Hharzak the demon investigates an opportunity (1168 words)

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Idealect

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Hi guys, how would you improve this text? What do you think? What parts or aspects are best?

And just how bad is the hopefully placeholder "kaleidoscope" illustration, on a scale from 1 to minus a thousand? (-warning and sorry for that last one. can't think of a better way to go, there, atm)

These are the important questions. Thanks for reading, if you do:


__



The demon had been on its way to a meeting of the three lords of its (greater) region, but had been attracted off path by a shaping in the void. There was an unshielded mind practicing magic close enough to the void's twisting path for a demon such as this one, (a creature of great subtlety, which is why it was going to see two lords, not three -for it was the third) the faint swirling changes in that other space were not too subtle to pick up.

It did not see or feel this like one might in a kaleidoscope, -its senses were not so overwhelmingly sharp as to be able to see clearly such a change, but it had nonetheless picked up on an almost imperceptible shifting, one that could just as easily be imaginary.

Truth be told, they often were: the swirling currents and eddies of negotiation in the red mountain lands of his home plane (frequently adorned with further red by the unwilling, though he thought generous, sacrifices of those too slow, imperceptive, or merely unlucky. -and not so subtle as he, for he'd survived his share of bad luck) were such that a creature could not afford to miss a trick, though it could afford to see one where none was -that was the methodology he'd scraped and stumbled his way into, if he searched a hundred such patterns, and if 99 were nothing at all, or even dangers, he would not forego one such as this -an unshielded mage powerful enough to be felt through the void.


Everything was negotiation, as far as Hharzak was concerned. There was threats, where one negotiates the fear of one's opponent. There was combat, where one negotiated the arc of blades, and negotiated to find a place where death was agreeable enough to the enemy, that it would not be sufficiently inclined, and strong, as to strike back a severe blow the same instant, or the one after. This was a game he played wherever possible, -to find a place in a combat where his opponent was not ready to trade, or to retaliate, -where the enemy's focus was on some other plan of action, and step wholly inside the arms of death, to deliver it, when they were not ready to close.

He attributed a great deal of his strength to this practice. The danger was endlessly repaid by the knowledge he always had, that he would take such needless risks in the future, and thus could never afford to be a hair's breadth less than perfect in awareness or sharpness, or subtlety.


Hharzak closed on the disturbance now and put aside his thoughts. Veering off from the main "path" he quickly became certain that there was something significant here.

He cast only his spirit in the burst through the void's edge, and found himself, though aware still of his physical form lurking in the void, and its senses and detection and safeguards, -immaterial and nigh invisible on a hillside. A sunny day. A green hillside. Fresh grass.

He felt the power emitted now. A mage here was wholly open to the ethereal. Such power swirled around, but what was it being used for?

Hharzak was on the cusp of worrying when he looked around, and found not an arrogant, foolish but dangerous, youngster, or an aged archmage who might have no need for a static defense -for it could throw one up in an instant, and sense ethereal threats that could have a shot anyhow (that was the way with many of the old greybeards and crones, too many he thought)

But just a child on a hillside, playing with forces it couldn't possibly understand.


There were no guarantees that this wasn't some kind of trap, but he sensed nothing else conscious for miles around but the sheep, squirrels and so on common areas like this one.



Though.. that in itself was disturbing. Why so isolated. Why so reckless? Why had no creature happened across its path, to take its magic?

Well this was a backwater, and the child was young enough. Perhaps 7 years of age.

And there were never any guarantees.

Still, he was always ready to flee on a dime, but became a little moreso now. A corner of his mind was dedicated to escape, should the need for it come up.


He studied the aura before him closer now, and the aurora given out. The boy was
not stood in a natural vortex or well of power. Hharzak decided then that he would
likely take the risk, whatever else he uncovered. The potential for gain here was too
great. He could be going to a meeting of one lord of the mountains of martain. He
could be returning to the mountains of Hharzak, if he could steal (even) a half of
this child's power, for the balance of power was delicate, and there was a great bounty
before him.


No situation was ever without risk. Words he'd lived his life by, words which had made him a lord. Hharzak prepared himself for a vicious struggle, though he expected it to be one sided and brief. Prepared himself almost as he had for the duel that had put him on the last steps of the path to what he was today, what he'd been for the last ten years.

This was it. If he had missed anything, he would be fighting for his life.


Hharzak considered dropping his body out of the void , but decided against it, as if the ploy succeeded in disturbing and surprising the child, there was a good chance it would be able to set up defenses.


Hharzak moved smoothly but swiftly up, then launched himself at the centre of the gently swirling vortex, then through, into the realm of souls or minds, when he was close enough to the opening. Ready to rend a thousand legions, he found no hidden defenses, and slipped unobstructed into the boy's unshielded mind.

No sooner, and no later, he wrenched with all of his might for control, sensing no hidden traps or defenses.

