Letters/ pseudo-sci-fi story for feedback

CharleyH

Curioser and curiouser
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May 7, 2003
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Its about 4,200 words, so not a long one, but I do have some specific questions in regards to it as I am, appropriately, at a halt.

1) Does it need more description
2) Do you feel it is telling, not showing more often than not, and yet, if it is a letter, does that suit the tone of the genre?
3) Does the sex just seem slapped into the story?
4) In reading it, and bearing in mind it is a LETTERS (mainly) sci-fi secondary, what would you LIKE to see more of in it that the story currently fails to deliver.

Thanks in advance. Cheers :rose: Charley.

*****

My dearest brother,

For these past years I have tried to make sense of the course my life has taken, and prayed, by the by, that this was a fantastic dream I would wake from. But, there is little hope to relish the shores of America rising into sight from the sea, and still smaller expectation to cast my arms around you in embrace, or behold the lips of the one I once loved, Else.

We were told early that we would not be returned home, though each of us, excepting little Sophia who was too young to recall, has held out a glimmer. Yet, at length, we are sensible of this scrape, and must once more begin to live rather than hold a candle for something that is as impossible as how we arrived here.

If you recall, we hoisted anchor from New York on November 7th, bound for Genoa. The voyage was quite uneventful until 300 miles west of the Azores we met with strong gale winds that had us travelling speeds of 9 knots. By the time we reached St. Mary's Island, the crew was exhausted and hungry. Captain Briggs commanded us leeside the island so the cook could fire the stove for much needed viands, and to allow his daughter, who had been battling sea sickness, some respite.

We were more northerly than expected, and not wanting to anchor, the Captain had us pump the bilge and furl the sails to hold our course forward, heading along the shore.

I have never been able to get used to salted meats, but after three treacherous days without more than bread, almonds and raisins, I was famished and devoured the cooks beef and barley soup as if it were my last meal. I am certain the other's felt the same. We were allotted a few ounces of wine, and the men were able to relax with their pipes before we set sail again.

About a day in, the 1st mate, Albert Richardson clipped wood chips off the bow, and determined that we had cut to 8 knots, but then suddenly there was no wind.

We were silent in the Ocean. The sails dropped. The water laid like glass as the half-brig cut it like a diamond. We all came to deck, even Mrs. Briggs with her daughter. I overheard Seaman Boz Lorensen tell his brother, Volkert about how the ship was salvaged at auction after passing through several incidents and owners. I am not one for tales, and so I moved to tell them not to scare the lady, when the Captain noted a small breeze and ordered the sails be set for a starboard tack. We moved hurriedly, and just as we set them the ship came to a shocking halt as if we had hit ashore.

My body went flying forward, and my hands slapped to the deck, followed by my knees splintering across the wood. Mrs. Briggs screamed for her daughter from behind me, and I whipped my head round as Seaman Martens grabbed the tumbling and crying child.

Another pause, as if we were dead in the water, and then a violent tremor gripped the ship. The beam quaked, the deck was shivering more than I, and the mast was creaking as if it might burst. I tried to stand, to grab hold of something, hearing shouts from the Lady, but the deck appeared spinning, and I was helpless even to myself. Then it stopped as suddenly as it began, but there was a high pitch, almost deafening sound like a caterwaul, and it was as though the ship were being drug through a vice.

"Take down the yawl!" The Captain yelled, and all of us, seized by terror, scurried starboard. Our fear got the better of us, our hands shaking, we could not untie it, and the first mate brought the axe down on the cords, letting the yawl drop to the water without us.

And this is the part, brother, that if I had not experienced myself, I would not believe.

The yawl disappeared in front of our eyes. The water vanished, replaced by land, and the half-brig was dry-docked. Mrs. Briggs fainted, and the rest of us were too much stunned and in disbelief to say aught, let alone move.

I glanced out, and I would like to have been able to say over the horizon, but saw nothing but encasements of glass and what appeared to be smooth pearl and silver walls. It was unlike any building I had ever seen. It was pristine, and there was no sky, though the ceiling must have been a fathom taller as any I had ever laid eyes on. The sounds were all odd, like echoes in a canyon, of voices and pumps, and hammers, and the high-pitched noise was diminishing. There were men, at least they appeared as men, below the hull, and they stared up as we stared down.

The sight caught the better of Boz, who was only 23, and had I not had so much fright myself, I'd have dashed for a covert as he did. It was then that a plank rose from the ground. There were no pulley's or lines, and it seemed to be lifted by the hand of god or the devil, I'm not sure which, and there were five men, dressed in masks, hoods and white uniforms, and they were holding what might have been rifles. The plank stopped and the men stepped onto the deck.

"Decontamination in effect," said a booming voice in every direction. I looked, but could not find the source.

"Captain Briggs?" said one of the men. Instinctively, despite out fear, the crew stepped in front of the Captain, but he pressed his hands up against our shoulders to push us aside and stood forward with confidence.

"I am."

"We need you to follow us," said one of the men.

