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Green Dragon - Prologue

by redcoat 

Posted: 26 January 2007
Word Count: 2871
Summary: Here is the first bit of something I've been working on. The idea is for a story told with two parallel narratives, widely separated in time. Half of the tale is set in ancient Britain where a young man is led to ultimate ruin through infatuation with/manipulation by a spooky girl. The other half has a modern setting, and follows the consequences of the continuing efforts of the girl to be re-united, across the centuries, with her lost love.


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I watched her. She must have known. She didn’t show it, but even then people knew where I was, what I was doing, because of my father. She was strange. I saw her tending the beasts, weaving, plaiting her mother’s hair with no light to see by. Other girls would giggle and gossip, chattering even at their work, but not this one. She seemed apart from them. I watched her bathing at the river; she knew, or how could she have turned away from me so well? She walked alone in the woods and shadows, but I could find her. Or she could find me.

I learned she was Ulyen, of Hafgan’s kin. I think the Speaker fears them; they have dealings with outlanders and night travellers. He should fear me. I feared no one then, but it pleased me that my shadow-girl seemed unspoken for. My father would never approve an outland match but I wasn’t to care about that. Three short years ago I was very young.

“Ulyen,” I called to her. “What are you doing?” It was late and she was walking under the trees in the valley bottom. I’d never spoken to her before. I’d followed her out of my father’s house and through the palisade, curious about where she would go; a girl ought not to go about alone at nightfall and I was alarmed when she passed the gate. If I fancied myself as her protector then I had judged her poorly. She was surefooted and quick across the hillside and I was breathless reaching the woods just from keeping her in sight. I was angry perhaps. Anyway, she was not startled.

“Is that your concern, Dran Gheodran?”

“What? Come here!”

“Do you command me already?” She was standing still now. “Is your father not still first among us?” Her speech was not quite like ours, I realised.

“My father will not have girls out in the woods at night, Ulyen. Come back to the house.” She moved and I lost sight of her. “Darkness take you, do as I say!” I made to follow her into the trees but she stepped out before me, much closer. I drew back a step. She was smiling, which affronted me.

“I’m not afraid of darkness, Dran,” she said. “Are you?”

I grabbed for her. I might have hit her. Anyway, I only caught the breeze, so quick was she. I tried to follow her, but she kept always a little ahead of me, as I tripped in the dark, caught by thorns. I called to her, cursed her impudence, promised her harm. If I began in anger though, in a little while I was afraid. She moved through the tangle like a spirit. These were my woods, my hunting ground, but she owned them as I never had.

“Ulyen!” I called. “Wait. You will be lost. You will owe me for these pains, girl, and for the beating I’ll get if you’re hurt.” I stopped chasing her and tried to catch my breath. It seemed that she stopped too, for there was silence apart from the movement of the leaves.

I tried to calm myself, all the time looking into the shadows for a glimpse of her, “Look, I’m not angry now. Just let’s go back.” Then I said something I had not even been thinking. “I should not have followed you.”

She was at my side suddenly, and spoke into my ear. I could smell her breath, its sweetness. “But you must follow me, Dran,” she said, “…and often you will wish that you had not. But you will still follow.” I turned to her, my anger returning at having been spoken to like this, but she was already gone again. I think I reached for my knife. I was certain that I was lost, or made a fool of, or both. I see myself now, woodsman, hunter, my father’s son, crouching like a child in woods, and I see the beginning of it all, the wellspring of blood that has carried me here.

“This way,” off to my left. I turned and took a few steps, pushing through the undergrowth, all the while the back of my neck crawling. That was all it took to bring me to the edge of the wood and the sight of the torch burning at the gateway, and Ulyen, standing in the bracken, laughing.

I surprised Naht of the Shepherds dozing at the gate and thumped him. He said nobody had passed him. I thumped him some more. Naht went with the old man when the time came of course, and I think he sharpens his knife for me. I am the World’s whetstone.

