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Thread: Soulwielder

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    RedGuard's Avatar Protector Domesticus
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    Default Soulwielder

    please criticize this, I really want to get better at writing:
    Thorash awoke immediately as Alante slammed the door to his quarters open. His head shuttered at the noise his steward was making as he tripped over his boots and a chair he had left in the middle of the room. Suddenly his dreamless sleep became highly important to him for some reason, even though a moment before he had been twisting and turning in his bed. It was the manner of him being awoken which caused him sudden frustration, for which he felt like throwing a boot at the man, or worse. A rush of feeling caused him to rethink this course of action as it overwhelmed his temples. Thorash rubbed his head, then realized he was still partly drunk from the night before. Damn it I always drink too much. And when I don’t, I regret it.
    His dreads draped down to his shoulders as was Terkeshan custom. He sported a black goatee as well, which was braided on the end and dangled down to his chest. His sudden and unexpected rise from bed had sent his left arm flailing out like a bird learning how to fly, in which he had knocked over a glass of wine he had left lying there the night before. He cursed. Alante grabbed Thorash’s suit of armor out of his armory.
    “Alante what in Aiel’s name is going on?” Thorash demanded, flinching at the ruckus Alante was making.
    “Sorry sair, No word has been sent back from your father or his men,” he said concerned.
    “My father? Where is he?” Thorash asked climbing sideways out of his bed. He realized that the moon was still high in sky as he went to the stone window overlooking the city below. Alante began to place Thorash’s shin guards on him first. Thorash shook his head as he fiddled around with the straps.
    “Your father went to the tomb that was discovered yesterday in the mines. He went there right after supper and hasn’t come back. He told me to make sure you were armed if he did not report back in two hours. Well, it’s been just over two hours.” I wish he would tell his son these things. Am I the lord of the Hopespire or some simple servant? My own servant knows more than me But he was too hung over to get angry right now, his temples burned from just squinting at the moonlight.
    “What in den for? You know what whatever, no point in getting mad at you. I mean if you are going to give someone a command at least-”Alante looked up at Thorash as he finished strapping on his plate greaves.
    “Sair? What is it?”
    Thorash just continued to stare out the window, his jaw lowered and mouth wide. “I think I know what he meant,” He said hardly moving his mouth. His eyes remained glued to whatever was outside the window.
    Alante stood up curiously and looked out the window beside his master. In the northern valley off in the distance, past the city of Telmach and above the forest of Caman, a vast shadow crawled over the hills. Hundreds of thousands of black figures approached the fair yet sleeping city, just miles off.
    “Alante hurry! Get my armor on!” Thorash yelled, wishing immediately that he hadn’t, as his head felt like it would explode. The sudden terror in his voice caused Alante to bump his head against the window seal in freight. Shaking the pain off, Alante hurried to get the remainder of Thorash’s armor, and was half way finished strapping his chest armor on when Thorash walked away from him, nearly causing Alante to fall over holding one of the unfastened straps.
    “Sair! Your armor-”
    “-Don’t worry about my bloody gauntlets I’ve never gotten a cut on my hands yet.” He interjected. He bumped into the captain of the guard luckily. “Captain wake the entire garrison and call the reserve. The city is about to be under attack.” Thorash said nearly pushing the man over as he pranced down the stairs. The Captain just said “sair,” and if he had said anything else Thorash would not have heard him as he came around the bend. When he got to the bottom of the Hopespire the bells had begun to ring.
    General Vakanor had walked out of the privy still in his nightgown. “Sair who’s attacking?” he asked as he buttoned up his pants. Thorash shook his head. “I was going to ask you the same thing. I have no idea. Where’s my wife?”
    Vakanor thought. “Oh, she was in the courtyard praying. I have two guards with her.” He said assuredly.
    Thorash nodded. He walked out of the Hopespire and into the courtyard. He spotted her coming out of the palace gardens shadowed by two men in the blue armor of the Hopespire guard. She smiled when she saw him just as he did her. He looked down at her and rubbed her thirty-eight weeks pregnant stomach. My heir he thought.
    “Shani, I need you to get inside the spire and to the shelter,” he said. She nodded hesitantly, her reddish blonde hair draping over her breasts and moving with her head. “What’s going on?” she asked defiantly. She was a Terkeshan woman after all, and Aiel knew they never just went with the flow. That’s of course why I married her. It wasn’t for the dowry after all, her family had been from the merchant class. It had been an odd paring, and Thorash had been the first to marry outside his immediate social class for generations, to the disdain of his father.
    “We’re under attack,” He said simply.
    She looked confused, “Who would attack us?” she asked. Thorash shook his head. “I have no idea. I also don’t understand how they were able to infiltrate our land with such a force in so little time.”
    He leaned in and kissed her. “Go now.”
    She nodded and went with the guards who led her inside. As she turned towards the castle entrance, a hundred Hopespire guards fell in behind Thorash. Vakanor now fully dressed for battle was in front of them. They marched as fast as they could to the gate arriving just as the archers had readied their arrows in the flaming braziers on the walls. The army was still far off but they approached with speed.

