sloweye
Lord Shaman.
Ah, i see... going for the 'Escape from New York' angle eh?
She could have taken a trolley. It would certainly have held more, but Laura was afraid that they would hear it rattling along the path, so she pushed an old pram along instead. The last time she had spoken to a normal person was the time she went out with Tom, who was caught and killed the week before. As far as she knew, she was the only truly alive person left in Manchester.
The supermarket's sign was still on, shining dully in the daylight. Blue, red and yellow sparks erupted from a snapped cable that dangled from a power line nearby. Laura skirted it, fearful of being electrocuted. There were no hospitals now and ambulances were a thing of the past. If she got hurt, she would be on her own. A grimace stretched her lips as she remembered that she hadn't had her tetanus shots in years. Well, it was too late now.
Before she went in, Laura wiped her face and blew her nose. They were less likely to hear her if she did all that outside. Thoughts of Tom's fate made her grip the bloodstained claw hammer in her gloved hand more tightly. She pulled down the mask of her riot police helmet and went inside.
Shards of glass lay scattered around. Some of them had blood on. Careful not to make too much noise, Laura pushed the pram into the shop, her heart thumping like a voodoo drum. She slowed down her breathing and held up her hammer, ready to batter anything that moved./QUOTE]
It's going to be difficult to quietly negotiate a pram over shattered glass. I love the voodoo drum line and the following sentence.
A vile stench crept into her nostrils. Them? Laura tensed, ready to run, but the buzz of flies calmed her fears. The slightest movement excited the... creatures. The word “Zombie” jumped unbidden into her mind, but Laura was having none of it. Whatever her neighbours were now, it was nothing like the shambling monsters in the horror movies. The presence of flies was a good sign. Gagging, she continued on her way. She could just about make out the purplish fingertips of a human corpse. The body was right next to the tetra-pack drinks. Laura took a deep breath through her mouth and carefully pushed her pram forward. When she drew near to the corpse, she was surprised to find it whole. It was hard to make out any details since the flies were all over it, and she didn't want to get any closer to that appalling miasma.
Don't like the use of "them" on this one occasion for some unknown reason. And I preferred how you first used the word "zombie" in the first draft rather than this second one. It's also a little unlikely that the entire body would be completely covered in flies? Certainly it would have an abundance, but not so many that Laura has to assume it's a man (as in the following paragraph). Also, I miss the little bit about the wine. It's a very human touch: It's practically the end of the world...sod it, I'm taking a bottle of wine!
The conundrum tumbled through Laura's mind like laundry in a washing machine
I don't like this. It's a bit comedic and pulls me out of the scene a little.
When she had gathered enough supplies, Laura turned around and went home.
I'd change "went" to "headed". "Went" implies she gets there safely and we just shouldn't know that yet.
Just my opinions. Please don't take this as a negative criticism. I'm picking out the bits that stood out to me that could do with tweaking. There's a lot of good in it too, but I didn't pick those out as they already work as far as I'm concerned! Just as a side note, if you're writing a full novel based on this chapter, a useful "reference" book could be "the zombie survival guide" by Max Brooks. it mentions some ideas you might not have thought of and you can discard anything that doesn't fit in with your own mythology.
Oh, and I'm glad you got rid of Tom's bulging bags. My inner 12 year old sniggered every time I read about them knocking over a dustbin and it sort of turned into Carry On Zombie...
Keep it up!
Not read chapter 2 yet, but have responded to your final draft of chapter 1...
This draft is a lot better; much tighter and it irons out some niggles I had with the original. Still think there are areas where it could improve though. These are just my suggestions of course:
The start is a better hook. I like the prolonged use of "They" and "Them" before we realise it's a type of zombie. The bit about speaking to anyone comes a little out of the blue though in this paragraph; it might be better split into a new paragraph?
I'm sorry to say I'm in the camp that doesn't like the electricity still being on, especially if there are no emergency services of any sort. You say you have a reason for it, and that's fine, but I remember one of those "life after people" documentaries focussing on power stations and if I recall correctly, the power didn't last long without people to run the plants. Like I say, if you have an idea or plot point involving the power plants, I'd like to see what you come up with!
Couple of niggles here. You've cut the "tears streaming" line, so is there a need to have Laura wipe her face and blow her nose? (I don't like the nose blowing anyway for some reason) Maybe have her wipe her sweaty face as you've indicated she already is a bit out of breath and sweating? Secondly, you mentioned before that the zombie virus is fairly potent, hence the mask - yet Laura doesn't clean the blood off the hammer? The bloodstained imagery is nice, but not practical if Laura was trying to steer clear of, er, zombie fluids.
