Fantasy Novel [~1000 words]

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Darkranger85

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I'm looking for very specific input here.

NOT Looking for: Any input on spelling, grammar, POV.

AM looking for: Advice focused on telling vs showing.

This forum has always been kind to me in the past, but I always like to add:

If you can't give your advice nicely, don't give it at all. :)

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Azamai absently walked along through the rain, not even half aware of how cold and wet she was. The dense trees provided no protection from the pouring rain and the musky sent of soaking forest filled the air on the old unkempt wagon trail.

She brought her hands up infront of her face as if she could still see all the blood that those hands had been made to draw. Blood that even the torrential rain was not washing off.

Rain poured down and off her black cape and cowel which covered her black leather armor. On the small of her back rested a pair of twin short swords, their blades of black adamentite. Two black daggers each rested in her black boots. The only landmark to break the illusion of a walking shadow was the red ruby pendant on the figures neck.

She nearly tripped in the sucking mud but hardly noticed, her mind was whirling as she thought back over the years she had lost, that had been taken from her. Her mind replayed the memories of the past 6 years, forcing her to relive those awful actions.

----
The large throne room was dark and warm, uncomfortably warm. Torches burned hot and cast uneven light and shadow across the room lending to a very ominous feel. The walls were covered in tapestries that cost more than some small contries.

The floor was covered in detailed and intricate runes and magical symbols. Those symbols were not meer decoration, they acted as summoning circle to control creatures summoned from other planes. A single defect could spell disaster for the summoner, so they were painstakenly carved straight into the floor and filled with enchanted black diamond.

On the throne sat an imposing figure, Jahael, a man in his late seventies dressed in ornate purple robes embriodered with magical symbols and runes. Despite his advanced age, his presence could be felt as if it were a physical force emitting from the very core of his being.

As if his mystical aura were not enough to put any visitor on edge, his throne was flanked on either side by a pair of Fel Hounds. Two hundred pounds each, their eyes blazed the color of pure fire. A reminder that this man could call upon the powers of other planes to achieve his every whim.

He brought his gnarled hands up and ran them through his full white beard, his many rings glinting and shining as they caught the torch light. He stood from his throne, looking down at the poor man and his son kneeling below.

"Your shipment of wheat is awful light Mr Rothner. Have not my armies protected your fields?" He walked casually toward the cowering man. "You know that armies need to eat, dont you Mr Rothner?"

The poor farmer was shaking so hard it seemed he may fly apart himself. "Ye. Yes milord. I realize we agreed on more." He swallowed hard and wiped his sweating brow before continueing. "The growing season was very short this year, we have barely enough to feed ourselves. We cannot grow crops if we die of starvation milord."

Jahael paced the edge of the dias his throne sat on and fiddled with his beard as he contimplated. He stopped his pacing and turned to the man with a look of understanding. "You are right, of course. You need to eat in order to keep growing for me."

The farmer wore a look of complete surprise as he looked down to his son who wore a similar expression. Jahael was not known for his forgiving and understanding nature. He bowed low before the wizard. "Thank you for your understanding milord! You are most kind." He said as he hugged his son close.

"I know that next season you will deliever our agreed up amount, am I right?"

The farmer to grovel at the foot of the old man. "Yes milord, absolutely. I can feed my family and we will delieve next season."

The gnarled old wizard eyed the two men. "A thought occures to me." He said, drawing his hand down through his beard. "The easier it is for you to provide food for your family, the more likely it is for you to meet the quota for next season."

The two men looked to each other in disbelief. Forgivness, kindness, and charity?

The wizard raised his hand to his mouth as if to whistle, but not a sound was heard. In the blink of an eye, a dark figure dropped from the beams above to land right behind the kneeling men. A slender figure stood there clad in dark leather armor, a black cowel obscuring the face. An image of pure night, broken only by the blood red ruby pendant that rested around the figures neck.

Startled, the farmer looked up toward the wizard, not understanding how he meant to help them.

Jahael smiled wide as he looked the man in the eye. "With fewer mouths to feed, you should find it much easier to keep your family fed and healthy." Before the man could respond, he gave a short nod.

In one fluid motion the dark assassin drew its short sword and ran it through the farmers dear boy.

"Noooo!" The farmer yelled as he jumped up toward the assassin, but as quickly as he rose, he was shoved back down by a leather clad hand. Realizing the futility he grasp his son and contained his anger as best as he could. Another outburst could very well cost him his life as well.