*

Next day I did not speak to Ulyen. Nor the two after that. She had made a game of me. I looked for signs that others knew about it, and sometimes it seemed that they must, and sometimes I was sure they did not. She’d angered me and now went about as before, fearing no consequence of it. She had got the better of me, and I was on her hook.

My father had found a surplus in our granaries and gone, with his hoarded treasures, to trade among the villages of the hill country. In good years his direction of our labour and husbandry enriched us all and brought honour to our clan. None within a week’s march had not heard of the height of Ghadran Gheodran’s house. It was to be my seventeenth summer.

On the fourth day my father returned under the mantle of a rainstorm. These things I remember well. The Speaker stared out over the palisade, water running down his face.

“Speaker-to-the-Ancestors,” I said, “What are you looking at?”

“Crows, Dran Gheodran. Crows on the corn. See them peck, peck, peck?” It seemed he spoke as much to himself as to me. “And the Lord of the Crows is among them.”

I looked out across the furrows. Striding towards us was Ghadran Gheodran, my father, hooded against the rain as the black birds flapped aside. The earth clung to his feet but he was no more slowed by mire or slope than by the rain. The Speaker turned his pale eyes to me. “Best prepare a welcome.”

I honoured my father at the gateway, kneeling before him, and at the door of his house. I brought him bread and beer as he threw aside his cloak to warm himself by the fire. Those free from work crowded in to see him eat and drink. He complained that the ploughing was poorly done. He asked whose were the sheep he had seen untended in the high valley. Mother was there with her sisters, her smile weary already. The people wanted to know about his travels. He grinned and said they would all see soon enough.

The ponies came in a little later with Fath and Barnath. One, a sturdy roan, was loaded with two cloth sacks. “Salt!” cried my father. It is brought from the sea, a great water whose spirits are crueller even than those of the high lands, and is costly. There were other things, cloth, seed, a fine boar to put to our sows, wild-eyed at his halter.

And there was the blade. It was unhilted, but we had craftsmen as good as any for that. A beautiful blue-bright flame of metal with lines and patterns worked on either surface, as long as your forearm and hand together. My father held it above his head. “See this?” he said. “This is the hard iron from the east. Your skill and sweat has brought it to us. Its spirit will be our guardian and its brightness will stand against the shadows.” The people were proud then, and I too. We knew that we were strong in the World and favoured by the Ancestors when such riches came to us. I saw the Smiths eye the blade in wonder for they could not have made it, and I saw the Speaker purse his lips and make a sign.

There was a feast. A hog squealed out its life into Speaker’s bowls. The Brewers’ children scampered among us with beer and my father passed his cup freely. Sleyn and his gang made trouble for the girls, while I was my father’s son and stood apart. I saw my half-sister Magwen up-ended in the granary, and she got a child from that night. I should know whether or not it lived, but I don’t. Of Ulyen there was no sign and I was glad of that. I didn’t want their greasy paws on her.

In the firelight, hands slick with pigfat, my father said, “You should take a wife. Our girls don’t keep you busy, and I’ll not have my house cluttered up with bastards.” I had no bastards to my knowledge and said so. His eyes narrowed. He asked me how it stood between me my half-brother Rhandren, his firstborn.

“He is my brother. We stand side by side.”

“If he raised his hand against me where would you stand?”

“He wouldn’t.”

The old man laughed, low and bitter. “One of you will,” he said. When the Speaker prophesies he daubs himself with blood and thrashes on the ground. People come to watch. My father’s prophecy that night echoed only in his drinking cup; had I not heard it perhaps it would have failed.

Later he said to Mother, “Do you not think that Dran needs a wife? I was his age when we married.”

“You were older,” she said. “And you ought not to forget Emnerel, that gave you Rhandren and Barna, or the little ones that passed with her.” I don’t think he’d forgotten, we’d been speaking of Rhandren earlier. But my mother never spared a chance to remind him of his history. He had loved Emnerel of the Smiths but not married her because she had no family name. She bore him twin girls, an omen of riches, but the Ancestors were angered by his obstinacy and took them and her in a fever.

