The Object

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S.C.Wood

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This is something I've been working on for a little while now. It started out as a pretty basic story, but I've fleshed it out as much as I believe I need to. It's told in third person, present.

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An emergency broadcast system message scrawls across the TV screen, interrupting Paul and his daily channel surfing.

“This is not a test—I repeat—this is not a test. The National Guard has initiated a state of emergency. You are advised to remain in your homes. Do not attempt to leave the area. Further instructions will be given shortly. Again, this is not a test.”

“State of emergency?” Paul whispers.

The window of Paul’s 10th floor apartment is shut, but muffled hollers can be heard. Looking through, there are dozens of people that walk on the sidewalk and even some that stand outside of their cars. Everyone stares in the same direction; most of them snap pictures with their phones while others run into nearby buildings, including Paul’s. He opens the window and hangs halfway onto the stoop.

Something is in the sky. Something that doesn’t belong.

A gray, spherical object hovers just between a few cotton-ball like clouds. It has no texture and resembles a ball bearing, minus the chrome shine. The cloud cover around the object slowly dissipates to reveal a perfect circle of bright blue sky that surrounds it. As other clouds pass, they too are erased by whatever this is.

Paul rushes to his cell phone – no signal. He puts it in his pocket anyway, throws on some shoes and heads out. The cavernous hall echoes with the murmurs of other tenants, some are flustered more so than others.

“Does your internet work?” a woman says to her neighbor.

“No, does your phone?”

“It’s the aliens man, I told you!” one man says to Paul, half joking.

“Probably just some government test, at least that’s what they’ll tell us,” Paul says while he continues to walk toward the elevator.

Paul has never been one of those the truth is out there people, but he isn’t a complete skeptic either. The thought of aliens one day coming to Earth would sometimes cross his mind, but never did he think he’d be alive to witness it actually happen.

Janine, Paul’s neighbor, holds the elevator with one of her purple fluffy slippers wedged against the door.

“I can dig it.” Paul says as he looks directly at her feet. She doesn’t respond, but instead slaps the back of her hand against his shoulder.

“What do you think is going on?” she asks.

“Who knows, people love to freak out over anything mysterious,” he answers. “If something crazy really is happening, you’ll be the one I rescue and live happily ever after with.”

Janine is the type of woman that Paul has always wanted; they’ve shared these friendly conversations in the past, but ultimately went nowhere. Plenty of opportunities have arisen, like the running into each other at a local sci-fi expo, or learning that they frequent the same comic shop. But for some reason, nothing ever gave him that extra motivation to really speak to her in a meaningful way.

She reaches for Paul’s hand and grips a few of his fingers; the swelling of her eyes and the amount of pressure she applies says that she is frightened. But at the same time his body is riddled with a warm feeling of, dare he think it, love; or something very close to it. The elevator opens on the 5th floor where her mother lives. He’s never met her officially but he sometimes would confuse her for Janine at a distance. Good genes.

“Gotta let me borrow your slippers some time!” Paul shouts to Janine before she enters her mom’s apartment.

Paul secretly wants something to be wrong. He hopes this will give him the courage he needs to tell her how he feels and share his intentions.

The lobby of the building is a madhouse. The already too small area is filled with tenants and people from the street who are scared to be out in the open. Just then, the rattles of the floor to ceiling glass along with a gentle rumble from something outside drowns out the conversations. Most everyone turns their attention outside.

Tanks roll pass the front doors, with a soldier perched on top shouting through a megaphone for the pedestrians to move out of the way. That should be obvious. What follows is a long convoy of various military vehicles along with infantry soldiers on foot who brandish their rifles and wear urban fatigues.

Maybe something really is wrong, Paul thinks. He is stuck as he stares through the pane glass at the apparent war zone that it is neighborhood. A firm bump against his back snaps him out of the trance, and he moves through the crowd of people and out of the front doors.

The firm instructions of the infantry units fill the streets. “Everyone back up. No civilians past this point.” a large soldier shouts, as a few others place a wooden barrier across the entire street just next to his building.

“What’s the deal, man, why can’t we go that way?” Paul asks.

“Orders.” the soldier said as he points toward the object in the sky.

“Get to Hell; you can’t keep us out of anywhere!” Paul shouts.

The soldier stomps toward Paul, within inches of his face. “You want to cross that barrier, be my guest, but don’t go lookin’ for a rescue.” he says in a calm, yet firm voice.

Paul scoffs and looks up; still it sits there. It also looks larger, but that could very well be his imagination playing tricks. Being street level and in the midst of the others gives Paul a new perspective on the scope of things. The overall commotion surrounding him causes him to feel faint, he has to sit on the curb and collect himself. What is she doing up there? Are they going to be evacuated? Is this the end of everything? He has so many questions running through his mind.

