Gernrik Chapter 2, reworked with your feedback (Exactly 1500 words!)

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Glisterspeck

Frozen sea axe smith
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If this is too soon to repost, I'm sorry. I've spent the last couple nights working through everyone's feedback and am eager to get reactions from those willing to give it.

The fragments are still in both description and dialogue, sorry. Springs, I fought over the split and bloodied lip/close POV issue, but liked the imagery to much to cut it just yet. Someone in a recent crit wrote that her character turned red, and I remember there being a worthwhile POV justification for it presented. Hopefully, this passes the same muster. I've incorporated almost all the rest of your feedback though. Cept for eliminating the fragments. :roll eyes:

I'm mostly wanting to know:

If this scene is less confusing in terms of geography. Is it clear how things are laid out in relation to Ayos?

If it feels more so "in a moment." Does it still stink of a big dump? (Infodump, I mean.)

If it causes you to care about Ayos at all. (I've made him less crotchety and hurt him more. Also, tried to get some visceral sensation going.) If not, what might do so?

If it's more hooky than the last? If so, is it hooky enough to get your attention and keep you reading? Is it effective enough to get on with writing the next bit?

Of course, full critiques are always welcome, though not expected given the length. (I actually did an edit to get from 1523 words to 1500, just so I could post the whole chapter. Felt like I was writing one of the challenges. :D)

________________________________________________________

"Helstrom!" Ayos shouted, into the wind. “Look! The Ovelyn comes!”

Ayos slid down the shoulder of the Final Step. His feet, each bound in a scrap of fleece, slipped through the scree, scattering gravel down the slope. The wind howled against him. It whipped the once white cloak of a pilgrim about his gaunt frame. Flailed his matted locks against his cheeks. The moon hung over the valley's stark landscape. Snowcapped peaks pierced the clouds on either side of the Heavenly Ladder. White glaciers divided the gray of the step's shoulders from the night sky. Gray rock upon gray rock fell on all sides of a dry lakebed.

“There.” Ayos shook a hand at the camp of the Medaveans, pitched around the dry lake, between the shore and a web of abandoned salt pits. “See? Soldiers march out to welcome the Ove.”

Ayos’s pulse raced. His legs wobbled. An iron key hung from a rope around his waist. It dangled against his knee. In the camp below, lanterns glinted from the Hymarom Steps to a ridge that marked the pass down to the Mist Valley. Soldiers trudged up a lane that followed the ridge to the head of the Great Stair. In an open-air kitchen between the camp’s tents and the lane, a group of sisters waved at the soldiers. They clutched layered robes against the brisk air. Rubbed sleep from their eyes. One of the women, older than the rest, wore a multicolored shawl. She handed something too small to see to each passing officer. Ayos's lips, split and bloodied by the bitter air, curled in the shadow of his beard.

“You remember the tokens, Helstrom?” he asked. “You used to take them from the men. Break them.”

The men had called Helstrom a prig for doing so. No executor had been so strict. The last soldier passed, and the sisters followed him up the lane. A gust billowed the shawl over the old woman’s head. An aunt to the Sisters of Kindness. She turned and stirred a kettle that sat on a makeshift stove. Five such stoves dotted the open kitchen, all built from the ruins of the Lantern of Ayma.

Ayos clenched his teeth. He glared down at the stoves. The Lantern of Ayma. Its light would never again welcome a pilgrim to the shores of the black lake. He had been the last. The Medaveans had torn down the tower, used its stone to build the stoves. Helstrom had been there. Saw them arrest Ayos when he tried to stop them. Heard them mock him. He had told Ayos to strike the one who called him crazy. A madman!

A half-buried stone snagged his foot. Ayos spun in the wind. He stumbled headfirst, caught himself. Ran, leaping, bounding down the rocks. Blood pounded through his veins. It was foolish to descend the mountain before dawn. But the Ove climbed the stair. Everyone would leave the camp. He could light the lantern, what remained of it. Perform the anointing. Become one with Ayma of the Hayom.

