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The Slow Flies of Autumn

by shellgrip 

Posted: 07 October 2005
Word Count: 2637
Summary: The prologue (?) to a project that's been bouncing around in my head for some months.


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After the car stopped, Paul sat for a moment, reflected yellow light pouring through the windscreen, the streetlights bouncing off the snow that draped the road, the pavements, the gardens and their walls. He let his eyes wander across the scene, moving from place to place on this road he knew so well. He had walked this way a thousand times, passing the eclectic collection of bungalows with their individual extensions and improvements. All the time that had passed was now concealed beneath a coat of white, as though he’d driven back into his childhood.
Paul popped the door, cold air swirling into the car bringing small flecks of snow and ice to brush against his face and hands. He stepped out carefully onto the icy pavement, feeling the silence deepen around him, becoming that crushing quiet that only heavy snow can bring about. There were only two other cars within a hundred yards, both deeply softened by the recent fall, the final flakes of which danced in the pools of light. There was no one to see him, which was exactly what he’d hoped.
Retrieving his coat from the back seat, Paul locked the car as he walked away towards the corner. The crust on the pavement was unbroken. There had been nobody on the street for some time but that was hardly surprising. The few that remained in the area would be safe behind their locked doors, lights behind curtains and walls blazing against the dark and those that lived there.
Turning into the side street Paul ran his hand along the top of the street sign. The sign was the first that had been planted by the side of the road, its pale concrete supports rough and solid compared to the modern plastic poles seen elsewhere. Paul bent, brushing snow from the lettering, searching for any remnant of his childish graffiti on the white background but either it had faded or the light was too poor to see and he straightened again, wiping his hand against his jeans.
From the short side street Paul turned again, walking carefully where the wide pavement sloped gently up into the road where he was born. There was still no sign of any other person and he thought briefly that he had been over cautious to park discreetly. He could have driven right up here and no one would have known, or cared. A pressure was building within him, a bloating memory of his first twenty years. Was there any part of this concrete wall on his right that he hadn’t touched in those twenty years of running, sitting, cycling and crying? Was there any part of this pavement, hidden now, that he hadn’t stepped on? This lamppost on the first corner, a mere handful of steps from the drive of his parent’s house, was it the same one he had walked into to gain his first black eye?
As Paul continued to crunch towards the house the presence of these memories became overwhelming and he stopped, resting his hand against the last panel of their neighbours grey concrete wall until it began to numb with the cold. The house was there now, the side wall and roof clear over their wooden fence with the front a tempting perspective shortened sliver. The low wall of the front garden, the bare branches of the lilac tree that brushed against the car as it came and went from the drive. The small, pointless patch of grass that was barely worth mowing. The path that sloped down between an honour guard of the roses that his mother had loved so much and beyond, the front lawn that they had shared with their neighbour for fifteen of those twenty years.
A single deep breath of bitter damp air brought Paul into motion again. The longer he stayed out here the more likely it was that he would be seen. Once he was inside he would be safe; from one threat at least.
Slipping slightly down the path he held out a hand to steady himself against the wall at the end. The rough surface of the brick seemed hot with the summer sun of school holiday and Paul snatched away his hand, turning along the front of the house past the kitchen window to the front door, pulling the key from his pocket as he did so. Unlocking the sliding door he lifted it slightly dragging it open against the stiffness of the runners.
The hall, like the rest of the house was dark but the smell came dashing out to greet him. His smell, the smell of his house where he was born, as distinct as the feel of a favourite sweatshirt or the taste of a forgotten food. The blend of years of their own scents, their own cooking, their choice of deodorant, hair products, household bleach. The impact of how often they washed the dog, the sofa he slept on, the floors he walked on. The slow seep of the varnish his father had used on the kitchen cabinets he had built, the memory of the houseplants that had lived, flowered and died in that space. All of them, all mixed into a single rush of air that swept past Paul into the street then turned and pushed him through the door into his home.
