Torn Skies Intro (1370 words)

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ShotokanXL

Shoshinsha.
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These are the first few sections of a manuscript I'm working on. This is what I call V.4 of the story. I'm currently on V.5, which includes some rewrites of what you're about to read, but I would appreciate feedback on the general tone and style of the story and narrative presented below.

I apologise if it's a bit long for a first critique request (I know the recommended word count in the guidelines says between 800-1200, but I hope it's not too far over to warrant getting pulled!)

I appreciate you taking your time to read it and look forward to your feedback. Thanks.

#

The Hadron Crater, Franco-Swiss border, Friday 31 October 2059 23:01 hours.

The Pegasus VI unmanned aerial vehicle streaked over the canopy of the twisted, alien-looking forest that filled the majority of the twenty-mile-wide Hadron Crater, skimming the densely packed treetops at a height of fifteen feet. The single turbofan engine that thrummed at the rear of the craft’s sleek fuselage propelled it steadily towards its destination: the perpetually churning maelstrom of dust and cloud that shrouded the anomaly which lay at the centre of the jungle. The warped foliage that sped by in a blur beneath the UAV was lit only by the large, full moon that hung in the near-midnight sky, turning the normally lush, vibrant green below to a pale grey and casting the already eerie landscape in a ghostly pallor.

In the dark sky above the torrent of debris that swirled in the middle of the crater like a titanic dust devil, ominous-looking clouds gathered in a slowly rotating whirlpool pattern. Bright, spectral-green light began to flicker and flash from within the growing hurricane, sporadically punctuating the forest below with bursts of other-worldly illumination.


Rift Containment Force UAV Ops, Hadron Command, Franco-Swiss border, Friday 31 October 2059 23:05 hours.

‘A Tesla storm’s forming, sir,’ the drone operator said as he looked at his commanding officer. The live feed from the Pegasus VI UAV showed the bloated, lightning-filled clouds that were churning above the dust storm.

Colonel Reno, of the 1st Marine Infantry Parachute Regiment - 2e Compagnie, examined the enhanced images on the operator’s three glowing display screens. He was a tall, serious-faced man in his forties with an impressive beak of a nose that had earned him the moniker of L’aigle amongst the soldiers of the base. Normally the Hadron base commander wouldn’t personally oversee such a minor operation but, due to the importance of the civilians involved, his R.C.F superiors in New Geneva had deemed it important enough for him to be there.

The R.C.F. was a multi-national, combined paramilitary organisation that had been formed after the world’s governments agreed that the inexplicable fissure in space that lay at the centre of the Hadron Crater posed a continued global threat. As such, it drew personnel from the varied branches of the world’s fighting forces and its primary mission was to keep the threat of the hostiles that emerged from the Rift contained within the twenty-mile-wide basin.

After years of bloody fighting which, despite humanity’s continually evolving weaponry, only ever ended in deadlock, the R.C.F had drawn inspiration from Roman Britain of AD 122 and constructed a titanic 100 foot-high barrier around the entire sixty-three mile circumference of the crater. The gigantic edifice, commonly referred to as Un Ècran, had become far more than just a shield to act as a last line of defence - it had grown to be a symbol of defiance and hope to a beleaguered world.

As the colonel watched the gathering storm, he contemplatively rubbed his chin. ‘An unexpected bonus.’ His deep, baritone voice resonated with a strong French accent, but he spoke in English for the benefit of the two other observers.

Michael Willis, a representative from Mordecai Universal Technologies, responded apprehensively. ‘What exactly do you mean by “bonus”, colonel?’

Before the base commander could answer, Sarah Pearson – an expensively suited observer from the Institute – responded. ‘The R.C.F has standing orders to investigate any and all Tesla storm activity as and when it occurs. The energy unleashed during the storms remains an enigma to us and obtaining information on it is a priority.’

Michael looked at the dark-haired, pale-skinned Institute woman. Her presence made him feel ill at ease and he wished he had been able to think of a reason for her to not be in the room with them. ‘That drone is carrying one-of-a-kind prototype equipment,’ he said. ‘If anything happens to it, it will set our research back a year at least. Not to mention the financial cost.’

‘The fact that it has experimental sensors is all the more reason to get it as close to the storm as possible,’ replied Sarah.

‘Colonel!’ Michael beseeched.

There was a brief pause before the commander spoke to the drone operator.

‘Proceed.’

‘Yes sir.’

The man from M.U.T frowned and folded his arms, clearly displeased, but he knew any further protests would fall on deaf ears.

#

As the UAV continued on its course towards the Rift, the fledgling Tesla storm grew in intensity. A howling wind picked up, causing the jungle canopy beneath to sway and rustle as if gargantuan behemoths were wandering amongst the trees. The lightning that had been gathering within the broiling clouds reached critical levels and broke containment to lash out in whips of shimmering, green plasma-like energy that lanced down at the twisted foliage below.

