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227 Total Reviews Given
Public Reviews
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Review by Nadja B Author IconMail Icon
In affiliation with FantasyHorrorSciFi Novel Works...  Open in new Window.
Rated: 13+ | (3.5)
Nadja B Author IconMail Icon’s review of
Review of "WIP: Chapter 1 - Orion's Last StandOpen in new Window.
by ChrisRand Author IconMail Icon
for the "Fantasy KeepOpen in new Window.


Characters: A handful of military types, most of which are dead at the end of the chapter (which is a very long one for a first chapter). Beginning the story from the POV of a bunch of characters that kack before the real story begins makes me a little frustrated as a reader—I feel like I’ve put a lot of work/effort into getting to know and trying to guess at motives of people that are then wiped out. Seems to be a conglomeration of races, and though the stereotypes of the Catholic, salsa-betting Hernandez and Lenvov the Russian, etc, etc, are a good thing (that is, the mix is a good thing, not the sometimes borderline stereotype), I’m not really reading it in their characters—they’re all speaking English (I’m assuming), but have accents? If they have accents, I would expect they have all the language quirks/regional dialect to differentiate them—maybe try playing with their use of language to differentiate them from each other and add to the depth of their characterization.

Plot: We’re in space. Weird stuff happens. Strange ships appear, threaten annihilation. Lenvov & Co present the third option (i.e. blowing themselves up).

Setting: Space. The good ship Orion. Not sure how this relates to the Thermopylae of the intro? If I had to guess, following the destruction of the Orion, the Thermopylae is built as something of a vengeance vehicle? Shrug. We’ll see *Wink* The setting was really spare. I found myself filling in the blanks with BSG references.

Grammar/Mechanics: watch commas. I’m no expert, but you’re missing a lot where you’re addressing people in dialogue. Look out for your possessives as well—there are apostrophes in It’s as possessives—for this case, only ever use an apostrophe if you’re contracting it & is. Write out your numbers. The chapter is really long, but as it stands, I wouldn’t cut it up into more than one chapter, just trim out some of the narrative bits, some of the waiting & explaining. Not going to pretend I know what saleable chapters are, or that there’s some unwritten rule about how long they should be, just that from my own impression, this one was a bit lengthy.0

General impressions: I really, really wanted to love this, but I find it coming up just *this* short in most cases. The characters didn’t pop as individuals, and the setting, while unobtrusive, kind of left me floating in the middle of space as to envisioning the scene. For both characters and set, I back-filled from Battlestar Galactica references. Even the plot—presenting the third option—is strongly reminiscent of a lot of BSG episodes. The pacing slows down in what should be some of the more exciting passages—watch the balance of the more explanatory narrative and the frantic dialogue. I mentioned the frustration of investing so much time in characters that die at the end of the chapter, but I feel it bears mentioning again—I’ll have to read more before I make my decision, but at this point, I’m not sold that you’ve found exactly the right place (or maybe POV) to start from. But like I said, I’ll read more before I make that call *Wink* I feel like you’ve got a really good story in here (at least, the story of the Orion, not so sure about where it’s going hereafter!), but that it needs some trimming down to make it shine.

Line-by-line detail is posted in the Fantasy Keep review forum.

Write some more of this!
~nadja

Co-Creator of the free on-line graphic novel Impure Blood.


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Review by Nadja B Author IconMail Icon
Rated: 13+ | (4.0)
An intriguing beginning, to be sure. You use the time period and physical setting to your full advantage to bring in automatic tension between the characters and the world around them.

There are a few technical issues, with spelling and punctuation, and with putting in numerals instead of writing out the numbers, but not too many.

The upcoming story will have Seamus at odds with his surroundings, as he does not want to move to America. Something that might help punch up the ending is a description of the soldier--I know Seamus would automatically recognize him of the Engligh variety, but 'showing' this soldier to the reader would draw us in that much more. Just a suggestion.