Thinking of the Hayom warmed his brow, his cheeks. Ayos smiled, and his ankle turned beneath him. He tumbled against the scree. Like a hundred armored fists, cobbles pummeled his body. Ayos fought the mountain, thrashing his arms and legs. His ear slammed against rock. His body fell limp. Dazed, he rolled down the slope. Helstrom would never have approved of such an end, but he was not Helstrom. For Ayos, it was far better to fall to his death sensing the Lingering Presence of the Hayom than to fall from their presence and still live. What was life spent outside the Lingering Presence? Agony. What was life spent in the True Presence of the Hayom? True life, unknown glory.

Ayos crashed against a mound of peculiar boulders near the base of the shoulder. A pile of old, withered men, petrified or carved from stone, knees curled against chests and heads bent between knees. Trembling, he huddled against the boulders. He was alive. Battered, but alive. Ayos touched a knot above his ear. No blood. He pushed the fleece down over his foot. Winced when it crossed his bruised ankle. It was not broken. The sharp pain where his ribs had slammed against the boulder hurt worse.

He reached beneath his cloak and found a satchel made of waxed burlap. His fingers crossed a circular ridge pressed in the burlap. The ridge felt like a part of him. A twisted sinew jutting from his flesh. Ayos pushed the satchel aside and pressed his palm over his aching ribs. He leaned his head back against the boulders. Looked toward the step’s headwall far above the valley floor. A light glimmered atop the stacked terraces of a walled city, deep in a hollow beneath the headwall.

"Hymarom," Ayos whispered. The word, given breath, eased his pains. Hymarom was the city's true name. The name given by the Hayom when they carved it from the mountain. Before they climbed the ladder. Before the goblins took it. Ayos watched the glimmer dance and remembered each ruined lantern he had passed on his trek up the Great Stair. Each anointing, each reading from the book.

The Lingering Presence found Ayos. It was always strongest near the lantern ruins. The presence came with the wind. It became a tremor inside him. Made his skin tingle. Ayos turned away from the light. He dragged himself up the piled boulders. Tumbled onto a rocky path that zigzagged between abandoned salt pits. Ayos gathered his strength and stood. He shifted his weight to test his ankle. It was swollen, but he could walk. He hobbled past a swineherd's tent. Pain, like a unseen jungle cat, nipped at his ankle with each step.

Nerkirs snored in one of the salt pits. Ayos crept along the path above the beasts. He wrinkled his nose at their stench. The Medaveans called them hogs, but their coats were too wooly and their snouts too long to be hogs. The cult often renamed a thing to make it something else. Hymarom they called Brackmeer. The Hayom, elves. Goblins became demons. Pilgrims, heretics. Madmen. Ayos kept one eye on the nerkirs. He did not believe a new name could change a thing's nature, and he had met many men on his pilgrimage with missing fingers, smiling scars, and stories to tell about nerkirs.

He stumbled forward as quickly as his ankle allowed. The path was too exposed for one banished from the camp. Ayos reached the tents and stole into their shadows. The sisters had left. He would be safe in the guild's pavilion. There he could wait for the others to leave. Sleepy voices whispered inside the tents on either side of Ayos. The voices became a single voice. Ayma's voice, sweet and silvery. Ancient as the wind. Ayma called out to Ayos, summoned him to her broken tower. The kitchen appeared between tent rows. The ruined lantern, the stoves. Copper kettles gleamed, casting an orange glow against nearby tent walls. His pulse quickened once more. He dashed between two long pavilions, hopping, hobbling, wanting only to touch--

Ayos tripped over a guy-rope. He fell against a canvas wall. Rolled into its shadow. Clenching his teeth, he smacked at his ankle. It was nothing. A sprain. Ayos looked for the moon between the tent tops. He laughed, but no sound passed his lips. The presence spun around his heart, tugged at his thoughts. It urged him to run to the stoves. Throw the kettles aside. Wrap himself around the warm ruins of the lantern. Ayos smacked himself, hard, and his head rolled against his shoulder.

Torches moved up the lane behind a lieutenant who had stopped to warm his hands over one of the stoves. A comb of warsloth hairs bristled atop his bronze helm. He was young. His beard, fuzzy splotches on a round face. Everything about him seemed soft and round. Ayos looked back toward the nerkir pen. He yanked his beard. Bit his lip until it bled. Did everything he could to resist the urge to crawl out and embrace the ruins.