Shards of glass lay scattered around. Some of them had blood on. Careful not to make too much noise, Laura pushed the pram into the shop, her heart thumping like a voodoo drum. She slowed down her breathing and held up her hammer, ready to batter anything that moved./QUOTE]
Thanks, Oxman. I need this crit like I need air.It's going to be difficult to quietly negotiate a pram over shattered glass. I love the voodoo drum line and the following sentence.
Don't like the use of "them" on this one occasion for some unknown reason. And I preferred how you first used the word "zombie" in the first draft rather than this second one. It's also a little unlikely that the entire body would be completely covered in flies? Certainly it would have an abundance, but not so many that Laura has to assume it's a man (as in the following paragraph). Also, I miss the little bit about the wine. It's a very human touch: It's practically the end of the world...sod it, I'm taking a bottle of wine!
I don't like this. It's a bit comedic and pulls me out of the scene a little.
I'd change "went" to "headed". "Went" implies she gets there safely and we just shouldn't know that yet.
Just my opinions. Please don't take this as a negative criticism. I'm picking out the bits that stood out to me that could do with tweaking. There's a lot of good in it too, but I didn't pick those out as they already work as far as I'm concerned! Just as a side note, if you're writing a full novel based on this chapter, a useful "reference" book could be "the zombie survival guide" by Max Brooks. it mentions some ideas you might not have thought of and you can discard anything that doesn't fit in with your own mythology.
Oh, and I'm glad you got rid of Tom's bulging bags. My inner 12 year old sniggered every time I read about them knocking over a dustbin and it sort of turned into Carry On Zombie...
Keep it up!
Laura's heart leapt within her. “Hello, Dave?”
“I'm not Dave,” said the man on the other end.
Somewhat disappointed, but curious nonetheless, Laura asked, “Who are you?
CHONG: Who is it?
CHEECH: It's me, Dave. Open up, man, I got the stuff.
CHONG: Who is it?
CHEECH: It's me, Dave, man. Open up, I got the stuff.
(More knocks)
CHONG: Who?
CHEECH: It's, Dave, man. Open up, I think the cops saw me come in here.
CHEECH: It's, Dave, man. Will you open up, I got the stuff with me.
(More knocks)
CHONG: Who is it?
CHONG: Who?
CHEECH: Dave, man. Open up.
CHEECH: Yeah, Dave. C'mon, man, open up, I think the cops saw me.
CHONG: Dave's not here.
CHONG: Dave?
CHEECH: No, man, I'm Dave, man.
(Sharp knocks at the door)
CHEECH: Hey, c'mon, man.
CHONG: Who is it?
CHONG: Who?
CHEECH: It's Dave, man. Will you open up? I got the stuff with me.
CHONG: Dave?
CHEECH: Dave, man. Open up.
CHEECH: Yeah, Dave.
CHONG: Dave's not here.
CHEECH: What the hell? No, man, I am Dave, man. Will you...
(More knocks)
CHEECH: Oh, what the hell is it...c'mon. Open up the door! It's Dave!
CHEECH: C'mon! Open up the door, will you? I got the stuff with me, I think the cops saw me.
CHONG: Who is it?
CHONG: Who?
CHEECH: Dave! D-A-V-E! Will you open up the goddamn door!
CHONG: Dave?
CHEECH: Yeah, Dave!
CHONG: Dave?
CHEECH: Right, man. Dave. Now will you open up the door?
CHONG: Dave's not here
She could have taken a trolley. It would certainly have held more, but Laura was afraid that they [I'd suggest you don't italicise -- it's too obvious, particually as you continually repeat it -- I'm afraid it begins to read as very amateurish] would hear it rattling along the path, [path? is she on the pavement, on a road, a small steet, on tarmac, concrete, paving slabs, what?] so she pushed an old pram along instead. [and an old pram doesn't rattle? And I accept that oop north may be very different from the effete south, but when was the last time you saw a pram, old or otherwise, as opposed to a push-chair?] The last time she had spoken to a normal person was when [the time] she'd gone [went] out with Tom, [see point 1 below] who had been [was] caught and killed the week before. As far as she knew, she was the only living -- truly living -- [truly alive] [I can see you mean to imply that the zombies are kind of alive -- unfortunately "truly alive" carries connotations beyond this, ie the hippy is "truly alive" in his own mind in comparison with the dull, dead-end-job clerk] person left in Manchester.
