Now that you mention it, there is a certain redundancy in having a mother + a grandmother in one head + a father in the other.
Perhaps he doesn't cause her death - anti-religion lunatics do?
Now that you mention it, there is a certain redundancy in having a mother + a grandmother in one head + a father in the other.
Perhaps he doesn't cause her death - anti-religion lunatics do?
It's an interesting place The Edge. I like working in there a lot, but it isn't actually seen until Book 2.
This one writer has a place called the [E a r t h w o u n d] that's a fascinating collision of energies that kinda creeps up on the reader. Basically you have this bad place. And the story doesn't get into exact details about how it got there. But the characters respect it, which makes it terrifying.
It seems that song is from the 17th century. Surely copyright has lapsed on it
and half-naked Russian women wanting to be friends
I hear in Soviet Russia, Facebook delete you!
(All joking aside, does one ever delete a fb account? Or does it just go inactive and stay indefinitely so shady companies can harvest the data?)
Do you feel that it works as an early tempter for the other side of the world?
I didn't gather that's what they meant... but I don't think I need to this early in the story - not without it dominating the chapter to the point of distraction. "The Edge" is enough for now that I get a feeling it's not a place anyone wants to be.
Feather of the Dark Angel
Divine Treachery
No major quibbles. Details don't override the pace. Of course you can thin / make precision-based finesse on future passes. But nothing felt brushed over - nothing screamed to me "missed opportunity".
To add to what Vern said, yes review lots... but realize that 90% of your current reviews are on members who haven't issued reviews in several months. You're only going to collect ROI on 10% of your efforts at that rate.
God Emperor had a wicked ending
I thought the son did an ok treatment of Butlerian Jihad... but I still think Chapterhouse was heads and above the best of any in the series.
I have Hunters here unread tho. I read page 1, put it down and never came back. Erk
today's obsession with opening In Media Res would rule out this engaging, fascinating opening
Not really progress, but fitting. here's just so many distractions these days, I find a book has to sparkle harder to get me engrossed. I go back to re-read books I liked back in the day, and sometimes I'm thinking wow, how did I ever have the patience to slog through 200 pages of this crap to get to the good part? (Tommyknockers, I'm looking at you)
All things being cyclic, this fad will one day disappear. Probably not until we as a society find a way to tame the noise of entertainment
Apollo banishing his mother later in the story is just an excuse to allow her to go to New Bethlehem
If it doesn't suit the story and it also doesn't suit the character, it must be banished
Apollo also orders the failed commando raids to arrest Admiral Lupus and Governor Hadisius
Take their families. If you're serious about forcing concessions from them, that is. All you need is a niece or a nephew to gain the cooperation of a 7th brother who doesn't overly like Lupus. Okay... that's a bit too hardcore for Apollo but he's in the tank of sharks
I may have missed it, but what is the motivation for Dr Francis to evoke so much chaos?
I've been doing a lot of thinking on Apollo's reluctance to make war. We have this guy who assassinates his father and banishes his mother, but he won't order the guards to fire because someone might get hurt. I've been rolling this around in my head trying to harmonize the two aspects of the character.
It would seem you're writing Apollo in the style of a morally scrupulous leader. As such, he must always make the decision that involves the least loss of life (or if loss, kill evil people first). This approach would surely result in the decisions he makes.
If this is not what you were going for, consider that we'll still respect a ruler who must do a few evil things. King Solomon ordering a baby cut in half in order to determine who the mother was is the first example I can think of. If it is what you were going for ignore my comments like he's not prepared for war - he clearly is not if that's the case. And if not, ya might as well go ahead and hit all the accompanying notes that go with being a pacifist leader of a military state.
Can't really out-cray the cray.
They're so much better at it, and they're usually holding back
increasingly obscene here, Toronto-wards
heh
Not so much "elaborate" as give us that slight moment to dread what's about to happen. 10-50 words range. Maybe less for now.
1. Keeps us "live" with the character (instead of the newsreel: "Here's what happened 30 seconds ago"
2. tension (as mentioned above)
3. Pathos
Bonus points if the character has to leave an unstarted breakfast behind
thanks NJ, problem is, I had all that in the earlier version, but no teenager liked it, it was just toooooo slow and full of info. So this time, I am dumping them into the middle of something happening, they don't know what, or why, or what the world is about, they have to read on to get all that.