When the sound of sandals slapping against the lane faded, he turned. The soldiers were gone. Ayos crawled into the orange light cast by the stoves. A strange warmth radiated not from the embers beneath the kettles but from the stones themselves. The Lingering Presence. Ayos crawled toward the warmth. The presence pulsed through him. It became his pulse. Ayos closed his eyes and reached out to touch the lantern stones. Something else brushed against his fingers.

His eyes shot open. A ball of gray fur stared at him. Ayos blinked. A fat pikrat dashed across the kitchen, into the pavilion shared by the sisters. Ayos took hold of a nearby guy-rope. He pulled himself up. Limped after the pikrat. Holding back the tent flap, Ayos ducked into the empty pavilion. But it was not empty.
 
You’ve got a better pace this time, so it wasn’t such a difficult read. Needless to say, it wasn’t easy either as you’ve packed a lot of information into the section, but I could manage it ok. I still trip over the short sentence structure as I felt many of the images were linked and for flow as well, it felt choppy where it didn’t need to be choppy. It is much better and a lot more with the character, and I think that’s what carried me along this time. You don’t have an easy style of writing, but I can never accuse you of being boring. This section carried me on to the end and I enjoyed it. I had to work for it, but that’s not necessarily such a bad thing either.


As ever, just my views. Later.
 
Firstly, I do like your writing - you have a great sense of detail and mood and movement.

However, you're doing a few things I've been called out about when edited. Overall, I think there is a still a lack of focus. Additionally, you do exactly what I try and do in terms of slipping in as much detail as possible - which I'm always told I should cut unless relevant to the story.

I'll provide similar comments if you're comfortable with that.


Ayos slid down the shoulder of the Final Step.

You're normally really good at detail, but here, when trying to set the scene and context, you chose obtuse words. Neither "shoulder" nor "Final Step" provide an image of a gravel scree - yet these are the words you use to set up the scene.

His feet, each bound in a scrap of fleece, slipped through the scree, You've already mentioned that he's "slid" in the previous sentence, so saying he "slipped" is repetition of meaning IMO scattering gravel down the slope. The wind howled against him. It whipped the once white cloak of a pilgrim about his gaunt frame. Flailed his matted locks against his cheeks. This is all very nice and potentially a good opening, though if you went in that direction I'd use his hame - The wind howled against [NAME]. The moon hung over the valley's stark landscape. Snowcapped peaks pierced the clouds on either side of the Heavenly Ladder. White glaciers divided the gray of the step's shoulders from the night sky. Gray rock upon gray rock fell on all sides of a dry lakebed. Again, this is nice - BUT you were zoomed in on the character before. Now you've panned out to show the landscape. I was called out for this as potentially jarring to a reader

“There.” Ayos shook a hand at the camp of the Medaveans, pitched around the dry lake, between the shore and a web of abandoned salt pits. “See? Soldiers march out to welcome the Ove.” As in the previous critique, you pushed something that we could see internal to the character externalised as speech. The biggest danger here is that it implies he is talking to someone with him (I had to re-read to check). You don't want to confuse readers at this point, especially when the purpose here is to simply feed info to the reader

Ayos’s pulse raced Why? So far you have given no sense of meaning to any of this from the character's perspective. YOU know why your character is getting excited at this point, but so far you haven't communicated any reason why this is meaningful to the reader. Unless you give this situation meaning, the reader will not yet be properly engaged IMO. His legs wobbled. An iron key hung from a rope around his waist. It dangled against his knee You're slowing the narrative down to tell us information that isn't important at this point. From this character's POV would he really be thinking about this key? If so, why? From an omniscient POV it looks like extraneous detail that takes from the scene. In the camp below, lanterns glinted from the Hymarom Steps to a ridge that marked the pass down to the Mist Valley. Soldiers trudged up a lane that followed the ridge to the head of the Great Stair. In an open-air kitchen between the camp’s tents and the lane, a group of sisters waved at the soldiers The detail here is nice, but none of it is as yet meaningful. What does this sight mean to the character? Welcome, unwelcome? It's impossible to tell at this point. Also - these sisters - if they are part of a named organisation then capitalise Sisters IMO - otherwise it looks like he's noticed a random group of people doing a random set of actions - none of which, again, seems important to this character. They clutched layered robes against the brisk air. Rubbed sleep from their eyes. One of the women, older than the rest, wore a multicolored shawl. She handed something too small to see to each passing officer Why is any of this detail important to the reader? It reads as infodumping - keep with the character. Ayos's lips, split and bloodied by the bitter air, curled in the shadow of his beard. Why? Again, you're not telling us *anything* about what the character thinks. You may think you're being mysterious, but IMO a reader is going to start feeling frustrated by now - we have seen a lot, and absolutely none of it has been given any meaning or purpose relating to what appears to be the POV character.

