The Inexorable Rise - Act 1, Chapter 1, PART 3 of 3

BT Jones

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Hi @Guttersnipe, @Joshua Jones, @Jo Zebedee, @elvet, @Provincial, @jd73, @The Judge, @Guttersnipe, @sule, @pambaddeley, @AnyaKimlin, @IronTaurus, @tinkerdan, here is the final part of my opening chapter.

Where it ends up is more emblematic of the theme and tone for the rest of the story. I'm sure much of the same criticism will apply to this, albeit with a little more focus on the character's actual movement and awakening.

As always, I greatly appreciate you reading and any comments you may have. There may not be much new to add over and above what you have already said, but any comments are appreciated. I think I already know how I want to rewrite this: take much of this 3rd part following the character's movements and bring it right up to the top, interspersing it with selected ominous visions.


I could not dispute my grasp of the consequences of my actions, but I did not articulate that. In fact, the impression remains that my response may have been to the contrary, and one of wilful defiance – a demeanour leftover from the events immediately preceding my arrival at the forge. Does this now explain the pure savagery of the punishment I subsequently suffered? Did my unwillingness to surrender to its whim set in motion the unspeakable torment that followed? And does that not perfectly explain why it, hitherto absent, is now here, pacing about outside my tomb – and doing so impatiently, if my assimilation of its radiating disposition is correct?

It begs the question. When I first arrived in this limbo, I was cocooned in fear, subservient, with nothing to distinguish me from the faceless multitude fouling the foundry’s flagstones. Sensing I was without hope, it unlatched the lid to my casket…and the reason why is obvious.

Bovid submission offers scant satisfaction. The abject hopelessness of the forge’s inhabitants is the antithesis of the carnal pleasures after which it lusts. Servitude is its meat and drink, but abhorrence and recalcitrance are the lavish banquet upon which it craves to feast. What reward can it be for such an all-conquering entity as it to preside over epochs of despotism without so much as a scratch at its libidinous itch?

As such, it would remember the defiant ones. It would have recalled my fierce resistance at my internment and the orgy of ecstasy it would have revelled in upon my eventual annihilation. Correspondingly, the eternity of disembodied, soulless deference I inhabited thereafter could only have drawn its contempt. In resignation, I was casual sustenance, but in rebellion, I was a courtesan, hence my extraction and the seditious flame within me its lusting has subliminally stoked – all of which underlines the unprecedentedness of the opportunity before me. Thus, my decision is clear.

I will satisfy its hankerings. If it wishes to revel in my insolent scepticism and the crushing acceptance of defeat that follows, then I shall deliver it in spades. The blazing punishment it will subject me to for my insurgency will burn the very fibre of my soul, but, in time, it will remember how I, unlike the oceans of serfs at its feet, was willing to personate for its amusement. I will have earned favour, and after further centuries presiding over spiritless compliance, it will recall those past delights and trawl me from the manifold once more for a repeat performance. Twice bitten, my hesitancy to take the bait will thus be tenfold by comparison. Its patience will be tested as I prolong the act and remain forcibly obedient. All the while, unbeknownst to it, I shall float blissfully adrift in the inert oblivion of this temporary realm. I will soak-in the peace and respite like a sponge, teasing my return to the stage from beyond that thick, black curtain.

The determination radiates from me. Fists clenched; my body physically bristles. Just then, I feel movement. My heart drops and my fortitude wavers as I imagine the trapdoor behind me opening. A moment later, immense relief washes across me: the movement is axial. I feel the iron veil lifting from my forehead and my body weight sink into to my feet – the chamber is rotating. The further it spins, the heavier grows my head, and soon, it is as a dead weight, challenging my balance. Then, I am upright and the block of lead atop my shoulders tips forth and strikes the glass lid…, which yields completely, unhinged

I feel a blast of air against my face, strangely filtered. The space outside the chamber seeps in; stuffy and noxious, as before. I swig a deep breath within the cool confines of the casket before moving forward, but my balance is ill and I spill forth, crumpling onto my hands and knees. All my joints throb – the aftereffects of my reassembly, no doubt – and my heart pounds uncontrollably as I survey the space around for the ferrous master. But I can see nothing except the oscillating ghosts of gentle candlelight. Then my sense of touch rallies. At my fingers, the ground is flat and gritty, like cinder, carried in a thin veil of oil, which I sweep aside. Beneath are stone slabs – a familiar texture…; and one that swiftly implodes my soul.

