the suspense winds down and we find out the whys and wherefores of the haunting.

the room we wondered about was a birth and death room. = I don’t know what a birth and death room is.

We did learn the names of all the people we read about. It was very interesting… = I suggest you share this information with the readers. What made it interesting? Why? Who? More details! *Smile* And don’t tell us it’s interesting…show us! Give us the info and let us some to the conclusion it was interesting.

We did find out from the maids the house had only been rented to bikers over the years = Is there a significance to this? Is this a detail the readers need to know and does it have any impact on the story from here on out? It may be true, but if it’s not pertinent, then leave it out. Or make it pertinent.

Dee and I decided the lady would like it if we added a touch of flowers to the room… = This is interesting. How did they arrive to this conclusion? Give us some idea on what they were thinking, either through dialogue or with some hints (like I used as an example earlier…maybe the lady’s room smelled of fresh roses even when there weren’t any, so the woman decided the lady must have liked roses?)

...and we went to a nursery and bought a bunch of them. = This is an example of a detail we as reader do not need. Who cares if they went to a nursery or picked them from around the grounds. You can skip this. Unless…they found a hidden garden on the grounds of the house, and picked the flowers….flowers that may have even been originally planted and tended by the ghost lady when she was alive??

It seemed the house came to life and it was pretty. = In what way? How did the atmosphere change? Here would be a good place to compare and contrast the original spookiness/sadness/state of disrepair that they originally walked into with this new, “pretty” atmosphere. But definitely provide sensory details to the reader so they can get a good sense of the change. I can envision a change from a musty, old smell in the house to fresh and sweet, the characters noticing more of the beautiful things in the rooms besides the worn-out stuff (maybe a gilded book, which could also be a family photo album or other clue to the original inhabitance of the house…which, IMHO, might be more interesting than just going to the library and researching the history. At least at first, if there was something IN the house that helped clue the narrator into what to look for.)

The caretaker came one time to work on something and we talked him into opening the two doors upstairs. One was a maids room with a bed and a sink, nothing more. This was at the front of the house directly above our bedroom. The other was very big room filled with old, but historical furniture, it went a long way back and then there was another door. He would not let us go any further than to look inside. = This is curious! Very strange, and as a reader I want to know more. Who is this caretaker and why is he so removed from the whole situation? Why is he not providing information? What is he hiding? Using him as another plot device to spur the narrator’s curiosity might work really well. (Or, if he’s just a bump on a log, leave it him.) Additionally, I wonder what the significance of these locked rooms are? I think this stuff might work better earlier on in the story, as well, rather than after they discover to ghost. Why would a maid’s room be locked? Why can’t they go in? Is there anything special about the “historical furniture” inside? Can these things lead to more clues on the history of the house?

He quickly locked the doors and left. Dee and I loved to watch movies to pass the time, = This feels like a weird jump, and honestly, why would we care that they watch movies to pass the time? Are the movies significant? I could see the possibility that the little old lady running the store might be someone who would help them discover the history of the house…maybe she has some old home movies or something that would help them discover more about the house? Remember, you want to build suspense throughout the story, so by adding clue after clue, a little at a time, you’ll be slowly informing both the reader and the characters, and keep everyone guessing.

The older lady that ran it seem to be a sour one, but once we began talking with her and getting to know her, she was so nice. = If she’d going to play a bigger roll in the story, I think describing her, and the store, and showing some interactions with her (like dialogue) would be very beneficial. But if she’s not going to have more that a cursory mention, like she is now, then take her out entirely. Because your point isn’t to describe everything you did in Maine for a whole month, but to share a weird experience you had in Maine that whole month. Those are two different things *Wink*

Now the store was hysterical. = In what way? What led the narrator to this conclusion? You describe a little below, but I think you can up the imagery a lot to really show the reader what the environment is like. Also, the way it’s written, it sounds like the story was running around screaming *Wink* I know what this mean colloquially, but without your voice inflections, it doesn’t quite come off the same way.

They went whale watching too, but they went in the morning. It was very cold and foggy and there were no whales to be seen. Almost everyone on board was sick and throwing up. Not a pleasant trip for them. = How is this significant to the story? Does this impact anything that happens? I think this detail could be removed to make way for more stuff that directly happened to you.

After she did this about four times, all of a sudden there was a loud pounding and banging on the door we had shut, it sounded like whoever was there was coming through it. This scared all of us. Car spider-crawled into my lap and turned a flashlight on. None of us said a word. Finally I got my nerve up and stood to turned the light on, put the candle up and said never again would I do this and I haven't. = So, this is an interesting scene and I like the fact that they tried it. But then, it didn’t really go anywhere. They freaked out and stopped. Which is probably what really happened, but it's kind of a let down for the readers! If you want to keep it true-to-life, then make it so scary that the narrator feels she MUST stop, that the readers understand that they would have stopped too. But, honestly, I think it’d be better if you fictionalize it. What about having the lady show up? Maybe she shows them more clues in some way to help solve a mystery about this house and the lady? Maybe she doesn’t appear but a book falls off a shelf and it’s has a letter in it? Maybe the lady was murdered in the room? You gotta keep building here to keep the reader reading.

= At this point, I feel like there needs to be something driving the story…a mystery about the ghost lady or a story about the house or things that used to happen in the house. So think about where you want to go and what you want to convey. Because, to be frank, reading about someone’s vacation just isn’t all that interesting to me and isn’t holding my attention. But if you build suspense, real or fictionalized, I think you’ll have a good thing here. If you chose to keep it all true-to-life, I think it’s going to need to be much shorter. Really to the point, so the punchline is “I can’t believe I saw a ghost” versus a complete retelling of the entire vacation.

"look! There's a cemetery there.” = Here’s another device than could be used earlier on to help build suspect and add clues to the weird things going on in the house.

Little did we know we would get the surprise of our life. = Show this instead of telling it.

In this little, very old cemetery were the headstones of the people who lived in the house we were staying in. = How did they know that just from the headstones?

From, I assume, the empty grave of the father, = ??!?!? What? Why is the grave empty?? How do they know? And why in the world is the narrator not even freaking out?!

Another weird part was an Indian mound with old flowers that had been place upon it. Some real and some artificial, but weather worn. It was very high and made with pine needles, leaves and parts from the forest. It gave all of us the chills and we felt as though the lady wanted us to see this. = More detail here! This feels important. Expound on how they feel, what it looked like, use sensory input to lead the reader to the same conclusion. And why would the lady want them to see this? Again, I feel like there’s some mystery these people need to solve…something they need to discover, but I just don’t think you ever get there. At least, not yet *Wink* You certainly have the stuff here to do so!

After driving back to the house we had a lot to talk about. = Why? What DID they talk about? What part does this play in development of the story?

The next day we took them to the lobster place, but this …[snip]Dee's sister and niece had to go back home. We wished them well and sent them on their way. = This doesn’t feel relevant to the story.

granddaughter Lyn, in the bedroom no one wanted. We never said a word to her. But, every night the curtains were pulled down and every morning Walker had to put them back up. = Another freaky thing! *Smile* Good.

Lyn came running up the stairs saying that Mae had lost her mind. We asked what she meant and she said Mae was shaving her hair in the little room downstairs. I left to go see what she was talking about and sure enough, there was Mae with half her head shaved and a tear running down her cheek. = Scary!! Develop this more! Make it more scary…who or what is controlling her? Is the lady benevolent or mean? Was there another competing spirt present, maybe one that DOESN’T want the narrator to figure out what happened in the house?

We, meaning Dee and I grew to loved the old house because we were there for a solid month, not like the others who came and went. I think we began to understand it more and the lady who haunted it. = This sounds like a good ending…IF you lead us to this conclusion by actually having her and Dee discover more about the lady. Who was she? Why was she still haunting the house? Was there something the narrator and Dee needed to DO, or FIND, or FIX that would allow the woman to move on to the afterlife, or at least give her peace? I can think of several things, like finding the lady’s body buried in the cellar (or her flower garden) and reburying her in the cemetery with her family. Or maybe something about the father’s empty grave? Or maybe someone took something from the lady (a special necklace that may have had hair from a deceased child or something in it) and once they return the necklace to the lady’s grave, she can rest easier and stop haunting the house? I don’t know…but there’s got to be SOMETHING going on here.

When I got home I was sick for several months. = What is the significance of this? I understand it really happened (and that sucks *Frown* ) But is it relevant to the recounting here? Could she be suggesting that the mold exposure may have made her hallucinate many of these strange happenings and it wasn’t real? Or maybe she was sick from something the spirit had done to her and not really the mold?

One of the funny things is I was reading a Stuart Woods books only to find out he lived down the small two-lane highway from us. = I don’t understand the reference to Stuart Woods nor why it was strange he lived down the way from them.

I would have bought the place myself, but it was already taken. The price had to be pretty low because it was a wreck but a sturdy built one. One note, the wiring in it was done in 1917 so I thought it would have to be changed. = This is a very weird ending. I don’t feel like there’s a conclusion or anything really happened, and ending with thought that the wiring needed to be changed is confusing.

*Bulletb*FINAL THOUGHTS:

You have elements of a really exciting story here, true or not. I really would love to get a better picture of what the house looked like, the characters, and what happened with the ghost lady.

One thing, the narrator never has a name, which is just fine, I think, but if you add more dialogue, I think you might find she will need to be addressed the the other characters at some point *Wink*

I hope you found this helpful. I’m not all that experienced in critiquing true stories - my interest is in fiction - but I think a lot of the same things apply. You want to draw the reader in, keep him/her engaged, and get your point across in a unique way. Please don’t hesitate to email me back so we can have a dialogue. I’m happy to look at any edits you do be a sounding board for brainstorming ideas or whatever *Smile*

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Rated: E | (4.0)
Hello Shizelle Author Icon,

Welcome to WDC! Thank you so much for sharing your work, "Part 1 of Ch.1 of BanditOpen in new Window.

*Bulletg*OVERALL IMPRESSION:

You have a good start to a novel here! You’ve obviously put in a lot of time into this.

The first thing I noticed upon reading the first part of chapter 1 is your narrator’s voice. You do a great job telling the story through her - her interpretation of events, her perspective, and her experiences. Her voice is strong and I think it works very well. She seems to be a well-thought-out character and I can’t wait to learn more about her.

You do a great job of using rich descriptives to provide detail to the reader. In many places, this works well. In other places, there seem to be too much making it redundant and/or not flow very well. I’ll cite some examples below.

I’m not sure what the plot is yet, but it’s only the first part of chapter 1, so I’m not sure I’m supposed to *Wink* I’m getting the hint that something unusual or supernatural is going on and I find that very intriguing.

Throughout this part, the reader is not exposed to our narrator’s name. That might be intentional on your part and I think it’s fine as-is for now. But, if you want your readers to identify with her more strongly, you might want to have one of the other characters call her by name.

This is a WDC formatting issue, so not a big deal. Your font shows up really big and the paragraphs look weird. The first word of each paragraph is on its own line. Take a look at what you have and if you have questions about formatting or whatever, let me know. It’s just a little difficult to read as it is.

*Bulletb*GENERAL SUGGESTIONS:

Many of your paragraph end in ellipses. I’m not sure why. In most cases a period would work just fine. In some instances, it feels like you’ve left things unsaid, maybe some more details of her internal thoughts or something that would provide more explanation to the reader instead of just trailing off (which is what the ellipses seem to suggest). You are the author - you get to tell us what to think *Wink* Take some time to really think about what it is your narrator is trying to say and then make sure you write that out.

I’m sure you’ve heard about “Showing, not Telling.” This is harder, I think, when your narrator is TELLING the story *Wink* Like I said above, her voice is good and I like it very much. But I think it’s missing something - I don’t feel like I’m either part of the action nor that she’s telling the story in a way that is drawing me in. Really good story tellers have a way of saying things, of describing events, that really make you imagine what they are telling you. I think in many spots you do get really close to this, but in other spots I feel like it’s not quite there yet. I’ll try to note the specifics below. One suggest on how to approach this is to follow the Rule of Three: in each scene, you should try to use at least 3 of the 5 (some people say there are 6) senses. These are sight (which you do quite well), sound, smell, taste, and touch (some people include the vestibular sense, the sense of motion). I think you have some of this and in some places you don’t exactly have it but could easily add it. I try to note possible places below.

*Bulletb*THE SPECIFICS: Keep in mind these are my opinions - I’m not a professional, just a person who loves to read. Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) I will quote your work in blue and put my notes in black after an equals sign “=“.

I was a young sixteen year old Cherokee girl, = Two things here.

*Bulletv* 1. I think you can remove “young” since “sixteen” is more specific and implies youth.

*Bulletv* 2. When starting a chapter, especially the first chapter, you really want to pull your reader into the book right away. It’s called a hook. So, an example here might be “The feel of the lush, green grass beneath my bare feet always made me feel a spiritual connection with the land. As a sixteen-year-old girl, I was free to run around the grounds of our Cherokee lands.” In this example, I’ve dropped the reader right into an action, tossed in the Cherokee bit without telling it outright, and still kept the details you’d provided. This was just an example, of course. I’m sure you can find something much better that’s more akin to what you’re going for *Smile*

lush green sharp bladed grass grounds = Here’s an example of too much description. Pick one or two and leave it at that. Also “sharp-bladed” should be hyphenated.

Everything was perfect; normal even. Nothing to ever worry about… What exactly do you mean by this? Specifics on your main character’s daily life would show us much better that it’s an ideal place to live and what normal life was like. Though I do question that to some extent because below you discuss the fact that many parents have left or died and there are some other strange happenings going on, so I’m not sure that’s either “normal” nor “perfect.” Just some stuff to consider.

The powerful pounding hooves of the Bison stampeding, gave us all a thrill of excitement. = This is a good start, but it’s more telling rather than showing. What about soothing like “My heartbeat always quickened at the sound of the powerful pounding hooves of stampeding bison.”

My arrow could miss… Here, you have ellipses.You might want to expound on this and inform the reader more what it is your main character is thinking. “I nervously raised my oak wood bow. My hands shook, concerned I was that my arrow could miss. I remembered what my teacher had told me and took a deep breath. I stilled my oak wood bow and narrowed my vision. [Describe his eyes or fur or something to show that you’re "concentrating hard” instead of telling us that you are]. This was my chance"

The sharp stone arrow blazed through the air and pierced… = Very good! I love the imagery here.

the strong muscular beast so fast. = “So fast” sounds a little awkward here. You could just remove it and the sentence would work fine.

With a small cry the fierce but suffering beast stumbled haphazardly to the ground causing a storm of… = Commas needed after “cry” and “ground”

richly colored, cloudy, brown dust… = IMO, there are too many descriptives here. Choose one or two.

Excitement coursed through my body. = Describe. Heart racing, breath ragged, signs of adrenaline, etc.

I reminded myself that this was my catch. = I know what you mean here, but I’m not sure you say it. I’m guessing she’s surprised by her first kill, and finds it hard to believe she did it. Amazed. And because of the shock, she needs to reminder herself that it was her catch. She is probably a jumble of emotions, but try to explain to us what she’s feeling and thinking.

The once rooted, hard, brown potatoes would be turned hot and mushy over the burning fire. = I know I’ve been saying to pick one or two descriptives, but I like this one as it is *Wink* (There are no hard and fast rules in writing….well, there are, but as authors we get to take liberties!) Just one little thing: “once-rooted” is hyphenated in this case.

Bunches of freshly picked juicy, dripping, colorful fruits would also be tended to for this wonderful feast. = I did like the descriptive above, but this feels like too much here. I’m also curious what fruits she’d be eating. Berries? Apples?

pale white snow covered winters, = hyphenate “snow-covered”

sun filled days = hyphenate “sun-filled”

... of spring when the earth's soil had become fertile; always promising us a year of great harvest. = This sentence feels too long. And I’m wondering if every spring for 500 years really did bring on a year of great harvest. Were there not hard times in 500 years? This statement just feels too sweeping and broad.

We all scurried like little mice = Nice visual! Suggest you delete “all” though and just say “We scurried” as “all” is implied.

Last night the clouds = Comma after “night”

black with the need to pour down their tears to Mother Earth. = Very interesting way to say this *Smile* Only suggestion: find another work for “need”, something stronger and more colorful. Desire?

Finally her tears dropped graciously splattering… = Comma after “Finally” and “graciously”

Then later like the black feathered Crows that throw little round pebbles at us children while we were learning. = This is a fragment sentence. You could combine it to the previous sentence with a comma, but you already have a couple commas in that one so the sentence might become difficult to follow. I like the imagery in it, so I’d encourage you to keep it somehow *Smile* I’m not sure what you “were learning” though…learning to hunt? And why would crows throw pebbles? Also “black-feathered” should be hyphenated.