"I will not abandon my ship."

"By choice or force, Sir," a woman's voice surprised me. "We will explain, and we will return you to your ship, but you must come with us."

I was confused, not only by the sights, but by a woman giving a command. It was highly irregular, since women did not even have the vote, let alone a place of charge outside the home. I wondered if I had hit my head in falling during that sudden jolt.

For those first brief moments, I am certain the Captain thought as much as well. There was no other explanation, than it was a dream, and none of us could be certain that any of this was even real.

The men with the rifles stood forward. The Captain looked around, as seemingly confused about the surroundings as I was, and then he smiled, and agreed. I thought his idea was much the same as mine, that this was all so oddly impossible that we either must be dead or unconscious.

The Captain, his daughter and his still fainted wife were led down a separate hallway, while the rest of us were held naked in a room where an odd burst of wind hit us in all directions. None of us had seen a bath since departing New York, and although we were told this was a type of bath, I must say that it did feel odd to be cleaned without water having hit my skin.

We were provided with dark trousers and black shirts that fastened with metal teeth from the waist to the neck. When we met the Captain, even his wife, now awake, but as terrified and bewildered as the rest of us, was oddly dressed in the same attire. I had never seen a woman in trousers. I had heard rumour that certain, unsavoury women wore them, so it seemed odd that these people would force such an insult upon Mrs. Briggs.

The new room that we were taken too was not as pristine as all other places. Here the walls were charcoal and seemed made of large weaves of fabric. There were chairs made of what seemed leather cushions, a long, black polished meeting table, and an unnatural light that filled the whole of the ceiling.

"Is this a dream, Ben? Have we passed on to the Lord?" Mrs. Briggs' voice cracked. The Captain was at a loss to answer, as were the rest of us.

"The Lord would not force a lady into trousers," Edward Head, the steward and cook, said bitterly.

"If not in heaven, then we are forsaken in hell," said young Boz with a thick German accent.

"What is this place?" said Albert, the first mate, touching the fabric wall, carefully.

Just then, the woman we had met earlier and two older men walked into the room. They were all dressed as we were, and the woman? The woman had short hair, which is unheard of among the middle and upper classes.

We were all shocked, particularly since she seemed to be the charge, and asked us to be seated.

"I will not speak to a woman," said the Captain, his ideas raised. "I want the man in charge."

"I am in charge, Sir. Please, take a seat."

The Captain looked at her hesitantly. We had all heard of suffragettes, and I initially thought this part of the dream, like when we were kids, and saw the old man launch with hammer and tongs at Grandsire, and both of us had nightmares about him for weeks.

"I am Dr. Alia Noble, and these are my colleagues, Dr. Schumacher and Dr. Edson.

Despite her short hair, she was a handsome woman, and I dare say, between you and I, more comely than Else. She is … was not like the ladies that we know, she was not even like any woman that I could have imagined until that point.

"I am the Executive Director of a project called, Rediscooperie. Our purpose is to reclaim history."

We were all silent, and complaisant, for at that point we did not know what she spoke. Our confusion was obvious, and she stood from her seat, and grabbed an oval instrument, like an oversized coin, that had on its face, small buttons.

"This will be difficult for you to comprehend." Perspiration formed upon her brow, giving her face quite an inspirational glow.

"How to explain," she muttered.

"Be forthright, Madame," said the Captain. "What place is this?"

She pursed her lips, and smiled at him. "Yes. And if you have questions, then please ask. When," she paused. "I finish."

I had never heard a woman talk so … well I am not sure brother, exactly how she spoke, aggressively? But each word from her lips was like a swell in the ocean that crashed upon me with exciting fervour. I had not known, until this point, that the power of a woman could be cause for such excitement within me, and this is why I write you and not Else.

"You are currently in the year 2490 AD."

I am certain we would have all burst out in laughter, if not for the bizarre surroundings and uncertain circumstances of our apparent dream.

She pressed the buttons on her coin, and the lights dimmed, and then the whole room was replaced by a moving vision all around us, as if a hallucination inside of a dream that we watched from our seats. Except it was as if these images were there to be touched, as if you might even immerse yourself into it, like gazing in a looking glass, only the whole of your vision was the glass.

"In your time, these images would be still like a photograph, and flat. Shortly after, they became moving photographs that people would pay money to see. Soon after, there was added colour," she said, and then suddenly there were people in colour all round us as she commanded the buttons on the disc.

"Inventions brought 3 dimensional vision, and later virtual reality, and then what you see before you, reality immersion, which we use to teach history, and to re-discover our past."

I looked with amazement all around me, barely hearing her next words, until she turned on the light, and ceased the images. From the look on my shipmates faces, they were as confused and in wonder as I.

"However, while some of the images are true, we have found that many of the recordings from the past have proven inaccurate. Dr. Schumacher?"

Dr. Alia Noble sat down, and Dr. Schumacher began to speak from his chair.

"Although you must be thinking, certainly, that this is a dream, I assure you this is not. In the year 2094, there was a great war, much worse than you can imagine," he started.

