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Item Reviewed: "Invalid Item" ![]() Author oregonboi Reviewer: Max Griffin 🏳️🌈 ![]() ![]() Review posted in
Review posted in
As always, these are just one person's opinions. Only you know what is best for your story! I've read and commented on your work as I would try to read my own. I hope you find something here useful ![]() ![]() ![]() Gavin returns to his apartment from the dinner with Claudia and Trey. He chats with his father on the telephone and exchanges emails with Claudia. There's a subtext to the conversation with his father that suggests his secret about being bisexual won't surprise his parent. There's also a hanging conversation with Claudia about "who and what she is." The second scene involves Gavin's arrival at a manufacturing plant to give an inspirational workshop. There's a rather improbable conversation with the security guard, before this segment of the chapter ends. ![]() Third person limited in Gavin's head. Perfect. ![]() All consistent, as nearly as I can tell. ![]() Sufficient for staging. ![]() Gavin is consistent; I enjoyed the banter with his father. They clearly care for each other a great deal. I also liked the fact that Gavin treated the security guard like a real person, and that the guard opened up to him. Some of the things guard said seemed a bit improbable to me, but this was a nice bit of characterization for Gavin. ![]() ![]() ![]() A comma splice occurs when you have two complete sentences joined by a comma where a period or semicolon should be used. I've marked one or more examples in the line-by-line comments below. ![]() David, as I said above, I really liked that Gavin treated the security guard like a person and stopped to chat with him. This shows him to be a genuinely nice guy who is interested in people. I think you could tone down some of the things the security guard said, though. It's not that I don't think the CEO would have talked to him, or given him bonuses for good ideas. *I* do those kinds of things, except that state employees can't get bonuses. But I thought the conversation was a little "telly." For example, you might have some newly hired VP flash by and not even respond to Cole's greeting, or, worse, berate him for some minor infraction (maybe he's got coffee on his desk). That let's Cole comment on how that wouldn't have happened before poor Mr. Harris passed on. You might have him wince during the son's phone call--maybe Gavin can even hear Harris yelling at him on the phone. I'd try to figure out ways to show the information that Cole conveys, and to segue to the parts of it that he must tell. Another point: i don't think we need all the background on old Mr. Harris's death. We just need to know he died unexpectedly, right? So...my major suggestion here is to try to find ways to make the conversation with Cole more natural, showing rather than telling, and less of an info-dump in dialog. ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() ![]() Again, these are just one person's opinions. Only you know what is best for your story! The surest path to success is to keep writing and to be true to your muse! Bill, AKA Mathguy, AKA Max Griffin Please visit my website at http://members.cox.net/maxgriffin/ |
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