The drone entered the periphery of the storm and was immediately struck by turbulence, causing the sleek vehicle to shudder as its guidance systems fought to keep it on course.

#

Within the command centre, Michael Willis nervously chewed a nail as he watched the fury of the storm unleash on the view screens. His female counterpart from the Institute examined a series of graphs and readouts that were being fed back to a monitor and glanced at him.

‘Your prototype seems to be working well. Some very interesting readings coming through here,’ she said.

Michael opened his mouth to reply but froze when the UAV monitors flared a brilliant, intense green that caused the operator to shield his eyes. Then they went blank and displayed the words he had feared:

SIGNAL LOST

Colonel Reno leaned forward, placing his callused hands on the back of the drone operator’s chair. ‘Status?’

The pilot quickly checked the controls before leaning back in his seat and removing his headset. ‘It’s gone, sir. Struck by lightning, I think.’

The commander lowered his head and sighed. ‘Merde.’

Michael wasn’t as restrained.

‘God damn it!’ he exclaimed loudly.

Sarah strode over to him and grabbed him by the arm of his gray suit jacket. ‘Calm yourself!’ she whispered harshly. ‘Remember where you are!’

Her words were enough to silence any further outbursts and Michael lifted his hands to clutch at his head in consternation as he began to pace up-and-down, gesticulating and muttering to himself.

‘Sir?’ The operator leaned forward as he noticed a signal showing on the drone’s control systems.

‘What is it?’ Colonel Reno craned his neck to look at what had caught the pilot’s attention.

‘I’m getting an active transponder signal from the Pegasus.’ He quickly checked the information that was being fed back, correlating the coordinates with a map grid he put up on one of his screens.

‘What?’ Michael eagerly approached the control station. ‘Does that mean the drone’s still active?’

‘No,’ said the colonel. ‘The UAV is downed, but we have a fix on its last location.’ He pointed to the pulsing circle on the pilot’s screen.

‘So what are you waiting for? Send some people to go and get it!’

Colonel Reno stood up straight and fixed a stern expression on the rep. ‘You are telling me what to do now, Mr Willis?’

Michael paled slightly under the base commander’s glare, but stood his ground. He ran a hand through his dark-brown, sweat-damped hair and straightened the Jules Verne themed tie his wife had given him on his last birthday. ‘No, of course not, colonel, but salvaging the equipment on that drone as soon as possible is vital to our on-going efforts to finding a way to understand and penetrate the phenomenon surrounding the Rift. I strongly suggest that you send a team to retrieve it. I’m sure the Institute would concur?’ He looked at Sarah for affirmation.

The dark-haired woman nodded in agreement. ‘He’s right, you must send a team.’

The colonel looked at each of them in turn. He didn’t like the feeling that he was being given orders by civilians, but he knew that they were right. Anything that could help unravel the mystery at the centre of the Hadron Crater would be deemed a priority by R.C.F command in New Geneva. Even over the lives of the men and women under him.

‘Very well,’ he said.

#
 
This reads like the kind of thing that fans of techno-thrillers like. The style seems to fit with that genre. I am not qualified to say much about the technical and military aspects of the stiory, but they seem plausible to me. Many of your descriptions of the phenomenon are vivid. Overall, your style is very smooth and readable; I didn't stumble over any awkward phrases.

Now let's get to my quibbles.

The opening sentence is very wordy. "The Pegasus VI unmanned aerial vehicle" is already a mouthful. I'd suggest something much more simple, such as "The drone." (Things like its exact designation can come later.) I like "streaked" and "twisted" -- good, strong words -- but "alien-looking" is vague. The visual images created in the opening paragraph are very good. They could be strengthened by cutting some of the excess words. The drone should almost be treated as a character, so the reader accepts "seeing" things through its "eyes."

Example:

The Pegasus VI unmanned aerial vehicle streaked over the canopy of the twisted, alien-looking forest that filled the majority of the twenty-mile-wide Hadron Crater, skimming the densely packed treetops at a height of fifteen feet.

This could be something like:

The drone streaked over the twisted forest that filled Hadron Crater, barely skimming over the densely packed treetops.

The numbers and other technical details can come later.

In the next section, you let the reader know that the drone in the opening section is Pegasus VI, so you don't need to state it at the beginning. (A very small point: I would just say "Pegasus VI" instead of "the Pegasus VI".)

In this kind of story I think you can get away with the kind of exposition we see in this section. It's almost documentary style. I would caution you, however, to use this technique carefully, to ensure that your reader cares about these characters.

I could nitpick over some comma placements and some word choices (do we really need both "brilliant" and "intense" to describe the green color of the screen?) but I'm sure you can fix that with a little polishing.
 
This reads like the kind of thing that fans of techno-thrillers like. The style seems to fit with that genre. I am not qualified to say much about the technical and military aspects of the stiory, but they seem plausible to me. Many of your descriptions of the phenomenon are vivid. Overall, your style is very smooth and readable; I didn't stumble over any awkward phrases.