Dr. Schumacher told us of this war they called Apocolypse, and immersed us in images of what they called the world wars, and the desert wars that lead to the destruction of all cities in the world. At first the images were black and white, but when the colour images came before us, it was as if we were living these wars. I could see things as if I were there myself, hear the sounds all around me as if I were a soldier, I could feel the heat of the fires upon my skin, and even smell what must have been flesh. Though it was just brief glimpses, it was horrifying to behold.

The doctors spent weeks helping us to understand how almost everything was destroyed, and how people went underground, and then emerged to re-build. The world, they told us, had vastly changed, and except for handed down accounts, recordings, and what little in the way of books, and information stored on these machines called computers, there was no coherent history. After rebuilding cities, the people focussed their efforts on sciences and history, and one brilliant team, we were told had discovered a way in which to bend time and space to travel anywhere in history, or the universe. It was too much for us to comprehend at that time, and seemed more a tale told by Jules Verne.

At first, none of us could believe what we were being told. At night, after these seminars, we were led to bunks that were in the same building. It was more like a house with a common room, and each of us with our own beds to sleep. In those early days, we would retire to the common area and argue and discuss this strange, and mutual experience.

"We cannot all be having the same nightmare," the Captain concluded one evening. "We must believe it is true, and we must determine how to return to our own place and time."

It was hopeful, but it would not come to pass.

In the end Dr. Alia Noble said, "Our purpose in this project is to piece together our history so that the same mistakes do not happen. However, we have treaded on history, your history, your destiny. You do have a choice."

When she spoke those words, each of us in the room felt a momentary respite.

"But in that lifeboat, your yawl, you will all die."

"You cannot know our fate, you are not God," the Captain stood abruptly and looked blue at her.

Dr. Noble allotted us three days to decide. I was curious though, and it was after this meeting that I decided to speak with her.

It was the first time that I had been alone with her, although I must admit to looking at her day after day with a surprising desire that I had never felt toward any lady. She suggested we go for a beaker, and by now, I was not surprised to know that women also took of ale and spirits.

This was the first moment that I had left what I had come to call the complex, and my eyes were opened by the astonishing betterments. Sidewalks moved, and carriages floated without horses, and no stench from the city as I had half-expected. There were no outdoors. It was like passing from one box to another, and yet the ceiling changed from night to day as it does. Buildings were enormous in size, long and tall rectangles, each linked to another by what seemed glass. There was nothing small in this place, and there was not a speck of gravel or dirt to be found. There were mechanical devices that moved all around, and people were everywhere, clean-shaven and dressed in similar fashions, yet it was strangely quiet, although people talked and things moved. But, somehow the noises seemed buffered. What surprised me, or maybe it didn't, was that people of all colours, Negroes and those of different origins, intermingled as easily with the populace as females seemed to take charge.

When I first stepped onto the moving path, I was startled, and grabbed Dr. Noble for fear I might fall. She laughed. It was the first time I had heard her laugh. It was the first time I had heard any laughter since our arrival, and I smiled back with an apology for having touched her in an unchivalrous manner.

"Let's go to my home. I want to show you something," she said.

I thought this a very forward thing, although my surprise at this time was diminishing swiftly.

We were hoisted in a box, again of glass, to a hallway with endless doors, and when we arrived at number 1683, the door vanished.

"Anyone can simply enter?" I asked in astonishment.

"No," she said, and she raised her arm and showed me her wrist. Underneath the skin, here," she grabbed my hand, and ran my finger along the smoothness of her skin. "You can feel a small chip, which is read by scanners in the doorway. Read by any scanner, anywhere," she stated and walked into the kitchen.

"I have something that I am sure you will enjoy," she said.

"A chip?" I asked

"If you stay. You'll have one too. It allows us to move freely, to buy freely, to feel safe. There is no crime here, well, very little, and when a crime is committed, this chip allows us to capture that person right away. It's our way of life."
It seemed reasonable enough.

Her home was cosy, and dimply lit, and the furniture was much older in appearance than in the complex. Yet still, there was nothing recognizable to me, except a chaise in one corner.

"Here," she said, and handed me a glass. "This is a bottle of wine from the court of Louis the Sixteenth, just prior to the revolution."

I knew of the French monarchy, but Louis the Sixteenth was not the King when we set sail from New York, and there was no revolution I had heard apart from my own history.

We sat down in the living area, and she talked of all the items that she had acquired for her home, which she had taken from various points in history. She was a fascinating woman, so full of enthusiasm, and I dare say passion. I barely heard the words she spoke that day, I just remember looking into her eyes, watching the way in which her lips moved, breathing the perfume of her body. I don't know what came upon me, perhaps the publications she pointed out to me – Fanny Hill, The Pearl, and more shockingly Playboy, and Tongue. It was hard to believe that she had them, let alone freely showed them to me.

I almost blushed, feeling the tightness grip my vitals, and then I took her into my arms, and pressed my lips to hers. She returned my kiss with ease, and my tongue swam into her mouth with more passion than I had ever felt, even beyond my first time at port in London.