It was a hot Spring day and everyone seemed to be moaning about the heat. = Can you describe this instead of telling us? Suggestions: talk about the sweat beading someone’s brow or lip, or dripping down our narrator’s back, or people fanning themselves with their hands or splashing cool water from the aforementioned stream on their faces, or laying about lazily because it was too uncomfortable to do any of the regular work? In fact, this might be a good spot to discuss the normalcy of daily life. She could say something like “On any other day, the ground would be busy with so-and-so doing X task, and the men doing XYZ, and children scurrying around playing Some Game. The sounds would be of Something and Something else. Instead, today was too hot to keep up the everyday tasks. I only heard the buzzing of flies amid the stillness of the stifling warmth” or something.

I kept to myself and wondered. = Show us. This can be interwoven into the observations she’s sharing with the reader in my suggestions above. As she’s is wandering around the village/grounds, she can tell us what she’s seeing. Maybe you share that she’s restless for some reason, or she always has energy to burn so, even though it’s too hot for most of the group, she can’t sit still. She checks in with a friend or a family member, but they are resting or trying to stay cool, so she wanders down to the cool water.

...my mind pushed the thought of unfairness away… = More ellipses. Finish the thought. Maybe something like “With my stomach grumbling in anticipation for the coming feast, I pushed the thought of unfairness away. Every dead beast allows us to eat.” or “our feast would be that much lighter with my good fortune and true arrow” or something.

We waved to all of the hard working women laboring over the fires for tonight's finest feast. = I thought it was too hot for work? Maybe I misunderstood.

Two of my cousins came running over to their daddy back from the hunt putting their kiwi sized palms in his and slapping him against his legs in their excitement. There’s a lot going on in this sentence. Suggest reorganizing and possibly breaking up into a couple simpler sentences.

They were safe. We were all okay… = Why wouldn’t they be safe? It was just a simple hunt, one she’s been training for and has been done for centuries. Is there something you’re trying to hint at here? Maybe she has a feeling that something bad is going to happen despite the festive atmosphere?

Though just three years old, she had an unexplainable growth spurt and could talk just like her brother. We didn't think... or rather chose not to think anything of it. = Hm. This is making me thinking there’s something unusual going on *Wink*

She wasn't happy. You could just see her eyes open like slits, reminding me of the stray cats we see sometimes. = Lead with the “eyes like slits” comment, then interpret it as her being unhappy. This will draw the reader in and show us better rather than tell us.

Risk sixteen years old, = Risk was sixteen years old? Or do you want a comma after Risk? I wasn’t sure that her name was Risk until a little later either.

got punished for loosing her arrow too early, ignoring our teacher’s commands while out on our other hunt last week. This act made us lose our "before celebration" practice Bison as all of the Beats went stampeding away. = I’m not sure I understand what happened here. It’s just a little confusing. Also, I think “Beats" should be “Beasts” *Wink*

That was three days ago. = You said “last week” just a couple sentences earlier.

Risk had long poker-straight, chocolate brown hair. Her hair topped her berry brown body. With her piercing baby blue eyes and her lean muscular body… = You seem to info-dump your descriptions of people. It’s hard at the beginning since you have to give the reader a good picture of every character. I suggest you try spreading out the descriptions a little bit. Like here, you could put little bit about her appearance as your main character watches Risk stomp over to her, when Chive retreated. Something about her long hair swinging in the light breeze, or she brushes it away from her blue eyes, which are flattened in to slits. So, in sum, you have good info here, but I think just reorganizing it a little will help the flow a bit.

she came stalking over to ?? mepppplike ?? a Sister cat...

with a strong edge to her voice that shook through the air.
= Nice.

Our masters got out pens and paper to observe and take notes. = Who? What? Huh? I’m not sure what you mean by “masters” or why they’d take notes.

I braced myself for an oncoming attack, but there was no need to. There was no sign of any threat.

Her body language screamed defeat with her slouched shoulders and slightly bent knees. = Recommend a rewording to show instead of tell: "Her slouched shoulders and bent knees screamed defeat.”

Although her piercing stare never left mine as she stalked away back to her tipi. = Fragment. Join to previous sentence or remove “Although”

Before slapping the hide shut she gave… = Comma after “shut”

me last look of resentment. = I don’t fully understand why Risk is so mad at the main character (MC)? What did MC do wrong? How does MC feel about Risk’s behavior toward her? Right now, she’s just narrating the facts: this happened, then this, then this, but you don’t have her share any emotion. Is she sad Risk is angry? Does she feel pity toward Risk? Maybe she feels guilty? Or maybe not. I don’t know *Smile* Tell us somehow, work it in to her narration and her thoughts to us so we as the reader don’t need to guess.

She might have been the Elder's most prized granddaughter, but I was his granddaughter as well. = This is telling without being obtrusive, so good job! Now add to it - how does being a granddaughter of the elder benefit someone? Why is this status important?

My parents had died three years ago from influenza. It was strange because… = This seems important to the story *Smile* I’m not sure it flows well from the previous sentence/scene though. At least, not yet.

I started hunting lessons… [snip] … and to be honest I think he favored me. = This paragraph feels a bit choppy.

Angered, and scared of witchery, Hunter Pierson loosed his arrow right through her heart and she turned into a wisp of smoke that blew away in the wind. = Interesting. Intriguing!

Ivory Green checked me over and said a few funny words and declared that I was completely devoid… = Again, right now you have MC telling us these accounts without any emotion at all. I’d expect her to be confused, or scared, or worried, or disbelieving, or something when telling us these things, not devoid of any emotion.

To tell the truth, I’d never quite believed them… = Why? Is she naturally skeptical of things like this? Does she believe in other things that are more spiritual?

and go do your homework. = Just a silly little thing - would a Cherokee have “homework”? Maybe there’s a better term that’s less traditionally school-related and more natural-living, like practice or something?

Ivory green also had the palest… = Why does it seem all the Cherokee here have pale skin? And if they do, why is it important for MC to bring up? I’m suspecting that the lighter-skinned individuals have to do with the unusual/supernatural thing that’ll be going on in your book, but you don’t describe a contrast between those with darker/red/olive/tan skin and those with white/pale skin. You only point out the light ones. Maybe you can naturally describe many of the residents as dark skin (maybe when talking about how hot and/or sweaty they are).

Ivory Green, = I LOVE this name, BTW!

Willow slept with Kale three nights a week because Kale was learning the pure essence of being a mother, since she was almost of age and ready to make a family of her own. = Interesting tidbit *Smile*

They were all blood brothers and sisters but their real birth parents had left when they were young to some far off place. It seemed odd to me that all of our parents in one way or another abandon us all so young… = Well this is curious, isn’t it *Wink* I smell a mystery! One thing to keep in mind is that when you end a chapter, you want to draw your reader in so strongly that they want to keep reading to the next chapter. You have a mystery here, but at this point I’m not sure ending with “abandon us all so young” is a good enough hook to draw readers on to Chapter 2. I did notice that this is only Part 1 of Chapter 1, and I haven't read Part 2 yet, so this may not apply once your parts are put together as one. In either case, don’t worry about it just yet, but keep it in mind as you going through your editing process.


*Bulletb*FINAL THOUGHTS:

I think you have the makings of a very interesting story here! You have well-thought-out characters and some strange happenings that show a lot of potential. I would like to know more about your character and the situation as well as the unusual things that are going on. This is an excellent rough draft.

Writing is a process - a long and painful one at times. You’ve done the first BRAVE step of posting your writing to the WDC community! *Smile* It was a pleasure to read it. I hope you found some of my suggestions and comments helpful. Please don’t hesitate to ask me anything about what I said, and totally disregard anything that I suggested that doesn’t ring true for you. It is your work, and only YOU know what you have in mind.

Thank you so much for sharing your work.

1UppyEar Author Icon


*Gold* My review has been submitted for consideration in "Good Deeds Get CASH!Open in new Window..
11
11
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: 13+ | (5.0)
Hey there, J. Thayne Author Icon,

I saw your post on the General Discussion board and was intrigued, so I read your concept.

*Bulletg*OVERALL IMPRESSION:

Holy moly, I think you have a very good idea here! I don't care if it is a perfect version of you or just a random thought from your brain, it's good.

The premise is really good - this isn't a guy who was born with superpowers, and it doesn't seem like he's a super hero in the Batman or Superman sense, but is instead immortal and given powers (which you awesomely have a scientific explanation for) by some parasitic being who has her own motivations. This seems very well thought out and, though I'm not a comic fan, original.

From the small excerpt you have here, I do not see your superhero as being perfect. He has is flaws, and I think that's exactly what you need from a believable character, whether or not his has special powers. This guy can be moody (for good reason) and sarcastic (good coping mechanism), so he's not The Best Ever. Good. No... Excellent *Wink*

*Bulletb*FINAL THOUGHTS:

I would love to learn more about this guy. I can envision this story as exploring not only his past and current living situation (how he got stuck in this symbiotic relationship and what this being is making him do) but also his own character evolution: his self-hate, his confidence, his relationships with others and how that changes over time. Does he have the ability to get out of this situation? Does he decide he doesn't want to? I think there is a lot you can explore here and I am intrigued.

Yes, I think you should put time into this. Not only do you have what seems to be an original idea, but you have a well-developed character to write about (and someone you happen to already be attached to *Wink* I think there are many directions this story could go. And, I know if you're compelled to write something, there's little you can do but surrender to it and write it out - do not worry about how good it is. Something is making this story go around in you head, so get it out on (digital?) paper and only after it's here decide if it's any good. In my experience, everything sucks at first but you can ALWAYS make it better *Wink*

Let me know if you write a chapter or something. I'd love to look it over.

1UppyEar Author Icon


*Gold* My review has been submitted for consideration in "Good Deeds Get CASH!Open in new Window..
12
12
for entry "Dead SoldiersOpen in new Window.
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: 13+ | (4.5)
Escape Artist

Hello Escape Artist Author Icon

Congratulations on being the winning bid on my Novel package at "Genre Auction and FundraiserOpen in new Window.! I’m so excited to review your work *Smile*

This is for "Threads in the TapestryOpen in new Window., Chapter "Dead SoldiersOpen in new Window..

*Bulletg*OVERALL IMPRESSION:

You have created very rich characters and environments over the course of 3 distinct chapters. You have great detail, great emotion, and amazing imagery. You are consistent throughout all 3 chapters with this level of description. I am highly impressed. I feel like I understand Sam, Vit, and Redman well: their interior thoughts, what drives them, their pasts, their current fears. I really want to meet the rest of the unit! These are some tough men, though they have serious things to overcome, the past and their current ages among them. The con to this is that, at times, I feel you have *too much* detail. Comparing the Vit chapter the Redman chapter, I like the latter better. It’s shorter, but I don’t feel like I understand the environment any less than I do in Vit’s chapter. I’ll try to enumerate below and in the next 2 reviews.

You have an impressive vocabulary that you use extremely effectively. I had to look up some words! *Wink* I’m in awe, honestly.

*Bulletg*SOME GENERAL SUGGESTIONS:

Compound Modifiers - One of the consistent issues I’ve found throughout all three chapters is your use of descriptions that should be hyphenated. There are many instances where you use them correctly, but also just as many where you don’t (no, I didn’t actually count them - this is a guesstimate). I’ll point these out below. But, here’s the thing: once you see where all of these are, and you add them you your already hyphen-laden chapters, I think you’ll find there will be way too many hyphens, which will break the flow. I suspect you’ve used these to avoid extra words…and I think they work really well. But too many of them are probably worse than a few extra prepositional phrases. Anyhow, keep it in mind as you go through the reviews. We can discuss more, and I might even have other suggestions as I run through all the details below.
Sentence structure - for the most part, your sentences are grammatically correct. Also, for the most part, your sentences are long. I think that’s due to your incredible attention to detail and also your need to explain a lot of both the characters’ history and the military background. I’m not one to think you need to simplify content/structure just to do so, but I think in some instances shorter sentences will facilitate understanding. I’ll note those places below. I think your sentence structure plays a large role in the flow and description of your chapters, and I think the overall flow is smooth and easy, so I’ll only point out spots where things seem to be confusing.
*Bulletb*THE SPECIFICS: Keep in mind these are my opinions - I’m not a professional, just a person who loves to read. Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) I will quote your work in blue and put my notes in black after an equals sign “=“.

Colonel Samuel Remy reclined in his handmade Italian chair, eying a half empty Budweiser long neck teetering on the edge of his desk. = Here’s a needed hyphen: “half-empty” because both those words combined modify “bottle.” If you had said "bottle half empty", there is no hyphen. It’s all in the placement. <shrug> Also, “long neck” should be one word. I like how this chapter drops the reader right into Sam’s life, mid-drink. I get a good picture with the first few words and you continue to expound upon that throughout the next several paragraphs. Great job!

He reached for the bottle, drained it, then tossed it into a dark corner, receiving a hollow clank as it landed in a trash can already sprouting an amber forest of empties. = Nice imagery. This shows the reader that he’s been drinking for some time, which is much better than telling us he’s been drinking for some time *Wink*

"Another dead soldier,” = I like this. Funny thing - I just heard this term for the first time a few months ago. It’s very apropos here, with a double meaning, considering his history, recently dead friend, and I can only suppose a bit of foreshadowing for future chapters. *Smile*

precision weighted crystal = “precision-weighted” with a hyphen.

The chair's smooth leather fit Sam's form like a baseball in a well-used glove. His left foot rested on the edge of a solid Egyptian ebony desk carved with intricate cartouches depicting the dynasties of the Pharaohs. = Nice!

The desk had been a gift from President Anwar Sadat only a month before his assassination, a job Sam had declined. = First, I found this confusing. You don’t mention “job offer” or anything and it was a “gift,” so the last phrase doesn’t make any sense. I think you can nix that part without issue. Second, I love how “gift from Sedat" was casually tossed in - it’s very informative about who Sam is and his specific line of work.

Sam took a long puff on the well-chewed stogie protruding like a cancerous appendage from the corner of his mouth. = Nice.

The sudden singe of heat caused him to pluck the stub from his lips and drop it into the tumbler. Immediately aware of the unnatural void, he fished out the stub, squeezed it a bit, and returned it to its rightful place, grimacing at the new taste. = This is very detailed, but I don’t see how it’s furthering the story. I love the rest of the paragraph, though.

The inside lid bore a hand-written inscription: Sam. These are my brother's finest from the upper island plantation. Enjoy. Fidel. = This *really* hammers home who Sam is and what he’s done in his past *Smile* Well done!

Faces coalesced, his old team moving through … = Great paragraph. I can envision the setting very well. I love that the medieval walls ooze the past. Great visuals!

"Stop staring at me or I'll kill you again you murdering bastard,” = Comma after “again”

Sam wheezed through clinched teeth = Do you mean “clenched” here?

He took a silent breath and exhaled in an effort to stem the errant rush of adrenaline, his sudden outburst breaking a personal imperative, never show emotion. = This feels clunky. I suggest: “…the errant rush of adrenaline. His sudden outburst broke a personal imperative to never show emotion.”

Whether they were natural born killers, = Hyphenate “natural-born”

Yet, for some reason he had just lost his cool, his Zen. = Add a comma after “reason”

His active-sonar was pinging and he didn't know why, only that something wasn't right. = First, I don’t know if “active-sonar” is a military term, but it seems to me it should not be hyphenated. Also, I suggest: “…and he didn’t know why. Something wasn’t right.” or even “Something just wasn’t right.” This is an example of a longer, more complicated sentence that I feel is just too cumbersome and it can be easily simplified. Making the second part it’s own sentence also gives it more emphasis. Alternatively, a semi-colon would work too: “…didn’t know why; something wasn’t right.” though I’m not so sure I like that suggestion.

A child cried in the distance, not a normal sob of disappointment, but a mournful wail full of fear and pain dissolving into a haunting echo. = Here’s another place where I feel 2 sentences will work better than the one. End sentence at “distance,” then start the new one with something like “It wasn’t a norma sob of….” Also, I think “mournful wail full of fear” feels redundant (and full of Fs!). What about “mournful wail of fear and pain…” The imagery here is haunting and very well done.

Did it come from another level, or out in the street? = I’m not sure this is needed. It kinda broke my visual of the scene as I wondered where it could come from and what another level or the street would look like.

He moved through the ancient bastille like a silent Nosferatu, = Just a note: I did not understand the reference. I had to look it up. (That’s not necessarily a bad thing.)

disturbed motes of dust the only evidence of his passage. = Nice!

