Name: Carly Whetter
Genre: Young Adult Urban Fantasy
Title: The Forest Song
I paint Lady Earth with her billowing white dress and sea green hair, her eyes closed and a smile on her peaceful face. Strong cedar trees surround her, and I drag my desk across the room to paint the branches above me.
In the fairytales that my father used to tell us before we were taken by sleep, Lady Earth had possessed a deep and powerful magic that everyone else wanted. But although she was powerful that did not mean that she was invulnerable. Everywhere she went the evil darkness that threatened the natural world around her followed, but there was a grove deep in the forest that would wrap safety around her like a cocoon. This is where I painted her.
"Zola, you always draw Lady Earth. Try to give the evil guy some airtime once in a while," my brother says behind me with a laugh. His voice makes me jump. I turn to see him leaning against my doorframe, arms crossed over his chest as if he’s been watching me paint for a while.
I shift my weight from one foot to the other, trying to get some blood flowing back into my legs; I started painting around noon, and it’s already dark outside. The plastic tarp covering my bed crinkles loudly beneath my weight, and I wipe my gritty hands on Dylan’s old scrubs. I turn back to my artwork with a snort. “I’m not going to paint the evil guy on my bedroom wall, Aidan. That’s asking for trouble.”
“Why not? Besides, that would be a much better story for when I tell Mom what you’ve done to your bedroom.” Aidan raises his eyebrows mischievously and kicks a paint tube for extra measure; it’s only Tuesday and I’ve already given him ammunition to use with our parents. Shit.
I hop off my bed, dropping the paintbrush on the floor, paint droplets dancing on the hardwood. He watches the droplets fall with a wide grin of satisfaction on his face, and I know I’ve made it worse.
“You wouldn’t.”
He turns unexpectedly on his heel, and with a laugh runs down the hallway of our small house and into his bedroom. Unable to close the door quick enough, he tries to keep me from coming into his room by pressing the entirety of his body weight against the door. But I’m two years older and at least fifty pounds heavier and when I shove against the door and he flies backwards.
He shrieks with laughter, raising his hands in front of his face as I pounce on him. I press my colourful hands into his skin, dragging the pigment across his face and into his fire-red hair.
“Guys,” Lynn, Aidan’s twin, groans through her open bedroom door across the hall. Aidan is laughing too hard to pay attention; his freckled face contorts as he squeezes his eyes shut. Lynn’s mattress squeaks and she stomps across the floor, slamming the door on us.
When we finally run out of air, we both lie on our backs and stare at the glow in the dark stars Aidan pressed onto the ceiling when he was younger. He told me once that he thought it was the type of sky that Lady Earth would look upon when she was in her grove: full and bright. Although he tells me there are better characters, I know Lady Earth always watches over him at night.
When our breathing slows, he finally speaks: “I won’t tell.” He laughs.
“She’ll find out anyway.” I punch him in the shoulder playfully for good measure.
#
After I’ve scrubbed my skin raw in the shower, I join my family for dinner. As I step out into the hallway, the scent of my father’s famous ham wafting up through the stone house and hiding the smell of paint, I’m still convinced that my family will know what I’ve done. I’ve been lectured enough times about paint ruining hardwood floors to know better.
But, when I walk into the dining room, all six members of my family already surrounding the table, they beckon me to join and I relax.
I move quietly, my toes squishing into the white carpet, and sit between my eldest brother, Dylan, and my father who is already shoveling mashed potatoes onto his plate. Dylan is in the midst of a story about a new intern at the hospital, his fork waving above his head animatedly.
"I couldn't just let it go," Dylan says. "The guy couldn't have been able to tell the difference between a vein and a wet noodle."
Although Dylan came back to Orville after he finished medical school and became one of the most respected medical professionals in town, his gestures make him look anything but.
My mother, furthest away from me at the other end of the table, is looking at Dylan with admiration, her red talon-like fingernails tapping against her wineglass.
Wrapping up his story, Dylan raises his glass. “Vivienne and I have announcement,” he says, looking at me. “Now that everyone is here I think this is an appropriate time to say it.”