There was no intention to kill the boy, (no need after all, and the danger of retribution), but he wasn't taking any risks, either, so this lack of intention did not effect the outcome- A force was unleashed to kill a thousand legionaires. Unpleasant, but Hharzak didn't take unnecessarry risks.

_

Hharzak found himself chained in an instant, then suspended, away from any possible influence


"ow"

__


"What was that...

..Hharzak? Is that your name?"




____


Some things I am trying to go for are (in this excerpt or as setup for wider context):

1. Somewhat sympathetic demon: it's in a "delicate" position, motivated by an impersonal desire for power (and so safety also), -not a desire to hurt. It's fastidious and scrupulous even about what others would see as taking candy from a baby. Something is also made of the fact that he's a demon from a dangerous area in which he has survived where other have not. moments later the kid also doesn't immediately kill him, but he is instantly ready for death, and fights in his own mind to die with no regrets and perhaps therefor with some honour, purely for his own, and its own, sake, at a time when no one will know.

2. This world has drastically varying power levels, at least sometimes/occasionally, and these can be hidden. Hopefully this will make for a lot of bluffing, intel gathering, concealing information, striding into risks that are not just risks but "unknown unknowns", -generally an exciting environment.

3. It could absolutely have been a kid with crazy power but no skill. Hharzak wasn't necessarrilly wrong. If you're playing certain kinds of games, sometimes you just lose: sometimes the dice just fall that way, it's in the nature of the game, -whether you're harzak, playing the game of the road to power and safety and comfort, willing to risk it all, -or just some poor kid on a mountain side that might have conjured food and shelter for thousands, hundreds of thousands, one day, stuck in the game of a dangerous world, where demons can pop out of thin air and kill you just because no one at your village knew the necessity of not broadcasting such magic, to tell you.

3b) Hharzak could have become instantly a lot more powerful. The forces of magic are great, and loose in the world. Oppurtunities arise, (not all so unpleasant), power is there to be taken for the brave, the mad, the driven, the dutybound... -all who would risk the perils which surround it.


I have three main (specific) queries, but please feel free to ignore these if they do not seem helpful to your critique:

1. How well does the excerpt fit in with these tones/themes, and did it individually manage to hit any of them for you, like as in you recognise it in retrospect?

2. How bad is the writing? When I read it to myself it reads well but I know what I'm imagining and have a hard time not reading that instead.

I think it might be very barebones in its fundamentals, -I know it could be a lot better, but it's very hard for me to get a sense of how obstructive the lack of, uh, "in-close richness of rendition" gets in the way, because of like I said not being able to read what I put without knowing and partially seeing what I meant/intended (and also because I have a high tolerance for bad writing as a reader, but nvm that lol!).

So yeah I know it's common advice to focus more on getting each bit exactly right than on coming up with more cool stuff, but how particularly is that the case here? How readable is it?

3. does including (so many of) Hharzak's thoughts about risk foreshadow that something will go wrong too much? -I was thinking of getting rid of most of them for like one thought along the lines that thought that something is unusual here, and a dismissal that of course it's unusual, and even if it is a trap or something he's torn his way out of enough of those in his time, AND if you pass up this oppurtunity another may not do so, and you will be in more danger at their mercy than you could possibly be with the element of surprise, even against an archmage, for you are Hharzak.

_




Thanks, all!
 
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Thanks for sharing this, @Idealect. It seems like an interesting premise, but I struggled with it quite a bit. There is, though, quite a bit you can do to improve it, I think.

The demon had been on its way to a meeting of the three lords of its (greater) region, but had been attracted off path by a shaping in the void.
So it starts off telling us what's already happened, rather than what's happening now. There's much more impact if you're describing it as it happens. Also, I found the brackets around "greater" a problem - if this is the opening chapter, then at that point the reader knows nothing about regions, greater or otherwise, and the brackets just draw attention to the fact there's something I don't know or understand yet. I suspect that may turn a lot of folks off straight away.

I think the kaleidoscope analogy may prove problematic. They do allow images to shift into sharp focus, but a kaleidoscope also shows crazy out of focus blurs, and as both are polar opposites readers could interpret either way (my default was the blur, but I'm not necessarily normal:)).
kaleidoscope, -its senses
A small thing, but usual convention when using a dash is not to use a comma - it's one or the other. I think (wiser minds will correct me) that it's usually a longer dash with no spaces or a shorter dash with a space either side, depending on UK/US (though either will probably be fine as long as you're consistent).

There was threats
Were rather than was as it's plural.

Hharzak closed on the disturbance now and put aside his thoughts. Veering off from the main "path" he quickly became certain that there was something significant here.
At this point we're nearing halfway through, and all the information I have is told rather than shown through actions, dialogue, or thoughts (though you do that later and it works well). There's quite a bit of information, but a fair bit of that is without any context. The quotes surrounding "path" draw my attention to - granted, it's a metaphorical path, but it pulled me out of the story. I'd suggest removing the quotes and trusting the reader to follow the metaphor.
Hharzak was on the cusp of worrying when he looked around
Like my earlier point, this is referencing another time rather than what's happening now. Have him worry and fret by all means, build tension as wonders if it's all too good to be true, but saying someone's about to do something is something as I reader I always find frustrating.

