Story Discussion Black Shanglan, Main Queue, 9/11/05

BlackShanglan

Silver-Tongued Papist
Joined
Jul 7, 2004
Posts
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Apologies for posting without hearing from Pure, but there doesn't seem to be anything in process. I thought I would kick this one in and then yield to ScarlettWings next week.

Any and all comments appreciated; specific questions at the end. This is the current opening to a longer work.


*****************************************************

Sunlight was always Julian’s element. Edward looked up wearily from the desk, watching the white mid-morning rays spill over him from the eastern windows. They lit him up like an angel. Sometimes it still made him forget himself.

“Really, Edward, it’s a trifle,” said Julian, his coaxing, languid pose shaping in his every word.

“Forty pounds is hardly a trifle,” Edward replied.

“Well, it’s a trifle compared to what earned it.” Julian smiled, a sensual, radiant curve of his lips like a debauched cherub’s, and let a languorous purr slip into his voice. There was a time when that had charmed him, Edward recalled, with a bleak sense of distance. Back before he knew how lightly Julian used it.

“I will not continue to pay this sort of extortion,” said Edward. “It is wrong to give this man a living from the misery of others.”

Julian let his head loll back, lounging against the doorframe in one of those ridiculously flagrant poses that still, damnit, stirred him beyond all expression. Edward stared down at the blank surface of the desk and strove to put curling gold hair and a delicate arch of limbs from his mind. Playful as a kitten, yes, and with all the charm, beautiful Julian. And all the conscience as well.

“Edward, you are so very serious, and life is so very simple. We pay them, they give us that little missive, and they go away.” Julian smiled at him, darting a coy glance from under his lashes. Edward met it for a long moment. Serious. Yes. More serious than you will ever know, Julian St. Clare.
When he answered his voice was level and empty of pain.

“It seems simple to you, Julian, because you leave me to resolve all of your difficulties.”

“But you do it so awfully well.”

Edward took his chequebook from the desk drawer.

“This is the last time,” he said, without lifting his gaze.

Julian flitted gracefully behind him as he wrote. A moment later his lips pressed to Edward’s neck. He stopped in mid-stroke and closed his eyes. He still smelled like Julian. Perfumed. Delicate. Beautiful.

“I’m terribly grateful,” Julian murmured. God. Help me, thought Edward, with the fervent instinct of a prayer. Every vow, every resolution, shot out like chaff when his lips brush my ear. Edward signed the cheque with a shaking hand, then held the slip up without turning.

“Your cheque, Julian.”

“Is that all you can offer me?” Julian’s lips closed on his ear, and a moment later his tongue licked softly out. There was no use disguising it; Edward felt the sheer cry of his body shake through him. He stood and crossed the room.

“That’s all,” he said. “And that’s the last.”

Julian sat on the desk’s edge, golden in the light, giving Edward a pouting look calculated to shake him. It did. He held himself near rigid and tried not to linger over Julian’s sweet form wrapped in his decadent little assemblage of damask and lace. Julian fanned himself coyly with the cheque, then offered a graceful moue to Edward’s grave regard.

“Can’t you at least see the delicious irony of it?” he asked. “All my happy debauch thrown over for one sentimental little note you simply had to write? Really, it would be too ridiculous to play the good host to half the sweet young things at Oxford only to end up in a scandal over a Romantic pastiche from an undersecretary.”

“I’ve had ample time to regret writing it,” said Edward quietly.

Julian glanced up at him. He sighed, and a moment’s sympathy came over even his laughing, taunting features. He slid off the desk and walked over to Edward, stepping in close until their bodies brushed and his hands slid easily along his shirtfront.

“Really, Edward,” he said, high-handed still but perhaps just a little sad. “What did you imagine? That we’d run away to a little cottage in the Lakes?” Julian offered a wry half-smile. Edward looked away. Julian sought his lips, though he turned from him; at last Edward simply stood, impassive, as Julian’s soft kiss and tongue stroked and teased at his silent response. Nothing in him could answer any more – nothing but the flesh. But even that began to die with Julian’s cool, laughing manner. Julian broke the kiss and smiled, as if everything was now arranged.

“We are what we must be,” he said. His eyes laughed still. He was hardly the man to regret it. “A delightful, nasty little secret.”

“No more, Julian.”

Julian shrugged. “Well, you know that my door is never shut. But really, you might thank me for taking up this note for you.” He picked up his gloves and slid the cheque into his inner pocket. “Innocent young undergraduate ... older man of the world ... if that little extravagance ever came out, you know who they’d blame.”

“Yes,” said Edward, the words sliding numbly past his lips. “Yes, I know.”

Julian winked as he turned toward the door. “How little they know me, hmm?”

And he was gone.

***​

The sounds of his departure echoed fainter through the house with every step. Long after the street door shut and the house lay in silence, Edward sat staring blankly down at the polished surface of the desk.

It wasn’t fear. It ought to be. That letter was beyond explanation. He tried to imagine himself fumbling for a defense – fatherly fondness, brotherly affection, mentoring a young man in whom he saw something of himself. But how could he say it? It was a lie, more monstrous in its cold repudiation than even, agony of guilt though they were, those warm nights when he’d felt curling gold hair brush his lips and a scented body touch his own. Whatever men might think honor meant when nature tore him so viciously asunder, the words could not pass his lips. He would not stand before the world and say that those lines meant nothing.

To him. Julian would have not the slightest trouble. Where had they found that letter, he wondered bitterly. On his desk? Surely he wasn’t so careless. No, the waste basket. Or thrown amid his papers, with some lines to a dusky undergraduate scrawled across the back. Torn into firelighters, or whatever it was Julian did with his toys when he’d had enough of them.

Edward drew a deep breath and let it out, trying to feel the irony and not the pain. Man of the world. Julian was more that now than he would be if he lived to a hundred. It wasn’t years that made a man taunting, jaded, surfeited with pleasures and wise in their ways. It was something he was born with. It was something he was.

Or wasn’t. Edward drew a ledger wearily over the desk and opened it, trying to resolve the symbols into letters and words. They offered no meaning, only a dancing blur in the trouble of his mind. Julian’s words came back to him, and he felt that helpless, falling sensation again, harder.

“What did you imagine?”

Something high. Something fine. Something ridiculous, Julian would say. But something better than this.

He sat on into the chill noon, the cold winter light shining bare through the chamber. Gone, all hope of that. Gone, and the dream gone with it. And nothing in its place but a long, bitter waking, torn with mocking laughter and the riot of joyless debauch.

***​

Tom slid his lips down the withered and rather unappealing cock with a vigorous swirl of his tongue, sucking hard. A moment later he was rewarded with a hot if somewhat sluggish surge as Hec stiffened and shot into his mouth. Tom stifled a sigh of relief, finished off with a long lick and suck, and got wearily to his feet as Sir Hector plucked at the trousers puddled around his ankles.

“Three shillings, was it, lad?”

Tom straightened his jacket and answered with thin good humor.

“Five, sir, same as last week.” Hec always tried this. He was good for the fee; five shillings was nothing to him, not with the plush hangings of the dim room and the gilt and silver gleaming on the dresser. Certainly not enough to keep him from his Saturday evening habit. But he always tried. Tom ran his fingers through his hair with a quick glance to the mirror, trying to get street-tidy enough to have no trouble on the way home. There was no harm in the old boy. Like as not three had been generous, back when Hec was still fit to go out hunting it.

“Five it is then,” said Hec with a dry little chuckle, still sitting on the bed with his trousers half-mast as he dug in the drawer of the nightstand. Depressing, thought Tom, tracing the vines and cupidons of the carven legs as he waited for Hector to find his coinpurse. Depressing that I’d know that damned nightstand blindfolded. Just like I’d know the sixpence spoiler that’s coming with this rent.

“Here you are, laddy, and a little something for your troubles,” said Hec, with the gleeful prodigality of the recently blown. The coins clinked into Tom’s hand – five shillings, and then that drab little tanner pressed in with as much happy pride as if Hec had tucked a sovereign into his palm. Tom forced a smile, then helped Hec back into his trousers before he scandalized the housekeeper. Not that she really seemed to believe that it was Hec’s “nephew” visiting for roughly twenty minutes at half past ten every Saturday night, but she was willing to play along so long as the old boy kept up a polite fiction.

Back out on Bury Street, Tom drew in the cold night air and checked the weather. Clear, but chill to be working the street or the gardens. Might pull something over a plate at the St. James – it was just around the corner. It was that or the theatres, this time of night. He hesitated a moment, then put his hands in his pockets, hunching against the wind, and turned east toward the Haymarket. Theatres. He wasn’t in the mood to for a long play over a late dinner; he didn’t have the patience to prattle to some toff who wanted to pretend he was charming the cultured set at his club. Rent was due, and he wanted a mark who would get down to business.

He sighed, pushing down his irritation. It wasn’t Hec, really. He was a decent enough old boy and not demanding – a lot lighter trade than the docks, and a regular you could count on was something to be thankful for, his time of life. He glanced into a darkened window, his gaze flicking automatically over face and hair. Not old, but the wrong side of twenty for this trade. He paused a moment longer, scrutinizing himself. Then he scowled, tore off the ridiculous frilled cravat and stuffed it in his pocket, and jerked his shirt sleeves up and his jacket sleeves down to cover the flaunting line of lace at the cuff. God damnit, he looked like some tarted-up little doll. He was sick of being on the tout. It wasn’t just that he was getting older; he was only twenty-two, and he could still pull well given a good stock to pull from. He was just sick of it. When he was young and wild it had looked like a good life for a man with some looks and a taste for fast living. Now it was grinding the soul out of him, even the parts that had brought him to it. Every night the drink and the raucous laughter at the Rings rang a little more hollow, and the late night riot and debauchery wore harsher on his nerves. He hated to even see a crowd of marks any more, even if they were buying. Especially if they were buying. That just meant an extra half-hour’s grind under some oily lech whose wages he’d already drunk.

Tom pulled the collar of his jacket closer, fighting the chill March breeze. He’d been right to leave Surrey. No doubt. It was no place for a man of a certain nature. But London was cramping in on him. When he’d come it had seemed vast, full of endless carouse and venture. Now it had crowded down to a narrow few miles bounded by the docks and the Rings on one side and the skating rink on the other, with theatres, Sir Hec, and a dozen hotel rooms in between. The kneeling tour of London, he thought with a curl of his lip. Cheapside to Knightsbridge, a square foot of rug at a time. Then the wall of the alley struck him so hard that for a few long seconds he thought nothing at all.

Rough hands pinned him to the stone and pawed over his clothing.

“Fuckin’ nance boy. Some fuckin’ luck.”

“Fuckin’ waster o’ a nance too. Hardly tuppence on him.”

“Hi there, Snow Queen, innit?”

A broad, fierce face glared into his, near black with the dim light of the gas lamps behind it. Wild black hair. Glittering animal eyes. Dark shapes skulking about him in the close passage.

“Black John.” Tom’s head was ringing from being cracked against the wall, but it was starting to clear. Alleyway set. Black John. Bound to be disappointed.

“You’re well off your patch, princess.”

“Private showin’,” he muttered thickly. He caught a flash of light from a calloused palm and felt at his pocket. Empty. Damnit.

“Weren’t for His Highness, were it?” sneered one of John’s men, shoving the coins up under his nose. “Havin’ a thin night, Queeny?”

“Thin enough.” He tried to bite it back – it would do no damned good – but it blurted out in desperation. “Look, it’s not your game, and I’m not who you’re lookin’ for. Let it go. My rent’s up tomorrow, and you’ll make ten times that when you get your mark.”

Black John grinned and patted his cheek, heavy, taunting slaps that rocked his head.

“You know the rules, Queeny. You’re off your patch. Now run along like a good little lad, before we take it out in trade.”