Paul pulled the door closed behind him, struggling slightly as it caught on the last inch. How long had that door been sticking? Twenty years? It had done so for most of his later school years and had done so in spite on the day he left, never to come back. How could something that didn’t work properly last so long? With a thump it settled into place and Paul ran the lock up with his finger in a remembered action that he barely noticed.
His eyes were now gathering the light that came through the glass door panels the hall becoming solid around him, empty. Marks in the carpet showed where the coffee table had been, covered with the African Violets that his mother had grown throughout his living memory. Another, lighter set marked the cheap chair that had sat in the corner by the phone, the seat of too many anguished waits for calls that didn’t come and too few blushing whispered calls that did.
This wouldn’t do.
Memories are like a lake; the deeper you go the harder it is to keep your head above the water. At this rate it would take him all night to reach the weapons and there simply wasn’t time for that.
Paul moved towards the shallow stairs that lead up from the left of the hall running his hand up the wide polished banister on his right, ignoring the memory of a child, and once a drunken adult, that slid along the surface. Up to the first bend, then right to the landing. The upstairs of his home was always a place of quiet, distinct from the television watching parents downstairs. A place to read and play, building strange Lego monuments as a child and bizarre sexual fantasies as a young adult.
Right, into his tiny room, the smallest bedroom of the four. The memories here seemed less intense, perhaps less strongly imprinted as his teenage years asked for more and more hours out with friends learning to love or his instructors, learning to hurt. This room was as empty as the others, the thin carpet lifting and buckling from his inept first attempts at DIY.
Stepping into the room and bending quickly, Paul snatched at the corner furthest from the door, the single streetlight showing more than enough light. Perhaps the snow was a blessing, reflecting and splintering the light in through the window. Paul pulled back the carpet, dancing over the edge onto the floorboards before dropping the peeled surface on the other side of the room.
Pulling a long screwdriver from his coat he knelt again running his fingers over the boards, looking for the right one. Here; no, here, this one, the pattern of marks on the edge was plain to see and he let a small puff of disgust loose at his own weak attempt at concealment. If he hadn’t got here in time this would have been quickly found.
The board lifted easily, the nails tired and weak from the constant work. Paul plunged his hands into the dark below to lift out the canvas bundle.
As his hands touched the canvas the room and the world around it shifted. The memories fled and it became a cold dark house on a winters night with none of the comfort and protection of earlier times in warmth and light. Fresh spits of ice spattered against the window, the crushing silence seemed to shift, small sounds tickling at the limit of hearing.
Paul stood and opened his coat, tucking the long bundle into the pocket he had made for the purpose. It was time to leave, and quickly.
Moving out onto the landing Paul paused, looking towards the bathroom, wondering if there was time for one last memory, moving in that direction without making a decision. The room was small and functional but it was the window that drew his eye. A thousand years before, his father had installed a new double-glazed window into this room, frosted with leaves in a beautiful pattern. Right into his teens Paul had been fascinated by the play of snow on the far side, lit by the light from within. The same flakes would strike the other windows but this one changed them, hid their size and form, turned them into something magical. He had spend many winter evenings staring at the window, waiting for the snow that sometimes never came, just to see those first white flecks dance among the leaves.
Now, in the dark, the light from the black-eye streetlamp threw shadows into the room but the dancing flakes were there, and for a moment he smiled.
The pistol shot cracked into the moment and Paul swung around and down onto the floor, reaching for the bundle in his coat, waiting for the next shot. In the silence that followed he shifted on the floor to look up at the window and saw that there had been no shot.