A block over, one of the vehicles in the convoy is fitted with surface to air missiles. The weapon points up toward the mystery in the sky, and lets loose a flurry. The shrieking instinctively has Paul cover his ears and wince in pain from the sudden blast of sound. A plume of white smoke floods the narrow street. Paul, along with everyone else, cover their faces either with their shirt or uses the pit of their elbow and watches as the spiraling smoke trails make their way up toward it. A good 30 seconds pass and the missiles grow smaller and smaller. The anticipation of the explosion instantly dies as they do not hit their target. Instead, the missiles are somehow repelled by the object, sending them in every direction.

The missiles are little more than white specs that occasionally catch the sunlight as they hurtle down toward the ground. When they hit, large fireballs and black smoke emerge from beyond the buildings in the distance.

The entire object is now glowing in a brilliant orange, as if a small sun. Paul and the others shield their eyes as the glow intensifies. The vehicle on the ground has a small crew that resets the weapon when suddenly a beam engulfs them. The beam is a solid bright white and lets off an intense heat, but there is no sound. Just like that, it vanishes as if a flashlight was just switched off. The destruction left behind is a perfect circular shape that scorches the ground, with no remnants of the vehicle or crew. The screams of bystanders break the silence and people flee, ignoring the barriers.

Paul rubs his eyes; flashes of white envelop his vision. He stumbles to a nearby wall, but catches himself and presses his back against it. He blinks hard and fast, rubbing every few seconds. His vision slowly returns to normal, but some bits of white remain.

The familiar roar of fighter jets fills the skies and circles the object, which gives scale to its size. The jets were small in comparison. One by one, they fire, over and over, all resulting in direct hits. After expelling their munitions, they take formation and fly directly over the crowd of people, setting off car alarms.

Paul and the others cheer and yell absurdities at the sky.

The object is loosened from where it sat, but now falls toward the city. The once distant shape is now a behemoth that intends on the obliteration of anything in its path. The infantry, along with everyone else, realize that they are in the impact area. In frenzy, the infantry wrangles up as many people as they can into the back of a couple military cargo trucks that are parked on the block.

“There’s people in the building!” Paul shouts as he’s corralled into one of the trucks.

The object is now casting a massive shadow over the entire area.

“No time! We have to go now!” a soldier yells.
 
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I'm commenting on my own post, but I noticed that I have a lot of passive voice going on there...that I'll need to fix. I went through most of it, but some remains.
 
I'm commenting on my own post, but I noticed that I have a lot of passive voice going on there...that I'll need to fix. I went through most of it, but some remains.

It also looks way over 1500 words which is the limit for crits - you might want to snip it back.

For me, it's distant from the character and I'm struggling to get engaged. I'm getting told what Paul did but nothing about what he felt.
 
It also looks way over 1500 words which is the limit for crits - you might want to snip it back.

For me, it's distant from the character and I'm struggling to get engaged. I'm getting told what Paul did but nothing about what he felt.
Oh yea that's right. It's 1,500 words, I thought it was a bit higher. I'll modify it.

EDIT: Fixed it.
 
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I think you may have a problem with POV use here. The character experience is very flat, and there's no sense of fear or excitement coming across for me. You do dip into his thoughts at times, but they never push the story or create a sense of experience. When Paul sees his home town/city filled with tanks on the streets he wonders "Maybe something really is wrong." Well, duh.

Paul is also very passive - he seems to exist just to observe things happening. It's as if you are using him as a device to simply provide an objective view of external events. Ironically, this means he actually starts to get in the way of the story - as if he's been inserted as an afterthought.

You clearly have a good idea of what you want to see happen in your story, but you really need to put yourself in your character's place, react as they would - be honest with your feelings. And especially ensure that Paul is doing something - something specific - and has motivation, conflict, and has both a life and goals before the story starts. That will not simply make him more real, but also help make him relatable to the reader, and help draw them in.

Hope that helps a bit.
 
A few things... crook of his elbow would have been much better than pit. Pit makes one think of arm pits and stinky ones too!

His emotional reactions don't always add up to the situation or his past reaction to the situation. At first he is calm, not worried even when he see the spaceship, then he is still calm but now admiring the girl... then his is out side in the crowd and still calm enough to want to go beyond the barrier and argue with the army guy then suddenly he is not? Then he is calm again then he is faint then calm again even when his love is about to be squished.

I also found it very hard to relate to his loss or the event at all. I want to feel the electric fear and wonder in the air and feel the press of the crowds and the pain of loosing what might have been with the girl. It just feels very...static in the emotion within the piece. We know what he is thinking but not what he is feeling.

There is also a few questions I have about the world. Do they often have national emergency drills that they say "this is not a drill.." So is this set in the future? What is the government like that they drill for these things? Is it a more authoritarian government? What is the world political system like? I think that it would be better for there to be confusion about the announcement of a national emergency.
 
Sadly I couldn't put the ending here, due to the 1,500 word limit. I placed all of Paul's emotions toward Janine, who he ends up going back for.

I do agree that I have a bad habit with the passive voice, and Paul himself is too passive. I will rewrite this almost completely, and see what comes out.
 
