The opening reads smoothly. I'm not picking up on a speculative element, but then the boys are about to enter a cemetery, so I'm willing to wait!
[This message has been edited by annepin (edited April 26, 2008).]
This sentence is strange:
Its concrete block wall sparkled in the moonlight, but night had washed the narrow streets of color— flower shops, the Metro station, a café --- white, gray, black.
I think I would have gone for another structure. I am unsure why you have the 'but' in there: '...The wall sparkled, but night washed...'? The 'but' seems like it is apologizing for the wall sparkling, yet there is nothing wrong in a monochromatic world with a sparkling wall--as long is it doesn't sparkle in color.
Its concrete block wall sparkled yellow in the streetlight, but the rest the town night painted in monochrome. The flower shops, the Metro station, the café were shades of gray and black.
Not a great example, but I think you would be best served constructing it another way.
[This message has been edited by skadder (edited April 26, 2008).]
Sorry to be negative--but I do like the atmosphere.
Pat
The one sentence that needs revision is the concrete block sentence. The part about it sparkling is good, but the rest is a bit awkward. You can probably just cut the rest. If it's an excuse to say, "Oh, by the way, we're in Paris," you don't need it - it's given away with the boulangerie and the name of the cemetery.
As I mentioned, I think this is a very strong opening and if you need readers, I will be more than happy.
What I see here is painting with words and every artist has their way of doing that. I didn't trip anywhere when reading the first 13 and quite enjoyed your style. It seemed better than much published stuff (as much as you can judge that in 13 lines).
Tracy
quote:
That sort of start will attract some and alienate others with its instant 'R' rating. Question is, which group is the book-buying group.
Ever read Stephen King?
MOST people, perhaps unfortunately talk that way, especially outside of professional or formal situations. If this is the type of story it seems to be, I think most who would be interested at all wouldnt much be bothered by the profanity, and it is very appropriate in context.
But, I admit that’s a fair point.
Tracy
Hope this helps,
Pat
However some may say there is no character to sympathize with.
An inner conflict might distinguish the MC.
I couldnt smell out the Speculative or genre either. I realized I was making an assumption of horror, by graveyard, but not enough evidence. A minor point that I would read through.
I'd turn the page.
quote:
The one sentence that needs revision is the concrete block sentence. The part about it sparkling is good, but the rest is a bit awkward. You can probably just cut the rest. If it's an excuse to say, "Oh, by the way, we're in Paris," you don't need it - it's given away with the boulangerie and the name of the cemetery.
Carter's actually quite messed up, and maybe paring the scenery would get us to his issues a little faster.
I'd been writing about 6 months when I first drafted this piece -- that period in a writer's life when she's hypnotized by imagery and words and describes every single thing in great and loving detail. I've cut out reams, but I think this line could go, as well.
RE: market -- This story is probably too weird to be a literary piece (at least that's what my writing teachers say), but I'm going to try that market first. Some magazines are at least reputed to be open to speculative fiction.
Thanks for all your comments. Now I have people expecting a final MSS soon -- deadlines are good!
Two blocks away, a boulangene's kitchen lights were on, but they ignored the fresh baked-bread's call." This is awkaward as it seems to say "they (the kitchen lights) ignored the fresh baked-breads call." - "...but the boys ignored the fresh..."
"The boys (had - delete) arrived at..."