Sunday, March 13, 2016

1st 5 Pages March Workshop - Viner-Daniels Rev 1

Name: Sarah Viner-Daniels
Genre: Young adult, dystopia
Title: Landfall

Sunday 19.00 Federal Standard Time

Gentle-moderate westerly wind

Dry

Expect small wavelets

A gust lifts the edges of my homework and threatens to blow the sheets over the rail and into the sea. That’s the last thing I need. I don't want to pull an all-nighter, and I definitely don’t want to explain to Harry why I can’t turn in my assignment. This close to graduation I can’t afford to let my grades slip. I weigh the loose pages down with what remains of my dinner: a pile of teardrop mussel shells that rattle against each other, topped off with a crust of stale bread. Goose flesh puckers the skin on my arms so I shake out the blanket from the back of my chair and wrap it around my shoulders. It itches like it’s crawling with bugs.

The Lookout draws people in like moths whenever the wind brings icy fingers from the Atlantic. It’s the only place on board you can go for sit down food or a hot drink. The cafe is held up on a wide disc of planks, open to the sky and hanging over the water like a balcony. The coffee stinks, I’m sure they reuse the grounds. But it's the view I come for. Every butt-chilling metal chair faces the city. Tonight the sun is slung low behind the skyscrapers, creating a jagged silhouette dotted with hundreds of home fires burning. The government’s eyes, humming white drones sewn onto the sky, keep watch to see that no one swims ashore. Up here, I can forget the waves that separate me from the city.

At least I’ve got a shot, other people are trapped here for life. My test scores were adequate. My family showed their loyalty. And the government judged me promising enough to educate. Of course I’ll never be a full citizen. Wherever I go they’ll keep track of me with a GPS implant, legged and spider-like under my skin. But it’s got to be better than spending my days here, in this shanty town that grew up from the carcass of a cruise ship.

A ping tells me I have a message waiting. It’ll be Mum wanting to know my location. A glance at the scuffed plastic comband around my wrist confirms it. Esther, it’s almost dark. Are you in?     

I’ve stayed too long. Again. Sighing (louder than I’d dare if Mum was here), I wipe my buttery fingers on a napkin and tap out a lie: With Alex, home soon. I pull the strap of my medical bag onto my shoulder and stuff the pages of homework inside, trying hard to stamp on the irritation that’s already picking at me. Mum will moan the second I walk through the door, saying I need to be more careful. Tread quietly. Lower my eyes. And never stay out once it gets dark. My Mum wraps her worries around me and my sister until we can barely breathe. I want to say that I already button my waxed jacket up under my chin, and that I never wear my hair loose, but it wouldn’t do any good.

I weave a path between the sticky plastic covered table tops, heading for the exit. There’s a yell from the walkway on the next level so I look up, just in time to see a pale hand clutching a small white rectangle. The rectangle swings through the air, shattering into a hundred sheets of paper that drift out and down towards the Lookout. The sheets catch the last dregs of the day’s light as they fall, making them glow.

Hands are already grabbing at the white leaves before their arcs meet the ground. Paper litters the floor and tabletops, a black and white snowdrift lined with text.

I anchor my feet to the deck. I should leave now. I shouldn’t even think about reading the message. Getting busted for possession of propaganda would blow any chance I have of getting into med school. But then, all the other customers are taking the chance. A quick glance can’t do any harm.

I bend at the knees and snatch a leaflet that’s laying against the toe of my boot. My hand trembles. I face the sea and hunch my shoulders, shielding the forbidden rectangle of paper from the view of anyone aboard. With a tremble in my fingers I uncurl the leaflet and flatten it down. It’s a photocopy of a newspaper report. There’s a blurred photo of a cruise ship underneath words in blocks of black: OASIS OF THE SEA CLEARED.

“Coalies!” someone shouts behind me.

My heart leaps into my throat and drums out a warning. The leaflet I’m clutching could be a cinder straight from the stove, I drop it as fast.

Since the Coalescent Bill was passed last month the Coalies have spread their unwelcome reach into every part of ship life. Politicians from the Federated States wax lyrical about the heroic effort by law enforcement to ‘clean things up’ on the Arcadia. But as far as I can tell it’s no safer to live here. If anything, the black-clad Coalies have put our collective consciousness to the rack. People are jittery. Whispered rumours tell of arrests for non-crimes. Of people being taken. You don’t want to meet a unit of Coalies down an underlit stretch of deck.

A whimper rises from the cafe’s patrons. People let leaflets fall from their hands. Steel chairs screech against the metal deck. Still steaming drinks are abandoned. Half eaten sandwiches are left to the yellow-eyed gulls. A crowd bottlenecks at the exit, people push each other back in their need to get away from the reams of evidence strewn over the cafe. No one wants to be caught near all that.  

A girl thuds to the ground next to me and I hear the air rush from her chest. I turn back and start to help her up, but a team of Coalies hustles into the Lookout. Armoured and visored with guns the length of my arm. Panic stretches the girl’s eyes. She looks at me through strands of dampened hair, our fear twinned. Don’t get caught up. Look after yourself. Let her escape, or not, on her own. I ball my fists and force myself to leave her behind.   