    “What happened then?” Tierm asked. He sat in his jade tiled bath, his two female slaves rubbing his back and shoulders. Thorash had the same courtesy being done to himself, but had waved the girl off when she started to reach for his pelvic regions. I have my wife for that.
    “Well…,” Thorash recollected. “We fought for two days and three nights before reinforcements came from Dorium. The enemy, a collection of wild men that dressed in motley with leather and chainmail under-tunics, aptly named The Darish by my soldiers, or the daring people, laid siege to the city though they had no siege equipment other than oil and logs for rams. Even so, showing such ferocity and even with the heavy casualties they took, managed to bring down the gate on the third night. At that point, seeing the state of my own garrison force and the size of the army that yet remained I ordered a full retreat. It was the hardest decision of my life, but I’d do it again I think.”
    Tierm sighed with empathy. His beard hairs moved with it. It was a magnificent beard, long and black that covered his entire neck. His upper lip was completely bald though. It reminded him of his father’s style. But that was what Tierm likely intended. “And father?” he asked. Thorash shook his head. Tierm nodded and didn’t seem to really care.
    “That must have been hard. Abandoning your seat of power. I can’t say I would have had the courage to do the same brother, had I been in your position. Arrowheart is almost as dear to me as my wife. Maybe more so,” he chuckled. Thorash showed no amusement though, as he thought of the ones that did not escape the city, dying in their houses as the Darish burned them.
    “I saved the people of my city and my wife. She gave birth on the second day of the siege but I was too busy fighting for my life to see it. I would not have even seen him had I stayed fighting there, and he would be dead, probably still in his mother’s arms.”
    Tierm nodded. “What did you name your son?”
    “Rhynihl,” Thorash said. “After-
    -the hero from the legend, our ancestor. Of course.” Tierm finished. Throash nodded.
    Tierm chuckled, “Conceived in a battle. That’s something for him to brag about to the little girls when he grows. I remember you at the age of six or seven, girls were all over you.”
    Thorash smiled. A moment of silence went on for an awkward amount of time. The sound of water brushing against skin was the only thing keeping the room from being completely soundless. Tierm finally interrupted it.
    “So do you plan to take it back? If so, I have soldiers laying around getting fat and with too much time on their hands. A war would do them nicely.”
    Thorash shook his head. “No, not yet anyway. I was wondering…If I could have a plot of land to the west, near the Feshistan forest. I’d like to settle my soldiers down there too, far enough away from Telmachia. They need to be retrained, and new recruits need to be collected, otherwise it will just be another pointless yet heroic defeat.”
    Tierm nodded perplexed. He seeks to cower and hide? Or is this some kind of long-term plan? It certainly seems like cowardice.
    “Of course you can, I’ll give you the province of Aresia with the capital being Tos. You can settle your men there to call up at a later date. But under one condition.”
    Thorash leaned forward. “Name it.”
    “There can’t be two kings governing the same land at the same time. The common folk will get confused. You’ll still retain the rights to Telmachia, but you can’t be called king, in this land anyway.”
    Thorash thought. A sane man would say no. It’s quite obvious the game he’s playing to any elementary politician. Regardless he would not inherit the land unless he sought to retake it for himself. Even then, he would have no choice but to hand it over to me. Unless I was dead. In that case, if he wanted it that badly he was happy to have it.
    “Fine. I will leave for it on the morrow.”
    Last edited by RedGuard; March 14, 2014 at 01:55 AM.