They guffawed as Tom let the hard shove stagger him into the street. Too close in there, too close by half, and the feral stink of them all around. He crossed the street and kept moving, hearing their laughter low behind him as he pulled his clothing into place and felt where they’d torn the pockets in their eager search. Bastards. They’d cost him more than they’d taken in ruining his gear. And it now it was near eleven, rent due in the morning, and his pockets empty as a whore’s promise. Fucking Black John. A moment later the humor of the phrase broke through his anger, and he laughed. Yes, fucking Black John. He would have been, too, if the evil sod wasn’t so keen to get back to the lurk. Count your blessings, he thought, hurrying down Jermyn Street. If they weren’t so keen on your pockets, they’d have been more wear and tear on your knees.

Bastards, though. It wasn’t enough living cheap and vicious all your life. You needed cunts like that to make more misery than life had already arranged. What he wouldn’t give to have his own back on that sod. Some time when he didn’t have his clutch of jackals with him. He glanced back at the alley’s mouth, deep in the nighttime shadow. Always there like a reeking dogpack, hunched around the garbage of the eastern West End.

And there, up and over the street, was some utter tosser about to get robbed. Two of them, actually. Tom watched them, drifting down Jermyn Street close in conversation and with not a care in the world. Lordships by the look of it, dressed for the clubs and about to walk straight to Black John’s tender embrace. Tom glanced back at the alley. Trodden-down anger flared up in sudden defiance, and a mad impulse shot through him. He hovered a moment, looking into the alley where black eyes glittered out of the darkness. Then a wide grin broke out over his face, and he darted across the road. Fuck it. Fuck Black John, he thought, and laughed.

***​

“Sir!"

Edward looked up at the figure running across the street. A young man, with white-blond hair and a cheap, flashy blue jacket. Edward paused and touched Kerrington’s elbow. A beggar? A thief? One never knew this time of night, even on the open street.

The man stopped in the circle of gaslight, looking between them as he caught his breath. Not a beggar; too well dressed. But hardly reputable. No livery or uniform, only a jacket with worn linen under it. His eyes met Edward’s, and he seemed to settle on him.

“I’m sorry sir,” he panted, looking up to him. “They sent me after you. You’ve left your chequebook behind.”

Edward looked him carefully over. Absolutely not. There was not a chance that he was in any way connected with the club. And he noticed that the man didn’t mention who or where he’d come from.

“I believe you have the wrong man,” he said. Kerrington was on the alert as well now, and they stepped back instinctively to put the wall behind them. Edward glanced up and down the street. Nothing yet. But they were out of earshot from Piccadilly, back in the quiet side-streets near St. James’ Square. He gripped the handle of his stick and forced his mind level. Confederates? An ambush? He couldn’t see any sign of others yet, but who knew what the man’s game was.

“No, sir, they were very particular,” said the stranger. He looked up then, and his eyes – quite a bright blue, even in the lamplight – met Edward’s. They had a strangely intense look to them, and as he spoke the man held up his hand in the shadow of his body. Under cover of the gesture, he pointed down along Jermyn Street, cutting his eyes that way as well. Edward looked curiously at him, then glanced– just an instant – down the way he’d pointed.

An alleyway. Quite a dark alleyway. One they’d been about to pass.

“I’ve got it with me, sir,” the young man said, putting his hand into his jacket. He didn’t take anything out, though – only cut his eyes toward the alley again and then met Edward’s once more. “But if it’s not yours, I can leave it at the police station. It’s not far – just down Coventry Street. Perhaps you know the way?”

He said the last carefully, looking Edward steadily in the eye. Kerrington was about to speak, and Edward had a hunch that he knew what he would say. He had a rough way about him with a domestic who stepped outside of his sphere, and he could feel the indignation building. He’d bluster the lad off and then walk right past that alley mouth. Where, for all Edward knew, absolutely nothing lay in wait. When it was just as likely that this smooth-faced lad had been sent to decoy them in the opposite direction, holding out the hope that they were moving toward help.

But he stood there quietly, looking Edward in the eye. Edward felt a moment’s strange, half-tangible connection – an instant where he knew that the man saw exactly what he was thinking. In that moment he knew too, as if he’d been the man himself, that he’d done what he could, and that if he and Kerrington walked on past that alley, the lad would step away and leave them to whatever fate he’d tried to warn them of. But he’d rather he didn’t have to.

Edward nodded slowly.

“Yes. I know the station. We’ll go with you, and see if we can’t tell you the owner when we see it in plainer light.”

***​

Their walk was brisk, and the man silent save for a brief muttered direction – “Keep walkin’, and don’t look back.” Edward eyed him as they went. The man glanced back twice himself, swift and anxious, his eyes toward the alley. Once they turned the corner into Regent Street he picked up his pace, drawing them hastily with him as he kept watch behind. He whispered a terse explanation – “Set in the alleyway. You don’t want tangling with that lot.” – and hurried on toward Coventry Street.

In a minute they were there, and in a quirky show of deference the man darted ahead to open the door for them. Kerrington raised an eyebrow in amusement; Edward gave a careful half-bow. Whatever Kerrington might think of the man’s manner or style, they were safe in the station and there seemed to be no mischief afoot. In fact the man was already rattling off his story to the surprised sergeant at the duty desk.

“Ambush laid, sir. You might catch ‘em if you’re fast. Black John and his gang, right by the churchyard in Jermyn Street. Layin’ for these gentlemen, or whoever else came by.”

The sergeant sent a pair of squaddies running while Kerrington watched with cool amusement. Then several swift bows were made to him and to Edward, with chairs hastily brought for their lordships. A few questions were thrown to them, to which they could answer very little, and not long after a young bobby was sent out to Regent Circus to fetch a hansom.

Edward took a seat, still unsettled, and stole a glance over at the man who was giving his statement to the desk sergeant. Older than he’d taken him for in the street – hardly mid-twenties he’d guess, but not in his boyhood either. It was odd. Strange that he should put himself out of his way, then not ask for a farthing. He’d expected, at least, some hovering and fawning of a nudgingly monetary nature; Kerrington had been feeling through his pockets with a cynical look about him as they closed the last yards to the station. But the stranger had split himself from them the moment they’d entered and kept the room between them ever since. Leaning back in his chair, Edward watched the gas-lit street and mulled it over, trying not to take an ungentlemanly interest in what he could overhear of the talk behind him.

***​

“Name.”

“Tom Hart.” Tom stole a quick glance at their Lordships. They were in a hurry to be out of here, no doubt. Well, they’d vouch that this was no rabbit game. He hadn’t asked a penny of them, and he’d been careful to stand well away when they got to the station so he wouldn’t be thought to be hanging on for a spoiler. That’s all he needed, to be taken for a cadge. Bad enough he’d just made a twat of himself and an enemy of Black John for the sake of sparing some toff a head-bashing – although it had been worth it for the thought of Black John legging it up Jermyn Street with couple of bobbies behind him. Tom grinned. Then he looked up at the desk sergeant and began to regret it.

“Occupation.”

“Gentleman’s man. Out of place.” It was the all-purpose answer. You didn’t need many skills – there was always the excuse that the last master had had peculiar ways, or was low in the world – and you didn’t need to be in hire. Besides, it never hurt to have the world “gentleman” in there.

“Address?”

Tom shot a look to the Lordships. They weren’t talking, which was a problem. But they didn’t seem to be making a regular study of him either. He dropped his voice and mumbled it.

“Three Rings, Cheapside.”

The sergeant’s knowing smirk bit at him. He pushed it off. He could sneer all he liked. It was living in places like the Three Rings that taught a man to recognize a Black John special in the offing.

“You’re a long way from home, lad.” The sergeant’s lip curled as he raked his gaze up and down Tom’s figure, no doubt taking in what he’d missed before. Brass buttons on the jacket. Lace at the cuff that was sliding down his right wrist as he spoke. No hat. Tight breeches, tight linen. Tom scowled as he hitched at his shirt, yanking the cuffs back under his jacket.

“So I’m not an angel,” he muttered, glaring at the desk sergeant. “I spared those Lordships a bashing, and I haven’t asked them for a penny. I’m happy to go my way and no one the wiser.”

The sergeant shook his head, grumbling something that ended with “fit to mix with honest folk.” He finished taking down the details and shoved the form across the desk to Tom.

“Put yer chop there,” he said, jabbing a heavy finger at the line at the bottom. “If they’re taken in, you’ll be called to testify.”

Tom scrawled the line. Brilliant. Fucking brilliant. His real name and the lot. Those drinks to start the night must have been damned strong. He shoved the form back as a uniformed bobby passed with a snicker.

“Hey, pretty darlin’,” he said, patting Thomas’s cheek with a heavy slap as the sergeant gave a contemptuous bark of laughter. “Didn’t we take you in down by the docks last Tuesday? Be a good little boy now, mind you.” He laughed at Thomas’s glaring challenge and left swinging his stick. Fucking pig. This was the last time he’d try to do some wanking Lordship a favor. Thomas growled his question.

“You done with me?” The Lordships were having some sort of squabble with each other now, and he was ready to be out of there. The sergeant waved him off as the hansom pulled up outside in a clatter of wheels and hoofbeats.

“Aye, you’re done. Try to find your way back to your own bed.”

Thomas stalked to the door. He didn’t need this. Not tonight. Half an hour gone, and a week’s rent due in the morning. He’d lost five shillings clear fucking about with this lot, and Black John would be happy to take that and more out of his hide when he found him. He brushed past the bickering Lordships toward the door.

“Mr. Hart?”

Mister who? Tom turned back, half-ready to go for that fucking joker of a desk sergeant. But it wasn’t him.

It was the Lordship, the taller one. Thirty-five or -six, he’d say, brown-haired, mournful sort of face on him. Never make it in this business, but then he didn’t look like he’d need to. Serious. Some sort of a thinker.

“Aye, that’s me,” said Tom slowly. He waited, with a glance back to the desk sergeant. Not a word. Not a fucking word about money. Just so they could see.

“We’re grateful for your help.” And the Lordship offered him his hand. Just like that. Tom took it, a little leery still, and eyed the man as his grasp closed. Strong. Not hasty. Nothing shrinking about it. Brown eyes with lines around them. Thoughtful. Almost sincere, which wasn’t something you looked for in that class of person, in Tom’s experience.

“Thank you, sir,” said Tom carefully. He glanced again at Sergeant Peeler over at the desk. Bein’ a good boy here, sergeant. Best behavior. Hope you’re bloody watchin’, you fat sneering pig.

“I hear that you’re a man out of position.”

“Really, Falkirk –“ cut in the other, a tight, dapper little man with one of those neatly trimmed mustaches that made a man look an absolute prick. The first Lordship didn’t give him any heed.

“You’ve done us a great service tonight, and as it happens, my house is short of a man. If you call tomorrow with a character, I’ll consider you for the position.”

“Your Lordship,” cut in Sergeant Peeler, starting up from the desk in alarm. “I really wouldn’t advise – “

“Thank you, your Lordship,” said Tom, with humble deference and a sly grin directed straight to the sergeant. “I’d be very grateful.”

“My card,” said the Lordship, passing a cream-colored sliver of paper with a gloved hand. “Ten o’clock, if you will. Kerrington,” he added, turning to the other Lordship, “the hansom.”

“But sir – “ protested the sergeant.

Tom managed a passable bow as the Lordships swept past, grinning as the sergeant blundered after them. As the wheels spun up Coventry Street, Sergeant Himself burst back in, fat and red and puffing like a walrus.

“You keep away from that, nancy boy, if you know what’s good for you.”

“What, me?” Tom smirked. “I wouldn’t dream of hurtin’ a nice Lordship like that.”

“You stay out of his house, or we’ll see how the boys in gaol like your sold little arse.”