Keep writing!

nadja

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Review by Nadja B Author IconMail Icon
Rated: 13+ | (5.0)
This is a perfect companion to your article on the archetypal villian. Your argument is clearly supported and you relay it with such a sense of humor and personality that I can't help but wonder if you're a fanatic villain with an evil scheme of your own *Wink*

(And completely aside, I must agree with you on your feelings of X-III...what a let-down after all the hype)

If you put this article with your previous one, it seems that some villains could be considered both, depending on your perspective. Take Hitler. (now, I'm not some Hitler-loving psychotic Nazi or anything...goodness, I can see the emails now...*Wink* ) He was charismatic, held to his convictions, etc, etc. But, if you were of the wrong 'group', who would in your words 'get bloody' I'm sure he'd seem less charismatic and more purely evil.

Any more good villain segments coming? Both of the articles you've written have called up such scary-but-fascinating characters that I find myself enthralled by the "dark side".

Good work!

nadja

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Review by Nadja B Author IconMail Icon
Rated: E | (4.5)
This is by far the most entertaining and easily relatable piece that I've read regarding the arche- vs. stereo-types. You make a lot of good points in this article.

I've come to realize that many of my own "bad guys" always get a back story--I seem to have had an obsession with the symphathetic bad guy of late. And then to think I wasn't quite getting that huge, ultimately satisfying overthrow in the endings! Your article reminded me that if I want that type of scene, I have to have that "old school" villian.

(And I especially loved the comment about how the villain's existence is almost meaningless without the hero)

I'm off to villianize some characters...mwahahahahaha
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Review of Music of Love  Open in new Window.
Review by Nadja B Author IconMail Icon
Rated: 18+ | N/A (Review only item.)
This started off with a slow, gentle rhythm that picked up speed and finally peaked itself out and returned to its original slowness. Very cleverly written. I like the subtlely used in describing love/making love. The piece flys right by as you read, but tends to stick with you a little bit after the end—almost as if it’s over too soon, which when related to the subject matter, is also very clever on your part. This poem is deceptive in its simplicity and you write it so well and understatedly that completely hide your brilliance! You’re not pushing in our faces the tools of poetry, but letting them speak for themselves, which is none too prevalent in a good deal of modern poetry. Good job!

Nadja
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Review of Desolate  Open in new Window.
Review by Nadja B Author IconMail Icon
Rated: ASR | N/A (Review only item.)
Contest Review 4/5
Author:
Title: Desolate

This particular piece doesn’t seem to have the same weighty emotional impact that some of your other pieces do, but it shows a lot of potential. The end seems to be missing an extra beat or two. My brain keeps wanting to repeat “Alone” after “dark”. Could just be me. The place where I feel the mark was missed, so to speak was with “I won’t show it to you”. This seems to contradict the rest of what I’m interpreting from the poem. I absolutely love the first four lines. They’re very clean, very simple. They lead well into line 5. Line 6 (“I won’t show it to you”) leaves me a little confused, as now the speaker sounds as if he/she’s to blame for his/her own pain, but the rest of the poem doesn’t seem to be a lament of the speaker’s own inability to act. Changing the word choice (i.e., I’ve hidden it from you, Away from you it’s locked) to something more proactive on the speaker’s part may help. As it is, it almost sounds as though this “you” has asked to see the speaker’s soul but the speaker refused, which would then mean that he/she is responsible for his/her own misery, which seems to contradict the love he/she hoped for not being meant to be. If it’s hidden away from “you”, it’s less of a refusal on the speaker’s part and more of a shyness/fear of being hurt. I hope that makes sense…I know I got rather wordy, but I wanted to try to make myself clear. Not that I didn’t like the poem! By any means! I rather liked it, and all these are simply suggestions—take them with a grain of salt. Or maybe an entire shaker. Or maybe you should just buy salt in bulk when you read my reviews… *Wink*

Nadja
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Review by Nadja B Author IconMail Icon
Rated: 18+ | N/A (Review only item.)
Contest Review 3/5
Author:
Title: The Things I’d Do to You


I'd take your beady eyes
and feed them to the crows.
Grab a white hot poker
and shove it up your nose.
I'll wear stiletto heels
and stomp your little feet.
Pull on my cowboy boots
and kick you in the seat.
Then I think I'll take a vise
apply it to your head.