  2. #2
    RedGuard's Avatar Protector Domesticus
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    Default Re: My book

    Reserved
    Last edited by RedGuard; March 01, 2014 at 01:27 PM.

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    Shankbot de Bodemloze's Avatar From the Writers Study!
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    Default Re: My book

    That wall of text is pretty daunting. Can we have some line spaces?

    (it may sound picky but trust me it makes all the difference )

    I'll look forward to reading it.
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    Default Re: My book

    made it a little better, don't know why it looked like that, it was all properly spaced when i copied it from word

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    Default Re: My book

    Yeah no worries, looks a lot easier to read. I'll let you know what I think after I've had a chance to read it.
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    RedGuard's Avatar Protector Domesticus
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    Default Re: The Weilder

    anybody? thoughts?

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    Default Re: Soulwielder

    A good start, sets the scene nicely.

    I would suggest including a bit more background information in your intro just so we get a feel for this world you are sharing with us, unless that is intentional. Also the dialogue in the first half seems a bit wooden, it flows a lot better as one reads further on - maybe go through reading a loud the bits in dialogue without the narrative and see if it sounds like a normal conversation.

    +rep and may I ask what you have used as inspiration?
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    RedGuard's Avatar Protector Domesticus
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    Default Re: Soulwielder

    Quote Originally Posted by Shankbot de Bodemloze View Post
    A good start, sets the scene nicely.

    I would suggest including a bit more background information in your intro just so we get a feel for this world you are sharing with us, unless that is intentional. Also the dialogue in the first half seems a bit wooden, it flows a lot better as one reads further on - maybe go through reading a loud the bits in dialogue without the narrative and see if it sounds like a normal conversation.

    +rep and may I ask what you have used as inspiration?
    thanks advice heeded, I tend to start writing crappy dialogue but by the end I have gotten the flow, happens every time I start writing. I will go back and revise it to flow better.

    as for my inspiration, It comes from a lot of things, to name a few:

    Lord of the Rings
    Greek, Celtic and Norse myth
    Medieval/ancient history
    the Witcher video game/ book series (has a very bleak, realistic feel to it)
    Game of Thrones (later on there is dynastic game of thronsie type plots)

    btw will speak the dialogue out loud and edit the OP

    edit: also, I don't go into to much detail what is going on, because it all becomes clear eventually if I did my job right. the hero will return to the ruins of Telmach, and it will feel a bit like Deja vu to the reader anyway
    Last edited by RedGuard; March 01, 2014 at 12:50 PM.

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    Default Re: Soulwielder

    Ah... This makes my books look puny, my first book contains about 5,000 words and the second 8,500 words. But this is quite long that intimidates me, It may be just my eyes, whatever. Great work.
    However, remember to put a line after each speaker. It makes it easier to read and follow whom is speaking. You could experiment with different colours for each speaker, which the reader would definitely not get confused if you don't put a similar color all the time.

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    Default Re: Soulwielder

    Quote Originally Posted by Librarian View Post
    Ah... This makes my books look puny, my first book contains about 5,000 words and the second 8,500 words. But this is quite long that intimidates me, It may be just my eyes, whatever. Great work.
    However, remember to put a line after each speaker. It makes it easier to read and follow whom is speaking. You could experiment with different colours for each speaker, which the reader would definitely not get confused if you don't put a similar color all the time.
    will do, I often forget to do that and going through a 130,000 word manuscript and fixing this is a pain in the ass

  11. #11
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    Default Re: Soulwielder

    I think this is very good writing!

    A few questions how did you get the drive to write so many words? The largest I have ever written was thirty thousand words, and since then I have not been able to reach that amount.

    How do you get the drive to continue a story for six years?

    I mean, I start stories thinking to myself. 'This is brilliant, I'll continue this until it is done!' then I get through half of it, or a quarter and think. 'Well, that other idea was pretty great too, time for that.' and I end up having quite a few unfinished stories.

    EDIT. 'Aiel's name is going on?' Wheel of Time reader??? Or just mere coincidence?

    Sorry for nagging, haha.

    Thanks
    Last edited by Tigellinus; March 11, 2014 at 01:43 AM.




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    Default Re: Soulwielder

    Quote Originally Posted by Tigellinus View Post
    I think this is very good writing!