Ok. I'm not sure if there is an edit post function here (I don't see it), but I have a new revision of this thing, completely changed it and hopefully what I'm able to share is a better representation of what I'm trying to do...which is getting the narrator (Paul) more involved with what's going on. Short of him running around with a machine gun or anything like that. I know how I want this to be read, but I'm not certain it comes across that way as of right now, which is why I'm here.
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“This is not a test. The National Guard has initiated a state of emergency. Remain in your homes. Do not attempt to leave the area. Further instructions will be given shortly. Again, this is not a test.”

I’m woken up by the beeps and buzzes of the message that scrolled across the TV screen. What emergency? It was just before 4:00 AM, and I was in bed with the only person I cared about.

Through my window I heard some hollers from the street below. Janine was still fast asleep, and I didn’t want to wake her. I got up slowly and took a peek through the curtains. People were frozen in place on the side walk or outside their cars. The one way street was more of a parking lot. Everyone stared in the same direction: up. I opened up the window and did the same.

Something was in the sky.

A gray, spherical object hovered just between a few clouds. It appeared smooth, like a ball bearing, minus the chrome shine. When the clouds passed in front of it, they immediately dissipated as if affected by whatever this thing was.

I snapped out of my trance and went to Janine.

“Babe?”

She squirmed around and groaned at me.

“Check this out, something weird is going on.”

“What the hell are you talking about? What time is it?” She replied with an annoyed look on her face and her eyes still closed.

“I think we’re about to find out if H.R. Giger knew what he was talking about.”

That got her attention. She opened her eyes and stared at me.

“Seriously, look.”

I grabbed her out of bed and yanked her to the window, but not before she could put on these fluffy purple slippers.

“See.” I said.

“That’s weird. It’s just floating.”

“I’m going outside, want to put some shoes on first? I asked.

“Wait, what? No you aren’t. Why?”

“Oh come on, aren’t you curious what’s going on? Don’t you want to be out there if something happens?”

“How about no? This is real life, not some comic. Actually, it could be like a comic, even more reason to stay inside.” she said in a very motherly tone.

Strange. Janine was as big of a fan of sci-fi as me. I was convinced she’d want to experience the events first hand.

“Fine. I’ll take you to your mothers, but I’m checking it out.” I said.

We both threw on some clothes. I finished tying my shoe laces before she unbuttoned a shirt of mine she slept in. When she was finally ready, I put my arm around her and walked out of the apartment.

The cavernous hall echoed with the murmurs of other tenants.

“Does your internet work?”

“No, does your phone?”

I believed in aliens, maybe a little more than Janine. I know I at least had a stronger opinion on the matter. With the vastness of space, you’d have to be pretty arrogant to think that Earth is the only planet with what we consider life, or consciousness. However I never actually thought that I would be alive during an actual visit.

When we made the short walk to the stairwell, Janine reached for my hand and gripped a few of my fingers. The amount of pressure she applied and the way her eyes swelled let me know she was frightened.

“I don’t understand why you want to go outside.”

“Stop, please,” I told her. I understood why she was worried, but this was a once in a lifetime event. “I’ll come back up in a little while.”

Her mother lived just a floor below us. The people there weren’t standing in the hallway, must have still been inside. We reached the door and Janine unlocked it with the key her mother said was for emergencies.

I squeezed her hand before she walked in.

“I’ll be back,” I told her as she handed me the key.

She half-smiled and kissed me. The door closed behind her. I knew she was safe, and her mother probably needed some company anyway. I jogged back to the stairwell and traversed the remaining flights until I hit the first floor.

The small lobby was filled with tenants, some from Janine’s mother’s floor. There were people I didn’t recognize that most likely came in off the street. They looked panicked. A gentle rumble resonated in my feet before the sound of rattling glass drowned out the chatter in the room. My building had huge floor to ceiling windows that faced the street.

Tanks rolled along the street, with a soldier perched on top shouting through a megaphone for the pedestrians to move out of the way. Following the tank were other various military vehicles, behind them were the soldiers on foot. They all dressed in urban fatigues and carried rifles.

My intrigue was diminished and replaced with worry and concern. Maybe something really was wrong. What do they know that we don’t? A handful of soldiers poured in through the doors and corralled us all before they pushed us outside.

“Hey! Wait! I need to go upstairs!” I shouted but my request fell on deaf ears. It seemed their only motive was to get people out of the building.

The firm instructions of the soldiers filled the streets. “Everyone back up. No civilians past this point,” a large soldier shouted, as a few others placed a wooden barrier across the entire street. Two soldiers stood in front of my building, and didn’t let anyone back inside.

“What’s the deal, man, why can’t we go that way?” I ask.

“Orders,” the soldier said as he points toward the object in the sky.

I looked up and all at once I realized that this might very well play out like a comic, but probably not the type with the happy ending. Being street level and in the midst of the others gave me a new perspective on the scope of things. The overall commotion and sense of urgency caused me to feel faint. I stumbled to the curb and dropped down.