The window with the leaves, installed by his father and the focus of so many cold nights, was cracked. From top to bottom through the centre of the frame there was now a gap in both panes of glass a few millimetres wide. Paul stood looking out at the snow and the night, feeling a new breeze of cold damp air squeeze it’s way into the house. Then he turned and ran.
Jogging down the stairs, familiarity guiding his steps, he reached the front door, unlocked it and yanked it open in a single movement, pushing himself through the gap as he did so.
Outside the change was more noticeable. What had been a Christmas card scene of peace and tranquillity was now the bitter cold danger of a night lost on a mountain. The air pushed at Paul in gusts, stinging icy shards into his face, making him squint. What had seemed an unnecessary precaution of parking two streets away now seemed like a bloody stupid idea.
Pushing away from the front door he began to retrace his steps back to the car. Not running, attracting attention, but walking briskly, as a man anxious to get in from the cold. Onto the pavement, towards the streetlamp at the corner, past the concrete panelled wall.
Through his early childhood Paul could not see over this wall, could only guess what lay beyond. At some point he had grown such that he could pull himself up to peer quickly over the top at the vegetable patch beyond, then, during a later Summer he had suddenly realised that he could now see past it without effort.
As he glanced to his left now, it became clear to Paul that he was not alone.
The space beyond the panels was rough and heavily shadowed. Vague lumps and mounds ran into each other, blended by the snow and further back there was a dense impenetrable shadow cast by a large shed. There was no light, only a thick deep blackness but within it a darker shadow moved and a soft hiss carried across the distance to where Paul stood.
He ran now, the time for caution long past.
Passing the lamp post the hiss came again, louder and keeping pace with him on the other side of the wall. Turning to the sound, Paul narrowly avoided another bruising contact, slapping his hand against the cold metal of the post as he slipped past, bouncing off the wall.
Down to the corner and out onto the next street. The hunter would have to cross out into the road now, he could no longer follow Paul without doubling back through the gardens.
Paul’s feet went from under him on the wide pavement of the bend and he came down on his hip, punching the wind from his chest, numbing his left leg instantly. Sliding for a few feet he struggled to get up but could only roll onto his hands and knees, shuffling forward, bunching snow around his frozen hands while trying to draw a breath. For agonising seconds he could move no further then he pulled his right leg up and stood, swaying uneasily and breathing. His hip was still numb but it would not be long before it began to stiffen and pain became a factor.
Where was it? Surely it could have taken him then, ripping the bundle from his coat and his life soon after. Yard by agonising yard, Paul made his way towards the car, leaning on the walls and trees as his hip began to blaze and seize. Slipping again, he grabbed at a tree and looked up towards the corner.
Three figures stood at the end of the road, one running his fingers lightly over the street name sign that Paul had passed not half an hour before. Lit from behind and misted by falling snow they had no features, silhouettes with shadows stretching in front of them.
Turning back to look for the hunter, Paul saw only the empty street and his own frantic tracks, already being blurred by the fresh snow that was now falling more heavily. A cat yowled off to his right and he grabbed at the bundle beneath his coat, the sound cutting off suddenly as his fingers brushed the canvas.
The wind died, and silence returned to the night.
Paul turned back to look at the figures, knowing they would be gone. He watched the empty street for a few seconds, gathering one shuddering breath after another until his stomach settled and he could move again.
Unlocking the car, Paul fell into the drivers seat, gasping at the pain that shot through his hip as he tried to bend his legs into the footwell. Gathering his coat around himself, he pulled the door shut, locking the doors.
The big Volvo started first time and as Paul began to pull away he glanced down at the path by the window.
His own footprints were there, the arrival now softened and indistinct, the return still clear and uneven where he had collapsed in through the door but around his own marks there were others, clear and deep. In the headlights Paul could see that they covered the road, overlapping and spread across the width of the carriageway. At some point while he had been away, others had been here, had waited for him, stomping up and down around the car, their horses leaving deep imprints in the white snow.








