Tension - believable?

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allmywires

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Just something new from my infant WIP. What it says on the tin, really - is it believable? I sincerely hope nobody on here has ever been in a plane crash, and since I haven't either I'm just conjuring out of thin air here.

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I’m lying on the raft, my whole lower body throbbing with pain. Gabriel is next to me, his body cold and damp from the rain. Very cold. We’re all freezing, even though the smouldering wreckage of our plane isn’t too far away, smoke and flames licking at the ink-black, empty sky. The screaming and pleading from inside has stopped now, and I presume everyone who’s going to get out has done.

That makes seven of us.

I can’t see them, but I know they’re there. Me and Gabriel, lying side by side. A blonde girl somewhere behind me, maybe ten years younger than me, middle-class university student type. She hasn’t stopped shaking or crying since we got out here, and I can still hear her moaning now. With her is a curly-haired man with dark, Indian-looking skin but a pretty strong North London accent who’s been trying to get signal on his phone and telling us all we’ll be all right. A woman with flat, mousy hair and manic eyes is sitting cross-legged at my feet, a child under each arm. They were being pretty noisy earlier, screaming and crying, but now even they’ve fallen silent. We have no food and only two small bottles of water. Energy’s best spent elsewhere, I suppose.

I let my hand slip off the raft, my fingers dipping into the water. So cold. I wiggle them about a bit, but soon run out of motivation. I haven’t even got the energy to shiver. Pity. After all it took to get me out of that God damned plane, and I’m going to die out here, my pelvis and knees and ribs shattered, freezing to death with five strangers and an unconscious boyfriend.

Issy...

I stir a little, the voice calling to me on the wind.

Isobel...

‘What?’ I snap. The woman with the children stares at me with her abnormally large, wide eyes. ‘Did one of you say my name?’ I demand of her.

‘I don’t even know your name,’ she says, her voice soft, nasal. American.

‘It’s Issy,’ I say, my face pressed against the raft as I sink back into the plastic, my energy sapped again. ‘Just...hit me or something, if you want me.
I’m obviously hearing things.’

There’s a long pause before she replies. ‘Marie.’

‘Hmm?’

‘Marie. My name.’ She clears her throat, somewhat nervously. ‘Ben and Ella, my kids.’

‘Hi,’ I mumble, though I can’t even discern them from their mother, it’s so dark. They don’t say a word to me.

‘Are you all right?’ Marie asks me, after a long while. ‘You’re lying at a very odd angle.’

‘I think my pelvis is broken,’ I say, with some difficulty. ‘And my boyfriend is unconscious. I think. He was last time I checked, at least.’

Another voice pipes in behind me, the Indian-looking man. ‘He’s still alive, if that’s what you were wondering.’

I let out a small sigh of relief.

‘Thanks.’

‘I’m Emile.’ I feel a tentative hand on my shoulder, shaking me a little. OK, so he’s sitting behind my head, then. ‘Just so you know.’

‘Issy,’ I say again, and I’m already tired of this horrible, faux-polite charade, but at least it’s something to cling to when everything else has gone to sh*t. ‘My boyfriend’s name is Gabe. Gabriel.’

‘Issy and Gabe. Got it.’ Emile again. ‘Marie, right?’

‘Yes. And Ben and Ella.’

‘Hi.’

I listen to the waves slap against the plastic. We’re on the inflatable slide escape from the back exits, floating slowly away from the sinking wreckage. It’s surprisingly calm, a quiet night, even though there’s been rain. The sea has been kind on us, so far, even if it is as cold as the Arctic.

‘What about you?’ I can only assume Emile is talking to the only unnamed person on our raft, tearful Blondie.

‘S-Scarlett,’ she manages, through a hiccup. ‘Oh my God, I just-’ She heaves a heavy sob, and starts crying again.

‘It’s all right,’ I can hear Emile say, and the raft lurches slightly as he moves towards her. ‘Come on now, don’t waste your energy crying. Be positive. We’re alive.’

‘Stuck on a f-floating slide in the middle of the o-ocean, in the middle of the f-f*cking night, great! What’s not to be b-bloody cheerful about?’

