Sunday, August 2, 2015

1st 5 Pages August Workshop - Shorrocks

Name: Helen Shorrocks
Genre: Young Adult Gothic/Supernatural
Title: Bram

According to the mystics, seventeen is a significant number. Depending on who you choose to believe, it is a number of luck, of retribution and fate, the number of an individual with a foothold in two worlds. 

To me it meant one more step towards adulthood. To the thing that had always watched me from the shadows it meant one more step towards his ends. And to my father, who I had loved more than anything else, it meant instant death.

Yorkshire in winter can be a savage place, the moors particularly so. There's no buffer to the wind that howls straight off the frozen rock, flinging snow and sleet at anyone unfortunate enough to find themselves outdoors. It will leave you fighting for breath in a matter of seconds. Only the adventurous or the stupid ever wandered out in it. I didn't consider myself to be either. I just needed to get lost in that whiteness, to be numbed once and for all. 

My wanderings had brought me to the local churchyard cemetery. Again. I checked the windows of the old Vicarage but the curtains were firmly pulled closed. As the new girl in town, it wouldn't do my reputation a lot of good to be found haunting the graves of long dead locals in my free time, especially with my own father so freshly in the ground back in his beloved Oxford.

The ritual was simple. Pick up a bunch of cheap flowers from one of the supermarkets, find my favourite grave, and leave them there to be utterly crushed by the weight of winter. 

The stone angel had been placed facing the wrath of the moor, enduring centuries of whatever the weather chose to throw at her. Her features had been erased over the years, as had the details of whoever she watched over. I dropped the roses onto the icy stone, next to the other withered bunches I had left and pulled my coat closer around me. It had been twenty one days since we buried my father, three days since we came to Ilkley, and less then 24 hours since the crows had started arriving.

Three of them were perched on top of the old gable above the front door when I stumbled up the drive. They watched my approach, silent, but constantly shifting, as uneasy in my company as I was in theirs. A faint light seeped out between the curtains giving the only soft touch to the heavy Victorian stone. These houses had been built to keep wild weather and superstition out, and the living safely in. For the first time since our arrival I was glad of its pure bulk. I gave the crows one last look before I went inside, the wind slamming the door behind me.

My mother was in the kitchen, the only room we had managed to stake out as our own so far. She looked up from a tangle of gourmet cooking magazines, fashion catalogues and my school timetable, frowning.

I pulled of my gloves and coat, dropping them on a nearby chair.  "Don't start, Ali."  The slight raise of an eyebrow was the only sign that my sudden use of her Christian name had the desired effect of distancing us further. 

"Lilith, you're only going to catch your death wandering around outside."

"I'm doing what I need to." I nodded to the half empty wine glass next to her, betting it wasn't the first one of the day. "Looks like we both are."  It was wrong, and cruel of me, but that was just the way life had turned out for the two of us. I left to get cleaned up and pack for school before I had to face whatever new damage I may have caused.

I ran the shower long and hot, until the bathroom was a solid mist. The muscles along my shoulders ached and I hadn't been able to shake the cold that seemed to radiate from my bones since we arrived. In the past few days the physical effort of the move had merged with a mess of grief and resentment to become a living thing that clawed at my sleep at night. When the police arrived on the afternoon of my seventeenth birthday to tell us the helicopter had crashed on the way back from dad's archaeological dig our world imploded. Ali couldn't stand the pain of being around anything that reminded her of him and I couldn't bear to let him go.

I had railed at her when she sold our old townhouse without my knowledge, begged her not to move us to this place where I didn't have a single friend close by when I needed them the most. In the end I had resorted to emotional blackmail and, finally, reason, but nothing had worked.

"Lilith! Dinner!" Ali's voice was muffled, distant. The house had an unsettling tendency to swallow and distort sound. It always seemed to come from somewhere other than where it originated, constantly sending me on fake trails.

"Alright. I'm coming. Give me a minute."

I caught a brief flash of my reflection in the bedroom dresser, wide eyed and pale, matted blonde hair hanging limply down my back. Dad's favourite jumper swamped me, nearly coming down to my knees. I didn't want to think about just how far I had fallen, or how quickly, or how I was going to cut it on the first day of school. Instead, I walked over and pulled the curtains away from the French doors leading to the Juliette balcony outside my room.

It was where the first of them had arrived, just on dusk the night before. In the silence of the fog the commotion of wings had startled me. There was enough light to make out its black form and the way it perched on the railing, one dark eye trained on my room and the other on the moor. I had gone downstairs and dug an old torch out from under the sink in the kitchen. I checked on it at regular intervals during the night, but it never moved or showed any sign that it knew it was being watched. When I woke in the morning, the sun was up and it had gone.

I breathed on the glass until I melted a small patch of frost on the outside, just enough to see through, and was met by the same black eye staring straight at me from the railing. The skin at the back of my neck crept slowly in response. The night crow was back, and it seemed to be waiting for something.

14 comments:

  1. I'm glad we are in the workshop together, and I look forward to the next few weeks. Thanks for letting me read your work.

