Immortelle opening passage

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Justin Swanton

Loving the view from up here.
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Here it is. Any input welcome.


Epigraph

We live in vain.

It is not so. You live for a purpose
.

We have travelled from one end of the heavens to the other and there is nowhere we can live.

Your purpose is not in the heavens. From the beginning they were closed to you. Tubal deceived you, bringing you here.

What shall we do?

In the end it will be revealed to you, when the time of Tubal is done.

Then I will know?

Then you will know.



I – MISSION PLAN

1.


We were four months out when they told us.

It’s funny how you remember exactly where you were and what you were doing when really bad news arrives. I had left the crew in the Wardroom and was sitting in my recliner in the Rec room eating a plate of rehydrated asparagus. Domingo and Deiter had started arguing about religion again and after telling everyone that watching cartoons was likely to be more constructive I bailed out. It wasn't like I was trying to make a point as mission commander or anything. Cloe and Tessa enjoyed the debates but I just wasn't comfortable discussing the topic. After four months in a spaceship the size of a two storey apartment the secret of getting along with one's fellow crewmembers is to not try too hard.

I had put Wall-E up on the screen but wasn't paying much attention to it. About ten minutes into the movie a red dot flashed in the centre of the picture, accompanied by a musical dong dong that sounded through the ship, the signal for a message from Mission. I decided to play it before calling the crew. A lot of messages concerned only one crewmember who was a specialist in the subject matter.

I leaned forward with the remote and started the audiovisual message. Eugene Trinny's face appeared on the screen. That made me sit up. The Director of NASA would not communicate with us unless he had something important to say. I noticed he was not smiling. A kind of cheerful bonhomie is de rigeur in earth-space communications unless something precise and technical is going on between Mission Control and the ship. Something was wrong.

“Hello everyone. I trust everything is fine with you. Seems from our end that Terra Nova is functioning normally.” The Director ran his fingers through his still-dark hair. “What I’m going to say may be difficult for you to take in. We’re still trying to take it in here.” He gestured to someone off-screen. An image appeared, a photograph of a small chunk of rock against a black background.

“1036 Ganymed. It's the biggest of the Amor asteroids. It has an elliptical orbit with an aphelion well past Mars and a perihelion pretty close to Earth. Or it used to. We've been tracking it for the past two years since a planetesimal….next image...”—the chunk of rock was replaced by a starry sky with a red arrow pointing to a white dot near the centre—“since Deepstar IV detected a planetesimal coming into the solar system from the Kuiper Belt. It was probably hit by something else and deflected close to Neptune.

“Nobody paid much attention to it until its orbit was calculated. It was headed straight for Ganymed. At that point the information was given classified status until we had a better idea of the effect the planetesimal would have on the asteroid. Computer simulations predicted a change of orbit, with Earth within the hypothetical radius of the new orbital path. Right, back to the first image.” The chunk of rock reappeared.

“Impact between the planetesimal and Ganymed took place about a month after you left. We tracked Ganymed with all three Deepstar satellites until we had collected enough data to be certain. Ganymed will definitely collide with Earth fifteen months from now. About the time you're due back.”

Everything froze for me except the image on the screen, a tiny, indistinct, innocuous pebble. Then it disappeared, replaced by the Director’s face.

“Let me give you the specs. Ganymed is about 31 kilometers long. It has a mass of 330 quadrillion tons. The experts tell me that's pretty dense for an asteroid—about 3.5 tons per cubic metre, which is due to it having plenty of iron and magnesium silicates in its composition.

“The good news is that we have a plan for neutralising it. We can't break it up but we’ll hit it with multiple nukes to deflect it. We have more than we need for the job so Earth will be fine. However you all have enough scientific and technical expertise to know there's a degree of uncertainty in an undertaking of this nature, so we've devised a fall-back plan for you.” For the first time the hint of a smile appeared in his features.