And once I've done all these things,
you'll wish that you were dead.

This was quite delightful. Reminded me of a more “jilted lover” version of Shel Silverstien, who I absolutely ADORE! My one suggestion is that the “apply it to your head” seems more of an open-ended phrase to lead into “And once I’ve done all these things” and I’d use a comma after it instead of a “.” but it’s your call. After reading this title I thought this would be a more “love/lust” oriented piece, and it is in the most satisfying way--it’s a great surprise to see that it’s about a love/lust gone down the drain. You can tell there once used to be feeling toward this beady-eyed, little-footed man…and you know what they say about foot size and other male appendages *Wink* Which makes an awesome double meaning if you read into it really far (as I always do), and is just a fun rhyme if you don’t. The significance of feeding the eyes to the crows, which are despised as dark, dirty creatures who don’t have a nice song, is also not lost. It’s very much an affection-gone-sour piece that manages to be a bit light-hearted at the same time. I loved it.
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Review of She Walks  Open in new Window.
Review by Nadja B Author IconMail Icon
Rated: 13+ | N/A (Review only item.)
Contest Review 2/5
Author: Nikola~Thankful Author IconMail Icon
Title: She Walks

First of all, I feel that I should apologize, because it’s been a while since my last poetry critique class, and I’m a bit rusty…this piece didn’t have a recognizable meter or rhyme, so there go my first two ideas on how to review it! *Wink* My favorite line was “She is not of ours” after “the style of her time”. The transition there was wonderful and it solidifies that she is, in fact, a ghost, as we have come to assume from “guests whisper of glimpsing her”. The lines are all short and consice, and on the whole flow well from one to the next without significant hang-ups or jarring stops. I was left with one question, and that is about her death…did she kill herself because she wanted to wander the house forever, or was she murdered and thereby forced to wander forever? It’s not a huge point, as the main idea is that she is, not why she is. Good job with this one!

~nadja
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Review of Dearly Beloved  Open in new Window.
Review by Nadja B Author IconMail Icon
Rated: 18+ | N/A (Review only item.)
Contest Review 1/5
Author:Nikola~Thankful Author IconMail Icon
Title: Dearly Beloved

DEARLY BELOVED

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore--
While I nodded, nearly napping, suddenly there came a tapping,
As of someone gently rapping, rapping at my chamber door.
-- Edgar Allen Poe


I like the intro with “The Raven”. The poem always brings such a chilling mood/tone when I read it

A loud banging brought Ed out of his quiet reverie.

"Dang kids!" he muttered, slowly rising from his chair.

He snatched the large dish of candy from the hall table before opening the door to an array of little characters. awww, it’s Halloween!

"Trick or treat!" chanted a miniature Batman, Spiderman, is that a purple dinosaur? where is this thought coming from? Ed? The narrative? and hobo.

Ed smiled wearily, dropping candy into their outstretched plastic pumpkins and shopping bags. The children chanted their rehearsed "Thank you," and disappeared into the night.

Closing the door, he sat the dish on the table and shuffled back to his comfortable old chair where his open book awaited him. The collection of poems had been a gift from Rosie on their tenth wedding anniversary. Ed's favorite had always been Poe's "The Raven." It had become his special ritual to read the poem every Hallow's Eve. kind of an interesting parallel…what with visitors entreating his chamber door…though they want candy and not the “entrance” that comes next in Poe’s poem *Wink*

Picking up the book, he settled deeper into his chair, with a creak of his old bones. A racking cough shook him. He knew he had taken a chill this morning, but he'd had them before and thought nothing of it now. hmm…he thinks nothing of it, and yet, it is important enough to get into the narrative…there must be something going on here He lowered his eyes to the words on the page.
..."Tis some visitor entreating entrance at my chamber door-


Another loud knock made Ed start. He slowly made his way to the door once more. This time, he was visited by two little witches, a ghost and a princess. He passed out the candy and they ran off to the next house. Ed hardly realized he had closed the door and sat the dish down. He felt cold--chilled to the bone. The cough hit him again, nearly sending him to his knees. Making his way back to his chair, he reached for the afghan that Rosie had crocheted for him and wrapped it around himself. He could still smell her in it. bittersweetness…how it tears at my heart!