Now let's get to my quibbles.

The opening sentence is very wordy. "The Pegasus VI unmanned aerial vehicle" is already a mouthful. I'd suggest something much more simple, such as "The drone." (Things like its exact designation can come later.) I like "streaked" and "twisted" -- good, strong words -- but "alien-looking" is vague. The visual images created in the opening paragraph are very good. They could be strengthened by cutting some of the excess words. The drone should almost be treated as a character, so the reader accepts "seeing" things through its "eyes."

Example:



This could be something like:



The numbers and other technical details can come later.

In the next section, you let the reader know that the drone in the opening section is Pegasus VI, so you don't need to state it at the beginning. (A very small point: I would just say "Pegasus VI" instead of "the Pegasus VI".)

In this kind of story I think you can get away with the kind of exposition we see in this section. It's almost documentary style. I would caution you, however, to use this technique carefully, to ensure that your reader cares about these characters.

I could nitpick over some comma placements and some word choices (do we really need both "brilliant" and "intense" to describe the green color of the screen?) but I'm sure you can fix that with a little polishing.
Great thanks! I do have a tendency to over populate with descriptors and am always looking to try and make things punchier. Totally agree with just calling it "the drone" in the first instance. It helps make the opening sentence seem to move at a faster pace, reflecting the speed of the drone. Great advice. I'll try not to over-cook the goose.

This is still very much a wip, so much more polishing to be done, but I am pleased that you thought it flowed. One of my main objectives is a smooth read where you don't even notice you're turning pages... anyway, thanks again!
 
I found it a bit dense and hard to find the story in and some of Victoria's suggestions might help with that. Certainly, for me, the technical info adds little and more character interaction would pull me in more, but your writing is mostly nice and clean.
 
I did actually like a lot of this - it reminded me a lot of Tom Clancy (cf Hunt for Red October) in how you structured the different excerpts, and kept a believable sense of technology, place, and context.

Where I personally believed your prose was weakest was your dramatic descriptions:

alien-looking

In what way was this "alien-looking"? Don't just tell us it looks alien - show it, and succintly.

The warped foliage that sped by in a blur beneath the UAV was lit only by the large, full moon that hung in the near-midnight sky, turning the normally lush, vibrant green below to a pale grey and casting the already eerie landscape in a ghostly pallor.

^ Warped...full moon...near-midnight...pale grey and casting...eerie...ghostly. There are also far too many adjectives, IMO, and rather than define something to engage us, they just slow down the dramatic tension and pace and end up coming across as repetitively describing the same thing.

In the dark sky above the torrent of debris that swirled in the middle of the crater like a titanic dust devil, ominous-looking clouds gathered in a slowly rotating whirlpool pattern.

^ Your descriptions can be repetitive - you end one describing whirls of dust, then open a new scene with the same description.

For example, where is the semantic difference between the following two clauses in the same sentence:

- swirled in the middle of the crater like a titanic dust devil
- ominous-looking clouds gathered in a slowly rotating whirlpool pattern

The R.C.F. was a multi-national, combined paramilitary organisation that had been formed after the world’s governments agreed that the inexplicable fissure in space that lay at the centre of the Hadron Crater posed a continued global threat. As such, it drew personnel from the varied branches of the world’s fighting forces and its primary mission was to keep the threat of the hostiles that emerged from the Rift contained within the twenty-mile-wide basin.

After years of bloody fighting which, despite humanity’s continually evolving weaponry, only ever ended in deadlock, the R.C.F had drawn inspiration from Roman Britain of AD 122 and constructed a titanic 100 foot-high barrier around the entire sixty-three mile circumference of the crater. The gigantic edifice, commonly referred to as Un Ècran, had become far more than just a shield to act as a last line of defence - it had grown to be a symbol of defiance and hope to a beleaguered world.

^ This section was too much of an infodump for me. It could have worked - but the way you use it requires you to drag the reader away from the tension and pace that you've already trying to set up, thus killing the story as you were trying to tell it. It may be better at this point to just put this info in somewhere later, when your pace has been allowed to drop and the reader is allowed a breather.

But overall, like I said, a lot that I liked, and a lot of promise - I just think a little judicious editing could turn this into something stronger with the impact I know you want it to have.
 
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After reading through I noticed a few things:

2059-still using the same 60 year old drones...with an operator. Pegasus VI, only 4 tech refreshes in sixty years? The Pegasus II was out in 2003. Unless your refering to another drone type.

R.C.F., what do the letters stand for? "The R.C.F. was a multi-national, combined paramilitary organisation that had been formed after..."

Maybe there is and earlier section that explains this that's just not present. What should the focus of the story be (I'm assuming the anomaly)? In some ways it sounds like it should be the anomaly and Tesla Storm in the crater, in others its the UAV with its special instruments (there is an a lot of focus on it from the characters with a vested interest).