“You’ll be getting new course settings. It won’t change your current path for the moment. You’ll still be going to Mars. If everything works out it would be a pity to abandon the whole mission just because of a scare. But we're working on sending you a couple of additional supply ships. If necessary you'll stay up there a bit longer than planned. To put it bluntly we’re turning the Terra Nova into a lifeboat.

“We don’t exactly know what the effects would be of a body this size hitting the earth. One has to factor in speed, mass, composition, angle of impact, all that. Our best models project that the Earth would remain habitable but would take a while to recover before you could return to it. The idea is to give you as much time as possible. Again, let me emphasize that this is just a precaution, a fall-back plan. Something that we don’t intend to use. Your primary mission should remain unchanged. We’ll fill you in as our information becomes clearer. Any questions you have we’ll be only too happy to answer.

“It was my recommendation when this came up not to hide anything from you. You can fulfil your secondary mission—in the remote possibility it becomes necessary—if you know exactly what’s going on. For now that’s all I have to say—except one thing. This information is strictly classified. No-one besides yourselves must know of the secondary mission. The last thing we need is any public impression that the situation is not entirely under control. I don’t have to emphasize how much we depend on your discretion. There’s a lot more at stake now. I’ll be available if you need to know anything further from me. Goodbye and good luck.” The screen went blank.

For a long time I sat still, not moving nor even thinking. Then I slowly stood up and walked quietly across to the door that led into the Wardroom where the crew were still at lunch. I stood out of sight beside the doorway and listened to the play between Dieter's scepticism and Domingo's uncertain earnestness.

“Good. So you say you can't prove there is a God. Ja? Then why spoil your life for something that is a maybe?”

“I'm not spoiling my life. I'm here, on the first mission to Mars. If that's a spoiled life then your life is spoiled too.”

“Ja ja ja. I mean, there is so much you can't do, ? You walk down the street, you see a pretty girl, you want to get to know her better, but...the big man up there, he says no.”

Tessa's voice butted in. “He doesn't say no. I say no. He'd better not think of looking at anyone else while I've got a ring on my finger.”

“Wouldn't dream of it, Tess, the ring cost a packet. Ow!”

“I've got him for life, so don't try to corrupt him.”

“Oh ja, another thing you can't do. Till death do you part. What a shame.”

“Don't listen to him.” That was Cloe's voice. “He doesn't mean it. I am married to him for ten years. He is—how you say it—a stick-in-the-mud husband. He will never leave me, not if I beg him.”

A brief silence, then: “Ja, right. I keep what I know is good, but you will give up something for something else that you do not even know exists.”

“I said I can't prove it, that doesn't mean I don't know...”

I entered the Wardroom. Cloe was the first to notice me.

“Who is it for?”

“For all of us.”

She frowned. My expression must have revealed something. “Is it bad news?”

“I think just come and see it.”

Bad news on a space mission usually means really bad news. The crew were silent as they filed into the Rec room: Domingo, our pilot. Then Tessa, biochemist. Cloe, physicist and geologist, and finally Dieter, engineer.
 
Two small pieces of input to get the ball rolling. Both of these mostly have to do with my personal taste as a reader, so obviously take them with a grain of salt.

1. In the Epigraph, I would've liked it if you had more of a distinction between the two voices (I assume there were two voices, the text of the Epigraph led me to think so). For me, italics in an Epigraph or formatted like that initially reads as one voice and so was confusing for me at first. Potentially, could you put one italics and one in bold? Or perhaps both in quotation marks so the reader is more ready to distinguish that there are two voices?

2. In the middle of the selection you have a large amount of nearly uninterrupted dialogue. For me personally I would have liked to have some of that dialogue interspersed with description: the character's reaction, how the speaker looks while talking, or anything that you might think of. There is some of that in there, of course. I just feel like there could be more. I think the speech itself is good, but that a few paragraphs of a speech uninterrupted by little else felt just the slightest bit off to me as a reader. Again, this is just my personal taste.
 