Elongated rods of darkness, cast by an iron barred window, flowed across the floor and up the wall, bathing the sleeping man's torso in striations of light and dark. 1. Hyphen needed in “iron-barred.” 2. Lots going on in this one sentence. See if you can break it up a bit. I *think* you do not need the commas after “darkness” and “window.” Once you remove those, the sentence might work ok. Or, maybe something like “A sleeping man’s torso was bathed by elongated rods of light and dark from the iron-barred window.”

Sam's grease-painted visage emerged from the shadow and leaned over, poised, studying every nuance in the sleeping man's face, making sure. = Here is another long, comma-filled sentence. One suggestion: end the sentence at “shadow” and start a new one with “He leaned over, studying every nuance….” I’m not sure what he’s “making sure” of here, though. Making sure the guy was really asleep? At first I thought dead, but that didn’t make sense here, at least not yet since no action had taken place.

The man’s eyes moved under pallid lids [snip] up to no good. = Nice paragraph. This flows well and has varied sentence length.

A child's cry once again reverberated t...the veins on his neck pulse with every heartbeat. = This feels redundant. At this point I’m waiting for the action to start, which it does in the next paragraph. Suggest you take this out.

A rush of air, in-sync with the glint of metal, disturbed the serenity. The man opened his eyes… = I’m not so sure about the air and the glint of metal together. I think it might have more impact like this: “A rush of air disturbed the serenity” (it’s a sudden action, and the short sentence without commas makes a stronger impact, IMHO). Then, since I think the glint of metal is important, maybe it can reflect in the man’s open eyes?

His tongue quivered, and then relaxed, his expression of horror becoming frozen in time. = Just an idea: remove “and then relaxed” which would simplify this sentence, improve flow, but not lose meaning since the next sentence says "Not a muscle moved…”

Four minutes and twelve seconds had passed since entering the building—time to go. = Recommend making “time to go” it’s own sentence.

{c:lblue laid his calling card on the dead general's forehead—an image of the grim reaper. Scrawled across the bottom were the words—I love my job. = Love this!

The memory faded. It always did. Ten long years… = I like these two short sentences in sequence followed by a longer one. *Smile*

had passed, but the excitement of the stalk, the adrenaline rush… = Well done. One nit - I don’t like “stalk” even though I know what you mean. It brings up the image of a beanstalk to me. Maybe use the typical “hunt” instead?

Sam caressed the stump of his right leg, also a memory, a phantom sensation at the end of his knee. = What about taking out “also a memory” and possibly adding in “only”. You could then remove one of the commas (keep the one after leg, but no comma would be needed after the new “only”). The next few sentences have lots of commas too, so I’m just thinking of where they can be eliminated.

amazing, one-off prototype of experimental Nano-hydraulic technology. = This is cool. Lots of info here and it’s very succinct. Well done.

Its ballistic skin, texture and coloration… = I’m an Oxford Comma girl, so I’m going to point out that you need one after “texture” *Wink* Your choice, of course.

Sam Remy was a sinuous rope of a man with close-cropped… = Add “a” before “close-cropped”

Three telephones sat on Sam's desk, one red, one white, and one black. = Good spot for a colon (after “desk", since you have a list).

until two weeks ago when his aircraft assembly plant shutdown = “shut down” should be two words here.

and fell into eerie silence. = This is good imagery, but I don’t know that it’s needed here, since we never go to the plant and don’t need a first-hand picture of it. Removing this phrase will shorten the sentence and thus improve flow, IMO.

The waiting had been… = What waiting? Was he really waiting for the red phone to ring? And, really, is that stressful enough to cause a spiral into old memories? Maybe he’s upset about the closure of his plant?

adrenaline pumping memories = “adrenaline-pumping” should be hyphenated.

were once again surfacing. = Suggest : “resurfacing” instead of “once again surfacing” just to make it a little more to-the-point.

Reliving a dangerous and vibrant time in his life had not only tweaked his self-control, but had morphed into confusion, not a good thing, not for Sam Remy who was losing himself in an alcoholic haze. = I don’t understand what “confusion” you’re referring to here. I also think you need to be more clear about the “self-control” you’re referring to, which I’m assuming is the drinking too much part of his life right now. Additionally, this sentence is long and confusing. Assuming you leave it as-is, I suggest you end it at “confusion” then a new sentence with the “good thing” part, though I can’t find a construction I like while keeping the wording as you have it. What about changing it around a bit? “Sam Remy was losing himself in an alcoholic haze due to reliving that dangerous and lurid time in his life. Confused and with little self-control, he was aching to kill again. Years had passed since he’d ended the life of another human, but those long-dormant skills were bubbling up, plunging his mind into a dark place.” I tried to use your existing words and just shuffle it up a little. What do you think?

He was on unfamiliar ground—a problematic situation for those blurring his line of sight. = Who is “those” in this sentence? I don’t understand. What “unfamiliar ground” is he on? Drunk? Bored? Depressed? Honestly, I think if you end with the “dark place,” you’ll be good. This extra sentence isn’t needed.

A phone rang, bringing Sam back to the moment. The sound was so surprising he found himself staring at all three phones before realizing the red phone was the one blinking. The red phone blinking refused to click in his addled brain. When it rang again, he jumped, followed by an irrational urge to stand at attention. = There’s a lot of repetition in this paragraph. Suggestion: "A phone rang. Sam fought the irrational urge to stand at attention. He stared in a daze at all three phones until he realized the red phone was the one blinking.” That’s a little rough, but I think gets the same points across.

His Casio read—12:20 a.m. = No dash needed here. Also, since he’s a military man, won’t he use 24 hour time??

"What the…” = This feels superfluous to me.

The red phone continued to ring while Sam gathered his composure. Although geared for surprise, this was unexpected, and untimely. = Suggest you take out “the phone continued to ring” and just start with “Sam gathered his composure. This was unexpected and untimely.” I don’t understand “although geared for surprise”. Are you suggesting that Sam is so highly trained that he shouldn’t lose his wits when surprised? I think you’ve demonstrated the whole “surprise”ness of the thing really well, with his urge to stand at attention, so It think you can take out the surprise statement altogether.

... his supernatural ability to pull the strings of powerful men, and now, after years of silence, the great Oz wanted to talk to Sam? = Suggest two sentences:”…his supernatural ability to pull the strings of powerful men. After years of silence, the great Oz wanted to talk to Sam?” because of flow and “now” is implied.

The first thing he recognized was the background sound coming through the receiver. The steady thump, thump, thump of a helicopter in flight, not the standard two-seater's that flitted around the base like angry bumblebees, but a large, heavy lift unit, its twin turbofan engines powering massive rotors. = Recommend removing “the first thing he recognized” since, as it’s written, it is obvious it’s the first thing he recognizes *Wink* Maybe something like “The background sound coming through the receiver was a steady thump, thump, thump of a helicopter in flight. Not the standard two-seaters that flitted around the base like angry bumblebees, but a large, heavy-lift unit with it’s twin…” Note that I think heavy-lift is hyphenated, though you’d know the military terms better than I. I also added “with” to get rid of another comma since you already have two in this sentence.

a boozy, Macanudo hushed voice… = Add a hyphen to “Macanudo-hushed”

that had acid-etched itself into Sam's subconscious… = Since you have Macanduo-hushed above, what do you think of “…had etched itself like acid into Sam’s sub…”?

Even though he had not talked to the man for many years, the power of his persona came through the tiny speakerphone like the snap of a bullwhip. = Nice!

I'm coming over to see you, should be there in five. Something's come up and we need to talk face-to-face. Don't you just love this spur-of-the-moment crap?” = I’m thinking he’d be using much more clipped sentences, being a higher-up military guy. What about “I’m coming to see you. Be there in five. Don’t you just love this spur-…” I think the “something’s come up” and “face-to-face” part can go unsaid. He wouldn’t be coming over at 12:20 (oh, sorry, 0020 hours) if this wasn’t the case, right? *Wink*

"Not a problem. I'll be waiting.” = Also, back to military speak…wouldn’t he just reply “Yes, Sir” as a reflex?

Sam grabbed his prosthesis and attached it to his stub with a slight hiss of vacuum. = Good imagery!

He stood and looked around, his eyes moving from the half-empty bottle of Johnnie Walker on the desk to the trashcan full of tall boys in the corner. = Suggest taking out the “looked around part” to read “He stood. His eyes moved from the half-empty….” This will get rid of another comma and simplify the wording.

He sighed, scratched his two-day stubble, bit down on his bourbon-soaked Cuban, and summed up the situation with a single word. = Another suggested simplification: “Sighing, he scratched his ….” And, if you take my advice of removing the part where he drops his cigar into his drink, take out “bourbon-soaked” as well.

A one-inch thick slab of polycarbonate recessed into the reinforced blast-wall allowed the outside world into Sam's living quarters. = I know this is informative and very helpful in understanding more about Sam and his Life, but it’s very complicated to follow. Possibly this would help: “A one-inch-thick polycarbonate slab set into the reinforced blast wall allowed…” I think my problem with the sentence is that “recessed” is a verb too, so I was confused. Also, removing the “of” seems like a minuscule thing, but I think it simplifies just enough to facilitate understanding of all he more complex words you have there *Wink*

The three-room bunker, invisible from any outside angle, appeared as another mesquite-covered outcrop near the top of a hill. = Do you really need “three-room”? Does it matter to the reader what the size of his living quarters is? Also, I’m not sure you need to say “invisible from any outside angle” since you also say “appeared as another mesquite-covered outcrop near….” That second part negates the need for the first part, IMHO. Also, this might be a good spot to nix a hyphenated word: turn “mesquite-coverd outcrop” to “outcrop covered with mesquite”.

Mother Nature's ancient camouflage worked quite nicely when hiding secret things from curious eyes. = This is a nice sentence, but it replicates the previous sentence. It does hammer out a point, though. I’m not saying you should totally, 100% get rid of it, but consider if this point of being hidden from the outside world is worth a double or triple mention in the same paragraph.You mention Area 51 next, which will definitely inform the reader of the secrecy in which you’re talking about now, so I don’t think you need to worry too much about providing the reader with enough information to draw that conclusion. Don’t overstate the obvious *Wink*

Its official name was Groom Dry Lake, but the sprawling base bore many other names, Paradise Ranch, Red Square, The Farm, Watertown Strip, Dreamland, The Box, and most popular, Area 51. = This is a list. use a colon after “names.” It was a total Ah-Ha moment when the last item of your list was “Area 51”.

The sudden appearance of General Mathias Kohl had put Sam on edge. An audience with the Great Oz meant only one thing—lives were going to change, many lives. = I think this should be part of the previous paragraph. I also recommend changing to: “...meant only one thing - many lives were going to change.” The repetition you have in the original is nice, but since you have lots of complex sentences, I think (only my opinion, of course) that you should simplify when possible. This is another example. I think your statement still will pack a punch without that repetition, especially with the em-dash.

Kohl had been the shit thrower while Sam controlled the speed of the fan. = Nice! I’ve never heard that old adage switched around like this. Very good.

After 9/11, special operations teams grew like kudzu. Ranger, Delta, and Seal team missions were in the news on a regular basis. = Nice. Well-worded and very informative.

The exploits of Sam's unit were never on the front page or in the nightly news—because to the masses, they had ceased to exist. All five rested in peace at Arlington National cemetery. = I found this confusing, particularly the fact that they were dead when Sam was right here. I assumed he was the lone survivor from his team for some reason. Though I understand now what you were getting at. Suggestion: ”The exploits of Sam’s unit were the exception because, to the masses, the team did not exist. Tombstones at Arlington National Cemetery sported their names carved deep in the pristine marble, only a ruse by the General/Military/WhateverDepartmentInCharge to allow them to maintain their deep cover.”

Sanctioned and funded by a handful of the world's most secretive power brokers, their new identities scoured the planet, finding the concealed, and rendering silent retribution. = I suggest you change the verbs here to “found” and “rendered”. What you have is a simple list, so the commas work, but parallelism is broken if you change the verb tenses. If you want to keep the “ing”, then I suggest you change to “….identities scoured the planted, finding the concealed and rendering …” without the commas. Then it’s not list. I personally like my first suggestion as I think it’s easier to follow.

After the team was disbanded in 2004 … = Nice paragraph! Explains things but keeps it interesting *Smile*

The esprit de corps of a Marine, and the respect for a commanding officer remained—much more in fact, than the above ground brass ever received … = Recommend you remove the comma after “marine” and add a comma after “more” and hyphenate “above-ground.”

The all for one and one for all nature of Sam's team was an unspoken axiom—the glue that held them all together, the creed that made them seem invincible, and Kohl wouldn't have it any other way. = Recommend you choose one of those things you list, either the glue or the creed, but not both. I also think “unspoken axiom” could be removed which would allow you to remove the dash and increase flow and understanding. Finally, make a new sentence with “Kohl wouldn’t have…"

The echo of approaching footsteps warned Sam long before the knock. He took a deep breath. "Come.” = Nice!

The door opened. = I don’t think you need this, as the next sentences implies that the door opened and Kohl walked in.

No matter where you were, even in another room, general Kohl's aura always arrived before his body—his presence preceded by a tangible pressure, a shiver of energy that radiated through your nervous system like a thump in the dark or an invisible tap on the shoulder. = 1. Remove “even in another room,” 2. use a comma instead of a em-dash after “body”, 3. Choose either the “tangible pressure” or the “shiver of energy,” and, 4. Choose either “thump in the dark” or “invisible tap on the shoulder”. Too many descriptives just loses it’s impact and makes the reader think you indecisive. You have great imagery throughout! Don’t overdo it *Wink*

Telltale worry lines etched his brow—and even though he was pushing hard on seventy, his body stood tall, toned rock hard. = Suggestion getting rid of the dash and instead putting a period after brow, starting a new sentence with “Even though,” and adding a comma and an “and” after “toned” so it reads “…tall, toned, and rock hard.”

Neither man spoke as if challenged to read each other's mind. = I’m not sure “challenged” is quite the right word here. “trying to” seems more appropriate, but also kinda more boring. So I’m not sure.

His presence set the tone without a word most of the time, but not in Sam's house. = Why? I’m not following here.

Sam shrugged off the sarcasm. "If I knew you were coming.” = If I’m hearing this right, I’m thinking it should be “If I knew you were coming, I woulda…” with him trailing off, statement obvious and unsaid that he’d have cleaned up a bit.

"That's what you do, General. You save lives.” = Keep this as part of the previous paragraph with Sam’s actions. I can see him saying this, too.

"I don't apologize for things that happened in the past Sam,” = Comma after “past”

I'm a man who dwells in the darkness if you will, = Comma after “darkness”

The president's decision = Capitalize President?

So here we are ten years after, still kicking, still waiting.” = Suggest you end the sentence at “after” and make two new fragment sentences of the last two phrases. I think it’ll pack more punch and will work well as dialog.

a subtle apprehension that made him lean forward and apply all his attention. = Made Sam lean forward or Kohl? I’m also not sure “apply all his attention” works well. Apply his attention to what or whom?

"People like us are always waiting for something bad to happen, that's our lot in life. = Make this 2 sentences.

When mad men start writing their own scripts, men like us are tasked to end the drama.” = Here I think something simpler would work better. Maybe just “We always end the drama.” You use “task” below, so I wouldn’t use it here, FYI.

"Eight years ago I gave you ) = Comma after “ago”

...team that would design and then build an assemblage of machines = Suggest you take out “then”

You did that Sam. = Comma after “that”

With unlimited funds you created access to any environment, any terrain, be it jungle, desert, mountain, or deep ocean. = Comma needed after “funds”. Suggest you change to “…to any environment or terrain, be it jungle…”

You gave me an assortment of transport airframes, deep sea DSRV's, and overland vehicles unmatched, and yet unseen in the world. = Is “deep sea” a repetition of the DS in “DSRV”? The way it’s written now, you need another comma after “unseen” I think this is a bit cumbersome as it is, however. What about “You gave me an assortment of highly classified transport airframes, DSRVs, and overland vehicles.” Also, I believe you do not use a apostrophe before the “s” in “DSRVs”

If you count all the people involved in the project—engineers, designers, and fabricators, they number less than two hundred. = Do you really need to list “engineers, designers, and fabricators”?

They are the antithesis of political oversight.” = I’m wondering if “They are” would be better as “This is” or “That is” in that it’s Sam’s Task the he’s referring to, not the individual items, even though he’s listed them and you’re not referring to the secret employees, right? Does that make sense?