    A few questions how did you get the drive to write so many words? The largest I have ever written was thirty thousand words, and since then I have not been able to reach that amount.

    How do you get the drive to continue a story for six years?

    I mean, I start stories thinking to myself. 'This is brilliant, I'll continue this until it is done!' then I get through half of it, or a quarter and think. 'Well, that other idea was pretty great too, time for that.' and I end up having quite a few unfinished stories.

    EDIT. 'Aiel's name is going on?' Wheel of Time reader??? Or just mere coincidence?

    Sorry for nagging, haha.

    Thanks
    I honestly don't know where it came from, that sounds cliche but its true. My first draft was also about 30,000 words. I just sat down a couple years later and thought "I'm bored, maybe I will rewrite that story" I started it again, this time going way deeper into the characters and thier emotions and ther reactions to each event. The characters originally were very one dimensional, some of them being Aragron clones or like other characters you can see in just about any fantasy book, to characters that (at least based on some of the people I have read it to, who I trust to be honest and not tell me what I want to hear) really somehow grasp at the heart of what it means to be human.

    Anyway before I knew it, within a week I was already twice the amount of words as the first draft, then three times, then four, and before long I was actually trying to cut down on the amount of words I was writing as I hear its hard for a book to be published the first time if its over 150,000 words. (I'm not published, still editing, want to get down to around 125,000 words and make the story a little more clear)

    biggest thing is to not second guess every decision or line you make in your book. If you do, and your lucky, you'll end up like tolkien, who pondered over just about every word and only wrote 2 books in his lifetime. if your not lucky like most people, you'll never finish.

    is the name Aiel in wheel of time? Haven't read those books mostly because they're all so long and there is dozens of them. I was just using it as people use "what in gods name?" because Aiel is similar to the jewish god in my books

    also the prologue that is up has actually changed several times since I put it on here, so editing is the phase where you can really make things the way you like. Just start writing, it will all flow...or it wont.
    Last edited by RedGuard; March 12, 2014 at 12:37 PM.

  13. #13
    Hitai de Bodemloze's Avatar 避世絕俗
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    Default Re: Soulwielder

    Honestly, if you're after constructive criticism, I feel it's rather bland. There aren't many linguistic devices to drive the story, just recitals of things happening. Take the first line for example:

    'Thorash awoke immediately from a dreamless sleep after Alante slammed the door open to his quarters'.

    There's so much going on here you can expand upon to grab the reader's attention. What about:

    'Wham! The door to the chamber burst open with the force of a thundering god. Sprawled amongst the silk bedsheets, Thorash jerked awake from numb slumber. Fighting stubborn eyelids, he winced as the cacophonous sounds of his servant's panicked voice rattled off the inside of his throbbing skull.'

    Similes, metaphors, these kind of things are the vehicles for your words to captivate your audience. In short, I don't feel like you're really setting the scene. Also, you're very dialogue heavy, which isn't good.

    I was discussing writing with a friend of mine last year and he had a similar style to yours. You might might find my advice to him helpful, so I'll copy and paste it below:

    1. The senses

    Rule number one! The golden rule. Appeal to the senses. Sight, smell, sound, taste and touch. Always try and work in what your protagonist is seeing, smelling, hearing, tasting or touching. Not all at once of course, but wherever necessary. I think it's good to appeal to at least one sense when you introduce something (anything) new into the story. For something really important, appeal to all five. Your character goes into a room, what does he see, he eats dinner, what does it taste like etc. Just the take time to describe these. Also important of course if what your character thinks of all these. So, let's run through a basic example:

    Step 1: George ate his dinner.
    Step 2: George ate his dinner, a chicken salad. It was delicious.
    Step 3: George ate his dinner, a chicken salad. It was delicious. It wasn't as nice as the meal he had eaten in the restaurant the night before though.