There’s a long silence. I close my eyes. I’ve had enough of this. I know we haven't spoken much in my life, God, but if you’re planning on whisking me away somewhere warm and eternal, can you get it done sooner rather than later-

Is-o-bel, oh Is-o-bel...

I snap my eyes open again.

‘OK, which of you jokers is messing with me?’ I try and turn over, but it sends ripples of flaming agony through my shattered pelvis, and I give a shriek of pain and meekly collapse down again. ‘Oh – Jesus-’

‘Calm down,’ Emile says, and I feel his hands on my shoulders, keeping me down. ‘Stay still, all right? You’ll do more damage if you thrash about.’

#

All usual crit stuff applies too, of course.
 
I would say it's a tensile situation, but somehow these people aren't exactly acting, as if they would be in the aftermath of a crash in the sea. Maybe it's the pain thing. Some would be extremely agitated, some completely shut down and not talking anybody. And what you're missing is the alpha leader. Maybe nobody of them are exactly alpha types, but someone would be asking, moaning until that alpha steps out. So without doing in depth analysis, I would say you have a good scene that only needs couple of rewrites to get it in perfect order.
 
Just a drive-by crit, amw. Sorry I don't have time for more in depth, which your writing -- as ever -- deserves.

Yey! Present tense. High five!

It's clear and well-written as always but I'm afraid I'm not getting tension from it. It feels like she's observing rather than personally involved. I'm not completely sure why, but I suspect words like 'presume' give an impression of calmness. Also, I think, the detail about the other characters feels at odds with the way a terrified, desperately injured girl (?) would feel, dying on a life raft in the middle of the sea.

I know they've been on the raft for a while now, but it still feels like she's weirdly calm and neutral -- she's not cross with the blonde for weeping, she's not worried about the manic eyes (not good on a life raft).

If she's in shock and noticing everything with a weird calm, then that's a perfectly normal response but it does detract from the tension, and I think you need some indication that she is -- something that says "I know I should be screaming with fear but something seems to have stopped that part of my brain".
 
Sorry, AMW, but I'm with the rest of the comments. The situation is tense, but the pov character seems too removed from it.

I’m lying on the raft, my whole lower body throbbing with pain. (the raft is for readers' benefit, I think. What she has to be thinking about is the pain?)

My lower body (which bit? I'd like it to be specific so I can get into her head.)

My right leg throbs with pain, runnning through it, making me clench my hand against the wood of the raft. (Or something. Bang her other leg. Rap against it as a distraction?"

Gabriel is next to me, his body cold and damp from the rain (how does she know he's cold?)

Again, I'd kind of like to be taken through the action. I turn my head, ignoring the sharp band of pain (or something), and Gabriel's beside me. He's shivering and cold.

Very cold. We’re all freezing, even though the smouldering wreckage of our plane isn’t too far away, smoke and flames licking at the ink-black, empty sky.

Here I thought it got a bit closer. I'd like to know how the flames felt. Can she feel them on one side of her face? Is the smoke acrid, or like a plume against the night sky? If they're in the sea is the raft rocking, if so is it making her wounds feel even sorer? Or splashing salt water on them? Eurrrghh. Well sore.

The screaming and pleading from inside has stopped now, and I presume - presume seems very calm, and not shocked calm, if it was like, it'd be a clarity of thought as opposed to a presumption - everyone who’s going to get out has done.


The writing is technically good, it's just, you know me, I want to be closer. :eek:
 
Nice piece, AMW. Well written and great interior dialogue.

I hear what others are saying about feeling removed, and I really got that mostly in the conversation breaks, starting at "Issy..."

But on the other hand, she can't be so paralyzed by pain that she does nothing either. I mean, realistically, she'd probably pass out, or scream the whole time, which doesn't strike me as all that exciting to read. So there is a tricky balance. If it works better for her to have fewer injuries, you might want to consider that direction. I like the story starting here though. Definitely potential.
 
Thank you all. ctg, the 'alpha' type gets revealed fairly quickly, this is the first time we've met all the survivors. Hex, yes, I thought I'd better show my true colours as a present tense aficionada sooner or later ;)

SciFrac, I thought about the injuries, but I wondered whether people would realistically buy that these guys survived a crash in which 90 per cent of people died with only scratches (and especially while being at pains to stress that I'm not copying LOST!)