Sorry, I forgot to say that I did enjoy reading this passage and specifically liked that the new characters we were introduced to at the end established themselves and the differences between them mainly through dialogue.
 
I think this is written quite well - it has a relaxed style that I think suits the SF setting. However, I suspect you could tighten up a few things and change a few points of emphasis as well:

We don’t exactly know what the effects would be of a body this size hitting the earth ... Earth would remain habitable but would take a while to recover

Just a pointer that this impact would be twice as big as the Chicxulub impact that is blamed for the extinction of the dinosaurs and 70% of all life on Earth. I'd suggest you consider emphasizing the seriousness of the situation - you could probably tighten the description to do this.

I stood out of sight beside the doorway and listened to the play between Dieter's scepticism and Domingo's uncertain earnestness.

I don't know what you mean by this - but there's absolutely no need to include the verbatim dialogue exchanges that follow IMO, as they provide little character and information.

One stylistic suggestion might be summarizing the captain's feelings as he watches them, perhaps making observations not just of his crew on a personal level but also in terms of handling this critical mission - peppered with a few sentences of dialogue. That way you get to mix show and tell, but if you do ensure it's very brief.

However you approach this, you could really do with putting some emphasis on the captain's feelings. You've spent a single line about "For a long time I sat still, not moving nor even thinking" but you haven't shown or told us how he's feeling and you're missing a trick with that. Especially when his announcement of the news is pretty undramatic:

She frowned. My expression must have revealed something. “Is it bad news?”

“I think just come and see it.”

This is especially because it is, of course, bad news, and extremely bad news at that.

So, altogether, I think you've done well with this and it's better than the last time it came up. There's a nice sense of style and tone coming through - I would simply suggest you consider tweaking some of your emphasis to bring out a little more dramatic tension, so that you have some better peaks and troughs in the MS rather than let then run too ordinarily. Just my 2c, but otherwise good work. :)

EDIT: Oh, and get rid of the Epigraph! It tells us nothing and simply delays the start of the story. Start the story with the first word. Just my 2c. :)
 
I downloaded the whole work and am enjoying it.
However since you posted this and since it contains something I have questions about I thought I would start the dialogue here.
The story so far is interesting and mostly keeping my attention.
I do have to admit that it feels like the narrator is doing a professional log and trying to keep his emotions in check most of the time. This could be a problem in that it is difficult to engage in the story while the narrator stays so distant. The question for that is, is it necessary.

However let's get to something more important.

I leaned forward with the remote and started the audiovisual message. Eugene Trinny's face appeared on the screen. That made me sit up. The Director of NASA would not communicate with us unless he had something important to say. I noticed he was not smiling. A kind of cheerful bonhomie is de rigeur in earth-space communications unless something precise and technical is going on between Mission Control and the ship. Something was wrong.
I pull this out because right here:
A kind of cheerful bonhomie is de rigeur in earth-space communications unless something precise and technical is going on between Mission Control and the ship.
:you slip into present tense. This could be deliberate and obviously it works in that so far no one else seems bothered.
However and first:

A kind of cheerful bonhomie was de rigeur in earth-space communications unless something precise and technical was going on between Mission Control and the ship.
:: Past tense seems to work fine. And it doesn't seem like there is any compelling reason to switch to present tense.

What is more important is that having read quite a bit of the whole piece, you do this a lot in the narrative portions--dropping into present tense.

As a reader it looks like you either wrote this originally in first person present tense.
Or, you are falling into that thing where you're writing like someone would speak and occasionally dropping into present tense because some people do that when they speak.
Or, you intentionally are doing this because you are going into instructional mode; and for some reason felt right.
Or, you are expressing character thoughts and perhaps you need some indicator(Italics or alternate form of quotes)

Any way that I look at it, it looks like either an aside of some sort or a breaking of the forth wall every time it happens. Even with some indicator such as italics for expression of character thoughts--it still feels like you're drawing attention to something that isn't so vitally important that it must draw attention and in most cases a past tense form works.

My suggestion would be to go back and find all of those instances and take another look at them.

