[Critique Requested] Browns and Greys (Full Version)

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Stray Cat -> [Critique Requested] Browns and Greys (1/3/2012 7:02:37)

It's high fantasy, or so I hope to make it, but I started it off fairly low to avoid restricting the plot later on. There's only a chapter of it so far but in all likelihood I won't get around to finishing the story (though I'd like to), so I might as well take this opportunity to improve for future ventures.

"Browns and Greys".

It's set in a sort-of-medieval setting so there's a fine line to be drawn between modern and old-sounding prose. You know, not too stiff, not too breezy. I was hoping that, in particular, where I draw that line could be critiqued. I'd also like my word choices and placement to be analysed. I tried to introduce rhythm and variety without going all purple, but again, I'd like to discover where the line goes. Aside from those two things, please also pitch any problems and improvements that come to mind. Thank you!




Helixi -> RE: [Critique Requested] Browns and Greys (1/3/2012 7:07:21)

I'd be happy to critique this for you Stray, if you don't mind my doing it. :)




Stray Cat -> RE: [Critique Requested] Browns and Greys (1/3/2012 7:10:20)

Please do! Thanks!




Helixi -> RE: [Critique Requested] Browns and Greys (1/29/2012 6:27:34)

I'm so sorry for making you wait so long, Stray, I had surprise college deadlines which meant I couldn't devote much time to the critiques I have. I'm going to print this out and work on it over a few days; expect a (full or partial) critique by Tuesday or Wednesday.




Helixi -> RE: [Critique Requested] Browns and Greys (2/3/2012 9:16:03)

I apologise for making you wait so long, Stray.




So you know the format of my critiques:
Title of chapter/post

quote:

Quote from the story/poem here. Mistakes will be in bold and numbered.



List of criticisms underneath.
1. Crit here.
2. Crit here.
etc.




Beneath the city sky

quote:

The city beneath the girl was a monochrome.

It spanned from horizon to horizon, grey towers and citizens and streets all competing 1. to be dullest. What their prize would be, the girl didn’t know, but she was certain of one 2. thing: she hated them with all of her heart. She hated their ugliness. She hated their rank, dirty smell. She hated the colourless skyline and the one time she had visited the city’s abandoned port, she had hated that too. Most of all, she supposed, she hated how she was confined to the city simply because there was nowhere else for her to be.

Ceaselessly, the city churned and bustled, rippling as cloaked figures innumerable paced its roads. The city almost seemed alive – some great, leaden beast, forsaken by colour, that wanted nothing more than to swallow her whole – but up here, perched in the sky, Weida Langard was well out of its reach. Except, as her heart and her gut told her, she wasn’t, not truly. Even now, she was seated atop one of its countless ruined towers, 4. legs dangled over nothingness as she surveyed her surroundings. She could climb all she wanted and look down on it forever, but she would never escape her endless grey prison. The city was everywhere and it enveloped all.

Weida threw her head back and sighed. She brushed a lock of hair from her eye and her gaze fell on the pink and purple abyss that was the sky. It was a beautiful sky, resplendent in the light of the setting sun. She closed her eyes and parted her lips, and drank in a mouthful of crisp, clean air. An evening breeze whispered in her ears and tousled her hair. 5I might still be within the city, she decided, but this is at least a respite.

Night fell faster than Weida would have liked. Once moment she was gazing into the distance and the next she was immersed in glum dusk-light. Sighing again, she pulled her legs up and rose. A hundred feet stretched between Weida and the path below but 6. she paid the drop no fear. All that concerned her was the vast world, with none of the city's browns and greys, that she knew to exist – that had to exist – somewhere beyond the city’s walls.

1. I think this should be 'to be the dullest'.
2. This should be a semi-colon as 'she hated them with all her heart' is a sentence.
3. According to Word, this sentence isn't actually a sentence. If you take the 'as' out, it'll be fine.
4. This should be either 'and her legs dangled over/into nothingness' or 'legs dangling over/into nothingness'.
5. This is personal preference, but I find thoughts are better capitalised as it flags up to the reader that they are thoughts.
6. This is an interesting turn of phrase. In my opinion, it should be 'paid the drop no heed', but either would be fine.


quote:

The climb down was a long one. By the time 1. she touched her feet to the ground, darkness had fully fallen, black and complete. The night air hung icily about and Weida could hear the stirring of some alley cat, but it was difficult to see almost anything.

