Putting my money where my mouth is: General critique of the start of a story?

fcdc

Really Really Experienced
Joined
Feb 17, 2007
Posts
491
I have an editor lined up to look at the entire thing, but I was curious if people generally like the style and whatnot. This is about the first fifth of the story. There's no sex scene in this part, I'm afraid. There will be one in the complete story. A few questions, and then without further ado:

  • Are my accents solid? I am aiming for Cockney/Spitalfields (Polly) and Corkonian (James) accents. I do not want them to fall into caricature, and I'm pretty sure they don't. I do want them to sound at least reasonably accented, because each being from those particular locations is important to the story as I have it planned, and I want that to come through.
  • The way I have the story planned out is this scene (1000 words), a flashback scene (500), and then into a sex scene (3000 words), then another flashback (500), then a resolution (1000 words). There's a definite, intentional plot to things, and the sex scene will move things forward. Will people read that? Is 1500 words, including a flashback, before getting into the sex scene too much of a buildup for people who actually want to read this sort of thing, as opposed to a 'stroke story'?
  • I know my voice for this piece is pretty precise and formal, and intended it to be so, to contrast with the realism of what's going on, and the loose speech of the two main characters. Does it still come off as too old-fashioned?
  • Any random Americanisms/modernisms that are specifically jarring? I think I caught the main one (paraffin lamp to the British; kerosene lamp to Americans). I don't want to write in a British tone of voice, but I do want the characters' dialogue to be accurate, and to have terminology correct. There's a fine line there, but I think it's obvious enough.
  • Any good ideas for a title, even from this first part? Titling's an art, and if anyone can come up with anything artistic from this, I welcome suggestions.

Virtuosi have been long remarked to have little conscience in their favorite pursuits. A man will steal a rarity who would cut off his hand rather than take the money it is worth. Yet, in fact, the crime is the same. - Horace Walpole

Then there was darkness. Polly could hear James’ breath rasp harshly in the wall of the cell, and tried to keep out of the way of being jostled as he flung the second door shut and barred it from the inside. He’d thrown the first false panel just in time. They could both hear the servants starting to poke around the drawing room, words audible but incomprehensible. It was the valet and a housemaid, but not the maid Ann, whom she knew. Ann was from Dorset Street, and this girl sounded like she was from east of Watling.

She had expected Ann to be the one to search near their quarters. Ann, dark and tall like the thief she was with, had promised to let them both out, and Polly had seen enough of the housemaid to know the girl was a sallow blonde like herself, and unlike Ann. It couldn’t have been Ann, regardless of the East Anglian accent. It looked nothing like her. Still, Ann wouldn’t have forgotten to volunteer her help in the search. Polly couldn’t imagine that.

Lost in her thoughts at first, she didn’t understand the Irishman’s words closer to her ear. “Your girl isn’t out there, is she?”

Polly wanted to curse in frustration, but she whispered instead. “She ain’t.”

“We’ve only a few hours until they head for bed, then. We’ll slip out then and flee. Promise, love.”

The last word made her stare, but he couldn’t see that in the darkness, and she was grateful for that. Her hand slipped from his arm where she’d clutched, and she moved to the far end of the hiding space, stopping only when her outstretched hands felt the cool stone of the ground-level hiding place.

He didn’t follow her. Her eyes began to adjust to the blackness, and she could make out the silhouette of his form, pressed close against the door, his long, lean body outstretched and his knees looking like they were about to buckle. His breath continued to come in gasps, and she realized he had been more frightened by nearly being captured than she’d been.

Keeping as much of a distance from the close-stool as she could, she knelt to light the paraffin lamp, watching him. The click made him wince, his shoulders visibly flinching.

“We’re not caught,” Polly said quietly, starting back towards the man, watching the light bounce off the walls and illuminate him starkly. “We’re safe, an’ we’ll be safe, so never you worry.”

James’ eyes squeezed shut for a few long moments. A muscle twitched in his neck. “We’ll be safe,” he agreed, and he sounded more confident than he looked. He sounded just as confident as he had seemed when he had asked her to come along to Grangeton in Lancashire. She had believed him then, but she found it slightly more unconvincing now.

He smiled at her then, and he was much more convincing when he grinned than when he spoke. He hadn’t had the opportunity to shave over the two days that they had already been hiding in the Jesuits’ stowaway room. The smile, the black stubble, and his typical arrogant manner should have been believable. She did her best to trust all three.