    First off, your style is beautiful. I was able to get a good sense of the setting, and loved the imagery of the old stone house--isolated and haunting. I felt the distance that had developed between the mother and daughter clearly and I liked the way you showed us that tension. One of my favorite sentences in your entry: The stone angel had been placed facing the wrath of the moor, enduring centuries of whatever the weather chose to throw at her. It reads like many of the classics of English Lit in style in the opening paragraphs of description.

    It was interesting that I started off thinking this was perhaps set in a Victorian era time-frame, but then realized once the MC went inside that it was modern times. I like it when my initial feelings turn out to be incorrect--it keeps me guessing. :)

    This brief excerpt left me wanting to read more, which is always a good sign. The ending was creepy enough to make me wonder exactly what was lurking outside on her balcony. I also found myself caring about Lilith, as she comes across as vulnerable with understandable anxieties regarding starting a new school and her mother's drinking.

    I don't understand her purpose in placing flowers in the graveyard at this point since her father isn't buried there, but perhaps that will be revealed as the story develops. I wish I had more in the way of constructive feedback for you, but I couldn't think of much on my first read through that could be improved at this point.

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    1. Thanks for your lovely feedback Melissa. I'm glad that you got that Victorian feel because Ilkley is a Victorian era spa village so I obviously managed to pull that off :)

      With respect to the visits to the graveyard, I see this as her substitute to being able to mourn her father now that she has been removed from his resting place. She gravitates towards the angel both because of what it has physically suffered but also the fact that that suffering has cost it its identity.

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  2. I like the feel of this. I could sense the gloom and the difficulty of losing a member of the family. Your writing is descriptive, which is really good. I liked the way you spoke of the wind and how cold it is.
    The distance between Lilith and her mother is clear, especially since Lilith calls her by her first name. I'm interested in what crows mean and why Lilith keeps seeing them. There are little things here and there that leave room for question, which is good because the reader wants to read more to fill in the spaces. Nice work

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  3. Your use of language and description really helped me get a good visual of the setting. At first I was a little thrown by the modern touches in an otherwise Victorian gothic setting, but as we got more, I adjusted to it and ultimately really liked the twist. If there's some way you can stress that twist a bit more right off the bat, I think it would be easier for the reader to fall more comfortably into the world.

    I was a little thrown by the second paragraph. I stumbled over the second sentence a bit, and I was left wondering why the protag's 17th birthday necessarily meant her father's death. Right away I wondered if it's some ritual or curse or something, like the two are linked and his death was expected, but it doesn't seem the case from your later description of the helicopter death. Another sentence at the end of the second paragraph might clarify this.

    The mood and descriptions are delicious, but I see a lot of passive voice throughout, especially with the "had"s. I would tweak it to make it more active and in-the-moment.

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  4. I really enjoy the Gothic feel of this passage. I really liked the threes at the beginning (luck, fate, two worlds; her, creature, father). You're descriptions were really vivid and wonderful. I understand the distance between her and her mother, what with the move and the wine. The crows are a fun addition and I can't wait for them to come into play. :)

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  5. Hi Helen! Thanks so much for entering the workshop and letting us dig into your first five pages.

    Overall, this has an excellent and distinct voice. It is haunting in the best way. I like your main character off the bat. You manage to give us a scene and action and backstory without telling too little or too much. It whets the appetite, which is exactly what you want to do. I love the way you end the scene.

    I like your first paragraph a lot. It intrigues without being confusing and yet it doesn’t tell too much either—the dreaded info dump. However, I think your very first line would be even better without the “according to the mystics”. It’s not necessary and it all flows better without it. Also, be careful of your language construction here. Especially in the first paragraph and the first page, you want everything to be as perfect as it can be. This gets to line editing, but I had to mention it because it’s the first paragraph: “it is a number of luck, of retribution, and of fate”—add that last “of” to be parallel.

    Also, you need to watch your tenses. Are you writing this in present or in past? Your second paragraph switches right away to past tense. Does 17 no longer mean these things to the characters? And then as the pages go on, you have present tense a few places but then mostly past—be sure to adjust it one way or the other throughout.

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  6. In terms of your writing, be careful to be precise. This might be the biggest critique I have of your work. It’s an issue throughout these page. We aren’t supposed to line edit, but I’m mentioning it to you because the problems are not just distracting, they negatively impact the clarity of what you are trying to say. Here are some examples: In the third paragraph, it’s unclear what “it” is in the sentences: “It will leave you fighting for breath in a matter of seconds. Only the adventurous or the stupid ever wandered out in it.” Do you mean winter? The wind? What does “it” refer back to? Could be many things. Also, you have some grammatical errors as the text goes on: “and less then 24 hours since the crows had started arriving.” This should be “than”. And you spell out all numbers in writing.

