Thumar prologue, take two-a

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Tim Murray

Through space, time and dimension
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Thanks for the crits, here is the upgrade. I have to split it in half. It went from 602 words to 2200. The POV switches. It makes more sense to me to have it come from the Captain until he is incapacitated, he is master of the ship. It switches to Jack Morgan, his XO after the last phase blasts, hope it works.




Captain Arnold nervously drummed his fingers near the console pad on the hand rest of his chair. What’s taking so long, they should be finished now. We’re too close to Terelian space. This is neutral space; and it doesn’t take much to provoke them. I hope the new post has the shields operating.

“Lt. Johnson, do we have any reports from the planet surface?” The Captain asked.

“No, sir.”

“Raise them, something’s wrong, at least one Terelian patrol should have checked us out by now.”

“Aye, sir.” He waited for confirmation. “Life support is up and the techs are finalizing the computer downloads.”

“Tell them to finish fast; we need to get the engineering crew shuttled up and leave. If the Terelian’s even suspect we are installing a listening post this close to their space, they’ll be all over us. Are the long range scanners picking anything up?”

“No, sir, but the first moon is blocking our signal, they could be hiding on the dark side of that moon.”

“Deploy probes to close that gap.”

“Aye, sir, probes launched, incoming data in five minutes,” Lt. Johnson reported.

“Commander Morgan (the Captains Executive Officer), deploy an Alliance Special Ops (ASO) unit to the planet’s surface, in case they discover our base.”

“Aye, sir, Lt. Commander Phar’s unit is on the way to the shuttle bay, they launch in five minutes. Do you think it’s wise to put a secret listening post this close to Terelian space?”

“Intelligence has confirmed their alliance with the Kek’s. They’re bad news; the Voeleron war taught us that. For a race of reptilians, they’re crafty and intelligent.” The Captain dryly replied.

Just ask Derak about that. Jack Morgan thought to himself. “Launch confirmed, Captain; they’ll land in twenty minutes.”

The bridge crew watched the shuttle enter the atmosphere. A long fiery tail gave away their entry.

“Anyone within the two moons orbits can’t miss that.” Ensign Masterson commented.

“That is what concerns me, Ensign. I would have had them enter from the dark side of Eregor, if time was not of the essence.”

Commander Morgan looked up from his console with a dark scowl. “Sir, the probes have picked up movement from the moons dark side, they’re headed our way fast. Lt. Sperry, notify the ground crew to stand fast and get those shields operating.”

“Aye, sir.” She watched her console for the reply. “Shields are up and they’re taking cover.”

This is the third skirmish with the Terelian’s in the last month in neutral space. Now they’re in league with the Kek’s. Could it get any worse? Jack thought.

It did. Lt. Johnson looked up from his console with dread.

“Captain Arnold, five Ging class cruisers approaching from aft at attack speed. They’re taking a reverse pyramid formation, two port and starboard, two top and bottom side and one five thousand feet behind the primary group.”

The Captain thought for a moment. Standard Ging class, we’ve been in worse situations before. The Armstrong came out of space docks six months ago. The re-fit gave her new armor and the latest shield upgrades. We’re six times their size with new dual phase missiles. We can outlast them long enough to take their attention away from the planet’s surface. We didn’t come here to fail at the last minute.

The Captain quickly returned his attention to the upcoming skirmish. “Red alert, shields up full, charge phase cannons. Take evasive action, we need to move this fight away from Eregor.”

“Aye, sir.” Lt. Sperry, the helmswoman obeyed.

The Armstrong broke orbit and flew towards the second moon at one-quarter impulse. Eregor and the now stranded base fell away from the view port. The inverted pyramid formation of Ging class light cruisers changed course to follow them. As they passed the planet, the bridge crew saw the rear Ging cruiser break off for Eregor’s surface, only to be met by the ASO’s
ship rocketing out of the atmosphere.

They’re hiding something, I know it. We’ll have to come back with a fleet and scour this quadrant. Jack thought before returning to the matter at hand.

“Commander Morgan, are damage control teams prepared and medical bays ready to receive casualties?” The Captain asked.