Second example....
Bad news on a space mission usually means really bad news. The crew were silent as they filed into the Rec room: Domingo, our pilot. Then Tessa, biochemist. Cloe, physicist and geologist, and finally Dieter, engineer.
As I mentioned before these really slip by easily as they are.
However:
Bad news on a space mission usually meant really bad news.
:Stays in the tense and works fine.

I keep questioning, why is the narrator slipping into present tense?
And I come up blank.
 
And that falls in line with what I say ::
Personally, it doesn't bother me at all. I just assumed that it was the narrator's conversational way of speaking.
:: as to no one mentioning it.

However, for this reader, each time it happens I stop--thinking this must be important--and discover its just more info-dump. And then spend an inordinate amount of time reconstructing the sentence in past tense to see if it damages it too much if you use past tense.


There are times when it makes sense to drop into present tense from past--however these are not necessarily the times.

for example:
We’d been cut up so many ways and so many times we hardly had a skirmish line, and the enemy kept getting reinforced. I, like the rest of the outfit, was exhausted and terrified from swords buzzing past my ear and various sorts of sorceries going “whoosh” over my head, or maybe it was the other way around; and there were dead people moaning and writhing on the ground, and wounded people lying still, and that was almost certainly the other way around, but I’m giving it to you as I remember it, though I know my memory sometimes plays tricks on me.

More on that in a second.

First, I have to ask you to excuse me from starting in the middle, but that’s more or less where it starts.


~Steven Brust – “Dragon”

With that in mind you could treat ::
A kind of cheerful bonhomie is de rigeur in earth-space communications unless something precise and technical is going on between Mission Control and the ship
:: as immutable truth. It continues to be so.

However ::
Bad news on a space mission usually means really bad news.
:: has usually as a qualifier and is not always true.
Whereas ::
Bad news on a space mission means really bad news.
:: might work.
 
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Thanks for the input so far, chaps. What's interesting is that what Jack likes Jone's doesn't, and vice versa (though there seems to be a consensus on the Epigraph).

I'm happy to offer the complete MS to anyone willing to read it and give some sort of critique on it. Or shall I just carry on posting a few more sections here?
 
shall I just carry on posting a few more sections here?
No more in this thread, since you're at the word count limit (though if you were revising this excerpt you could re-post it here). If you feel you need more help, then by all means post another extract in a separate thread in a day or two's time, taking account of any comments here if relevant to the new piece. After that it gets a bit more difficult, since although we might stretch to three threads within a space of say 14 days, that would be it.

Otherwise, there's Writing Group that's open for longer pieces now you've got something here in Critiques, but the longer the extract, the fewer critiques you're likely to get. Or, since you'd like help on the whole m/s, make an appeal for beta readers via Writing Discussion.
 
Here's my thoughts in summary. You've got a compelling story that draws me in from the outset and clearly there is ground work you are laying early on (ie epigraph, God, the secondary mission etc). That would give me confidence that the author cares and wants to build a world with all its complexities. I think you now need to spend time editing, and reviewing and more editing to polish things up. Something we all have to do so you are not alone!

Here's a bit more detail. I've included some examples to explain my thoughts (and not to assert the way it should be.)

Epigraph

The hint of mystery here is alluring as it speaks to a secret within the book that will undoubtly be revealed slowly. A consideration here is the balance between creating mystery vs 'what the heck is going on.' To me mystery is something like.. I am standing at the edge of a forest peering into the darkness and I see a pair of glowing eyes staring back. What the heck is going on is more like - I don't know where I am standing nor what I am peering into. I wouldn't buy a book that starts off by giving me that feeling. That said, I believe you've got the right balance but its close to teetering on the other side but it'd be interesting to get more opinions.

FIrst Chapter

I really like the first line. It's very relatable and draws me in and the story is easy to follow with only a few exceptions.