The UAV is "skimming the densely packed treetops at a height of fifteen feet" in the first part, but the second section mentions "...a titanic 100 foot-high barrier around the entire sixty-three mile circumference of the crater". It's a minor discrepancy and either the drone simply flew over it or was already circling inside.

I thought the general tone was split into two. The Colonel and operator presented a inquisitive tone for the anomaly (sending the drone in to find out more). The other character Michael presented a completely different tone due to his focus on the equipment.


I need help here: Colonel Reno, of the 1st Marine Infantry Parachute Regiment - 2e Compagnie. R.F.C. ,Michael Willis, a representative from Mordecai Universal Technologies. Sarah Pearson – an expensively suited observer from the Institute. Maybe it's not as complex as it sounds, but as I read this I see four organizations and only Colonel Reno being subordinat to R.F.C. was mentioned. I gather that Mordecai Universal Technologies has a vested interest in the equipment on the drone, but what is the "institute" Sarah works for and where does it come into play. Either I missed something or more connections need to be added where they are introduced.

I would have like some sort of introduction to the anomaly first before starting with the drone flying toward it. I might have missed it in the reading, but if it's supposed to take place in 2059 an they build a large barrier around it, there must have been some history to it.

Overall, I found it to be stimulating enough to keep my interest while I read it.
 
I did actually like a lot of this - it reminded me a lot of Tom Clancy (cf Hunt for Red October) in how you structured the different excerpts, and kept a believable sense of technology, place, and context.

Where I personally believed your prose was weakest was your dramatic descriptions:



In what way was this "alien-looking"? Don't just tell us it looks alien - show it, and succintly.



^ Warped...full moon...near-midnight...pale grey and casting...eerie...ghostly. There are also far too many adjectives, IMO, and rather than define something to engage us, they just slow down the dramatic tension and pace and end up coming across as repetitively describing the same thing.



^ Your descriptions can be repetitive - you end one describing whirls of dust, then open a new scene with the same description.

For example, where is the semantic difference between the following two clauses in the same sentence:

- swirled in the middle of the crater like a titanic dust devil
- ominous-looking clouds gathered in a slowly rotating whirlpool pattern



^ This section was too much of an infodump for me. It could have worked - but the way you use it requires you to drag the reader away from the tension and pace that you've already trying to set up, thus killing the story as you were trying to tell it. It may be better at this point to just put this info in somewhere later, when your pace has been allowed to drop and the reader is allowed a breather.

But overall, like I said, a lot that I liked, and a lot of promise - I just think a little judicious editing could turn this into something stronger with the impact I know you want it to have.
Exactly the kind of feedback I'm after.
 
After reading through I noticed a few things:

2059-still using the same 60 year old drones...with an operator. Pegasus VI, only 4 tech refreshes in sixty years? The Pegasus II was out in 2003. Unless your refering to another drone type.

R.C.F., what do the letters stand for? "The R.C.F. was a multi-national, combined paramilitary organisation that had been formed after..."

Maybe there is and earlier section that explains this that's just not present. What should the focus of the story be (I'm assuming the anomaly)? In some ways it sounds like it should be the anomaly and Tesla Storm in the crater, in others its the UAV with its special instruments (there is an a lot of focus on it from the characters with a vested interest).

The UAV is "skimming the densely packed treetops at a height of fifteen feet" in the first part, but the second section mentions "...a titanic 100 foot-high barrier around the entire sixty-three mile circumference of the crater". It's a minor discrepancy and either the drone simply flew over it or was already circling inside.

I thought the general tone was split into two. The Colonel and operator presented a inquisitive tone for the anomaly (sending the drone in to find out more). The other character Michael presented a completely different tone due to his focus on the equipment.


I need help here: Colonel Reno, of the 1st Marine Infantry Parachute Regiment - 2e Compagnie. R.F.C. ,Michael Willis, a representative from Mordecai Universal Technologies. Sarah Pearson – an expensively suited observer from the Institute. Maybe it's not as complex as it sounds, but as I read this I see four organizations and only Colonel Reno being subordinat to R.F.C. was mentioned. I gather that Mordecai Universal Technologies has a vested interest in the equipment on the drone, but what is the "institute" Sarah works for and where does it come into play. Either I missed something or more connections need to be added where they are introduced.

I would have like some sort of introduction to the anomaly first before starting with the drone flying toward it. I might have missed it in the reading, but if it's supposed to take place in 2059 an they build a large barrier around it, there must have been some history to it.

Overall, I found it to be stimulating enough to keep my interest while I read it.
Lots of good points. The RCF is the Rift Containment Force nentioned in the second section title line. Was that not direct enough a reference? Didn't want to repeat the full title twice in such quick succession.
 
After reading through I noticed a few things:

2059-still using the same 60 year old drones...with an operator. Pegasus VI, only 4 tech refreshes in sixty years? The Pegasus II was out in 2003. Unless your refering to another drone type.