Tom blew him a kiss as he slipped out the door. “Knew you’d like to watch. Don’t worry your heart about me, sir.”

The sergeant stood in the door, snarling as he went down the street. “I’ve got my eye on you, lad! You stay out of decent folks’ homes!”

***​

Tom left laughing, the sergeant’s scarlet indignation cheering him up the street. But soon enough he drew his wits about him. Black John would have ducked those bobbies and no doubt, and he’d have a good idea, too, where to find the man who’d set them on him. Tom cut south toward the Strand, darting into mid-street and hastening near a run until he was free of the nest of close, dark lanes between the station and the open thoroughfare. Safety in numbers tonight, and that meant the late-night crowds of the Strand – though it hurt to walk home through streaming money on his way back to the Rings. No helping it. John knew him, and he’d know where he was headed as well. He’d best get to ground and let him sleep off his anger, and never mind tricks for tonight. The rent would have to wait.

It took him near an hour to hit the Rings. The city was a warren down by the river, and more so with every step east. Finally he cut wide around and behind the Rings, down Eastcheap Street and south behind the market, then back up at it from the river. Couldn’t be too careful when you were on the bad side of a man like Black John. He cut through the backcourt around the midden, nodded to Welch the bar boy coming out with a load of garbage, and slipped through the kitchens and into the main room with a long sigh of relief as he dropped into an empty seat near the back. Home, and all the joyous clamor of the evening crowd around him, thronging the bar and the front rooms.

“You’re late, Queeny. Run all your legs out playin’ with the high and mighties?”

Tom groaned as Black John dropped into the seat in front of him. He felt more than saw the pair of musclers step in behind him. It hardly seemed fair. But that was the problem with Black John. He kept you looking at that wild bear’s face, and that took your mind off of the brain that was working behind it.

“You had it coming,” said Tom. Why not? It was insanity from start to finish. Might as well be in to it up to his neck. “You could have let me pass. A half-crown’s nothing to you.”

Black John chuckled and waved toward the bar. Welch came scurrying, his worried eyes darting over the group at the table.

“Gin!” barked John. Welch disappeared. A moment later the gin was there and Welch was a fleeting ghost darting back toward the bar. Black John took a long drink as Tom watched him, cold within and tense with waiting.

“Ah. That does a man right. You’ll stand me that round, won’t you, Queeny?”

Tom shrugged, glancing up briefly at the two heavy forms that blocked him in. It was John’s game.

John leaned forward, eyes glittering.

“I ain’t right fond o’ you tonight. You’ve cost me my dinner.”

“You’re drinking mine.” Tom forced himself to meet John’s eyes. He was in for a beating; damned if he’d cringe too. Oddly, it seemed to help. John laughed as he threw back the rest of the gin.

“That I am. And will be, my lad, ‘til you’ve made it back.” He stood and looked down at Tom, him and his two thumpers fencing him in. Tom held on to his defiance in an act of sheer will as Black John leaned closer, his gin-heavy breath wafting his words over Tom.

“Now, I’m gonna make this easy. You cost me a good fiver there, and then there’s the problem of little renters gettin’ to think above themselves as well. We don’t need that. So we’ll call it ten. Ten pounds you owe me, and the interest on that is two a week. Keep it comin’, Queeny. And if I sends you a bit of trade, you’ll be good to the nice gentleman, and call it a favor for an old friend. You read me?”

Tom nodded, feeling sick deep in his stomach. He stared back at Black John and try not to slump. Two a week. And ten in the hole. Might as well be a hundred.

“John.” Tom looked up. Bell. The barkeep was behind Black John, wiping his hands on his apron. His big grizzled beard fanned out over his shirtfront, and his eyes above were quick and shrewd. He knew his man. Behind him already, wiry and lounging, was Hands, the bouncer. He was a dark smiling Irishman, five foot nothing that mattered, and he’d open a man up as neat as a chicken without losing that sardonic little grin. Tom had seen it, one night when the crowd got rough and steel flashed. Didn’t flash for long.

“Bell.” John didn’t look up. He kept his eyes on Tom’s, grinning.

“Anything else I can get you?”

“Naw. We was just leavin.’” John straightened and met Bell’s eye, then looked over at Hands. He touched his cap, then waved his men along with him.

“No fear, Bell. We ain’t breakin’ your peace. But you might want your rent in advance from this ‘un.”

John winked at Tom. “Ten and two, Queeny. We’ll know where to find you.”

Tom slumped as John and his men arrowed through the crowd and out the door. Bell took the seat opposite him, waving Hands aside. Hands turned his back to the table and took up guard. All along the bar, men and boys glanced up a moment in furtive guilt, then got back to business as Hands stayed motionless and smiling.

“You’ve got no rent?”

“It’s in Black John’s pocket,” said Tom, shoving at the empty glass John had left behind. “Caught me out St. James’ way and fleeced me down.”

“And you just had to get your own back?” Bell’s eyes warmed a little, and Tom smiled as Bell shook his head.

“Someone’s got to. He’s put the pinch on every renter in the place.”

“There’s a reason for that,” said Bell, his face sober as his eyes met Tom’s. “A sane man won’t cross him.”

Tom sighed and nodded. “I know. I know. But two and ten, Bell. Where am I supposed to get that?”

Bell shook his head. “Don’t know, but you’ve got it comin’ to you, messing with that. And I reckon it’ll be no rent from you for more than this week.”

Tom flushed. “Sorry, Bell. And you might see a couple of peelers. They’ll be looking for Tom Hart.”

“Real name and all? Say it ain’t so, Tom. What have you been up to?”

Tom shrugged. “Tipped ‘em on Black John. Once you’re in that far, might as well run your neck into the noose.”

Bell nodded, looking down at the table. Tom watched him glumly. Bell had been good to him. He’d taken him in when he was lost, given him his name, even – although that was bound to come with hair like his, and being what he was. The Snow Queen. It was good for a laugh. But better than a real name, and Bell was right. What he’d been thinking giving it to the peelers, he couldn’t say. But he’d done it, and here was Bell with Black John coming in one door and the police in the other. He knew what was coming before Bell opened his mouth.

“This ain’t a charity, Tom.”

“I know.”

Bell looked up. There was still some pity in him, but Tom pushed it off.

“I don’t mind a week’s rent lost now and then,” said Bell. “You know I don’t. But this ain’t the first time.”

Tom blushed. Bell leaned forward, dropping his voice.

“How many weeks you missed lately, lad?”

Tom shrugged helplessly. “Bell, really, I’m sorry –“

“That ain’t my point.” Bell spoke slowly, carefully. “You’re not earnin’. And this ain’t just about my pocket. You’ve lost your touch, lad, and it’s been gone a while.”

Tom sat silently and took it. Bell had the right. God knew how much he was into him for. He tried not to think about it, because it wasn’t fair. Poor old Bell wouldn’t even take it in trade. Whatever he got up to, it was never with the crowd from the Rings. And he’d let more rent slide than Tom cared to count.

Bell looked close into Tom’s eyes. Tom sat and let the blows drive home as Bell spoke low and firmly.

“This ain’t your life any more, Tom. However you came to it. Now you can tend bar, or wait tables, or take service, or pick up in some factory somewhere, but it’s time you were out of sellin’. You’re sinkin’ fast.”

Tom stared down at the table. No tears blurring the surface of it. None at all. Bell waited a moment, then spoke once more, gently.

“I can find you some work in the inns. It won’t pay well, but it’s something. They won’t mind where you’re from if you keep it out of their patch. What do you say?”

Tom looked down at the battered surface of the table, then out over the raucous, sensual wrack of the main room. Men and boys cozened together at chairs and tables, moving in and out from the upper rooms, money slipping hands, drink flowing. And out past the door, there in the darkness, lay Black John waiting, and all the darkened city. All the punters.
He roused. Inside his jacket. A card.

“No,” he said slowly. “But you could stand me a letter.”

***​

“Mis-ter ... Thom-as ... Harrrrt ...” murmured Scrib the Pen, the nib scatching slowly over the paper. “All right. Do you want positive, glowing, or ecstatic?”

“Just two years good service,” said Tome. “Keep it simple.”

“Right you are,” said Scrib, rolling back his cuffs and delicately dipping the ink. He smoothed the paper out upon the table – fine stuff, beautiful white linen stock – and stared at the ceiling for several long moments. Then, with an air of inspiration, he began to write.

“’Mis-ter ... Hart ... was in ... the em-ploy ... of my late ... un-cle.’ Nothing like a dead old dear to pull the heart strings, eh?” Scrib smiled, rubbing his hands, then sank back into his work.

“His ... de-vo-tion ... to ... my ... un-cle ... “

“Thanks, Bell,” said Tom, eyeing the sun through the window. It had taken hard knocking and hard cash to get Scrib out of his bunk that early, and he’d still be cutting it fine to get to the Lordship’s in time for the hour. But there was no beating Scrib for the gentleman game – he had a hand as clear and fine as you’d like, and the paper and gear to make it stick.

“Worth it to have that room free,” said Bell with a grin. “’Bout time I got a payin’ lodger in.”

Tom smiled. “I won’t forget it. Wages won’t be much, but I’ll send what I can.”

“Just mind yourself, mate,” said Bell. “Black John’ll be lookin’ for you, and it’ll be a cold day in Hell that you’ll be payin’ two for ten out of a servant’s wages. Keep to your patch, wherever that’s goin’ to be. No, don’t tell me,” he said, as Tom opened his mouth to reply. “Keep it close, mate,” and here he gave a nod to Scrib, who was sunk in his work of fiction. “The less said, the better.”

Tom nodded. Bell drew him quietly aside, walking with him out to the front windows while Scrib sat laughing and exclaiming over his work.

“You wantin’ your other letters as well?” He asked it low and soft, his eyes darting from Tom to Scrib and back again.

Tom nodded slowly.

“I’ll have to. There’s got to be something he can trace.”

“Puttin’ Halford’s name in? You think that’s wise?”

“No gettin’ around him,” said Tom, shaking his head. “If I put anyone in, they’ll lead to him; every damned one of them mentions him in his character. You know what that lot’s like.” He looked up at Bell, praying that he didn’t look as bleak as he felt. There was nothing to be done. It was that or offer the Lordship a man with no history.

“I don’t think he’s the sort to recognize him,” said Tom, with defeated resignation. “But he’ll hear it, one way or another. Best try it now, and hope it slides by.”

Bell nodded. He reached into his coat and took out a bundle of papers, then handed them to Tom.

“Aye. I thought you might be wantin’ ‘em.” His eyes met Tom’s. “Just choose careful.”

“I will,” said Tom, weighing the papers. “I will.”

***​

Half an hour later Bell stood in the doorway, watching the lad. Never looked younger, not in two years of living at the Rings. He was there at the table, dressed so sober that he looked ready for a funeral, with Scrib’s neat letter sat by his hand. He was wading through the pile of the others, picking them over while the sun rose higher.

You didn’t need the letters to read ‘em. You could watch the boy’s face and see the way of it. How he paled at some, threw them aside; dropped others slowly by Scrib’s clean white forgery, building up his character. And that last. How he came back to it time and again. In the end he just sat there, staring at it, until Bell had to see him on his way before he missed his hour with the gentleman. In the end he put it in. Bell watched him. And he saw the look on his face when he did.

Bell started in on the tables, wiping them down for the morning. Wasn’t his place to say, of course. Wasn’t his place to judge. But there were worse things in life than the Rings, he’d say, and worse folk than the ones who lived there. Worse out there than that.

***************************************

Questions of special interest:

(1) Is Edward coming through consistantly as a character?
(2) Is the "set" of the leads too obvious - i.e., does it feel like they're being deliberately forced together?
(3) Is it reasonably clear what's going on between Edward and Julian in the first scene?
(4) The scene of Edward dealing with Tom in the street - where Tom is warning them about the ambush - feels like it badly needs something. What is it? Tom's POV? More of Edward's thoughts and background/where he's coming from/characterization? It feels thin to me.
(5) I know that I'm flirting with death in introducing a fair bit of slang into Tom's observations and dialog. However, I also think it important in establishing who he is and what his life is like. How hard is it on the reader at the moment? Does it need to be cut back?

