First attempt at intro scene

Topher

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Nov 20, 2020
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Hi Everyone!

I thought I'd celebrate the fact that i've just reached 30 posts by posting something here, hope that's ok! With my previous non-fiction writing I've always been quite cagey and anxious with letting people read what i've done until i think it's perfect, which is a very bad habit i'm trying to get out of, so thought I'd try to force myself to put myself out there a bit more :)

This is the first fiction writing i've done since having my love of writing pretty much destroyed by a very boring English GCSE teacher 20 years ago. I've got some quite rough ideas for a fantasy novel, mostly world-building and vague plot direction, but i've been struggling with coming up with a concrete plot and concrete characters, so I thought that maybe just starting to write something might help with that. Below is a part of what I've come up with so far. It was written with the idea that it would be the very beginning of the story.

Obviously I don't really know if any of this would end up in whatever I end up with, but since it's my first attempt I'd really appreciate any feedback on general style. Do I seem to be approaching it right? Does it read OK? The big challenge that I see so far is dropping world-building into scenes - have I managed that do you think? Basically any comments at all appreciated (I'm fine with criticism, so please don't hold back!)

Thanks a lot!

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Saa stood still, leaning against the south trunk of the half-grown hut. Patrols didn’t usually continue this late into the evening; she had been caught off guard. Not that she had anything to hide - she had been keeping her head down for weeks - and there was no rule that forbade her from being out at this time. But neither did she have a good reason to give for being this far from the center, and Twig and Annfore would never forgive her if soldiers started sniffing around the old forest because she was seen wandering nearby.

She leant her head against the young wood and closed her eyes, taking in the fresh, green smell, feeling the life pulsing through the thin, papery bark. She just had to wait. They’d be gone soon enough.

Their voices, low, gravelly and crude, grew louder. They obviously weren’t looking for anyone in particular, or they’d at least be trying to be stealthy - just showing a presence, then; just there to scare people into their homes. Their footsteps stopped at the other side of the hut, the structure creaking as one of the soldiers leaned against it. The harsh, dead smell of tobacco wafted towards her.

Saa waited, cramp working its way up her back from standing so still. Time passed slowly, like thick, viscous sap, Saa some insect trapped as it congealed around her. The puff-puffing of the soldier’s pipe filled her ears, the sound carrying across the space between them in the still, silent evening air. Scuffing as one of them kicked at the dirt and the roots of the hut. The pipe was re-filled; the scuffing continued. Dusk faded completely, the low moon becoming the only source of light. Still she waited.

Eventually, one of the soldiers laughed, the kind of harsh guffaw that can only be at somebody’s expense. He muttered something, and the second soldier chuckled. Then a gruff yawn, another creak in the structure of the young hut, and footsteps, heading away to the west, away from the forest edge and back towards the center of town.

Saa waited until she was sure the soldiers were well out of sight before emerging into the moonlight and dashing across the path into the forest. It welcomed her like a daughter. The enormous trees surrounding her--decades dead, still bearing the scars of sickness--were abuzz with life, decay feeding into youth, rot sustaining abundance. They towered around her, disappearing into the darkness above. Saa breathed it all in, the rich, humid air, the warmth of the mulch beneath her feet, the energy singing around her as nature made new life from the death of the old. She let it wash over her, cleanse her of the grime of the factory and the unlife of the day’s work.

She walked deeper into the forest, lighting her mini lamp only when it was really too dark to see. After a time, she stopped at the foot of a massive, gnarled trunk. On its north side was a long hole in the bark, about half as tall as she was. She knelt and placed her hands on the woody flesh beneath. Slowly, the wood began to separate from the bark, and then continued to shrink until eventually only a short, thin sapling stood in the middle of the giant, hollow carcass of the ancient tree.

Saa ducked through the hole, turned, and squatted over the sapling, hands on its topmost branches. The sapling began to broaden and grow, until it lifted Saa clean off the ground and up, through the skeletal tunnel above.

A few seconds later, Saa emerged into a large, familiar room.

“You’re late, Saa. Been out chasing girls again?” called Twig from his favourite spot, nestled in a wide hammock formed from the interlaced branches of two of the young trees surrounding them.

“Patrols, running even later than yesterday. Had to wait for them to clear off. Any idea what they’re so twitchy about?”