    2. Metaphors, similes and personification

    This is the silver rule. Always compare and contrast what's going on. This can get you so far. It also helps engage the audience and they can get a better picture of what's going on. Don't be afraid to experiment with these at all, in fact, the less generic the better. This make it stand out more. Also, I was giving this some thought earlier and I think extended metaphors can work too, as well as running themes. So, a classic simile/personification I might use in a war-story could be: 'The sun bled across the sky, like a wounded solider retreating from battle.' Then, in the next chapter, I might continue this theme and say: 'At noon, the sun stood to attention' or 'The sun did battle with the clouds.' So, in your ghost story, you could use a spooky or spectral theme for instance. I think semantic field is the correct term, but you can apply this to running metaphors, which creates a subtle undertone to your story. But, to return to our example:

    Step 4: George ate his dinner like a man possessed. It was a chicken salad; the poultry tinged with a succulent ivory and the accompanying lettuce reflecting a crunchy emerald in the light. George, in his intense hunger, had almost forgotten that he had switched the kitchen light on, and the sterile glow of it's bulb bathed the room. The salad was delicious, although, George reflected as he ate, it wasn't quite as nice as the meal he had eaten in the restaurant the night before.

    3. Balance

    This is the key one in my opinion, although it isn't a 'rule'. You need to find the right balance between description and dialogue. You need to keep in mind the structure of the text and how it looks on the page. You can't have a huge paragraph of description and then a conversation delivered a line a piece. The main point, I think anyway atleast, is to keep on describing during dialogue scenes. Whenever someone speaks, always try to describe how they said it, what they looked like when they said it, any reactions to the dialogue. It's best to do this, so that when you DO need to have an isolated line of dialogue, it stands out more. And when might this be, I hear you ask? Well, when you want to give emphasis or power to a particular line, you set it out in a paragraph of its own. If every line of dialogue is it's own paragraph, the lines you want emphasised will lose their power. With your stories, you'll really want to emphasize your one-liner jokes, so it's best to set these apart from the rest of the text and add more description to the 'non-essential' dialogue. You can see me do this in my own story fairly often (although not too often, or that reduces the impact of it too). For example, when we discover the main character's (Cao's) name, this is on it's own line, where previous pieces of dialogue were not. Likewise with the pregnancy revelation at the end of chapter one. So in an ~8,500 word chapter, I only did this twice, ensuring that these two lines hold the most power in the entire chapter. This is what I mean about balance. (You want to find balance in everything, not just dialogue vs description. Both your dialogue AND descriptions need to be balanced in and of themselves, so don't overuse words/metaphors/similes etc etc) But I digress. To return to our example:

    Step 5: George ate his dinner like a man possessed. It was a chicken salad; the poultry tinged with a succulent ivory and the accompanying lettuce reflecting a crunchy emerald in the light. George, in his intense hunger, had almost forgotten that he had switched the kitchen light on, and the sterile glow of it's bulb bathed the room. The salad was delicious, although, George reflected as he ate, it wasn't quite as nice as the meal he had eaten in the restaurant the night before.

    There was a ring at the phone. Begrudgingly, George paused mid way through his banquet to answer it. "Hello?"

    "Hi, this is Stacey."

    "Oh, hi Stacey. How're you?"

    "I'm engaged!"

    Step 6: George ate his dinner like a man possessed. It was a chicken salad; the poultry tinged with a succulent ivory and the accompanying lettuce reflecting a crunchy emerald in the light. George, in his intense hunger, had almost forgotten that he had switched the kitchen light on, and the sterile glow of it's bulb bathed the room. The salad was delicious, although, George reflected as he ate, it wasn't quite as nice as the meal he had eaten in the restaurant the night before.

    There was a ring at the phone. Begrudgingly, George paused mid way through his banquet to answer it. "Hello?" he answered gruffly, perturbed at such a disturbance whilst he was locked in the grips of such hunger.

    A chirpy reply carried down the phone and George immediately recognised the lilting, sing-song voice. "Hi, this is Stacey," came the voice of his daughter. She had been living away from home now for over three months. In all honesty, George was enjoying having the house to himself, although he appreciated the effort Stacey put into keeping in touch with him. They hadn't had the easiest time together, but the old wounds were healing, especially now they both had some space.

    "Oh, hi Stacey," he answered warmly, happy to hear from her. His resentment at having his dinner disturbed had melted away, like a rough tide retreating from an otherwise ambient beach. 'How're you?'

    There was a nervous silence on the other end of the line. George could hear his daughter's heavy breathing, but she uttered no words for a few uncomfortable seconds. For the first time in months, George felt himself becoming the concerned father. Why wasn't she speaking? She had sounded so happy only a moment before. What was wrong? Then, just as he was about to inquire further, another excited chirp shocked down the phone, coloured with both fear and excitement. George felt his jaw drop in horror as his daughter's words rang in his ears.