It was difficult at first to think of her in the same way that I thought of Else, with purity, piety and submissiveness. She was none of those. I felt at a loss and outdated. The women here have the lust of men, brother. Not prostitutes, as we are used too, but all women make love whenever they choose without worry of persecution.

She pushed me down feverishly with her hips thrusting against my groin. I was resistant at first, wanting to heave my body on top of hers, and yet I pleasured in her manly aggressiveness, and then she slipped off of me, I thought at first to beg that we stop, but then she stood, with no shyness, and removed her clothing.

She was beautiful. Her skin radiant, with a fine glow of blond hair shimmering from her arms, and she had no pubic hair, which at first made me to be uncomfortable. I sat up in my seat, and she pushed my shoulder's back, sliding her lips from my mouth, her fingers raising to remove my shirt, and as she clasped my trousers with her hands, her teeth clamped across my nipple, tugging and pushing as her tongue whirled around one and then the other.

Kneeling between my legs, she pulled off my trousers. The heat in my groin was almost unbearable. I was stiffer than I ever recall being, and thought I would erupt the moment her lips pressed over the head of my cock, and eased over my shaft, slowly and deeply until I could feel her throat.

She looked up at me, and her eyes smiled as her mouth drifted off of my erection, and she held me in one hand, her tongue licking down the underside of my shaft to my balls, and then succulently kissing back to the tip, again devouring me, only more roughly with her lips, up and down, I felt the wet moisture of her mouth saturating my cock. She kept her hand upon my shaft, moving it ever faster as her mouth swallowed me, and then she let go.

"Fuck me," she demanded. I had never heard that word in respectable company, not even upon reading Fanny Hill, and barely was it even uttered among prostitutes.

She straddled me, and her pussy dropped pearls of liquid onto my cock before she slipped onto my hardness.

Her breasts were perfect and succulent and I devoured them into my mouth before her body slammed onto my lap. Her nipple slipped away from my mouth, and pressed hard against my cheek. My appetite was inflamed, and no longer willing to be her submissive slave, I whisked her from my cock onto the sofa. She laughed playfully, and then turned over, her buttocks waving in my face, sweet – round - beautiful. I savoured them underneath my hand, and moved my fingers to her hole, fingering her pussy, letting her desire paint across my fingers, wanting her to plead for me.

"Fuck me," she challenged again, and all at once, I rammed my cock into her. Felt myself splitting her open, and feeling the unbridled passion throbbing through my cock. Her muscles gripped at my shaft, and she felt tight like a virgin might feel.

It was primitive, wild as she slammed her body back against mine. My shaft swelled, and my balls tightened as I grabbed her hips and rode her faster, my breath heavier, her moans louder. I could smell her pussy in the air, could feel her body sweating against my own as I thrust harder. My heart was racing, I hadn't been with a woman for months, and could no longer disguise my lust, "I am going, Aria," I yelled out, knowing her fingers were swirling around her clit.

"Harder, baby," she moaned, and my finger almost dug into her flesh as I pounded deep, and hard finally erupting with a fever inside her body.

"Oh, yes, baby, yes, don't stop, I'm almost there," she begged as I thrust the last of my cum into her.

It was on that night when I decided to choose life over death, and I have remained these last five years, though unmarried, with Alia, and our only son who we have named in your honour.

Be it what it would, our crew decided to stay. There was not much choice, really. For me, it was easy to choose Alia. For the others, the choice was more difficult.

Before the ship was returned, the doctors unfastened the cooks stove, and cut ropes to make it appear that something had happened. We never did return, except the Captain to gather some papers, and remove nine barrels of the spirits from the hold.

This land is by far more strange than the exotic and Eastern countries of the Pacific, but this place has become a curious source of happiness and amazement for me.

I write you brother to say that I am happy, and also to say goodbye, though I know my words shall never reach your eyes. I only these words to give you in memorium, and a breath that somehow my feelings will find your heart. I place this paper into a bottle, that same bottle I Alia opened five years ago this day, and I let it set sail to find you, as I sailed from America to be lost to you.

But know that I am not lost, yet only gone from your time.

My will made by me, your brother,
Andrew Gilling,
2nd Mate of the Mary Celeste.
 
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1) Does it need more description. No I think you have done an excellent job of describing everything. You set a wonderful mood, yet don't detract from the fact it is a letter.

2) Do you feel it is telling, not showing more often than not, and yet, if it is a letter, does that suit the tone of the genre? It has to be telling because it is a letter, showing would take away from it. I never once forgot that I was reading a letter.

3) Does the sex just seem slapped into the story? The sex does not seem slapped in, however, it is a little graphic for a letter written in that time period. You cold still use the scene, but find some better more polite words to describe it if you could. It was the one area of the story where I felt you lost touch with the time period.