A block over, past the barricade, one of the larger vehicles had some soldiers around it. They ran behind a parked car and hunkered down. Out of nowhere the vehicle let out a shriek followed by a large plume of white smoke. I covered my ears and winced in pain from the sudden blast of sound. Missiles shot to the sky and I covered my face with my shirt. A good 30 seconds passed and the missiles shrunk smaller and smaller. The anticipation of the explosion instantly died as they did not hit their target. Instead, the missiles were somehow repelled by the object, sending them in every direction.

The missiles were little more than white specs that occasionally caught the sunlight as they hurtled down toward the ground. When they hit, large fireballs and black smoke emerged from beyond the buildings in the distance.

The entire object then glowed in a brilliant orange, like a small sun. I shielded my eyes, and didn’t have a clue what was about to happen. The soldiers from behind the parked car ran back to the vehicle when suddenly a beam engulfed them. The beam was a solid bright white and let off an intense heat that I could feel a block away, but there was no sound. Just like that, it vanished as if a flashlight was just switched off. The destruction left behind was a perfect circular shape that scorched the ground, with no remnants of the vehicle or soldiers. The screams of bystanders broke the silence and people fled, ignoring the barriers.

My eyes were hazy and my ears rung. I stumbled to a nearby wall, pressed my back against it. I blinked hard and fast, rubbing every few seconds. My body trembled from the terrible sight. The haziness became manageable.

The familiar roar of fighter jets filled the skies and circled the object. They were small in comparison. One by one, they fired, over and over, and all resulted in direct hits. After they expelled their munitions, they took formation and flew directly over the crowd of people, setting off car alarms.

The crown cheered and yelled absurdities at the sky.

The object was then loosened from where it sat, but now fell toward the city. The behemoth came closer and closer. In frenzy, the infantry wrangled up as many people as they could into the back of a couple military cargo trucks that were parked on the block. The object covered the sun momentarily.

“There’s people in the building!” I shouted as a soldier grabbed me.

“No time! We have to go now!”

I checked my phone in a last ditch effort to get Janine out of the building, but there was no reception. I sat there, elbows on my knees. Why didn’t I listen to her? Why did I have to be so curious? I stared at the others who were content in their seats. The tail gate of the cargo truck was closed by the soldier that was the last to board. I knew I had to get back to her, and I knew it would take something drastic. I stood up and shoved the soldier out of the way and jumped out of the truck. I hit the ground with a thud, my skin scraped and clothes tattered. The truck barreled down the block.
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Is my narrator being too passive? The whole point of this story was his urge to go outside and how it backfired, now he has to get back to Janine. I'm not sure what more I need to do to get him more involved and "active" in the story, because plenty of things are happening both to him and around him.
 
Ok. I'm not sure if there is an edit post function here (I don't see it), but I have a new revision of this thing
There is an edit function, but it's only available for one hour after posting, so it's long gone for your first post here. Adding amended excerpts to the original thread is fine, though, so that's the way to go as you've done here.

However, please remember the 1500 word limit, which is a limit not an advisory, and don't push it. I'll allow the excess this time, but another time might be different. There is rarely a need to post so much in any event, since most issues that can be seen in 1500 words are very evident in far less than that.
 
There is an edit function, but it's only available for one hour after posting, so it's long gone for your first post here. Adding amended excerpts to the original thread is fine, though, so that's the way to go as you've done here.

However, please remember the 1500 word limit, which is a limit not an advisory, and don't push it. I'll allow the excess this time, but another time might be different. There is rarely a need to post so much in any event, since most issues that can be seen in 1500 words are very evident in far less than that.
Thanks.

I only wanted to edit the first post in this thread to say that the revised post is on post number whatever...

The only reason I posted as much as I did was because I wanted to reach a good stopping point. I won't post as much next time, if there is one.
 
Much much better... I felt that he was actually a person of some fullness of character, I felt that although he was a little swept along by events that he was actually thinking for himself and I don't think that he was to passive as he actually acted by jumping out of the car to save the girl.
 
Comments below in bold. Be warned, I have teeth.


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“This is not a test. The National Guard has initiated a state of emergency. Remain in your homes. Do not attempt to leave the area. Further instructions will be given shortly. Again, this is not a test.”

I’m woken up by the beeps and buzzes of the message that scrolled across the TV screen. Why did the tv come on? Or was it left on. And was it the beeps and buzzes of the message scrolling - does that really happen?- or the words above. I was pulled out to think about that , and you really don't want that right at the beginning. What emergency? It was just before 4:00 AM, and I was in bed with the only person I cared about.

Through my window I heard some hollers from the street below. Janine was still fast asleep, and I didn’t want to wake her. I got up slowly and took a peek through the curtains. People were frozen in place on the side walk or outside their cars. The one way street was more of a parking lot.Really? At 4 am. That's a lot of people watching late-night news channels :D Everyone stared in the same direction: up. I opened up the window and did the same.

Something was in the sky. This line could go. It's obvious from the next paragraph and the something is weaker than the description you follow with.