R.C.F., what do the letters stand for? "The R.C.F. was a multi-national, combined paramilitary organisation that had been formed after..."

Maybe there is and earlier section that explains this that's just not present. What should the focus of the story be (I'm assuming the anomaly)? In some ways it sounds like it should be the anomaly and Tesla Storm in the crater, in others its the UAV with its special instruments (there is an a lot of focus on it from the characters with a vested interest).

The UAV is "skimming the densely packed treetops at a height of fifteen feet" in the first part, but the second section mentions "...a titanic 100 foot-high barrier around the entire sixty-three mile circumference of the crater". It's a minor discrepancy and either the drone simply flew over it or was already circling inside.

I thought the general tone was split into two. The Colonel and operator presented a inquisitive tone for the anomaly (sending the drone in to find out more). The other character Michael presented a completely different tone due to his focus on the equipment.


I need help here: Colonel Reno, of the 1st Marine Infantry Parachute Regiment - 2e Compagnie. R.F.C. ,Michael Willis, a representative from Mordecai Universal Technologies. Sarah Pearson – an expensively suited observer from the Institute. Maybe it's not as complex as it sounds, but as I read this I see four organizations and only Colonel Reno being subordinat to R.F.C. was mentioned. I gather that Mordecai Universal Technologies has a vested interest in the equipment on the drone, but what is the "institute" Sarah works for and where does it come into play. Either I missed something or more connections need to be added where they are introduced.

I would have like some sort of introduction to the anomaly first before starting with the drone flying toward it. I might have missed it in the reading, but if it's supposed to take place in 2059 an they build a large barrier around it, there must have been some history to it.

Overall, I found it to be stimulating enough to keep my interest while I read it.
Also, as I said in my introduction, this is just part of the introduction to a much larger story (currently 495 pages and still not finished) - so the various organisations are elaborated upon more further down the line. I was wary of over exposition - and some of the comments have justified that worry with the explanation I gave of the RCF origins.
 
The Pegasus VI unmanned aerial vehicle streaked over the canopy of the twisted, alien-looking forest that filled the majority of the twenty-mile-wide Hadron Crater, skimming the densely packed treetops at a height of fifteen feet. The single turbofan engine that thrummed at the rear of the craft’s sleek fuselage propelled it steadily towards its destination: the perpetually churning maelstrom of dust and cloud that shrouded the anomaly which lay at the centre of the jungle. The warped foliage that sped by in a blur beneath the UAV was lit only by the large, full moon that hung in the near-midnight sky, turning the normally lush, vibrant green below to a pale grey and casting the already eerie landscape in a ghostly pallor.

I don't mind about the beginning starting from a Point-Of-View of a vehicle, but what I mind is author adding up unnecessary details. Some people could be calling it purple prose. Thing is you should drip feed the information to the reader, and in this case, I don't understand how a forest can look alien to a drone? Or is it alien-looking to the omniscient narrator that you're using the feed prose to the reader? I hope you'll understand that I'm picking you on a style point. Another style point is that you should have capitalised Unmanned Aerial Vehicle, and told reader where the Hadron Crater is rather than letting them assume that they know where Franco-Swiss border is, because at the moment you start talking about alien-looking forest a reader can imagine that forest being in some other planet than Earth. But that is the point, I can see you're inexperienced on when it comes to polishing your craft, and you're blind to your mistakes like using word that when you could just shape connective word and remove the unnecessary one.

Another funny thing, is your full moon sometimes quite small, tiny or non-existent_

‘A Tesla storm’s forming, sir,’ the drone operator said as he looked at his commanding officer.

Now, the highlighted bit isn't necessarily wrong, but it's a style point, and I know it because I use word as quite a lot in my own prose. But when I go in and edit my text, I shape my own sentences and most of the time I remove the word as if I can, and in here you could have written:

"Sir." The drone operator looked his commanding officer desperately. "A Tesla storm in forming over the crater!"

Or

"Sir, the drone has detected a Tesla storm forming over the crater," the UAV operator shouted at the officer leaning against the softly glowing table screen. "I think you need to come and take a look at it."
The live feed from the Pegasus VI UAV showed the bloated, lightning-filled clouds that were churning above the dust storm.

The live feed from UAV showed a bloated, lightning spatting cloud-formation churning over the dust-storm funnel.

He was a tall, serious-faced man in his forties with an impressive beak of a nose that had earned him the moniker of L’aigle amongst the soldiers of the base. Normally the Hadron base commander wouldn’t personally oversee such a minor operation but, due to the importance of the civilians involved, his R.C.F superiors in New Geneva had deemed it important enough for him to be there.

The R.C.F. was a multi-national, combined paramilitary organisation that had been formed after the world’s governments agreed that the inexplicable fissure in space that lay at the centre of the Hadron Crater posed a continued global threat. As such, it drew personnel from the varied branches of the world’s fighting forces and its primary mission was to keep the threat of the hostiles that emerged from the Rift contained within the twenty-mile-wide basin.