Here's some thoughts for your consideration :

1) You might consider injecting more descritptive language into your story. For example :

eating a plate of rehydrated asparagus

might be:

crunching down on cold rehydrated asparagus

Or:

I leaned forward with the remote and started the audiovisual message. Eugene Trinny's face appeared on the screen. That made me sit up. The Director of NASA would not communicate with us unless he had something important to say. I noticed he was not smiling. A kind of cheerful bonhomie is de rigeur in earth-space communications unless something precise and technical is going on between Mission Control and the ship. Something was wrong

might be :

I pointed the remote and clicked, and perked up instantly at the face who appeared on the screen. Eugene Tinny. The Director of NASA himself. His presence here and dour scowl could only mean one thing. Something was wrong.

2) You might consider looking for ways to be more economical in word use. One way is to shorten the phrase and the other is to use them to promote ideas, concepts and character development at the same time. For example :

It wasn't like I was trying to make a point as mission commander or anything. Cloe and Tessa enjoyed the debates but I just wasn't comfortable discussing the topic. After four months in a spaceship the size of a two storey apartment the secret of getting along with one's fellow crewmembers is to not try too hard.

might be:

It wasn't like I was trying to pull rank, after all, a Mission Commander should be impartial about the trivial things, but more so, when you've hurtled through the stars in a metal tub the size of a two-story apartment for four months. It doesn't take much for tempers to flare and for us to turn into monkeys.

3) Introduction of characters. - You've introduced four characters. The first two were a good use in that it advances the theme of religion/God which shows up later in the chapter and also allows you to craftly insert the notion about mission commander, flying through space, cramped ship etc. The two women introduced is very haphazard and doesn't buy you anyhing. You also lose the chance to introduce them in more artful ways that push the story together like you did with the two fellas.

4) Consider ways to describe things without using complex language. Unless your target audience is uber astronomically inclined and educated readers, words like aphelion and perihelion are unlikely to buy you anything with the average reader and more likely to turn them off. It's more effort to now look them up and apply them to the scene. They're looking for escape and not work.

5) This paragraph seems important but confusing. What is Ganymed? Akin to #4, many will not know that it is a moon of Jupiter (I had to look it up to be sure). Why would he focus on the fact that it was classified first? Wouldn't he come out and say disaster is going to happen as the first order? Also, after such a statement, I'd expect he would pause and get their reaction before going to the first image? Also, not clear on what the computer simulation actually predicts.

“Nobody paid much attention to it until its orbit was calculated. It was headed straight for Ganymed. At that point the information was given classified status until we had a better idea of the effect the planetesimal would have on the asteroid. Computer simulations predicted a change of orbit, with Earth within the hypothetical radius of the new orbital path. Right, back to the first image.”

might be :

"Nobody paid much attention to it until our models predicted it would run smackdab into Jupiter's biggest moon - Ganymed. And there is dire implications for Earth if it does. Simulations show it's orbit would change, and NOT for the better. Now... I'm sorry I had to tell you this now, stuff was all classified until we knew more, but here it is. Now, I'm gonna pause here and take some questons."

I hope this was helpful. I think you've got something good here and wish you luck on your writing journey!
 
Thanks for the detailed input, Bren. You're right about the Epigraph: its purpose is to let the reader know this is not another Andy Weir. There will be a lot more to come than just the crew of the first manned Mars mission surviving an asteroid. Does it work...?

1036 Ganymed BTW is one of the Amor asteroids, not a moon of Jupiter (that would be Ganymede). It has a diameter of over 30km and, as Brian pointed out, its impact with Earth would double the effect of the Chicxulub asteroid that wiped out the dinosaurs. Earth would remain habitable - yes, sort of. It would depend where you were and what kind of shelter you could devise for months or years. As it turns out, life on Earth won't be able to survive Ganymed due to an unforeseen side-effect of the asteroid's impact.