    Here I go deeper so you can see what I mean and apply this to your pages throughout: “Three of them [WHAT IS THEM?] were perched on top of the old gable above the front door when I stumbled up the drive. They watched my approach, silent, but constantly shifting, [TECHNICALLY THIS ALL REFERS TO HER APPROACH—IT REFERS BACK TO THE LAST NOUN, AND I DON’T THINK THIS IS WHAT YOU MEAN] as uneasy in my company as I was in theirs. A faint light seeped out between the curtains giving the only soft touch to the heavy Victorian stone. These houses had been built to keep wild weather and superstition out, and the living safely in. For the first time since our arrival I was glad of its [YOU HAVE TALKED ABOUT HOUSES IN PLURAL AND NOW YOU SAY “ITS” WHICH IS SINGULAR. IT’S CONFUSING WHAT YOU ARE TRYING TO SAY HERE.] pure bulk. I gave the crows one last look before I went inside, the wind slamming the door behind me.”

    “I pulled of my gloves and coat,” —OFF

    There are too many “its” in this next paragraph. You need more than just the pronoun. It actually begins to confuse. Easy fix, but you need to be conscious of this: “It was where the first of them had arrived, just on dusk the night before. In the silence of the fog the commotion of wings had startled me. There was enough light to make out its black form and the way it perched on the railing, one dark eye trained on my room and the other on the moor. I had gone downstairs and dug an old torch out from under the sink in the kitchen. I checked on it at regular intervals during the night, but it never moved or showed any sign that it knew it was being watched. When I woke in the morning, the sun was up and it had gone.”

    I’m really loving your work but you need to give these pages a full look to the nitty-gritty. Agents see these things. If you need to have a proofer or copy editor review, there are many out there (I’ve been one myself!). But this level of clarity will go a long way in making your prose feel as polished as it needs to be when querying. Your storytelling is engaging and you don’t want these things to make someone pass because they fear the manuscript will need too much work at this granular level.

    Give it a good review next time and I can’t wait to read it again!

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  8. Thanks for the detailed feedback Lori this gives me something to get my teeth into.

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  9. Totally out of my comfort zone writing first person present tense but will give it a go for revision one - look forward to the feedback. If I can't pull it off decently we can always revert back.

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    1. Hi Helen. You do not have to write this in first person present tense. You should write what you are comfortable with and do best. First person past is fine--you just need to be consistent one way or the other. Good luck!

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  10. Thanks for sharing your pages, Helen. You are definitely a writer. Your word choices are great, and I get a real sense of place and voice. I also love the title, Bram.

    Your opening two paragraphs, where you ruminate on the meaning of seventeen, I believe, should be deleted or moved elsewhere. This may be an important theme in your book, but as an opening, it's a little too quiet.

    Perhaps you should just jump right into: Yorkshire in winter can be a savage place.

    I would also recommend, wherever possible, to try to make a few of those opening sentences more active. For instance: "My wanderings had brought me to the local churchyard cemetery."

    This is reflective, as if the narrator is sitting in a chair writing her memoir, and telling the reader her life story. That's not what you want. These first few opening paragraphs we want the reader and your main character to be present. The solution is simple. Just rephrase it to be more active. "I took a shortcut around the Abbey and made my way to the local churchyard."

    I have no idea why I wrote Abbey. Maybe because this book is British, yeah? LOL.

    Anyway, I love your voice. It has a literary feel to it. Just remember to keep it active and not distant. I have this problem myself sometimes.

    I like the crows and the foreshadowing.

    I'm looking forward to seeing how this develops. Great job.

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  11. Thanks Ronald for your comments - I really appreciate your input. You are the second person who has mentioned that this opening is a bit too passive so I am working on fixing that. With respect to the first two paragraphs - I am in two minds. I definitely see your point - but I wonder if this will lose the initial punch as I know a lot of people who have read this are particularly fond of them. For now I might put it out for a consensus vote and revisit this after the workshop as I am currently going through my third draft revise and they may well get moved/removed/changed in the process.

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  12. Hi Helen,

    This is lovely, and I immediately get a sense of the gothic--in the very best way. Your language, imagery, subject, and set up all give us the sense of a modern day classic, and the reference to archaeology immediately suggests there will be a fabulous supernatural twist.

    My suggestions for this round are to consider how you can make this more immediate and active. The first two paragraphs are lovely, but it was your third paragraph that brought your voice to life, and i would start there.

    I would also recommend evaluating what you're telling us and why you're telling us at this point. The references to numbers was a bit overwhelming and confusing--we got a lot of them in a short period of time.

    And there is a LOT of telling in this, a lot of grief stemming from the past, but perhaps not as much active conflict as you could have. Consider ways to shake that up.

    What would happen if she was at the church and her mother came to get her? There would be an active scene that would add additional motion to the tension between them.

    Perhaps that would let you voice the reason that she's there so that the confusion over why she's leaving the flowers is eliminated?

    Whether that's the solution, or there's another solution, I do believe you need to make that a bit clearer. Overall, this piece is quite dense, and I'd love you to lighten and liven it up just a little bit more.

    That's genuinely a minor tweak to an opening that is already haunting and atmospheric. Well done!

    Best,

    Martina

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