I don’t breathe again until there are three decks between me and the Lookout. I keep checking over my shoulder but there’s no sign of the Coalies. They’ll be too busy rounding people up in the Lookout to chase after the ones that scattered.

A bitter film of guilt and adrenaline coats the back of my tongue. The blurred grayscale image of the cruise ship; the wide eyes of that girl lying on the floor; the surge of the Coalies. I shake my head to dislodge the thoughts and break into a jog for the long stretch to the back of the ship. I’m almost home.

My hobnailed boots are too heavy for running, and the muscles in my calves scream in complaint after a few steps. I ignore the burning in my legs, and concentrate on the clack-clack of the nail studded boot soles against the deck. Since my great-grandparents dropped anchor here the ship has been expanded outwards and upwards. Only a few stretches survive that are long enough to sprint down, and during the day I’d have to dodge around people, or the animals they let out to sun. 

12 comments:

  1. This is great! I have a few micro comments this time:
    1) The texts should be called out and in quotes so we see what they are saying to each other. Some people prefer to indent and use a different font. I'm not sure it matters as long as they stand out.
    2) My Mum and my sister > These should be Mum and whatever her sister's name is. That's how she'd think of them in her head. She doesn't need to tell herself who her sister is.
    3) Watch the amount of overwriting you're doing. For example, "I bend at the knees" should just be "I kneel" or "I crouch".
    4) Watch the number of times you're using metaphors for impossible physical actions. For example, "My heart leaps into my throat", "I hear the air rush from her chest", and "I don’t breathe again" > None of these things are possible and while you can get away with the occasional impossible metaphor, having too many is just another example of overwriting.
    5) I love your descriptions but this passage is a little heavy with them which slows your pace and almost gives too much color to what should be a bland life. Try to focus on describing only what she would stop to notice at this moment in time and remember: you want the grass to (literally) be greener on the other side!
    6) I would italicize the parts where she's talking to herself. For example, "Don’t get caught up. Look after yourself. Let her escape, or not, on her own."

    Good luck!
    Holly

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    Replies
    1. Thanks for the comments Holly, they're really useful. Re overwriting and impossible metaphors: It's amazing the things I don't realise I'm doing until someone points them out!

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    2. In fact, I'm going to add these to my permanent check list of things to weedle out.

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  2. Still enjoy this!

    A few small things, though: you have quite a few run-on sentences - maybe you want to shorten them a bit?

    Maybe have a bit less description of places Esther already knows, and a bit more action. I think you've done a great job of building the setting and oppressive atmosphere, but it could be shortened a little bit.

    Perhaps explain more WHY Esther wants to get off the ship? And why the Coalies are on the ship? What has happened that the government has sent armed military-type police to quell?

    I got a really good sense of Esther's will to survive and make it off the ship, so good job! I really like her character, and you've introduced it so well here.

    Well done!

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  3. Still enjoy this!

    A few small things, though: you have quite a few run-on sentences - maybe you want to shorten them a bit?

    Maybe have a bit less description of places Esther already knows, and a bit more action. I think you've done a great job of building the setting and oppressive atmosphere, but it could be shortened a little bit.

    Perhaps explain more WHY Esther wants to get off the ship? And why the Coalies are on the ship? What has happened that the government has sent armed military-type police to quell?

    I got a really good sense of Esther's will to survive and make it off the ship, so good job! I really like her character, and you've introduced it so well here.

    Well done!

    ReplyDelete
  4. Hi Sarah,

    I still enjoy this a lot!

    A few small things, though: you have quite a few run-on sentences - maybe you want to shorten them a bit?

    Maybe have a bit less description of places Esther already knows, and a bit more action. I think you've done a great job of building the setting and oppressive atmosphere, but it could be shortened a little bit.

    Perhaps explain more WHY Esther wants to get off the ship? And why the Coalies are on the ship? What has happened that the government has sent armed military-type police to quell?

    I got a really good sense of Esther's will to survive and make it off the ship, so good job! I really like her character, and you've introduced it so well here.

    Well done!

    Hi Sarah!

    Your description is great of Esther’s awareness of herself and also the setting she sees, but maybe too much so. I do agree with Kellie that words can be tightened and cut. I think if you do that, it’ll help the tension of the opening scene ramp up – I feel like coalies boarding the ship should be a BIG thing, but the tension creeping up to it isn’t there for me. But I want it to be, because this is so intriguing.

    Your new descriptions of the ship has confused me a little – originally I thought it was free to float in open sea, but now I’m almost picturing a rusted ship that’s somehow connected to land, becoming its own little ‘town.’ Is that how the coalies are boarding so easily?

    Also, what are they after? I’m still not clear on their overall purpose.

    I will say, I like how you write Esther overall. Her short sentences, some being run on… to me that flows well as it seems realistic and natural to how people actually talk. But that could just be me :)

    -Lisa

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  5. Hi Sarah,

    I like your description with lots and lots of details in the two opening paragraphs. You could consider breaking the two paragraphs into four. Doing so would make it easier for the reader to absorb all the good details. My mind took a break after “my grades slip.” And “reuse the grounds.”

