Space Park Ranger

Toby Frost

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This is the start of either a novel or a long SF story. It deals with the hero, Vartha, being drawn into a plot by spies to assassinate the leader of a rival space empire. I suppose the real question is whether you'd read on, but I wonder about the balance between dialogue and description.


The viewing platform was eighty feet off the ground, but the leader of the herd was taller. Behind camouflaged and armoured glass, twelve people watched the whults lumber past.

“They operate on a cycle,” Chai Vartha said to the group. “Every seventy standard years or so, they take on male or female characteristics, to a ratio of about two to three. Then, once they’ve bred, they lose all sexual characteristics and go back to normal. What this means, in practical terms, is that they don’t breed often, which is why we’ve used artificial insemination to help them along.”

“That must take a big old syringe,” the old man said, grinning.

“Oh, Lee,” his wife replied, but she was smiling too. So too was the tall woman on the edge of the group: a small, shy smile that Vartha liked.

Lee and Mae were insurance brokers from the Association of Federated Worlds, cheerful people who liked to talk about their family. Lee was something in the Mammonite Militia, but he didn’t bother anyone about it. Nice, normal people from a crazy place.

Half a dozen massive heads drew level with the window, each of them the size of a truck. Necks thicker than pillars swung as if in a breeze. One of the heads turned towards the onlookers, and for a moment its four yellow eyes seemed to study the group, before turning away.

“Do they always stick with the same gender?” the tall woman asked. “If a whult becomes male once, will it always be male the next time around?”

“Good question,” Vartha said. “The answer is no. They vary, but the ratio in a group always comes out much the same. Nobody quite knows why: it’s most likely some kind of pheromone, but there are quite a few theories. Some people even think it’s psychic. Having a facility like this enables us to study it properly.”

“Thank you, Mr Vartha.” She looked to be in her early forties. Her name was Rosheen Dayce, and she was some kind of artist: “the boring kind”, she’d explained when Mae had asked her about it. She frequently stopped to sketch on a tablet, and Vartha assumed that she would be producing a full painting later on. He’d asked her about it at dinner last night, but she’d got embarrassed and dodged the question.

A big female whult opened the flaps on the side of her neck and emitted a low, floor-shaking boom. “That’s a sensory pulse,” Vartha explained. “They use it to scope out the area and to confuse predators. Good thing we've got the glass.”

“It's a nice setup you’ve got here,” a man said. He was about thirty, tanned and tough, with a small mouth and eyes that saw a lot. He knocked on the glass with his knuckles, as if to get the attention of the creatures beyond. The whulks ignored him: the sound and vibration wouldn’t carry though. “Where’d you get the glass, if you don’t mind me asking?” He’d claimed to live in the Free Belt, but his accent suggested the Kingdom of Hardan-Sarle.

Vartha did mind, but he wasn’t quite sure why. “I don’t know. I only deal with the animals. You’d need to speak to one of the maintenance staff.”

The man nodded, as if this was just about satisfactory. “I guess one of those things could do a lot of damage, if it got angry.”

Vartha shrugged. “Potentially. But they’re pretty placid. It takes a lot to get them riled, thankfully.” Something about the discussion unsettled him. Vartha pointed to the whulks: they were at the far end of the window, now, and soon would be gone. “Let’s move on to the next viewing station. We can go outside and have a proper look at them soon.”

He nodded down the corridor, and the group began to move. The middle-aged couple who’d complained about the food yesterday drew close; the man laughed, and Vartha had the feeling that they were laughing at him. He frowned, wishing that he’d got Lloyd to give them the tour instead of him.

“Excuse me? Mr Vartha?”

Rosheen Dayce was standing beside him.

“Can I help you?”

“Well, there a couple of things, really. I wondered if there was somewhere I could get some boots.” She stuck her foot out, showing him her sandal. “I’ve only got these, and if we’re going outdoors, I might need something a bit more rugged.”

“Sure,” Vartha replied. “You’ll be fine today, but you might need them tomorrow. I’ll talk to the guys back at the main complex. They’ll sort you out.”

“I really should have thought of it. I feel pretty silly now.”

“Don’t worry. They’ll be happy to help.”

“There is something else. It’s a bit more, er, private.”

Oh really? He wondered where this was going. He let the others walk on a little way. “How can I help?”

“The young man from the Free Belt. What’s his name, please?”

For God’s sake. Another good woman wasted in pursuit of a jerk. For a second, Vartha felt that he was betraying her by helping her in this. Then he remembered that it wasn’t his business, and he said, “Chak Golabassid.”

“Chak Golabassid,” she repeated. “Thank you.”

“I think he’s some kind of soldier,” he added. “Seems a pretty hard sort, if you ask me. Not a lot of fun.”

Rosheen looked straight at Vartha, and the shyness was completely gone. “He’s secret police,” she said. “He’s here to kill your animals. I can get rid of him for you.”
 
I liked the opening; it establishes what I assume will be the most important thing (the whults*) while also giving a decent amount of worldbuilding beyond them. I think the balance between dialgoue and description is fine. I would likely read on, mainly because of the reveal at the end of the passage.

*you twice (near the end) referred to them as whulks; I wasn't entirely sure if those were typos or if you decided you liked that name better

----------------------------------------------------------------
The rest of this post is small feedback on things that caused problems for me while reading, so you can ignore this if you feel like it.

