Search options (Page 17 of 48)

Object? No... rather, I question that only the one sense is being used. No scent of sulfur... cracking of phosphorous or screams of the damned. Taste of blood in the air... I wonder if eyes are the ideal fallback

Q: Why is a demon having sex going to remove the supernatural element?

To be fair, the books rehashed old concepts. If they stayed remotely close to the books (eg Ray's parents) then the plot will come across as non fresh

'Tis a bit of a tennis match. One solution may be to group actions to reduce camera movement

No Dan Simmons?

Sorry to sneak in here and completely dodge the question, but I still question the the direction the camera is pointed. Choices:

a) a concentrating boy
b) a praying guy
c) a possessed woman strapped to a bed

Ah, but I understand his concentration is supposed to lead to the supernatural element that will soon enter the scene. Connor has perceived it first.

Can your POV character be given the ability to see the oncoming event rather than narrate someone else seeing it? I think that is the crux of the issue - he must make a conclusion about a reality he cannot perceive.

Don't worry... once I reach the end, I'll be back with a list of which extras can get fed to the firing quad (aka villain team)

Scene doesn't scream possession to me. If anything, this sounds like a logistical nightmare.

I remember an old ghost story. I think it was called "Le dernier soldat" though google brings up too many results to find it at the moment. They did their supernatural attack as footprints marching across the room. Approach would reduce the amount of choreography needed.

Temper this with my at-odds approach, but I would have the POV character shiver and perceive demons. I would make the fear transcend to the narrator and let Connor do his own thing

Kdot fix: Delete the lines

I've seen the latter used in mainstream books, but I dislike it. How can startle be used intransitively? Just seems odd.

fifty. So many great targets for the killing spree