Twig hung his head over the side of his hammock, a smug look on his face. “I might have an inkling”


The room--their hideout, Saa’s home from home--was cluttered, bits of half-finished projects piled on almost every available surface. The walls were formed from six young trees, each growing from a different branch of the skeleton whose trunk she had just ascended. The young trees, clean and bright, untarnished by the sickly spots that covered those below, leaned slightly inwards, so that they almost met in the middle forty feet above. Platforms like the one Twig was lounging in criss-crossed between the trees at different heights, some forming small worktables, some connecting almost all of the six trees to form upper stories, and one right at the top forming a roof. Long, vertical branches descended from the upper platforms to form ladders, short stubby nobbles acting as rungs on either side.

“I take it the troops are out looking for all their dirty dishes and greasy foodsacks, then?” Saa asked, looking around, an exaggerated look of disgust on her face.

“Erm, yeh probably, sorry” muttered Twig, dropping down from his perch and hurriedly grabbing handfuls of rubbish.

“It’s OK, only teasing.” She wasn’t, not really. The hideout had largely been Saa and Annfore’s work, had taken them years to get to this point--planning it, acquiring the seeds, spending every bit of life they could spare on speeding up its growth--, yet Twig’s mess made it feel alien and uncomfortable. Still, she didn’t want to make Twig feel bad about it. Saa and Annfore both had family huts of their own, places to live with families that loved them, however complicated. Twig had nobody but Saa and Annfore, and had been hiding away here for the best part of a year - he deserved somewhere he could make his own, somewhere he could feel comfortable and at home. She just wished he felt at home somewhere clean. “So what’ve you done this time to bring down the wrath of Trounce’s finest?”

“The vines! Saa they worked so well!”

Saa swallowed. Twig was supposed to be keeping a low profile - what had he got himself into now? “I thought we were waiting until we had at least five stable seedlings before we tried it for real?”

Saa and Twig had travelled for several months late last year, hunting for any plants more useful than the weedy grass that grew in the dry, sandy soil around their village, and the vine had been their most promising discovery. They had been trying to establish a stable stock of it before experimenting with it, to avoid having to retread old ground to find more.

“We do! Well, sort of four, but I dug down and a fifth seed looks kind of swollen, like it’s about to sprout, so I thought it was safe enough to-”

“And your controlled, inconspicuous tests with our new, top secret find ended with soldiers harassing the entire town how, exactly?” Saa didn’t want to get angry. Twig was impulsive, even rash, at the best of times, and he’d been stuck here by himself for so long. It was no wonder he was getting bored. She had been so distracted recently she’d hardly had time to visit, and Annfore had been away for weeks. But couldn’t he have just caused mischief with some old sample, something that they had plenty of reserves of and which he knew he could control?

“They didn’t, I played with it for a week before I tried anything! Saa it’s so good! It’s strong, really strong - I picked up that old chair with it, easy as you like - but it’s sort of supple and flexible, it goes right where you want it.”

Saa looked at the chair. Even from where she was, she could see several thin lines of small, light brown root fibres crossing it from top to bottom. “Twig! Look at that chair, it’s covered in roots! Tell me you didn’t try to steal something with this? You might as well leave an autograph!”

Twig looked down, hand rubbing the back of his head. “Well, I didn’t think it would matter. Nobody’s ever seen this before, so it’s not like they can trace it to us.”

Who else are they going to trace it to!? Saa took a breath, tried to relax. It’s not like she was the model of perfect precautionary measures herself. “Well, we’d better be careful with using it again for a while. Anyway, what did you take?”
 
I like the premise and the introduction does a good job of presenting a world and the start of a plot line. I see the intro as two sections and the main points seem to be:
  1. There is an authoritarian government on this planet.
  2. Saa and Twig are primary characters and magicians.
  3. The magic involves plant manipulation at the cost of the magician's life force.
  4. The government does not approve of magic or at least plant manipulation magic.
  5. The vine seeds will play an important role in the future.
For me, this sets the stage quite nicely for following chapters.

There are some areas where I think the tension could be enhanced to make the intro even more gripping. In the first section, I did not initially make the connection that Saa was hiding from the guards as opposed to waiting in plain view to be questioned by them. When I recognized she was hiding, it broke my flow and I went back to reread to see if there is something I missed. Perhaps be more explicit in the opening sentence or so that she is hiding for dummies like me.

In the second section, I feel like there is (or should be) an underlying tension between Saa and Twig. As Saa has just gone through a harrowing event and probably still a little pumped with adrenalin, I could very much see her having a very loud argument with Twig. For some reason, the discussion seems more like an academic discussion. Perhaps doing it purely as a dialog sequence and deferring some of the descriptive text to later might allow them to have a full blown argument.

Again, I like the world and have a feel for where the upcoming plot line might go. This is important for an introduction. For me, I like introductions that grab me with some opening conflict. I think you have the ground work set for this, my suggestion is only to turn the dials up to ten on the opening sections.
 