And springs...ack...damn impersonal-ness again! I was going for the detached sort of feel - since this isn't the first scene, we've met Issy before post-crash, when she thinks she's going mad - perhaps a more frantic internal dialogue is called for? I'm just trying to get in my head what it would feel like in that situation and I really have no idea, it's too terrifying!
 
It reads well, and the present tense works. But from a technical point of view, some things niggle at me, and some fact-checking (or, if you already did some, some re-working) might be required:
Planes that come down on water don't usually catch fire.
How did the principal character get out of her seat and out of the plane with a smashed pelvis?
If the plane hit heavily enough to cause major injuries to several of the cast, (and prevent many of them from escaping) it might have broken up and sunk.
Are they on a raft? Or a floating chute?
Who deployed the chute? Normally it would be the cabin flight attendants. Where are they?
Screaming and pleading? Screaming and crying? I don't know - I suspect they'd be too busy dying or going into shock to do either.
So sorry, I'm not 100% convinced.

(I then Googled for plane landings on water: while passenger jet ditchings are rare - there seems to be no record of a wide-body jet ever ditching successfully - on average most (or even all, as in US Airways Flight 1549) of the passengers survive.)
 
there seems to be no record of a wide-body jet ever ditching successfully

But there's a first for everything! :)

AMW: what's the story here? Fantasy superpowers? Divine intervention? Or straight reality? Just wondering if that might play a role.
 
But from a technical point of view, some things niggle at me, and some fact-checking (or, if you already did some, some re-working) might be required

I wondered if this would be mentioned. Brace yourself, you have opened a can of worms. ;)

Planes that come down on water don't usually catch fire. - yep, I know, except for this one was set on fire (see Swissair Flight 111) and that's what brings it down (this is a plot point, revealed later on)

How did the principal character get out of her seat and out of the plane with a smashed pelvis? - again, quite a big plot point and one of the key themes in the novel

If the plane hit heavily enough to cause major injuries to several of the cast, (and prevent many of them from escaping) it might have broken up and sunk. - In my mind it's in the process of sinking as they manage to escape, and she's watching it sink. Probably should edit that in, in retrospect.

Are they on a raft? Or a floating chute? - the chute from the back exit - admittedly I could do with a bit more research on this, I'm not entirely sure how they work other than that can be detached from the plane.

Who deployed the chute? Normally it would be the cabin flight attendants. Where are they? - ah, you got me there! Didn't know the flight attendants deployed the chute, though in hindsight, it's hardly going to be the passengers is it...

Screaming and pleading? Screaming and crying? I don't know - I suspect they'd be too busy dying or going into shock to do either. - again, good point, but silence instead isn't as dramatic! I read that a lot of people who die in water-crashes die because they inflate their life jackets before they exit the fuselage, meaning they get trapped when the water enters and drown. I reckon I'd scream if I were in that situation!


(I then Googled for plane landings on water: while passenger jet ditchings are rare - there seems to be no record of a wide-body jet ever ditching successfully - on average most (or even all, as in US Airways Flight 1549) of the passengers survive.)

Yep, as far as I'm aware there have been no successful commercial jet 'crash landings' in water. However considering I plan on having only 5 of them survive I'm not entirely sure this crash could be considered a successful ditch...It does require somewhat of a suspension of disbelief, but considering how generally safe air travel is and how infrequent major disasters are, I'm going with 'it's possible' angle. :) Thank you for your feedback though, and there are definitely things to think about there from my perspective. Fear not, I have done a lot of (very distressing!) research on aviation disasters in the last few weeks!

Also, sorry if it seems like I'm dissecting your crit, I just wanted to show that I do (sort of) know what I'm doing!

edit: SciFrac, at the risk of sounding a bit rubbish, it's a sort of devil-come-for-payback situation. A sort of twisted divine intervention. All my characters get saved by 'the devil' (though he's not explicitly referred to as such) because they owe him a debt. So it's supernatural in that respect. Ish. I know, it's lame!

edit2: and a main part of the plot is Issy thinking she's going mad because she's seeing this 'devil' everywhere, and she finds out things haven't happened how she remembers them.
 
it's a sort of devil-come-for-payback situation. A sort of twisted divine intervention. All my characters get saved by 'the devil' (though he's not explicitly referred to as such) because they owe him a debt. So it's supernatural in that respect. Ish. I know, it's lame!

edit2: and a main part of the plot is Issy thinking she's going mad because she's seeing this 'devil' everywhere, and she finds out things haven't happened how she remembers them.