"Till next season, Mr Rothner." The wizard signaled a pair of guards who promptly grabbed hold of the man who stood to leave. He looked up at the cowled figure with a look of utter contempt and brushed the guards hand away to walk out under his own power
 
I don't see any immediate issues of showing vs telling. The one caveat is that what you do show and tell really needs to be tied up to your POV character's perspective, and at the moment you do seem to be trying to provide an objective description of everything, rather than trying to get close to the emotional state of your characters. For example, your farmer enters the chamber, apparently scared/nervous/frightened - yet except for something about an uncomfortable heat, we otherwise get a lot of description to describe the set for the benefit of the reader, rather than what this character should be expected to focus on, and that experience. So while you're not technically falling into the trap of telling, not showing, you are falling into the trap of being the author telling us things for the benefit of the reader, rather than describing the close character experience we'd expect from a third person limited POV. Is that what you were asking about?
 
Rain poured down and off her black cape and cowel which covered her black leather armor. On the small of her back rested a pair of twin short swords, their blades of black adamentite. Two black daggers each rested in her black boots. The only landmark to break the illusion of a walking shadow was the red ruby pendant on the figures neck.



She nearly tripped in the sucking mud but hardly noticed, her mind was whirling as she thought back over the years she had lost, that had been taken from her.



The floor was covered in detailed and intricate runes and magical symbols. Those symbols were not meer decoration, they acted as summoning circle to control creatures summoned from other planes. A single defect could spell disaster for the summoner, so they were painstakenly carved straight into the floor and filled with enchanted black diamond.

On the throne sat an imposing figure, Jahael, a man in his late seventies dressed in ornate purple robes embriodered with magical symbols and runes. Despite his advanced age, his presence could be felt as if it were a physical force emitting from the very core of his being.


As if his mystical aura were not enough to put any visitor on edge, his throne was flanked on either side by a pair of Fel Hounds. Two hundred pounds each, their eyes blazed the color of pure fire. A reminder that this man could call upon the powers of other planes to achieve his every whim.

Sticking just to the show vs tell parts, I have found the above, im being fairly picky I should add. None of them I think are really badly telling, but maybe could use a little action to show us the knives, or show us his age etc.
 
Hi,

I'll do my best, but first let me say you don't walk anywhere absently - you mean I think absent mindedly. (Sorry, had to get that out of the way.)

Next its not really showing versus telling, it's both. They work well together. One place this might go well is the second para where she draws her hands up. It's telling when you go inside her head to talk about the blood. But I'd add a showing line as well. Something about the expression on her face as she stared at them - horror perhaps.

The break between sections is too much. I assume you have some filler in between that's not given here about why she flashed back to that scene.

Next I'd like to see a little more about the fel hounds. A line or two to talk about their savagery and perhaps describe them a little more.

In Jahael's first line of dialogue I'd get rid of the awful. The word sounds out of place and worse it almost attempts to justify his later actions because the failure of the farmer is so great. You also need a para in there about the farmer and his son. What did they look like. And also perhaps because it is intended to hit, something to show how the father loves his son. Perhaps he was trying to shelter him from Jahael.

When Azamai kills the boy, we need some more description about the death. Does he scream? Gurgle? Is there lots of blood? An also much more showing from the father. His son's been killed in front of him - shouldn't he be screaming or crying? Something more dramatic. Or does he not care that greatly? Also before, when Jahael gives his line about less mouths to feed, how could the farmer not have understood? It seemed too obvious for him not to have. And if he had, what would he have done? Covered his son physically with his body? Had to be pulled off him by the guards so the assassin could kill the boy?

Hope that helps.

Cheers, Greg.
 
Thank you all for the input! :)

@psycotick: Not sure specifically what you mean by the break being "too much"

The reason I chose that flashback in particular is for a couple reasons. First its one of the most traumatic of her memories and therefore sticks out easier. Second I plan to draw her into a more or less similar situation shortly after.
 
I've had a moment to look closer at some of the advice.

I'm not sure what you mean by:

"when Jahael gives his line about less mouths to feed, how could the farmer not have understood? It seemed too obvious for him not to have."

I don't have any reaction by the farmer or his son tied directly too that statement. On the contrary it says "Before the man could respond, he . . ." So between Jahael giving his statement and his son being killed there was no time for a response. If I'm missing your meaning please let me know. :)

Or are you talking about the paragraph before that in which she jumps down from above?
 