I only know of a single example of a published novel that got by using body language alone to describe characters and their emotional state.

“You remember the tokens, Helstrom?” he asked. “You used to take them from the men. Break them.” Same comment as previous dialogue tag. I can appreciate the character you are trying to set up, but it still feels like infodumping

The men had called Helstrom a prig for doing so. No executor had been so strict. Finally we're seeing something of what this character thinks, but again, it's irrelevant at this point, isn't it? It comes across as infodumping The last soldier passed, and the sisters followed him up the lane. A gust billowed the shawl over the old woman’s head. An aunt to the Sisters of Kindness. She turned and stirred a kettle that sat on a makeshift stove. Five such stoves dotted the open kitchen, all built from the ruins of the Lantern of Ayma. Again, it feels as though you have lost focused. You have introduced a character to us, but you keep spending an awful lot of time describing a group of people for no apparent reason.

Ayos clenched his teeth. Again, why? Is he stressed? Excited? Constipated? He glared down at the stoves. The Lantern of Ayma. Its light would never again welcome a pilgrim to the shores of the black lake. He had been the last. The Medaveans had torn down the tower, used its stone to build the stoves. Helstrom had been there. Saw them arrest Ayos when he tried to stop them. Heard them mock him. He had told Ayos to strike the one who called him crazy. A madman! The danger is that you are killing any pace to the story to drop into infodumping.

A half-buried stone snagged his foot. Ayos spun in the wind. He stumbled headfirst, caught himself. Ran, leaping, bounding down the rocks. Blood pounded through his veins. It was foolish to descend the mountain before dawn. But the Ove climbed the stair. Everyone would leave the camp. He could light the lantern, what remained of it. Perform the anointing. Become one with Ayma of the Hayom. See below

Thinking of the Hayom warmed his brow, his cheeks. Ayos smiled, and his ankle turned beneath him. He tumbled against the scree. Like a hundred armored fists, cobbles pummeled his body. Ayos fought the mountain, thrashing his arms and legs. His ear slammed against rock. His body fell limp. Dazed, he rolled down the slope. Helstrom would never have approved of such an end, but he was not Helstrom. For Ayos, it was far better to fall to his death sensing the Lingering Presence of the Hayom than to fall from their presence and still live. What was life spent outside the Lingering Presence? Agony. What was life spent in the True Presence of the Hayom? True life, unknown glory.

Ayos crashed against a mound of peculiar boulders near the base of the shoulder. A pile of old, withered men, petrified or carved from stone, knees curled against chests and heads bent between knees. Trembling, he huddled against the boulders. He was alive. Battered, but alive. Ayos touched a knot above his ear. No blood. He pushed the fleece down over his foot. Winced when it crossed his bruised ankle. It was not broken. The sharp pain where his ribs had slammed against the boulder hurt worse.

He reached beneath his cloak and found a satchel made of waxed burlap. His fingers crossed a circular ridge pressed in the burlap. The ridge felt like a part of him. A twisted sinew jutting from his flesh. Ayos pushed the satchel aside and pressed his palm over his aching ribs. He leaned his head back against the boulders. Looked toward the step’s headwall far above the valley floor. A light glimmered atop the stacked terraces of a walled city, deep in a hollow beneath the headwall. You have just spent 360 words describing an incident that, although lovely in detail, appears to have achieved nothing other than stop the story flat. If you opened immediately with this character being hurt you would have the opportunity to engage the reader - it is difficult to read someone being hurt without sympathising. Condense all this and put it at the start and you have the potential for a dramatic opening that brings sympathy to the character - tick two boxes. Tick another for the nice attention to detail. But here - I think an editor would tell you it is killing the story and to remove it all.