I have been duped. I am back in the vestibule. This was where I started. The service cycle is already complete. My torment is reset.

Foreboding clenches at my core like a tumour. The antechamber swirls around me like a black vortex. I am lost once more, on the brink of spiritual surrender. My resolve has dissolved at the first hurdle. There is no fire inside me, only a vacuum. If there is pleasure to be had at my expense, then it is through laughter. The fragility of my defiance is a divine comedy. I am no dissident, and I am certainly no courtesan; I am a court fool, whose pathetic moral fibre must surely now be renown throughout the forge.

I land a pitiful petulant thump on the stone floor…that instantly defibrillates my shrivelled heart. In my head, I kick myself; floored, broken, delirious and doomed, I may be…but I am also whole and free or torment, still. It is a reminder that I didn’t break from my tomb to flee the forge or to save my eternal soul; my solitary goal was to defer my repeat dissection for as long as possible. Slumped here on the stone floor, I risk the wrong wrath of the dark lord. Feeble surrender could see me cast back to the foundry in an instant, in favour of any soul who might better gratify its lust. Thus, if a fleeting moment of respite is the sole prize to be had, it shall be I that claims it – and with disappointment in me at its apex, when better to stage a comeback.

I strain to rise on to two knees, then one. Finally, I stand and turn in the direction of the muttered voice I can hear, past a fortification and into a second chamber of amber-kissed black. And there, at last, I see it: a dark golem, faced away from me, hunched before a confounding iron rampart, glowing blue – and I feel sure my intimation that it has not seen me is a false one.

I advance and my diatribe begins. I cannot decipher my own words, but they are suitably pyrotechnical. Compounding the onslaught, I unleash a barrage of cerebral vitriol, knowing full well it hears my thoughts just as loudly as it does my voice. Then the tirade ends, and I recoil to await the blitzkrieg of inarticulate snake-speak and clairvoyant alien rhetoric that will inevitably follow. But nothing happens. It is unmoved.

Realising I have not yet attainted the requisite extreme of performance, I recommence hostilities. Rabid revolutionary froth hawks from my mouth. Indignation shapes my features, but it is in stark contrast to the unmitigated terror quaking my core. Has it sensed the facade? Or is there a second actor amongst us?


Still, it pretends not to have seen or heard me. Still, it faces the archaic blue steelwork of this battlement, subliminally enticing me further. So, I unleash; I bellow my disgust at its fell appearance. I urge it to continue ignoring me, lest I mistake it for a sentient being of culture and intellect. My venom reaches its zenith.

And, finally, I am heard. Around it spins, eliminating all innuendo and metaphor in a single glare, which desiccates my spirit. Its body is an inferno; incendiary charcoal black from top to toe with veins of fire and a wild conflagration across its shoulders, cascading down each arm like molten magma from some ungodly vat. From its breast spouts a hideous, two-headed monster with sharp fangs and a piercing red glare. I gaze into its eyes, which lock upon mine. They are dead and blackened yet burn with a rage and hatred beyond nightmare.

It surges forward, and finally my quivering whits can no longer maintain the ruse. In terror, I stumble backward, and my gelatine legs buckle. Looming above me, the dark lord’s barrel chest swells, as its quickening breathing reaches an apex. It raises a giant fist, and as its shrivelled scrawl of a mouth opens to talk, I brace to be burned anatomically by the hellish connotations of the utterance that follows.

“Are you going to quit your bloody racket or am I going to have to come over there and knock you out?”
 
“Are you going to quit your bloody racket or am I going to have to come over there and knock you out?”