All other comments are, naturally, most appreciated. Feel free to shred it, as I'm quite unhappy with it at the moment anyway, barring a few individual lines. Feel free to shred them as well; I'll just quietly think them quite fine anyway ;)

Shanglan
 
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First note: ABout the dialog.

Especially in the beginning, I am having a hard time determining who is talking, the lack of tags and even in the paragraphs with description, it's a bit difficult to know right away.

I mean if I sit there and am like, OK Julian said this, so then edward was the one to reply here. but it seems more difficult than need be. Especially when we are still determining who these guys are and all.

Especially the line

“This is the last time.”

It could be Julian promissing or Edward threatening


Second this is minor:

“I’m terribly grateful,” Julian murmured. God. Help me. Every vow, every resolution, shot out like chaff when his lips brush my ear. Edward signed the cheque with a shaking hand, then held the slip up without turning.

you slipped in 'my' instead of his. Suddenly I was like huh? and thought there was a third person for a second that was the narator. Then I realized it was just a pronoun slippage :)

3rd

This line confused me:

To him. Julian would have not the slightest trouble.

Now for the question

Questions of special interest:

(1) Is Edward coming through consistantly as a character?
(2) Is the "set" of the leads too obvious - i.e., does it feel like they're being deliberately forced together?
(3) Is it reasonably clear what's going on between Edward and Julian in the first scene?
(4) The scene of Edward dealing with Tom in the street - where Tom is warning them about the ambush - feels like it badly needs something. What is it? Tom's POV? More of Edward's thoughts and background/where he's coming from/characterization? It feels thin to me.
(5) I know that I'm flirting with death in introducing a fair bit of slang into Tom's observations and dialog. However, I also think it important in establishing who he is and what his life is like. How hard is it on the reader at the moment? Does it need to be cut back?

1-Yes, edward seems very consistant to me
2-Actaulyly no, I was surprised at the intro of edward in the second part.
3-THe first scene confused me, but I think it was a dialog thing more than anything else. after about 5 read throughs I think I got it
4-I honeslty don't know, I don't think its too bad now. I think if the second gentelma (I can't remeber his name) was more opposed to Edward' actions it owuld lead to a better explanation of Tom and Edward's course.
5-I LOVED the slang. yes it made the reading slower but I reall ythink it fleshed out things. Then again I am vehemently opposed to everyone sounding like everyone else.



3rd and a half

You kinda I think did the same thing a few paragraphs later with

Or wasn’t.

Its like it belonged dashed to the previous paragraph maybe.

4th

Once Tom's head meets the wall with unexpected force, we get back into a dialog situation that I find confusing.


Overall, my impressions.

The first bit was very difficult for me to get through, but once I get well into the second bit about Tom I found myself wanting to continue to read it, and actually disapointed the posted bit ended. Definately something I would want to read the complete version.

I am left with the nagging though of it seems like a concentrated effort to not do the typical 'dialog' things of so and so said and such. Does that make sense?

-Alex
 
Got you on the dialog, Alex, and thanks for that. I have difficulty with tagging, as you can see. :eek: I do at times worry that I am being repetitive with too many tags, but it looks like I need more in order to avoid confusion.

You're awfully generous on the first section, I think - 5 read-throughs is an heroic effort, and you are extremely kind to have pressed on in the face of that sort of discouragement. It sounds like that first portion needs some serious re-tooling so as not to send the reader screaming into the night.

Interesting that you mention having Kerrington (2nd gentleman with Edward on the street scene) take more of a role. I was wondering that myself. I think I'd held back because he isn't likely to play much other role in the story, but the more I ponder it the more I think that you are right. It's not so much that he himself needs development, but that making him take a more active role would push Tom and Edward into more development. I'll steal that thought. ;)

Humblest thanks -

Shanglan
 
Hi Shanglan,

Welcome back! :)

(1) Is Edward coming through consistantly as a character?
I'm not sure. He strikes me as a reserved, maybe even a little faint of heart, but that's about it so far.

(2) Is the "set" of the leads too obvious - i.e., does it feel like they're being deliberately forced together?
Probably not. It did seem like a bit much of a coincidence that Tom and Edward would meet purely by chance in the manner they did. On the other hand, it's a story and such a meeting is possible, so this wouldn't be high on my list of worries.

(3) Is it reasonably clear what's going on between Edward and Julian in the first scene?
You mean besides the bribe? I had a lot of trouble following this scene. Sometimes I had to stop and figure out to which character a 'he' or 'him' referred. At least one of the untagged lines I had to read past the line to figure out who was the speaker. Also, I think the details of the scene provided more distraction than atmosphere.

(4) The scene of Edward dealing with Tom in the street - where Tom is warning them about the ambush - feels like it badly needs something. What is it? Tom's POV? More of Edward's thoughts and background/where he's coming from/characterization? It feels thin to me.
I don't have any major concerns about this scene, but I was curious how far away the alley is from the three men when they have their conversation and why the thugs do not simply rush out of hiding when Tom spoils their trap.

(5) I know that I'm flirting with death in introducing a fair bit of slang into Tom's observations and dialog. However, I also think it important in establishing who he is and what his life is like. How hard is it on the reader at the moment? Does it need to be cut back?
I confess I had to pause at a few points due to the lingo, but I still think it's a key ingredient to both character and setting. While I wouldn't suggest cutting back the slang in the dialogue, a little less in the prose might help. Was there a change in narration style with the changes in POV or did I invent that?

Did you consider starting the story with/at this line?: "Three shillings, was it, lad?"
Seems to me starting with Tom and skipping the Edward/Julian scene would help the flow; the reader could follow Tom all the way until what is the current end of the piece. The scene with Edward and Julian would work just as well in the morning before Tom arrives at the estate, no? And if the reader has already met Edward, the exchange might be easier to follow.

Speaking of exhanges, what is the purpose of the second meeting between Black John and Tom? For me, this confrontation lessened the tension. Before the meeting, Black John was an ominous unseen presence whose motives were unclear. After the meeting, Tom simply owes him money, no? Sure, it's more money than Tom has or is likely to have, but it's a trifle to Edward. Seems like a far too easy resolution to that conflict on the horizon. Am I missing something?

Would I read on? Probably. Tom and Edward are sympathetic characters. Though I expect them to end up in a little cottage in the Lakes it might be interesting to learn how they get there. Plus, Black John and Julian are both good villians who need to get theirs. :D

Hope that helps.

Take Care,
Penny
 
Regarding a few of Alex's comments:

Alex756 said:
Especially in the beginning, I am having a hard time determining who is talking, the lack of tags and even in the paragraphs with description, it's a bit difficult to know right away.
Exactly. I started reading the scene last night and gave up on it thinking I must be too tired to concentrate. I'm afraid it didn't read any easier in the morning.


Alex756 said:
The first bit was very difficult for me to get through, but once I get well into the second bit about Tom I found myself wanting to continue to read it, and actually disapointed the posted bit ended. Definately something I would want to read the complete version.
I absolutely agree. This is one of the reasons I suggested starting the story with Tom's scene.
 
Thanks, Penelope! Plenty of food for thought there.

Penelope Street said:
(1) Is Edward coming through consistantly as a character?
I'm not sure. He strikes me as a reserved, maybe even a little faint of heart, but that's about it so far.

This is what was concerning me about him. I have a feel for the depths of his character, but people with quiet natures and virtues are difficult to bring across to the reader. I was hoping that the opening might sound a few key notes of his nature - that he is an very honest person, that he is honorable and concerned with what is right as well as what is convenient, and that he's got some depths of feeling under his surface restraint. It's that damned restraint that makes him awkward to handle. I feel like he needs to be relatively cold and distant with Julian, but it's harder to help the audience see the reason why: because this is so painful that it's the only way he can get through it.

I tried saying more about the pain of the scene, but it came out whiney. I considered lumping in more backstory, but it got garrulous and lost dramatic force. I have, as you suggest, also considered cutting it or moving it and placing Tom first. I think my hesitation comes from this: Tom is more energetic and has a more playful and excting voice, and that tends to draw attention to him. If he gets the "camera" first, that feels like it will intensify that problem. But Edward is an heroic character in his own right. Tom goes out and punches trouble in the face (or throws the police on its trail); Edward faces really painful duties and does them, even when it costs him immensely. The trouble is getting him to be as engaging and interesting to the reader as Tom is. That's really giving me a lot of trouble. So much more of his life is internal, and that's quite difficult to show and not tell - especially when the point is a sort of quiet, everyday strength that's not nearly as flashy as Tom.

Help? :eek:

(3) Is it reasonably clear what's going on between Edward and Julian in the first scene?
You mean besides the bribe? I had a lot of trouble following this scene. Sometimes I had to stop and figure out to which character a 'he' or 'him' referred. At least one of the untagged lines I had to read past the line to figure out who was the speaker. Also, I think the details of the scene provided more distraction than atmosphere.

I spent last night revising that scene, and I think got it tagged and reading a bit more clearly. It's interesting that you mention the physical details, becaue I was torn on those as well. Part of me thought them too much, while the rest was mindful of trying not to present the reader with a text completely divorced from any physical reality. It sounds like I need to go back and reconsider when, where, who, and why the elements are worked in. Oh yes, and "if." :)

(4) The scene of Edward dealing with Tom in the street - where Tom is warning them about the ambush - feels like it badly needs something. What is it? Tom's POV? More of Edward's thoughts and background/where he's coming from/characterization? It feels thin to me.
I don't have any major concerns about this scene, but I was curious how far away the alley is from the three men when they have their conversation and why the thugs do not simply rush out of hiding when Tom spoils their trap.

*nods* I will spell it out a little more clearly then - I think I can drop in a few words as Tom is moving that will help clarify the distance. The main reason I think they don't jump out is that they are counting on surprise and greater numbers. They're aiming, ideally, for one man who doesn't know what's happening, not three who are on their guard. Perhaps I can give a little more idea of how many Black John has with him - would that help?

I confess I had to pause at a few points due to the lingo, but I still think it's a key ingredient to both character and setting. While I wouldn't suggest cutting back the slang in the dialogue, a little less in the prose might help. Was there a change in narration style with the changes in POV or did I invent that?

Yes, there was, or at least there should have been. What I'm trying to do - and I'm not sure it's working - is a voiced third person perspective that shifts with the focus. That is, when we're on Tom, we get his voice not only in his words but also in the descriptions and observations, which come from his POV and with his typical choice of words and connotations. I think that this is one of the problems with Edward, although I'm not positive - I don't feel like he's getting enough of his character coming through in the way in which he sees the world. That might help to fill him out if I can work out how to do it. Possibly I don't see it clearly enough myself.

Of course there are two possible issues there. One is that a switching voiced third person is the right choice, but I'm doing it badly. The other is that it's not the right choice to start with - also a possibility. I do think that I want this in third person switching, as third person semi-omnicscient focused through Tom would make Edward fade even more. He'd be totally invisible.

Did you consider starting the story with/at this line?: "Three shillings, was it, lad?"

Seems to me starting with Tom and skipping the Edward/Julian scene would help the flow; the reader could follow Tom all the way until what is the current end of the piece. The scene with Edward and Julian would work just as well in the morning before Tom arrives at the estate, no? And if the reader has already met Edward, the exchange might be easier to follow.