    "I'm engaged!"
    Being completely honest, I think you have some more work to do before looking at publishing, I'm sorry. Still, writing a 130,000 word story is an incredible feat and I have a lot of respect for you

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    Axis Sunsoar's Avatar Domesticus
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    Default Re: Soulwielder

    To me this reads a little rushed, and, as f0ma mentioned, it is slightly lacking in descriptive language. However, considering that I'm not a hugely accomplished writer, this opinion could definitely be taken with a grain of salt.

    Also, f0ma, that's some awesome advice, I copy-pasted it to Word and saved it

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    RedGuard's Avatar Protector Domesticus
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    Default Re: Soulwielder

    Quote Originally Posted by f0ma View Post
    Honestly, if you're after constructive criticism, I feel it's rather bland. There aren't many linguistic devices to drive the story, just recitals of things happening. Take the first line for example:

    'Thorash awoke immediately from a dreamless sleep after Alante slammed the door open to his quarters'.

    There's so much going on here you can expand upon to grab the reader's attention. What about:

    'Wham! The door to the chamber burst open with the force of a thundering god. Sprawled amongst the silk bedsheets, Thorash jerked awake from numb slumber. Fighting stubborn eyelids, he winced as the cacophonous sounds of his servant's panicked voice rattled off the inside of his throbbing skull.'

    Similes, metaphors, these kind of things are the vehicles for your words to captivate your audience. In short, I don't feel like you're really setting the scene. Also, you're very dialogue heavy, which isn't good.

    I was discussing writing with a friend of mine last year and he had a similar style to yours. You might might find my advice to him helpful, so I'll copy and paste it below:



    Being completely honest, I think you have some more work to do before looking at publishing, I'm sorry. Still, writing a 130,000 word story is an incredible feat and I have a lot of respect for you
    thanks that was why i opened this, I want criticism. I have taken yours to heart. The reason this may feel a little rushed is because it is lol. I wrote this after I wrote the whole book and was trying to finish it up so the end makes sense with the beginning. Now that you mention I haven't liked this scene since I first wrote it, I might just rewrite the whole prologue with more pizaz.

    Quote Originally Posted by Axis Sunsoar View Post

    Also, f0ma, that's some awesome advice, I copy-pasted it to Word and saved it
    I did the same thing, I will use your advice Floma as I go through and edit my text. Some peices of it need it way more than others.

    also F0ma, a few questions I would like to ask you.

    for balance, does there always need to be explanation behind the text? like your example

    "hi stacey"
    "oh hi mark"
    sounds stupid without any explanation but what about for instance:

    “Anyway like I was saying, I know where they are and can take you to them…If you promise me you’re not seeking revenge.”

    “What else would I be seeking?” Rhynihl asked confounded.

    “Justice. There is a difference.”

    does this need further description? I rather like the lack of it in this instance. I'e also noticed many authors like Stephen King rarely do "He said" or "jack said softly" or anything of the sort. can he get away with it because he is just so descriptive the rest of the time?
    Last edited by RedGuard; March 14, 2014 at 01:28 AM.

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    Default Re: Soulwielder

    rewrote the first sentence to your advice F0ma, suddenly it became a paragraph lol. Is this better?

    Thorash awoke immediately as Alante slammed the door to his quarters open. His head shuttered at the noise his steward was making as he made his way into Thorash’s room. Alante tripped over Thorash’s boots and a chair Thorash had left in the middle of the of the room as he made his way to his armory. Suddenly his dreamless sleep became highly important to him for some reason, even though a moment before he had been twisting and turning in his bed. It was the manner of him being awoken which caused him sudden frustration, for which he felt like throwing a boot at the man, or worse. A rush of feeling caused Thorash to rethink this course of action as it overwhelmed his temples. Thorash rubbed his head, then realized he was still partly drunk from the night before. Damn it I always drink too much. And when I don’t, I regret it.


    Thorash’s dreadlocks draped down to his shoulders as was Terkeshan custom. He sported a black goatee as well, which was braided on the end and dangled down to his chest. His sudden and unexpected rise from bed had sent his left arm flailing out like a bird learning how to fly, in which he had knocked over a glass of wine he had left lying on his nightstand the night before. He cursed. Alante grabbed Thorash’s suit of armor out of his armory.