After all, what have you shown us so far? A man comes down a mountain to a camp - and then told us about different aspects of the camp, a little backstory, and from nowhere - an injury. None of which I think is moving the story forward.

"Hymarom," Ayos whispered. The word, given breath, eased his pains. Hymarom was the city's true name. The name given by the Hayom when they carved it from the mountain. Before they climbed the ladder. Before the goblins took it. Ayos watched the glimmer dance and remembered each ruined lantern he had passed on his trek up the Great Stair. Each anointing, each reading from the book. This is nice - but again, missing why exactly this has meaning to the character. The last couple of lines are possible grammatically confused as well - my reading is that lanterns are anointing and reading

The Lingering Presence found Ayos. It was always strongest near the lantern ruins. The presence came with the wind. It became a tremor inside him. Made his skin tingle. Ayos turned away from the light. He dragged himself up the piled boulders. Tumbled onto a rocky path that zigzagged between abandoned salt pits. Ayos gathered his strength and stood. He shifted his weight to test his ankle. It was swollen, but he could walk. He hobbled past a swineherd's tent. Pain, like a unseen jungle cat, nipped at his ankle with each step. We're quite a way into this chapter, and the man is still walking to the camp? Also, be careful with the "jungle cat" reference. I know some authors will use a tropical reference in a snow scene, and perhaps shows something of this character's experience. But IMO a writer can make a simile stronger by relating it to the current environment - why not a mountain cat/tiger/lion?

Nerkirs snored in one of the salt pits. Ayos crept along the path above the beasts. He wrinkled his nose at their stench. The Medaveans called them hogs, but their coats were too wooly and their snouts too long to be hogs. The cult often renamed a thing to make it something else. Hymarom they called Brackmeer. The Hayom, elves. Goblins became demons. Pilgrims, heretics. Madmen. Ayos kept one eye on the nerkirs. He did not believe a new name could change a thing's nature, and he had met many men on his pilgrimage with missing fingers, smiling scars, and stories to tell about nerkirs. Infodumping. The story is taking a long time to develop - you keep stopping it to tell us the history of every little thing he sees. It's interesting, but I think an editor would be having a fit about all this infodumping now.



I'm going to stop there.

As above, I do like your writing. But I think you are doing many things that I have been called out for by editors.

The main problems I think are:

1. No character engagement - as mentioned above, unless you make it clear any of this is meaningful to the character, then it cannot be meaningful to the reader. A few tweaks should do it to bring the character more to the fore.

2. Infodumping - agent and editor John Jarrold told me that when he reads a manuscript, he is looking for "pace and clarity". I think you're strangling your own pace at present with too much infodumping. What is really important in all of the above text? Look for that and focus on it - the rest can follow.

IMO I think the key problem is that you are still attached to lots of your words. I totally relate to that. But at some point you may have to cut brutally. Look for the actual story - where the plot is moving forward - focus on that, and make it meaningful to the character - and I think you'll have something very strong. At the moment - IMO it lacks focus on what the story is trying to do at present. Is this section supposed to be about medical treatments? The sisters? Nerkirs? If not, cut or condense to allow the story to come through - because so far that is what this chapter is about.

I appreciate I may be being a bit tough with you - possibly too much. But I think you have promise, and I think you are doing a lot of things that I have been called up for by editors. So what I'm trying to do is relate that experience to you, in case you wish to learn from it.

It is all personal opinion, though. Take what you want from it, or not at all, as you see fit.

Hope that helps!
 
I think it's tighter and the fragments seemed broken up a bit more. The geography was easier. I know this is chapter three and I'd hope you've built some reader tolerance but, as Brian says, there was a lot of info.
 
If I were invested in the character I might find this scene of interest and try to trudge through it until my feet bleed or I was too weary to go any further.

But I am not invested and I am weary and I think I would quit.

It's perplexing because I love the language and the imagery, but it serves me no purpose unless the main character here is the landscape around all of the aging decrepitude that climbs upon it. It changes slowly but it endures while everything else decays and falls to ruin. Ayos seems to be on the way to that and perhaps that's why I picture him as a madman; old, weather beaten, shaken and nearly broken.

All Ayos wants to do is embrace the ruins and possibly try to restore their purpose. Perhaps he should embrace the scree one last time.
 