For me, it felt a bit too long before I knew whose perspective the story was being told from. Maybe it's not actually that long (just over three paragraphs to get to Vartha's liking of Rosheen's smile). Perhaps I only thought that because there were three different characters introduced in that timeframe and my brain was flicking between them, trying to figure out who the POV character was (and perhaps I should have guessed it was Vartha since he was the only one with a name at that point).

I also didn't enjoy how you introduced characters. Everyone except Vartha was introduced as "the (X) [person]." The reason I had a problem with this is that you would subsequently reveal that Vartha (the POV character) already knew their names. This was incredibly frustrating. Why couldn't the character's introduction have included their names the first time? If this is being used to show Vartha's character (as in, "he thinks of people as stereotypes first, then later remembers their names") I think that could have been made clearer.
 
Dialogue and description. The second paragraph, which is the MC explaining things to an audience (but also to the reader) is bigger than the first paragraph. To my tastes, infodumps and exposition are almost always bad (I prefer to see it scattered along the piece); however, if you really must do it, I prefer narration as opposite to a character verbalizing things. In the second half, there's barely any description, just dialogue. So, answering your question: yes, the ratio dialogue/description is a little unbalanced, being heavier on the dialogue part.

Ensemble of characters. You described a lot of characters. Will they be important later on? It's hard to know if having an ensemble is good or bad because you didn't finish the scene (and many characters are more common in novels, but not even you know if this is a novel). It stops at a twist, but it needs climax and resolution. And that leads me to another tip: always finish things before sending them out.

Accents. Talking about the accent was a nice touch. It's a hint that that guy is not who he says he is. But what language is that? English? Space Common Tongue?
 
I think you have an interesting plot line set up by the end of the section, but I do not see signs of what is described in your intro blurb. Please continue writing this as it sounds like there is a good story to be told, but I think it still needs some refinement.

Unfortunately, as an impatient reader, I likely would not keep reading. Although there is an interesting hook at the end, I would not have read that far. I felt overwhelmed by the number of characters introduced with many of them not even given a name, much less a distinguishing characteristic. I really wasn't sure why this group existed; I guess this is some sort of Jurassic Park type tour group. I never got a feel for who Vartha is nor what his concerns might be. Lastly, I felt there were some inconsistencies within the story. Noticing these is probably an indication that I was not fully engaged with the tale.

* If the Whults are in an asexual phase, how would artificial insemination work?
* About halfway through, the text refers to a female Whult.
* Why did Rosheen wait until the middle of a tour to have a private conversation with Vartha?
* If Rosheen knows Chak is a secret police officer, why doesn't she also know his name?

I suggest probably trying to inject some action near the start and not relying on the reader soldiering through a lot of introductory text get to the spy thriller hook. Perhaps start with the Whult trumpeting and then stampeding past the viewing area. This would give me a sense of danger and concern and give me a reason to read to the reveal at the end.
 
I usually do inline comments but the mechanics of the writing are excellent, so I only have overall comments.

I enjoyed reading this and would read more. There is a tad much telling in the description of the characters thoughts. Presumably we are in 3rd person close to Vartha. Perhaps Vartha is making all this running commentary about the people he observes, but it was a little 20th century early SF type writing. The spies (or whatever) are a bit obvious. The man asking all those very suspicious questions, then the woman saying the man's a spy. Perhaps its meant to be obvious, but it seemed off.
 
Been a long time since I did a critique but, line-by-line, here we go. *sharpens claws* [On a serious note, I tend to be very critical].
***



The viewing platform was eighty feet off the ground, but the leader of the herd was taller.
Might read better to have his/her head poking above and peering at something or wandering by etc.

Lee and Mae were insurance brokers from the Association of Federated Worlds, cheerful people who liked to talk about their family. Lee was something in the Mammonite Militia, but he didn’t bother anyone about it. Nice, normal people from a crazy place.
Is this relevant? Potential to axe it if not.

Half a dozen massive heads drew level with the window, each of them the size of a truck.
Change to 'truck-sized heads'. Axe second clause. Same info, fewer words.

A big female whult opened the flaps on the side of her neck and emitted a low, floor-shaking boom. “That’s a sensory pulse,” Vartha explained. “They use it to scope out the area and to confuse predators. Good thing we've got the glass.”
Possibly add comment about it shattering if it were thinner?

Vartha shrugged. “Potentially. But they’re pretty placid. It takes a lot to get them riled, thankfully.” Something about the discussion unsettled him. Vartha pointed to the whulks:
whult*.

For God’s sake. Another good woman wasted in pursuit of a jerk.
Best line so far.

Rosheen looked straight at Vartha, and the shyness was completely gone. “He’s secret police,” she said. “He’s here to kill your animals. I can get rid of him for you.”
Although this is also pretty good. Scope, if you like, to make it more ambiguous (solve that problem etc).


A little more description of the space beyond the viewing platform would be good. I'm glad it moves swiftly onto the killing talk, previous bit was less engaging (naturally). Normally what I do with a new book is buy a sample. I'd keep reading past this point, and purchase would depend on how hooked I felt by the sample's end. The shift to the killing talk is good but how that's executed would probably determine my decision.
 

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