Vivienne, Dylan’s wife, seems to grow bigger by the second, and she places her hand on her stomach as if to signal to the topic of conversation. It’s no surprise that Dylan would be the one to announce the gender of the baby; he delivers them every day but nothing has been more exciting to him in weeks than this news.
Lynn is unable to contain herself, and moves towards the edge of her seat and rests her elbows on the table, almost as if sheer proximity will allow her to hear the news first.
“It’s a boy!” Dylan proclaims, leaning over to kiss Vivienne’s cheek.
Lynn squeaks and vaults across the table to embrace Dylan, and I rise to congratulate Vivienne, pulling her into a hug. “Congratulations,” I say fondly.
"Same to you, Zola, you're going to be an aunt."
After my parents finish doting on Vivienne and we’ve all settled back down, our food now forgotten and growing cold, my father turns to me. "Now that we've broached the subject of new life, Zola, I was hoping your mother and I would be able to tell you something."
My head snaps up in surprise; I didn’t expect the topic of conversation to turn to me. I can feel my ears turn red. Growing up with three other siblings, I know that if I am suddenly the sole focus I’m in trouble.
"What's that, Dad?" I ask, aware that my voice is strained in a desperate attempt to be normal.
Aidan shoots me a maniacal grin that makes me squirm.
But I never get his answer. The next thirty seconds are in slow motion: the large bay windows behind my father give out and each shard of glass spins in front of me, glittering in the light of the swaying light fixture above the table.
Reading these first five pages gives me a strong sense that this book will be about family. Zola as a protagonist seems like a positive, loving girl who loves to paint.
ReplyDeleteSince it looks like something is going to happen that will separate Zola from the family in some way, I'd like to have a sense of her relationship with each and every family member. At the moment I know she has some conflict with her parents, but I don't know what it is, whether it's different for her mom or her dad, and how much it affects the relationship they have with each other. I don't know whether she loves or resents her brother Dylan, whether she ever finds the twins annoying.
I think that a stronger voice for Zola herself might help with that. Even though we're looking at the world through her eyes, I don't know what Zola thinks or how she feels. For example, when Aidan showed up I didn't know whether they were arguing or play acting until she started wrestling him in his room. I think you could use some internal opinions to show us how Zola is with the rest of her family, and how she feels about that.
I like the idea of Lady Earth, but I think that starting with her slows the beginning somewhat. I presume that the novel will be tied to Lady Earth in some way, and to the villain that follows her around. Does Zola believe in Lady Earth? Is that why she thinks that painting the villain will just 'cause more trouble'? I'd also like to know more specifically why painting her room will get her in trouble with her parents. Do they want to smother her art, or will they just be upset that she's getting paint all over the floor? Is her defiance of them due to an unsettling need to paint Lady Earth, or is it a deliberate signal to them (e.g. she puts a tarp over her bed, but not over the wood, thus ruining her parents' house while preserving her bed)? I think that elaborating on the conflict around Zola's painting will show us a lot about her, and about her parents.
Thanks for posting this! I look forward to seeing it next week!
Thanks for your comments Claire - you make an excellent point about having her feelings reflected more throughout the beginning. I'll be sure to add this in my revisions!
DeleteThis is lovely. It makes me feel calm, like a cool breeze on a warm day. I do think it's a little slow, however. I agree with Claire, I think a deeper understanding of the significance of Zola's painting and the conflict around it would help this immensely.
ReplyDeleteI'm also not sure if this is starting in the right place in general. Of course, I don't know what's coming in the rest of the pages, but would it work to move the painting closer to dinner? Maybe skip the wrestling match and the shower and show us more conflict (at least Zola's inner conflict) around the table and more of Zola's relationship with her siblings and parents at dinner? Like Claire mentioned, I get the sense family is important to Zola and the story, but I don't get a sense of who each family member is. I want to feel as attached to them as Zola does, especially if she's about to be torn away from them.
I think moving the time of the painting closer to dinner could serve several purposes: we could have more face time with Zola's family, we could see her parents' reaction to paint on her hands (since she skipped the shower) and better understand that conflict, and we could potentially get into the action sooner. I want to know what happens with the bay windows and the glittering light!