“Damn me,” she muttered. Day turned to night thick and fast in the city. She should have kept that in mind. How was she to find her way home like this?

“Damn you indeed,” sang a voice from somewhere behind her. Weida gave a start.

“Who’s there?” she said, trying her hardest not to panic. She fought as well as any of the boys her age and better than some, but the darkness was paralysing. Could she have been found by some killer, prowling the streets in search of prey? Murder in the city was thankfully unlikely, it was said, but after dark who could tell?

“It is only I,” said the voice. It was a girl’s, Weida realised, a sweet, singsong voice that sounded of a child. She relaxed, and then frowned.

1. 'She touched the ground' or 'felt her feet touch the ground'.


quote:

“I don’t know you. Do I?”

“No,” the other girl agreed. “You don’t. Do you need any help getting around? I’m rather good at navigating in the dark.”

“No, thank you.” The reply came automatically. To be truthful, Weida would have loved to take the girl’s hand and be led to her home, but she was wiser than that. It was also said that a stranger’s kindness sours quickly, after all.1 “It seems unlikely, but you could turn out to be some killer.” The girl only laughed, a dainty twinkling sound that brought another frown to Weida’s lips.

“I’m no killer, but if you stay around here maybe you will find one. Or worse, some brute who’d have his way with you.” She spoke truthfully. Even if she was part of some crew of outlaws, sent to lure in the unsuspecting, she was still a safer bet than remaining here in the open and the dark, risking mugging or worse.

2. “Please, then,” Weida said, and the other girl touched her with a soft hand. Weida took it, slightly hesitant, but it was warm and almost reassuring.

1. This should be on a new line. In addition, people don't frown with their lips. I'd suggest rewording that sentence a little.
2. This speech doesn't make much sense. I understand Wieda is asked for help but why is 'then' there?


quote:

“I work at a tavern not far off from here,” the girl said. “Shall we go there for now?” Weida nodded and then, remembering the darkness, made to voice her agreement, but the girl said “Excellent!” and took off, Weida in tow, before she could so much as open her mouth.

They moved briskly and steadily. Weida’s stomach fell with every other step, afraid that she was about to crash into a wall or plunge through some manhole, but the other girl moved breezily, as if the way ahead were as clear as day. And it might as well have been, because they bumped into no one, tripped over neither stones nor plants, 1. walked into no walls. They continued on that way for a while, winding around bends and pacing along roads. As time dragged on, though, Weida began to notice how hard the paving felt against her footfalls and even through her leather turnshoes, how its coldness seemed to reach the way to bone. Even so, she pursed her lips and refused to complain. She was in this other girl’s debt and she wouldn’t weigh her down. Instead, she asked the girl, “What is your name?”

“It’s Lillea,” the girl said brightly, though without turning around. “2. Waitress and Seer. And you?”

“I’m Weida Langard. I’m a merchant’s daughter—Seer?” Weida came to a halt, forcing 3. the other girl – Lillea – to stop as well. “Seer, did you say?” Lillea gave no reply to that, but Weida pressed on, whispering. “You called yourself a Seer, didn’t you? Is that how you see in this darkness? Magic is taboo, you should know that. Would you have the wrath of the King called down upon you – or the gods’?”

“I see things that others don’t,” Lillea murmured through the darkness, and it was obvious to Weida that she was choosing her words tersely, carefully. Her voice had lost its springy edge. “Is that such a crime?” 4. When Weida gave no reply, Lillea said, “Come. Let’s continue on.”

1. 'and walked into no walls'. When you finish a list, you should use a connective instead of a comma.
2. This is a character development point. As they've just met, why would Lillea tell Weida such sensitive information. If being a Seer is as dangerous as Weida claims, then Lillea is either very brave or very stupid to be open about such abilities.
3. A purely stylistic point; now that Weida knows her name, the phrase 'the other girl' isn't really necessary.
4. This should be on a new line.


quote:

It was a while longer before they reached their destination. Weida tried to make more conversation but no topic came to mind. She lapsed into silent contemplation for the rest of the way. So the girl was a sorceress. Why would she confess so openly? Every man, woman and child for leagues around, within the city and beyond, knew that to use magic was to condemn yourself to death. It had been that way ever since the mages had touched the sky, five hundred years ago…