Yes, as above. Or also considered a different opening scene, Edward dealing with Julian at some public occasion after they've split but before what is currently the first scene. I'm torn every way on what sets the best tone for the piece and does the best job of introducing the reader to the characters. I think part of me feels that it might work better for Edward to bring him in first and then build to Tom, who is more active and exciting. Otherwise I'm worried that Edward will seem too dull and pedestrian after opening with Tom. But then, perhaps that's a sign that Edward really need work - if he's so delicate.

Speaking of exhanges, what is the purpose of the second meeting between Black John and Tom? For me, this confrontation lessened the tension. Before the meeting, Black John was an ominous unseen presence whose motives were unclear. After the meeting, Tom simply owes him money, no? Sure, it's more money than Tom has or is likely to have, but it's a trifle to Edward. Seems like a far too easy resolution to that conflict on the horizon. Am I missing something?

Dear me, there's a massive and complicated answer attached to that :) But it's a good point, and useful to know that that is how it's striking the reader there. Of course you are right that this undercuts the immediacy of the physical threat from John. Plot-wise and character-wise, this is what I was thinking:

Tom needs to get out of the Rings and take service with Edmund. He needs to be a character with some fire and independence, and so "valet" isn't actually going to look all that appealing to him. I want him as a servant but resisting that, so I need some motivators for him to leave renting. Black John's second scene and the talk with Bell were an attempt to convey both a threat and an underlying reason that Tom is less keen to face. Black John is the threat; with the second scene, we learn that he knows where Tom lives and can track him down any time he wants to, so he's not just a passing bit of bac luck. Bell is the link to the other issue; deep at heart, Tom is unhappy with this life, but he's having trouble admitting that or moving on.

Once he's with Edward, then there's a different tension with Black John. First Tom is tempted to simply steal in order to pay off his debts - he doesn't know Edward that well and there's plenty in the house to lift. Once he knows him better, he's stuck because he's kept his past hidden from Edward, and Black John is part of it. The more he comes to know and like Edward, the less he wants to admit that he was a prostitute when he met him and he's got a thug breathing down his neck for money.

If it helps, Black John is destined to play a special role in terms of villainy. The fact that you later mention Julian with the villains cheers me immensely, as it suggests that part of that is coming through. Black John is not our chief villain (and neither is Julian; the gentleman in question has not yet made an appearance). Black John is a threat and a motivator, but at times he actually ends up being useful as well. He's not a mugger with a heart of gold; he's out for whatever he can get. However, he will also eventually (one hopes) show by contrast that there are worse things in the world even than men who beat you up and take your money.

From one perspective, Tom and Black John are the opposite numbers to Edward and our main villain. Outright, physical thugs and good guys have one way of living life; those who take the quieter and more subtle way, whether for good or bad, have their own strengths and their own sufferings. I'm just worried about whether I'm up to helping Edward bring this out.

Would I read on? Probably. Tom and Edward are sympathetic characters. Though I expect them to end up in a little cottage in the Lakes it might be interesting to learn how they get there. Plus, Black John and Julian are both good villians who need to get theirs. :D

Hope that helps.

It helps immensely. Of course at least one of them is dreaming of the little cottage on the Lakes, and I'm obliged to you for noticing. :) I'm just hoping that the path in that direction isn't too tortuous to follow or too plain to be of interest.

In case it helps, and gives anyone inspiration that s/he might be willing to lend to me, the projected rest of the plot (novel length) is:

(1) Tom takes service with Edward and learns to hate serving a little less and like Edward a great deal more. He also learns who Julian is and discovers that Edward is still being blackmailed over his relationship with Julian.

(2) Somewhere in here, we probably learn more about the characters' background. Edward is Lord Falkirk, with a position in the government. His past includes an affair in which he was ardently attached to a superior who threw him over so that he could get married and advance his career. Edward can't face doing that himself; he's an honest person and he's not willing to doom some woman to a miserable life so that he can get ahead. Tom has been a servant before, but to a lord who picked him up in a small village when he was young and made a servant/toy out of him. Once the lord was tired of him, he found what the man's name on a character meant - keep playing servant/boytoy for his circle of like-minded acquaintances, or strike out on his own. Hence renting.

(3) Tom gets faced with hard choices when a fellow servant tries to recruit him to steal more blackmail material from Edward. His past makes him resentful both of serving and of Lordships in general, but he also has a strong attraction to Edward based on what he's seen of his character. Tom eventually tricks the other servant into leading him to the blackmailer, then breaks into his house and steals his files and letters, including everything he has on Edward. Because he has to get access to a locked safe, he is seen by the blackmailer. (Black John gets wound up in this as well.) He makes off with everything the blackmailer has.

(4) Tom and Edward eventually initiate a romantic relationship. After Tom saves Edward from blackmail, he states that he doesn't want any reward other than staying in Edward's hire. Edward can see what this means, but is very hesitant to get involved with anyone, let alone his servant. He's close to giving up on being able to live an honest and honorable life with anyone he cares about and is willing to face a life alone rather than a life of continual deceit. Tom's strong devotion and dogged patience wear him down, however, and he finds that they have a good deal more in common than he did with Julian.

(5) Our blackmailer (chief bad guy) patiently gathers everything he can get on the person who robbed him. He works out relatively early (probably with Julian's help; I think he'll have him in his pocket) who Tom is and sets about using him to destroy Edward, which he knows will be more painful to Tom than any direct assault. He eventually gets enough together to clearly implicate Edward in the then-crime of indecent conduct with a male person (Tom) and takes it to the police, exploding it in a big, ugly, very public bombshell. That's designed both to get revenge and to provide a public example to anyone else thinking of double-crossing the blackmailer.

(6) Edward won't lie on the stand about his relationship with Tom. He decides that he's going to tell the truth and go to jail, partly from inherent honestly and partly because, with Tom, he's finally had a relationship that felt honest and right - not sneaking, two-timing, or shallow. He's not willing to betray that sense of rightness and honor in the relationship by saying that it never existed (and implicitly accepting that it is shameful). His one hope is that his greater age, wealth, and power will convince the police that he influenced Tom, and that Tom therefore should be treated as a victim and not prosecuted as a criminal.

(7) Tom has different plan. He manages to get himself called first as a witness against Edward, claiming that he's turned queen's evidence and will testify against him. Before he testifies, however, he sets himself up. Using both his own actual past and the letters he found in the blackmailer's house, he supplies (by third persons) a huge string of people to Edward's defense attorney, all of whom are willing to swear that Tom is a rent boy, a thief, a blackmailer, and generally someone whose word is ridiculously unreliable and who probably engineered this to get money out of his employer.

(8) The prosecutor (who is among those whose letters Tom found) dismisses the case under the credible excuse that his chief witness is hopelessly perjured and unreliable. Edward is released. Tom, based on the testimony against him, is charged with blackmail and renting, to which he pleads guilty without trial. Tom goes to jail, knowing that he can take it better than Edmund can. He goes hoping that Edward can forgive him the seedy and ugly past that has now come out; he could never quite bring himself to confess it to him until this point, although he has struggled with it. Edward's feeling naturally very complex - guilt, shock, urge to throw it all out in the open, unwillingness to make Tom's sacrifice for nothing, etc.

(9) Epilogue: Tom is released from prison. The head warden, looking out from his window, sees someone in a carriage waiting to pick him up. Last shot, naturally, is the that of the lamp being blown out in the bedroom of a little cottage in the Lakes. ;)

But it's a damned long road from here to there. Any pointers are welcome.

Shanglan
 
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Changes posted to the very first scene between Edward and Julian. I've attempted to clarify dialogue tags and to remove or reposition a few bits of what looked like extraneous physical detail.

Shanglan
 
BlackShanglan said:
Changes posted to the very first scene between Edward and Julian. I've attempted to clarify dialogue tags and to remove or reposition a few bits of what looked like extraneous physical detail.

Changing the recipe while the cake's in the oven, eh? Clever! ;)

Regardless of the changes to the initial scene, I believe you are fretting too much about revealing Edward's character. This is a long story, once you seduce the reader with Tom, I think they will get to know Edward in due time.
 
Penelope Street said:
Regardless of the changes to the initial scene, I believe you are fretting too much about revealing Edward's character. This is a long story, once you seduce the reader with Tom, I think they will get to know Edward in due time.

You know, that's a very good point. I hadn't thought to look at it that way. How perfectly sensible, and how liberating. Tom is the quick build and Edward the slow build.

Cheers!

Shanglan
 
The dialog is significantly easier for me with the added tags.

Something is still ... choppy though. I can't really place my finger on it. If I get a chance im going to print it so I can read it outloud, tha always helps me with choppy :)

But I wanted to say much better for comprehension on the dialog

-Alex
 
2 cents

(1) Is Edward coming through consistently as a character?

I don’t think that you’ve strayed too much with him, although I think that at this point Tom is a much more memorable character than Edward. If they are to continue as a duo throughout then maybe there should be some touching up on Edward in the first section.

(2) Is the "set" of the leads too obvious - i.e., does it feel like they're being deliberately forced together?

No not at all I think it was well thought out. In fact I feel like this is where the story picked up. You did a nice job of painting Tom. I think I would have liked to have seen more of Tom’s description through Edwards eyes – you have that portion where he makes note of his dress, hair and eye color. I think it needs a little bit more there.

(3) Is it reasonably clear what's going on between Edward and Julian in the first scene?

The jist of what’s going on comes through but some of the details are vague. I’m not sure if it’s because there is more writing that preceeds this or not.

(4) The scene of Edward dealing with Tom in the street - where Tom is warning them about the ambush - feels like it badly needs something. What is it? Tom's POV? More of Edward's thoughts and background/where he's coming from/characterization? It feels thin to me.

The only real problem that I have with this section is wondering where the heck Kerrington comes from. He seems to be just a prop. You could almost omit him altogether because he doesn’t have much impact on the story to me.


(5) I know that I'm flirting with death in introducing a fair bit of slang into Tom's observations and dialog. However, I also think it important in establishing who he is and what his life is like. How hard is it on the reader at the moment? Does it need to be cut back?

Nah, the slang works in context. The other wording is where I think you could cut back. I don’t know the best way to describe it but you have poetic prose tendency, especially in the first section. You tend to be a little too wordy and over use your descriptions at time.

For example:
Julian smiled, a sensual, radiant curve of his lips like a debauched cherub’s, and let a languorous purr slip into his voice


Not to shred, but these are some things that stood out to me and I made note of them as I read.

Help me, thought Edward, with the fervent instinct of a prayer. Every vow, every resolution, shot out like chaff when his lips brush my (POV change) ear.

This sentence is awkward.
Edward looked away. Julian sought his lips, though he turned from him (need some pronoun clarification here: who turned away); at last Edward simply stood, impassive, as Julian’s soft kiss and tongue stroked and teased at his silent response. (The action seems out of order. Edward stands and then Julian tries to kiss him?)

It was a lie, more monstrous in its cold repudiation than even, agony of guilt though they were, those warm nights when he’d felt curling gold hair brush his lips

Maybe try:
It was a lie, more monstrous in its cold repudiation. There were those warm nights...

There is some confusion for me here:
Whatever men might think honor meant when nature tore him so viciously asunder, the words could not pass his lips. He would not stand before the world and say that those lines meant nothing.

What words and what lines are you speaking of? Rereading it I think you are referring to the letter but I’m not totally following or sure..which follows into the next paragraph:

To him. Julian would have not the slightest trouble.
Perhaps a stronger transition here would work.

Torn into firelighters, or whatever it was Julian did with his toys when he’d had enough of them.
I see what kind of comparison you are going for here but maybe “toys” isn’t the word you want to use because aren’t you referring to the letters and not the “lovers” here?

Suggestion:
Edward drew a deep breath and let it out, trying to feel the irony and not the pain. Man of the world (Omit). Julian was more a man of the world than...

Suggestion:
Or wasn’t (Omit). Edward drew a ledger wearily over

“What did you imagine?”