The wind blew cold as if summer didn't realise it had arrived, [you seem wedded to this phrase -- personally I don't think it has a place here, unless laura is a poet manque. See point 2 below] but Laura had wrapped up more for protection than for comfort. [this is where you can say about the gloves and the rest of what she's wearing if it's unusual] She tried not to move too quickly. [unless this is related to the cold and/or clothes wearing, this is a point 1 problem again] It wouldn't do to arrive out of breath at the supermarket, then have to make a quick getaway. Tom's screams clawed at her memory again. She tried to suppress it – she was low on food and couldn't [not] [this is a zombie book, not a legal treatise where contractions are frowned upon] afford to let fear drive her back to her flat.
It was the silence that creeped her out the most. [really? So she'd have been creeped out in the middle of the Highlands would she, where there is silence? It's the lack of noise which upsets her? Not the complete isolation? The fact that a city of 2 million people is now empty of all living creatures? Not the fact that she is surrounded by flesh-eating monsters which would kill her in the blink of an eye? Not the fact that she has no one, no hope, no future, no life? I think you need to think about this a little more] For the ten years she had lived in the city, the never-ending [no hyphen -- all one word] background hum of traffic had accompanied her every waking moment. Though she lived on the eighteenth floor, she could always hear it. Even at work, she could hear it faintly over the trill of the phones and the thrum of the photocopier. Now [that] it was gone, and she missed it. [She misses traffic noise? Unless you are trying to show a psychological trait in that she is magnifying a relatively small matter to compensate for the real loss, or the question of noise is a vital plot point, I really think you're giving this way too much time and attention. And how long have the zombies been around? Why hasn't she got used to the non-noise?]
Huge grey tower blocks loomed on either side of her. God alone knew how many of them might be lurking inside. [She had no desire to find out for herself.] [you don't say....] Sweat stippled her [Laura's] brow, soaking her headband, but hunger [why hunger? You said she was low on food not that she was out of it altogether] drove her on.
The supermarket's sign was still on, [I find this unconvincing -- have you researched how long electricity substations or whatevers can continue operating in the absence of human control? Because if humans are around, they'd have shut off the power to a city of zombies] shining dully in the daylight. Blue, red and yellow sparks erupted from a snapped cable that dangled from a power line nearby. [do you mean the power line is nearby, or the dangling cable is? If the former, that's obvious since the cable is here -- the power line could hardly be detached from it and in the next street. If you mean the cable, "nearby" as a word indicates far enough away not to be close and is therefore no danger to Laura in any event. Instead of a nebulous "nearby" why don't you tell us how close it is?] Laura skirted it [, fearful of being electrocuted]. [I think this can be taken as read] [There were no hospitals now and ambulances were a thing of the past. If she got hurt, she would be on her own.] [you've already told us she thinks she's the only living person -- I think we can therefore safely assume all of this] [A grimace stretched her lips as she remembered that she hadn't had her tetanus shots in years. Well, it was too late now.] [unless this is a vital plot point, it shouldn't be here. And as a side issue -- the UK has had a tetanus vaccination programme for years -- if the full course of 5 was undertaken when Laura was a child no further jabs are necessary -- she certainly wouldn't have been receiving regular injections]
'I've got to slow down,' she thought. 'I've been going too fast and I'm almost out of breath. If I have to run, I won't make it.' [this might be a personal taste, but I find italicised thoughts stuck in the middle of this kind of extended thought-exposition disruptive]
Before she went in, Laura wiped her face and blew her nose. They were less likely to hear her if she did all that outside. [really? They could hear her wipe her face? Why would they be more likely to hear it inside --because they are upstairs inside? Why aren't they more likely to hear it if she's outside as they're in the many surrounding buildings? And why doesn't she perhaps dispense with blowing her nose altogether and just wipe silently?] Thoughts of Tom's fate made her grip the bloodstained claw hammer [in her gloved hand] [she could hardly have gripped if it was anywhere else. If the important part is the gloves, get that in somewhere else] more tightly. She pulled down the mask of her riot police helmet and went inside.