Make the devil a good guy. Sounds like a fun challenge! Cool! I like. :D
 
I thought this was quite good. I like the fact that this scene begins some time after the big disaster, when people are going into a sort of mental shock, or at least thinking "I'm not dead." I found everything about it to be believable (with the caveat that I know nothing at all about aircraft disasters) with the single exception of the broken pelvis.

From what I have heard, a broken pelvis produces about as much pain as the human body can experience. A "normal" person would be unconscious from the pain, or else screaming with agony and unable to function in any way.

Since you say this is a major plot point, the reader needs some hint as to why the narrator is able to think and behave as rationally as she does. "My whole lower body throbbing with pain" made me think something like multiple contusions and lacerations were going on, not something as overwhelmingly painful as a broken pelvis. When the narrator says "I think my pelvis is broken," I expected Emile (who, by the way, I thought was acting as a perfectly acceptable "alpha" character in this situation) to say something like "No, it's not. If it were you wouldn't be conscious."

Does the narrator know at this point why she is able to function with a broken pelvis? If not, she should wonder about it. If so, there should be some hint of it in her thoughts to herself.

Keep up the good work!
 
Thanks Victoria. I'm glad you saw Emile as the alpha character too! Interesting about the broken pelvis - I actually took inspiration for that injury from a 13-year-old girl who was a sole survivor of a plane crash into the ocean (http://en.wikipedia.org/wiki/Bahia_Bakari if you're interested). She had a 'fractured pelvis and collarbone, burns to her knees, cuts, bruises and exhaustion.' I guess fractured is somewhat different to completely broken though...

She also floated in the water for 13 hours until she was rescued(!!) The mind boggles.
 
Two more mini mini comments on the opening paragraph -- I wasn't sure about the repeat of 'body' in
I’m lying on the raft, my whole lower body throbbing with pain. Gabriel is next to me, his body cold and damp from the rain.

and I stumbled a little over
I presume everyone who’s going to get out has done
-- it feels a little convoluted to me (although totally what I might say, a little more effort to read). Also I wondered if it might be more powerful to keep the emphasis on what's happened to those who have failed to get out?
 
Sorry, allmywires, I wasn't convinced either.

Firstly, the character POV feels too much like running through a checklist at the opening - you're not describing the character experience, as much as what an observer might see around the character, with a little interpolation.

The situation doesn't feel convincing either - serious injury I think is acceptable, but if this character is as injured as made out, I would expect them consumed with pain, rather than idly their hand into the water until bored. If nothing else, this is their primary experience and would not take until the third paragraph to get mentioned. Also, the injuries sound very exact, so how is the character able to diagnose all this?

Also, a plane crashing into water usually breaks up and sinks - that happened in the Swissair Flight 111 example you referenced. Technical arguments aside, by referencing the plane still being there and on fire, it distracts from the character experience of being in the raft, in pain, cold, scared.

It's not a badly written piece by any means, but as I know you're a good writer, you'll want potential flaws pointing out, as some of them make it difficult to suspend disbelief.

Perhaps with more focus on the character POV, the experience might feel more believable.

All just my personal opinion.
 
A drive by Crit, I like that.

It flowed well and held my attention. I kept thinking the plane would sink quickly but that is not that important overall really. There was little feeling of bobbing about in the sea and I think there’d be some stuff floating about that they might be able to grab. In the end I missed background stuff, and more fear now that they’ve all got out of the plane, but you’d done enough for me that I’d read on, so good stuff.

Wheel spinning away from the pavement, my quick drive by is done.
 