    The first statement of the third paragraph (“At least I’ve got a shot”) comes out of the blue to me. I’m not sure at that point what she has a shot at, though later we do know.

    After someone shouts “Coalies!” there’s a paragraph of explanation before much of anything happens. If they are that oppressive, I’d be out of there in a flash. Having the paragraph in there slows the action and reduces the tension we feel. I think they need to react instantly after they hear the shout as if they’re shot out of a cannon. I know I would.

    You have a talent for lots of great details that set the scene quite well for the reader. You also create an oppressive atmosphere that I’m sure will lead to lots of conflict later in the story. Great job!

    Joel

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    Replies
    1. Thanks for the comments Joel. I think you're right about the paragraph about the Coalies. I'll try and work on the balance to get the tempo right. Thanks again, Sarah

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  6. Hi! I think you did a nice job on this revision! I have a much better sense of this world, and I like that you're focusing in on one danger at a time (the Coalies).

    I also thought they were anchored off shore the first time, but this time, not? (A little confused on that.) Which is better: being on land or on the boat? Why? Would she go to med school on the boat or on land?

    I think I have a better grasp of the world, but I'd like to know more about Esther's feelings on this world. What does she want? She seemed a little glib about her mom's worries for her and about the fact that she had a "chance." (At what? I assume a better life, but what's a better life?) If she's only an adequate student, is she stressing about these exams? Does she feel pressure to pass? What happens if she'd doesn't? She also picks up one of those papers. It seems that was radically dangerous. Is she just sick of these rules? Does think whatever alternative out there isn't that bad? Does she long to escape? Does she just want to stay with her family? Does all of this stuff seem "normal" to her or does she remember a time when things were better?

    The grandparents dropped anchor...is she a "somebody"? Did her relatives start this ship world? Just wondering! It may not be relevant here, but it made me wonder.

    All of these comments aside, I think this setup is very intriguing, and I want to know more! For me, having a better sense of Esther's place in this world would hook me even more!

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  7. What a great revision! I see so much improvement here. I'm more focused on Esther, less distracted by trying to understand the departing troops and the Neaths. You took the feedback and ran with it--great job.

    I agree with Holly's suggestions about the descriptions of pounding hearts and rushing breath. It's easy to stick that stuff in, but try to cut it whenever possible. A lot of times, your writing has more impact once it's trimmed. For example, you could cut the line about the racing heart and just have the second sentence about the leaflet being like a cinder from a stove, and it would pack more punch! It's clear from that lovely sentence that she's truly alarmed, so you don't need to tell us how her body is reacting because you've SHOWN us. So trust yourself.

    The paragraph about the background of the Coalies feels a little distant, like purely informational, and I wonder how much you could trim, so it's just a sentence, maybe two, and focused on her own experience? Like, has she encountered them before or have they left their mark on one of her friends, menaced her sister, etc., all in the name of law and order?

    There are also several comma splices to correct. However, apart from that, I think this beginning is increasingly strong. Nice work!

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    Replies
    1. Hi Sarah, thanks for the comments. All really useful stuff. You're right, I think my default is to assume I haven't shown my reader something unless I've really spelled it out. Thanks for drawing attention to the Coalies paragraph, totally agree (now that you've pointed it out to me!)

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  8. This is an excellent revision. It feels much more focused and easier to follow. Good job!

    A couple thoughts:

    1. I'm still thinking you don't need quite so much information about the Coolie backstory in these pages. It needs to be in the story, don't get me wrong, but maybe not as much right here. One of the many perils of backstory is that the more you explain, the more people expect to understand, if that makes sense. Simply putting a paragraph of information in, when you don't have the space to expand on it, can often cause more questions. It also takes the focus off the situation and lessens the tension. I really like Sarah's suggestion about cutting and refocusing. If this information is conveyed through her remembering what the Coolies did to someone she knows, it adds to the current tension instead of diminishing it, because we know the same thing could happen to her.

    2. This is purely my opinion, but I'd kind of like a little more about what exactly she's living on. I adore the phrase "shanty town that grew up from the carcass of a cruise ship" but it doesn't exactly give me a good specific picture. Is it a sort of stacked tower? Is it just the ship itself, anchored and derelict? A bunch of ships looped together with a town built on top of it? A sprawling town held up by floating docks and buoys with the ship in the center?

    You refer to "decks," "below decks," and "the back of the ship," but you also say it expanded up and out, and I'm not exactly sure I know what that means or how it works. Clearly generations of people have lived here, and just as clearly, not many are allowed to leave, so there's a lot of people there. But I don't have a clear idea of the actual architecture of the place.

    You don't need a lot. Like I said, speculative fiction readers are a patient bunch. Just a sentence or two maybe, to explain exactly what kind of structure we're dealing with, so that as she moves around it, we can stay oriented. I think it would help in locking the reader into the story.

    Good luck! I'm excited to see the next one!

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