Thanks for your comments Jessie. I really like your suggestion about reworking the painting/dinner to make them closer together to deepen the tension and inner conflict. Hopefully this will help the reader feel more attached to the characters like you've suggested.
DeleteThanks for submitting your pages, Carly. I've had a chance to look them over and am happy to share a few thoughts.
ReplyDeleteOverall, a terrific start! I think the prose itself is well written and the first-person present-tense narration should give the book a nice feeling of immediacy. So well done on those fronts.
What we need to do in this draft is focus on what you're conveying to the reader in these critical first five pages. That means separating what is absolutely essential to building momentum from what risks bogging readers down. With that in mind, I have two recommendations for strengthening your opening. Once we focus on these lager structural issues, we can start really polishing up these pages in the next round.
1) You don't have to tell everything right away. I felt like these pages were being used to introduce me to all of characters at once. Kinda like a check list. Protagonist? Check. Rambunctious little brother? Check. Huffy little sister? Check. Pregnant sister-in-law? Check. You get the idea. The thing is, I don't think we need to meet everyone now -- especially if some of them don't survive the first scene (that's an assumption on my part, but all those spinning shards of glass seem dangerous!). There will always be opportunities to flesh out Zola's family members later -- if necessary, by allowing Zola to reminisce about them. I'd rather see/hear more of the narrator/protagonist at this point, along with some action. Which brings us to our next point...
2) Start later. My first agent once told me something I'll never forget. "Start as late as you can." She wasn't talking about procrastinating or only writing late at night. She meant start as far into the action of your story as possible. As it stands, we have four-and-three-quarters pages of watching someone paint, hearing a fairy tale, seeing some sibling roughhousing, then we sit down for dinner. THEN, something big happens. It's dramatic and screams peril and has me wanting to read more. Then your sample ends. (Aw, just when it was getting exciting!) Yes, you should end with a bang. But you should also start with a bang. You don't want to make your reader wait to get to the point where they want to keep turning those pages. So the question is, how far into the story can you start? Could this book start with the exploding bay windows and aftermath? That'd be gripping! Or could it start even later? (For the record, I cut about 20 pages off the front of my last MS between the second and third drafts -- huge improvement.) The important thing is whatever your inciting incident is (that is, the action or situation that sets the plot in motion) should happen in those first five pages if possible. In this draft, I don't know what the drive of the story will be. Does Zola need to rescue Aidan from a monster that jumped through the bay windows, plucked him from the dinner table and carried him off into the night? Or will she be protecting her family from the evil guy who just shattered the windows with his creepy telekinetic powers? Or was it Vivienne's unborn boy that was the target of whatever smashed the windows? Right now, you don't let the reader know where this book is going. Bottom line: by revealing the main conflict that will force your protagonist to act, you'll be much more likely to hook your readers from page one -- and that's something you'll have to do when you start querying.
So, that's where I suggest we start with our revisions. I hope this is helpful. I'm really looking forward to seeing the next draft!!!
All best,
Rob, First 5 Pages mentor
Carly,
DeleteThank you for sharing and participating in the critique. Hopefully my critique is of help!
I enjoyed your writing style and the character’s voice. I can already tell she’s a sweet MC and that reading her story would be a pleasure.
I wish there wasn’t so much going on in these five pages. I feel like everything happens too briefly and too fast. You want to show us too much in too little narration and this harms the story. My recommendation would be to choose your focus and really stick to one scene or two, and vividly paint the scene and the characters. Take your time :). And because we are kind of rushed through the two scenes, too many characters were introduced, so it was hard to keep up. Especially the dinner scene. Consider slowing it down and spending a bit more time with each scene and character.
In terms of the actual narration, I noticed a heavy use of adverbs. Or at least more than what I would have liked. While adverbs aren’t all that bad, I recommend changing those adverb + verb combos to stronger verbs. Also some sentences were pretty long and/or had really long clauses enclosed within. Consider breaking up the sentences. You don’t have to if it’s your style, but in general shorter sentences make for an easier read. I also noticed a couple superfluous “that” hanging out here and there.