I'm sorry to intrude again - I can't help but feel that you're in a place I've just literally been in terms of writing, so if I come across as annoying I can only apologise - it's all with the best intentions!

I always have the problem of wanting to put in detail, only for an editor to tell me to remove it because I'm slowing the story.

Therefore as an exercise, I'd like to suggest the following: copy your chapter into a separate document - we're going to play around with it, but we don't want to mess with the original.

Now - as brutally as possible - look at each paragraph in this test document. If that paragraph is immediately pushing the story forward - not information, I mean literally going forward, with no explanations - then keep it. Hack out everything that does not. Be merciless - this is just an experiment, and not the original MS.

What you'll be left with is the actual bones of your story. It'll look naked because you've cut away all that muscle that connected it - information, context, background. So, where it looks wrong, or missing something, take a point of information from your original piece.

However, don't just copy/paste it across - try and summarise a paragraph in one or two sentences.

I suspect what you'll be left with is something that keeps the information you want, but moves at a much faster pace. Whatever you have will still probably need polishing. However, this is where the fabled "right word" comes in - trying to find the right verbs or nouns to give each sentence more impact. Play with extremes, and see what you end up with.

You lose nothing trying this - we've not messed with your original MS, remember?

It's not that I'm saying what you are doing is wrong - I'm not qualified to do that. What I am saying is that I am being forced to learn to cut, cut, cut, and say less with more. It's a hard process, but I'm always surprised at how much I can cut from my drafts.

It's just because it occurred to me you may find this helpful, because I feel you write in a similar manner.

However, this is all well intention though potentially misplaced advice. Hopefully there might be something of use!
 
I should say I haven't read your previous version, but I vaguely remember other excerpts you've put up.

It's very dense, but interesting and vivid and bold. I would rather have something that sparked a lot of intense imagery in my mind, but which I didn't quite grasp, than something easily comprehensible but bland. That said, i did get a bit irritated with feeling lost about halfway through. But after another couple of paragraphs, I resigned myself to the idea that this was the POV of someone whose grasp of reality probably wasn't quite what it should be anyway, so i just went along for the ride, and an enjoyable ride it was.

I'm not sure, therefore, how to advise you. I guess I would only be able to judge if it worked based on context. A whole book like this would be terrible. But a short-ish POV section every now and then might be a delight.

And I love the idea of a warsloth!

(PS did you realise that almost all your paragraphs are the same length? Even if that isn't noticeable when reading, it looks repetitive on the page.)


Edit: I ignored your questions!

Infodump: I didn't find this. But the line "Thinking of the Hayom warmed his brow, his cheeks" made me think we were going to go into a long dumpy reminiscence. It was a pleasant surprise when we didn't, but I think the line might be a bit dangerous because it suggests infodump. Yes, I would say it feels "in a moment".

Care about Ayos? I think so, yes, even though he seems to be a fanatic and I'm not sure to what extent he's sane. I like characters who are a bit bonkers.
 
Hi Glister speck,

Well done on such a comprehensive rewrite.

What works well

The fight against the elements and nature, the pain of his journey.

The small details like the sisters and the nerkirs.

Could be better if:

If there could be a build up of horror. The pile of withered men feels like the most horrific scene, but it comes before the nerkirs ( strange pigs ).

Also he seems to have suffered multiple leg injuries First he falls on the ankle, then he trips on ropes.

Just feels like too many leg injuries, surely if he was weary, he would be careful not to get injured.

Sally
 
Thanks all! I'll reply properly when I get a chance, but have had little time to write anything but code for the past day. Ugh. Work, work. Brian, that exercise seems worthwhile. Think I'll give it a try this weekend.
 
Yes, Brian's advice was indeed excellent, and I love how he passed personal experience with editors on to be helpful to others. That's what it's all about, I feel.

On the first reading, I honestly couldn't say definitively what this chapter was about because of so many 'words'. ...Forest for the trees...
A fine turn of a phrase is nice to both read and write, but once it's excessive, I personally feel like I'm reading a "writer" and not reading a "story". I generally read for story (but that's not to say I don't want good writing too). That is, given the choice of something with wonderfully written words, but wo a good story; and something written so-so, but with a really good chunk of story (and chars.), I'd take the latter every time. Somewhere in there is balance.
 
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