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Comments by other Members



paul53 [for I am he] at 15:54 on 08 October 2005  Report this post
Hi Jon,
The scene was set very well, making me feel I was out there in the cold, but “Paul” comes across as a rough sketch in the author’s eye rather than a rounded figure. It struck me that he was too busy doing to make us aware of his beings, if you see what I mean. There was nothing yet there to draw the reader to him; no quirk or mannerism to differentiate him; no trait to make him, dare I say, endearing.
Until the mention of hooves, this could have as easily been a thriller as a piece of SF, so I would enhance the “out of the ordinary” bits.
If anything, the prologue was a bit too detailed. It made time drag slowly, and was often let down by repetitions and unnecessary modifiers.
There were only two other cars within a hundred yards and both were deeply softened by the recent fall,
There were only two other cars within a hundred yards - both outlines softened [or rounded] by the recent fall,

Paul sat for a moment …
… He sat for a moment,


Paul bent and brushed snow from the lettering …
… he straightened again, brushing snow from his hands.


“key” and “door” in:
and to the front door, pulling the key from his pocket as he did so. Fitting the key into the lock he lifted the door slightly to allow it to turn and pulled the sliding door open.

If he hadn’t got here in time this would have been discovered quickly.
Had he come later, this might have been easily discovered [?]

This could go in many directions. “Man on run with object that shadowy figures want back” can go just about anywhere you please, but the more imaginative the better. Much SF and Fantasy these days is let down by limiting imagination rather than letting it run riot.

What this prologue suggests about the character?

Young, awkward, hurt, misunderstood, rejected[?], slightly inept, tentative, self-deprecating.

In response to your comment about difficulty plotting out a novel, I began to write a reply, but it grew a bit too large so I have posted that separately in the group thread "on writing".
Hope this is of some benefit.
Paul


shellgrip at 20:32 on 08 October 2005  Report this post
Thanks for the comments Paul. I'll have a look through tomorrow and make some amendments.

Jon

Nelly at 19:29 on 09 October 2005  Report this post
Interesting piece. You make good use of lighting and setting the scene, some nice moments with Paul's memories playing back throughout the house. I'm interested to know what this is all bout, what's in the bundle, what's been following him and so on. I enjoyed reading through it.

Love the title.

I noticed word repetition mainly 'and' you could try a word search with 'and' and try to justify each use.

After the car stopped, Paul sat for a moment, reflected yellow light pouring through the windscreen, the streetlights bouncing off the snow that draped the road, the pavements, the gardens and their walls. He sat for a moment, his eyes moving from place to place on this road he knew so well.


Repetition of 'he sat for a moment'.

Paul popped the door and the cold air swirled into the car bringing small flecks of snow and ice to brush against his face and hands. Stepping out and closing the door he felt the silence deepen around him, becoming that crushing quiet that only heavy snow can bring about. There were only two other cars within a hundred yards and both were deeply softened by the recent fall, the final flakes of which danced in the pools of light.


Repetition of 'only'

He had spend many winter evenings staring at the window, waiting for the snow that sometimes never came, just to see those first white flecks dance among the leaves.


Should be 'spent'.

Hope it helps and I am looking forward to more.

Neil


shellgrip at 15:01 on 11 October 2005  Report this post
Neil & Paul, I've uploaded a revised version now, hopefully addressing the issues you raised.

Neil, my word! What a lot of 'ands' there were! I'm a little concerned that this may be a habit I'll have to watch so thanks for pointing it out. This version is now 'and' lite (well, lighter) by 25% so hopefully it's a little better.

This'll be the last revision as this no longer really fits into the structure that's growing in my head. It will almost certainly appear in a reworked form later (probably as part of a more well-rounded chapter) but for now I'd rather concentrate on other parts.

That notwithstanding I'd still appreciate comments as always!

Jon

Patsy at 21:40 on 11 October 2005  Report this post
Hi Shellgrip,

Just read through this, and I liked it a lot. It has a nice sense of tension, as you never know what's coming.

I was confused by one thing. Did he get shot at in the bathroom, or is he remembering something that happened long ago?

Impressions:
Paul killed his drunken parent and is now trying to hide the weapon that will prove he's guilty before the house is sold, or torn down?
Paul has somone chasing him from another time, universe, or planet?
Paul is on drugs/has been drugged and is seeing things?
Paul has escaped from the crazy bin and is quite off his rocker?
Paul is a spy on the run in a now hostile country?

Not sure where you're going with this, but it will be an interesting ride!

Patsy :)




shellgrip at 23:50 on 11 October 2005  Report this post
Thanks Patsy, I hope to have a potential Chapter One posted by the weekend and that might answer some questions. Despite my intention to 'free write' this I might also post a synopsis of sorts.

Unfortunately, I'm off to film bloody bands for the next three days... :(

Jon



scarborough at 17:27 on 24 October 2005  Report this post
Hi, I have to say, I really enjoyed this. I think you've captured the sense of someone coming back to visit the past and finding it at once strange and familiar very well. Also, I await with interest the very slow intrusion of the fantastical or bizarre into reality, which is amongst my favourite things in fantasy and really tricky to do. Don't be afraid to pace this slowly, show us the strangeness of the world you're building bit by bit.

A pressure was building within him, a bloating memory of his first twenty years.

I'm not too sure the phrase 'a bloating memory' works; I like the word 'pressure', and I think I get what you're trying to convey, but you might want to rephrase the second bit, as it is the only thing that really sat oddly in the whole piece for me.
oh, and to echo Paul, who always speaks far more sense than me, I think he's right about developing the character a little more. I like the little hints you have in there, but maybe you could use a few more emotional descriptors when you talk about his reactions to memories or places.