She’d left red marks where she’d grabbed his arm, she noticed, and she felt a little guilty at that. He didn’t notice. He wasn’t paying attention to her. He was listening to the voices outside, even as he cast the exact smile towards her that he’d cast a thousand times before, probably to a thousand other girls.

“You’ve eaten the last apple?”

She nodded.

He clearly didn’t like her answer, and something dark and cold lurked on his face for a moment before it slid away. “Then that settles it. We’ll be out before we get hungry again.” His voice still wasn’t desperate. She would have been desperate, knowing they were out of food.

She wondered what his plans were, but she had made a promise not to ask that of him. It would be bad for her to know, James had said. If he were the only one that knew, he would be the only one risking the plans. All she needed to do was follow his orders.

She was not particularly fond of that agreement, but she had promised him that she would perform well, and she meant to do that. If that meant simply being his puppet, she would have to swallow her pride and do it. He was the portico thief, after all. She was just the accomplice who had stupidly agreed to help him.

He had not even had the opportunity to steal the Amati that he wanted. The violin sat temptingly in the drawing room, and Polly knew how much it was chiseling away at him not to just rush out and grab it. He was smarter and more controlled than that, but it was a concerted effort, she knew. He would think about it for the next few hours if she didn’t do something to distract him.

Her hand reached out to where she had seized upon his arm before, but this time it seized him much more gently. He had stripped off his Norfolk jacket and pushed up his sleeves to locate the false door to the hiding place, and hadn’t bothered to push them down yet, so the small red fingerprints were still visible.

“You know,” she said quietly, “Ain’t no reason that you have to stand there at the door, all nerves. You’ll waste away there.”

Polly could feel him close against her, and he leaned a bit more heavily on her arm than she would have expected. She almost stumbled, but managed to bear him upright. She’d been working since she was seven, and she was strong, if nothing else.

James’ voice was close to her ear again, and she heard unexpected grimness in it. “It’s been fun, hasn’t it, Poll?” His hand wrapped around her waist, and she wished she were rich enough to own a corset. Her waist felt large, even though he could easily fit his hand around it. When they left the manor house and headed for Manchester, with all the money they’d stolen, she decided that she would buy the corset first.

She didn’t know how to reply at first, and then she managed a surprisingly even, “There’s a way to make it more fun, you know.”

James did not have to have the hint spelled out. He grinned, his voice warming at her suggestion. “Rare girl, you are. Not many who would even suggest the idea.” His lips pressed lightly against her temple. He sounded grateful. “That’s right good of you, like.”

He spoke strangely to her ears, but she liked the compliment, and liked the kiss even more, sharing his smile. She pressed herself against him, her skirt rustling. “A few hours’ll be enough, but we’d best start quick.”

His grin shone again in the glow of the flickering lantern, and then his lips descended to hers. There was a strange desperation there. It had same intensity that she’d caught in his question about the fun of their adventure, but she couldn’t think to ask about it. The only thing she could do was kiss him back, their lips both chapped from lack of water. Her hand slid to the back of his neck as his hands moved lightly around her waist, and had the space been a little bigger, a little less musty and dingy, and the feel of both the space and her companion a little less haunted, she might have found it dashing and romantic.

She could only think of the look in his eyes, and as she felt James’ fingers unlacing and stripping away the bodice of her dress and then settling on the tucks of her chemise, she wondered for a wild moment if she was being undressed by a ghost.
 
Accents? Can't help you.

Too old fashioned? Not at all.

Title? I'm not sure where the story's going, so it's kind of hard to say.

As far as there being too much pre-sex buildup, absolutely not. For people who want to read this kind of thing (you have to be careful where you put it), you really don't need a sex scene at all. What you do need, though, is a way for your readers to understand why it is that your characters want to have sex. And at this point, it doesn't seem obvious to me. The smile that he'd cast to a thousand girls before (I think you have a very nice way with images, btw, and with individual sentences) is followed by an off-putting reference to food.

My biggest probem, I think, is right at the beginning. By the time I got to the end of what you've printed, I wanted to read more. But if I hadn't been committed to getting there, I would still be back at the first couple of paragraphs, trying to figure out what kind of "cell" they were in (I didn't really understand his voice rasping "in the wall" of the cell), and who the hell Ann was. If it's that important to understand Ann that early in the story, I would have liked to know a little more about her. For that matter, I think I would have liked to understand, a little earlier, how they got into the cell. "And then there was darkness" implies something a little more than shutting off a switch, or entering a dark room and pulling the door closed behind you. And I'm still not sure where they are. Somewhere close to a drawing room, in a Jesuit building? Maybe you could start two steps outside of the cell, as they become aware of the search that's going on.