There was one instance where I thought the dialogue sounded a bit mechanical and unrealistic. When Dylan says “Besides, that would be a much better story for when I tell Mom what you’ve done to your bedroom.”
In regards to Lady Earth, I wasn’t particularly enthralled by the concept. Especially since her description (dress and hair) aren’t too imaginative. To be enthralled by the concept, I’d want to hear about something that defies my expectations. What I did like, however, was that Zola is a good painter and confident enough in her technique that she partakes in painting her room AND her brother doesn’t make a rude/joking comment about the painting (how good/bad it is).
I’m looking forward to what you have in store in the next revision. Keep it up!
Gabriela Romero
Oops, I messed up and replied in the wrong place. Please disregard this comment.
DeleteCarly,
DeleteThank you for sharing and participating in the critique. Hopefully my critique is of help!
I enjoyed your writing style and the character’s voice. I can already tell she’s a sweet MC and that reading her story would be a pleasure.
I wish there wasn’t so much going on in these five pages. I feel like everything happens too briefly and too fast. You want to show us too much in too little narration and this harms the story. My recommendation would be to choose your focus and really stick to one scene or two, and vividly paint the scene and the characters. Take your time :). And because we are kind of rushed through the two scenes, too many characters were introduced, so it was hard to keep up. Especially the dinner scene. Consider slowing it down and spending a bit more time with each scene and character.
In terms of the actual narration, I noticed a heavy use of adverbs. Or at least more than what I would have liked. While adverbs aren’t all that bad, I recommend changing those adverb + verb combos to stronger verbs. Also some sentences were pretty long and/or had really long clauses enclosed within. Consider breaking up the sentences. You don’t have to if it’s your style, but in general shorter sentences make for an easier read. I also noticed a couple superfluous “that” hanging out here and there.
There was one instance where I thought the dialogue sounded a bit mechanical and unrealistic. When Dylan says “Besides, that would be a much better story for when I tell Mom what you’ve done to your bedroom.”
In regards to Lady Earth, I wasn’t particularly enthralled by the concept. Especially since her description (dress and hair) aren’t too imaginative. To be enthralled by the concept, I’d want to hear about something that defies my expectations. What I did like, however, was that Zola is a good painter and confident enough in her technique that she partakes in painting her room AND her brother doesn’t make a rude/joking comment about the painting (how good/bad it is).
I’m looking forward to what you have in store in the next revision. Keep it up!
Gabriela Romero
Thanks for your comments Rob! In previous drafts I had the story start right when they are attacked but I found the reader got a bit lost, so this draft may be a bit overkill - hopefully making the story start right at dinner will allow me to find that happy medium.
DeleteI'm happy you liked the 1st person present - it's a recent change and I find it allows me to get to know Zola better.
Thanks again, and I look forward to working with you in the coming weeks.
Hello! I liked the concept of Lady Earth and what it means for the promising urban fantasy story you’re going to tell us. I have a feeling that Lady Earth will be of significance later in the story. However, I would suggest (for the sake of giving us something about your mc and developing the plot of the story), is to focus primarily on Lady Earth in the first half of text and then the second half (during the dinner), to focus on the upcoming suspense and action at hand. I agree with what Rob said about the inciting incident. Though some stories don’t necessarily have the inciting incident in the first five pages or more specifically in the first 1250 words, but what you did with the glass at the end was like BOOM. I really liked it, and maybe you could try hinting at it with more suspense and foreboding earlier in the story.
ReplyDeleteIf you want to make Lady Earth more enthralling and more interesting yet still rooted in the mundane world (hence urban fantasy), have your mc’s siblings regard Lady Earth as real, as something super interesting, rather go off on a tangent with your mc chasing her annoying brother or talk to her annoyed sister. Add a magical, suspenseful touch to Lady Earth and this will also reveal both Lady Earth and your siblings in an artful manner.
I liked this part: “When our breathing slows, he finally speaks, “I won’t tell.” He laughs.