I think there should be some sort of tag here. Is this Edward’s voice in his head or him thinking of something Julian would say?


Gone, all hope of that. Gone, and the dream gone with it. And nothing in its place but a long, bitter waking, torn with mocking laughter and the riot of joyless debauch.

Suggestion:
Reword this into one strong sentence.

This sentence doesn’t work:
Like as not three had been generous, back when Hec was still fit to go out hunting it.

Depressing, thought Tom, tracing

To me, this should have some sort of formatting so that the reader is sure that this is inner dialogue. Italics or quotes.

...was Hec’s “nephew” visiting for roughly twenty...
The quotes around NEPHEW aren’t necessary

He wasn’t in the mood to (omit “to”) for a long play

Tom grinned. Then he looked up at the desk sergeant and began to regret it.

“Occupation.”

Some tags are needed here. Who is speaking?


Thanks for sharing this.

SW
 
Thanks for the comments, Scarlettwings! Very detailed and extremely helpful. Poor Kerrington, but everyone is right - what the devil IS he doing there, and if he's there, why doesn't he do something? He needs a major rehaul or removal. Fortunately I spent my one brief period of quiet today brainstorming on that scene and how to get more of Edward into it. Kerrington will be made to earn his keep or get out!

There's no more information about the situation with Julian and Edward before that scene. That said, the original intent was to hint rather than totally spell out what's happening. That is, I want the reader to have the general idea that Julian's being blackmailed over a letter Edward wrote to him and that Edward is paying the blackmailer's fee, but didn't wish to get too bogged down in other details of their relationship or breakup just yet. I was planning to open that up a bit as the novel progresses. I'm hoping that it's teasing enough to generate a plotline and interest without being too oblique and therefore confusing. I'm still weighing reactions to see whether I've hit that balance or not. :)

And I yield! All right, the transitions in the first scene don't work as I'd hoped. My thought was - to use a commonly cited offender - that the following quotation might be read as a transition involving a character completing, after moment's pause, an earlier thought:

Whatever men might think honor meant when nature tore him so viciously asunder, the words could not pass his lips. He would not stand before the world and say that those lines meant nothing.

To him. Julian would have not the slightest trouble.

That is, Edward think that he won't tell the world that the letter means nothing. Then he adds, a touch bitterly, "to me" (him in this POV) - that is, he throws in a modifier to the last sentence, and goes on to think that while to him it means something, to Julian it doesn't. But this explanation is a silly thing itself :) Clearly that idea, while clear to me, is not coming through to anyone else. The offending passages shall be chastised!

I keep wondering if I ought to just go ahead and italicize thoughts. It would certainly help with the troubles this little pest has had:

Help me, thought Edward, with the fervent instinct of a prayer. Every vow, every resolution, shot out like chaff when his lips brush my (POV change) ear.

I don't see it as a POV shift, because the thoughts are intended to be Edward's actual worded thoughts. That is, we're still outside of Edward as third person viewers, but for a moment we hear his actual thoughts. This was originally a little different; then I tried to clarify it by adding the "thought Edward" tag, which evidently hasn't done the job. Italics might be the way forward, especially as I can't really say why I'm resisting them. Just one of those silly instinctive stubborness things, I think. :)

Thanks again for the ideas! Plenty to mull over there.

Shanglan
 
I felt that I understood what was going on fairly quickly with Tom and Edward. It didn't keep my interest much though in the early scene with the two. I'm not sure what to say there.

I do like Tom's character and would want to read on to find out what does happen to him, especially if he gets a pound of flesh of of black John who is easy to dislike.

In general, I liked the dialogue with the police, and other characters. I also think Edward will develop later.
 
You've got a winner here, Shango! This one's fucking brilliant, if you ask me. Instant atmosphere; realism and terrific setting; action from the start, and action that reveals character; and stunning gems like this

gleeful prodigality of the recently blown

or

Something high. Something fine. Something ridiculous, Julian would say. But something better than this.

They don't go unnoticed. They made me smile.

I think you've finally found it, and if you can keep it up like this, you've got some honest to God literature on your hands. It's way more than just good.

There's so much more here that's good than bad, but let me get the faults out of the way.

---The scene breaks: are they necessary? They don't seem to be, or at least not so many of them. You've got several that could be handled by a line of text, ("No sooner had Julian left than…"), and I'm afraid they kind of trip up the flow of the narrative. This prmoses to be such a rich and luxurious story. Why hack it into little impressionistic bits?


--The Homosexual Pronoun Problem, primarily in the first segment:

Sunlight was always Julian’s element. Edward looked up wearily from the desk, watching the white mid-morning rays spill over him from the eastern windows. They lit him up like an angel. Sometimes it still made him forget himself.

Hard to decipher, and always a problem in gay lit. Maybe "…spilling over the young man from the eastern windows…" And "Sometimes it still made Edward forget himself." Anyhow, there's a way to fix it, and it should be fixed. It messes up the opening.


--Some doubts as to the suitability of the opening scene. It's hard to judge it's propriety without seeing the whole piece in its entirety, but as it is, it seems strange to start with Edward and Julian and then cut away for the start of the story. If it's only there to show us that Edward is gay, I'd say lose it.


--Trust your reader to understand what they're being shown. In other words, you don’t have to take us into your characters' head so much and show us what they're thinking. You're good, BS, and we can tell who and what your characters are and what they’re thinking and feeling just by reading the story. One of the places this story is so strong is in manifesting emotions and thoughts through actions.

e.g. Thomas stalked to the door. He didn’t need this. Not tonight. Half an hour gone, and a week’s rent due in the morning. He’d lost five shillings clear fucking about with this lot, and Black John would be happy to take that and more out of his hide when he found him. He brushed past the bickering Lordships toward the door.

I could imagine very well what Tom was feeling as he stalked to the door. You really don’t have to spell it out.

Likewise: “Thank you, sir,” said Tom carefully. He glanced again at Sergeant Peeler over at the desk. Bein’ a good boy here, sergeant. Best behavior. Hope you’re bloody watchin’, you fat sneering pig.

Jumping into Tom's head was a bit disorienting for me and took me out of the scene. I think you could just tell us he was on his best behavior, or show us him ostentatiously wringing his hands, and we'd know what he was thinking.

The worst of these was Tom's extended reflection when he left Hec. Don't worry about the mirror (window) scene. That was fine and quite natural, and the symbolism of his pulling the lace off his coat was right on (nothing like an external manifestation of internal feelings to make things clear.) I just didn’t need to know Tom was from Surrey, and I could tell he was fed up with the life he was leading just from watching him. You didn't have to put me in his head to show me.

Your questions:

(1) Is Edward coming through consistantly as a character?

Consistantly enough at this point. I mean, all he's done at this point is pay some blackmail and interact with Tom, so what else do we need to know? He's wealthy, gay, good looking, intelligent. What else do you want?

Again though, unless Julian's blackmail is part of the central problem in the book (I'm assuming this is the book you've been working on. If not, it should be), I'd cut it out. The story really has a false start—Edward writing the check—and then stops and starts again with Tom and Hec. I don’t like that stutter-stop feeling

Tom is your main protagonist, right? Then what's wrong with keeping Edward a mystery to us as well as Tom? As it is it seems like you're trying to set up tow protagonists, or maybe lovers. I don’t know if that's wise.

(2) Is the "set" of the leads too obvious - i.e., does it feel like they're being deliberately forced together?

You mean Tom and Edward? No. It's great. You show Tom with a foot in both worlds, trying to lift himself up. The scene with Black John tells us almost all we need to know about Tom's seamy side. Now we get to see him redeem himself: his courage and resourcefulness. It's perfect, and already we can see why Edward would find Tom useful for his street savvy and quick wit. Their connection is entirely believable, dramatic, and revelatory.

(3) Is it reasonably clear what's going on between Edward and Julian in the first scene?

That took me a while, mainly because I was confused by the pronoun problem. But it's kind of embarrassing: show me two englishmen in a gaslit room and I'm already thinking homosexuals. But yes, I think it's clear.

Which reminds me: "Julian St. Clair"? Isn't that the gay counterpart of "Fifi LaVoom"? It did make me do a little eye roll.

This confused me, when Julian said, "We pay them, they give us that little missive, and they go away." I didn't quite understand that.

You do have a few places where you have Juian speaking and Edward reflecting in the same paragraph, and that's confusing. That shouldn't happen. New speaker or thinker or doer: new paragraph.

I might also cut down on Edward's reflections. One mention of Julian's attractiveness is enough (and if it's not, the kiss certainly is) and I left that scene not very certain of Edward's feelings towards Julian: lust? regret" anger? It's an opening scene. We want to see what's happening, not necessarily understand every nuance of feeling.

(4) The scene of Edward dealing with Tom in the street - where Tom is warning them about the ambush - feels like it badly needs something. What is it? Tom's POV? More of Edward's thoughts and background/where he's coming from/characterization? It feels thin to me.

The trouble with this scene is that you don't trust your readers to understand, and so you tell us too much instead of showing us what's going on. It's an action scene and we want to see the action. You put us into Tom's head, then Edward's head, and I don't think it's necessary. The image of Tom standing stiff and nervously in front of them, maybe dabbing at a trickle of blood from his nose after being roughed up, his eyes gesturing feverishly to the alley behind him, and Edward's dawning understanding—that would have been enough. Edward could have seen the shadows looming in the alleyway. He's a sharp cookie. He would have understood.

(5) I know that I'm flirting with death in introducing a fair bit of slang into Tom's observations and dialog. However, I also think it important in establishing who he is and what his life is like. How hard is it on the reader at the moment? Does it need to be cut back?

This is one of the things that impressed me the most. The use of language and jargon was just superb, I thought. Even when I didn't know what they were talking about, I knew what they were talking about, and it doesn't get any better than that. The language came across as real and authentic, and I never once had the feeling you were forcing it or showing off.

And it wasn't just the argot. The tone and style you used in the expository parts rang true as well. It was instant atmospherics, and perfectly done. I guess all that immersion in Wilde has paid off, huh?
--------------------------------------------

The other thing that just knocked me out was the minor characters, the way they came alive. Bell and Hands and Black John and Scrib the scrivener (especially Scrib. That part was brilliant) all came to life and gave the piece a really densely-populated feel. It was such a living world. I'm not even sure whether lace and gas-light went together, but I didn't care. I trusted the authenticity of that world too much to quibble.

I also admired the way you made each scene work to advance the story. There was nothing superfluous in it, nor were there disconcerting jumps. You could have easily gone from the police station to Tom's showing up at Edward's door. In fact, I rather expected that. But throwing in that scene with Scrib just fleshed it all out and made it all so rich and dense. That's what I mean by "luxurious" writing. We have tme to stretch out and take in the scenery and soak up the local color.

There are some authors I read just for the way they can create a world like that (Patirck O'Brian comes to mind) and it's a feat that leaves me in awe. You've really got something here, BS. It's really good.

--Zoot
 
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Hi SW,

And welcome!

oOScarletWingsOo said:
The only real problem that I have with this section is wondering where the heck Kerrington comes from. He seems to be just a prop. You could almost omit him altogether because he doesn't have much impact on the story to me.
I had a similar reaction at first, but when I pictured one lord walking in the slums at night, I saw how two made sense. Plus, Edward may need a friend in high places during the turmoils to follow- may as well show one to the reader now.


oOScarletWingsOo said:
Nah, the slang works in context. The other wording is where I think you could cut back. I don't know the best way to describe it but you have poetic prose tendency, especially in the first section.
My intuition is that this has to do with the two voices used to tell the story. In effect, we have a pair of narrators, right? I find this one of the most interesting ingredients of the story, yet I'm still unsure whether the added flavor is worth the inconsistency.


oOScarletWingsOo said:
This sentence doesn't work:
Like as not three had been generous, back when Hec was still fit to go out hunting it.
Oh. What didn't work? I found that line quite funny, though I've no idea how much inflation there was in Victorian times.


oOScarletWingsOo said:
This sentence is awkward:
Edward looked away. Julian sought his lips, though he turned from him...
Yeah. I had to read that one over again too.