“Why do you think I want him wed? I went over to the second hills. Fathaf leads the people right down to the Red Forest. He is strong and his house is great. He has fine daughters and I would have peace with him. The way is clear.”

I was unhappy, spoken about as though I wasn’t there. “I may not like Fathaf’s daughters,” I said. “You can’t trade me like a hog.”

He looked at me. “It’s not a trade, fool.” He seemed sad, which I remember now because he was rarely anything but hard in his expression. “You may need the alliance in time. Or the opportunity. And you will like Fathaf’s girls. One is plain but three others have charms enough to stiffen you.” Mother swiped at him with a free hand. “Take my advice though, choose the plain one and enjoy her gratitude.” He covered his head to defend himself.

“What do you mean by ‘opportunity’?” I asked. Mother had gone to complain to her sisters.

He was silent again, looking into the fire, then spoke quietly. “Fathaf has no sons.” He bade me follow him through the draperies into his curtained room within the hall. He threw aside some rugs to find a roll of cloth bound with thongs, which he tossed to me, surprising me with its weight. “Open it.” I laid the bundle on a bearskin and loosened the ties, unrolling it.

Here first was the old sword of Ghadran’s father, its broad blade notched in two places, the engraved spirit-creatures curling up to the hilt. I had not seen it closely for years. It was a thing of power, and I touched it to my brow and laid it aside. Then came the new blade, still more marvellous in the dim firelight, with its writhing tracery and depthless lustre. I saw that it was blunt, awaiting its edge as it did the hilt and scabbard that Ghadran’s craftsmen would make for it. The old sword looked clumsy next to it.

“I will bear this and you the other,” my father said, taking the slender, wicked thing from me. I again took up his father’s sword, hefted it. He nodded. “It’s yours. Look further.”

My head spun from the beer and I remember thinking ‘who will teach me?’ I had no skill with a sword, only Ghadran did. And why bear arms? Did he expect Fathaf to make war on us? I put the thing aside and did as told, unrolling more cloth.

A third sword. It thumped from the cloth and lay upon the fur, short, dull, of even breadth along its length and square-pointed. There was no pattern on its blade, only rust like old blood. It was notched near the bronze crosspiece, its simple hilt bound with wire.

“Pick it up,” said Ghadran. I found it light and balanced, wieldy. “It looks a poor enough thing, but I would not care to meet the man who carried it.”

“Where is it from? It looks Outlandish.” I said.

“Aye, that it is.” He picked up his new blade again, turning it in the light. “See this? This is beauty, son,” he said. “A thing of honour. In a just cause a man of truth could do great things with this.” His eyes shone in the dimness. “That which you hold? That is a workman’s tool.”

I looked again at the short sword. “I don’t understand. Who would make a such a thing?”

“A dealer in death, son. Our smiths know that the spirit the fires bind within a blade will call any who wield it to account for their actions; such weapons are not made or carried lightly. A sword made like that?” He paused, a curl coming to his lip, “Nothing more than a ploughshare of men.”

He told me he’d known its meaning as soon as he’d seen it. It was from far away, many days’ travel beyond the sea, but that hadn’t stilled his fear. Somewhere just beyond knowledge, swords were made as tools for tradesmen of death and blood. “And they will come here, son. They’ll come.” And he took it from me and struck suddenly at his iron cap where it hung upon the roof-post, the blade biting through metal and leather, quivering in the wood. “They’ll cut us down.”

I went to Marpath in the morning and found him fitting heads to hunting arrows. Marpath understood more of the World than I did, but had not forgotten his own youth. When he’d offered me wisdom before he'd always laughed when I ignored him and came to grief. I asked him what my father had meant about Fathaf. He rubbed his beard, his eyes blinking in that way he has.

“Well, there’s no certainty that you’ll succeed your father as leader. Rhandren may stand forward. Or anyone.” He smiled. “You know how it works. In truth you are best placed, probably most able. Ghadran will not expect to die before he is challenged. Perhaps he wishes it to be you that he must stand aside for.”