Hah! I knew it. I knew this was going to end on some seemingly pedestrian note. At least that's how it seems to me, like this isn't some tormented demon consigned to the nether but a teenage boy struggling to get up in the morning or something. I don't know if it is that, but ...

Yes, my original comments still stand, but it must be said you do have the ability to turn a great, epic phrase. In that regard your writing is quite a joy. I am slightly curious as to who this character is and what they're going to do next ... but it's a fragile curiosity.
 
Hi, BTJ.

Well, I liked the punchline (no pun intended), but the rest of it turned me off completely. To me it seems as if the language has gone right off the rails, so now your protagonist sounds ignorant as well as pretentious; if he is going to be my guide through this fictional world then I don’t want to know. In my head I would be correcting the stuff he says all the time I’m reading it. My sympathies are entirely with the golem/dread dark lord/whatever who has to put up with him.

Some issues:

1) ... assimilation of its radiating disposition - sorry, but what does this mean?
2) It begs the question. - Which question is that, surely not the one about whether you‘re right about the above?
3) cocooned in fear - This makes it sound like the fear was making his experience nice and comfy.
4) Multiple mis-spellings and misuse of words, such as whit, attainted, subliminally, renown, diatribe, and personate. This is not a complete list.
5) If I hadn’t promised to read it thoroughly I would have given up long before the end and not reached the punchline, which was the only positive thing in the whole section (not original, but still amusing).

Sorry, but in my opinion the prose just turned purple. You have a lot of hard work ahead.

Looks like jd73 and I have opposite opinions here. Good luck with sorting that out! :giggle:
 
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After a bit of skimming, where I had all the same objections as before to the verbosity, I jumped to the end to see if the punchline was worth it, and to be honest it wasn't. To me it felt trite and ridiculous, like a Monty Python sketch that had been extended hours beyond its natural length (though I'm guessing I have a far lower tolerance for Pythonesque things than either jd73 or Provincial, let alone you). Had I forced myself to read through the preceding thousands of words to get to that line I'd have been hopping mad -- not only would I have quite literally thrown the book down, I'd have made up my mind never to read anything else you might write.

If you want to keep the deliberate bathetic tone of that last line to try and raise some laughs, then to my mind you can't afford to have more than a few hundred words preceding it. But personally I'd still dump any novel that ended a scene like that unless (a) the book was clearly meant to be funny, like a Terry Pratchett or (b) the writing before it was superlative.

As to the writing, even on a skim read I noticed errors, eg "whit". And although it's a common mistake "It begs the question" does not mean "It raises the question" even if people misguidedly use it as such. Rather it means "It assumes the answer" as when someone has framed the terms of an argument or statement in such a way that the answer is a foregone conclusion ie circular reasoning of the "The Judge is the best because she is the Judge" type which, while clearly true, doesn't take us very far.

I know you've decided to re-work this whole scene radically, but in view of your comment about taking "much" of this third part and interposing it with the ominous visions from earlier, I rather suspect you're not going to be radical enough. Instead of trying to see what you can save of this vision and this writing, I really think you need to ask yourself what is actually needed to tell the story and/or to show this character without which the novel as a whole won't make sense or will be considerably lessened. Frankly, I think the answer is likely to be very little of this is required or desirable.

Anyhow, good luck with it.
 
I could not dispute my grasp of the consequences of my actions, but I did not articulate that. In fact, the impression remains that my response may have been to the contrary, and one of wilful defiance – a demeanour leftover from the events immediately preceding my arrival at the forge. Does this now explain the pure savagery of the punishment I subsequently suffered? Did my unwillingness to surrender to its whim set in motion the unspeakable torment that followed? And does that not perfectly explain why it, hitherto absent, is now here, pacing about outside my tomb – and doing so impatiently, if my assimilation of its radiating disposition is correct?

There's a certain beauty to the 'shape' of your prose, of your prose section. Your rhythm and bounce is excellent.

As a performer, let's say as a narrator on a stage, that first sentence would garner a response: laughter, curiosity with its back-forth contradictions.