4) In reading it, and bearing in mind it is a LETTERS (mainly) sci-fi secondary, what would you LIKE to see more of in it that the story currently fails to deliver.I'm not quite sure if I understand this statement. Is it part of a bigger story? If so I have not read it. If it is a story on it's own I think it delivers much, however, there is much more story here to be told. I saw on the bottom of your signature "I Don't Do Sequels" I hope that you would not consider the extension of this tale as a sequal.

Through-out the story I found few errors, if any (although I did not look really hard), but this one sentance, and I'll quote it

"I glanced out, and I would like to have been able to say (see?) over the horizon, but saw nothing but encasements of glass and what appeared to be smooth pearl and silver walls."

seemed a little off, did I do the proper correction there or is "say" the correct word and I am unaware of this use of it?

One other small bit, the dialog. Maybe try avoiding, when possible, direct quotes. Some is nessesary, however in a letter often what is expressed is the jist of what a person is saying and not what they actually said. That one is just a thought, take it or leave it.

Overall a fascinating story and a brilliant idea. Reminds me a bit of Mary Shelly's Frankenstein in the way it is written, that callibre too!
 
One more thought

I'm not sure why, but for some reason I had in my head that the letter writer was a woman until partway through. I don't know why, maybe it's just me? (Being a man I always have woman on the brain).
 
dis_pac said:
1) Does it need more description. No I think you have done an excellent job of describing everything. You set a wonderful mood, yet don't detract from the fact it is a letter.

2) Do you feel it is telling, not showing more often than not, and yet, if it is a letter, does that suit the tone of the genre? It has to be telling because it is a letter, showing would take away from it. I never once forgot that I was reading a letter.

3) Does the sex just seem slapped into the story? The sex does not seem slapped in, however, it is a little graphic for a letter written in that time period. You cold still use the scene, but find some better more polite words to describe it if you could. It was the one area of the story where I felt you lost touch with the time period.

4) In reading it, and bearing in mind it is a LETTERS (mainly) sci-fi secondary, what would you LIKE to see more of in it that the story currently fails to deliver.I'm not quite sure if I understand this statement. Is it part of a bigger story? If so I have not read it. If it is a story on it's own I think it delivers much, however, there is much more story here to be told. I saw on the bottom of your signature "I Don't Do Sequels" I hope that you would not consider the extension of this tale as a sequal.

Through-out the story I found few errors, if any (although I did not look really hard), but this one sentance, and I'll quote it

"I glanced out, and I would like to have been able to say (see?) over the horizon, but saw nothing but encasements of glass and what appeared to be smooth pearl and silver walls."

seemed a little off, did I do the proper correction there or is "say" the correct word and I am unaware of this use of it?

One other small bit, the dialog. Maybe try avoiding, when possible, direct quotes. Some is nessesary, however in a letter often what is expressed is the jist of what a person is saying and not what they actually said. That one is just a thought, take it or leave it.

Overall a fascinating story and a brilliant idea. Reminds me a bit of Mary Shelly's Frankenstein in the way it is written, that callibre too!

Thank you, Dis Pac, you have given me things to think about. The whole letters thing is new to me, and even in a letter I write, or email, if recounting, I always make the scene read like, hm, like it would be in the now, so I guess I need a new way to approach it in a narrative.

I have not done a gramma check, but I do have an editor who will point to things when the story is complete, Again, :rose:

No, it is a stand alone, and realize it could stretch out, and so this is why I am asking what, particularly letters or sci-fi fans would want more of since it is this genre.

As for language. Yes, I had thought of this. He was from the past and living 5 years in this new future when he writes the letter, so I thought more language appropriate to current language, but you are enlightening me, perhaps t disturbs the mood of the story, maybe he still speaks with that tone. DEFINATELY things to consider.

Thanks so much!
 
Any time!

I would not change things too much. The letter style is somewhat restrictive and adding any more details may cause the reader to not believe in it. It does leave one wanting more story, but then again so do many other novels/stories/movies, there is only so much you can say in one peice.

Fans of sci-fi will like this story even though it is not particulariy "sci-fi-ish" just because it is exquisately written, and fans of letters... well I don't know what they look for, not really into that. I wouldn't concern yourself too much on whether or not it is hitting the fan base that it is pushed into, it's a great universal story for all readers.

As for his language change due to being in the future for so long, it may happen somewhat, but it is not reflected anywhere in the letter save the telling of the sexual encounter. The rest of the letter is written with an older language and I would not change this at all! Just like I said just a mild revision during the love making.

Congrats on a brilliant expulsion of imagination and I look forward to reading the completed version. I will keep an eye open for it.
 
Most 'letter' style stories seem to end in a death- or a will- Why?
Dare to be different.
Just a thought.
 
Well actually this one does not ;) Its just the salutation :) not dead, but dead to someone.
 
You have much to say. I appreciate your take, again thank you :rose: As I do Kendo, yours.

Tell me more? There is no death here, only loss and beginnings, so what do you mean?
 
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Hi Charley,

The questions:

1) Does it need more description
Yes and No. If it's really a letter, I think it would have less description. This is always the problem with an alleged letter- how do you make it a lively read? For instance, few real letters have complete conversations- yet this is one of the things that makes a story alive for me.