Terry Edge at 15:08 on 10 November 2005  Report this post
Jon,

This is a great start; very atmospheric and full of tension nicely unexplained. It's good for a prologue, too, in that it shows us that the main character is involved in dangerous stuff, but saves the details for the story proper. It also shows us plenty of his past for us to get a grasp on his background. In fact, this is a very clever way to do this: rather than have him think back expositionally, you actually make his past part of the story in the here and now.

Lots of hooks to keep us reading – what's in the canvas and when did he put it there? Why is he being pursued by people on horses when there are cars around?

We don't get much feel for Paul's character, but that's okay in a prologue.

The use of words and the pacing perfectly suits the scene – soft, quiet, snowbound, but with gathering shadows of threat.

Maybe it's a little slow in places but overall it serves its purpose in making us want to get into the main story. Also, this scene is so evocative that it will stay in the memory even if you choose to start the first chapter a long way from it.

Below, I've made a few comments on the text itself. Obviously, just ignore any that don't fit with what you're trying to do.

"All the time that had passed was now concealed beneath a coat of white, as though he’d driven back into his childhood."

Although this sounds good, it doesn't actually make sense. The way it's written, you're saying that driving back into his childhood has caused the snow.

"Paul popped the door, cold air swirling into the car bringing small flecks of snow and ice to brush against his face and hands."

For me 'popped' jars the smooth flow of the narrative. I've never heard of anyone popping a door before. Can't he just open it?

"There was no one to see him, which was exactly what he’d hoped."

Later, he's shot at and people have surrounded his car, i.e. they've seen him and his car. So would he walk out into the open like this; wouldn't he find some back way into the house?

"Retrieving his coat from the back seat, Paul locked the car as he walked away towards the corner."

He must be a contortionist! You need to say that he retrieved his coat, then locked the car, then walked away – not have him doing all those things in the same action.

"The crust on the pavement was unbroken. There had been nobody on the street for some time but that was hardly surprising. The few that remained in the area would be safe behind their locked doors, lights behind curtains and walls blazing against the dark and those that lived there."

I found this para confusing. It implies that the people who live here know there is danger about and have locked themselves in. Is that right? And who are you referring to when you say 'blazing against those that lived there'?


"Turning into the side street Paul ran his hand along the top of the street sign. The sign was the first that had been planted by the side of the road, its pale concrete supports rough and solid compared to the modern plastic poles seen elsewhere."

A few things here. Why would he run his hand across the top of the sign: won't that be covered in snow? And it's not clear what you mean by the 'modern plastic poles seen elsewhere'. Poles supporting what? Also, given that there's danger about and, as you say later, he needs to be quick, would he really be stopping so much to check childhood memories?

Okay, going to move forward a bit here ...

"Slipping slightly down the path he held out a hand to steady himself against the wall at the end. The rough surface of the brick seemed hot with the summer sun of school holiday and Paul snatched away his hand,"

This is potentially a very significant indicator to his mental state. To snatch away his hand from the imagined heat of a brick suggests he has trouble distinguishing reality from what's going on in his head. Intended?

"The hall, like the rest of the house was dark but the smell came dashing out to greet him. His smell, the smell of his house where he was born, as distinct as the feel of a favourite sweatshirt or the taste of a forgotten food. The blend of years of their own scents, their own cooking, their choice of deodorant, hair products, household bleach. The impact of how often they washed the dog, the sofa he slept on, the floors he walked on. The slow seep of the varnish his father had used on the kitchen cabinets he had built, the memory of the houseplants that had lived, flowered and died in that space. All of them, all mixed into a single rush of air that swept past Paul into the street then turned and pushed him through the door into his home."

A very evocative paragraph. But the last sentence is perhaps a little overly poetic: air inside the house won't actually rush past him like this, and it certainly won't then turn around and push in the opposite direction. I think you have to be clearer that this is his memory doing this, not air.

"At this rate it would take him all night to reach the weapons and there simply wasn’t time for that."

You say later that this visit to the house took half an hour, which is far too long (as he implies himself). With danger following him, he would surely look to be in and out in a couple of minutes. Somehow, you have to balance the requirement to show us how much of his past is locked up in this house, while maintaining a realistic pace.