If you read aloud with eyes & an expression you might carry the audience into your world...for a while. But you require marbles, nuggets in the paragraph for readers [in particular] to hang on in the slipstream, or the whole thing becomes a wash. It is a frustrating read. One idea would be to sandwich this MC's thoughts between more manageable narrator voice? One other possibility is that you, the writer, you have the vision in your mind, but the draft hasn't reached a level of 'sense' where a reader can respond...in the way that you want them to...if that's the case...you could write on. I'd like more precision, and more of a 'pay-off' for my hanging in on bovid, libidinous itch and suchlike...

All best, lots to like, you might not get there with this project, but the next one...almost willing you to exploit the pomposity, Augustus Carp, Pooter...

[maybe I mean 'bombast'?]
 
Looks like jd73 and I have opposite opinions here. Good luck with sorting that out! :giggle:

We're probably closer than you might think. I will say this for the OP: the writing technical quality - the vocab, the grammar - is absolutely decent enough, imo, and there is some rich imagery and load bearing phrases. But the relentlessness of the style is going to put a lot of people off, I agree with that. Even for me it will have to deliver something very soon, whether it's a change in tone or a compelling narrative justification for the sheer density of it.
 
My main problem with it was that it was too long. Somewhere around halfway through I completely lost sense of what was happening or had happened. It did feel like you restated some things multiple times throughout. As for the final line, I agree with The Judge that it didn't work because for me the rest of the passage went on for so long that it felt like a gut punch once I got there. You're a talented writer and it sounds like you're already committed to a plan of action on your second draft, so I wish you the best of luck with that.
 
It's extremely well-written, but like some others here, I sometimes had troubles understanding what exactly was happening. Keep writing--you clearly have a talent.
 
I still think you have a reasonable story and a potentially interesting character, but I still think it's being overwritten. Yes the writing has some great points but they are being buried in too many words. It's the old saying "Why use a hundred words to tell a story when one will do." Even in literary fiction that usually holds true as whilst they may bury the plot they don't bury the character. Pull back on the language, keep the metaphors but instead of overdoing them in the tense moments pare the language right back and shorten the sentences. The tension of the ending is lost in description.

I did an example again but to be honest I think it needs paring back a bit more. And the italics are just making it difficult to read.

I could not dispute my grasp of the consequences of my actions, but I did not articulate that. Does this now explain the pure savagery of the punishment I subsequently suffered? Did my unwillingness to surrender to its whim set in motion the unspeakable torment that followed? And does that explain why it, is now here, pacing about outside my tomb.

Sensing I was without hope, it unlatched the lid to my casket. Servitude is its meat and drink, but abhorrence and recalcitrance are the lavish banquet upon which it craves to feast.


Still, it pretends not to have seen or heard me. Still, it faces the archaic blue steelwork of this battlement, subliminally enticing me further. So, I unleash; I bellow my disgust at its fell appearance. I urge it to continue ignoring me, lest I mistake it for a sentient being of culture and intellect. My venom reaches its zenith.

If you are going to repeat something it's usually a good idea to make it three or more then it reads as a deliberate style choice.
 
Thanks so much @jd73, @Provincial, @Jo Zebedee, @The Judge, @Matchu, @sule, @Guttersnipe, and @AnyaKimlin (and thanks @AnyaKimlin for the suggested modification).

It's clear I desperately needed this feedback to shake me out of my stubborn and rather naive determination to keep this as is/was. I suppose I was suckered by the great reaction I had from 1 of my Beta readers. She said she laughed out loud on the train and loved the verbosity. Then again, the other 3 people that read it said it was a slog, and it was a firm 'no' from the 6 agents I sent it to (little wonder now, I think), so its just as well I didn't send it off to anyone else.

For the record, it was never meant to be a funny ending, just a release of the tension and something to maybe get the reader curious as to where it was going. But as per the reactions of the previous 2 posts as well, it's clear I would have lost 95% of anyone that might have picked it up at this point.