A gray, spherical object hovered just between a few clouds. It appeared smooth, like a ball bearing, minus the chrome shine. When the clouds passed in front of it, they immediately dissipated as if affected by whatever this thing was.

I snapped out of my trance and went to Janine.

“Babe?”

She squirmed around and groaned at me.

“Check this out, something weird is going on.”

“What the hell are you talking about? What time is it?” She she - the ? Acts as a comma here replied with an annoyed look on her face can you show this, not tell it. How did she look annoyed? I can't picture than and eyes closed at the same time. and her eyes still closed.

“I think we’re about to find out if H.R. Giger knew what he was talking about.”

That got her attention. She opened her eyes and stared at me.

“Seriously, look.”

I grabbed her out of bed and yanked her to the window,as a woman, this line made me dislike your pov character intensely. He grabs his partner and yanks her? but not before she could put on these fluffy purple slippers.

“See.” I said. "See," I said. There is a long post on this in the toolbox but, essentially, if you are going to a saidism/dialogue tag you don't end the sentence until you have given that tag. (But you do end the sentence inside the speech marks if you are going to an action.

“That’s weird. It’s just floating.”

“I’m going outside, want to put some shoes on first? I asked. "I asked - which is, at least, an improvement on yanking her around. At this stage, my engagement is waning. I'm not drawn into the scene. Where is his fear? His excitement? Where is the rest of the world? Noises in the street, panic, helicopters on the telly? Make the scene come alive - at the moment, they're in a vacuum.

“Wait, what? No you aren’t. Why?”

“Oh come on, aren’t you curious what’s going on? Don’t you want to be out there if something happens?”

“How about no? This is real life, not some comic. Actually, it could be like a comic, even more reason to stay inside.” she said in a very motherly tone.

Strange. Janine was as big of a fan of sci-fi as me. I was convinced she’d want to experience the events first hand.

“Fine. I’ll take you to your mothersmother's, but I’m checking it out.” I said.so, again, he completely runs roughshod over her and dismisses her. She never once says she wants to go anywhere else. Why can't he just leave her inside and go out the front door himself to look? Why does he have to take her anywhere? Can't she drive? Women are not reliant on men to save them or tell them how to act when the UFO arrives. In fact, in this house, I'm pretty sure who'd be bundling the kids into clothes and organising things and taking charge....

We both threw on some clothes. I finished tying my shoe laces before she unbuttoned a shirt of mine she slept in. When she was finally ready, I put my arm around her and walked out of the apartment.thoughts? Feelings? Other things going on? Also, he's yanking her around and dismissing her and she lets him put an arm around her as they go out in public? Except that I don't think this is anything other than not fully thinking out your character responses, I'd have this guy marked as a domestic controller in most stories.

The cavernous hall echoed with the murmurs of other tenants.

“Does your internet work?”

“No, does your phone?”

I believed in aliens, show this earlier? Maybe in the paragraph where he describes the ship? Cool! The aliens hath arrived! maybe a little more than Janine. I know I at least had a stronger opinion on the matter. How does he know this? Show it in the conversation above because the bald statement here continues the male-privilege theme With the vastness of space, you’d have to be pretty arrogant to think that Earth is the only planet with what we consider life, or consciousness. However I never actually thought that I would be alive during an actual visit.

When we made the short walk to the stairwell, Janine reached for my hand and gripped a few of my fingers. The amount of pressure she applied and the way her eyes swelled let me know she was frightened.

“I don’t understand why you want to go outside.”

“Stop, please,” I told her. I understood why she was worried, but this was a once in a lifetime event. “I’ll come back up in a little while.”

Her mother lived just a floor below us.hang on. He couldn't head outside and assume she'd make it down a flight of stairs on her own. Is she an agoraphobic or something? The people there weren’t standing in the hallway, must have still been inside. We reached the door and Janine unlocked it with the key her mother said was for emergencies.if my mum lived a floor below me the access to the two houses would be much more casual - as it is, when we drop round we just stick our heads in the door and announce ourselves.

I squeezed her hand before she walked in.

“I’ll be back,” I told her as she handed me the key.why hand him the key

She half-smiled and kissed me. The door closed behind her. I knew she was safe, and her mother probably needed some company anyway.so dismissive, again, of the women. Why does her mother need company? It's 4 am. She was probably asleep - why would they even go there without getting more information first? I jogged back to the stairwell and traversed the remaining flights until I hit the first floor.

The small lobby was filled with tenants, some from Janine’s mother’s floor. There were people I didn’t recognize that most likely came in off the street. They looked panicked. A gentle rumble resonated in my feet before the sound of rattling glass drowned out the chatter in the room. My building had huge floor to ceiling windows that faced the street.show this if you can - don't tell.

Tanks rolled along the street, with a soldier perched on top shouting through a megaphone for the pedestrians to move out of the way.all this was needed earlier. Your characters are shown at being up at 4am because the telly was conveniently on when it turns out there is chaos going on. Start with this and use that urgency to drive the scene. Personally, I'd make the girlfriend more active - she needs to get to her mum. Following the tank were other various military vehicles, behind them were the soldiers on foot. They all dressed in urban fatigues and carried rifles.