"Paul moved towards the shallow stairs that lead up from the left of the hall running his hand up the wide polished banister on his right, ignoring the memory of a child, and once a drunken adult, that slid along the surface. Up to the first bend, then right to the landing. The upstairs of his home was always a place of quiet, distinct from the television watching parents downstairs. A place to read and play, building strange Lego monuments as a child and bizarre sexual fantasies as a young adult."

With writing as good as this, the reader will take note of any word you choose. Hence, why 'shallow' stairs? I thought stairs in British houses were pretty much uniform. Also, he got out of the car in a street of bungalows, but obviously his parents live in a house. Now, it may be that you're writing from your own memories, but in a story you have to be careful not to introduce elements that aren't explained in story terms. The rest of this sentence is rather confusing, too – what memory of a child? And why 'once a drunken adult'? And 'bizarre sexual fantasies' is a specific character indicator – intended?


Moving on a bit ...


"The pistol shot cracked into the moment and Paul swung around and down onto the floor, reaching for the bundle in his coat, waiting for the next shot. In the silence that followed he shifted on the floor to look up at the window and saw that there had been no shot."

I'm confused – was there or wasn't there a shot?

"Jogging down the stairs, familiarity guiding his steps, he reached the front door, unlocked it and yanked it open in a single movement, pushing himself through the gap as he did so.
Outside the change was more noticeable. What had been a Christmas card scene of peace and tranquillity was now the bitter cold danger of a night lost on a mountain. The air pushed at Paul in gusts, stinging icy shards into his face, making him squint. What had seemed an unnecessary precaution of parking two streets away now seemed like a bloody stupid idea."

And I'm getting more confused here. Why would he go out the front door when he's just been shot at? Surely, he'd look for cover in the house? You say the weather's changed – but is this coincidence or because of the people after him? You need to be clear, because if it's the latter, you're implying they have supernatural powers. If you're just being poetic, I'd say better not to be at this stage.

"Pushing away from the front door he began to retrace his steps back to the car. Not running, attracting attention, but walking briskly, as a man anxious to get in from the cold."

More contortionism! Also, I don't understand him trying not to attract attention – surely, he's now being watched by his pursuers anyway?

Moving on again ...

"Three figures stood at the end of the road, one running his fingers lightly over the street name sign that Paul had passed not half an hour before. Lit from behind and misted by falling snow they had no features, silhouettes with shadows stretching in front of them."

This is very filmic but what exactly is lighting them from behind? The street lights, surely, will be above them?

* * *

Great stuff though.


Terry





shellgrip at 18:34 on 14 November 2005  Report this post
Terry, thanks so much for the kind comments and the thorough analysis. Please accept my apologies for the delay in replying - once again the writers curse has struck - needing to spend more time than I'd like doing the stuff that pays the rent, as well as fixing the car, preparing the garden for this glacier that's coming and so on...

I'll try and take the points one by one but not necessarily in order as some of the points are linked.

"All the time that had passed was now concealed beneath a coat of white, as though he’d driven back into his childhood."

Although this sounds good, it doesn't actually make sense. The way it's written, you're saying that driving back into his childhood has caused the snow.


Yes, it does doesn't it. :) Rewrite.

"Paul popped the door, cold air swirling into the car bringing small flecks of snow and ice to brush against his face and hands." "Retrieving his coat from the back seat, Paul locked the car as he walked away towards the corner."


I recall having problems with the whole getting out of the car bit. I frequently juggle (both reading and writing) with the balance between describing events that don't merit description (such as the everyday process of 'leaving' a car) and the need to provide scenic detail. In this case I wanted to include the fact that he retrieves his coat from the back seat to inject an element of normalcy into both the scene and Paul himself but felt that the actual process of opening and shutting doors, locking and so on was taking too long. Unfortunately, one didn't seem to work without the other - if I only mentioned the coat it always sounded like he hadn't locked the car. I'll rewrite and will drop 'popped'. While I (and my partner) do use 'pop' in terms of opening something I think it might either be a South London affectation or something particular to our previous professions "Can you just pop your boot open please sir?". Either way, it doesn't work in this form.

"There was no one to see him, which was exactly what he’d hoped."