What follows is actually quite tense and serious; 4 characters gradually being wheeled into a room inside capsules by a mysterious character in a hydraulic walker frame. The air is slightly noxious (but clean and cool in the chambers) and the gathered have to decide whether to stay put or break out (into God-knows where). There is an element of gruff comic relief from 'the dark lord' (a middle-aged, conservative layman) and quite a bit of conflict from the different characters as they struggle to work out who they are and where this is.

But, as you say @The Judge, I need to decide what I really want to achieve here. I love the dark imagery and I love the twisted state of mind this character has. At the same time, he's not the main character. In affect, he's probably joint 3rd in the piece for relevance and impact. I just felt that opening the story with a bit of a red herring was a good idea somehow. Clearly I'm just on a different planet to everyone else (and I mean that as self-criticism).

As you say, @Provincial, I have a lot of hard work ahead.

Thanks again everyone.
 
Once again this has a certain tone to it that is refreshing to read.
However:
My first impression with the first one of these is--that's a lot of heavy dense prose.
My second impression with the first and the second was whoa, that's too much dense and heavy prose.
My third impression with the third added to the second to the first, this is overwrought with dense and heavy prose.

One problem is that some of the words begin to stack up in such a way that it might take a moment to research to find out what the intended meaning of some of the words are in context. That gives the impression of someone sitting with a thesaurus at hand and lots of extra time to go back over and try to find the wordiest sounding words.

That's not to say that I don't think you could write this way naturally. However at this point I would expect the rest of the story to read just as dense and heavy as this portion. Unfortunately when I go back and look at what might come next I realize that's not the case. This ends up like a double edged sword where you really need a shoehorn.

What I mean by that is that a reader like myself might stop part way through thinking that I can't take much more of this and then get to the end of this piece and not really appreciate the little twist. Others might throw it out at the end of the first or second page of this because they don't think they could endure this for the rest of the novel. While others might get excited by this and get to the real story and wonder if all of that previous was just pretentious writing that even grew tiring to the author and now it looks overwrought alongside the rest.

On the other hand, if it were clear that this character was not in the next Chapter, that might explain the change in prose style and maybe when the character does show up they can hope the prose will switch back. That might work.

The problem I have with this....
“Are you going to quit your bloody racket or am I going to have to come over there and knock you out?”
Is that by the time I reach it, I still have no clue what importance these lines have.

Is it comedic?
Is it Ironic?

This could be the big bad that is out of character with the first thing it says.
Or
This could really be overwrought writing for the reality of the situation.

I honestly was hoping for something at the end of this one that would explain everything being described and either it is not there or I was so confused by the whole that I missed it entirely. There is a high probability I would skip this and go for the real chapters and then maybe as an afterthought go back and read it and try to figure it out.

I might not be your target audience on this. I'm just not sure that it targets a single audience and that could hurt more than help.

Lastly; the bolds don't seem to serve a purpose and one reason for that is there are too many in your writing. An occasional bold now and then every several pages might work; however it's almost as though you don't trust the reader to understand the meaning of It in the context. The adverbs and other modifiers draw attention to themselves without boldly helping them along.
 
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Thanks so much @jd73, @Provincial, @Jo Zebedee, @The Judge, @Matchu, @sule, @Guttersnipe, and @AnyaKimlin (and thanks @AnyaKimlin for the suggested modification).

It's clear I desperately needed this feedback to shake me out of my stubborn and rather naive determination to keep this as is/was. I suppose I was suckered by the great reaction I had from 1 of my Beta readers. She said she laughed out loud on the train and loved the verbosity. Then again, the other 3 people that read it said it was a slog, and it was a firm 'no' from the 6 agents I sent it to (little wonder now, I think), so its just as well I didn't send it off to anyone else.

For the record, it was never meant to be a funny ending, just a release of the tension and something to maybe get the reader curious as to where it was going. But as per the reactions of the previous 2 posts as well, it's clear I would have lost 95% of anyone that might have picked it up at this point.