"Fortunately for us, you now have all the new pieces ready to play, because the time has come for the players to get back in the game. You didn't think you were building a fleet of museum pieces for a messianic megalomaniac did you Sam?” = I like the metaphor of a game. Very interesting. You use “pieces” in this twice, though, so I think you might want to rephrase just a bit to get that repetition out of the way. You also need a comma after “megalomania” and “you,” I believe.

"The thought did cross my mind once or twice general.” = Comma after “twice” and I think you want to capitalize General.

With men like you doing the footwork, the wet work, and with a shit pile of luck, I managed to garner the admiration and trust, emphasis on trust, of a small, but powerful group of people. = Take a look at this sentence. SIX commas! *Shock* You have a few options: 1. Break into a couple-few sentences, 2. Delete a few extra stuff here. I think both might work in this instances. First, choose EITHER “footwork" or “wet work” but not both. That will eliminate one comma. Secondly, break it up. Here’s just one (not very good) suggestion: “With men like you doing the footwork, I managed to garner the admiration of a small group of people. Successful missions, and a shit-pile of luck, bolstered support and increased their trust.”

This hand full of people = handful - one word.

Truth is, we're just marionettes Sam, but then, you knew that, right?” = Comma after “marionettes” as you always use a comma before addressing someone. I also recommend removing everything after “Sam.” If you’d rather leave it, I’d recommend having it as it’s own sentence: “You knew that, right?"

... in any of their previous meetings—and that couldn't be a good thing. = Suggest ending the sentence at “meetings” and starting a new sentence with “That couldn’t be…”

A large group image appeared. = It doesn’t really “appear,” does it. I mean, he opened the folder and it was here, he saw it…but the word “appear” makes be think of it being unexpected or coming out of thin air. Maybe you could say something like, “A group photo was on top of the pile of papers. The image…” or even “was the first thing he saw."

confirmed at least one of the reasons… = Recommend removing “at least”

...for Kohl's sudden appearance—Sam's old crew… = Does seeing the photo REALLY make Sam think that’s the reason for Kohl’s visit? I don’t think just seeing it would be enough to “confirm one of the reasons” for him to be there. Maybe it “suggests” something about the men, but since I assume the file is made up of at least several pieces of paper and Sam has only seen the photo, there could be many reasons Kohl is there. I think you’re having Sam jump to thinking Kohl is getting the team back together, even though he doesn’t have enough info to divine that just yet.

...five men who had shared a raging river of adrenaline for ten years. = Nice!

Updated BIOS appeared in the document = Here’s “appeared” again, which makes me think of a iPad-type display instead of paper (which my be good use of tech *Wink*.

At that moment, the questions, which had been stacking up like dominoes, froze = I don’t think you need “at the moment” and I think you can take out all the commas. But, I’m not sure I’m following you on this statement anyhow. What question fell? The next dialogue is Kohl speaking. The imagery is good, but I’m not sure it’s in the right place.

"I can't tell you much right now Sam. = Comma after “now”

"I won't do this without you Sam. = Comma after “you” but I don’t know that you need to keep addressing Sam. He’s the only other person in the room and you’ve established it already.

If you're not leading the band, then it's plan-B. I don't like plan-B. Plan-B equals a lot of dead people.” = I think the repetition of Plan-B works well here. I also think it should be capitalized.

You do realize these men are pushing fifty, = Suggest ending here with a question mark. Then…

and like me, probably haven't shot a weapon, or ran an obstacle course in ten years.” = …suggest: “Like me, they probably haven’t shot a weapon or run an obstacle course in ten years.”

"Let's take this one step at a time Sam. = Comma after “time” or take out Sam.

Ask those questions when you have squared them away in the toy box. = Suggest you switch the order of “squared” and “them”

Angel will set up a meeting. Everything will be hashed out at that time.” = Not sure you need this at all. Feels a little excessive and over-explanatory.

Kohl stood up, which meant the conversation was pretty much over. = Suggest you remove “pretty much”

He pulled an i-phone from his pocket = iPhone

Sam looked at the phone then back at Kohl… = Suggest you remove “back”

"Do we have a problem Sam?” = Comma after “problem"

"No sir,” = Comma after “no”

he said without thinking, a reflex with a built-in tripwire, especially around generals. = Suggest you remove "without thinking” and “especially” so it’ll read “he said, a reflex with a built-in tripwire around generals.” Though I think “without thinking” is still ok if you want to keep it. I only mention removing it because reflex also implies without thought, so it’s redundant.

What he truly wanted to say was—you have to be fucking kidding me. = Not sure about the dash here. I wonder if you should put it in italics or maybe say “What he thought was…” then italics. Not sure on this one.

...over his smooth head, and for the first time, Sam saw a glint of uncertainty in his eyes, a flash of worry, making him look all of his seventy years. = Suggest ending the sentence at “head” and a new sentence at “For the first time, Sam…” Also, choose either “uncertainty in his eyes” or “a flash of worry.”

"The devil is coming Sam, = Need a comma after “coming”

You're old crew = Your, not “you’re”

... you're going to give them the most advanced toys on earth, and god, I hope… = Suggest ending the sentence at earth, then a new sentence with “God, I hope…”

Sam had always understood that the general was unconventional, even eccentric, but his behavior seemed off kilter, over-the-top. = Suggest you choose either “off-kilter” (with a hyphen) or “over-the-top” but not both.

His eyes wandered. He tapped… = I’m not clear on whether this is Sam or Kohl who is doing this.

realistic appearing prosthesis = Hyphen in “realistic-appearing”

... as the artificial joint vacuum-sealed itself to his leg. = Suggest removing “to his leg”

"Better than the original general, Nano-hydraulics is a fantastic invention.” = Comma after “original” and capitalize “general.” Also, I think you intended for the comma after “general” to be a period.

He then swiveled on his right foot, = Suggest you remove “then”

Be prepared for a shock Sam.” = Comma after “shock”

Sam chewed on the peculiar statement for a long moment before replying. "What could be more shocking than to have the Great Oz show up at 1:00 a.m. and tell me I have to go back in the field?” = Nice! This flows well and is very telling to the reader. A good sum-up of how he might be feeling and the shock of it all.

Kohl pointed to the ceiling. "Seeing the face of our new enemy—our new evil, and knowing where he comes from… = Suggest choosing either “new enemy” or “new evil” but not both.

Sam stared at his office door—mouth open—his brain calculating, but not adding up. = Suggest you end the sentence at door. Then, “Mouth agape, he tried to calculate the situation, but it didn’t add up.” or something. This will remove the dashes and improve flow, IMHO.

New evil? = Suggest italics as it’s an internal thought.

Sam moved his hand = Suggest “slid” or another more active word instead of “moved” here.

He exhaled a long sigh—but that was ten years ago = Suggest two sentences here instead of dashes.

not now, not with a disbanded, disavowed bunch of retired adrenaline junkies. = With my suggestion above, this won’t work as it’ll be fragment. What about: “But now, with a disbanded/disavowed bunch of retired adrenaline junkies, the task became much more difficult.” [not sure about the last part…what is Sam thinking about the old team and their prospects now?]. Also suggest you choose either “disbanded” or “disavowed”

What the hell was the general thinking? = Suggest italics and capitalizing “general"

"It appears that things have once again turned to shit boys,” = Suggest removing “that” and also adding a comma after “shit”

...eyeing the ten-year-old group photograph, and then the iPhone. = Suggest a new sentence here. “He eyed the [snip] photo and then the iPhone.” You won’t need commas.

When he touched the name ANGEL on the screen, Michelangelo's fresco of God giving life to Adam appeared. = Nice touch!

"Hello Sam. = Comma after “Hello”

Can I assume you've had your meeting with the General?” = Um, yes, he can, because of the number/name this cell phone came from (assuming on my part that Angel has caller id). I think you can just leave this sentence out entirely.

Deja’vu. = Two words

The man had somehow supplanted ten years like an H.G. Wells time traveler. = In what way? Looks? (they aren’t face timing, are they?) or sound?

I don't suppose you can fill me in on some of the finer points.” = I wonder if a question mark would work here? In my head, I hear him rise in tone at the end of this sentence, even though it’s not technically a question.

"If I had a psychic connection with the general, = Capitalize “general”

I would have shot myself long ago. As always, my task is to locate, procure, and extract. This mission is strictly to deliver your old strike team to the bunker. End of story.” Well written. I can hear this and it’s clear and succinct, as I suppose Angel probably his too.

One can argue with the general, let me rephrase that, you can argue with the general, but he's always going to get his way. = This is confusing. What do you think about something like: “You’re the only one who can argue with the General, but he’s always going to get his way.” or even “As his right hand, you’re the only7 one who can argue with….”

You pull the trigger. = Recommend deleting this. It’s just a replication of “right hand”

I'm sure he told you that nothing changes. = Not sure you need this.

His conversational brevity could be trying, and his mother superior complex was sometimes annoying, yet these personality idiosyncrasies paled to his dry sense of humor. =Suggest a sentence break at “annoying” and new sentence with “These personality…”

...comfortably for an extended flight time, not an easy task… = Sentence break at “time”

It seemed that Angel had gutted the expeditionary layout, and replaced it with individual… = No comma

Limo. = Not capitalized

3:00 p.m Murmansk time Suggest using 24 hour time and, in this case, Zulu Time or UTC. You can use UTC and convert to local time zone by the letters of the NATO alphabet (zulu alphabet: Alpha is +1, Bravo is +2 from UTC, etc.) Zulu is GMT. Juliet is “local time”. Planning across time zones, like your mission, is generally done in Zulu Time. [All of this is according to my source (my husband, the walking encyclopedia), but I suggest you look it all up to figure out how you want to work the time stuff in your book.]

That could only refer to one team member, Vitaly. = I don’t think a comma is the right punctuation here. I think either a colon or just end the sentence at “member” and make “Vitaly” it’s own fragment sentence.

"Hell yes I want to be informed.” = Comma after “yes"

"Thought so—I'll send… = Use a period instead of dash here.

the real time audio/visual stream = Suggest using A/V instead of writing it all out since you’ve used it above.

Right now I'm going… = Comma after “now”

a few hours shut-eye, got a big day tomorrow, I still have = End sentence at “eye” then again at “tomorrow”

It's two in the morning Sam. = Switch to 24 hour time here and also put a comma after “morning” (or whatever time you end up using - always put a comma before addressing someone.

If anything, Angel had retreated even further into his shell. = Nice.

His orders were clear if not repetitive, go here, kill these nasty motherfuckers, and get back alive. = Add a comma after “clear” and I suggest a colon after “repetitive.”

The getting back alive part was often Angel's doing. = Suggestions: “The last part was often...” or “That last one was often…"

Unlike past encounters, this visit had been surreal… = In what way?

putting his old team back together after ten years, mobilizing the toy box. = Suggest this part should be it’s own sentence, separate from the part before. You’ll need a verb… “Putting his old team back together after ten years was an insane proposition.” I’m not sure I like “mobilizing the toy box” unless you add more to it like: “Mobilizing the toy box sounded like fun, but Sam wasn’t sure he was ready to face the consequences of it. Retirement should have its perks, after all."

It was clear that something unprecedented had happened. = Do you need this? Your next sentence says pretty much the same thing in more detail.

... mobile vehicles in existence, but now, his subtle hints were frustrating. = Recommend ending the sentence at “existence,” and then “Kohl’s subtle hints were frustrating.”

This was Kohl's way of getting the juices flowing, his way of not getting ahead of himself before all the pieces fell into place. = Choose either “juices flowing” or “ahead of himself/pieces into place” but not both.

skin textured prosthesis. = skin-textured with a hyphen.

other than a real leg. = it really does exist, so it is real and not imaginary. Maybe change “real” to “biological” or “natural” or “fully-functioning” or something.

Ones only clue… = Suggest changing to “The only clue…"

that the leg was indeed a mechanism = Suggest changing “a mechanism” to “mechanical”

sucked together like a refrigerator door. = Nice imagery!

He had spent many nights watching stealth planes, black birds, and auroras take off and land comfortably ensconced in the big chair, a bowl of Orville Redenbacher in one hand, and a cold Bud in the other. = Suggest: “…and auroras take of and land while he ensconced in the big chair with a bowl of Orville Redenbacher in one and and a cold Bud in the other.” Notice I removed the commas; the first one was replaced with a preposition and the second one wasn’t needed as originally written. Also, I’m wondering if you should capitalize Blackbirds and Auroras, and I’m also wondering if Sam would be more specific, like “SR-71 Blackbird” (note that it’s one word) or something. Same with “stealth planes” -= there are several stealth-type planes and I’m sure he’d be well-versed in them.

These were stealthy war machines manufactured in the Skunk Works, = Rephrase: “came out of the Skunk Works program”

an above ground = Hyphenate

...but the most fortuitous civilian to get a glimpse of on daylight missions. = Recommend removing “on daylight missions.”

flat screen. = Most screens are “flat screens” now, and I notice you use this term in this chapter several times and in the other chapters as well. First, think of synonyms, like monitor, panel, or something more high-tech like OLED or even a dual-use surface like a picture frame that can double as a communications screen. What about a heads-up display on the very window he likes to watch the planes from?

wireless mouse in comfort. = Here’s another tech glitch, IMHO. A touchpad would be more techie than a wireless mouse, and I would expect Sam to be using some higher-tech.

He clicked the flat screen to channel one. = This doesn’t seem to work either. I can’t imagine high-tech stuff needing a channel number. What might be better is flicking/swiping his iPhone attachment directly to the “flat screen” or panel or the window glass…whatever you decide on.

nose cone mounted = Need hyphens. But since you have high-res immediately following this, suggest you go with “high-res camera mounted on the nose cone."

The high altitude panorama = Since “high-altitude” is modifying “panorama,” you need a hyphen.

Someone or something was about to change the world, and the Great Oz was once again wielding the wand that would vanquish the changers, at least that appeared to be the plan. = Great! That is, until “at least that appeared to be the plan”. Just remove that last phrase *Wink*

now secondary to an even more debilitating sensation, a weariness that weighed a thousand pounds. = Choose “debilitating sensation” or “weariness that weighted a thousand pounds,” but not both.

A lance of lightening = This might be personal preference,but I don’t like this. Not sure if it’s the alliteration or what.

lazy-boy. = La-Z-Boy

Cirque-du-soleil sleeping position, = Not hyphenated

After an explosive session on the toilet, the vanity mirror revealed a haggard shell of a man near the bottom of the barrel. = Nice mental image of him and where he is in his life.

blood rare = Hyphenate

friend, Jessie Riker, and his sudden death. He hated losing friends, especially friends that were so—interesting. = “Friend” is repeated 3x in quick succession. You might be able to lose the first one, since once you state “He hated losing friends” it’ll be clear that he was a friend of Sam’s. Also, change the last one to “especially ones that were so interesting.” I think I know why you have the dash there, but I don’t know that it flows well. Maybe use a different, more apropos term, like “unique” or “quirky” or something.

...about big brothers watchful eyes. = brother’s

...technologies of the engines and there assembly… = their

suggesting his friend might have a small hole in his marble bag. = Cute rephrasing *Wink*

Under the hanger’s camouflaged facade, everyone worked on their own projects in their own part of the vast complex. = A repeat of “complex.” Maybe “area” would work better.

...held fantastic alien machines, and perhaps life that did not originate on earth. = I’m not sure about the comma after “machines.” I *think* you need to remove it, but I’m not 100% on that.

On a few occasions, Sam had to suppress his doubt out of love for his friend, but then, just two weeks ago, Jessie had walked into his office with a dazed, deer in the headlights look on his face. = Suggest a period after “friend” and new sentence with “Then” or even starting with “Two weeks ago…” Also, “deer-in-the-headlights look” should have hyphens.

“Something big is coming Sam, real big. Be careful.” = Suggest “Something big is coming, Sam. Real big. Be careful.”

yet another I need food now warning. = "I-need-food-now warning” with hyphens.

grabbed the big screen remote. One click revealed several live video feeds. = Here’s another example where I think the tech could be less old-school. Who uses remotes anymore? *Wink* He should be able to swipe on the iPhone and “send” the feed from there to the big screen. It’s called AirPlay, and it’s a little rectangle with an arrow located at the bottom of the video. I’d expect his wireless network to be completely set up for all of this without thought. Actually, now that I typed that, I’d also expect various voice-activated automation as well. “Send video to big screen” or, like most Mac aficionados, each device has a name. In my house, our network is the Tardis, the AppleTV is Chakotay, the DirectTV is Janeway, my phone is Juniper, and my iPad Cyprus. So I can easily share data from one to the other based on names.