Hi,

It's this line:
The two men looked to each other in disbelief. Forgivness, kindness, and charity?

It just seems too naive to me. I knew instantly what he intended to do, so it's hard for me to think that they didn't.

Cheers, Greg.
 
Hi,

Sorry, just saw your second to last post, so I'll address it in reverse order. By the break being too much I mean that she goes from having general memories and feelings of remorse over the previous six years, to this one specific one. At the least you need a line to the effect that there was one memory that would stay with her forever etc.

But probably you need more than that to set up the guilt trip etc. The purpose of this flashback etc, is to give your MC depth. To explain her motivations to the reader. So the reader has to know why this particular memory is so bad - not just in general but to her. It's about getting inside her head.

Cheers Greg.
 
The two scenes are both strong and dramatic, but I'm wondering if this is the very start of the story. If so, I would be inclined to put the flashback/second scene later on, because we don't see very much of Azamai in the present before we jump to Jahael's court. If not, no problem. I also wondered how long this story would be, because you get to the reason for her regret very quickly, which isn't necessarily a bad thing.

I would cut the line about Jahael's presence emanating from him like a force, and also the bit where you say that he wasn't known for his kindness. With the first, I would expect that to be the case anyhow, and with the second, you've dropped enough hints already that he is a villain that you don't need to say so, especially given the brooding room where we meet him. Similarly, words like "awful" and "dear" are a bit too much telling the reader what to think where they'll probably pick up the right idea anyway.

Regarding the killing of the peasant's son: my feeling is that there needs to be slightly more of a motive here. After all, fantasy worlds presumably have loads of peasants, and killing one - even one with a large field - isn't going to make much difference. Perhaps Jahael is particularly annoyed by the impudence of these guys, or he wants to make an example regarding the wheat failure (in which case, wouldn't he do it in public?), or is delivering the line about one less mouth to feed a witticism to amuse his minions? Or maybe you could make Rother slightly more important - a merchant, perhaps - so that his death takes on a greater significance and warning. Just a thought.
 
Hi,

I'm going to echo Toby on the motive for the killing. I'm not saying one isn't there or coming, but there does have to be one. When the new version of The Tomorrow People appearred on the idiot box I watched about three episodes and gave it away. In part it was the five year old mentality of the characters that destroyed the show for me. And the one that's relevant here was the bad uncle busy killing people every episode. After three episodes I'd sought of come to the conclusion was that the only reason he was killing all these people was to boast his credentials as "the bad guy". He didn't seem to particularly enjoy the act, and there was no obvious reason for the murders.

Your bad guy needs to have a reason for what he does. It doesn't have to be a good one. I mean it may be that he wants to send a message to other failing farmers etc, feed my army first. It may be that he's a psycho, in which case the motive is that he takes pleasure in the act.

Cheers, Greg.
 
Azamai (absently) walked (absently could go here) along through the rain, not even half aware of how cold and wet she was. The dense trees provided no protection from the pouring rain (shouldn't they?) and the musky sCent of soaking forest filled the air/ on the old unkempt wagon trail. (but not elsewhere?)

She brought her hands up in front of her face as if she could still see all the blood that those hands had been made to draw. Blood that even the torrential rain was not washing off. (mebbe: not even the rain was washing off.)

adementite?
 
I liked this and I liked it a lot.

There were moments where the telling stood out and perhaps I felt that it would be nice and even quite clever if you could show some of those places rather than to tell; but it really all works quite well as it is and I'd not want to put you through the extra work and challenge to bring those parts out into showing that I, in my own mind, recognize as quite a challenge.

As to the unmentionables I did not find too much in that area but I feel compelled to point out that 'sent' should be 'scent' and it's like that kind of itch that gets under your skin and requires benedryl or some such for relief and I need the relief so there it is.
 
Thank you guys for the excellent feedback! But more than that, I thank you for delivering it in the correct manner. This forum is the only forum I will ever post my work on because other places just grind you into the dirt throwing every error and opinion into your face till you don't even want to write anymore. They suck the joy out of it.

@Everyone - Please excuse the spelling and grammar errors. I am currently writing this story on a tablet, so as you can imagine, it's not going to be perfect yet and will need editing. Which is why I don't ask for advice in that area, I know that there are errors. lol That being said, I will fix them.

@J Riff - Adementite was supposed to be Adamantine. (Though adamantite is a metal in some fantasy settings as well).