“Aye, sir, the cruisers are moving in fast and they’re not standard Ging class cruisers, Captain, the have Kek insignia on the bow.”

Near the second moon, the Terelian ships caught up with them. Their formation stayed true as they surrounded The Armstrong.

“Their weapons are charged and firing, incoming, incoming, brace yourselves!” Jack warned the bridge crew.

The crew held on to anything solid within reach before the first volley hit the AS Armstrong. The ship shook violently and the crew rocked with the motion of the ship, staying upright. The shields dropped to eighty percent.

A look of sadness and shock filled Lt. Sperry as she looked up from her console. She fought back tears before reporting. “Captain, we lost the entire hydro-bay, including the personnel.”

Flash frozen plants and debris with floating bodies streamed out into space for all to see.

“Captain, they’re using highly modified weapons. Terelian’s do not have the capability for such fire power. This has to be Kek mods, our shields are almost useless.” Commander Morgan reported with alarm.

“Switch all available power to aft shields,” Captain Arnold ordered. “Lt. Johnson, are the targets locked?”

“Aye, sir, locked and loaded.”

“Fire aft cannons,” the Captain ordered.

The phase cannons fired and Lt. Johnson tracked the shots on his console. “Direct hit sir, they’re losing power.”

“Target the weapons and fire.”

The cannons fired again, the enemy ship rolled to port side and fell back. Debris and bodies shot into space from several hull breaches. One gone and four remained.

Damn these Terelian’s. If we don’t find a way to defend this, were in big trouble. Bob Arnold thought. “What about the ship that broke off, is our base still there?”

Lt. Sperry reported. “The ASO’s have engaged and incapacitated their main drives. No reports of losses on our side or significant damage to their ship. The bogie never entered the atmosphere, sir.”

Another volley hit The Armstrong as she lurched hard to port. Alarms went off and damage control teams reported extensive destruction to the port thrusters and shield generators.

Ensign Masterson looked up from his console in alarm. “Our shields and armor are barely holding, sir. They’re down to fifty percent. Whole sections of decks four through six on our starboard side are missing. My cousin worked there, sir.” His eyes started turning red with tears.

“Get a hold of yourself Ensign; we have a ship to save. There will be time to mourn later.” Captain Arnold sternly reminded him with kindness.

Captain Arnold balled both fists and his face took on an angry visage. In controlled rage, he gave his next order. “Commander Morgan, shove some dual phase missiles down their throats.”
 
Sorry, there is still no character experience. (Dialogue punctuation is also out consistently. In the workshop there is a thread called the Toolbox - can I suggest you have a look at it? It's tremendously useful.) anyway, what do I mean by character experience? It's so hard to describe.

The first paragraph is fine, but then we move into a tit-for-tat dialogue. During that we get no feeelings, no internal thoughts, and no physical sensations. Imagine you were the person in that scene - what would you be experiencing? You might be ready for action, stomach clenched. You might have nerves. You might think of the people you love. You might even have a wry, dark humoured thought. All of these is what makes us the person we are - and that sense of who we are is what makes us interesting. Your characters need to have that, if we're to keep our interest and care what happens.

Can I suggest rather than rewriting this scene you take one of the characters and write a small section as if you were them. What do they hear, see, think? What drives them? What matters to them? Make them real, not just a part of a scene you want to play out, make what's happening matter to them, as it would matter to you if you were on that bridge and in that action, and tell it in their voice. Forget the battle and the action, just pretend to be the character. If you can't crack it writing it, try acting them out and seeing what they see and hear. One person only. Then it has character interaction, and we're hooked.

And it's damn hard to do, and might take some practicing. :)
 
Sorry, there is still no character experience. (Dialogue punctuation is also out consistently. In the workshop there is a thread called the Toolbox - can I suggest you have a look at it? It's tremendously useful.) anyway, what do I mean by character experience? It's so hard to describe.

The first paragraph is fine, but then we move into a tit-for-tat dialogue. During that we get no feeelings, no internal thoughts, and no physical sensations. Imagine you were the person in that scene - what would you be experiencing? You might be ready for action, stomach clenched. You might have nerves. You might think of the people you love. You might even have a wry, dark humoured thought. All of these is what makes us the person we are - and that sense of who we are is what makes us interesting. Your characters need to have that, if we're to keep our interest and care what happens.