After years of bloody fighting which, despite humanity’s continually evolving weaponry, only ever ended in deadlock, the R.C.F had drawn inspiration from Roman Britain of AD 122 and constructed a titanic 100 foot-high barrier around the entire sixty-three mile circumference of the crater. The gigantic edifice, commonly referred to as Un Ècran, had become far more than just a shield to act as a last line of defence - it had grown to be a symbol of defiance and hope to a beleaguered world.

You don't need to write this much exposition when the readers are most interested on what the hell is happening with the cloud-formation and why the operator feels a need to alert his commanding officer. BUT what you could do at this point is to switch completely to the officer POV and use his eyes to examine the details, and even then, you should only drip feed what is needed to make this section interesting to the readers.

Why?

Well, if you ever want to compete in the current market, you need to learn the craft of writing a close perspective by using third or first person narrative. Latter being extremely close POV, while the former gives you a bit of wiggle room.

As the colonel watched the gathering storm, he contemplatively rubbed his chin. ‘An unexpected bonus.’ His deep, baritone voice resonated with a strong French accent, but he spoke in English for the benefit of the two other observers.

Michael Willis, a representative from Mordecai Universal Technologies, responded apprehensively. ‘What exactly do you mean by “bonus”, colonel?’

Before the base commander could answer, Sarah Pearson – an expensively suited observer from the Institute – responded. ‘The R.C.F has standing orders to investigate any and all Tesla storm activity as and when it occurs. The energy unleashed during the storms remains an enigma to us and obtaining information on it is a priority.

Good, but not great. What I would love to see here is you establishing one POV and using that to describe other characters rather than you using an omniscient narrator to fill in the details. Why? Because you're in the verge of head-hopping and that is a bad habit to get into.

As the UAV continued on its course towards the Rift, the fledgling Tesla storm grew in intensity. A howling wind picked up, causing the jungle canopy beneath to sway and rustle as if gargantuan behemoths were wandering amongst the trees. The lightning that had been gathering within the broiling clouds reached critical levels and broke containment to lash out in whips of shimmering, green plasma-like energy that lanced down at the twisted foliage below.

The drone entered the periphery of the storm and was immediately struck by turbulence, causing the sleek vehicle to shudder as its guidance systems fought to keep it on course.

I love some of the details but in the others I cannot but shake my head. But, what is clear to me is that you have to skill of writing capturing description and that is good because it is effectively hooking the reader into your story. However, to execute it perfectly you're going to need a very patient editor, or more practice in your writing so that you can see where you're making mistakes. So I wouldn't say that you need to write another version, but edit this till you have a perfectly readable story.

Within the command centre, Michael Willis nervously chewed a nail as he watched the fury of the storm unleash on the view screens. His female counterpart from the Institute examined a series of graphs and readouts that were being fed back to a monitor and glanced at him.

‘Your prototype seems to be working well,' she said. 'Some very interesting readings coming through here,’ she said.

Michael opened his mouth to reply, but he couldn't get word out from his mouth as he stared intensive green flaring in a bank of monitors. It was what he had been afraid all this time and it ended with dreaded words floating in screens: froze when the UAV monitors flared a brilliant, intense green that caused the operator to shield his eyes. Then they went blank and displayed the words he had feared:

SIGNAL LOST

Colonel Reno leaned forward, placing his callused hands on the back of the drone operator’s chair. ‘Status?’

The drone operator glanced Colonel Reno for a moment as a thought of had he been drinking this morning crossed his mind. "Sir," he said. "Have you gone blind?"

"No," Colonel Reno looked at him strangely. "Why?"

The operator rolled his eyes and asked, "Isn't it obvious?"

"What do you mean?"

The operator waved his hand at the bank of the monitors and asked, "If status says 'Signal Lost,' what did you I was going to say to you?"

"Er..." Colonel Reno pursed his lips and looked helpless for a moment. "I don't know?"

"That's it." The operator stood up. "I cannot stand this s*** any longer. I quit."

...

Sorry. I couldn't help myself. But I hope you get my gist as your prose is pretty much the same from this point onwards. And even though I wrote that silly thing at the end, please don't think it's a completely rubbish because I stand by what I said. You got unpolished talent in you, and what you need is more practice. So don't shove this at the bottom draw or move it at the X-folder in your hard drive because the story has legs, it's the execution that is lacking at this point, and the only way you can get better at this is to write something else in the meantime, while you wait till this story has died in your head. Then you can see what is wrong with it. Trust me. I know what I'm saying. (y)
 
I don't mind about the beginning starting from a Point-Of-View of a vehicle, but what I mind is author adding up unnecessary details. Some people could be calling it purple prose. Thing is you should drip feed the information to the reader, and in this case, I don't understand how a forest can look alien to a drone? Or is it alien-looking to the omniscient narrator that you're using the feed prose to the reader? I hope you'll understand that I'm picking you on a style point. Another style point is that you should have capitalised Unmanned Aerial Vehicle, and told reader where the Hadron Crater is rather than letting them assume that they know where Franco-Swiss border is, because at the moment you start talking about alien-looking forest a reader can imagine that forest being in some other planet than Earth. But that is the point, I can see you're inexperienced on when it comes to polishing your craft, and you're blind to your mistakes like using word that when you could just shape connective word and remove the unnecessary one.