One point of style: I prefer understatements, the language hinting at strong undercurrents of feeling rather than spelling them out in brightly coloured adjectives. So, "he was not smiling" as opposed to "dour scowl". Just me. :giggle:
 
Thanks for the detailed input, Bren. You're right about the Epigraph: its purpose is to let the reader know this is not another Andy Weir. There will be a lot more to come than just the crew of the first manned Mars mission surviving an asteroid. Does it work...?

1036 Ganymed BTW is one of the Amor asteroids, not a moon of Jupiter (that would be Ganymede). It has a diameter of over 30km and, as Brian pointed out, its impact with Earth would double the effect of the Chicxulub asteroid that wiped out the dinosaurs. Earth would remain habitable - yes, sort of. It would depend where you were and what kind of shelter you could devise for months or years. As it turns out, life on Earth won't be able to survive Ganymed due to an unforeseen side-effect of the asteroid's impact.

One point of style: I prefer understatements, the language hinting at strong undercurrents of feeling rather than spelling them out in brightly coloured adjectives. So, "he was not smiling" as opposed to "dour scowl". Just me. :giggle:
Sorry! I missed the line somehow when you described Ganymed! You had it there all the time. And style is the domain of the author and it's what drives the 'feel' of the story of course so go with your gut! Good luck and keep me posted on your release!
 
A lot of messages concerned only one crewmember who was a specialist in the subject matter.

Everything up to this point - rock solid. This line is, I think, misleading. I believe the intended meaning is that few messages concerned the entire crew, whereas the impression given is that there is an individual specialist aboard to whom a lot of the messages relate.

Something was wrong.

Just a suggestion, but I don't think you need this. The character has already 'noticed' he is not smiling. Then there's a nice bit of flavour and background explaining why that's important. This final line felt redundant.

since Deepstar IV detected a planetesimal coming into the solar system from the Kuiper Belt.

Amongst a lot of very convincing semi-jargon, 'coming into' hit a bum note. "Entering", perhaps? Heck, maybe Deepstar IV detected a novel planetesimal entering the solar system :)

“Nobody paid much attention to it until its orbit was calculated.

This was a second bum note. NASA has an entire orbital platform, Deepstar IV, presumably dedicated to the detection of novel planetesimals. By any standard, that's "paying attention'. They calculated the orbit and discovered it was headed straight for Ganymed.

Ganymed will definitely collide with Earth fifteen months from now.

This guy doesn't say 'definitely' when he's talking to astronauts about this kind of thing. He gives figures, and he explains them. Ganymed has a relatively small percentage of volatiles for its mass, and is unlikely to be deflected significantly by outgassing as it nears the sun. That permits a high degree of confidence in our prediction of its orbit. Etc.

but we’ll hit it with multiple nukes to deflect it.

Again, this lapses into the colloquial. NASA don't hit things with multiple nukes, they calculate that the thrust imparted by vaporising a section of Ganymed's surface with two hundred megatons of nuclear warheads would be sufficient to nudge the asteroid out of an Earth-intersecting orbit.

[Our best models project that the Earth would remain habitable but would take a while to recover before you could return to it.

That's... a bit of a weird thing to say? "Oh, and darling, if you were thinking of working late any night this week, you might want to make it tonight: the house is ablaze and the firemen say it won't be out for a good few hours."

Overall, I bought most of it, and thought it was nicely written, but that kind of between-experts communication is only as strong as its weakest link. One false move and you're William Baldwin trying to look enthusiastic about a motorbike and saying "Best of all? It's got a computer." (Bonus points: name that movie!)
 
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I hate prologues. Invariably they go off into the wild blue yonder, sometimes for page after page. Having read them, you then find they have nothing to do with the here and now of the novel which takes place 100,0000 years later. Information like that should IMO be introduced where it's relavent in the main body of the tale. Plus they tend to distance the reader from the eye grabbing wonder of the first line of the actual book.

Here it is. Any input welcome.


Epigraph

We live in vain.

It is not so. You live for a purpose
.

We have travelled from one end of the heavens to the other and there is nowhere we can live.