Interesting setting and setup. I think the opening around the hut with the soldiers was a little too long. It took five paragraphs (admittedly short paragraphs) for a scene where not much happened. You do a good job of setting up the world here, but I think it could be done a little quicker, especially as the following scenes duplicate the sense of Saa's connection to the trees.

One error:
Time passed slowly, like thick, viscous sap, Saa some insect trapped as it congealed around her.
I get the sense but obviously this sentence needs fixing.

I disagree with Wayne Mack about conflict between Saa and Twig. That relationship works fine for me as is. I think there is again too much description of the home and the process they went through to create it. You don't have to tell us all of that at once. It might be enough to know that it was a significant investment but whether that was in time, labour, magic or the equivalent of cash probably isn't too important right now. I'd rather you get on with the story and not give me so much background.

Twig's talk of the seeds does exactly that. It's an excellent way to introduce magic, politics and group dynamics while setting up the story.

Overall I like it. Promising!
 
I found this to be interesting.
However it needs editing, cleaning up, and tightening

For instance:
Saa froze stood still, leaning against the south trunk of the half-grown hut.
You could strengthen this by inserting something like froze in place of stood still.

Patrols didn’t usually continue this late into the evening; she had been caught her off guard.[If they caught her off guard then the reader can assume there is something unusual about them.] Not that she had anything to hide. - she had been keeping her head down for weeks - and there was[this is both passive and unnecessary information at the moment] No rule that forbade her from being out at this hour. time.

But neither did she have a Still, there was no good reason to give for being this far from the center, and Twig and Annfore would never forgive her if soldiers started sniffing around the old forest because she was careless. seen wandering nearby. [Wandering nearby?(nearby where) seems it would only be pertinent if she wasn't suppose to out now or she had something to hide.]

These are just the things I would look into when I do my edits and you might have better remedies.

Also cutting the fat will give you room to get closer to the character and let us know how she feels and show us a bit of why.
Such as why is she there? We really don't know why she has stood still or frozen. Is she afraid. Is she in a hurry? is she where she shouldn't be? Is she just the wrong color or race? Show this with some internal thought and get us engaged into why we should care about her being trapped somewhere while a couple of authorities are jawing and smoking with no regard for her discomfort. Show us why it would be bad for her and her sisters if they did see her and followed her.

Right now you are forcing the reader to take your word for it and using space to tell us and not trusting the reader so you find a need to explain that the Patrols don't continue into the night when what is most important is that late patrols have caught her off guard.
 
I really enjoyed the character and the world building. I'm finding the story a little slow and confusing in places.


Saa stood still, leaning against the south trunk of the half-grown hut. Patrols didn’t usually continue this late into the evening; she had been caught off guard. Not that she had anything to hide - she had been keeping her head down for weeks - and there was no rule that forbade her from being out at this time. But neither did she have a good reason to give for being this far from the center, and Twig and Annfore would never forgive her if soldiers started sniffing around the old forest because she was seen wandering nearby.

This is a good beginning. I would suggest taking out anything unnecessary and shortening the sentences as it will help increase the feeling of tension.


Saa waited, cramp working its way up her back from standing so still. Time passed slowly,

Standing still and time passing is a point that is laboured a bit much. By this point it is becoming repetitive.





She let it wash over her, cleanse her of the grime of the factory and the unlife of the day’s work.

This I found confusing. The world is built well but I need more about the factory to fit it in. And I'm unsure, yet, what unlife means. I'm sure both are interesting but here it's confusing.

She walked deeper into the forest, lighting her mini lamp only when it was really too dark to see. After a time, she stopped at the foot of a massive, gnarled trunk. On its north side was a long hole in the bark, about half as tall as she was. She knelt and placed her hands on the woody flesh beneath. Slowly, the wood began to separate from the bark, and then continued to shrink until eventually only a short, thin sapling stood in the middle of the giant, hollow carcass of the ancient tree.

This is either over described or under described. I feel like you are trying to tell us something about the forest and Saa's relationship with it. That maybe there is some fantasy here.



“It’s OK, only teasing.” She wasn’t, not really. The hideout had largely been Saa and Annfore’s work, had taken them years to get to this point--planning it, acquiring the seeds, spending every bit of life they could spare on speeding up its growth--, yet Twig’s mess made it feel alien and uncomfortable. Still, she didn’t want to make Twig feel bad about it. Saa and Annfore both had family huts of their own, places to live with families that loved them, however complicated. Twig had nobody but Saa and Annfore, and had been hiding away here for the best part of a year - he deserved somewhere he could make his own, somewhere he could feel comfortable and at home. She just wished he felt at home somewhere clean. “So what’ve you done this time to bring down the wrath of Trounce’s finest?”