He clicked the icon labeled Nose Cone Camera = Antoher tech suggestion: if he’s using touch pads/iPhones, you don’t “click” you just “tap” or “touch” and the iPhone can control what is being seen/done on the larger screen as if it were a remote.

"Jesus Vit. = Comma after “Jesus”

Where the hell are you,” = Question mark

Terra firma. Capital F?

Sam had to laugh at his stomach's insistence, and clicked off the monitor. Vit's ten-year reunion would have to wait for a rerun. = I think you can remove “clicked off the monitor” as typically, most screens will go to sleep when not being used. Very few people turn stuff off anymore because it does it automatically *Wink* Also, even if he does turn it off manually, I don’t think you need to tell the reader - too small a detail to bother with. We can assume he does or it does, or even that he leaves it on to check on it after eating.

They would be full of questions, and as confused as he was about their fates. = No comma

futuristic air taxi, = air-taxi with a hyphen? Not sure on that.

the last ten years of their lives would become a dream, an extended above ground interlude. Choose either “dream” or “interlude” and above-ground is hyphenated.

His second thought was one that would also cross each man's mind as they winged into the unknown—would this mission be their last? Nice! Good ending, well worded, perfect hook.


*Bulletb*FINAL THOUGHTS:

Your characters are compelling and the details are well-thought out. I love the small hints in here about the alien tech but I didn’t pick up on it at first read since I was reading this chapter (and the other two you requested) out-of-context. I took a look at the description of the book after that, and there was a huge “ah-ha” moment: There was the Sci-fi! I’m intrigued. I really do want to start at the beginning and work my way through. If you’re interested in reviews as well, let me know *Smile*

I’ll be back with the next review - as you can see, it takes me a while to get these written, and not because I procrastinate *Wink* I really have been working on it since last Wednesday.


1UppyEar

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13
13
Review of The Visitors  Open in new Window.
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: E | (3.5)
Hello EOIWriting Author Icon,

Thank you so much for sharing your work with the WDC community. I found it listed at The Newbies Review Request List.

*Bulletg*OVERALL IMPRESSION:

The ending was a surprise and it made me laugh. It's corny, it's "nonsense" (as you have the genre tagged), but it's fun *Wink* I found the description of the alien soldiers' movement drawn out and boring (they turned left, the others turned right, etc) but that set me up for a huge surprise when the alien said "Your'e an idiot". Totally unexpected and, in hindsight, very effective. *Smile*

*Bulletg*THE LITTLE DETAILS: Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.)

1. I think you might be able to increase the effectiveness of this piece by adding more imagery, particularly metaphors and/or smilies. I think the reader would be drawn into the story a little better if you described his wife, even if it was just one thing he found beautiful about her or how he loved watching her gaze at the stars (he didn't like stargazing him, but he loved seeing her do it or something). Also, being more specific about the sound of the UFO (you use "strange" and "very loud" but more detail would be helpful, even a comparison, such as "like thunder" or "like a freight train" or something like that.

2. Word choice - If think if you go through this again, you'll find some words you can make more clear or a better fit. For instance, the grass field was "plain". What about "vacant" or "empty" or even "flat with not even a breeze to rustle the blades of grass and tall wispy weeds" or something? You use "bigger" several times in the second paragraph, so possibly finding other words or ways to explain it, like "increasing in size" or "appearing to grow" or even "at first he could conceal it with his thumb in front of his eyes, but eventually it was so large he could not. That's when he realized it was getting closer." Things like that.

3. There are a few areas where commas are needed. I'm sure if you go back and revise this you'll do a detailed proofreading and catch a lot of those spots. Since you wrote this "because you were bored," I'm guessing you're not too concerned about the details at this time *Wink*

I hope you found some of this helpful. If you're interested in a more detailed review after editing, just let me know. Thanks again for posting your writing! This was a surprisingly fun read *Smile*

1UppyEar Author Icon



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14
14
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: 13+ | (5.0)
Hello LCCooper Author IconMail Icon,

Thank you so much for sharing your work with the WDC community.

*Bulletg*OVERALL IMPRESSION:

I had chills reading through this entire piece from the second I noticed the date. My overall impressions are as follows:

You write very well, with lots of details and descriptive text. I have a great picture in my head of what is happening. Everything makes sense.
The piece in general flows well.
The story idea with the Association, the participants, and their Agenda is extremely intriguing.

I am very impressed with what I’ve read!
*Bulletg*THE DETAILS, LINE-BY-LINE: Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) I will quote your original text and put my comments after the equals sign (“=“).

"It was a beautiful late summer morning in New York City. The kind of morning when even the most cantankerous among us couldn't help but to close their eyes, and drink in the suns radiance before it faded into the cooling breezes of autumn.” = Excellent beginning! My only suggestion here is to combine the first two sentences with a comma. It’ll be long, but grammatically correct (right now the second sentence is a fragment) Also, you do not need a comma after “eyes”

"With a spike of higher than average temperatures,” = Hyphenate “higher-than-average”

“... sipping their lattes; children laughing on their way to school; men in suits; and an odd assortment of characters unique to New York City.” = Change the semi-colons to commas here. Since you don’t have any commas in your sub list of itmes, the commas will work fine.

"Whether they were looking for a tax shelter, or ways to offset their massive expense accounts, she was…” = No comma necessary. You *can* use one if you’re trying to highlight the expense accounts aspect, but in this case I think is disrupts flow just a little bit.

"Her cabbie recognized people like her immediately--they were everywhere in New York City. Rushing around. Always late. Always stressed.” = Love this whole part! The fragment sentences work really well and mimic the actions “people like her” have. Short. Clipped. Nice details *Smile*

"With dreadlocks partially obscuring his face, he turned his head to face hers. “Nah, miss, dis cah ain't goin' nuh weh',” = Nice!

“...they were so close--just a few blocks away--all she had to do was …” = Suggest ending the sentence at “away” then starting a new sentence with “All she had…"

"A seemingly impossible feat of engineering…” = I love your description of the towers. Lots of insight, lots of background, and just good *Smile*

“... with the faint echo of her driver's gratitude wafting in her ears.” = Nice detail.

"Patience--like her fashion sense--wasn't one of her strongest characteristics.” = Good way to inform the reader a little about your character in an unobtrusive way.

"In her way of thinking, they were a form of slavery, much like ties were nooses around the necks of the slaves that wore them. Almost everyone was a slave. They just didn't know it yet. Beth wanted to change all that.” = This sounds like a hint to me of what the philosophy of the Association is. I like it. It’s subtle but, in hindsight, probably important.

“...he said in a not too friendly voice,” = "not-too-friendly” should be hyphenated.

“Just a minute ma'am, I'll be right with you.” = Change the comma to a period. These really are two sentences. Also, a comma after “minute” since you’re addressing someone. Your entire exchange with the security guard is well done. It seems natural. You throw in details on what’s happening in addition to the dialogue. It all works great.

"I guess, he's not a morning person.” = No comma after “guess”

"God I hate these things. Beth was somewhat claustrophobic, and elevators were not her favorite thing. = You repeat “thing” here. Maybe the last one could be something like “mode of transportation.”

"Living in New York City however, forced her to face her fears.” = Comma after “City”

"Beth chose the tower to hold the meeting for a reason. She was familiar with it.” = This feels a little awkward. Maybe change to “Beth chose the tower to hold the meeting because she was familiar with it.”

"Moreover, holding a meeting in the clouds gave her more of a sense of security”= Ironic, isn’t it? Bells went off in my head and I got a chill when I read this.

"in half and hour,” = “half an hour”

“...she and her husband Ben carried burner phones…” = Since you just said “burner phone” I think you could just shorten to “burners” at this point.

"She had no computer with her either. She didn't need one. Nothing that transpired at this meeting would be recorded. Nothing could be traced. Everything would be remembered. Everyone coming to the meeting carried fake ID's and would be arriving in disguises. Nothing would be left to chance.” = I like how you use short sentences through this piece, but here it feels like there are too many together, which hampers the flow. If I could choose just one to keep, I’d say “Nothing could be traced.” Suggestion: “Nothing transpired at this meeting would be recorded as everyone would commit the details to memory” or something. There’a a lot of “nothing” and “everyone” repeated here, too.

"Fresh fruit, croissants, muffins, juice, hot coffee and tea were laid out on an elegantly laid out table” = repeat of “laid”. Suggestion: “…hot coffee and tea were elegantly laid on a table…” or possibly change “laid” to “displayed”?

"with a centerpiece of red roses--waiting to be consumed” = Change the dashes to a comma.

"by her eagerly anticipated guests.” = Hyphenate “eagerly-anticipated”

"So much had led to this meeting and now it was time to organize, and present their progress reports.” = No comma needed after “organize”

"As her guests began arriving, their identity was confirmed” = I’m not sure about this, but I think it should be “their identities were confirmed” as you are talking about guests in the plural.

"He had gone to an early morning meeting at the university, and hadn't contacted her since.” = No comma after “university” as the second part is a dependent clause. If you added “he” before “hadn’t”, then there would be a comma.

"Trying his burner cell, he answered at the first ring.” = Here, the comma is right. Contrast this with the sentence above.

“Love you too sweetheart.” = Add a comma after “too”

"the floor to ceiling windows.” = Hyphenate “floor-or-ceiling”

"What the hell??… “ = I don’t think the eclipses here work. Tt’ll be fine just removing them.

"A deafening roar hit” = I’m not sure about “hit” here. Can you think of something else? “overcame them” or “filled the room” or … I’m drawing a blank. Something stronger than “hit” I think. Time for the thesaurus? *Wink*

"like Japanese throwing stars.’ = Nice!

"It was too late. Her last thoughts were of Ben and her daughter before the flames engulfed her, and her world disappeared forever.” = *Frown* Wow, though. What a great beginning (and ending to this chapter)! I totally want to keep reading and find out more!

*Bulletg*FINAL THOUGHTS:

I’ll reiterate - this is so very well done! Suspenseful, well-written, intriguing…it’s got action and adventure and hints at more. I love it *Smile*

I hope you found some of what i’ve said helpful. If what I wrote isn't clear or don't make sense, please don't hesitate to ask. Thanks again for posting!

1UppyEar Author Icon


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15
15
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: E | (3.5)
Hey Bleary-eyed Lad Author Icon,

Like I promised, here’s a review *Smile*

I like this scene. It’s short but tells the reader a lot. I think it follows logically from the previous chapter. I think it really tells us this office is a bad guy and ruthless, and will do the King’s bidding without question or hesitation - and he might actually enjoy it, too.

One thing that I found confusing was the dialogue. It’s written well, but the formatting makes it hard to follow. Typically, when you start a new paragraph/line with dialogue, it means the person who is talking has changed. Here, you have several spots where the officer continues speaking, but you have a hard return, so a new line. Try to keep this stuff together to facilitate understanding by the reader. I’ll point those spots out below.

Here are my details:

“Please… sit down Master Gullouch, after all… it’s your office.” The man said with a flourish…” = Love this. I think this is a good starting sentence and I can completely imagine this high officer doing this. I can imagine the foreman’s trepidation, too.

”...before seating himself in the ruddy foreman’s cardinal armchair, crossing his large, black boots on the accompanying oak desk.” = Good description that flows naturally from your previous sentences and adds a lot to the setting for the reader. I do not know what a “cardinal armchair” is, however.

“...spouted the angry factory-operator, before being cut off before the man once more,” = You have two “before”s in this sentence. That’s a bit cumbersome. Also, you ended with a comma, not a period.

“Did you know that just recently, yesterday in fact, the King has passed a new law?” = Suggestion: “…that just recently - yesterday, in fact - the King has…”

"clearly enjoying himself.” = How do you know he’s enjoying himself? What is he doing? Paint that picture for the reader instead of just telling us he is. Make us *know* he is.

“No? Ah, I suppose the mail services are slipping, never were very reliable…” continued the man, answering his own rhetorical question.” = This should all be part of the previous paragraph, even if you pause to give a little description. I automatically assumed the foreman was saying this until I got to the end of the sentence.

“You see, this new law stipulates…” = And this should be part of the above, too.

“Yes.” Gullouch responded fearfully.” = Comma after “yes” instead of the period. Can you show us how he’s acting fearful? Shaking, his voice quaking, eyes wide, quickened breathing (or maybe shallow breathing), etc…

“Good, then why-“ began the darkly uniformed man…” = Keep this as part of the previous paragraph.

“Has this good establishment closed?” He finished, leaning forward…” = And this should be part of the same paragraph. Change “He” to “he” lower-case. Also, I love how you are balancing what the officer is saying with his actions. You could have him talk a long monologue, but that’s boring. Instead, you do a great job of letting the reader get a good picture of what he’s doing as he’s talking, and body language is very informative.

"The officer, having lost all manner of friendliness…” = Again, how do you know? Did his voice get steely? Did his jaw tighten or lips thin, being pressed tightly together? Did he square his shoulders? Talk through gritted his teeth?

“...in the crowded office..” = Maybe you could have Master Gullouch’s thoughts expressed a little here. Something like he’s feeling claustrophobic in this small office made smaller by the soldier’s bodies and the thickness of the air the officer’s attitude creates. Gullouch is feeling stifled, smothered, squashed both literally and figuratively. Help us feel that *Smile*

“Colonel… please… my workers, they’re gone! Even my floor supervisors abandoned the factory to celebrate in the square. There was nothing I cou-“ Gullouch began nervously, breaking out in a cold sweat.” = Some descriptive suggestions: “...began nervously, trying not to whine or plead like a pathetic peasant. It was hard not to grovel. He felt sweat beads dripping down his back and spreading under his arms…” Or something. More imagery to help us. Maybe even get some sense of smell in here somewhere.

“…rectify the situation.” said the officer, and resuming his jovial tone,” = Comma after “situation” and period after “tone” is missing. Also, take out “and”

“...attend the window with me.” Said the blackly….” = Comma after “me” and lowercase “said”

"He politely slid out of the foreman’s chair and waited at the large, industrial glass window turned with outstretched arm for Gullouch …” = Add “and” after “window”


“… You lose men, money, and materials.” Gullouch answered carefully.” = I don’t think you need ellipses here. Also, comma after “materials” instead of a period.

“Correct.” said the officer…” = Comma, not period, after “Correct”

“You lose men.” He continued, taking his mask off. “ = Comma after “men” and lowercase “he”. Also, this should be part of the previous paragraph (same speaker). I also suggest you put in an observation the officer has of Gullouch, maybe something like “He watched the foreman’s face turn pale as an early-evening moon. “You lose men,” he continues, taking off his mask."

= I like the ending! Well done *Smile*

So, there ya go. I hope that was helpful. I’m very curious to see more chapters, but no pressure to get them posted before you’re ready *Wink* If you do a revision of this, shoot me a note if you’d like me to take a look.

1UppyEar Author Icon


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16
16
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: E | (4.0)
Hello Bleary-eyed Lad Author Icon,

I love what you have here! What a very interesting story you’ve already written.

Overall impressions:

You do a great job with description and imagery!
You have a great and varied vocabulary *Smile* Your words throughout are very well picked.
I’m sure this is a very beginning draft, so it’s not too important at this point, but you’ll want to check the entire chapter for run-ons, fragments, and comma errors. I’m not going to point them out right now, though I can certain do so at a later time with a more-refined revision.

I generally do line-by-line reviews. The specifics are below. Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) I will quote your original text and put my comments after the equals sign (“=“).

= The beginning sentence should grab the reader and get them immediately interested in the story. What you have here are “massive metal tubes” that I can’t really imagine and doesn’t grab me. I don’t have any suggestions yet as an alternative, but it’s not that important at this stage in composition anyhow - just keep it in mind. UPDATE: What about starting with this, though slightly revised: "Epouve was focused more on the small mechanisms of the massive machine nearby. On which, numerous munitions whipped past in a whizz-rumble of ordered excitement on the clanking gears of the assembly line” = This would introduce your main character right away as well as retain the “metal tube” description. You could follow this with most of your current main sentence, which would also serve the purpose to suggest to the reader that Epouve is a child as well. Just a thought.

"The massive metal tubes rumbled slowly by, and as they passed, a few tiny hands stretched precariously upwards, scooping powder and placing rounded hunks of a clay-like material into them. = This feels a bit lumbering and too long, but I do get a good sense of motion and movement that is happening. At first, I was imagining very large tubes, like the size of the truck-diameter pipes you see on the side of the road before they start construction (are those sewer pipes? not sure). I’m not sure how massive your metal tubes are. Are these large rockets or smaller bombs-droped-from-a-plane?

“...large devices spat fire and roared down viciously onto the shells, clamping large cones on to their tops or filling them with metal balls of all sizes, readying the cheaply produced munitions.” = Good!