Yep... Sorry, I meant "a few words trickled into the action". Too many, and all that yummy tension will leak out. I'd say max 1 sentence of backdrop per sentence of tension. Spend a paragraph explaining backdrop and readers will leak away. It's safe to do once you've engaged them (maybe in a chapter 3 or a 4).
You have the tension in/about the right place as is... I'm just saying you skipped that nice moment of dread where the character has been summoned to the principal's office.
This version is much sharper than the original. Some food for thought (I post it here because I don't want to collect points for only reviewing a paragraph).
Consider:
So, she had run all the way, arriving breathless with no idea why Cantrain wanted her.
You've mentally skipped an important scene here. You already visualize the character in the destination room and are hurrying us past the walk to get there.
But that movement is extremely useful because it tells us so much about her.
a. How much does she dread about that meeting?
b. What does her world look like?
c. How does she interact with her environment?
d. Is she guilty of something the meeting will being about?
e. What time of day is it (You have the room shimmer later - is that afternoon sun?)
She followed the guard, and chewed her lower lip to still her chattering teeth. His tall long-legged gait was a bit much for her, of average for [gender-race] she had to gather up the folds of her dress to keep up. Nervous about her scores last week, she felt compelled to ask.
Please sir, Did they say what it's about?
The guard paused under the shadow of a stone archway, and waning sunlight glinted from his helmet through the tall, plexiglass windows. He fixed a withering glare on her and turned to move on without speaking
In the above example, I can use the tension of the approaching meeting to hide the fact that I'm totally info-dumping her age-height-race-clothes-time on the poor reader. In addition, we know this character is in serious trouble and anyone who's been the subject of such a glare is forced into the character's shoes.
Don't use that example - I'm just demonstrating the raw awesome amount of data you skipped.
Take this advice with a grain of salt. In [J e n n a]s story, I got about 3000 words out of her walking from one room to another to see her father (for her execution), and in another story, I got about 7 chapters from a scout taking an overnight jog.
...is to examine the very questions posed in this thread. Does newly created literature have to be written literally/unambiguously in the new puritanical, sterilized style, or can the literary Cavalier or wordsmith still exist? Has the AutoCrit generation of Amazon Forum editor killed prose?
I believe I'm hinting that yes, the Amazon Forum wields unfair power. I've heard figures thrown out that Amazon controls anywhere from 50 to 80% of the eBook market. Given those kinds of numbers, I'm more than willing to eavesdrop on their forums and learn what they hate in droves with the goal of sanitizing my writing to their specifications.
Is this approach unnecessary pandering to the reader? Is it allowing Gen AutoCrit to win? Probably. On the other hand, I'm only losing a few words I didn't care about. Having gone through all my work and removed the word "pad", I find my stories unharmed. I feel like I made a picture, and the market is squabbling about what frame to put it in. If they'll only buy it with a golden frame, fine, here's a golden frame for you.
I don't foresee myself hunting down every use of "roar". Not sure why. Well... tedium is one factor. I know for sure I haven't applied it to cheetahs, so I think I can sneak under the radar on that. I think such a quest would result in oversterilization. There's only so much reader-service I can deliver.
Got one for 403's chapter 1
So, I put the question out: would a good writer, after actually hearing the sounds of a cheetah, describe their sound as a “roar”?
Hmm... Charles Dickens spoke of the waters of Niagara as a roar. Not sure he meant feline noises, and equally unsure I can prove he was any good at his craft.
Just to keep the wheels spinning, what of the verb "padded" and in "Bob padded to the kitchen sink". Amazon forums will tell you it's a no-no, and "padded" only applies to creature with paws. Would you allow padded to be applied to humans?
Cheetahs make a weird snarl sound. If I read "roar of a cheetah", it's exactly this sound I would picture. Same with an elephant... "roar of an elephant" would give me images of an elephant making a loud elephant noise (eg not a lion noise). Third example: Katy Perry saying "hear me roar"... well humans aren't good at that activity but I can still visualize it.
I suppose I'm asking if the quote in OP was presented in a symbolic nature or factual?