ETA:
Help me, thought Edward, with the fervent instinct of a prayer. Every vow, every resolution, shot out like chaff when his lips brush my ear.
I thought this was an outright error rather than a POV shift or an internal thought. As I read it, 'Help me' was the direct thought, and nothing else.
 
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Well, Shanglan, even though this was just a little taste, I suspect this is the beginning of a story I'd very much enjoy, and although thus far there hasn't been much in the way of steamy sex, it certainly has tremendous potential for being very arousing to my personal little proclivities. Of course my mind's already running off in lots of directions, imagining the delightful possibilities...

You very quickly give me enough of a sense of Edward and of Tom that I'm invested in their fate and want to find out what will happen to them and between them. I feel each is in a vulnerable place, each has something at risk—so there's a bit of suspense beyond the romantic possibilities. As always, you do an excellent job with voice—each character is distinct in dialogue and narrative voice. So, characters are coming quickly and vividly to life, and the settings—particularly the grittier ones, are materializing nicely.

I see (I think) that you're setting up a potential romance between Edward and Tom which, as I know you love to do, will demand a great deal from those characters, perhaps especially Edward, to overcome the chasm of their social position and particularly the cynicism Edward's been left with after Julian. All delicious fodder for drama and tormented angst! You've also got me in a state of suspense over the matter of Tom's past and the business with Halford.

One thing I particularly admire about your fiction is that it allows me to enjoy a style of writing I particularly like, which traditionally hasn't often portrayed certain aspects of life except in a rather dainty, allusive fashion. That you seem to be moving toward a gay romance on the level of a novel or novella is very exciting—I can't wait to read what's to come.

Now, on to your specific questions:

(1) Is Edward coming through consistently as a character?
I don't feel I've seen much of him yet, but yes. He's certainly the central focus of the opening bit, and he seems consistent throughout to me. Though his mental attitude seems different in the latter segment, that doesn't strike me as being inconsistent, since he's in a very different situation, with different people.

(2) Is the "set" of the leads too obvious - i.e., does it feel like they're being deliberately forced together?
Hmmm…no, nothing feels forced to me, though I do feel there's a certain predictability, because there are two focal characters, the reader anticipates (desperately hopes) romance and frolicking are ahead.

(3) Is it reasonably clear what's going on between Edward and Julian in the first scene?
It's clear if I understand correctly that they've had an affair, that Edward thought they were in love, that Julian took it as one of many dalliances, and that now Julian's being blackmailed because a love letter Edward wrote him has been found. Even though Julian's the playboy, Edward stands to get the brunt of any scandal because he's older and (tangentially) in a position of power over Julian at school.

(4) The scene of Edward dealing with Tom in the street - where Tom is warning them about the ambush - feels like it badly needs something. What is it? Tom's POV? More of Edward's thoughts and background/where he's coming from/characterization? It feels thin to me.

I didn't find the scene lacking. I don't think you need Tom's POV in this scene, particularly as Tom's POV bookends it. I'm glad to get Edward's POV for a bit, here in this other environment, among these other people (not Julian).

(5) I know that I'm flirting with death in introducing a fair bit of slang into Tom's observations and dialog. However, I also think it important in establishing who he is and what his life is like. How hard is it on the reader at the moment? Does it need to be cut back?
I had no problem with the slang—perhaps I'm mis-defining half of what I imagine myself to be intuiting, but it's working beautifully for me.

Right, now I'm off to have a look at others' responses.

-Varian
 
Edward

Penelope Street said:
(1) Is Edward coming through consistantly as a character?
I'm not sure. He strikes me as a reserved, maybe even a little faint of heart, but that's about it so far.

BlackShanglan said:
This is what was concerning me about him. I have a feel for the depths of his character, but people with quiet natures and virtues are difficult to bring across to the reader. I was hoping that the opening might sound a few key notes of his nature - that he is an very honest person, that he is honorable and concerned with what is right as well as what is convenient, and that he's got some depths of feeling under his surface restraint. It's that damned restraint that makes him awkward to handle. I feel like he needs to be relatively cold and distant with Julian, but it's harder to help the audience see the reason why: because this is so painful that it's the only way he can get through it.

I tried saying more about the pain of the scene, but it came out whiney. I considered lumping in more backstory, but it got garrulous and lost dramatic force. I have, as you suggest, also considered cutting it or moving it and placing Tom first. I think my hesitation comes from this: Tom is more energetic and has a more playful and excting voice, and that tends to draw attention to him. If he gets the "camera" first, that feels like it will intensify that problem. But Edward is an heroic character in his own right. Tom goes out and punches trouble in the face (or throws the police on its trail); Edward faces really painful duties and does them, even when it costs him immensely. The trouble is getting him to be as engaging and interesting to the reader as Tom is. That's really giving me a lot of trouble. So much more of his life is internal, and that's quite difficult to show and not tell - especially when the point is a sort of quiet, everyday strength that's not nearly as flashy as Tom.

Help? :eek:

Piping in again, as I had rather a different reaction to Edward. I'm a tremendous fan of the still-waters-run-deep sort of guy, and even though Edward's reserved, I felt I got a good sense that he's a bit tormented by disappointed love, and perhaps even by the fact that he's gay (or at least has been in love with a man). There's something very sexy (in a twisted sort of way--my eternal favorite) about the injured and mistrustful type who's going to have to risk pain for love, and this is what I'm getting from quiet Edward. Even though Tom's bright and sassy, thus far I find Edward actually more compelling.
Also, in my humble opinion, the scene between Edward and Julian at the beginning gives the reader crucial insight into Edward's history and state of mind. One could reveal this later, perhaps, but personally I want it right where it is.

-V
 
tempsbrat said:
I felt that I understood what was going on fairly quickly with Tom and Edward. It didn't keep my interest much though in the early scene with the two. I'm not sure what to say there.

I do like Tom's character and would want to read on to find out what does happen to him, especially if he gets a pound of flesh of of black John who is easy to dislike.

In general, I liked the dialogue with the police, and other characters. I also think Edward will develop later.


Thank you very much for joining in the discussion. I can see that that first scene is going to make me pull my mane out. Just when I was thinking that the mass consensus seemed to be to move it, Varian weighed in ;) I love her for this, of course, as well as her many virtues too manifold to enumerate, but it puts me back to square one on puzzling out the scene order. But thank you for adding your voice on that! It's also comforting to me to hear that the reader does at least generally seem to have faith that Edward will go somewhere interesting even if he's quiet now.

Shanglan
 
It's hard to know what to say to Dr. M. - of course, this is the sort of review dreams are made of, not merely for the extremely kind encouragement but also for the excellent and specific advice. I shan't say much about the former, but pray don't take that for lack of appreciation. I'm actually rather tongue-tied and extremely flattered. You are entirely too kind. And you especially made me smile with your comments on a few specific lines -

They don't go unnoticed. They made me smile.

I hope you have some idea just how nice that feels. You picked a couple of lines there that I did have some hopes for, and it was charming that they were not unnoticed.

---The scene breaks: are they necessary? They don't seem to be, or at least not so many of them. You've got several that could be handled by a line of text, ("No sooner had Julian left than…"), and I'm afraid they kind of trip up the flow of the narrative. This prmoses to be such a rich and luxurious story. Why hack it into little impressionistic bits?

Now that is an excellent point - especially the one you give as an example, where there is no POV shift or change of setting. Whatever was I thinking? Point well taken, indeed, especially the implication of the clash of diction and structure. I think you're absolutely right.

--The Homosexual Pronoun Problem

I have been cursing it regularly! Yes. It's so often the choice between being obscure and being cumbersome, and I have in fact re-worked that specific scene at least once trying to be rid of the damned problem. I will have another crack at it. I like your suggestion of going to a brief description or noun phrase rather than the pronoun/proper name choice. That's a good idea for another way to get out of the clunky repetition.

--Some doubts as to the suitability of the opening scene. It's hard to judge it's propriety without seeing the whole piece in its entirety, but as it is, it seems strange to start with Edward and Julian and then cut away for the start of the story. If it's only there to show us that Edward is gay, I'd say lose it.

I'd just about been won over to move this when Varian weighed in - not merely because she voted the other way, but because she enunciated so perfectly the roots of my resistance in the first place. Awkwardly, it's not just there to show that Edward is gay; the blackmail he alludes to in this scene continues as a major plot issue throughout the novel, expanding and ramifying and eventually becoming both the thing that unites him with Tom and the thing that nearly destroys him. I suppose that that is why I have had such trouble convincing myself to move this scene. That said, there are still plenty of reasons against having it there. I'm back to beating my head on the stall door over this one.

--Trust your reader to understand what they're being shown. In other words, you don’t have to take us into your characters' head so much and show us what they're thinking. You're good, BS, and we can tell who and what your characters are and what they’re thinking and feeling just by reading the story. One of the places this story is so strong is in manifesting emotions and thoughts through actions.

Never a time when that is bad advice, and I thank you for it. You pointed out some excellent places to revise. I particularly agree on this:

The worst of these was Tom's extended reflection when he left Hec. Don't worry about the mirror (window) scene. That was fine and quite natural, and the symbolism of his pulling the lace off his coat was right on (nothing like an external manifestation of internal feelings to make things clear.) I just didn’t need to know Tom was from Surrey, and I could tell he was fed up with the life he was leading just from watching him. You didn't have to put me in his head to show me.

You're absolutely right. It's what my dear mentor called "scaffolding" - notes to myself, and not properly given to the reader. It's odd how that sort of thing can sneak up on you, though. It's so much in your mind as you are composing that it finds its way onto the page, and it's only when a detached and perceant eye notes it that one can see it oneself. Much in your debt.

Again though, unless Julian's blackmail is part of the central problem in the book (I'm assuming this is the book you've been working on. If not, it should be), I'd cut it out. The story really has a false start—Edward writing the check—and then stops and starts again with Tom and Hec. I don’t like that stutter-stop feeling

Good advice on the stutter-stop whether the scene is vital or not. I thought myself that the transition felt rough. Even if I keep the scene, I think that that transition needs some attention.

Tom is your main protagonist, right? Then what's wrong with keeping Edward a mystery to us as well as Tom? As it is it seems like you're trying to set up tow protagonists, or maybe lovers. I don’t know if that's wise.

Hmmm. You've got me seriously mulling this. My intention was in fact to have them as equal protagonists, but you've just made me see the potential problems there. I think that some of this must be from Edward's POV; his character is an important part of the story, and his development I think much of what made me want to tell it. That said, I see that trying to strike an absolutely even balance might not be a good idea. Tough. Very tricky. I think that this will take some thought.

Which reminds me: "Julian St. Clair"? Isn't that the gay counterpart of "Fifi LaVoom"? It did make me do a little eye roll.

Ugh, good point. It was actually the light that did that to him; that is, I knew his name as Julian, but the "clair" came from "light" and that first image. I think I had better change that, or he does indeed run the risk of becoming rather a caricature.

This confused me, when Julian said, "We pay them, they give us that little missive, and they go away." I didn't quite understand that.

Noted. I'm finding that scene difficult because of the dialog constraints (people not spelling out what they both already know). One more reason to move it or can it, perhaps, but first I will attempt fixing it.

I might also cut down on Edward's reflections. One mention of Julian's attractiveness is enough (and if it's not, the kiss certainly is) and I left that scene not very certain of Edward's feelings towards Julian: lust? regret" anger? It's an opening scene. We want to see what's happening, not necessarily understand every nuance of feeling.