1. “We’re there,” said Lillea suddenly, soft in the silence of the night. She came to a halt, Weida after her, and then pushed on a door unseen in the darkness. It creaked open and light spilled out, at once mild and stark, throwing them into relief. Weida saw Lillea for the first time, and blinked in surprise. The girl looked about the same age as Weida, fifteen years give or take a month, but she was pretty beyond belief. Brown hair fell to her waist, framing a heart-shaped face. Her eyes were a clear, penetrating blue. A half-smile danced on red lips, and she was flushed from the cold. Lillea glanced back at her and laughed, though at what Weida didn’t know. “Come on in,” the girl said, beckoning her forward.

The room they stepped into was a simple one, a large common with wooden tables and chairs placed at intervals against its walls. Candles, most half-dead, lit every other, casting pools of angular shadow onto a floor of packed earth. On the far side, a counter bounded a wall of kegs, and behind, a door led to a room beyond. Patronage was meagre, Weida saw; aside from them, there were merely a pair of laughing drunks near the counter, faces flushed with inebriation, and a man cloaked and hooded in black, seated at a table near a corner. Suspicious, she thought as she eyed the man.

A plump waitress stepped out from the door behind the counter and, noticing Lillea, came over to greet them. “It’s past curfew!” she said, her tone equally annoyed and relieved. The Seer girl simply said, “I wanted to take a walk, sister.” 2. So they’re siblings, thought Weida.

“You’re damn lucky the patronage stayed this thin all day. A walk.” The woman sighed and motioned to Weida. “And who is this?”

1. This should be 'We're here'. The word 'there' implies that they haven't yet reached their destination.
2. Again, it's standard practise to italicise thoughts. This is entirely up to you, however.


quote:

“This is Weida. She was lost and it’s past curfew, as you say.”

“I wasn’t lost,” Weida protested, frowning. “I just…lost track of time, and then night fell.”

“Day turns to night thick and fast in the city.” The waitress nodded and extended a hand. “Whichever way, I’m Gertrud. Pleased to meet you.” Weida shook Gertrud’s hand. The woman’s grip was firm. She seemed like a candid person.

“I like the look of you, Weida,” Gertrud said. “The gods know that Lillea needs company her age. Keep close to her, would you? She may just be a waitress girl but she’s special, that one.”

Weida didn’t know what to make of that, so she gave a guarded nod, but Lillea cut in. “You’re embarrassing me, Gertrud. And Weida has her own life to take care of. Her own business.”

Nothing here to correct.


quote:

Weida looked between the pair before her. “Actually,” she began cautiously, 1. “my only duty to my merchant father and my family is to be wedded. Hopefully to some other, well-off merchant, or maybe into noblefolk if I’m lucky. That’s my only business. My life.”

Gertrud peered at her. “You’re certainly pretty enough for the part. Not so much as our Lillea here, but you have a good, honest look about you. You could stand to grow your hair a little, though.” Weida felt herself blush and looked away.

One of the drunks called for more ale. Gertrud went to fetch the man his drink and left Lillea and Weida by themselves. “Will you stay here until morning?” the Seer asked her.

“Yes, thanks,” Weida said. She took a seat near the door while Lillea went to fetch drinks. The merchant’s daughter glanced about the room. Her gaze met with the hooded man’s own. His eyes were a pale grey, smoky and mysterious. Something about his stare made her recoil faintly. He gave a single, curt nod and turned away but something was left in Weida, an inexplicable coldness that chilled her, sudden and sharp.

Lillea returned with two mugs of warm buttermilk. “Here,” she said, and Weida took one. “Gertrud’s gone into the back but I’ll tend to anything you need. Go on, drink some.” Weida obliged. The drink filled her with a profound heat. She murmured a word of thanks and pressed her hands to the sides of the mug, grateful for the warmth.

1. 'My only duty'.


quote:

“How much?” 1. she asked, reaching into her cloak for coins.