Rosie and Ed had meet while they were teenagers. Entranced with one another from the get-go, it was assumed they would marry. Ed loved Rosie with his entire being and she had felt the same. They had never had children, only each other and they had been fine with that.

Rosie had always been the strong one of the two, or so Ed thought. When she passed away two years back, he had been devastated. He didn't know how he could ever go on without her.

Take Halloween. She had always passed out the candy while Ed read his poem. She had loved the kids and their varied costumes. Ed preferred to stay in the background. Now that she was gone, he just couldn't see turning the kids away. They had meant too much to her. He decided that, the comma here jarred me a little bit—it broke up the rhythm in an unexpected spot even though it’s grammatically/technically correct if it took him all night he would cover candy duty and still get his poem read.

Before Ed could settle back into his poem, the kids were at the door again. Now, there was a steady stream of cartoon characters, goblins, royalty and ghosts. He leaned against the doorjamb for support. He was getting colder and the night air wasn't helping. His cough was worsening. Soon enough, the kids and the candy had vanished. Turning out the porch light, he could settle in and read his book.

A loud rap sounded at the door.

"Who could that be? The light is off and it's too late for the little imps to be out now," he grumbled.
Darkness there and nothing more.


Ed peered into the darkness. There was not a soul in sight.

"Must be those damn teenagers, trying to scare an old man!" is he actually saying this out loud? Seems strange…I’d buy that he’s saying it quietly to himself, but the ! suggests he’s saying it forcefully…and if he is, you may want an extra clue that he’s shouting it into the night to show the darn kids that he’s not scared of them. Just a thought *Wink*

Slamming the door, he once again hunkered down in his chair to read his poem. A few more lines into it and there was a loud crash on the front porch. you’re getting creepier and creepier! I like it. Especially since Ed is thinking nothing of it Disgusted, Ed limped as quickly as he was able in an effort to catch the troublemakers. He threw the door open to find the wind had picked up and had caused a flower pot flowerpot one word to fall from the porch railing. It now lay laid? I’m never sure on this lay/lie/laid issue, but if it’s past tense, I think it’s always laid…and we are in past tense, right? Maybe I’m way off…wouldn’t be the first time *Wink* shattered, black dirt scattered. shattered/scattered…normally that’s something I wouldn’t recommend, but with the poem interwoven as it is, I find this extremely appropriate. I was wondering if it was intentional…and if it was, I was wondering why there wasn’t more of it…it’d be an interesting experiment anyway…long story short, I like the rhyme!
'Tis the wind and nothing more!



"I'm just being a jumpy old fool! I'm letting this Halloween business get the best of me."

He wrapped himself tightly in Rosie's afghan. He couldn't seem to get the chill out of his bones. The comfortable old chair wrapped around him like a warm hug. He picked up his book but just couldn't seem to concentrate.

Rosie had been the prettiest girl he'd ever seen. He had been surprised when he asked her out and she'd said yes. They had gone to the soda shop and ordered burgers and malts. Rosie was as smart as she was pretty. She had kept up her end of the conversation and hadn't played those silly games the girls ususally played. He knew that day she would be his wife.

"Oh Rosie! I sure do miss you!" he said to the empty house.

Ed tried to go back to his reading, but his reminisces of Rosie wouldn't allow him his peace. She was so strong in his mind that he could almost feel her with him. Almost. dude, where does he think the deep cold is coming from *Wink*
But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did pour.