“She’ll find out anyway.” In fact, I love the dynamic between your mc and her siblings but I feel like it’s so all over the place and the dialogue doesn’t seem realistic enough. It’s seems like its playing too hard to come off as a real conversation and I would really strengthen that part up, if you want to keep the family portion evident in the first several paragraphs of your text.
When the big pregnancy announcement is revealed, I feel like that takes away from the suspense that the glass shards pointing to your mc will happen. I would either include the family dynamic in the beginning and have your mc eat dinner with her siblings (not parents) and also have the older brother show up in the beginning talking about Lady Earth, without the preggers announcement to really keep the story focused and centered. OR you can ax the entire family thing in the beginning and have your mc alone with painting Lady Earth and then continuing onto dinner. If you do that, strength the dinner part by having each person speak an important piece of dialogue that is masked as casual but is telling of their character (aka contrast all of them to keep us interested!)
Looking forward to your revisions (: Nice work so far.
Hi, Carly!
ReplyDeleteI enjoyed this first five pages--I love urban fantasy and stories about family. You provided me with a lot of ways to relate to Zola--she's artistic, a bit rebellious, has a strong enough relationship with her brother such that they can roughhouse--and while there are twins in the story (a common trope in fantasy novels), the main character is not one of the twins! Huzzah!
I thought the Mother Earth imagery was lovely, and it worked for me because—just like the twins—you tweaked it: she pictures Mother Earth as living in a grove, rather than being the entire earth. That seemed sort of pagan/Greek-mythology to me, and the fact that her brother discussed it in informed detail told me that he also knew the story. So I wondered if it was part of a family belief system or old family story.
I agree with the other comments that there was a lot to cover and that I wanted to see more interactions with the other family members. I wondered if you added the explosion because you were concerned that not enough drama had occurred to hold a reader's interest. So what about some tension at the dinner table? Maybe Zola's sister-in-law isn't well-liked by some or all of the family. Maybe she and Zola's brother lost a baby, and they're nervous about this one. Conflict can keep readers engaged. I suggest you look for places to add conflict, although I do caution you not to take away from the likable main character you've created by making her surly or angry about whatever the conflict may be. I'm engaged by her and want to see what happens to her next.
Great beginning!
HI Nancy, thanks for your comments. You're right I added the bit at the beginning to give more about the world than the inciting incident by itself. I like your suggestion about picking up on some of the family drama earlier in the story to keep my readers engaged.
DeleteI appreciate your feedback, and I look forward to working with you in the coming weeks!
Carly
Hi Carly-
ReplyDeleteThanks for submitting your pages. I'm going to address a couple of things that other people have pointed out--that your MC seems "sweet" and that the opening makes them feel "calm." If this is truly an Urban Fantasy, I think that the opening needs to start off right away with much more tension and a sense of the magic that is to come (or at least the danger). When I think of Urban Fantasy, I think of books that start off in a more urban environment. Things like City of Bones or Daughter of Smoke and Bone--in the streets, literally, rather than in the safer, domestic space of a house. Maybe your book is more of a contemporary fantasy than an urban fantasy? If you do get into a city-scape eventually, I'd get there faster somehow. If you don't, and this is actually a more family-centered book like a lot of the people above have commented on, I'd re-think the genre you're labeling it when you query.
I'm wondering how starting with Mother Earth and the unnamed bad guy is going to link to the book as a whole. I'm also wondering where/when we are and what the deal is with the parents. The siblings here seem okay, but the parents are described in a way that makes me think they're somehow evil--the maniacal grin and talon-like fingers. If they aren't really evil, I'd back away on those descriptions, but if they *are* a malevolent force in the MC's life, I think you need to use that to build her character from line 1. She should be more than just worried about spilling paint, right?
Overall, I'm intrigued by this opening, but I'm having a hard time knowing by the end of these five pages where this book is going--if it really is a nitty-gritty urban fantasy, if it's a family-based contemp w/ some fantasy elements? I love that you end with the glass exploding, but nothing that came before prepared me for that. Maybe that's what you're intending? But from the way the parents are described, and from starting with the mother earth imagery, I'm guessing that there's more going on. I'd love to know where you're going with the book as a whole--might be able to give you some better advice about how to start these five pages.