    “Alante what in Aiel’s name is going on?” Thorash demanded, flinching at the cacophony of metallic sounds Alante was making as he fumbled in the dark for his separate armor pieces.

    gonna go all the way through the prologue again, but this enough writing for now, its 2am here. I find afternoon or evening I write better
    Last edited by RedGuard; March 14, 2014 at 01:39 PM.

  17. #17
    Hitai de Bodemloze's Avatar 避世絕俗
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    Default Re: Soulwielder

    Quote Originally Posted by RedGuard View Post
    thanks that was why i opened this, I want criticism. I have taken yours to heart. The reason this may feel a little rushed is because it is lol. I wrote this after I wrote the whole book and was trying to finish it up so the end makes sense with the beginning. Now that you mention I haven't liked this scene since I first wrote it, I might just rewrite the whole prologue with more pizaz.

    I did the same thing, I will use your advice Floma as I go through and edit my text. Some peices of it need it way more than others.

    also F0ma, a few questions I would like to ask you.

    for balance, does there always need to be explanation behind the text? like your example

    "hi stacey"
    "oh hi mark"
    sounds stupid without any explanation but what about for instance:

    “Anyway like I was saying, I know where they are and can take you to them…If you promise me you’re not seeking revenge.”

    “What else would I be seeking?” Rhynihl asked confounded.

    “Justice. There is a difference.”

    does this need further description? I rather like the lack of it in this instance. I'e also noticed many authors like Stephen King rarely do "He said" or "jack said softly" or anything of the sort. can he get away with it because he is just so descriptive the rest of the time?
    It all regards the form of the story. If you don't explain the dialogue, then you're emphasizing it, as it stands alone as a paragraph. This catches the reader's attention and shows the importance of what the character is conveying. In your example, it sounds like you want to emphasize the final line, so I'd elaborate on the first two if I were you. The second works, but the first could use some embellishment.

    In regards to 'he said/replied/answered etc etc etc', you don't have to use it all the time. Instead you replace it with something else that implies he's about to speak/has spoken. So instead of 'jack said "hello", you'd write 'Jack nodded in acknowledgement to Emily's greeting. "Hello."' It doesn't even have to be as specific as that, but describing body language (or sometimes the character's thoughts etc etc) is a useful substitute for using words like said.

    Regarding balance between dialogue and description, I generally follow a 1:3-5 rule of thumb, so for every one sentence of dialogue I'll have atleast 3 to 5 sentences of description. Doesn't always have to be followed, but it's a nice benchmark. That's just my personal preference as a writer though.

    Quote Originally Posted by RedGuard View Post
    rewrote the first sentence to your advice F0ma, suddenly it became a paragraph lol. Is this better?

    Thorash awoke immediately as Alante slammed the door to his quarters open. His head shuttered at the noise his steward was making as he tripped over his boots and a chair he had left in the middle of the room. Suddenly his dreamless sleep became highly important to him for some reason, even though a moment before he had been twisting and turning in his bed. It was the manner of him being awoken which caused him sudden frustration, for which he felt like throwing a boot at the man, or worse. A rush of feeling caused him to rethink this course of action as it overwhelmed his temples. Thorash rubbed his head, then realized he was still partly drunk from the night before. Damn it, I always drink too much. And when I don’t, I regret not drinking enough.
    Thorash’s dreadlocks draped down to his shoulders as was Terkeshan custom. He sported a black goatee as well, which was braided on the end and dangled down to his chest. His sudden and unexpected rise from bed had sent his left arm flailing out like a bird learning how to fly, in which he had knocked over a glass of wine he had left lying on his nightstand the night before. He cursed. Alante grabbed Thorash’s suit of armor out of his armory.

    “Alante what in Aiel’s name is going on?” Thorash demanded, flinching at the cacophony of metallic sounds Alante was making as he fumbled in the dark for his separate armor pieces.

    gonna go all the way through the prologue again, but this enough writing for now, its 2am here. I find afternoon or evening I write better
    That reads a lot better, although you're falling foul of run on sentences and dangling modifiers. 'His head shuttered at the noise his steward was making as he tripped over his boots and a chair he had left in the middle of the room'. Who tripped over whose boots? Who left the chair in the middle of the room? Try something like: 'His head shuttered at the noise his steward was making. Alante had tripped over the chair Thorash had left in the middle of the room, alongside the boots the king had drunkenly kicked across the floor the night before.'