My intrigue was diminished and replaced with worry and concern. Very distant. How does this feel? Low worry starting, tension in his shoulders, a slowing of his steps? Maybe something really was wrong. What do they know that we don’t? A handful of soldiers poured in through the doors and corralled us all before they pushed us outside.

“Hey! Wait! I need to go upstairs!” I shouted but my request fell on deaf ears. It seemed their only motive was to get people out of the building.again - this is all happening now and nothing before? It feels very convenient for the plot

The firm instructions of the soldiers filled the streets. “Everyone back up. No civilians past this point,” a large soldier shouted, as a few others placed a wooden barrier across the entire street. Two soldiers stood in front of my building, and didn’t let anyone back inside.

“What’s the deal, man, why can’t we go that way?” I ask.tense change?

“Orders,” the soldier said as he points toward the object in the sky.

I looked up and all at once I realized that this might very well play out like a comic, but probably not the type with the happy ending. Being street level and in the midst of the others gave me a new perspective on the scope of things. The overall commotion and sense of urgency caused me to feel faint. I stumbled to the curb and dropped down.

A block over, past the barricade, one of the larger vehicleswhat vehicles? Be specific. had some soldiers around it. They ran behind a parked car and hunkered down. Out of nowhere the vehicle let out a shriek followed by a large plume of white smoke. I covered my ears and winced in pain from the sudden blast of sound. Missiles shot to the sky and I covered my face with my shirt. Why were they coralled outside? Surely the last thing the military wants is a load of civilians in their operation. Wouldn't it make more sense to keep everyone inside where they'd been nicely corralled. It feels to me like you wanted your character outside to see all this so that's what you forced the plot to do - even if it's not entirely plausible. A good 30 seconds passed and the missiles shrunk smaller and smaller. The anticipation of the explosion instantly died as they did not hit their target. Instead, the missiles were somehow repelled by the object, sending them in every direction.

The missiles were little more than white specs specks that occasionally caught the sunlight as they hurtled down toward the ground. When they hit, large fireballs and black smoke emerged from beyond the buildings in the distance.

The entire object then glowed in a brilliant orange, like a small sun. I shielded my eyes, and didn’t have a clue what was about to happen. The soldiers from behind the parked car ran back to the vehicle when suddenly a beam engulfed them. The beam was a solid bright white and let off an intense heat that I could feel a block away, but there was no sound. Just like that, it vanished as if a flashlight was just switched off. The destruction left behind was a perfect circular shape that scorched the ground, with no remnants of the vehicle or soldiers. The screams of bystanders broke the silence and people fled, ignoring the barriers.

My eyes were hazy and my ears rung. I stumbled to a nearby wall, pressed my back against it. I blinked hard and fast, rubbing every few seconds. My body trembled from the terrible sight. The haziness became manageable.this is good. More of this.

The familiar? Why's it familiar? roar of fighter jets filled the skies and circled the object. They were small in comparison. One by one, they fired, over and over, and all resulted in direct hits. After they expelled their munitions, they took formation and flew directly over the crowd of people, setting off car alarms.

The crown cheered and yelled absurdities at the sky.

The object was then loosened from where it sat, but now fell toward the city. The behemoth came closer and closer. In frenzy, the infantry wrangled up as many people as they could into the back of a couple military cargo trucks that were parked on the block.exactly. They'd never have carried out this sort of operation with so many people around if they could have avoided it - and they sure wouldn't herd people out to watch. The object covered the sun momentarily.

“There’s people in the building!” I shouted as a soldier grabbed me.

“No time! We have to go now!”

It's 4 am. There will be people in the building. The military will know that. If I were at home and this happening I would stay where I was until I knew more. Many people would. So, it's not believable that the soldier wouldn't know this.

I checked my phone in a last ditch effort to get Janine out of the building, but there was no reception. I sat there, elbows on my knees. Why didn’t I listen to her? Why did I have to be so curious? I stared at the others who were content in their seats. Really? I think most people would be in a state of panicThe tail gate of the cargo truck was closed by the soldier that was the last to board. I knew I had to get back to her, and I knew it would take something drastic. I stood up and shoved the soldier out of the way and jumped out of the truck. I hit the ground with a thud, my skin scraped and clothes tattered. The truck barreled down the block.
------------------

Is my narrator being too passive? The whole point of this story was his urge to go outside and how it backfired, now he has to get back to Janine. I'm not sure what more I need to do to get him more involved and "active" in the story, because plenty of things are happening both to him and around him.

Sorry, lots of bold. I'm a character writer, and much of this jarred with me in terms of believeability.

Is your narrator too passive? No, but his girlfriend sure is.

The whole point of this story was his urge to go outside and how it backfired, now he has to get back to Janine. - I think this is the problem with the piece. You're so focused on this outcome you are twisting the scene to suit it, even if you don't really have a reason for it or, indeed, if the believability is stretched by you trying to acheive it.