I laughed. “He would knock me down.”

“That will not always be so certain. Well, you may look unhappy but you haven’t denied that you might attempt it.”

“Well…”

“Well nothing. I thought you might swear you could never raise your hand against him. I see you know the truth. Somebody will take his house, Dran. If you want it to be you, perhaps you should consider how it might be done.”

I thought this an ugly notion. “And Fathaf?”

“Well he may indeed come here. He’s strong. It's right to seek alliance. But also, if you are wed to Fathaf’s kin you might go to him if you fail here. He'd take you in and you would be well placed again.”

“No. I do not think like this, Marpath. I will not challenge my father. If anybody does they will find me at his side. He is cruel sometimes, never easy, but he has led us well. I will not see him thrown down.” Besides, it was absurd! “I am a shadow of him. The people would never follow me.”

But Marpath was smiling again. “He’s spent your whole life making certain that you think that. Now it may suit him to make a man of you.”

If manhood meant striking down my own father then I wanted none of it. Marpath knew this and never spoke of it again. But the air had changed about my father’s house. His new sword was finished with its ornate hilt and harness, and the Speaker commended it to the Ancestors in blood and firelight, although I saw he wouldn’t touch it. Ghadran now commonly wore it on his back as he went about, and gave orders that spears and bows be made and kept in readiness. He said we had become soft, and blind to the envy of those outside our clan. But even had I felt differently, work enough kept us from conspiracy in those spring days, and lengthening days dispelled dark thoughts.






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Comments by other Members



JenDom at 20:34 on 28 January 2007  Report this post
Hey Redcoat

The following is my very personal comment on Green Dragon - Prologue. I'll read the modern-day part upload later!

Before I start please note that this is my personal view so please ignore anything you feel is unhelpful!

I read this as fantasy. Maybe it’s because of the use of such terms as “the Speaker”, the “outlanders”, “night travellers” and “Speaker to the ancestors”. Now I love fantasy and I placed this in the context of an Arthurian lore. This was to get a sense of a time and place for this extract. If I had not read the blurb before this I would not have know that it was set in ancient Britain. So maybe it might be prudent to spend a bit more on description of such an era? Take a time in “ancient Britain”, research and explore it a little? I’m certain there are good old British folklores you could read up on, e.g. Celtic tales, pre-Roman British history etc? You need to perhaps evoke place as well as atmosphere.


You start with a very captivating scenario between Ulyen and Dran. There is a palpable sexual frisson between the two. I have already warmed to her and cannot wait to see how she will evolve and ruin this poor man’s life throughout the passage of time. The political shenanigans that occur with Dran’s father, possible overthrow by Rhandren, possible war with Fathaf, and Ghandren’s preference for Dran pale in comparison to the Ulyen/Dran crux of the story. Maybe this has to do with the lack of evocation of a specific time and place that you are setting your story in. Again this has to do with research.

I am very curious as to how you would carry this passionate doomed love across the millennia to modern day. Once more you seem to be walking that very ropey line between two parallel stories. Have you read “Cloud Atlas” by David Mitchell? Not quite a love story through time, but interlocking lives joined by a single thread from the 19th century to the future and done so cleverly and seamlessly. Not to say that you won’t pull it off but this is a great example of a riveting and clever story about parallel lives across time.

I do not normally dare edit a writer's extract so please indulge me with the following and ignore any, if not all!


Possible re-writes:

I watched her. She must have known. She didn’t show it, but even then people knew where I was, what I was doing, because of my father.


- She must have known me and that I watched her. People knew who I was because of my father. She was strange.

her mother’s hair with no light see by


- ..with no light to see by.

Her speech was not quite like ours, I realised.


- I realised her speech was not quite like ours.

I made to follow her into the trees but she stepped out before me, much closer.


- I made to follow her into the trees but she stepped out before me. She was much closer.

I grabbed for her

- I made a grab for her.