What follows is actually quite tense and serious; 4 characters gradually being wheeled into a room inside capsules by a mysterious character in a hydraulic walker frame. The air is slightly noxious (but clean and cool in the chambers) and the gathered have to decide whether to stay put or break out (into God-knows where). There is an element of gruff comic relief from 'the dark lord' (a middle-aged, conservative layman) and quite a bit of conflict from the different characters as they struggle to work out who they are and where this is.

But, as you say @The Judge, I need to decide what I really want to achieve here. I love the dark imagery and I love the twisted state of mind this character has. At the same time, he's not the main character. In affect, he's probably joint 3rd in the piece for relevance and impact. I just felt that opening the story with a bit of a red herring was a good idea somehow. Clearly I'm just on a different planet to everyone else (and I mean that as self-criticism).

As you say, @Provincial, I have a lot of hard work ahead.

Thanks again everyone.

Another way to think of it is - keep the text as is, but use sparingly, scattered about the place, not all in one locale. It's clearly part of "your voice" so make it work for you, but just watch for overwhelm. You could always work it in among more workaday styles, perhaps as part of this charcater's deep POV.

Gruff comic relief from a dark lord? I mean, I'm almost kind of tempted to invest on that basis alone :)
 
My first impression with the first one of these is--that's a lot of heavy dense prose.
My second impression with the first and the second was whoa, that's too much dense and heavy prose.
My third impression with the third added to the second to the first, this is overwrought with dense and heavy prose.

:LOL: Too true, @tinkerdan.

One problem is that some of the words begin to stack up in such a way that it might take a moment to research to find out what the intended meaning of some of the words are in context. That gives the impression of someone sitting with a thesaurus at hand and lots of extra time to go back over and try to find the wordiest sounding words.

And I think this probably sums up exactly how tone deaf I was when I wrote it because that's almost exactly what I did in some places. It sounds awful and pretentious when I read that. All I can say is it was never my intention to be verbose or pretentious for the sake of flair or artistic merit. I genuinely just wanted to capture this guy's world and portray it for the reader. I wrote the latest draft of it BEFORE I joined the Chrons and learnt so much from everyone here, so I know a lot more about what people want to read now.

What I mean by that is that a reader like myself might stop part way through thinking that I can't take much more of this and then get to the end of this piece and not really appreciate the little twist. Others might throw it out at the end of the first or second page of this because they don't think they could endure this for the rest of the novel. While others might get excited by this and get to the real story and wonder if all of that previous was just pretentious writing that even grew tiring to the author and now it looks overwrought alongside the rest.

This is the root cause of my problems. I write what I want to write, not what I think people want to read. And, obviously, I want people to read this, so I have to find that happy medium. I think the concept that I struggle with is when I read quotes from authors saying 'don't ever let the reader catch you writing.' I think Elmore Leonard said words to that effect. I sort of get what he's trying to say. But on the other hand, if I'm a writer and I'm not allowed to write, then what am I doing? I might as well feed the elements into some computer algorithm. I tried to read a William Gibson novel a few months back and it was a book with all the writing extracted. It felt to me like a novel for people that didn't have time to read novels. I just didn't get it AT ALL. It was like watching the world from an escalator. But, again, there's a happy medium I need to find.

Is that by the time I reach it, I still have no clue what importance these lines have.

Is it comedic?
Is it Ironic?

This could be the big bad that is out of character with the first thing it says.
Or
This could really be overwrought writing for the reality of the situation.

It's supposed to be the gruff utterance from an impatient, blue-collar guy who has ended up in the same boat as this character. It was a criticism of my Act 2 post that I didn't have enough scene-setting detail, so you are on the money here. I need to flesh out the scene better.

I might not be your target audience on this. I'm just not sure that it targets a single audience and that could hurt more than help.

At this point, I think I'd settle for ANY audience. :p At the moment, I think its at 'end is nigh' nutjob territory. I'll go missing from the chrons, imprisoned for narrating my dark tales to an unwilling public on a street corner!

Lastly; the bolds don't seem to serve a purpose and one reason for that is there are too many in your writing. An occasional bold now and then every several pages might work; however it's almost as though you don't trust the reader to understand the meaning of It in the context. The adverbs and other modifiers draw attention to themselves without boldly helping them along.