Personally, I think simplyfying things would be easier. He wants to go see, she wants to sleep on, he lets her and pops outside, chaos breaks out, they're separated. All believable, no twists and turns about mothers and stuff, and you're where you need to be.

Getting him involved and more active - keep us in the story. When you mention the windows, for instance, you stop the story to tell us. Instead, he could be noticing the first tank approaching through it as he reaches the bottom of the stairs. If you can keep description shown rather than told, that can help, as it means you stay with the character all the time.

Also, post a smaller character excerpt and it would be easier to focus on that.

Hoped it helps!
 
Comments below in bold. Be warned, I have teeth.




Sorry, lots of bold. I'm a character writer, and much of this jarred with me in terms of believeability.

Is your narrator too passive? No, but his girlfriend sure is.

The whole point of this story was his urge to go outside and how it backfired, now he has to get back to Janine. - I think this is the problem with the piece. You're so focused on this outcome you are twisting the scene to suit it, even if you don't really have a reason for it or, indeed, if the believability is stretched by you trying to acheive it.

Personally, I think simplyfying things would be easier. He wants to go see, she wants to sleep on, he lets her and pops outside, chaos breaks out, they're separated. All believable, no twists and turns about mothers and stuff, and you're where you need to be.

Getting him involved and more active - keep us in the story. When you mention the windows, for instance, you stop the story to tell us. Instead, he could be noticing the first tank approaching through it as he reaches the bottom of the stairs. If you can keep description shown rather than told, that can help, as it means you stay with the character all the time.

Also, post a smaller character excerpt and it would be easier to focus on that.

Hoped it helps!
Thanks for looking it over and commenting.

Firstly, I never intended on Janine being a submissive to the point where she is run over and controlled. I didn't think people would get that vibe from the first few paragraphs. I wrote it and intended for it to show that he is excited to go out there, and she isn't...that's all.

I'm in the US, and when we have a test of the emergency broadcast system, there are many loud and weird noises accompanied by either scrolling text or a strange muffled voice. It's creepy even when it's being tested. I've never experienced it happening for real.

I'm trying to adapt the "show and not tell" rule. I've gotten better at it, and I know how to show things, but the "tell" part wants to come out naturally. Until that changes, I might keep doing it and not realize until I re-read.

What I'll do is modify the intro where the rumbling of the tanks wakes them up, and that's what they see through the window instead of the people/cars. He says he wants to go out, she says don't, but he does anyway. I'll ditch the entire mother thing but the rest will happen as it stands.

Hopefully this will turn out a little better. I'll rework the beginning up until he gets to the lobby and post that when I revise.
 
The opening few paragraphs are certainly much better than the previous draft. However, once you start with the dialogue it doesn't feel either concise enough or realistic - you're still too focused on trying to describe external events. The more you can put yourself into the experience and describe that, the better chance you have of making the reader also experience it.
 
The opening few paragraphs are certainly much better than the previous draft. However, once you start with the dialogue it doesn't feel either concise enough or realistic - you're still too focused on trying to describe external events. The more you can put yourself into the experience and describe that, the better chance you have of making the reader also experience it.
Yea, I agree. If the story is about the two characters and not what's going on outside, I need to focus more on them.
 
I rewrote the intro, which I feel is a lot stronger now.
--------------
A slight rumble shook our apartment. Earthquakes aren’t much thought about in New York City, but this was enough to rattle the windows and clink the loose change that I had on a bedside table. I got up and flipped on the TV.

“This is not a test. The National Guard has initiated a state of emergency. Remain in your homes. Do not attempt to leave the area. Further instructions will be given shortly. Again, this is not a test.”

Whenever the emergency broadcast system interrupted the TV, it always let out a series of beeps and buzzes before a message scrolled or a muffled voice came though. This was the latter.

The rumbling and vibrations halted.

Janine woke, grumpy and tired.

“What time is it?” she asked in mid yawn.

“4 AM,” I said after I checked my phone. No reception. “Did you feel that?”

“No, come back to bed.”

“State of emergency?” I said.

With a groan, she sat up. “Who are you talking to?”

The apartment again rumbled.

“Earthquake!” she shouted.

I peeked through the curtains. Tanks and other very large military vehicles rolled down the street. The windows rattled just like before as they passed in front of our building.

“Babe! Something’s goin’ on. Tanks and all sorts of sh*t going down the street. There are soldiers walking around too.”

Janine jumped out of bed and joined me at the window. We opened it in a hurry, stood out on the fire escape and watched the convoy continue. Before we could say anything, Janine noticed that other people were on their fire escapes, and they all looked up into the night sky.

A gray, spherical object hovered there. It appeared smooth, like a ball bearing, minus the chrome shine.

“That’s weird. It’s just floating,” she said.

“You think its aliens,” I asked, fixated on whatever it was.

“Maybe. Or they’ll tell us it’s another weather balloon?”

“I bet it’s aliens. I just hope they aren’t the H.R Giger type.”