Annfore comes out of nowhere and at this point goes nowhere. Maybe introduce her later in a different way.
 
I think your writing is very good. The worldbuilding felt unique and well thought-out.

My only issue was that I felt you could have gone into greater depth of detail about things--like the soldiers, the setting (its relative location and/or history), maybe a little more about Twig and their abilities. I'm not saying you should add in paragraphs of history and explain everything, but I would have like a little specificity sprinkled in throughout the already existing narrative so that I could have gotten a better feel for the world of the story and the characters.

This feels like a great start to a story, good luck on the rest of it!
 
"Saa stood still, leaning against the south trunk of the half-grown hut. Patrols didn’t usually continue this late into the evening; she had been caught off guard."
Great set up. However, If this were my story I'd consider starting with the second sentence. That way, the reader is instantly drawn into a dilemma and a character with a problem. I'd then put the first sentence right after (or soon after at least) as it is still necessary: it gives a name and let's us know huts are 'grown' in this world.
Keep up the good work and have fun!
 
Thanks so much all!! That's all really really useful.

I think I need to spend a bit more time working on plot before I keep writing, but all of your advice will really help going forward. Thanks again!
 
I liked this. It drew me in even though I suspect it's not a genre I would normally read. That's an accomplishment!

The piece offers some strong imagery and direct, believable dialogue. It's a healthy start to something longer because it develops a sense of suspense.

The sample doesn't answer all the questions that develop in the reader's mind about this new world he's entering, and that's fine. Let the reader discover your world over time as he reads further into your novel.

For improvement --

I agree 100% with J-WO to eliminate the first sentence. I like rocketing the reader directly into the tension of those patrols and what they could be about.

I found many small nits that could be eliminated by closer editing --

* be trying -> try
* Time passed slowly, like thick, viscous sap -> Time passed like thick, viscous sap
* “I might have an inkling” -> “I might have an inkling.” [period missing]
* “Erm, yeh probably, sorry” muttered Twig, -> “Erm, yeh probably, sorry,” muttered Twig, [comma missing]
* They had been trying -> They'd tried [Alter most the past continuous tenses in the sample to the simple past tense]

I suspect you probably know that the piece has these minor blemishes and presented it here regardless, but it's important to realize that a more thorough edit is required at some point before going forward.

My bottom line -- impressive. A good edit and you've really got something here.
 
I would suggest that you need a better hook. Your hook doesn’t hint at the plot, the character, or themes. It’s simply a statement of the character’s name with a hint of the setting. It doesn’t create a sense of urgency regarding the patrols. I’m not saying you must start with an action scene. But perhaps use the patrols to set an ominous tone. Maybe give some hints into Saa’s character by how she reacts.
Part of the reason I feel there’s a lack of urgency is that the patrols are generic brutish guards. A good hook could be highlighting something strange about them. Maybe something intimidating, eye-catching, and followed up by something along lines of, “they weren’t supposed to be out this late.” Maybe when Saa is escaping back to her home fragments of the guards are revealed through the shrubbery. Giving just enough information to let the reader create a picture, then finish it through their imagination is more impactful than just describing them. It could be used to sell the mysteriousness of the guards by only revealing glimmers of them.
I also feel like there’s a lack of urgency because it takes a while to get to the point. Maybe the story needs to start later than you originally had it at. Perhaps start with Saa scrambling into her hideout with the remark that the patrols were out later than usual. The ensuing conversation between them and other characters could be used to build up the patrols as intimidating. Or maybe start where you did, but find a way to condense it for better pacing.
 
This is some great writing here Topher you've made your world resonate with me and it's definitely a story I would like to read more of, the writing reminds me of Suzanne Collins who wrote the hunger games although with a more mature writing style (which was sorely lacking from that story) but with a more fantasy setting and I'd love to see it explored more.

I agree with Wayne that I wasn't aware Saa was trying to hide when reading that first paragraph and making that clearer would add to the suspense that you're creating. Also I agree with autoretscriptor about his corrections especially the sap part as I had to read it a couple of times to get the meaning.

However I disagree with Sonicsouls that you should remove the guard scene, he's right that maybe it needs to be more urgent but that could perhaps be increased by having them actually discover Saa and her having to run away. Also using J-WO's suggestions will help with that.