Hope this is helpful. Just a few of my random thoughts. As I said, now that I've read what you've written, I'm looking forward to the rest.
 
Thanks!

First things first, the setting: I chose one of the priest-hole hiding places in manor houses from Jacobean England. James and Polly are obviously going to rob the manor-house. Leading off of the drawing room, there's a false door, a real door, and then mortar-and-brick walls leading to a little room that in 1605 was intended to hide Catholic priests. Now, obviously, it's hiding 'portico thieves,' or, as we would say today, 'cat burglars'.

I do agree that there's not a hundred percent reason for them to screw. I'd intended to make their situation desperate - they're out of food; they were searched for by the servants (but not the servant Polly knew, Ann, who was supposed to let them out - she didn't show up for Mysterious Reasons.) Is it a question of chemistry (they aren't clicking) or a question just of more reason needed? I think they click (and hopefully have spun things around from swaggering con man to someone who's more unnerved by what he's doing than he lets on, for more Mysterious Reasons).

I think part of the reason why the setting isn't coming clear to you is the fact that I'm probably too familiar with the setting to try to describe it as 'strange.' I wrote a work during my master's degree on the guy who built those priest-holes, so I know it like the back of my hand. I will try to put more concrete (pun) details in there, though. And I'll ditch the metaphor that put you off.
 
fcdc said:
Thanks!

First things first, the setting: I chose one of the priest-hole hiding places in manor houses from Jacobean England. James and Polly are obviously going to rob the manor-house. Leading off of the drawing room, there's a false door, a real door, and then mortar-and-brick walls leading to a little room that in 1605 was intended to hide Catholic priests. Now, obviously, it's hiding 'portico thieves,' or, as we would say today, 'cat burglars'.

I do agree that there's not a hundred percent reason for them to screw. I'd intended to make their situation desperate - they're out of food; they were searched for by the servants (but not the servant Polly knew, Ann, who was supposed to let them out - she didn't show up for Mysterious Reasons.) Is it a question of chemistry (they aren't clicking) or a question just of more reason needed? I think they click (and hopefully have spun things around from swaggering con man to someone who's more unnerved by what he's doing than he lets on, for more Mysterious Reasons).

I think part of the reason why the setting isn't coming clear to you is the fact that I'm probably too familiar with the setting to try to describe it as 'strange.' I wrote a work during my master's degree on the guy who built those priest-holes, so I know it like the back of my hand. I will try to put more concrete (pun) details in there, though. And I'll ditch the metaphor that put you off.

Ah, see I think my problem is that I assumed that they just now ducked into the cell (which I also got from the bit about their leaving when everybody goes to bed). So a little ways down, when you said they had been in the Jesuit stowaway room for two days, I assumed that was where they had just come from. I didn't really understand the passage of two days that quickly. (If they've already been there two days, hasn't anybody gone to bed before now? And why is there darkness only now?)

I think you're right about your familiarity (a master's degree? ooh, an educated pornographer is sooo kinky). It probably led you to shortcut a few descriptions that the rest of us might need. If you're already two days in you need to make that clearer. If not, you need to start the story a little earlier.

Figaro
 
They're already two days in. They had ducked out to try to grab that Amati violin (see the quote about 'virtuosi') and for Ann to let them out, but no dice on either count, and they were almost caught. That definitely needs to be clarified, then.
 
fcdc said:
They're already two days in. They had ducked out to try to grab that Amati violin (see the quote about 'virtuosi') and for Ann to let them out, but no dice on either count, and they were almost caught. That definitely needs to be clarified, then.

Yes, I understood that an Amati was a violin. We're not all idiots, you know. Most of us, maybe. All right, a good solid majority. But I know Guarneri and Stradivarius, too. So there, masters girl. :p
 
Oh no, I didn't mean to condescend. Sorry! I just meant that that was the progress of the story, to clarify that failed robbery attempt.

In the story, it was a cast-off violin that Paganini played in '31 while in London, before he adopted the Cannon - slightly far-fetched of a pedigree, but not out of the realm of possibility. It's now owned by aforesaid rich Lancashire/Manchester environs family. See if you can figure out why James is Irish from there. Bwahahaha. (PM if you guess, so as not to spoil it for all.)
 
fcdc said:
Oh no, I didn't mean to condescend. Sorry! I just meant that that was the progress of the story, to clarify that failed robbery attempt.