“Money?” Lillea waved her hand in dismissal and said, smiling, “You don’t need to pay. Consider it on the house." That caught Weida unawares. 2. She took another sip of her drink

From the corner of her eye, she saw the hooded man rise and make for the exit, cloak trailing black behind him. He passed the pair of them and for a short moment, time seemed to stop. Then a curious urge seized hold of Weida and she shouted a warning at the girl before her, but Lillea was afoot before the man could draw the knife from his cloak. He brought his blade to empty air. Cursing, he propped himself up and slashed again, but Weida overturned the table. It hit the man’s side and sent him crashing into the floor. Quick as she had ever been, Weida hurled over the upturned table and wrestled the knife from the man’s grasp. He flung a fist into her face but she gritted her teeth and brought the blade to his throat.

“Who are you?” 1. she demanded through her teeth. Her face ached terribly where the man had hit her but she ignored it and pressed the knife deeper into the man’s throat. Still he gave no reply.

“He’s a magician-catcher,” Lillea said, from somewhere above her. Her voice was tinged with fear, unlike anything she had shown the other girl all night. Weida was taken aback, at her realisation and her tone, and the black cloak seized the opportunity to kick her off him. He made for his knife but Weida threw herself in the way.

1. This should be capitalised.
2. You're missing a period.


quote:

“Move,” 1. he seethed in gravelly tones. “I want the sorceress, not you.” Weida ignored him and threw a punch to his head. He ducked and made to return the blow, but Weida stepped to the side and flung out her foot. They tussled and tumbled like that, on the floor, on their feet, punching and kicking and jabbing.

“Lillea, don’t just stand there, help!” Weida shouted, as panic began to wrestle her. She allowed herself a brief sideward glance but the Seer girl was standing there motionless, looking on with glazed eyes. The drunks seemed to have ceased their parley and were now watching curiously, though Weida would have preferred that they interfere. Then she spied Gertrud stepping from the backroom with a barrel in hand and sudden hope seized her. The man made to hit her face again but she dodged and, digging her heel into the floor, brought her knee up into the assailant’s gut. He was flung back and landed on the floor, sprawled, at Gertrud’s feet. The waitress stood there for a pause and then slammed the barrel down onto his head.

One of the drunken patrons cheered. The other demanded more ale. Gertrud gave the fallen man a kick and then went to tend the patron’s order. Lillea drew a chair and crumpled onto it. “I guess I owe you an 2. apology first off,” she said. “I’m—”

She rose just as a shriek cut through the tavern. One of the drunks – a burly man with fiery red hair — had caught Gertrud around the shoulders and was holding a sword to her throat. The other, a slouching, lanky youth, was sprinting toward Lillea, short sword in hand, dark eyes full of murder. The Seer ducked and Weida snatched up the black-cloak’s knife, driving it into the man’s stomach as he whirled around. He tried to swat her with his sword but she pulled away and kicked him back. He lay there, blood blossoming into a pool around him. She turned to the man clutching Gertrud.

He slit her throat.

1. 'He seethed'.
2. '...apology, first off'.


quote:

Lillea fell to the floor, face in hands, and let out a terrible sound, a mixture of anguish and rage irrepressible. Even the red-headed man seemed shocked by what he had done, but Weida had already made her act. She swapped her knife for the short sword and dashed forward. The man recovered just as she was upon him, tossing away Gertrud’s bloodied body, and raised his own sword to parry.

He rained blows down upon Weida, each as fatally heavy as the last, but she threw them all back with flawless precision. The weight of the sword was perfect in her hand; it swept slaughter before her. It cut the air, lithely, unshakeably stalwart. But her opponent was her equal, his weapon hers. Their dance became a brawl as they began to tire; their slashes became jagged hacks. She tried a stab to the man’s chest but he stepped forward and to the side, and instead caught her on the thigh.

By then her wounds were screaming. 1. Just a little longer, she thought with fury in her heart. Just a little more. She had dealt with two men before this one; what was another to her? Between steel blows the man started to deal the flesh kind. Those were impossible for her to block; her age and her strength were making themselves felt. And then, as suddenly as this had all begun, Weida knew that she could take no more. Her blade slipped from her grasp, its murderous comfort fled. She fell back, and a shadow rushed past her.

Weida shuddered and rose. The red-haired man was slumped at the foot of a chair, a knife in his chest. She looked up and saw Lillea heaving, blinking tears. The Seer girl stepped over to Gertrud and clutched her dead sister’s body. Weida watched her uncertainly, but at that moment the first man, the hooded knifeman, began to stir.