The world is almost reminicent of Naucisaa valley of the wind by studio ghibli, are the characters confined to spaces of industrialisation and the forest is kind of sentient, trying to rid itself of the "factories"? It seemed like Saa was almost scared of using unknown plants because they could take over and not be controlled, apart from the fact it draws unwanted attention.

All in all, I don't have much more to add because I think it's great already the "magic" system is interesting and I want to see how Saa et al are going to use it overthrow this government which seems to hate the, I want to say "druids"?
 
Thanks a lot for your very kind words @Edoc'sil ! To be honest I'd kind of lost motivation with my writing since before Christmas, mainly because of real life stuff, and seeing your generous comments pop up has been a nice prompt to get back to writing :)

I'm still trying to work out what the overall plot might look like, but hadn't planned on the forest being sentient, no - although that is a fascinating idea! The overarching idea with the magic system is that everyone has the ability to use magic like this, and that it used to be a pretty everyday part of life, but that a class of people had essentially monopolised the means of using it (by killing the forest and very tightly controlling the supply of seeds, only allowing plants that have been bred to be infertile to be bought and sold). So most workers are only able to use their magic usefully in factories owned by that class. The idea was that Saa et al would be something akin to hackers in the cyberpunk genre, using ingenious or black market technology (like the vine they had discovered) to get by outside this system.

Thanks also @SonicSouls for your helpful comments. As I said, this is very early days so I will definitely give more thought to finding a decent hook for the beginning once things have moved along a bit more.
 
@Topher - Glad to hear I motivated you somewhat, so this ruling class is kinda like Monsanto in our world! (If you didn't know they have tight control over the seeds that most famers use. They often only give seeds that don't grow into plants that themselves give seeds, requiring farmers to always buy from them and they essentially have a monopoly on it. But going from your story, I guess that was the inspiration! :) )
 
Yes pretty much @Edoc'sil ! That wasn't the original motivation (which was essentially to portray exploitation through a fantasy setting), but once I'd decided that the magic would involve the ability to guide and grow plants it seemed like the obvious route to go down. I have read a lot about Monsanto in the past, but hadn't actually made the connection while writing this - maybe I should do some more reading about them for inspiration! :)
 
I am new to this so sorry if I cant help much.
I liked the story a lot and would want to read more especially after the cliff hanger at the end. I like the theme of the authoritarian government and the magic plant people. There is a name for this that I cant remember, I think it was Botanokinesis? I like the characters and there personality's. For an improvement it would be nice if there were some forest animal sounds, because this is a forest that seems to have very little animals, may be she could surprised by a fox of something?
 
First of all, I'm so sorry that teacher wrecked you for so long. Authority who rips the love of creation right out of our hands is inexcusably cruel, and I'm so, SO glad to see you're able to move past it and begin to tell your tales again.

One thing is for sure: while not writing, you must have been reading, because this is really, REALLY solid. It's so solid that I get the rare joy having to nitpick, since it's just little details that seem off.

Punctuation right here: "growth--, yet Twig’s mess" - I think you meant an em-dash or a comma, not both. :)

Right now, the pacing is conversation - reflection - conversation - reflection, so if you wanted to break that up a little, you could change this part:

Saa didn’t want to get angry. Twig was impulsive, even rash, at the best of times, and he’d been stuck here by himself for so long. It was no wonder he was getting bored. She had been so distracted recently she’d hardly had time to visit, and Annfore had been away for weeks. But couldn’t he have just caused mischief with some old sample, something that they had plenty of reserves of and which he knew he could control?

And make that something they actually talk about. It would keep the pace moving, avoid things feeling repetitive, and set up both their characters and their conflict in the present, rather than just in her head.

That's really it for me. I enjoyed this, and I would 100% have kept reading it if I'd encountered this first couple of pages.

KEEP WRITING. Those lies that teacher told you were just that: lies.
 
@StrayApostateFromIronAbby - thanks a lot! That's a good idea, thanks. I want to do something with animals later in the book (just like these people grow plants, there is an army that transform animals to be stronger and more easily trainable to fight with), so setting up what animals are in the local area here would be good.

@thisreidwrites - thanks so much! That's very kind, and very helpful. I like your suggestion of tweaking that passage to be something they talk about rather than just reflection, thanks. I have still been writing, though quite slowly due to life stuff. I've written about two full chapters since I posted this - I'll try to post some more writing here soon :) thanks again for your encouragement!
 
"Saa stood still, leaning against the south trunk of the half-grown hut. Patrols didn’t usually continue this late into the evening; she had been caught off guard"

A solid start! It immediately tells me something is wrong, provides tension, and pulls me into what happens next.
 

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