Sharp shards of glass from the shattered windows lay scattered around. [the alliteration is painful] Some of them had blood on. Careful not to make too much noise, Laura pushed the pram into the shop, her heart thumping like a voodoo drum. [as opposed to beating like a kettle drum? Does she have intimate knowledge of voodoo drums because of her ethnicity/religion/pastimes? If not, I'd suggest you delete.] She tried to steady her breathing and held up her hammer, [unless she has the muscles of a body builder, holding it up for any length of time is just likely to give her arm ache and exhaust her] ready to batter anything that moved. [She would have to. The alternative was too horrible to contemplate.] [I really don't think you need to spell everything out like this -- readers aren't stupid, they can cotton on that this is a life-or-death situation by means of a few hints]
A vile stench [see point 2 below] crept into her nostrils. Them? Laura tensed, ready to run, but the buzz of flies calmed her fears. The slightest movement excited the... creatures. [this has no relation to the earlier sentences -- see point 1 below again] The word “zombie” jumped unbidden into her mind, but Laura was having none of it. Whatever her neighbours were now, it was nothing like the shambling monsters in the horror movies. [the problem with referencing horror movies is that you immediately pull the reader out of the story -- it's too self-referential] The presence of flies was a good sign. [this sentence should have followed immediately after the earlier one -- but at some point you have to explain why this is a good sign] Gagging, she continued on her way. She could just about make out the purplish fingertips of a [human] [unless it's obvious in context that it's an animal, people are likely to assume it's human without your saying -- especially as not too many other creatures have fingers] corpse. [does this mean the rest of the body is hidden from her eyes, eg under the fresh fruit counter? Or is it that all she can recognise of the corpse are the fingers?] The body was right next to the tetra-pack [Tetra Pak -- note spelling -- is undoubtedly a registered trademark, and companies can take offence very easily. Unless the use of these packs is vital, I suggest you lodge the body next to something which is less likely to create problems] drinks. Laura took a deep breath through her mouth and carefully pushed her pram forward. When she reached the corpse, she was surprised to find it whole. It was hard to make out any details since the flies were all over it, and she didn't want to get any closer [so why has she gone as close as she has? If she is curious to begin with, say so. If she needs to get to the long life drinks, say so] to that appalling miasma. [see point 2 below]
The conundrum [see point 2 below] tumbled through Laura's mind like laundry in a washing machine [is this meant to be a comedy novel? If not, I'd suggest you go dispense with comic similes] as she hurriedly grabbed [is she grabbing indiscriminatingly? So she could end up with a dozen tins of the baked beans? Or is she being careful in what she selects? Details of this kind can be important in giving us information about Laura without dumping it on us] tins and bottles [of food and drink] [she's in a supermarket. We're not expecting her to pick up tins of Castrol GTX] to put in her pram. This man [(judging by the size and shape)] was truly dead [no kidding...] – and the others hadn't eaten him. But they often [often doesn't mean always, therefore why should the presence of an uneaten one worry her?] ate their own kind! [avoid exclamation marks unless necessary] Had they gone away or died out? [how likely is that?]
Laura went over what she knew about them. [yep -- info-dump alert. She wouldn't need to preface her own thoughts like this -- and the information you do give has no relevance to the question of the uneaten corpse so is wholly irrelevant in context anyway] Violent and far beyond reason, they attacked and devoured everything that moved. [evidently not since she is undevoured, and I note that flies exist which move presumably] Thankfully, [strictly speaking, a wrong use of "thankfully" -- and you're better off without it anyway] they hated light, so she could creep [you've already had "creeped" and "crept" in the same short piece -- find alternatives] out during the day. However, if the sky was overcast [enough], some had been known to venture out, and there had been a few close calls. Noise attracted them. Tom had been [was] killed when he'd [went with her out to get food and] bumped against a rubbish bin [with his bulging bags], [painful alliteration again. ] knocking it over. In the silent emptiness of the estate, he might as well have set off a firework.
If they were gone, where had they gone? [this really isn't convincing -- why should she leap to the conclusion that every zombie has gone simply because there is one uneaten body in a shop?] Was there a chance of normality returning or would the world become the post-apocalyptic [see point 2 below] mess portrayed in films?[as before -- too arch and knowing -- it's like you're winking at us]
I'm not sure what you mean by this -- everything you have written is prose, as a word it simply means any writing which isn't poetry.Edit: BTW I used to get a lot of flak for not using prose. When can I use it, or should I ditch it altogether?
If, possibly, you mean the use of imagery and poetic wording ie so-called literary writing, then my advice is don't, not unless it comes easily to you. Trying to aim for a style which is not your own natural way of talking/writing can quickly seem forced and artificial. You also have to weigh up the kind of book you are writing, the potential readership, and the characters themselves. If you look at work by someone like Malloriel, her writing is very allusive and poetic, and imagery can be used to create vast edifices of splendour. But just sticking the odd metaphor into otherwise basic prose on the basis that this is what you think "ought" to be done, is only going to make it seem odd. Unless, of course, it is in a character's POV -- so if someone is of a poetic bent, then having him exclaim on the limpid beauty of the night would be in keeping (if regrettably erroneous...)Par ma foi! il y a plus de quarante ans que je dis de la prose sans que j'en susse rien! [Good heavens! For more than forty years I've been speaking prose without knowing it!] -- Le Bourgeois Gentilhomme -- Moliere