@psychotick and Toby - Thank you for the clarification! I have decided to push the flashback scene back a ways. A situation is going to develop that will bring this memory to mind. So it shouldn't seem out of place.

As for my villian, I guess I kind of see the point you are making. Granted books, tv, and movies are filled with bad guys killing some lowly peasant for looking at them funny, I'll see if I can't show more reasoning. Not quite sure how yet, but hey it's on the list.

And I agree that the scene of with the son getting killed needs some more reaction. But, thats what rough drafts are for. Put the thought down and make it better later. :)

@tinkerdan - I really appreciate your words. It's comments like that that give me the desire to keep going and not let the idea fade into the background.

Thank you guys! I'll see what I can do with this information and report back!
 
Azamai (absently) walked (absently could go here) along through the rain, not even half aware of how cold and wet she was. The dense trees provided no protection from the pouring rain (shouldn't they?) and the musky sCent of soaking forest filled the air/ on the old unkempt wagon trail. (but not elsewhere?)

She brought her hands up in front of her face as if she could still see all the blood that those hands had been made to draw. Blood that even the torrential rain was not washing off. (mebbe: not even the rain was washing off.)

adementite?
. Along .. Superfluous at that point.
Almost no protection..period. Drop the and.. New sentence. The musky scent of rain soaked forest filled the air as she sloshed through the puddles and high grass on the old unkempt wagon trail with equal disregard.
Try to interpose small sentences with bigger.

Torrential .. Replace .. Stinging maybe?
They are right.. You need a better reason, and a bigger impact for the death.
... Have you thought why villain guy is out there? So let's see.. Big bad dude running amok over the countryside terrorizing the peasantry.. Why?
Politics? Economics?
What about they are off having fun carousing, and need more wine and women.. They are hunting innocent animals and tearing up the fields riding through it.. Drunken rowdies. Then the victim. Says something that makes the villain look bad. So Mr villain sicks his dogs on him.let's the big hunting dogs tear him apart.

Anyways, nice piece, nicely done.

I have a tablet too, and downloaded the colornotes app. Built in spell check with suggested words.
Also xwriter, with word counter and parsing of notebooks.
Fun stuff writing on a tablet.
 
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Thank you for sharing this bit of your story. It's always fun to see what people are up too. I just wanted to add to these many good insights that the story didn't grab my attention until this point:

He stood from his throne, looking down at the poor man and his son kneeling below.

I think the showing not telling is done well enough to say to me you know how to do it. Now I'd like to see it used in conjunction with the storytelling up front. Right now the scene is compartmentalized. First we set the stage, then suddenly the characters come to life and the story progresses. Problem is, I want both to happen in tandem or intermixed.

I also agree that more should come from farmer and son. They are not skillfully shown, either in physicality or (and more importantly) in terms of characterization via habits and actions. How much more I might care if I knew the boy's age. Is he 5 or 15? Does he get scared by the big mean man and reach up for dad's hand at any point? Does the dad have a hat in hand that he keeps twisting? Does the father cry? All I really see Dad do is decide to make a wise retreat to save his own life. Does he weep as he lifts his son's body and takes it with him?

Also, the magician could be more real. Maybe interact with his dogs. They feel like flanking stone statues. So while your show don't tell looks good on the surface, the deeper character-driven elements of show don't tell could be strengthened.

there you go, another two cent's worth of opinion, Good luck!
Jennifer
 
@Jennifer L. Carson - I agree entirely with most of your advice. The farmers are poorly portrayed and I plan to completely rework that scene. I just haven't decided from what pov to use. It's from the MC's memory so logic tells me she can't remember it from the farmers or the wizards pov. I'm also wondering if it would have more impact if it were from her view.

Also, putting it a bit further and more obviously that it's her that is the assassin I can probably write it better not having to avoid the use of "Her" and "She."

Ok, I've revamped the scene and pushed the flash back way back. In fact it will be 3 or 4 scenes from here. But here is what I have now. I have to say that I'm nervous to put it up because I'm personally happy with how its coming overall (Not saying it doesn't need some polish and improvment) and I've gotten good feedback from friends on it. (Friends that I know wont just tell me what I want to hear lol) So please be kind lol.

Alot of advice was given and I have not incorporated all of it yet. Some parts I need to think about, so please don't think I ignored anyones advice. :)

------------------------------------------------------

Azamai walked absently along through the rain, not even half aware of how cold and wet she was. The dense trees seemed as if they provided no protection from the pouring rain. The musky scent of soaking forest filled the air on the old unkempt wagon trail.