My father had found a surplus in our granaries and gone, with his hoarded treasures,


-My father had found a suplus in our granaries. He had gone with the treasures he had hoarded..

I honoured my father at the gateway, kneeling before him, and at the door of his house


-I knelt before him and also at the door of his house.

I don’t think he’d forgotten, we’d been speaking of Rhandren earlier


-I don’t think he’d forgotten that we had been speaking of Rhandren earlier.

I again took up his father’s sword, hefted it

-I again took up his father’s sword and hefted it

It thumped from the cloth and lay upon the fur, short, dull, of even breadth along its length


- It thumped from the cloth and lay upon the fur. It was short, dull….

I found it light and balanced, wieldy


- I found it light. It balanced and wielded nicely [or some other adjective or better still a metaphor] ..
It balanced and cut through air like something or other :)

but that didn’t stilled his fear


- but that didn’t still his fear.


When he’d offered me wisdom before he had always laughed when I ignored him, came to grief.


-I had ignored the wisdom he had offered me before. This made him laugh because whenever I ignored his advise I always came to grief. [or something like that!]

Thank you for sharing this story here.

I look forward to reading the modern-day version.

Jen







<Added>

P.S. Just noticed I had a few typos myself! Apologies! My excuse is that my cat tried to sleep on the keyboard as I was typing this out...

:-)

Jen
x

<Added>

pps.
I think context here is very important. No point saying this is set in "Ancient Britain" - it read like it could be set anywhere in fantasy land. I really personally think that you need to evoke place/time/context so the reader would get a sense of all three. The love story that is the central theme of this is going to last a millennia and travel through time and space. It has to begin somewhere tangible to make it real/believable.

Hope this makes sense.

Jen
x

Forbes at 13:35 on 29 January 2007  Report this post
Recoat


Now I liked most of the sentence constructs that have been mentioned in their original form. (Sorry I haven't worked out how to pull out EGs yet.)


Perhaps use of ; & - could vary the flow a little?

(I am not ashamed to admit I think Eats. shoots & leaves is a very good read! I keep it in the loo for browsing!)

I certainly wanted some/more context setting at the start- and a little more description used?

All the writing at the start is very action orientated - this happened, then this , then this and then he said, she said, he said - with no dilution to enable the reader to soak up what is happening and to signigfy passage of time.

This type of book I have read alot of - I love Anne Macaffrey's Pern world - fairy stories for adults. And I mean that in a positive way!!

Post more I'll read it!!

Forbes


JenDom at 13:46 on 29 January 2007  Report this post
Forbes

To pull out samples, cut and paste the word/sentence, highlight it and click on the quotes box : e.g. "" located on top of this reply box.

Hope that makes sense!

Jen


JenDom at 17:44 on 29 January 2007  Report this post
Redcoat
The Green Dragon is a pub!

This is for the upload on YWO.

I still am unable to see the link between the upload here and this one. Where is the link? Where is the love story travelling through time and space? I presume there are bits in between? I hope so and I am jumping the gun as usual!

As a standalone piece, I found the one on YWO full of languid prose. Each scene is painstakingly described and there are little touches that are done so with a vividness of imagination. The way Sean takes his handkerchief out of his pocket, the emergence of Colonel Burnes into his view and the pictures of the Burnes women.

I would edit the conversation in the pub. It went on for too long. The whole story about the dragon needn't have to be so drawn out. They had just been to a funeral - talk about Sam, talk about the loss and the pain and the uneasiness. The dragon myth just got in the way. But again, that is just my personal opinion!

Far more interesting for me was towards the end. Finally we get a sense of something other worldly after the pub scene. I would have read the piece from when this mysterious "she" begins to stalk what I presume is the woods around the Burnes house. The story begins here. My attention was taken. Here at last was the sense of something strange and mysterious happening. Like I said before, I am more than intrigued as to how you are going to pull these parallel lives and loves together. What and where are the links - or the link? What would link Sean, this "she", this Eilwen, and Ulyen and Dran? Where is the tragedy? Why dwell on the dragon story when you could have easily retold the Ulyen/Dran doomed love and have a link there? Am I being too impatient? Is Eilwen going to be a descendant of Ulyen or Dran perhaps?