“Let’s hope for Spielberg,” she said before she crawled through the window. “It’s too cold, come back in.”

How could I go inside? This was a once in a lifetime deal! I wondered if they knew anything down there. Soldiers sure did get here quick, after all. I adhered to her request and joined her in the comfort of our apartment.

“I’m going down there,” I told her, “they might know something.”

“Who, the soldiers? They wouldn’t tell you anything even if they did…which they probably don’t.”

“Suit yourself. I’ll be back.”

“How about no? This is real life, not some comic. Actually, it could be like a comic, even more reason to stay inside.” she said in a very motherly tone.

I had already tied my shoes by the time she had finished her statement. I pecked her lips, nose and forehead, opened the door and walked out.

“15, maybe 30 minutes!” I shouted as the door closed.
------------
Then he goes to the lobby just as before...same chain of events but I'll revise all of that sometime.
 
It's getting there - certainly showing more thought.

A slight rumble shook our apartment. Earthquakes aren’t much thought about in New York City Good - we have a location, but this was enough to rattle the windows and clink the loose change that I had on a bedside table. I got up and flipped on the TV why flip on the TV instead of looking out of the window?.

“This is not a test. The National Guard has initiated a state of emergency. Remain in your homes. Do not attempt to leave the area. Further instructions will be given shortly. Again, this is not a test.”

Whenever the emergency broadcast system interrupted the TV, it always let out a series of beeps and buzzes before a message scrolled or a muffled voice came though. This was the latter.Surely this paragraph goes before the previous? You've just given the message - now you've described what happened before the message

The rumbling and vibrations halted.

Janine woke, grumpy and tired.

“What time is it?” she asked in mid yawn.

“4 AM,” I said after I checked my phone. No reception. “Did you feel that?”

“No, come back to bed.”

“State of emergency?” I said.

With a groan, she sat up. “Who are you talking to?”

The apartment again rumbled.

“Earthquake!” she shouted.

^ Dialogue is short and sweet - but what would be better would be to get some character thoughts. Confused, scared, excited - all three?

I peeked through the curtains. Tanks and other very large military vehicles rolled down the street. The windows rattled just like before as they passed in front of our building.

“Babe! Something’s goin’ on. Do people seriously talk like this?? Tanks and all sorts of sh*t going down the street. There are soldiers walking around too.” Again, how does this make him feel? First person is all about getting *inside* the character experience.

Janine jumped out of bed and joined me at the window. We opened it in a hurry, stood out on the fire escape and watched the convoy continue. Before we could say anything, Janine noticed that other people were on their fire escapes, and they all looked up into the night sky.

A gray, spherical object hovered there. It appeared smooth, like a ball bearing, minus the chrome shine. And ... reaction?

“That’s weird. It’s just floating,” she said.

“You think its aliens,” I asked, fixated on whatever it was. And ... reaction?

“Maybe. Or they’ll tell us it’s another weather balloon?”

“I bet it’s aliens. I just hope they aren’t the H.R Giger type.” Still no ... reaction?

“Let’s hope for Spielberg,” she said before she crawled through the window. “It’s too cold, come back in.”

How could I go inside? This was a once in a lifetime deal! Good to see something, but deeper and earlier would probably work better I wondered if they knew anything down there. Soldiers sure did get here quick, after all. I adhered Do people say that? I honestly don't know, but it doesn't come across as natural - more military to her request and joined her in the comfort of our apartment.

“I’m going down there,” I told her, “they might know something.”

“Who, the soldiers? They wouldn’t tell you anything even if they did…which they probably don’t.”

“Suit yourself. I’ll be back.”

“How about no? This is real life, not some comic. Actually, it could be like a comic, even more reason to stay inside.” she said in a very motherly tone.

I had already tied my shoes by the time she had finished her statement. I pecked her lips, nose and forehead, opened the door and walked out.

“15, maybe 30 minutes!” I shouted as the door closed.
------------
Then he goes to the lobby just as before...same chain of events but I'll revise all of that sometime.

You're getting better with structural issues - you just need to focus more on filling the gaps between these with character experience. Save the Cat may help.
 
It's getting there - certainly showing more thought.



You're getting better with structural issues - you just need to focus more on filling the gaps between these with character experience. Save the Cat may help.
Thanks.

In writing fiction. Is it acceptable to show character thought and motivations through the dialogue.INSTEAD of narrative? I could easily, and would rather, have them talk it out to one another instead of me interjecting feelings through narrative.

Oh and regarding him turning on the tv, whenever we have an earthquake here in California, that's what we do. The first inclination is to turn it on and check the news because they're always quick to cover what just happened.

I know that, but people not in earthquake country might not. Like the narrator, damn, I just realized he wouldn't turn on the tv because he isn't in earthquake county.

Either way, I'll tighten it up.
 
Is it acceptable to show character thought and motivations through the dialogue.INSTEAD of narrative?

If *only* through dialogue then you may as well be writing a screenplay. The unique proposition a novel offers is the ability to get inside someone's elses thoughts.
 
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