"The normally shaded windows had been left open,” = I like how you have shown by this simple statement that this is not a typical day.

"churning machinery.” = Great imagery.

"The workshop was almost empty that day” = This is good, but can you show us it’s almost empty instead of telling us?

"numerous munitions whipped past in a whizz-rumble of ordered excitement on the clanking gears of the assembly line.” = Nice description! One suggestion: can you use something more specific than “numerous”? This might be a good spot to mention the size(s) of the munitions.

"Epouve’s happened to be uncomfortably fit into a small opening in the towering behemoth ready to replace the cylinders within at a moment’s notice.” = You do a great job of letting the reader know right from the beginning this is a child-labor situation, and not a good one. We can already grasp that he’s most likely poor.

"The foreman…” = Because of your description, I have a very good sense of who this man is. Nicely done!

" he could do nothing but stand, hitting his head solidly and causing his cramping muscles to protest violently.” = You have a way of pointing out the small little details of your scene in an easy and natural way. This flows well and doesn’t stick out like sometimes extra details can in new writing. I don’t get the sense that you’re “trying too hard” but more “you really know how to inform your reader in a unobtrusive way.” Excellent.

"but he could produce only a low, halting breath similar to a cross between a cry and sigh of relief.” = This might be a good spot to use a metaphor. Idea: “…a low, halting breath like a child lost in the street who finally glimpses the sight of his mother.” That might not work, but think of something that would cause the type of breath you’re thinking of.

"Though he immediately disliked the sergeant brooding in front of him, Epouve couldn’t help but admire the pristine, dark grey uniforms of the infantry.” = Nice.

"despondently against the wall, wary of the brutish sergeant.” = Nice word choices here.

"Suddenly, a cry rang out” = I’m not clear if this is a cry from someone who might have just received a painful greeting from the coming officer or if someone is announcing his presence with a formal shout or yell, like a “Ten-hut” to signal to the lower men to get into formation or something.

"and decided that what rounded that corner was not very human at all.” = Was he really not human, or was he dressed in technology that makes him appear more machine than man? But then he’s not wearing the armor the lower soldiers are…so I’m a bit confused.

"His face masked in a blackened metal visor tinged with gold, fiery energy radiated from an eccentric scabbard worn at the hip.” = Nice!

"thrust a small brooch…” = My only experience with “brooch” is gaudy pins affixed to old ladies and great-aunts. Is there a military application for “brooch”?

"Continuing upwards, Epouve’s gaze was sucked into the masks eye sockets. “ = You’d said earlier he had a visor, so I was picturing a military version of a motorcycle helmet. I did not picture eye sockets or a “mask”. Did he flip up the visor?

"Which he decidedly did not.” = I love this. I love it as it is - a fragment sentence. It makes a strong point and lets the reader know that the military rules by intimidation.

***
"The brooch had been a symbol of the army. Any who received it were marked for recruitment, and despite sparking several infamous riots it was the most popular form of recruiting among the regiments on rotation in the capital.” = Well described. Good history informing the reader without rambling or getting too involved at this time *Smile*

"In the sprawling metropolis, the poor were often conscripted so forcefully. Either unlucky or found where they shouldn’t be, all manner of people, criminals, and scum were taken in. Some tried to run, but they were usually found and either forced back in to service or hanged.” = This has promise, but I feel it’s just a bit rough and doesn’t flow as well as lot of your other sections.

"they called down the rest of the large family, getting ready for dinner…” = This description of the large family at dinner is excellent. I like the reference to “northern gods,” too.


"The raucous banging noises emanated from the poor family’s mechanical servant, a cobbled-together construct that moved with great character though said nothing.” = This is an interesting bit. I see how you said there are steampunk elements. I love it!

“Oh, get up Rabughez, don’t you remember the last time we let you ‘eat’? I was cleaning the meat off your gears for a month!” = This made me smile *Smile*

“Three cheers! For the land. Three for the people. And three for us!” = Nice, though I suggest: “Three cheers for the land, three for the people, and three for us!” I notice there is no mention of the king here, even though it’s the king’s day *Wink*

= One thing you want to do at the end of the chapter is make the reader want to continue reading. This feels like it just kinda stops. I like the elder man’s speech and the following description, but I have no idea where things are going and I feel a little let-down here. You don’t have chapter 2 posted yet, so I can’t look ahead and give you suggestions on what you can put as a hood to move the reader on to chapter 2. This isn’t really a big deal at this point - I often don’t write the ends to my chapters until I have several of the next chapters written, as I’m not always clear where I want to section up the chapters or anything. Just another thing to think about as you’re writing and editing.

As you can tell, I really enjoyed reading this and hope to read more. After you’ve done some editing, let me know so I can read the new version *Smile*

Thanks for sharing your work!

1UppyEar Author Icon


*Gold* My review has been submitted for consideration in "Good Deeds Get CASH!Open in new Window..
17
17
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: 13+ | (4.0)
Dear Shara-vacationing till Feb 20 Author Icon,

Thank you for the review request. Since I’ve been at WDC, I have done most of the my reviews on book chapters, so you challenged me to read something a bit different. *Smile*

You have a very nice prologue here. This seems to be a big event/decision that will inform your character’s life throughout the coming story. I think there’s enough mystery to keep a reader moving on to chapter 1. The twist at the end is a surprise.

You use descriptive text really well throughout this entire passage. I only see one metaphor, however (“my heart was a fluttering mess of butterflies”). With the topic and your focus on both intense feelings and setting a mood, I think you could put in a few more metaphors and similes, and possibly even alliteration. I’ll enumerate below.

When I read something, I create a mental image of the setting, the scene, and the people within. I find myself here wondering more about where these too people are and what they are doing below their waists (and I’m not talking erotic stuff here - what are their legs doing? Are they intertwined or laying apart, for instance? Or lying on their backs or sides?). Also, where are they laying? A bedroom in a bed? The kitchen on the floor? The living room in front of a fire place on a sheepskin rug? Are their bodies open to the air or are they cuddled together under a satin sheet? I just don’t know. I think you can do this with few words interspersed throughout, just as you do the entire description as you have it. Little clues. I’ll give examples below.

Here are the details. Keep in mind these are my opinions - I’m not a professional, just a person who loves to read Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.) I will quote your original text and put my comments after the equals sign (“=“).

"The evening sun slowly lifted its golden rays off our naked bodies.” = This might be a good spot for alliteration as well as a hint at the setting. Suggestion: “The evening sun slowly and silently slipped it’s sparkling golden rays through the open window on to our naked bodies.” This is just an example - I’m sure you could make it better (and I may have used too many S sounds to emphasize it to you *Wink*

"It blended the crimson streaks with the purple hues of the fast approaching night.” = Are you referring to the night sky here/the sunset? Or maybe the colors in the room? It’s not clear. Maybe it doesn’t need to be, but it might be something for you to consider to enhance the setting for the reader.

"Yet we remained silent and almost unmoving.” = This might be stronger without “yet.” This might be a good spot to say *where* they are laying. “curled up together on the bed” or “feet bridging the cap between the cough and coffee table” or something.

"The seconds swept by.” = This could be a spot to put in a simile. “The seconds swept by like the waves lapping at an empty shore.” Ok, maybe not that, but I think you get the idea.

"The clock idly ticked away as our labored breathing eventually faded in to even breaths. With each breath…” = Lots of repeat of “breath.” Try other things like "..our labored breathing eventually faded into a peaceful, mutual rhythm.”

"I could inhale his musky sweaty fragrance mixed with my Burberry perfume.” = I like how you add in the sense of smell here. I’d love to get more of this, and possibly taste a few times throughout this passage as well. I personally don’t know what Burberry perfume smells like. Can you briefly describe? I don’t know if it’s “flowery” with hints of “lilac” or “fruity” or “spicy” or whatever. I’m thinking of wine descriptions - aren’t perfumes often described in a similar way? “Oaky flavor with a hint of cherry and a chocolate finish.” Not that you need to go into a lot of detail, but just a word to let us know more. And if you do that, you might not need to mention “Burberry” either - it could just be an anonymous scent.

"His fingers slowly circled the skin at the back of my neck.” = Nice mental image. How did this make her feel? “… neck, sending waves of searing heat down my arms to my tingly fingers” or something.

"Occasionally when they slid down my spine,” = Suggest removing “Occasionally” and just starting with “when”

"they would send small currents through my whole body,” = Maybe instead of the passive “they would send”, you could make do something more metaphoric: “When they slid down my spine, electric charges sparked through my entire body.” This paints a stronger picture and, at least for me, allows me to feel it better in my head.

"We had just spent the past hour – or was it more? I simply could not keep track of time – being intimate and touching every inch of each other, easily finding our ways around our bodies as if we had practiced these maneuvers a million times in the past.” = This is nice. It’s a great glimpse of her thoughts and suggests that they’ve not done this before.

“...this moment where our fingers moved just a little,” = Can you think of another way to say “just a little”? “minutely” comes to my mind, but there’s gotta be a lot of other words to use that would fit better *Wink*

“… this moment where the darkness outside failed to hide our merged silhouette,” = This is nice. I get the passage of time here. It started at “golden” with purples and crimsons (sunset), and now it’s dark. I wonder if a little bit above this you could mention some other changes - a greying or muting of colors - before you get to dark? It might be another way to show this passage of time in addition to your use of the clock ticking.

"this moment whose warmth” = I moment it’s a person, so “whose” doesn’t work. For things, the word is “that.”

"We stayed this way for a long time” = This might be a good spot to use your “darkness outside failed to hide our merged silhouette” or something similar, and put another reference to dusk where the dark was. This would SHOW a passage of time instead of TELL it, if that makes sense.

"Our fragrances continued to mingle, the clock still ticked away … “ = I feel at this point I’ve gotten the picture of what they did, where they are, and what state they are in. So now I want something to happen. Your description is very good, and might work well above or mixed into some action or dialogue. Maybe some hints of who she is, her career (if he has one) or something to set the reader up for later chapters? I like how we are still waiting for the punch of her husband’s text, so I don’t suggest just jumping down to that, but more just some meat, some information, instead of simply description of what I think we’ve already gotten a good idea of.

“...then I realized that I had just given him everything I could offer.” = I like this.

"It will always be real – even if one day my memory evades it. Yesterday is but today’s memory, and tomorrow is today’s dream.” = This is interesting and I wonder if it hints at what might be going on later in the book?

"As I was lost in this world where only the two of us existed, another shiver joined us – abruptly interrupting the tranquility of the moment.” = Nice!

"My phone vibrated once, a single text message whose preview read “ = I wonder if she should grab for the phone, or turn to see it on a night table or something. Right now, it reads as if she has a telepathic link to it *Wink*

“Oh Dear God, had I just sinned?” = Yes, of course she had just sinned, if she’s the religious sort. If she isn’t, she’s certainly been immoral and betrayed her marriage vows. Maybe better would be “Oh, Dear God, what have I done?” or something like that.



I hope you find some of that helpful. If you have any questions about what I wrote, don’t hesitate to ask. I don’t know what the book is about, but this prologue certainly makes me want to read on to find out! *Smile* Good job. Thank you so much for sharing your work.

1UppyEar Author Icon


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Rated: E | (4.0)
Hello Thinking-Reed Author Icon

I found this piece posted at "Newbie Help And Support Review CentralOpen in new Window.


...so I thought I'd take a look. I happen to be a sci-fi fan and found this a very interesting read. I notice it's chapter 2 - I did not look for chapter 1, so my review is only based on what I see here. I have a look back at chapter 1 at some point, though.

[One formatting issue - I don’t know if it’s just me, but your paragraphs don’t have spaces between them when I pull it up in your port. It’s all kinda squished together. Just check your settings and add in paragraph spacing if necessary. It’s easier to read when the paragraphs are double-spaced between each.]

Overall Impression:

This is well developed. There is plenty of science involved, and all of it sounds pretty plausible. You do a great job of explaining the science parts without get dry or droning on and on (I know the science types can do this!) I'd love to know more about your gluon drive *Wink*

There is a slight sense of impending doom looming about , but also a good set-up for the action that I can only assume will be taking place with the General flying the space-boat up to the mysterious ship. It seems you've taken the time to think this out pretty well. I'm interested in reading more about what happens and why the ship is back.

With regards to the writing, I think you do a pretty good job with flow. There are some choppy areas that I'll enumerate below as well as some places I think could benefit from the use of commas.

One suggestion I have is to give a little more imagery: you mention sounds a bit throughout this chapter, but I don't have a good picture of what the room looks like, or smells like. I could see you adding in a little bit about the materials used in the room (like a polished wood conference table) and stuff like that. More details about the people and how they look would be great too. Some of these details might in chapter 1, of course, but it sounds like there are a few "new" people in this scene that you could expound on a little so that you can help paint more of a picture for your reader. Also, I think you can heighten the tension in the room by increasing though increased imagery.

I like the names of your characters. Each name seems to fit the character well, with the little I know about them. Grode Stryer is a very interesting name, sounding presidential as well as futuristic. I think names are important, and your names are great

Overall, this is a very good start to what sounds like an action-packed story full of space fun! True hard-core sci-fi! :-

Details: I will quote your original in quotations marks, then my comments will follow the equals sign ("=“). Keep in mind these are my opinions - I’m not a professional, just a person who loves to read *Smile* Even though I have suggestions, it’s YOUR work and my ideas might not work for you, which is ok. I only provide suggestions to give you some ideas to jump off of (it’s what I like to get when I get reviews, so I write my reviews that way as well.)

"The President of the Commonwealth of Planets, Grode Stryer entered ..." = Add a comma after "Stryer"

"the Meeting Room and turned to greet Dr Alfred Limoge offering his hand. " = Add a comma after "Limonge"

"It would also be a test of his own ability to lead the depleted ranks of humanity and give them the best chance of survival." = Nice sentence!

"...significant Earth impacts, The President ..." = Replace the comma here with a period.

"... an impact with an asteroid big enough to do major damage on Earth ...." = Isn't there a term for these asteroids? I'm wracking my brain because I'm sure there is one.

"If the general public knew the true gravity of the situation there would be ..." = Comma after "situation"

"...riots and a scramble for the places left on the shuttles to the remaining habitable places in the Solar System: ..." = You used places twice here. Maybe the first one could be "seats" and you can say "shuttles leaving for the remaining habitable colonies/settlements/stations"? This would just be more specific and give a little more detail to the reader. This sentence also contains two colons, which can't be correct *Wink* I suggest you end the sentence here at "Solar System."

"These were Mars, Ceres (the largest of the asteroids) and four moons of planets: Enceladus(Saturn) and Ganymede, Titan and Europa (Jupiter)." = This is interesting. I'm wondering: is this an important detail at this time? It's a little wordy here, and since you're explaining an emergency situation, it's a little distracting to the reader. I think I'd rather know what's going on Right Now, why these important people are meeting, instead of where the habitable places are. And you have a lot of important details coming up below, so it might be beneficial to hold of on the less-important details until later. I do like this detail a lot, however. Maybe there's a better place to put it

"... used as a buffer to avoid impacts of incoming objects.. " = Two periods

"By manipulating the Earth/Moon system humans had learnt ..." = Comma after "system"

"No wonder the tall distinguished President looked drawn and tired." = You just finished describing the system of deflecting objects from hitting the earth. I missed the point where that could be making the President tired. Is it not working anymore? Or is the changes to the orbit making it less likely for it to work well? It just feels like there's a slight jump in logic here. I also feel like many readers will want a little more emotional description to balance out the science here - maybe instead of telling us the President looks drawn and tired, you show us based on how he walks, how he sits, maybe he heaves a sigh or has bags under his eyes, or maybe we get a glimpse of his internal thoughts? I do like the science and you do a great job giving us enough information, IMO, to understand what might be going on and what the problem might be. In fact, I think the explanation is succinct and well-informed. Good job.

"Dr Limoge, Pleased to meet you!" = The P should not be capitalized here.

"The President said. " = The T also should not be capitalized. Here might be a good spot to show your reader how the president is feeling by describing IN WHAT WAY he said this. Happy, guarded, flippant, sorrowful...

"He gestured with his hand to one of the big chairs placed around the table." = Here's aa good spot where you could add a little more detail to draw your readers in. How did the president look when he said this? You could describe the look on his face or his eyes or his body language, and you can also describe more about the chairs or the room or the table. I can imagine a lot of this in my own head (shiny table, blue upholstered chairs with wooden arms that easily roll across the woven blue carpet) but I'd rather know what YOU, the author, have envisioned.