2) Do you feel it is telling, not showing more often than not, and yet, if it is a letter, does that suit the tone of the genre?
Yes. And Yes.

3) Does the sex just seem slapped into the story?
Yes. Very. And would one Victorian brother really write to another with such graphic sexual detail?

4) In reading it, and bearing in mind it is a LETTERS (mainly) sci-fi secondary, what would you LIKE to see more of in it that the story currently fails to deliver.
If you decide to keep it as a letter, I think less detail would be more realistic... and less enjoyable. I'd have enjoyed it more, I am sure, had you abandoned the letter format but kept it as a casual first-person narration. Since he's not expecting his brother to read the letter anyway, I'm not sure what the point is of even making it a letter, except perhaps the challenge?

Stray thoughts as I read:

It was highly irregular, since women did not even have the vote, let alone a place of charge outside the home. I wondered if I had hit my head in falling during that sudden jolt.
This struck me as an odd line when I read it, as if the writer knew women would vote. Of course as he writes it, he does know this- and that makes the sentence seem even more awkward, if that makes sense.

The water laid(sic) like glass as the half-brig cut it like a diamond.
The diamond analogy strikes me as a bit romantic for a sailor.

I had never seen a woman in trousers. I had heard rumour that certain, unsavoury women wore them, so it seemed odd that these people would force such an insult upon Mrs. Briggs.
"The Lord would not force a lady into trousers," Edward Head, the steward and cook, said bitterly.

Some redundancy here. No big deal, but I noticed.

We were all shocked, particularly since she seemed to be the charge, and asked us to be seated.
Considering the dialogue that follows, I'd like to hear exactly how she "asked" them to be seated.

"I will not speak to a woman," said the Captain, his ideas raised. "I want the man in charge."
He won't let her tell him to sit after he let her order him from his ship? I think not.

Dr. Alia Noble sat down, and Dr. Schumacher began to speak from his chair.
A nit, but I think a physical description, such as "a grey-haired man", rather than "Dr. Schumacher" might have been smoother here.

"You are currently in the year 2490 AD."
"In the year 2094..."

Assuming these years are arbitrary, perhaps picking ones without the same digits might be better.

I knew of the French monarchy, but Louis the Sixteenth was not the King when we set sail from New York, and there was no revolution I had heard [of] apart from my own history.
The mate seems a bit knowledgeable for a nineteenth century sailor. Sure, he might have become knowledgeable after he was a sailor- but this line implies the knowledge precedes the voyage. If this story is from the 1870's and he is knowledgeable of the French monarchy, then he must know of how the monarchy ended with the revolution.

It was on that night when I decided to choose life over death,
Yeah. Tough choice, that. :rolleyes:

"Fuck me," she demanded. I had never heard that word in respectable company, not even upon reading Fanny Hill, and barely was it even uttered among prostitutes.
Agreed that the word would be a shock to him, but I'm more interested whether he found it a turn-on or a turn-off.

Overall impression:

I thought the early descriptions were excellent, you had me during that portion of the story. After the time shift however, the story lost its momentum, at least for me. After the that point, I thought the conflict was resolved- and I didn't sense any new tension develop- so maybe that should be the end of it?
Also, I never quite grasped what the people of the future are doing with regards to reclaiming history; do they rescue those facing sure death so they can have first-hand accounts of their past without any chance of changing that past? Or is there something else?

I hope I didn't come across as too negative in the critique. As Lit authors go, I consider you among the elite and would not want you, nor anyone else, to believe otherwise. Letters are so difficult to make both realistic and erotic- so difficult I've yet to read one I found arousing.

Take Care,
Penny
 
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Hi, Charley-

I'll start with my general thoughts and suggestions, and then go back to your specific questions.

The story definitely grabbed my interest, and your style, elegant as always, was present throughout. That's a very positive thing in a difficult medium such as letters - and as you know, I speak from experience there. ;)

One thing that caught my attention was the dialogue. When it appeared, I stopped feeling as if I was reading a letter, because the narrator became too estranged from the story - a little too much show, and not as much tell as letters should be: by definition, very personal documents.

It reminded me, by opposition, of "The History Man", by Malcolm Bradbury. Despite being in the 3rd person, the narrator of that book feels very close to the readers, as if telling us a story in a bar. One of the ways this was achieved, I felt, was by the way the dialogue was presented: not as it would normally happen, as you did it; but without paragraph breaks unless there was a change in subject, with strings of dialogue rushing one to the next. It made it clear that if the book were to have an audio version, those lines wouldn't have been read by any of the characters quoted, but only by the narrator itself. I think that is the model that best suits this letter format, and it would provide you with a fluidity that could at once flesh-out more your narrator and make the letter more believable.

As for the questions:

Does it need more description?
Not necessarily. I greatly enjoyed your attention to detail, and that's an important element of the story. From what I said above, though, it's obvious my position is that the dialogue in a letter should be more description and less transcription. :)

Do you feel it is telling, not showing more often than not, and yet, if it is a letter, does that suit the tone of the genre?
Yes, and could be more; and absolutely.