Another funny thing, is your full moon sometimes quite small, tiny or non-existent_



Now, the highlighted bit isn't necessarily wrong, but it's a style point, and I know it because I use word as quite a lot in my own prose. But when I go in and edit my text, I shape my own sentences and most of the time I remove the word as if I can, and in here you could have written:

"Sir." The drone operator looked his commanding officer desperately. "A Tesla storm in forming over the crater!"

Or

"Sir, the drone has detected a Tesla storm forming over the crater," the UAV operator shouted at the officer leaning against the softly glowing table screen. "I think you need to come and take a look at it."


The live feed from UAV showed a bloated, lightning spatting cloud-formation churning over the dust-storm funnel.



You don't need to write this much exposition when the readers are most interested on what the hell is happening with the cloud-formation and why the operator feels a need to alert his commanding officer. BUT what you could do at this point is to switch completely to the officer POV and use his eyes to examine the details, and even then, you should only drip feed what is needed to make this section interesting to the readers.

Why?

Well, if you ever want to compete in the current market, you need to learn the craft of writing a close perspective by using third or first person narrative. Latter being extremely close POV, while the former gives you a bit of wiggle room.



Good, but not great. What I would love to see here is you establishing one POV and using that to describe other characters rather than you using an omniscient narrator to fill in the details. Why? Because you're in the verge of head-hopping and that is a bad habit to get into.



I love some of the details but in the others I cannot but shake my head. But, what is clear to me is that you have to skill of writing capturing description and that is good because it is effectively hooking the reader into your story. However, to execute it perfectly you're going to need a very patient editor, or more practice in your writing so that you can see where you're making mistakes. So I wouldn't say that you need to write another version, but edit this till you have a perfectly readable story.



The drone operator glanced Colonel Reno for a moment as a thought of had he been drinking this morning crossed his mind. "Sir," he said. "Have you gone blind?"

"No," Colonel Reno looked at him strangely. "Why?"

The operator rolled his eyes and asked, "Isn't it obvious?"

"What do you mean?"

The operator waved his hand at the bank of the monitors and asked, "If status says 'Signal Lost,' what did you I was going to say to you?"

"Er..." Colonel Reno pursed his lips and looked helpless for a moment. "I don't know?"

"That's it." The operator stood up. "I cannot stand this s*** any longer. I quit."

...

Sorry. I couldn't help myself. But I hope you get my gist as your prose is pretty much the same from this point onwards. And even though I wrote that silly thing at the end, please don't think it's a completely rubbish because I stand by what I said. You got unpolished talent in you, and what you need is more practice. So don't shove this at the bottom draw or move it at the X-folder in your hard drive because the story has legs, it's the execution that is lacking at this point, and the only way you can get better at this is to write something else in the meantime, while you wait till this story has died in your head. Then you can see what is wrong with it. Trust me. I know what I'm saying. (y)
Now That's what I call a learning curve. Your added scene with the Col and the operator actually made me laugh! No, I'm not going to bin this and I will get practicing on the prose with the other projects I have going. :)
 
I have some fairly minor criticisms earlier. Like when you have a single turbofan engine, you don't really have to say that it's single unless people would have a general expectation of more. For example, shoes or gloves would normally be in pairs so I would have to say it explicitly if I were talking about just one. The part that is the biggest problem for me is this:

it drew personnel from the varied branches of the world’s fighting forces and its primary mission was to keep the threat of the hostiles that emerged from the Rift contained within the twenty-mile-wide basin.

I can't get a handle on this at all. There have been hostiles emerging from this rift? I don't see any description of them or any other support of this in the entire rest of the piece. To me, if hostile aliens are coming out of some kind of dimensional rift then that would be the most important item in the opening, far more important than describing a drone as 'sleek'. What are these hostiles? How big? What do they look like? How do they behave? How do they fight?
 
I have some fairly minor criticisms earlier. Like when you have a single turbofan engine, you don't really have to say that it's single unless people would have a general expectation of more. For example, shoes or gloves would normally be in pairs so I would have to say it explicitly if I were talking about just one. The part that is the biggest problem for me is this:



I can't get a handle on this at all. There have been hostiles emerging from this rift? I don't see any description of them or any other support of this in the entire rest of the piece. To me, if hostile aliens are coming out of some kind of dimensional rift then that would be the most important item in the opening, far more important than describing a drone as 'sleek'. What are these hostiles? How big? What do they look like? How do they behave? How do they fight?
This is just the very first part of a larger work and the "hostiles" are shown graphically when people on the ground meet them in the next few scenes. At this stage of the story they are not seen or encountered so it doesn't make sense to describe them in detail. The fact that the hint of them wants you to know about them is a sign to me that the hook (in its rough form) has done the job. However, I can see the reasoning behind not mentioning them at all until they are about to be encountered. That way their existence can be explained from a character's point of view, which would also break up the info dump when giving background about the RCF. Hmm...