Hmmm. I am quite torn there. I think you're absolutely right on the references to Julian's attractiveness, and shall look to trim. On the other hand, your comments on emotion actually rather encourage me; those are the emotions Edward feels, and he's not any more sure himself what predominates or what to do about that. I will look to see if I can capture that ambiguity perhaps a little more smoothly.

I guess all that immersion in Wilde has paid off, huh?

You could not have chosen a kinder compliment. Thank you very much, Dr. M.

Shanglan
 
Varian. May I say just how delightful it is to see you back amongst us? Of course it's a special treat for me, as you are so perfectly my ideal reader. There's a danger in that - you seem to know what I intend even when I am perhaps not executing it ideally. But it is always a charm to see it, nonetheless.

Varian P said:
You very quickly give me enough of a sense of Edward and of Tom that I'm invested in their fate and want to find out what will happen to them and between them. I feel each is in a vulnerable place, each has something at risk—so there's a bit of suspense beyond the romantic possibilities.

Excellent news for me. I think that if I add into that Dr. M's advice on backing off a little on spelling such things out, I can do even better. I think he's on the money about Tom spelling out his past a touch too clearly. Perhaps I am simply impatient to get to it myself!

I see (I think) that you're setting up a potential romance between Edward and Tom which, as I know you love to do, will demand a great deal from those characters, perhaps especially Edward, to overcome the chasm of their social position and particularly the cynicism Edward's been left with after Julian. All delicious fodder for drama and tormented angst! You've also got me in a state of suspense over the matter of Tom's past and the business with Halford.

So delighted to please. ;) You know me, I can't be happy when I'm not tormenting some poor character and trying him by fire. I'm just hoping that I can pull off the situation with Halford without it getting too melodramatic or overblown. We shall see. I think Tom will help me; whenever I get too fraught with him, he reminds me that he's a very earthy lad and isn't having any of it.

(1) Is Edward coming through consistently as a character?
I don't feel I've seen much of him yet, but yes. He's certainly the central focus of the opening bit, and he seems consistent throughout to me. Though his mental attitude seems different in the latter segment, that doesn't strike me as being inconsistent, since he's in a very different situation, with different people.

Ah, good point. I think I will give that some attention and thought. I felt the difference, but had not thought to consider it in that light.

Piping in again, as I had rather a different reaction to Edward. I'm a tremendous fan of the still-waters-run-deep sort of guy, and even though Edward's reserved, I felt I got a good sense that he's a bit tormented by disappointed love, and perhaps even by the fact that he's gay (or at least has been in love with a man). There's something very sexy (in a twisted sort of way--my eternal favorite) about the injured and mistrustful type who's going to have to risk pain for love, and this is what I'm getting from quiet Edward. Even though Tom's bright and sassy, thus far I find Edward actually more compelling.

Also, in my humble opinion, the scene between Edward and Julian at the beginning gives the reader crucial insight into Edward's history and state of mind. One could reveal this later, perhaps, but personally I want it right where it is.

This gives me immense hope for Edward, as you have indeed nailed some of his key issues, including his lingering guilt and shame about his sexuality. I see this as oddly and interestingly intertwined with his sense of honor; I think his shame over the one great unavoidable thing that he can't help is part of what's made him so passionately decent and honest about everything that he can control. Of course that leaves him wretchedly torn when he can't live an open life with anyone he really loves. I'm glad that he's getting through a bit.

But that scene! That last comment, I am convinced, you put in purely to torment me ;) No, I shall thank you. You've reminded me why I want that scene there. Now I just have to go back to the drawing board to figure out how to communicate some value and/or ease its transition for the benefit of the readers not telepathically divining my intent. :)

Thank you very much, Varian. :rose:

Shanglan
 
The HPP

A quick thought on your 'homosexual pronoun problem': I've run into the same difficulty myself, with scenes involving two characters of the same sex, even when there's no sex going on at all (must put an end to that soon!).

In my case, the two characters are rather antagonistic toward one another, so when I tire of he-ing, him-ing, and naming again and again and again, I've taken to letting them give one another derisive pet names and metaphors. Adds a bit of playful narrative voice from each one's POV (when I manage it), flushes out how each sees the other, breaks up the monotony and all that. Knowing your skill with voice and wordplay, I think this might be a trick with which you could do wonders.

-V
 
Varian P said:
A quick thought on your 'homosexual pronoun problem': I've run into the same difficulty myself, with scenes involving two characters of the same sex, even when there's no sex going on at all (must put an end to that soon!).

In my case, the two characters are rather antagonistic toward one another, so when I tire of he-ing, him-ing, and naming again and again and again, I've taken to letting them give one another derisive pet names and metaphors. Adds a bit of playful narrative voice from each one's POV (when I manage it), flushes out how each sees the other, breaks up the monotony and all that. Knowing your skill with voice and wordplay, I think this might be a trick with which you could do wonders.

-V

Oooh, I *like* that! Must remember it.

Shanglan
 
Penelope Street said:
Hi SW,

And welcome!

Thanks.


Penelope Street said:
I had a similar reaction at first, but when I pictured one lord walking in the slums at night, I saw how two made sense. Plus, Edward may need a friend in high places during the turmoils to follow- may as well show one to the reader now.

That maybe so but the way it's written the companion has no real role in the direction of the story. He isn't introduced or interacts much with Edward and Tom. For that I feel like he could be omitted or have more of a role. If he is to have a companion in the streets so to not be alone then perhaps it should be a small group of men, but that would cancel out the threat of the street thugs. I think the he knows what to do with this segment now.



Penelope Street said:
My intuition is that this has to do with the two voices used to tell the story. In effect, we have a pair of narrators, right? I find this one of the most interesting ingredients of the story, yet I'm still unsure whether the added flavor is worth the inconsistency.

My comment was directed more toward the beginning or first half of the story. To me it was difficult to follow. With that in mind I felt that a more simplified narrative would have worked best to explain the character's situations and to define Edward better. It's not as strong and directed as the part with only Tom.



Penelope Street said:
Oh. What didn't work? I found that line quite funny, though I've no idea how much inflation there was in Victorian times.

Like as not three had been generous, back when Hec was still fit to go out hunting it.

I understand what he's getting at but the wording is awkward. It's the "Like as not three..." that I stumble over. I would suggest it be "Three would have been generous..."


Penelope Street said:
ETA:
Help me, thought Edward, with the fervent instinct of a prayer. Every vow, every resolution, shot out like chaff when his lips brush my ear.
I thought this was an outright error rather than a POV shift or an internal thought. As I read it, 'Help me' was the direct thought, and nothing else.

Hence the need for some sort of dialogue formatting. I think he sees that the lack of it causes some confusion.
 
Ooops, sorry Penelope! Scarlettwings' comments just made me realize that this got sandwiched in and I missed responding. I did, however, read and appreciate it.

Penelope Street said:
I had a similar reaction at first, but when I pictured one lord walking in the slums at night, I saw how two made sense. Plus, Edward may need a friend in high places during the turmoils to follow- may as well show one to the reader now.

Yes. This was the original impetus to have Kerrington there. I felt the same way about whether a wise man would go home afoot and alone when his path would take him past some bad parts of town. I think I will go with just a few more words on Kerrington. As I was mulling over the scene, I realized that I could use a brief view of Kerrington from Edward's POV to further flesh out Edward as well. Kerrington, who for some reason I disliked from the first, is also now militating for a role in the later action that could be quite amusing. Now I'm just trying to decide if I really must change the introduction of Tom at the opening of that scene, which I rather like as the quick "Sir!", but which would be awkward if I then had to cut back to pull in Kerrington and what those two are doing together in St. James Square near eleven.

Good thought, too, though, on Edward needing a good friend by him. I wonder. I think I've conceived him as an essentially isolated person, but I'm wondering if I ought to make some moves in that direction. Lots to think about there.

My intuition is that this has to do with the two voices used to tell the story. In effect, we have a pair of narrators, right? I find this one of the most interesting ingredients of the story, yet I'm still unsure whether the added flavor is worth the inconsistency.

I am facing similar uncertainty myself. That said, I've written another work in which I was ultimately happy with a switching third-person perspective. I feel that I can do this; at the moment I largely feel that it's a problem with getting Edmund's voice right. I could be wrong, but my gut instinct is that he's not coming across quite consistantly or strongly enough in his sections, and that Dr. M's advice about cutting back the "tell" is wound into this - too much emphasis on the obvious, ham-fisted tactic of having him talk about his emotions and not enough on showing them subtly through POV. More show on his emotional state in the small details of word choice and perspective I think might be what is needed to both strengthen him and smooth the narration.

I could, of course, be utterly wrong. :)

Oh. What didn't work? I found that line quite funny, though I've no idea how much inflation there was in Victorian times.

Bless you :) I see now that it's "Like as not" that troubles Scarlettwings, but might end in keeping that on the (possibly poor) excuse that it's a characteristic construction for the period and character, if not one readily in use in 21st century America.

That last sentence you mention has given me no damned end of trouble! Tragically, the current ineffective version is only one of many. I will have another crack at it, as I agree that it doesn't work. I can picture the action I am trying to describe, but for some reason my every attempt to phrase it turns into a tangled morass of confusing pronouns and overly nested actions.

ETA:
Help me, thought Edward, with the fervent instinct of a prayer. Every vow, every resolution, shot out like chaff when his lips brush my ear.
I thought this was an outright error rather than a POV shift or an internal thought. As I read it, 'Help me' was the direct thought, and nothing else.

*nods* I think I may have to yield to italics here. As with the one above, that sentence is a persistant offender that I've tried to rehabilitate several times now. Damnit!

Thank you immensely for your comments and help - crammed with good ideas. And, of course, I love your AV. :)

Shanglan
 
Questions of special interest:

(1) Is Edward coming through consistantly as a character?
(2) Is the "set" of the leads too obvious - i.e., does it feel like they're being deliberately forced together?
(3) Is it reasonably clear what's going on between Edward and Julian in the first scene?
(4) The scene of Edward dealing with Tom in the street - where Tom is warning them about the ambush - feels like it badly needs something. What is it? Tom's POV? More of Edward's thoughts and background/where he's coming from/characterization? It feels thin to me.
(5) I know that I'm flirting with death in introducing a fair bit of slang into Tom's observations and dialog. However, I also think it important in establishing who he is and what his life is like. How hard is it on the reader at the moment? Does it need to be cut back?

1. Yes, I think so. Without being too maudlin or heavy handed, the character generates sympathy in the first scene, almost from the word go. I think most people will be able to relate to his plight.

2. Yes and no. It feels a little forced, but only because we know in advacne this is an erotic work. Short of trying to decieve the reader over whom is going to hook up with whom or who is the Prtag, we all face that with anything we write though. I think you have handled it well and it'sno more obvious or forced than the medium dictates.

3. It seemed straight forward enough to me.

4. I would say it could use with a little more of edwards thoughts. Once bitten is twice shy and he dosen't seem...apprehensive? Wary? jaded? enough to me. I get the connection, but to me, it seems a man already paying for one mistake will think long and hard about another. He should, in my opinion, at least consider the idea that tom is setting him up for another extortion routine. It was quite common back then and a few cases even made the papers that survive of men being in the dock for accusing someone of attempted buggery. Just going along with him would be enough to warrant suspicion and the Socisties for Morals wer actively employing agent's provocature throughout a good stretch of the time period. It might go easier on the flow if such a case had just been tried, as he could remember the artcle and at least wonder before he makes his decision.

5. It seems fine to me, but I am not you raverage reader I think. I used a good deal of 1940's slang in one of my works and got surprisingly few feeedbacks asking for definition. Most will get the gist and those who are really interested will just lok it up. :)

I enjoyed the background you have provided. The story seems strong, with your usual flair for period pieces. Historically accurate streets and attitudes will do much to set the atmosphere even for those unfamiliar with the times.
 
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