Does the sex just seem slapped into the story?
I wouldn't say slapped, but I would like it to be more closely woven into the story. Perhaps it would improve that weaving if the narrator danced around the subject a bit - dwelling more on what happened in the weeks they were held. I felt there was something missing - a connection, some sort of trust or relationship to be created between him and Alia before she invited him to her home.

I imagine that the narrator would have done that - hesitate to go into sex descriptions in a letter until that relationship had been established, and then he would let it all flood out - the reason why he had chosen to stay, the moment he had realised it was inescapable.

In reading it, and bearing in mind it is a LETTERS (mainly) sci-fi secondary, what would you LIKE to see more of in it that the story currently fails to deliver.
I think most of what I could say here has already been addressed: a more fluid, narrator-told dialogue; more details of those weeks, of how he felt, of how he related to others.

My overall impression of the story is very good, though. I'm looking forward to read its final version. :D
 
Penelope Street

The questions:

1) You said:
If it's really a letter, I think it would have less description. This is always the problem with an alleged letter- how do you make it a lively read? For instance, few real letters have complete conversations- yet this is one of the things that makes a story alive for me.

I suppose this is the difference from being a letter writer and a person who has always written ... I met a guy when I was 16, and he wrote the most beautiful and descriptive letters complete with conversations. I find myself influenced by him in that way, and rather than a letter, such from me were more journalistic in nature. I will keep this in mind though. Perhaps having him recall the story as he says good bye to his brother. I still like the message in a bottle thing, even if it is cliche'. I also think more research would be needed to be in any way an excellent story, but for now ... just starting.

3) You said:
Yes. Very. And would one Victorian brother really write to another with such graphic sexual detail?

I kind of knew that, but LOL, needed to confirm it for myself.


4) You said:
If you decide to keep it as a letter, I think less detail would be more realistic... and less enjoyable. I'd have enjoyed it more, I am sure, had you abandoned the letter format but kept it as a casual first-person narration. Since he's not expecting his brother to read the letter anyway, I'm not sure what the point is of even making it a letter, except perhaps the challenge?

Perhaps. Perhaps. (nods)

Stray thoughts as You read:

LOL, I see your point on many things, and such is the intriguing challenge of writing from the POV of someone in the past and trying to blend it with the future. It definately could use explanation in parts, and more in others if I opt not for letters. Apparently a lot less if I do opt for letters.

Overall impression:

I am rarely offended Penny, and find your impressions and critique very enlightening and always, always welcome. (LOL - even had you more succinctly said "I liked the beginning and the rest sucks shit" - LOL joking ;) ) Anyhow, your questions and observations raise many new questions for me, many things I had not thought. Dis Pac said something similar (I know you don't mention here) about his thought that this was written by a woman. I believe this is in part why I was seeking that male perspective/mentor. I am often more poetic in my writing, and descriptive in a way that SHOUTS female.

Perhaps I need to read Hemmingway more closely ;).

Thanks again, Penny. :kiss:
 
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CharleyH said:
Well actually this one does not ;) Its just the salutation :) not dead, but dead to someone.
Hi CharleyH
It's just my impression that most letters do end in death-informing the reader as to how the death came about.
I realise that your story doesn't end that way- but you still end with
My will ...
Maybe it's just me that feels this way, so feel free to totally disregard my prejudices!
I thought the letter was being written by a woman from virtually the first line; it wasn't until I was nearly at the end that I realised- and then I had to go back and see where I had gone wrong.
Again, maybe it's just me. :eek:
 
Lauren Hynde

you said:That's a very positive thing in a difficult medium such as letters - and as you know, I speak from experience there. One thing that caught my attention was the dialogue.

I know you do ;) So as an erotic genre (or is is?) what are the generic constraints? Yes, I see that dialogue is not typically a part of letters in the conservative sense. Could it be? As I mentioned to Penny, I do include dialogue in 'my own lettr writing' so I know if I do it, it is not impossible, but then again, they are usually humourous accounts ... so thinking ... yet I know you are all about stretching boundaries, therefore what would be considered stretching the "Letters" boundary?


you said It reminded me, by opposition, of "The History Man", by Malcolm Bradbury. not as it would normally happen, as you did it; but without paragraph breaks unless there was a change in subject, with strings of dialogue rushing one to the next. It made it clear that if the book were to have an audio version, those lines wouldn't have been read by any of the characters quoted, but only by the narrator itself. I think that is the model that best suits this letter format, and it would provide you with a fluidity that could at once flesh-out more your narrator and make the letter more believable.

Thank you. I would like to know more about this. It may or not be useful since I prefer 1st person, yet I welcome the suggestion. Any others in first person?

As for the questions:

Do you feel it is telling, not showing more often than not, and yet, if it is a letter, does that suit the tone of the genre?
Yes, and could be more; and absolutely.