Your purpose is not in the heavens. From the beginning they were closed to you. Tubal deceived you, bringing you here.

What shall we do?

In the end it will be revealed to you, when the time of Tubal is done.

Then I will know?

Then you will know.



I – MISSION PLAN (yet it isn't)

1.


We were four months out when they told us.

It’s funny how you remember exactly where you were and what you were doing when really bad news arrives (This is weirdly odd. Obviously the character is looking back from some time in the future, but he's here now thinking about it. As in I remember Kenedy's death but it was only relavent to say it after 10 or 20 years had gone by). I had left the crew in the Wardroom and was sitting in my recliner in the Rec room eating a plate of rehydrated asparagus. Domingo and Deiter had started arguing about religion again and after telling everyone that watching cartoons was likely to be more constructive I bailed out. It wasn't like I was trying to make a point as mission commander or anything. Cloe and Tessa enjoyed the debates but I just wasn't comfortable discussing the topic. After four months in a spaceship the size of a two storey apartment the secret of getting along with one's fellow crewmembers is to not try too hard.

(For an opening paragraph I'm not grabbed)

I had put Wall-E up on the screen but wasn't paying much attention to it. About ten minutes into the movie a red dot flashed in the centre of the picture, accompanied by a musical dong dong that sounded through the ship, the signal for a message from Mission. I decided to play it before calling the crew. A lot of messages concerned only one crewmember who was a specialist in the subject matter. (This would be better for the opening without the Wall-E reference, its active and the reader isn't distracted off to wonder what the hell Wall-E is)

I leaned forward with the remote and started the audiovisual message (Even now we live in a world of voice control "remote"?). Eugene Trinny's (who he?) face appeared on the screen. That made me sit up. The Director of NASA (Oh him, why wait to tell us) would not communicate with us unless he had something important to say. I noticed he was not smiling. A kind of cheerful bonhomie is de rigeur in earth-space communications unless something precise and technical is going on between Mission Control and the ship. Something was wrong. (effectively, you've said that three times in the last two paragraphs Better to say )

Something was wrong. The claxton and the flashing screen gave it away. Seeing the Eugene, the director of NASA appear on the scrnen moments later, was the biggest clue... and so on

I stopped here in case this isn't the kind of critique you want. As I said I can be picky. If you want I will continue in a similar way. Just let me know.

In general I think you have a good idea for a story, but as an opening you're trying to pad it out with none relavent info for an opening chapter.

A few things that jarred for me was :-

Giving the NASA guy the name Eugene, the same as the director of Appllo 11.

"We don’t exactly know what the effects would be of a body this size hitting the earth."

Calculations of this type are well and truely known by those that need to. You've listed its mass they could look it up on a graph. Better to say the don't know what it's made of or how much mass it has or even "this is a planet killer"

Also, they're four months out and no one thought to mention all this at the mission briefing?

Hope I helped

Tein
 
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Everything up to this point - rock solid. This line is, I think, misleading. I believe the intended meaning is that few messages concerned the entire crew, whereas the impression given is that there is an individual specialist aboard to whom a lot of the messages relate.



Just a suggestion, but I don't think you need this. The character has already 'noticed' he is not smiling. Then there's a nice bit of flavour and background explaining why that's important. This final line felt redundant.



Amongst a lot of very convincing semi-jargon, 'coming into' hit a bum note. "Entering", perhaps? Heck, maybe Deepstar IV detected a novel planetesimal entering the solar system :)



This was a second bum note. NASA has an entire orbital platform, Deepstar IV, presumably dedicated to the detection of novel planetesimals. By any standard, that's "paying attention'. They calculated the orbit and discovered it was headed straight for Ganymed.



This guy doesn't say 'definitely' when he's talking to astronauts about this kind of thing. He gives figures, and he explains them. Ganymed has a relatively small percentage of volatiles for its mass, and is unlikely to be deflected significantly by outgassing as it nears the sun. That permits a high degree of confidence in our prediction of its orbit. Etc.