In the story, it was a cast-off violin that Paganini played in '31 while in London, before he adopted the Cannon - slightly far-fetched of a pedigree, but not out of the realm of possibility. It's now owned by aforesaid rich Lancashire/Manchester environs family. See if you can figure out why James is Irish from there. Bwahahaha. (PM if you guess, so as not to spoil it for all.)

Okay, now I feel stupid. <pouting> BTW, isn't it Mwahaha? ha? Not that I have a master's or anything...
 
BarbarouSevil said:
Okay, now I feel stupid. <pouting> BTW, isn't it Mwahaha? ha? Not that I have a master's or anything...

Only one man has the requisite education and malevolence to tell us the answer!

http://www.rant.com/Monty_Burns.jpg

(Off for a bit now. Please post comments, gang. Thanks! Also if you want to discuss the Great Bwaha v. Mwaha Debate, please agree with me - er, I mean, please tell us your choice.)
 
Hello again, fcdc.

I'm enjoying the feel of your prose, and you've got some evocative descriptions. The dialogue flows naturally (sorry, can't help you with the accent issue, but there are plenty of Brits around, so hopefully some will turn up to advise, there).

By the end of your excerpt I'm intrigued enough by the story and the characters to want to see their erotic interlude, and to want to see how the story progresses, more broadly.

If this is literally to be the opening of your story, I'd work on your opening one or two paragraphs. The first bit grabs me just fine:

Then there was darkness. Polly could hear James’ breath rasp harshly in the wall of the cell, and tried to keep out of the way of being jostled as he flung the second door shut and barred it from the inside. He’d thrown the first false panel just in time. They could both hear the servants starting to poke around the drawing room, words audible but incomprehensible.

But then all the details about the servants pretty well derailed my interest. I grasp that the plan's gone amiss, and that's interesting and important, but the way it's being put across pulls me out of the drama of the two people hiding out, and has me calmly, dully contemplating houehold staff and accents.

Also, I realize it's a quote, but this is tough to parse:

A man will steal a rarity who would cut off his hand rather than take the money it is worth.

It tripped me up badly enough that I was frustrated by the time I started into your story.

A few nitpicky things:

Polly could hear James’ breath rasp harshly in the wall of the cell, and tried to keep out of the way of being jostled as he flung the second door shut and barred it from the inside.

I'd lose "harshly." "Rasp" is a nice, specific sound/verb on its own, and "harshly just waters down the phrase and undermines the flow, IMO.

Does Polly really hear James' breath "in the wall of the cell" rather than just in the cell? If so, is it really important? I think that image is more convoluted than it needs to be.

"keep out of the way of being jostled" also felt awkward, both because the phrasing is a bit cumbersome, and because semantically it doesn't seem quite right.

He was the portico thief...

If he steals porticos, this is fine, but if that's a name for him, perhaps it should be He was The Portico Thief...

This is a bit odd:

“You’ve eaten the last apple?”

...

His voice still wasn’t desperate. She would have been desperate, knowing they were out of food.


She does know they're out of food, so you need something to distinguish her from James, to explain why she isn't desperate, such as:

She would have been desperate, in his place, knowing they were out of food.
or

If she hadn't just eaten that apple, she would have been desperate...

Her waist felt large, even though he could easily fit his hand around it.

He can fit one hand around her waist?

He spoke strangely to her ears...

This may just be me, but I get the image of James literally talking to her ears. I think it would read better as:

To her ear, he spoke strangely.

This is a delightful character detail:

He smiled at her then, and he was much more convincing when he grinned than when he spoke.

This is, too, as well as being a nice image:

She’d left red marks where she’d grabbed his arm, she noticed, and she felt a little guilty at that.

In a short space you've done a good job fleshing out these two characters, and making me interested in them. I look forward to seeing the rest of the story.

-Nasha
 
Oh yes, the questions.

fcdc said:
  • The way I have the story planned out is this scene (1000 words), a flashback scene (500), and then into a sex scene (3000 words), then another flashback (500), then a resolution (1000 words). There's a definite, intentional plot to things, and the sex scene will move things forward. Will people read that? Is 1500 words, including a flashback, before getting into the sex scene too much of a buildup for people who actually want to read this sort of thing, as opposed to a 'stroke story'?

There is definitely an audience for stories that build up more slowly than the straight stroke pieces do, though I can't say how many reads one sort of story gets, relative to the other. Most of my own stuff is heavy on story (read verbose), and it's pretty well received by its wee little audience.

fcdc said:
  • I know my voice for this piece is pretty precise and formal, and intended it to be so, to contrast with the realism of what's going on, and the loose speech of the two main characters. Does it still come off as too old-fashioned?