You disagree with Penny on this point. I would like to know why?

You saidMy overall impression of the story is very good, though. I'm looking forward to read its final version. :D

Thanks, Lauren. :kiss: If I opt for letters, is sex necessary? :) I mean, what do readers in that genre (or category) expect? You or anyone :) :rose:
 
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kendo1 said:
Hi CharleyH
It's just my impression that most letters do end in death-informing the reader as to how the death came about.
I realise that your story doesn't end that way- but you still end with
My will ...
Maybe it's just me that feels this way, so feel free to totally disregard my prejudices!
I thought the letter was being written by a woman from virtually the first line; it wasn't until I was nearly at the end that I realised- and then I had to go back and see where I had gone wrong.
Again, maybe it's just me. :eek:

A third opinion on that last part, and I am really interested in knowing why you all think that (I am sure it is true, as I am a woman) but what might make it more "GUY like"?

Thanks for answering Kendo. I may just change it, or change genres/niches. With the end as a kind of death, do you mean letters are more a 'dear john', and if so, what is your take on what you would like to see in 'Letters'? Not in this story particularly, but rather in the category/niche/genre, itself? :) :rose:
 
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CharleyH said:
You disagree with Penny on this point.
No I don't. She said "Yes. And Yes."

Let me look for a 1st person example that I recall and then I'll get back at you on those other issues. ;)
 
I just thought I'd a note in for the sake of fiction:

Penelope Street said:
Yes. Very. And would one Victorian brother really write to another with such graphic sexual detail?

He may not, but their history is not mentioned here, and perhaps they are brothers which share such stories, and maybe even perhaps one of the motivators for the one brother writing to the other, even though he knows that his story will never be recieved.

I am sure that siblings often shared such intimate details with each other, especially brothers, competeing for the best conquests.

One other thought.
I think if you were to change format from a letter to a story it would lose it's unique quality. I think it being a letter is one of the most important parts. I would work through what you have (which is fantastic) and make it work. It may be easier to change formats, but I am sure much less rewarding.
 
I agree- don't change the format, the story would lose out.
And yes, they do seem to be 'Dear John'.
 
Lauren Hynde said:
No I don't. She said "Yes. And Yes."

Let me look for a 1st person example that I recall and then I'll get back at you on those other issues. ;)

Please do. :D
 
CharleyH said:
I know you do ;) So as an erotic genre (or is is?) what are the generic constraints? Yes, I see that dialogue is not typically a part of letters in the conservative sense. Could it be? As I mentioned to Penny, I do include dialogue in 'my own lettr writing' so I know if I do it, it is not impossible, but then again, they are usually humourous accounts ... so thinking ... yet I know you are all about stretching boundaries, therefore what would be considered stretching the "Letters" boundary?
I don't know if there are any constraints to the genre as such. I don't agree that the stories in the form of letter have to follow any specific structure, be it a "Dear John" or anything that includes death, or a will, or any of the things mentioned before. You know what I have done in my "Letters..." story, and it doesn't fit any of those categories.

There is only one constraint that I can think of: being able to suspend belief. Letters must feel like letters. They must be letters.

I wouldn't say that dialogue shouldn't be part of a letter, but it's important to note that the dialogue in letters is not the same as dialogue in traditional stories. That's what I meant before: dialogue is fine. The way it is presented, though, does not feel like a letter. It feels impersonal.


CharleyH said:
I would like to know more about this. It may or not be useful since I prefer 1st person, yet I welcome the suggestion. Any others in first person?

Here is an excerpt of The History Man containing dialogue. It is evident to me that these lines are being delivered not by the characters, but by the narrator. The narrator is telling a story to you, the reader:

'Over there,' said the fat girl, and she pointed her finger out over the gloomy campus, 'I can see where I live.' 'Where?' asked Howard. 'I'm in Hegel,' said the girl, 'but the roof leaks.' 'Dr Kirk, who was Hegel,' said the bra-less girl. 'Ah,' said Howard, 'You see, you do need to study sociology.' 'Did he know a lot?' asked the bra-less girl. 'He did,' said Howard, 'but his roof leaks.'

Confusing? A little bit. Too many "said" and "asked"? Definitely. But the feel it gives is of a proximity with the narrator that is essential in a letter, more than in any other form.

The secret to avoid this confusion is to keep dialogue to a bare minimum, and bringing it back to the narrator as often as possible. That's what Bret Easton Ellis did in "Letters from L.A." - a (first person) short story in the form of letters. Here is a small excerpt:

On the way back to their house, my grandfather patted my hand and said, "From now on we're going to take care of you - you won't lack for anything," and he didn't seem to be joking.

Short, controlled, and perfectly blended with the narration. ;)

CharleyH said:
Thanks, Lauren. :kiss: If I opt for letters, is sex necessary? :) I mean, what do readers in that genre (or category) expect? You or anyone :) :rose:
I think readers of that gender are more interested in believability and in good stories than in scorchingly hot sex descriptions. But there's no reason for you not to have both! :D
 
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