" 'Your words echo my thoughts Mr President." = You have an apostrophe here instead of a quotation mark. Also, end the quote with a comma since you continue with "said Alfred..." I also suggest giving more detail to the reader here on HOW Alfred said this. This interaction, especially meeting such a high-profile person as the president, could help inform the reader more about this character's traits (like how he deals with stress or how friendly/scientific/professional/nervous/etc he is).

"They had a job to do and both knew there was very little time before the news of the new arrival broke and all hell would then be let loose." = This is important and I like it. I do wonder, though, if there's a way you could SHOW this to the reader instead of coming outright and TELLING us.

" I would be very grateful if you could summarize the situation as briefly as you can." = Good. This sounds exactly like what a tired president might say!

"Yes Mr President." = Comma after "yes". Also, this might be a spot where you can reveal to us a little more about Alfred's personality or internal thoughts. He might be just a rational guy who doesn't let emotional situations affect him...but it'd be good to know that.

"Alfred recognized it as the ship that had been described by Joanna.” = Wait one second. Did I miss a character? This seems to be the first time I’m seeing “Joanna”. What she speaking above or was Alfred?

"It was a long slim structure with what he recognized as accommodation pods at one end linked to the propulsion system at the other by slim metal girders.” = Very interesting. I like how you’ve described the ship briefly here, then go into more detail below.

"This is the ship, Mr President;” = Change the semi-colon to a comma.

"Thank you, Dr Limoge." said Grode.” = Comma after “Limoge.”

"Yes, Mr President." Jonna appeared hovering over the table" = Joanna’s name is missing the first “a” here. Also, describe. Maybe you’ve already described Joanne in the previous chapter, so you might not need to go into detail on her looks at this point, but her expression might be beneficial for your readers.

" Yes. You are holding a scale model of the ship Mr President. The original weighs in at about 1500 tons and appears to be an amalgamation of three of the six original Ruprecht147 Colonization Project ships. Though appearing dilapidated it has a very impressive performance and a drive system I do not recognize.” = He speaking here is very well done. Sounds very scenery, knowledgeable, and professional. I’d like to know her tone *Wink* Also, add a comma after “dilapidated.”

"We have nothing to compare with it in the Commonwealth.” = This seems to be off in it’s own paragraph. I doubt you intended it as such, so I guess it’s just an extra return.

"On the basis of the physics I know," Joanna continued” = Now I’m curious why type of Doctor Joanna is. She’s obviously not a physicist. Maybe that’s mentioned in the previous chapter but, if not, bring it up here. Also, add a comma after “continued”

“...to slip so smoothly and exactly into orbit..” = Extra period here.

“... that was substandard, the Pilgrim Ships all left on the voyage with major problems.” = I’m curious about these problems. How was it substandard and what problems did that cause. Maybe this isn’t the time to go into it, but just a couple words to help the reader understand a little better might be helpful, especially since it seems important.

"While they were speaking members…” = Comma after “speaking”

“...of the Earth's government had arrived and sat down. All had been called from their beds as a result of the emergency. It was informal but the atmosphere was tense as the new arrivals caught up with the emerging details of the situation.” = Here’s another spot where I would love to see more imagery describing the situation (more showing, less telling). This section feels a little choppy, but I think it will flow better if there was more description.

"It was now was 4 am in Paris where they were meeting “ =Where are they meeting? An embassy? A hotel? A university?

"Ladies and Gentlemen this is an emergency meeting as a result of the arrival in orbit round the Earth…” = Comma after “Gentlemen”. Also, I wonder if you meant “around” instead of “round.”

"We have no information as to why it has arrived here and who the occupants are and what they want.” = Suggest: "as to why it has arrived here, who the occupants are, and what they want” to remove the extra “and"

"Grode turned to a grizzled old man with a long scar diagonally across his face…” = Nice!

"General Ton Tsang was a veteran of the big clean up of the near Earth region.” = I’m guessing this is described in the first chapter?

"His eyes sparkled and he looked ready for anything.” = Nice! Since he seems important, maybe you could describe more about him…what he’s wearing maybe?

"General Tsang you are very experienced…” = Comma after “Tsang”

in these matters. What is your advice?" The General rose to speak. There was a rustle followed by total silence as everyone turned towards him,

"We need to know more and to get ourselves into a position to observe the ship and to communicate somehow with those on board. It is essential to be in a position to react speedily if necessary.” = This feels a little long and cumbersome. Maybe simplify to something like: ”We need to know more. We must observe the ship and initiate communication somehow with those on board. It is essential to get into a position to react speedily, if necessary.”

“...The ship is now finishing its second orbit and in a couple of hours it will be over Europe providing us with a window of opportunity to act which will not recur for 24 hours. I propose we send a space-boat into orbit just beside the ship when it arrives above us. I will be happy to be a member of the crew. The emergency ship based near Madrid is being prepared as we speak. It should just be ready in time” = I feel like a general might talk in a more clipped efficient manner. Everything you said is helpful to the reader to understand his reasoning, but maybe if you made it more military-speak it would be more General-like? I’m thinking short sentences. Possibly military time (0400 hours, if it’s 24 hours from now), maybe even refer to the ship as the “target” or “bogey” or something else that seems military-offical, things like that. I’m also envisioning his voice as deep, almost rumbly, with a no-nonsence, get-down-to-business air. You didn’t describe it what way, but that’s what my imagination has put in.

"There was a brief silence followed by applause.” = I feel like the applause is a little too much at this point. I suspect you’re trying to get a tense air in the room, and then once a plan is in place, people get excited. This would work, but I think you need to increase the tension a bit before the applause makes sense. Maybe even if the president gives a rousing speech or something (a la Independence Day).

"Your offer is accepted General. Thank you and good luck.” = Nice ending. I am guessing the next chapter will start with General Tsang getting into the space-boat and taking off, of possibly in route to the ship already. Makes me excited to read on!

I hope you found some of this helpful. If what I wrote isn’t clear or doesn’t make any sense (certainly a possibility *Wink*, please don’t hesitate to ask. Thank you so much for sharing your work!

1UppyEar Author Icon


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Review of To Save a Patient  Open in new Window.
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: E | (5.0)
Hi Magicmama Author Icon!

This was a very fun read! I'm so glad you posted it *Smile*

1. The Steampunk elements are spot-on! I think you did a good job mentioning them in a very natural manner. If I were to add something to this, and knowing you probably had to limit the number of words you used for your entry, I'd stay it might be nice to have some mention of the clothing Elizabeth is wearing. Maybe something simple like her "skirts swishing" as she comes up the entry steps (though maybe she wears pants - I wouldn't be too terribly surprised with such a forward-thinking Victorian woman as she seems to be).

2. I love strong women characters and Elizabeth sounds like an amazing one! Smart. Independent.I would love to read more about her. I don't know if you've read Gail Carriger's Protecterate Series, but you seem to have a similar style and ability in developing your characters.

3. The ending was a surprise in some ways. I had kind of suspected something supernatural, but I didn't know what. You did a great job keeping the suspense throughout your piece.

4. Suggestion WRT punctuation: "With special bullets filled with splinters soaked in holy water, and blessed by a priest?" = I might either take out "and" entirely or remove the comma.

Thank you for posting this for review. It's definitely in the spirit of the season but I think it's more than that as well. It's well writen, totally interesting, and can certainly lead into more stories if you so choose *Smile*

--
1UppyEar Author Icon


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Rated: E | (4.5)

Hello biosynth Author Icon

I love reading sci-fi! I really want to review your 1st chapter, but thought I should start at the beginning with your prologue. I'm glad I did - it's very helpful in establishing the setting and the history *Smile*

I like it; it's brief but thorough. I like how you get in all the pertinent information without being over-wordy, but you use enough words to give a good synopsis of the history.

Below are some specific comments:

"By the year 2045 the space tourism industry...." = Place a comma after "2045".

"Not long after that the United States..." = comma after "that". Both here and the sentence above are dependent clauses followed by independent clauses, so commas are used.

"By 2050 there were two..." = Comma after 2050. Just a thought: you have three sentences with the same construction right after each other. You might be able to change it up a bit...but it's also a brief summary, so maybe it's fine as is. Just something to consider.

"...Moon based colonies..." = I think there should be a hypen for "Moon-based".

"Another five years and the colonies while remaining small had grown self sufficient ..." = Add a comma after "colonies" and again after "small." I believe "self sufficient" needs a hyphen to be "self-sufficient".

"The Lunar colonies were able to apply for statehood and became the 51st state by 2053. " = This might be nit-picky, but I think the colonies should become a state "in" 2053, not "by" 2053.

"Science and technology advanced rapidly, genetic disorders eliminated in developed countries, cancer survival tripled, and genetic manipulation a personal choice." = There should be a verb in every phrase here. So, you have "advanced" in the first phrase and "tripled" in the third, which is good. But "eliminated" isn't exactly the same thing...the genetic disorders "were eliminated" (by people/technology) but the genetic disorders didn't DO the ELIMINATING, if that makes sense. So, add in "were" before eliminated. For the last phrase, genetic manipulation has no verb at all, so add in "became" before "a personal choice." You could also reword it so each verb is an active verb, versus "was" and "became" which are more passive, but I don't think it's necessary (and I don't have any word-choice ideas for you).

"Advances in material engineering, computers, and energy shortened space travel to mere hours to the Moon and from a month to a week for Mars, depending on orbit." = This is very well-said. I'm thinking about how I would write it and, for me, I'd probably have had to make it at least two sentences and it would have been cumbersome to read. Nice and succinct! Kudos!

"By this point rogue nations..." = Comma after "point".

"The retaliatory strikes that were immediately launched quickly ended nuclear conflict, but left the Earth less than a century until nuclear fallout left it uninhabitable." = No comma needed after "conflict." Also, you use "left" twice. Maybe the first "left" could be "gave"?

"The war, suppressed by the impending end and the Earth doomed for thousands of years of lifelessness, the colonies opened to the people of the world to escape to." = What about: "With the war suppressed by the impending apocalypse and the Earth doomed for thousands of years of lifelessness, the colonies opened their doors as a means of escape to the people of the world." I'm also wondering if it's really "doomed for" or "doomed to"? Maybe "doomed for thousands of years to barrenness?" I don't know...something feels off about this sentence, but maybe I'm just looking at it too closely.

"This is the period when the colonies became the only safe haven to humanity, and thus began the exodus." = For impact, I might use a semi-colon here instead:" ...the colonies became the only safe haven to humanity; thus began the exodus."

I really enjoyed reading this and am looking forward to reading chapter 1 as well. I think this sets a good tone for what's happening in the universe of your book. I truly am impressed with how much information you packed in a small amount of space without making it complicated to read. It's very well done *Smile*

--
1UppyEar Author Icon


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Rated: 13+ | (4.0)
Review - Chapter 2: Torin Tarsis

Hiya Ben Crawford Author Icon

I read it *Smile* Again, I like it *Smile*

At first blush, I'd say Chapter 1 is much more polished than what you have here in Chapter 2, especially with regards to sentence structure (there a many run-on sentences here) and general typos (missing punctuation, especially around quotation marks, missing words, etc.). I think that's all stuff you'll catch if you do any major editing: if you would like me to go through line-by-line and make specific suggestions, let me know as I don't mind doing that.

That said, I love what you have here. Here's why:

1. You really get into Torin's character and motivations, and I really like this guy. He's a mystery...he comes off cocky and arrogant, but there's more to him. I like that he helps the little girl being chanced by the stick. I like seeing his sense of humor in his reverse pick-pocketing and his weird restaurant orders. I very much enjoy his intelligence as shown by his knowledge of books. His conversation with Kenton is telling, too, yet also shrouded in mystery, which I love. You're just giving the reader a little bit of a time with which to figure Torin out, and I think that's done really effectively. The fact that he flirts with Sarah seems sleazy, yet he also foregoes the brothel invitation as well, so I'm also surmising he's a pretty moral guy: maybe his morality is dependent on what he would gain by making immoral exceptions? I'd love to get to know him better.

2. Your word choices are, on the whole, great. You vary your vocabulary, you use expressive and descriptive language, and the dialogue seems to be "period" or whatever the right word is to describe fitting into the the time/era/place of your setting. Torin's language fits him very well, with his slang and cursing (in another language, to boot) and he's flippant manner.

3. You brought Kenton into this chapter. After Chapter 1, I assumed Kenton was the main character. Then a good part of Chapter 2 focus on Torin. Maybe Kenton still is THE main character, or maybe there are several...I don't know yet. (It's ok that I don't know yet. I do not find that distracting, so no worries about that *Wink*. Having Kenton and Torin meet up and talk worked well and I think helped to further the story by letting the reader know Kenton was still there.

A question or two:

1. Sarah - why is her name Sarah? Everyone else has a more unusual name in he story so far. There's nothing wrong with Sarah. I'm just curious.

A few suggestions:

1. More scents! I'm not sure you used that at all here, unless I missed them. What did the marketplace smell like? The bookstore? What about the leather book? What does it smell like (or what other sensations does Torin experience) when he travels though space with his magic? The smell of burnt rubber? Maybe that lightening-ozone smell? Vanilla?

2. In that same vein, more tactile descriptions would be great as well. That letter book is a good example: rough or smooth? His coin purse that he hands to Sarah is another example.

I'm very eager to read more of your book. I love these characters and want to know more about the story!

*Smile*

--
1UppyEar Author Icon

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Rated: 13+ | (4.0)
Thank you so much for posting this. I very much enjoyed it!

I saw this on the Newbie Academy Review Requests earlier this week during the Review Raid. It just took me a few days to get the reveiw done *Wink*

Your main question was how to turn it into a novel. The simple answer is to write more. A lot more *Wink*

I think you certainly have a great start here with what you have. You have two compelling characters that I already am very interested in learning more about. Here are some things for you to consider in developing this into a much a larger piece:

What is your male character's backstory? Is he running from something? Maybe he's hiding from something? There's got to be a reason he's suddenly arrived in her small town and doesn't stay long. What is that reason? Is he on a mission to save the world? Maybe he has to save your female character from something for some reason?

Is he human with special powers or is he not human? If he's not human, what is he?

Your female character seems like a typical small-town girl. That's good. You do a good job with what you've already written for me to have a picture of her. In order to write more about her, you'll need to explore her backstory as well. Maybe all is well and good, but most good characters have character flaws and/or trials they need to overcome, either from their past or throughout the story you are writing. Think about what hers might be and how you might explore them.

What makes these two people so drawn to each other? Is there something special about the girl that maybe the guy knows (maybe she's like him and doesn't know it? Maybe he has information that will save her from some evil that she's not even aware of yet?)

Another thing that will help transform this short story to a much longer story is to spend more time on developing their relationship. As an older, and more cynical, reader, I have a hard time believing in Love At First Sight *Wink* When I'm reading a story that involves two characters' love relationships, I find the ones I like most are the ones where the reader sees the relationship developing even before the characters are aware of it. I like the suspense of wondering if, or when, they will get together and I find the stories where I'm yelling "Kiss him already!" to the pages are the ones I've most enjoyed. When they finally get to be together, I feel satisfied. So letting your characters get to know each other over time might be both helpful in giving you more material to write about as well as making it more intriguing for your audience. In this case, there might be a reason your male character can stay in the town. If he's hiding, it's a small town, so maybe that is to his advantage. If he's on a mission, maybe your female character possesses something that keeps him safe or can help him complete his tasks. By doing this, she gets to know him better and therefore they have the opportunity to fall in love, even if at some point he DOES indeed need to disappear for a while (though, in my personal opinion, a year is too long, but that is just my opinion).

With regards to what you've already written: I really do like it. I'll make some comments below about things I see. Since I suspect you'll be doing lot of editing of it, I'm not going to focus too much on grammar and things like that, but I'll point out some stuff that I think you might not notice through general editing (things like look right because you wrote it but are much more obvious to other readers). I will quote your words, then put my comments after an "=."

"It was dawn and the sun was just making its way over the far mountains, lighting up the streets where I lived. All that I had on was my PJ's and a long thick woolen robe that I tied tightly around me to keep off the cold winds. It wasn't doing much but it was better then nothing." = Nice imagery, well explained. Flows well.
"He had messaged me the way he said he would have, through my dreams." = Very interesting *Smile*

"I could see that the gate was open just a little someone was already here?" = Mabe "I could see that the gate was open just a little. Was someone already here?"

"I had to clam down." = Calm, not clam *Wink* Same in the next sentence too.

"I don't know why it took me so long before I came here though?" = No question mark needed as it's a statement.