Not to my ear, though I'm a devotee of 19th century literature.

fcdc said:
  • Any random Americanisms/modernisms that are specifically jarring? I think I caught the main one (paraffin lamp to the British; kerosene lamp to Americans). I don't want to write in a British tone of voice, but I do want the characters' dialogue to be accurate, and to have terminology correct. There's a fine line there, but I think it's obvious enough.

None caught my attention, though as an American I'm no doubt better at spotting the Britishisms than the Americanisms.

fcdc said:
  • Any good ideas for a title, even from this first part? Titling's an art, and if anyone can come up with anything artistic from this, I welcome suggestions.

Titling is an art. If anyone wants to name my first novel, drop me a line. Sigh.
 
Nasha,

Thanks very much for the review and the lengthy critique as well.

If this is literally to be the opening of your story, I'd work on your opening one or two paragraphs. The first bit grabs me just fine: But then all the details about the servants pretty well derailed my interest. I grasp that the plan's gone amiss, and that's interesting and important, but the way it's being put across pulls me out of the drama of the two people hiding out, and has me calmly, dully contemplating houehold staff and accents.

Point. I was trying to get across important details but it probably was a bit clumsy. I'll see if I can achieve the same thing through dialogue, to keep the motion of the story still, well, in motion (sorry; late and I've been studying, so I'm not a wordsmith at the moment, heh).

(The quote) tripped me up badly enough that I was frustrated by the time I started into your story.

Huh. I parsed it OK, and it's relevant to the story and where I got the idea from. I wonder if sneakily inserting a comma would help: A man will steal a rarity who would cut off his hand, rather than take the money it is worth. It's slightly devious, but if that scans better, let me know.

I'd lose "harshly." "Rasp" is a nice, specific sound/verb on its own, and "harshly just waters down the phrase and undermines the flow, IMO.

Will do! And I can rephrase for convolution.

"keep out of the way of being jostled" also felt awkward, both because the phrasing is a bit cumbersome, and because semantically it doesn't seem quite right.

'Avoid being jostled'? 'Avoid being shoved'? 'Avoid being elbowed'? Pick a door. ;)

If he steals porticos, this is fine, but if that's a name for him, perhaps it should be He was The Portico Thief...

Not a name - terminology. Victorian term for cat burglars. Portico-thief scan better?

She does know they're out of food, so you need something to distinguish her from James, to explain why she isn't desperate, such as:

Agreed - that's what I was trying to get at, anyway.

Her waist felt large, even though he could easily fit his hand around it.

Around one side, yeah. Victorian corsets were kind of frightening. But I can stick an 'its side' instead of 'it.'

This may just be me, but I get the image of James literally talking to her ears. I think it would read better as:

I can rephrase that, no problem.

This is a delightful character detail:
This is, too, as well as being a nice image:

Thanks. I tried to keep the descriptions fairly unique and reactions slightly unexpected (ie, Polly being the stronger person in the situation than James is), and it's good to know that's come through.

In a short space you've done a good job fleshing out these two characters, and making me interested in them. I look forward to seeing the rest of the story.

I'll send you a PM when it's up, along with Figaro up there. ;)
 
Last edited:
Moment of pedantry: this bugged me so I kinda lost the rest of it (I'm weird that way).
You have these two people in a totally hidden sealed area, right? No light coming in?
If I'm wrong, ignore what follows.
If there is no light in the room at all, there is no way
Her eyes began to adjust to the blackness, and she could make out the silhouette of his form, pressed close against the door, his long, lean body outstretched and his knees looking like they were about to buckle.

is possible. There can be no silhouette and, regardless, the human eye needs some light to operate.

Also, I thought they'd only just been locked in there. So the need for food and general urgency of their situation was lost to me. BTW if they've been there 3 days, what've they done for ablutions?
 
starrkers said:
You have these two people in a totally hidden sealed area, right? No light coming in?
Sort of.

Scant light from windows of drawing room, but not much. Two door panels, one false panel and one real panel. So I would think they're able to see very very vaguely but not real well.

Also, I thought they'd only just been locked in there. So the need for food and general urgency of their situation was lost to me.

Yeah, like I said, clearing that up.

BTW if they've been there 3 days, what've they done for ablutions?