“I guess we ought to kill him,” Weida said, but she made no move. For a time there was silence, punctuated only by Lillea’s tortured sobs. The moment continued, though for how long Weida couldn’t tell. Then she reached for the sword and stepped toward her victim.

1. Again, thoughts are usually italicised.




Overview.
What you have is a brilliant start to the story. It sets the scene perfectly, builds suspense well where necessary, makes me empathise with the character... In short, I want more. There is a good balance of simple and complex writing structure, giving your work a near-effortless feel. Well done. :D

Spelling. I couldn't find anything wrong.
Grammar/Punctuation. Aside from the few mistakes I picked out, nothing else was wrong. Your sentences are well developed and flow easily.
Description. I am in two minds about your description. On the one hand, you have a very good narrative and shoehorning in extra description might ruin it. On the other hand, we as readers want to know what Weida, Getrud, the tavern and/or the broken tower look like.
Plot Development. Kinda none-applicable, as it's only the very start of your narrative. However, I definitely want to see you develop it more.
Character Development. The above comment applies here.

Why did you want a critique for this? It's nearly perfect as it is. I'll definitely keep an eye on this for updates, Stray.




Stray Cat -> RE: [Critique Requested] Browns and Greys (2/3/2012 21:49:21)

quote:

1. I think this should be 'to be the dullest'.
2. This should be a semi-colon as 'she hated them with all her heart' is a sentence.
3. According to Word, this sentence isn't actually a sentence. If you take the 'as' out, it'll be fine.
4. This should be either 'and her legs dangled over/into nothingness' or 'legs dangling over/into nothingness'.
5. This is personal preference, but I find thoughts are better capitalised as it flags up to the reader that they are thoughts.
6. This is an interesting turn of phrase. In my opinion, it should be 'paid the drop no heed', but either would be fine.
1. Applied.
2. To my understanding, colons can join complete sentences together as long as the second is appositive to the first. The "She hated them with all her heart" follows as an explanation.
3. This sentence was intentionally a fragment. It originally read, "Except, she wasn't, not truly." I ended up including the "heart and gut" to give the fragment some volume. I'll definitely change it if it served to lubricate the flow of the segment or if the incorrectness strikes you as glaring, though. Which do you think reads more smoothly, the fragment or the grammatically correct version?
4. Applied.
5. You mean "italicised", right? I actually did italicise the thoughts, and they show up as such, at my end at least. I assume there's some glitch between us.
6. I toyed with both, but decided to go with the more exotic wording for the hell of it.
quote:

1. 'She touched the ground' or 'felt her feet touch the ground'.
1. I actually stole "touched to x" from (or at least discovered it in) A Song of Ice and Fire, but, in hindsight, I agree that it's not an especially necessary pseudo-archaism. Applied.
quote:

1. This should be on a new line. In addition, people don't frown with their lips. I'd suggest rewording that sentence a little.
2. This speech doesn't make much sense. I understand Wieda is asked for help but why is 'then' there?
1. Though a frown is done with facial muscles and shows in the rest of the face as much as the mouth, I was using Weida's lips as a sort of representative icon. Regarding the overall structure, I was treating the whole of "The reply came automatically. To be truthful, Weida would have loved to take the girl’s hand and be led to her home, but she was wiser than that. It was also said that a stranger’s kindness sours quickly, after all." as a break between two related sections of speech. "Words." Action. "Words.", as in. I believe it's grammatically correct. I may have been pushing the volume and creating clutter, in hindsight, though. Corrections, thoughts?
2. The "then" is meant to make the dialogue more kinetic, so to speak. Weida is acquiescing to a degree, so I thought that a simple "Please" would void her previous wariness.
quote:

1. 'and walked into no walls'. When you finish a list, you should use a connective instead of a comma.
2. This is a character development point. As they've just met, why would Lillea tell Weida such sensitive information. If being a Seer is as dangerous as Weida claims, then Lillea is either very brave or very stupid to be open about such abilities.
3. A purely stylistic point; now that Weida knows her name, the phrase 'the other girl' isn't really necessary.
4. This should be on a new line.
1. I intended this to be a sort of stylistic deviation. I'd already used the conjunction "nor" in the previous list element, so I thought that the omission of "and" would lend the whole list a kind of sleekness.
2. Lillea's "seeing" power is basically perception of everything. She sees a few moments into the future and she can find her way around in the dark. Here, she's demonstrating an instinctive trust of Weida, and possibly directly glimpsing the latter's nature.
3. Weida is shocked by the revelation that Lillea is a Seer, so I wanted to show her registering Lillea's words in a stunted sort of way. In other third-person limited contexts, I'd also think it appropriate to, when a character is changing his naming of another, ease that switch by connecting the successive names.
4. Applied.
quote:

1. This should be 'We're here'. The word 'there' implies that they haven't yet reached their destination.
2. Again, it's standard practise to italicise thoughts. This is entirely up to you, however.
1. Applied.
2. Per above, I see it as italicised.
quote:

1. 'My only duty'.
1. Here, I'm preserving the punctuation of the complete sentiment, since "Actually" is just a fragment of the dialogue, "Actually, my only thought..."
quote:

1. This should be capitalised.
2. You're missing a period.
1. The whole lines are single sentences, with "she asked" and "she demanded" tagging their respective speeches.
2. Applied.
quote:

1. 'He seethed'.
2. '...apology, first off'.
1. Again, dialogue tag/single sentence.
2. Applied.
quote:

1. Again, thoughts are usually italicised.
1. Italics problem again. For reference, "Just a little more." is actually also part of the thought (and italicised an my end).

quote:

Description. I am in two minds about your description. On the one hand, you have a very good narrative and shoehorning in extra description might ruin it. On the other hand, we as readers want to know what Weida, Getrud, the tavern and/or the broken tower look like.
Yeah, I struggled with this while writing the chapter. In the end, I decided that, since this is Weida's limited perspective, leaking small details at natural times and a natural pace (in the sense of, when the bustle ceases; I didn't give Gertrud anything more than "plump" because she appeared at a sort of in-between time) would serve best. I plan (assuming I manage to overcome Amateur Project Critical Commitment Failure) to take the girls to foreign places later in the story, so description should gather bulk as the thing goes on.

Thanks for taking the time and effort to do this. Given my responses above, any further thoughts, opinions or corrections?




Helixi -> RE: [Critique Requested] Browns and Greys (2/8/2012 18:12:13)

4. Applied.
5. You mean "italicised", right? I actually did italicise the thoughts, and they show up as such, at my end at least. I assume there's some glitch between us.
6. I toyed with both, but decided to go with the more exotic wording for the hell of it.

2. The use of an appositive colon is something I've only ever seen in titles (example Star Wars: A New Hope). This usage might be something in Australia, but I have never seen it in British English in a modern piece of writing. The use of an appositive phrase is always linked with a semi-colon in British English. I suppose I should put that down to language differences across countries.
3. The mistake isn't glaring at all. In fact, as the prose is archaic in places, it's practically unnoticeable.
5. Yes, I meant italicised. Blame that slip-up of mine on tiredness, if you would. And I would assume it is a glitch.
6. That is fair enough.

quote:

1. I actually stole "touched to x" from (or at least discovered it in) A Song of Ice and Fire, but, in hindsight, I agree that it's not an especially necessary pseudo-archaism. Applied.

This isn't relevant, but A Song of Ice and Fire is awesome.

quote:

1. Though a frown is done with facial muscles and shows in the rest of the face as much as the mouth, I was using Weida's lips as a sort of representative icon. Regarding the overall structure, I was treating the whole of "The reply came automatically. To be truthful, Weida would have loved to take the girl’s hand and be led to her home, but she was wiser than that. It was also said that a stranger’s kindness sours quickly, after all." as a break between two related sections of speech. "Words." Action. "Words.", as in. I believe it's grammatically correct. I may have been pushing the volume and creating clutter, in hindsight, though. Corrections, thoughts?
2. The "then" is meant to make the dialogue more kinetic, so to speak. Weida is acquiescing to a degree, so I thought that a simple "Please" would void her previous wariness.

1. The idea of a representative icon makes it clear to me why you wrote lips, but I can't help thinking you could have chosen a better icon to use. The word/action/word format is a great format to use, though there is a lot of stuff there for such a short fragment of the narrative.
2. It makes sense in that context.

UNFINISHED POST.




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