Again, this lapses into the colloquial. NASA don't hit things with multiple nukes, they calculate that the thrust imparted by vaporising a section of Ganymed's surface with two hundred megatons of nuclear warheads would be sufficient to nudge the asteroid out of an Earth-intersecting orbit.



That's... a bit of a weird thing to say? "Oh, and darling, if you were thinking of working late any night this week, you might want to make it tonight: the house is ablaze and the firemen say it won't be out for a good few hours."

Overall, I bought most of it, and thought it was nicely written, but that kind of between-experts communication is only as strong as its weakest link. One false move and you're William Baldwin trying to look enthusiastic about a motorbike and saying "Best of all? It's got a computer." (Bonus points: name that movie!)

This is good, many thanks.
 
Hi, I can be picky (a lot) so forgive.
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I hate prologues. Invariably they go off into the wild blue yonder, sometimes for page after page. Having read them, you then find they have nothing to do with the here and now of the novel which takes place 100,0000 years later. Information like that should IMO be introduced where it's relavent in the main body of the tale. Plus they tend to distance the reader from the eye grabbing wonder of the first line of the actual book.



I stopped here in case this isn't the kind of critique you want. As I said I can be picky. If you want I will continue in a similar way. Just let me know.

In general I think you have a good idea for a story, but as an opening you're trying to pad it out with none relavent info for an opening chapter.

A few things that jarred for me was :-

Giving the NASA guy the name Eugene, the same as the director of Appllo 11.

"We don’t exactly know what the effects would be of a body this size hitting the earth."

Calculations of this type are well and truely known by those that need to. You've listed its mass they could look it up on a graph. Better to say the don't know what it's made of or how much mass it has or even "this is a planet killer"

Also, they're four months out and no one thought to mention all this at the mission briefing?

Hope I helped

Tein

Relevant critique, ta. (y)

If I amend that line to: "We're still working out in detail the effects of a body this size hitting the earth, long-term climate effects, and so on."

I had no idea there was a real Eugene at NASA!

Keep going. :giggle:
 
hi,
The opening is good. It explains to us what they have been doing. They are concerned, been away from their families for years. The wife of one of them tells him he had better return. She owns him. He gave her the ring and everything. It is good way to allow us to realize these details. The crew doesn't know what the captain has been told. They are going to be returning to earth first mars, than earth.
The mention of the astriod that may crash into the planet and destroy it. They will have to postpone their arrival on earth. The captain knows he can not tell them this. They have to not tell anyone about this, There would be panic on the surface of the earth, If they were to find this out. The belief that the astriod can be broken into smaller segments so the earth will be safe.
It sounds as it should. The way the person from earth is telling him. Sounds as it should.
You have given us a good opening. The hook is there drawing us into the story. Count me in on reading more of it.
 
Many thank for your input Richard-Allen and sorry for taking time to get back to you (I've been rather busy with a couple of other projects besides my regular day job grind). I'll post up the next section of the novel for critiques. After that I'll email the complete MS for a going over to anyone interested (Moderator, is that OK?).
 
I'll post up the next section of the novel for critiques. After that I'll email the complete MS for a going over to anyone interested (Moderator, is that OK?).
It's perhaps best to put up a separate request for beta readers either in Writing Discussion or Writing Group (though the latter will only be seen by members with over 100 posts). Anyone interested in the complete m/s will see it and respond, but there might be members who'd be happy to give feedback on a few chapters or so but might not want the complete thing at this stage, and you risk missing them.

Also, to my mind a general email offer is a bit of a scattergun approach -- for myself I'd want to be assured of beta readers' competence before offering my m/s up to just anyone. But formal beta-reading does come with a downside, of course, since you'd need to be able to reciprocate if the other members had WIPs on which they'd like feedback.
 
OK, let's do it as you suggest. I'll put up the next section this evening and then see if anyone is interested in being a beta reader in the Writing Discussion or Writing Group. I'm quite happy to crit someone else's MS in return.
 
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