Rain poured down and off her black cape and cowel which covered her black leather armor. Twin short swords lightly tapped against the small of her back, their blades of black metal. A small black book bobbed lightly from her belt, and two black daggers each rested in her black boots. The only landmark to break the illusion of a walking shadow was the red ruby pendant that bounced on the end of it's chain.

She brought her hands up infront of her and her face contorted with a mixture of guilt, anger, and disgust as if she could still see all the blood that those hands had been made to draw. Blood that even the pouring rain was not washing off.

She put her hands back down to her side as a small clearing came into view, a Respite of Graneir the wandering god of mercy. Tales of the deities journeys and how he would lend aid to travelers inspire his followers to do the same, setting up small shrine inns where travelers can spend the night and get supplies.

Azamai looked at her small sachel - her small empty satchel, and realized how badly she needed food and supplies for her trip. She was days from home and couldn't remember if it had been two days or three since she last ate.

As she approached she could see the beautiful shrine inn, a creaceant shaped building made of wood. The middle of the creaceant held an impressive garden of wild flowers and trees. Out front farmers and merchants were sloshing through mud in the pouring rain stocking their wagons. But Azamais eyes hardely registered them, she was focused on the network of magical wards surrounding the holy site. Wards designed to keep travelers safe from evil people and creatures alike.

Any person or creature with a heart of evil that attempted to pass the magical borders would be repelled immediatly and painfully. She didn't fear the effects of the magic, it was their meaning that terrified her.

The past twenty years of evil acts passed through the forefront of her mind. "Am I evil?" Her head sank as the thought shot through her mind.

As she inched closer to the invisible border she could feel her heart began to thump in her heaving chest. Her breath nearly came in gasps as she tried to push herself the last few steps. She couldn't do it. Couldn't face the potential implications of triggering those damning wards. Her head bobbed as tears fell, unseen beneath her cowel.

Pulling her cloak close around her she plodded along past the sanctuary.
 
Nicely done rewrite. Enjoyed it more than the first. Minor nits:

dense trees seemed as if they provided no protection from the pouring
Get rid of the filter word (seemed). I have no reason this early in the game not to trust the narrator. I'm willing to go along with believing the narrator if the story just said: dense trees provided no protection... Also filter words put the narrator in between the reader and the POV, which interferes with the reader feeling directly connected to the POV and places another/third level in the narration. "Seemed" is also a beg-the-question type of word...It SEEMS like they don't provide protection, but they actually do maybe in a way we don't know yet. Now I don't think that is true, but this is often how seemed is used.

She brought her hands up infront of her and her face contorted with a mixture of guilt, anger, and disgust as if she could still see all the blood that those hands had been made to draw. Blood that even the pouring rain was not washing off.

Both times I read this I thought how odd it was she is just walking along then lifts her hands to wonder about the blood on them for one short paragraph. I think you should play with moving it. I might place it between the two paragraphs in the below quote (massaged to flow properly in the new location). this is the point she has reason to mentally "see" the blood on her hands.

She didn't fear the effects of the magic, it was their meaning that terrified her.

The past twenty years of evil acts passed through the forefront of her mind. "Am I evil?"

Interesting start. It almost reads like a short story, but would work for a novel, too.
 
I'll chime in with Jennifer in pointing out the extraneous words. Try sifting them out and see if the prose flows more smoothly. Some examples,

Instead of "Azamai walked absently along through the rain, not even half aware of how cold and wet she was" -- "Azamai walked absently through the cold rain." Or, "Her breath nearly came in gasps..." vs. "Her breath came in gasps."

Whether it's a short story or a 100K novel, each word on the page has to be there for a reason.
 
I like the rewrite, with a couple of minor points.

Too many uses of "black" for my taste in this paragraph-
Rain poured down and off her black cape and cowel which covered her black leather armor. Twin short swords lightly tapped against the small of her back, their blades of black metal. A small black book bobbed lightly from her belt, and two black daggers each rested in her black boots. The only landmark to break the illusion of a walking shadow was the red ruby pendant that bounced on the end of it's chain.

As she approached she could see the beautiful shrine inn, a creaceant?crescent shaped building made of wood.

I feel the mood is set well, both Jennifer and Denise also make good points about extra, unnecessary words.
 
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