Can I suggest rather than rewriting this scene you take one of the characters and write a small section as if you were them. What do they hear, see, think? What drives them? What matters to them? Make them real, not just a part of a scene you want to play out, make what's happening matter to them, as it would matter to you if you were on that bridge and in that action, and tell it in their voice. Forget the battle and the action, just pretend to be the character. If you can't crack it writing it, try acting them out and seeing what they see and hear. One person only. Then it has character interaction, and we're hooked.

And it's damn hard to do, and might take some practicing. :)
Getting there, I guess. I'll try with Commander Morgan, as he takes over command of the bridge.
 
It's good to see some plot motive blossoming into the story. But we have a problem in other areas.

You might want to try to limit having too many names show up in such a short place. I know there should be lots of people on deck but maybe just titles for the less important characters. Just something to think about. Here's my list of notables though a few are just names dropped into other peoples thoughts ; thoughts we'll get to in a moment.
Captain Arnold
Lt. Johnson
Commander Morgan
Derik(just a mention in thoughts)
Lt. Sperry
Ensign Masterson
Lt. Commander Phar
Bob Arnold


Lt. Johnson says this::
“Aye, sir.” He waited for confirmation. “Life support is up and the techs are finalizing the computer downloads.”
::But who is waiting for confirmation.
If its the Captain then be wary of confusing the reader like this.


Jack Morgan has just hijacked your POV::
Just ask Derak about that. Jack Morgan thought to himself. “Launch confirmed, Captain; they’ll land in twenty minutes.”

This is the third skirmish with the Terelian’s in the last month in neutral space. Now they’re in league with the Kek’s. Could it get any worse? Jack thought.

Captain steals it back

The Captain thought for a moment. Standard Ging class, we’ve been in worse situations before. The Armstrong came out of space docks six months ago. The re-fit gave her new armor and the latest shield upgrades. We’re six times their size with new dual phase missiles. We can outlast them long enough to take their attention away from the planet’s surface. We didn’t come here to fail at the last minute.

This starts to telescope away from any POV

The Armstrong broke orbit and flew towards the second moon at one-quarter impulse. Eregor and the now stranded base fell away from the view port. The inverted pyramid formation of Ging class light cruisers changed course to follow them. As they passed the planet, the bridge crew saw the rear Ging cruiser break off for Eregor’s surface, only to be met by the ASO’s
ship rocketing out of the atmosphere.

Then it goes back to Jack.Until...

Bob steals the POV

Damn these Terelian’s. If we don’t find a way to defend this, were in big trouble. Bob Arnold thought. “What about the ship that broke off, is our base still there?”

Your POV is all over the place with definite head hopping. You can do this, but it usually doesn't work well.
 
It's good to see some plot motive blossoming into the story. But we have a problem in other areas.

You might want to try to limit having too many names show up in such a short place. I know there should be lots of people on deck but maybe just titles for the less important characters. Just something to think about. Here's my list of notables though a few are just names dropped into other peoples thoughts ; thoughts we'll get to in a moment.
Captain Arnold
Lt. Johnson
Commander Morgan
Derik(just a mention in thoughts)
Lt. Sperry
Ensign Masterson
Lt. Commander Phar
Bob Arnold


Lt. Johnson says this::

::But who is waiting for confirmation.
If its the Captain then be wary of confusing the reader like this.


Jack Morgan has just hijacked your POV::


Captain steals it back



This starts to telescope away from any POV



Then it goes back to Jack.Until...

Bob steals the POV



Your POV is all over the place with definite head hopping. You can do this, but it usually doesn't work well.
Now I see why some people don't like to write battle scenes. I will find the finish line! This prologue work-up sets up more changes in the rest of the book. Some that I know of already.
 
I thought this was much better. It's great to see you listen to critiques and take them on in your rewrite.

As Jo says, you can definitely have more and closer character experience if that's what you're aiming for, and I agree that Morgan might be a good candidate for main POV character.