Later, he's shot at and people have surrounded his car, i.e. they've seen him and his car. So would he walk out into the open like this; wouldn't he find some back way into the house?


Hmm, not sure I agree here. People frequently make a cursory check of their surroundings then proceed in a normal fashion. Although he's expecting something, he really has no choice but to proceed the way he does. As I mentioned above, this is a normal guy, without any kind of 'covert' training (hence the bit about the coat) so walking up to the front door is really the only way he's thinking about. Knowing the house (as I do), it would also be quite difficult to get in any other way, though of course that doesn't help the reader.

"The crust on the pavement was unbroken. There had been nobody on the street for some time but that was hardly surprising. The few that remained in the area would be safe behind their locked doors, lights behind curtains and walls blazing against the dark and those that lived there."

I found this para confusing. It implies that the people who live here know there is danger about and have locked themselves in. Is that right? And who are you referring to when you say 'blazing against those that lived there'?


Fully intentional I'm afraid. I haven't solidified this in my head yet - not even where this passage might end up - but my feeling is that this is one of those 'thin' areas. Stephen King and Peter Straub do a lot of writing in thin areas (The Black House being the most recent one I've read - though I should point out it was after writing this). While this is demonstrably the real world there's also an element of 'otherworldliness' creeping in. What I had in my head was an idea that he hasn't just returned to his childhood home but has also literally gone somewhere that it a mixture of his past and reality. Somewhere that he won't find again now that he's got what he came for. If it's confusing, perhaps my intentions worked! However, re-reading this particular line I think more could be made of it.

"Turning into the side street Paul ran his hand along the top of the street sign. The sign was the first that had been planted by the side of the road, its pale concrete supports rough and solid compared to the modern plastic poles seen elsewhere."


This bleedin' sign has caused more problems than anything else! Both my tame 'readers' picked up on it (in fact they picked on a pre-posted version so consider this the second revision) and I've struggled to explain why it's there. Some history. This is a really important place to Paul, it's where he was born, where he spent his entire childhood and this sign is the same one that's been there throughout this time. Every day on the way to school he'd run his fingers across the top - on the way out as a symbol of leaving his 'home turf' and on the way back as a marker showing he was almost home. He's leant his bike against it, used it as a meeting point, blah, blah, blah. Returning to this place and seeing this old 1960s road sign is partially an indication that things aren't what they seem (to the reader) and partially a source of wonder to Paul, more so, strangely, than seeing the more 'concrete' - excuse the pun - elements like houses and trees. I speak from experience here as returning to an earlier house of mine some years back I was astounded to see a drawing pin still in a fence where I'd put up a notice some five years previously. It caught my eye far more than simply seeing the house again. The plastic poles refer to modern street signs. I'll rewrite.

"Slipping slightly down the path he held out a hand to steady himself against the wall at the end. The rough surface of the brick seemed hot with the summer sun of school holiday and Paul snatched away his hand,"

This is potentially a very significant indicator to his mental state. To snatch away his hand from the imagined heat of a brick suggests he has trouble distinguishing reality from what's going on in his head. Intended?


Yes, again. Mostly this is another indicator of the whole past/reality thing and I suppose in a way it gets a little Shining here, although I wanted to avoid casting the house in any particular light. At this stage the house is the supernatural equivalent of Switzerland, but with fewer mountains.

Description of door opening A very evocative paragraph. But the last sentence is perhaps a little overly poetic: air inside the house won't actually rush past him like this, and it certainly won't then turn around and push in the opposite direction. I think you have to be clearer that this is his memory doing this, not air.


Fair enough, although it was intentional that there is something at work here. The poetry did get a bit out of hand. I'll rewrite.

You say later that this visit to the house took half an hour, which is far too long (as he implies himself). With danger following him, he would surely look to be in and out in a couple of minutes. Somehow, you have to balance the requirement to show us how much of his past is locked up in this house, while maintaining a realistic pace.


Fair comment. I've criticised others here for time related issues and have failed to judge myself by those same rules. I'll examine the whole section and rewrite as required. Having said that, I think the struggle between wanting to spend time in this place (personally) and needing to be in and out quickly ('for business') is an important one. I've been in lots of situations where I wanted to spend all day somewhere but had only 5 minutes - the simplest and most trite example being in a bookstore 5 minutes before closing. I think you do flit from spending too much time on one thing to being in a terrible rush in many everyday situations. However, I'll need to look through it to ensure that's the impression being given, rather than just a muddle!