This story is an epic undertaking! You prove that you have the richness of imagination to convey atmosphere and character. I await with bated breath just how you are going to achieve this mammoth doomed love story through the ages and look forward to more of your uploads here.

Jen

x


redcoat at 09:16 on 30 January 2007  Report this post
Dear Forbes and Jen.

Thanks for taking the time to read and comment so generously. I've no hesitation in taking on board some excellent guidance!

On context setting, it won't surprise you (certainly not Jen, who is more familiar with my 'style') that there was originally loads more. As a discipline I hacked 3000 words out of the 'Prologue' and some 'atmosphere' was lost. In the 1st person text it would be a nonsense for Dran to refer to himself as living the 'late pre-conquest Iron Age' obviously, or to conclude that the threatening foreigners who forged the unromantic sword are Roman; I need to find ways to tip the reader off a little more effectively it seems however. Also perhaps I need to un-edit a bit to build in more description. In fact, where you, Jen, have found infelicities in the sentence construction (which Forbes liked . . ) you are in part seeing the effect of fairly brutal word-stripping.

I quite like the clipped style of Dran's reportage and I'll post a further segment so that you can see some more development. It's good to have reviewers on board who know this genre - I'll certainly have to look at 'Cloud Atlas' just to make sure I'm not treading a well-worn path.

Anyway, on to the present day and some words on the YWO upload. This too lost about 3000 words, so you can imagine how bloated it once was - I'm really learning a lot about what to leave out at the moment. I know the pub scene drags (The dragon story is not crtitical, but I want to keep it in some form as it has a significance much later) and am going to cut it back shortly and re-load the piece - this will enable me to up the pace and ramp up the spookiness by adding a further scene at the haunted manor.

I recognise the problem of balancing the thing. Yes Ulyen and Eilwen are 'essentially' the same person, and less mortal than the other characters - she's been re-born over the centuries (maybe something transylvanian going on here) and returns always to this location where she lost Dran, her great mortal love, seeking to effect his return. The reader will conclude that there is a similar identification between Dran and Sean, as will Sean when he comes to understand what he's dealing with. He'll be wrong about this;I think what Ulyen is really after is a child into whom she can imbue the spirit of Dran, retrieved from the cosmic waiting-room. Sean has a little boy (currently off stage) who becomes the focus of her scheme. There may also be a role for the late Sam Burnes - similarly adrift in the half-world, she may be enlisted (duped) by Ulyen into helping to further her designs, only to realise her error later and then have to work with Sean to forestall fruition of Ulyen's plan, or at least to ameliorate its consequences (My main idea here: far better for Ulyen to join Dran in the afterlife she's been dodging than to drag him back to our sad World at the expense of an innocent child - Sam might help her to see this and thus bring about a redemption)

I hope I can maintain a sympathetic aspect for Ulyen despite all this. She's basically a perpetually post-adolescent, sensual being - manipulative and self-centred but fundamentally tragic rather than evil. Of course, Sam's dead, the Colonel's bereaved, Sean is obsessed and Dran is utterly hapless, hence the introduction of characters like Barleyman, if only for a bit of relief. . .

When I get time I'm going to try to do a chapter-by-chapter synopsis to see if I can make it all hang together cogently.

I'll let you know when I've made decent changes - meantime I hope you'll have a gander at Prologue 2 (probably a misnomer, since current thinking has the two stories unfolding in interleaved sections) to follow the trajectory of Dran's fall.

Cheery pip

Red'



JenDom at 10:15 on 30 January 2007  Report this post
Hey

Prologue 2? You do mean the YWO upload don't you? Just in case I'm missing it!

Jen
x

redcoat at 11:48 on 30 January 2007  Report this post
No no, you're not missing anything. By 'Prologue 2' I mean a further installment of the Iron Age portion which I'll post here. I may hold off a bit to save prematurely de-linking this bit from the group.