A couple of comments on the current version:

The captain's initial thoughts come over as panicked and a bit frantic. I think it's because you have such a long string of them together.

I think you're over-describing your dialogue. I spot this because it's something I'm inclined to do as well so whenever I edit I need to go through and remove it!

e.g. here: “Get a hold of yourself Ensign; we have a ship to save. There will be time to mourn later.” Captain Arnold sternly reminded him with kindness.

It's clear from what he says that the captain is being both stern and kind. You could drop "Captain Arnold sternly reminded him with kindness." (and similar descriptions of what someone is saying/ has said) and it would strengthen your scene.
 
(Dialogue punctuation is also out consistently. In the workshop there is a thread called the Toolbox - can I suggest you have a look at it? It's tremendously useful.)

Good advice. I'd also recommend you look at any novel put out by a reputable publisher, and study how the dialogue is punctuated. There are only a few simple rules, and you can work them out for yourself, which will hopefully make it stick more readily. Lots of people have trouble with this, but it's easy to fix. At the moment a lot of your dialogue trips a reader up because you have full stops at the end of quotes, when you need commas.
 
Now I see why some people don't like to write battle scenes. I will find the finish line! This prologue work-up sets up more changes in the rest of the book. Some that I know of already.

You will find the finish line, never fear. Technically, you're a long way to it. It's just nailing some of the storytelling aspects which will make it sing. :)
 
As one of the people who struggled with dialogue punctuation...

When someone speaks and you're using a word like "said", "cried", "moaned" to describe how she speaks, you use a comma (and no capital after it):

"Captain, they're firing on us," the analyst shouted.

because it's treated as part of the same sentence.

That's the main thing. If you fix that, you'll have sorted 90% of your dialogue.
 
@Tim Murray - the biggest piece of advice I can give you is to stop rushing. You are hurrying to rewrite without understanding the technical principles of what you are trying to do, something I've advised you on three times now. As more than one agent and editor have said, "Publishing is not a sprint, but a marathon". :)
 
I thought this was much better. It's great to see you listen to critiques and take them on in your rewrite.

As Jo says, you can definitely have more and closer character experience if that's what you're aiming for, and I agree that Morgan might be a good candidate for main POV character.

A couple of comments on the current version:

The captain's initial thoughts come over as panicked and a bit frantic. I think it's because you have such a long string of them together.

I think you're over-describing your dialogue. I spot this because it's something I'm inclined to do as well so whenever I edit I need to go through and remove it!

e.g. here: “Get a hold of yourself Ensign; we have a ship to save. There will be time to mourn later.” Captain Arnold sternly reminded him with kindness.

It's clear from what he says that the captain is being both stern and kind. You could drop "Captain Arnold sternly reminded him with kindness." (and similar descriptions of what someone is saying/ has said) and it would strengthen your scene.
What about Arnold until he conks out, then Jack, because he's the XO? I'm scratching my head on how to have Jacks POV dominate, since Arnold is master of the ship. This is a real good mental exercise!
 
@Tim Murray - the biggest piece of advice I can give you is to stop rushing. You are hurrying to rewrite without understanding the technical principles of what you are trying to do, something I've advised you on three times now. As more than one agent and editor have said, "Publishing is not a sprint, but a marathon". :)
I've heard you. It is hard to slow my mind down. Perhaps it is time to stop and take a breath.
 
What about Arnold until he conks out, then Jack, because he's the XO? I'm scratching my head on how to have Jacks POV dominate, since Arnold is master of the ship. This is a real good mental exercise!

POV character doesn't have to be the person in charge, in fact having an underling as our POV can offer up many more opportunities, for example showing both the Captain's orders and how the rest of the crew feel about it (follow loyally or begrudging, or not at all). Your XO, depending on how in touch with the crew he is, could be a limbo character with a foot in both worlds.

Every character you write will have their own way of looking at and responding to the world around them, each with their pros and cons as the POV character. It's up to you to decide which you want to take... Or alternatively, you could write in omni, but that has its own pitfalls, such as headhopping and it being easy to be distant. I couldn't advise you on anything to do with omni, since I can't get my own head around it(n)
 
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