    Same here: '“Alante what in Aiel’s name is going on?” Thorash demanded, flinching at the cacophony of metallic sounds Alante was making as he fumbled in the dark for his separate armor pieces.' To clarify you should write something along the lines of: '“Alante what in Aiel’s name is going on?” Thorash demanded, flinching at the cacophony of metallic sounds Alante was making as the servant fumbled in the dark for the king's separate armor pieces.'

    Also, on an unrelated note, when you have dialogue, don't start every line with it. Mix and match a little, so that the description comes before the dialogue in some instances. You do this a bit, but perhaps you could do more. Use it as a chance to show how the characters are reacting to one another's speech. If you find yourself having too much condensed dialogue, throw in some paragraphs about the setting or the protagonist's thoughts. A very useful exercise it to try writing a short story without any dialogue at all. This will help hone your descriptive skills and help you to see what else you can be writing besides dialogue. Think of dialogue as the vehicle which carries the story forward. If it goes too fast, you're going to miss all the scenery along the journey.
    Last edited by Hitai de Bodemloze; March 14, 2014 at 07:59 AM.

  18. #18
    RedGuard's Avatar Protector Domesticus
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    Default Re: Soulwielder

    Quote Originally Posted by f0ma View Post
    It all regards the form of the story. If you don't explain the dialogue, then you're emphasizing it, as it stands alone as a paragraph. This catches the reader's attention and shows the importance of what the character is conveying. In your example, it sounds like you want to emphasize the final line, so I'd elaborate on the first two if I were you. The second works, but the first could use some embellishment.

    In regards to 'he said/replied/answered etc etc etc', you don't have to use it all the time. Instead you replace it with something else that implies he's about to speak/has spoken. So instead of 'jack said "hello", you'd write 'Jack nodded in acknowledgement to Emily's greeting. "Hello."' It doesn't even have to be as specific as that, but describing body language (or sometimes the character's thoughts etc etc) is a useful substitute for using words like said.

    Regarding balance between dialogue and description, I generally follow a 1:3-5 rule of thumb, so for every one sentence of dialogue I'll have atleast 3 to 5 sentences of description. Doesn't always have to be followed, but it's a nice benchmark. That's just my personal preference as a writer though.



    That reads a lot better, although you're falling foul of run on sentences and dangling modifiers. 'His head shuttered at the noise his steward was making as he tripped over his boots and a chair he had left in the middle of the room'. Who tripped over whose boots? Who left the chair in the middle of the room? Try something like: 'His head shuttered at the noise his steward was making. Alante had tripped over the chair Thorash had left in the middle of the room, alongside the boots the king had drunkenly kicked across the floor the night before.'

    Same here: '“Alante what in Aiel’s name is going on?” Thorash demanded, flinching at the cacophony of metallic sounds Alante was making as he fumbled in the dark for his separate armor pieces.' To clarify you should write something along the lines of: '“Alante what in Aiel’s name is going on?” Thorash demanded, flinching at the cacophony of metallic sounds Alante was making as the servant fumbled in the dark for the king's separate armor pieces.'

    Also, on an unrelated note, when you have dialogue, don't start every line with it. Mix and match a little, so that the description comes before the dialogue in some instances. You do this a bit, but perhaps you could do more. Use it as a chance to show how the characters are reacting to one another's speech. If you find yourself having too much condensed dialogue, throw in some paragraphs about the setting or the protagonist's thoughts. A very useful exercise it to try writing a short story without any dialogue at all. This will help hone your descriptive skills and help you to see what else you can be writing besides dialogue. Think of dialogue as the vehicle which carries the story forward. If it goes too fast, you're going to miss all the scenery along the journey.
    cool, I get what your saying now. Actually my English teacher told me the same thing about run-on sentences, they happen to be my Achilles heel lol. I like to get everything I'm thinking on the page, but I need to go back and break it up which I don't even think about for some reason. Thanks sincerely for your advice, I think it will help me a lot in the long run. I'm going to rewrite the whole prologue with the style you prescribed then come back and share it here
    Last edited by RedGuard; March 14, 2014 at 01:41 PM.

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