I'm on the distanced PoV bandwagon as well, I'm afraid. Reading it, I know there should be tension because of what's happened, but I don't feel that tension due to the fact that everybody except one character is calm and in control. Especially the PoV character, she's too coherent for what she's going through. It feels like the crash happened a long time ago, they've gone through all their dramas and Emile has taken charge to organise their survival. I'd hope there was a scene before this that showed how they 'got a grip' on their emotions?

So to answer the question: Not really believable in its current state mainly because of the way the characters are acting. I don't know anything about the physics relating to plane crashes, so I'll leave that for the more expert commentors. The distance makes it hard to relate to as well. Possibly in context it might be okay, but with just this piece to go on I can't be entirely positive about that question.

I'm terrible with present-tense, so I won't critique the writing and grammar, but this part shouldn't be one block of text:

I can’t see them, but I know they’re there. Me and Gabriel, lying side by side. A blonde girl somewhere behind me, maybe ten years younger than me, middle-class university student type. She hasn’t stopped shaking or crying since we got out here, and I can still hear her moaning now. With her is a curly-haired man with dark, Indian-looking skin but a pretty strong North London accent who’s been trying to get signal on his phone and telling us all we’ll be all right. A woman with flat, mousy hair and manic eyes is sitting cross-legged at my feet, a child under each arm. They were being pretty noisy earlier, screaming and crying, but now even they’ve fallen silent. We have no food and only two small bottles of water. Energy’s best spent elsewhere, I suppose.

Break it up and spread the descriptions throughout the scene. Otherwise you might be pushing the reader's attention span because it's as Springs said; a checklist, for which I suspect is just to get across to the reader some quick descriptions about everyone there.

I think the snappiness at the beginning was good, but you gave it up too easily. She must be in terrible pain, and being short with everyone would be a natural reaction.
 
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I has been thinking about this. I wonder about the people descriptions and something like:

That damn pathetic blonde won't stop wailing -- like it's going to help. Her noise seesaws through my head, louder even than the sucking noise the sea's making trying to pull us down. I want to tell her to shut up. I want to scream at her. I don't, though. It'd turn people against me. Not something I want to happen out here, because it looks like Gabe and I are the worst injured, the most vulnerable, and I guess that makes us the easiest to toss overboard (or worse) when the food and water situation gets critical. Which won't be long -- there are only two tiny water bottles, and I'm already killingly thirsty.

(your protagonist is probably much nicer than that so I'm not suggesting using it. It's meant to illustrate that if you wove the description in with her emotions and the events rather than presenting them all at once, it might work as more critical and scary. HB is the person for ways that tenses work but if you're writing present, in my opinion, you're with the mc as she experiences things -- there's none of the get out of having written the story later in calmer times (or not without a fancy excuse anyway)]
 
if you're writing present, in my opinion, you're with the mc as she experiences things -- there's none of the get out of having written the story later in calmer times (or not without a fancy excuse anyway

That has to be the assumption, in my opinion. It's partly a matter of taste, but for me, present tense wants to be as close to a stream of consciousness as possible whilst still being readable.

For me, "I'm lying on a raft" doesn't really work. It feels like the MC is narrating to an audience, not relaying her conscious experience. I've found in my own experiments in this direction that trying to use "I" as little as possible works better with present. So not "I can hear her screaming" but "She's screaming". And the continuous form of the verb ("lying") I also find distancing somehow. Instead, I would give her a specific reason to direct her consciousness towards the raft (is it safe? About to sink?). She should have a thought about it, rather than it just being a not particularly prominent part of her general surroundings. Assuming your target readership is people like me.
 
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Thanks guys, I was thinking about this today and I think there are 2 main reasons for the distanced POV (that I can diagnose anyway) - the fact that this is a 'flashback' in a sense, so we meet Issy in the 'future' when she's recovering from the incident before this scene so her distance (emotional etc from the crash) has already been well established so I was stuck in that mindset when writing. The second is that I intended it to be a dream but then got carried away, so the distance comes from that (maybe - or as has been frequently diagnosed, I'm just p*ss poor at getting in my character's heads).

HB, I have a problem in that I really like the present continuous tense, not sure what that says about me as a writer? haha

And Hex, like that very much, though your are right, Issy isn't quite that nasty. I like the feel though. *sigh* is there any way of writing a novel without those pesky characters? Trouble more than they're worth!
 
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