Redcoat

JenDom at 12:26 on 30 January 2007  Report this post
Great stuff

Well it looks like you've got the plot all sorted for this story.

I take it Dran meets a tragic end, Ulyen somehow forges some kind of pact with whatever and wants to reincarnate Dran in some way, hence the focus on Sean's child. Maybe Sean's child could be a product of the late Sam and Sean? Just a thought! Maybe explain why Sam is important in the storyline?

As for the context of place for Dran/Ulyen: I really didn't get a sense of history except in your blurb about ancient Britain. So definitely something like
"My father has been told of a great army from beyond. They worship the emperor Caesar" or something like that. *g*

Ulyen is definitely a sympathetic character once the tragedy of her love is made evident! And it will be a tragedy won't it? One that would break one's heart and keep our sympathies/understanding with her?

Anyway, enough of my nosing around your very intriguing story.


Jen
x





Murphy at 16:58 on 31 January 2007  Report this post
Hi Redcoat,

Swords and "funny" names are ok in our house.

Language - I love things with this feel to them but they’re not to everyone’s taste.

She moved through the tangle like a spirit.
I found that a particlularly good turn of phrase.

You use the word corn which if it’s corn on the cob type corn wouldn’t have been around. They’d have barley, wheat, peas and beans.

I think a lot of authenticity is in the author’s grasp of historical detail. Can you introduce small details as you go along? Calling houses roundhouses in some instances? If your folk live in a hill fort, which may tie in with palisades, they’ll have ramparts which may need digging out in the autumn. Every now and then in Histfict you’ll mention something everyday which gives you potential to reinforce the period for the reader. Someone told me recently setting is one of your main characters and I’d agree it has that scale of importance.

Sorry I haven’t more at the mo I’m struggling a bit with a wretched cold. I’ll look out for the next posting.

Thanks
Murphy


redcoat at 17:46 on 31 January 2007  Report this post
Murphy

Thanks for your post. You're quite right, and a concensus seems to be building in favour of a bit more 'location' in the period. I'll try to attend to it. . .

Good tip about the corn - I hadn't thought that one through.

cheers

Redcoat.

<Added>

Oh and get well quickly!!

Davy Skyflyer at 16:40 on 07 February 2007  Report this post
Hi Redcoat

You have had some terrific input here, and I have to admit to not reading all the comments in their entirety, tho I think Jen has it spot on when she says you need to evoke more of the time and place, because it could be anywhere in the ancient, or indeed a fantasy world.

The very first lines don’t really make sense, i.e. what people knew what the MC was doing, coz we don’t know who he, or his father is. Just a bit confusing as an opening sentence I think. Personally I think you’d be better off ditching that opening and starting from “She was strange…” then working in the other bit afterwards?

Because of the setting, I think it could do with a little more description of the village at the beginning

I think it’s such a tricky era to try and nail, but you do it really well. The story is intriguing and I don’t think it reads awkwardly. Could do with touching up here and there, maybe get rid of some superfluous words here and there.

I like the way Ulyen is teasing the MC at the beginning, it’s well written and visual. I mean I think there could be a tendancy to tell when you could show, but it’s always debatable when writing in the 1st person, and I’m no where near qualified enough to say you should get rid or change x or y, but I think it worth considering

For example your MC tends to tell us about the village and other characters, rather than you introducing them to us as readers through showing

On the whole though it is a good start, and I’m intrigued. A little revision and editing would definitely benefit, and more of a sense of time and place from the very beginning.

It’s the kind of thing I might pick up anyway, so I am being over-critical, but that’s what we’re here for right?

But if I did, all these points and questions probably wouldn’t be bugging me yet, and I’d read on, but maybe if it wasn’t approached in the next few chapters, I would find Dran and his village a little distant, without more grounding in the time they exist, because Jen has a point, it could be a fantasy novel, as in Tolkien style.

Not that there’s anything wrong with that you understand, but I don’t quite think that’s what you want.

Regards


Davy




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