The shallow stairs are indeed a personal childhood memory and (having been in a lot of houses now) are also quite unusual - I've certainly not come across any other house with stairs like it! The mix of bungalows and semis is also a personal memory (though from a different area) so again is 'factually' accurate. That said, you're spot on (again) in saying that mentioning these things apropos of nothing is not beneficial. I'll re-examine. I think at least part of the problem is that I load the relevant memory spool and my fingers do the rest - I need to spend more time thinking about whether all the details that are pouring out are relevant and/or necessary.

I'm confused – was there or wasn't there a shot?


Fully and totally intentional, I'm afraid. There is no shot - the sound is the glass cracking - but I did want the reader to think there was a shot, if only for those few lines.

And I'm getting more confused here. Why would he go out the front door when he's just been shot at? Surely, he'd look for cover in the house? You say the weather's changed – but is this coincidence or because of the people after him? You need to be clear, because if it's the latter, you're implying they have supernatural powers. If you're just being poetic, I'd say better not to be at this stage.


Several answers. Firstly, he can't stay in the house. He is being pursued and he can't stay here safely. No help will come, and he'll have no real defence against any attack. As I said earlier, he's an ordinary guy and ordinary people do odd things. What I was trying to convey was that the weather hasn't really changed, it's merely his perception of it. Imagine a rain storm when you're walking with a loved one, laughing and jumping in puddles. Imagine the exact same rain when you're alone and on your way home from being dumped. That sort of thing. Once again, I'll need to re-read and re-write to ensure this is coming across. I know what I want to say :)

"Pushing away from the front door he began to retrace his steps back to the car. Not running, attracting attention, but walking briskly, as a man anxious to get in from the cold."


This, and perhaps some of the other stuff, is made more obscure through being read out of context of the rest of the story. I'm still not certain where this 'scene' will come in the book and Paul's reluctance here is in being noticed by the 'normal' world, not the 'supernormal', something that'll make more sense when read as part of the 'whole' (which doesn't exist outside of my head yet!).

The last bit is very filmic and this affects a lot of my writing. Unfortunately, given my day job, it's hardly surprising but it's something I need to keep a reign on.

Phew. I'm actually very glad you've commented Terry, as the urge behind this story is based upon two books that had an enormous influence on me as a child, The Giant Under the Snow by John Gordon, and Elidor by Alan Garner. I can't recall exactly (it was an awfully long time ago) but they were quite possibly the first books I read through choice in primary school and their influence has been with me ever since. I can't walk through snowy woods without thinking of the 'leather men' or see a row of dilapidated buildings without looking for a unicorn. Although my adult reading has found some works that approach Elidor in concept - Clive Barker's Weaveworld and Peter Straub's The Talisman spring to mind - I've not found anything approaching the Giant and none that have had that essential 'Britishness' of Elidor, with buses and run down industry.

I guess this project is an attempt to gather all those years of loving these works and turn them into something in adult fiction but with my own particular slant. I'd hate to consider this plagarism but until I get this out of my head, it's just going to go round and round.

Thanks again for the detailed comments. All I've received have been enormously helpful, not only in pointing out errors and weaknesses but also in forcing me to think about what I'm doing and pay attention.

Jon

radavies1uk at 19:54 on 24 February 2006  Report this post
Hi Shell

I gotta say, I loved this. Almost perfect, please get the rest written and published so I can go out and buy :) I can't wait to see what's next :)

Just a couple of small points popped out at me, and I notice a lot has been said by these far more experienced people here,

I didn't notice too much repetition, I thought his name was used a little too often, a few of them could be replaced by 'He's or maybe some of them dropped completely with a slight change of wording I think, (I sometimes go through mine and take out excessive name repeats when it's clear who's speaking or doing)

The only other thing I'd suggest is to add a few blank line paragraph breaks here and there, at least for screen reading. Imho, many lines together are great in a novel, but on screen seems a little harder to read.

Please carry on I wanna know about the horses and the creepy dudes, and what was under the floor boards, and why the house is now empty, and... just oh so many things :)

Thanks for the great read.
Bob


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