"I was walking slowly I could hear the thick snow move underneath my every step." - Good imagery! I might change it just slightly "I was walking so slowly I could hear the thick snow crunch underneath my every step." Or maybe use "crunch" or "squeak" or another noise word as it adds just a little more imagery to the scene. I always try to use three senses in each scene. It's easy to use sight, of course, and relatively easy to use sounds, but a lot more challenging to use taste or touch.

"I didn't need to look for him I knew exactly where he was, where he would be waiting for me." = You need a semi-colon after "look for him" and before "I knew". Those each are independent clauses.

"I tucked it back behind my ears as the smell of car fuel and popcorn was in the air, must have been from last nights show?" = Again, this is a statement, not a question. You're guessing, of course, but a question would be "Is it from last night's snow?" You could change it to "...was in the air, supposedly from last night's show." That's still a statement, not a question.

"I was thinking about him as I walked on dose he still look the same, did he finish what he had gone to do?" = I think a colon after "walked on" would be good. Also "dose" is "does." And I, too, wonder what it was he went to do? You could write a whole chapter all about that, at least, maybe even several, depending on the details *Wink*

"My friends and I didn't go in a car none of us were old enough to drive yet so we had walked to the drive in movie theatre." = This is kind of a run-on. Try adding "as" before "none" then a comma before "so." I'm also wondering if "drive in" is really "drive-in." I didn't look it up. Just check on it.

"I was sure that at that time I had smelt him first before he had said anything to me?" = Again, no question mark needed here.

"I was standing there when a smell so nice so pleasant blew past me over taking all the regular smell of the drive in." = Describe. Scents are hard, some male scents that are easily identifiable include sandalwood, bergamot, musk, pine, mint...think about Old Spice or other colognes. Maybe this guy wears a popular fragrance your audience recognizes, or maybe you just describe it as a combo between some of your favorite male scents.

"I was just about to look around me to see where that smell had come from? = Again, no question mark. Try this: "I was just...where that smell had come from when he said," Taking the whole paragraph together, I'm also thinking you might have better flow if you describe it in logical order from your female character's perspective, like this: 1. She smells something very nice that catches her attention, 2. It's a male's scent, which you can describe, 3. She notices that it belongs to this nice looking specimen behind her, then, 4. He talks to her. In this order, you won't have to say "I was sure that...I had smelt him first...." because you'll have demonstrated it - she'll have lived it. This is a good example of "Show, don't tell," in that you *could* tell your readers what happened or you could describe it and it'll be apparent to them without needing to be so outright about it. Just a thought. I can't say your way is wrong or bad or anything like that though.

"I could hear your heart beat, you know?" = Also a statement, so no question mark needed here. Or, if you want the question, "Did you know I can hear your heart beat?"

"The voice was deep and sounded so seductively sweet it made me jump." = Nice! You could even dwell on this a bit, "It rumbled through my chest and caressed my skin with it's smoothness" or something (ok, that sounds corny, but you might have a better idea *Wink*


"I swear I was looking at an ancient god." = Very cool imagery! And, I wonder, is this a hint at his past, at who he really is?? [As an aside, I recently read Richelle Mead's Gameboard of the Gods, which spends a lot of time talking about living/active ancient gods and goddesses in this vein, kinda.)

"Thanks to the light from the popcorn and other food stands" = Describe this light. "Casting an orange glow" or "filling the dark with neon colors" or "shining pale" or something.

"I was able to see his drop-dead-gorgeous face as I gazed into his jade green eyes." = I LOVE the jade green eyes! Describe more: his eyebrows, his cheekbones, his lips, his chin, the skin, could there be a scar? This guy is important - spend time time on him so your readers know that.

"I shout my mouth" = "shut"

"Was he laughing at me?" = Yup, that's the right spot for a question mark *Wink*

"but I was amazed that I was even able to remember what he had said after seeing his face?" = Nope, this is NOT the right spot for a question mark *Wink* Maybe "How was I even able to remember what he had said....?"
"My god his lips were so perfect but then I replied with "What ever" and rolled my eyes. I was staying strong, good, " = Why is this good? Detail this a bit: I suspect it's the idea that she isn't going to be a flighty girl who drops everything for the first good-looking male that smiles at her, but I think you should give the reader a little bit more about that so it's clearer what she's thinking. Maybe you don't know this here: if this becomes a novel, maybe there could be a spot earlier in the book where it's made clear that she will never take a submissive role in a relationship - she could be talking with a friend, trying to get her to be more assertive in her relationship or something. Or maybe she notices that's a flaw in her mother's relationships. Or maybe she's had a bad relationship experience and has vowed to be stronger, to not let herself be swayed by empty promises and a pretty face?

"Your pretty, " = "You're pretty."

"I turned around and walked slumping back to the popcorn lady." = Nice visual.

"It was in the late evening that we were at the drive in. The sun was already falling changing the sky's colour, dimming the world around us." = Describe in more detail!

"I didn't pay for any of it though my friends had all shouted me they just let me buy so that I could pick whatever I wanted." = "Shouted me"? This is also probably more than one sentence.


"I grabbed a handful of popcorn lifting my head I shoved the whole lot into my mouth but that's when I saw him." = Try this: "I grabbed a handful of popcorn. Lifting my head, I shoved the whole lot into my mouth; that's when I saw him."

"He was standing on the other side of the parking area leaning on a tree, his hands in his pockets." = More! "The wind was whipping around him, shaking the leaves and rustling his clothes....the fading sunlight highlighted the bronze tones of his hair. His leather jacket hung perfectly on his strong frame, looking both rebellious and stalwart at the same time. I couldn't believe what I was seeing..." Again, corny: I just pulled that outta the air. But really take the time to paint a picture. I want to know A LOT MORE about how this awesome guy looks *Wink* You must have a good mental image of him - make your readers see him too.

"Embraced," = Embarrassed

"I had moved away from where ....... just about to head back when I heard a voice." = Nice paragraph!

"No wait stay please." = I like the dialogue between them, starting here. It shows how uncomfortable they are with each other, but how they are both interested in each other as well. He seems like a nice guy. I like that he's slowly moving closer to her throughout, too.

"What was happening to me I couldn't focus on anything? All I could hear was my heart beating all I could see was his face. His face, his beautiful face was so close to mine now. He was standing only just a couple of inches away from me and still I felt as though that was too far a distant between us. I wanted him to close it, so bad I wanted him to close it. What was wrong with me? Was I going crazy?" = Love this so much!

"I slowly looked up at him tracing his face as I did. From his long neck sticking out of his zipped up black jacket, to his chin, to his perfect lips, his strong cheekbones, to his noise and then to his eyes that looked like I could gaze into them forever and never tire." = Good, but go into more detail. What does his chin look like? Is there a dimple, is it chiseled? His "noise"? *Wink* Is it a small nose or a big one, pointy or stubbed, does it turn up or down or look like it has been broken at one point? You've described his eyes before, but this might be a place to put in a metaphor: "eyes that are hidden pools in the forest" or something like that. And color! What color are his lips? Pink, magenta, brick red, almost brown....

"I saw you." He said in his sweet seductive deep voice. "Before as you came in with your friends, you looked really beautiful." = Ok, now I'm being nitpicky....there's GOT to be something MORE than her looks that attracted him to her, right? I mean, looks only go so far and beauty is only skin deep. And of course he can, for some reason, hear her heartbeat. This might go back to what I said before, about him having information about her that she doesn't (she's special in some way). Not that he's going to tell her right now or anything, but there could be something else he hints at, right?

"I did it on propose you know?" = I think you mean "purpose." Freudian slip? *Wink*

"He was moving his thumb in a circle on the back of my hand now and it felt so good." = Nice!

"Because." He stopped and... "I can't take my eyes off of you ether." = Nice!

"As he stood back up his cheek lightly brushed against mine and I closed my eyes for just a second. I was breathing in and out heavily now. Who was this guy who was making me feel as though we were the only two people in this whole entire world? Where had he come from and why was he saying all these things to me? " = Also nice! And I want to know these answers too!

"I looked around me I was standing just in front of the big screen now I still remember the movie we had picked for that night." = This is 3 sentences *Wink* Put a period after "me" and "now" or rework it entirely.

"I looked a bit farther down and saw the trees where we, he and I, had talked and he had first held my hands." = I like this sentence. It's different than most of your others with the "he and I" part inside the commas. It's nice....I can almost hear her internal voice saying it.

"... walking together hand in hand in the cold winters night and the white snow all around us," = I thought it was Fall, at least the first time they met. The second time, when she's running to meet him after his message to her in her dream it was snowing. I'm just a little confused...double check all your weather references to make sure they are clear.

"I knew you would've like it." = This scene with the snow is nice, though I don't see how he would have known she would like something since they just met. This might be better, assuming you do try to write the novel, as part of the relationship-building stuff, after they know each other just a little.

"I couldn't tell whether I would have been blushing like crazy or not?" = Maybe she can tell: "My face felt hot despite the cold air: my blush must have been obvious to him as well...."

"...how I wanted to just close that small gape between us..." = Nice! (though it's "gap.")

"He picked up my hand and slowly...I wanted to feel the feeling again but this time on my lips. I couldn't believe how much I wanted him?" = Very descriptive paragraph. Captivating.
"I am." He said in his deep voice. "Will you forgive me?" = OOOOH. This is interesting. How and why can he read her mind? What's going on? Who is he? Will she be ok with this? Lots to cover here! *Smile*

"He was moving in closer now ...touch into the long awaited beautiful kiss." = Also very nice! The next paragraph is pretty awesome too! My only critique here is that you use "beautiful" a lot. Find some other ways to say it - pull out the thesaurus *Wink*

"That was..." He said as he breath heavily in and out through his mouth. "I, I think I love you?" = <rolling my eyes> One Kiss. One Kiss? One Kiss and they are IN LOVE?! I think that's stretching things a whole heck of a lot, don't you? But....if you've developed a relationship between them over the course of several chapters and some amount of time, even a few days, I think it works PERFECTLY!! *Smile*
"My words had made his smile even wider...It felt so sensationally remarkably divine." = Very nice again. You got this relationship stuff down pat *Wink* Same with the next two paragraphs.

"...you something?" He moved his hand from the back of my head back to my cheek and lifted my face to face his. "Will you wait for me?" = Again, if they have a very strong relationship and if there's a good reason for him to leave (because of his mission or whatever) this is good. If they've just met, not-so-good.
I suspect a good portion of the next several paragraphs will change some if you do try to make this into a novel, so I'm not going to comment on those. A lot of my previous stuff applies: describe, check sentence structure, etc.

"His body next to mine, his weight upon my body, it all felt so good. I had been waiting so long to feel it all over again." = This is good *Smile* I'm not sure about all the stuff above as it think'll depend more on what you do with developing their relationship. I, personally, can't buy into these two perfect strangers falling in love one night, then your female character waiting for him for over a year <shrug>.
"He was back and he was back for me. We were together now, ....he could protect me from any danger this world had to offer. " = I think this whole paragraph is really well done, especially if you develop the whole "danger this world has to offer" idea in an earlier part of the book or story, which could be related to his purpose/mission/special talents.

In sum, I really think you have a lot of great stuff here. I think you have enough to develop it further into something more, like a novel or novella. I think it depends on what you want to put into it: lots of time, lots of work, lots of words *Wink* I would love to read any more iterations you might come up, especially if you expound on your characters because I'd like to get to know them better.

Thank you for sharing your work!


*Gold* My review has been submitted for consideration in "Good Deeds Get CASH!Open in new Window..
23
23
Review by 1UppyEar Author IconMail Icon
In affiliation with The Newbies Academy Group  Open in new Window.
Rated: E | (3.5)
Thank you for posting this for review. I very much enjoyed reading it.

You've done a great job of setting the stage here. I love how the husband describes his wife and her love of, and even lust of, life and the fun experiences they've shared. His retrospective musings about the past, about the time before the stillbirth, is sweet and really shows his love of his wife and how happy he is to follow her wherever she wants to go. Her depression following the trauma really takes its toll on him and that's apparent in what you've written: he's not unwilling or unable to care for her, he just feels at a total loss on how to help her carefree personality to return. It's a sweet story even despite the hard times they face together.

I have some suggestions on flow, word choice, grammar, per your request:

"spur of the moments" = maybe choose something else, like "spontaneity," "going with the flow," or "moving where the air takes you."

"At first it was disorienting. But love can change any person struck with it. " = I suggest joining the two: "At first it was disorienting, but love can change any person struck with it."

"There was a time when I said the weather was hot" = maybe just say "Once" or "One time I said the weather was hot...". "

"Instantly, we were off the road for eight hour drive." = change "off" to "on" and add "an" before "eight."

"Long trips with you were just like minutes." = Maybe something like "Long trips with you FELT like MERE minutes."

"You never ran out of stories and even songs to sing." = parallelism: "You never ran out of stories TO TELL OR songs to sing." Because in your case "to sing" will modify both stories and songs, and of course we generally don't sing stories, though I guess we can *Wink*

"Days past, weeks past, months past..." = I think you might mean "passed" instead of "past" here.

"Days past, weeks past, months past, you remained silent. No words, no tears and not smiling at all." = This is just a suggestion, and feel free to ignore it but I think this might have more impact -"Days passed, weeks passed, months passed yet you remained silent: no words, no tears, no smiles."

"you did the game thing again" = maybe "you played the game again" or even "you played the game with me again."

I'm not sure why she has has changed her name. Actually, I'm unclear whether she's changed her name or if she's named the baby. I'd be interested in hearing her husband reflect on the name choice in in either case. A good spot for this might be right after he says he's deep in thought: as a reader I'd love to know what those thoughts are *Smile*

I very much enjoyed reading this from the husband's perspective. His thoughts about his wife are lovely and his concern for her is palpable. I'm sure he's suffered a lot as well not only because of the loss of the child but also in seeing his wife suffer so.

The last two lines are beautiful, full of hope and a new beginning for them both. I love them.

Thank you so much for sharing your work!

--
1UppyEar


*Gold* My review has been submitted for consideration in "Good Deeds Get CASH!Open in new Window..
24
24
Review by 1UppyEar Author IconMail Icon
Rated: 13+ | (4.0)
Hello!

This is my first review and I am, obviously, new here, so I hope I do this right *Wink*

I started reading your chapter and was hooked at once. I love it and I will enumerate why below.

1. The Names! I Kenton's name rocks. In fact, I like all the names you've used. The first name/last name pairs work really well together and seem to set the tone for their personalities, from what I can gather from just the first chapter. I'm not a big fantasy reader, though I have found some I enjoy. For the most part, however, I find the names something I skip over as I can never pronounce them or they seem to difficult to figure out. Not in this case. Your names are easy to keep in mind and follow.

2. Your descriptions are very clear and comfortable: I can actually picture everything that's happening as if I was there. I almost feel the drive in the carriage as well as his frustration with his letter writing. The "bath" is well described, and I even cringed at the thought of the dirty water being rebottled and put aside for disposal later. Couldn't he have just tossed it out the window? Just kidding - it's great as is *Wink* Your description of the school is very clear as well, especially the stonework.

3. I very much enjoy your word choices. They are clear, descriptive, interesting, and varied but not pompous or bombastic. It seems you've put a lot of time and thought into it.

4. I did find some minor typos:

Bookshelves lining the rounded walls. - LINED the walls?

Across far side of the room a man and a woman were talked. - Across THE far side of the room a man and a woman were TALKING?

Kenton straightened "does that make me a 30 year old boy?" - add a comma after straightened and the capital D for does.

5. I'm no grammarian, so I can't get into the technical nitty-gritty; however, I nothing stood out to me as glaringly wrong or cumbersome. You have varied sentence structure and complex sentences (is my high school grammar showing?). In fact, I really like the way everything flows.

6. If I had to put in something you might want to consider working on, I'd say maybe the dialogue. For the most part it works really well, but some instances seem to be a little superfluous. For instance, when the message boy is asked why he talks so well. It would not have occurred to me that a message boy would need to be taught proper speaking skills. Maybe that is true, but, unless it adds something to the story later on (foreshadowing?), I'd drop that and go more for simplicity rather than realism in this case. Also, in Kenton and Halbert's conversation about him arriving, Kenton says he arrived the same time as Blythe. Is this important? Stating that he was delayed by weather seems good enough to me and would simplify this exchange, unless later it IS important that him and Blythe arrived at the same time. Does that make any sense?

7. One more dialogue comment: Torin's dialogue is really great. I can almost hear his voice, the tone, the sarcasm. "Somewhere between the whore throwing herself at you and the short one insulting me" is great!

I plan to read the second chapter you have posted and am looking forward to reading more. I really want to get to know these characters. At this point, I don't even care about the plot: the people sound like they will be very interesting.

Thank you for sharing your work!

--
1UppyEar
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