He felt the power emitted now. A mage here was wholly open to the ethereal. Such power swirled around, but what was it being used for?
This is where it picks up for me:). We get a glimpse of Hharzak's thoughts and what's running through his mind. There's more later, too, and I liked this latter section much more than the opening part.:)
No sooner, and no later, he wrenched with
The "no sooner, no later" removes a bit of the immediacy - you can ditch it at no cost and the sentence reads perfectly well without it.

Still, he was always ready to flee on a dime
I confess I don't know whether this is happening on Earth or another world, but dime's an American term and in an alien-world Fantasy is jarring.

As to your questions at the end:
How well does the excerpt fit in with these tones/themes, and did it individually manage to hit any of them for you, like as in you recognise it in retrospect?
I think the demon's cautious nature came through, but I think some of the other parts don't necessarily come through on the page clearly.

How bad is the writing? When I read it to myself it reads well but I know what I'm imagining and have a hard time not reading that instead.
I think that's the nub of the problem: you know exactly what's happening and how everything fits together, but that isn't necessarily getting across to the reader. There's an awful lot of information, particularly in the opening section, but without context and I found it difficult to follow in a few places.

does including (so many of) Hharzak's thoughts about risk foreshadow that something will go wrong too much?
Nope. For me, the window into his thoughts is where I felt the story really picked up.:)

In summary: I think it's an intriguing idea, but I think you could really improve it by ramping up the immediacy, by showing us more than telling what's happening, and cutting out any information that's not required. And dropping as many sets of brackets as you can live without;)
If you're not sure how, then perhaps something like writing a list of all the things you need to get across in that section (e.g. demon's cautious, big risk by doing this, etc) and then going back and making sure that each is in there - just an idea.

Keep at it, I think it's a great idea.(y)
 
One way to make the demon sympathetic is to humanise them in the first place - perhaps give them an internal conflict, an inner turmoil, where they may resent doing terrible things. You can underline this by even not having them do terrible things, but instead simply treated terribly by others in authority, as this is something most people can relate to.

What you have at the moment is simply too casual - the first line is almost like Mr Benn going for a stroll, with not a concern in the world. If this is anything above Middle Grade, then make it more serious.

Also, make a note that a character doesn't have to be good to have our sympathy - anti-heroes can be very popular characters - they simply need to be driven by some inner desire we can relate to (Hannibal Lecter's desire for freedom from imprisonment, Rorsharch's quest for Truth, Raistlin's desire for independence, or Jack Reacher's thirst for Justice, etc). Anti-heroes can be charming and likeable, even when being terrible, but they do need to be interesting.

Focus on that, and your story - whatever you aim for - should begin to come together more sharply.
 
I wasn't at all surprised when Hirzak's (sp) plans go all to hell. I'm not at all sure that's good but have no idea how to prevent it

I liked the para on negotiation, an insightful observation that also revealed character. It was just long enough to be interesting but not enough to distract one from the story
 
So it starts off telling us what's already happened, rather than what's happening now. There's much more impact if you're describing it as it happens. Also, I found the brackets around "greater" a problem - if this is the opening chapter, then at that point the reader knows nothing about regions, greater or otherwise, and the brackets just draw attention to the fact there's something I don't know or understand yet. I suspect that may turn a lot of folks off straight away.

I agree with this analysis. The use of parenthesis really only works to highlight that you are in the act of Telling. This immediately drew me out of the story.
 
thanks for all the reactions, feedback, and advice.

Especially about the brackets. Most of what is in them has no immediate relevance: that's why it got put in brackets in the first place! That's literally what I use brackets for: putting things in for informational completeness's sake, that don't flow or aren't relevant enough for the main structure. Not a habit I should transpose into writing fiction, I think.


-And confirming that things should be a lot more fleshed out/illustrated/brought to life. I was kind of suspicious of /worried about it, but couldn't see it.



@JoanDrake, I think maybe it's the more-than-a-moment-of-misgiving present that might be giving it away: Suddenly it turns out the mage in the field is a kid, but then.. nothing happens for a while. Probably if it was going to be a horrific scene, an author would make it get that way quickly after that reveal, -to preserve the shock, rather than have an interlude for what the poor demon is going through in terms of fear and planning and stuff.

And also, no one has seen Hharzak exercising extreme caution before or it serving him well. If you blur the details out, there's a demon scared of a kid in a field. -So I am thinking I should cut down on the caution a lot (and/)or, better, I should have scenes earlier on that show that Hharzak's caution is born of an excess of strength rather than a lack of it.
 
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