These goes back to another comment made to me about writing in regular font, then having emphases in italics. I was under the misguided impression that all internal thoughts should be italics, and how do I italicize italics? Make it bold. But, agreed, don't think this works.

Another way to think of it is - keep the text as is, but use sparingly, scattered about the place, not all in one locale. It's clearly part of "your voice" so make it work for you, but just watch for overwhelm. You could always work it in among more workaday styles, perhaps as part of this charcater's deep POV.

Gruff comic relief from a dark lord? I mean, I'm almost kind of tempted to invest on that basis alone :)

Thanks again for your encouragement. @jd73. I'll be sure to update those of you interested in it if I am able to make something of it.
 
This is all a challenging time, and I do think it's important that you take time to reflect. The last thing you want to do is change your style and then end up hating what you are writing. As others say, it's not the actual writing skills that are a difficulty here, but the storytelling ones, I think. If I was to ask you what the hook is, the thing that will make me ask questions and continue reading, was - what would you say? Loathe as I am to recommend writing books, not being that kind of gal, Save the Cat might be useful, and the Brandon Sanderson Youtube lectures are good, too.
 
These goes back to another comment made to me about writing in regular font, then having emphases in italics. I was under the misguided impression that all internal thoughts should be italics, and how do I italicize italics? Make it bold. But, agreed, don't think this works.

The usual thing is to write thoughts in italics and emphasis within thoughts not in italics (if you are going to write thoughts in italics at all), so you might write:

She must have meant every Thursday, Bob thought.
 
Thanks for the recommendations, @Jo Zebedee and @AnyaKimlin. I will look them up.

I think. If I was to ask you what the hook is, the thing that will make me ask questions and continue reading, was - what would you say?

Well, my original hope was that people would see this rich, vast, terrifying realm of darkness and get sucked in, and tensely follow the (admittedly) slow journey of this character battling his demons and emerging from his shell (and his capsule) to confront the entity he perceives to be this dark demon, only to be totally taken back by its response to his appearance. I had hoped people would be curious enough to keep reading.

I think, in hindsight, my folly is that I am probably very selective about what I would like to read, so mistakenly assumed everyone would be just as interested as I. I was clearly wrong. I am very drawn to the beauty of darkness and horror. I'm a big fan of dark music, films like Alien, and also abandoned structures because I can see the beauty in decay. I'd hoped to portray a vivid world that people would be infatuated by. I should have known that most people wouldn't share that love (beyond the obvious practical issue of too many words).

Anyway, I suppose the long-winded answer is I want people to be curious about the character, his surroundings, and what this place truly is. And I think that answer is triggering the realisation in me that you probably hoped it did: if that's what I want, I better make darn sure that's what I blooming well give the reader! Thanks for sowing the seed, Jo.

The usual thing is to write thoughts in italics and emphasis within thoughts not in italics (if you are going to write thoughts in italics at all), so you might write:

She must have meant every Thursday, Bob thought.

Actually, that really works @Toby Frost. Great idea. I will switch to that from now on!! Thanks!
 
As to internal dialogue or thoughts. I read somewhere that when done well they are in the regular text with everything else and they show up in such a way as the reader easily knows it is internal dialogue.
I've even read some books recently that do it well.
 
Hi @BT Jones
I would agree with the other comments on here that the prose is way too purple to be taken seriously. There were a couple of sentences that made me laugh, although probably not for the right reasons. Looking at your comments I think I can see what you're trying to achieve, but using a style like this is not the way to do it, IMO.
I'm also wondering about the use of 1st person here. Is this story truly meant to be accepted by the reader as the hero's own written account of what happened to him? Or (shudder) is the story going to end with the hero describing his own death? I'm asking because, and I freely admit this, I can't read a 1st person story unless I can accept that this guy did survive his adventures and did find time to sit down and bash out his memoir.
Having said all that I did like the concept; gothic horror and pseudo-science experiments, what's not to like.
 

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