It's in there, but it's a historical term: Close-stool. Behold it in all its glory:

http://www.gtj.org.uk/storage/Components/281/28138_1.JPG

It was the historical version of a port-a-potty, essentially, and that sort of thing was stuck in the hiding places as an imprimatur, for obvious reasons.

I'm assuming that, though it hasn't been used since 1605 (+/- 10 years) until the time of the story (1880), it has survived. I may be wrong as I'm not a furniture engineer.
 
As far as washing up (now that I've parsed the word 'ablutions' properly), I had not thought about that, sad to say. Lots and lots of perfume and cheap cologne? Historically that was the failsafe for not having access to wash up. But that would choke up a small space in a few seconds flat. Hm. Any suggestions are welcomed.

(Sorry for previous doublepost and for not deleting this one. I looked and can't figure out how to do that. :( )
 
Last edited:
Hi fcdc,

Due to time issues, I didn't read that much of your story, but from what I did read I think it has promise. There are some ways I think the story could be told a little tighter and I'll get to one of these after your questions.

* Are my accents solid?
I can't say if the accents are correct, but I noticed in that first exchange that she spoke differently.

* Will people read that? Is 1500 words, including a flashback, before getting into the sex scene too much of a buildup for people who actually want to read this sort of thing, as opposed to a 'stroke story'?
I'm one of those readers who will abandon a story if the sex happens too soon. For me, five thousand words before the sex is not a problem if they are five thousand interesting words. The things I want to see right away are tension and a character with whom I can identify- and you have both of those.

* I know my voice for this piece is pretty precise and formal, and intended it to be so, to contrast with the realism of what's going on, and the loose speech of the two main characters. Does it still come off as too old-fashioned?
I like the voice you chose.

* Any random Americanisms/modernisms that are specifically jarring?
I didn't notice any, but not being British, I probably wouldn't.

* Any good ideas for a title, even from this first part?
I'm afraid I didn't read far enough to answer this question.


What jarred me from the story was the narrator abandoning the action to tell me little things, and maybe even big things, that I really didn't need or want to know at that moment. The first example is this bit about Ann and the other servants. Who cares? You show me these two characters hiding- Great! I'm with them... but then we stop to hear about Ann. It's an easy trap we all fall into on occasion, trying to tell much of what we as the author know. Mystery, especially in the opening, is good. Isn't it more exciting if we don't know who is out there? As an example, see how the opening reads without the exposition about the servants:
Polly could hear James’ breath rasp harshly in the wall of the cell, and tried to keep out of the way of being jostled as he flung the second door shut and barred it from the inside. He’d thrown the first false panel just in time. They could both hear the servants starting to poke around the drawing room, words audible but incomprehensible.

Lost in her thoughts at first, she didn’t understand the Irishman’s words closer to her ear. “Your girl isn’t out there, is she?”

Polly wanted to curse in frustration, but she whispered instead. “She ain’t.”

“We’ve only a few hours until they head for bed, then. We’ll slip out then and flee. Promise, love.”

Here's another example where the action stops for more explanation that I really just don't need to know at that moment.
She wondered what his plans were, but she had made a promise not to ask that of him. It would be bad for her to know, James had said. If he were the only one that knew, he would be the only one risking the plans. All she needed to do was follow his orders.

She was not particularly fond of that agreement, but she had promised him that she would perform well, and she meant to do that. If that meant simply being his puppet, she would have to swallow her pride and do it. He was the portico thief, after all. She was just the accomplice who had stupidly agreed to help him.

So that's my big suggestion- stick the action and allow the reader to deduce the rest. By 'action' I don't mean explosions and car chases. Two characters talking is action too. The way my mentor told me to identify what is action and what is not is to imagine my story made into a movie. The parts of the story that don't translate easily to the screen are not action. Of course, action doesn't always work- sometimes you have to explain things- just like sometimes in the movies we have text or narration- but usually this is a better choice between scenes, not during them.

And definitely don't worry about not getting to the sex before some silly word count. :rolleyes: I believe it's a total myth that a Lit story will fail if there isn't sex on page one.

Hope I answered your questions in there somewhere. If I wasn't clear, don't be shy about asking again!


Take Care,
Penny
 
Last edited:
It's 3 AM on the night before an exam tomorrow afternoon, so I'll have to beg off a reply at the moment, but thanks for the review and the constructive criticism! I will reply tomorrow or the day after, when I can stop studying long enough to parse more than word-chain games, and can type actual, coherent sentences and not just asdfghjkl. For the time being, you can admire my command of the home row on the keyboard and wish me luck on finals! ;)
 
Back
Top