Though I do like your point about the unnecessary use of the word "single" and I already understsnd that the prose is a bit adjective heavy.

Thanks.
 
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The fact that the hint of them wants you to know about them is a sign to me that the hook (in its rough form) has done the job.
No. That's not an accurate assumption. For me at least, there is no hook.

This is just the very first part of a larger work and the "hostiles" are shown graphically when people on the ground meet them in the next few scenes. At this stage of the story they are not seen or encountered so it doesn't make sense to describe them in detail.

However, I can see the reasoning behind not mentioning them at all until they are about to be encountered. That way their existence can be explained from a character's point of view, which would also break up the info dump when giving background about the RCF.
You don't have to do an info dump but, at this point, you have failed to explain the setting. Maybe something like this. Since Michael Willis seems to be the least informed character, you might have him ask about hostiles when they talk about getting closer with the UAV. That seems to be a question that the character could reasonably be concerned about. You don't need to launch into a lecture with slides and graphics but a sentence or two about the hostiles wouldn't hurt. This would help fix them as an element within the story. I assume you are thinking of the early scene in Jurassic Park where Dr. Alan Grant tries to scare a child by describing Velociraptors long before they are encountered. That scene was rather silly and was not even in the book.
 
Jurassic Park was never in my mind... but I do think the idea of having Mike ask about them is a potential way of dropping the idea in that there is something in the rift area. I'll consider that when rewriting this part. His will be the pov in that scene.
 
You don't like St. Genis and the Pays de Gex much, do you? And I bet you've upset the vignerons in Satigny, too.

Sorry, know the region well - friend used to live in the geometric centre of the LEP ring - and I can't feel any of it in the 'forest' and 'jungle' terms. How long would it take after whatever catastrophe hit the main CERN buildings, for those trees to grow? I should feel slight recognition of the farmlands and power pylons leading from the frontier halfway up the Jura (you wanted Jurassic? This is where the word came from) before the road starts to wriggle like an agonising snake and patches of trees pierce limestone slabs.

All right, you've eliminated Meyrin and evacuated Geneva, flattened Cointrin airport and ripped up the tram lines, possibly even blown down the tower of the télépherique on the Salève opposite, but the modification of the geography should be restricted to the crater.

Oh, dear, this is very personal, isn't it? I probably wouldn't feel this way about anywhere else on the planet. I've stood at that bus top/tram stop so many times, waiting for someone to collect me (or to take a bus away), and I can take that annihilated without wincing, but I don't feel at all connected at the beginning of your story.
 
This is just a crazy thought; because I have crazy thoughts come to me all the time.

The very beginning seems to be a Omniscient view of the target area and the UAV. I realize it's done this way because you want to get this wide description of the entire scene. Maybe you could draw closer to the UAV by specifying that it has a fish-eye lens that can see as much as you're trying to describe. And I'm uncertain if you might have some form of sound pickup on the UAV; but perhaps the descriptive sound of the engine could be filtered through that. Limiting only a bit by what the UAV can see and hear or experience.
 
You don't like St. Genis and the Pays de Gex much, do you? And I bet you've upset the vignerons in Satigny, too.

Sorry, know the region well - friend used to live in the geometric centre of the LEP ring - and I can't feel any of it in the 'forest' and 'jungle' terms. How long would it take after whatever catastrophe hit the main CERN buildings, for those trees to grow? I should feel slight recognition of the farmlands and power pylons leading from the frontier halfway up the Jura (you wanted Jurassic? This is where the word came from) before the road starts to wriggle like an agonising snake and patches of trees pierce limestone slabs.

All right, you've eliminated Meyrin and evacuated Geneva, flattened Cointrin airport and ripped up the tram lines, possibly even blown down the tower of the télépherique on the Salève opposite, but the modification of the geography should be restricted to the crater.

Oh, dear, this is very personal, isn't it? I probably wouldn't feel this way about anywhere else on the planet. I've stood at that bus top/tram stop so many times, waiting for someone to collect me (or to take a bus away), and I can take that annihilated without wincing, but I don't feel at all connected at the beginning of your story.
Ah ha. Someone that knows the area! When I wrote this version I hadn't actually researched the geography very well. I have done a lot more research in the meantime. In this version I believe the size of the hole I have described would have actually burst the banks of lake Geneva too so, if anything, the crater should be flooded. The revised version I'm working on has reduced the size of the crater and got rid of the jungle idea entirely. As you know the area intimately, would you mind if I asked you questions about the region?
 
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