Ed coughed again, wracking his frail body with spasms. The chill was getting worse and he was sure he felt a fever coming on. He thoughts kept drifting back to his beloved.

Their wedding day hadn't been a fancy affair. Ed liked it that way. He knew Rosie would have liked something nicer but they simply couldn't afford it.

She had worn an ankle length champagne-colored dress that she had made herself. It wasn't made of silk or satin, but Ed thought she was the most beautiful thing he'd ever laid eyes on. He had worn his best suit. The preacher was an old friend of both families and had agreed to perform the ceremony as a gift. When told he could kiss his bride, Ed had been so nervous he nearly missed Rosie's lips altogether.

He had been the happiest man in the world.
Till the dirges of his Hope that melancholy burden bore...



Rosie had been a good wife. The first several years of their marriage were ones of bliss. the transition here was a little rough for me from the poem to “Rosie had been a good wife”. Not exactly sure why, but it seems suddenly as if we’re been told instead of shown the story. There isn’t an intro or moment that we see spark this memory for Ed, or even to tie him into this bit of the story.

Then, Rosie took ill. She would be tired, ache and feel cold. She began to lose weight and then her strength. The doctor couldn't find a suitable diagnoses diagnosis, singular for her condition. He just told her and Ed that she should rest and do nothing that would tire her.

Ed cared for his ill wife the way only a devoted husband would. He cooked for her, cleaned the house and performed his own chores. It wore him to the bone but he never complained. He loved Rosie with all his heart and wanted her to be comfortable.

She managed to live to an old age before the illness took her. “an old age” is so ambiguous, and you would think that Ed would remember the exact one…it would also give us a clue as to how old Ed is, as I don’t think we’ve had quite enough clues to know whether he is 65 “old” or 85 “old”, and that can be a big difference in a readers’ interpretation of the character

Ed remembered the night well. It was a cold, blustery night. Rosie had been coughing all day. She told him she was tired and wished to lay “lie” here, I think down. Ed went to check on her a half hour later and she was gone. He had sat in disbelief. She had left him alone. and he didn’t feel her go? None of that romanticized ideal of being so connected that he knew the instant she was gone? *Wink* How could he go on without her? He would never hear her laugh or her voice again. and yet, here he sits! I’m going to go out on a limb and say that if I had to guess, we’re going to be visited by Rosie in some form or another before this story is over
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking, "Nevermore."



Ed was hit with another coughing fit that doubled him over. His chest was hurting and the cold settled into his very bones. He tugged at the afghan, seeking comfort in the fact that Rosie had lovingly made it.
Then, methought, the air grew denser, perfumed from an unseen censer...



An odor caught in Ed's nostrils. He stiffened from the recognition of it. Rose water! He had bought Rosie a bottle of it on their first anniversary as a joke. He felt it was a clever play on her name. Rosie, however, thought it perfume from the gods. Every year thereafter, she received rose water and a dozen roses.

But there was no rose water in the house anymore. Ed had poured it all out in a fit of grief after his precious Rosie had died. Time had passed how much time? This feels overly ambiguous and it wasn't possible for the aroma to linger.

"Maybe it's because she's all I've been thinking of," he told himself.

A rustle near the curtains caught his attention at the same time he was hit with another cough. When the spell subsided, he opened his eyes and gasped. By the open window stood an iridescent figure. ROSIE! Something was familiar about it but Ed couldn't quite put his finger on it. Another waft of rose water refreshed his bewildered memory.

"Rosie?"

Did the figure smile? I’m confused by this in light of the “was that a purple dinosaur” thought earlier in the story…I’m not sure if I’m supposed to think that Ed is thinking this or if this is coming from the narrative

"Rosie girl, is that you?"

She stood by the window, as if waiting on him. The pain in his chest was growing worse. He began coughing again. This time flecks of blood splattered his gnarled hands. sad…Ed’s dying

He looked once more to the waiting figure. The forgotten book fell to the floor, open to the poem he had been trying all night to read. Ed slumped in his chair.
And my soul from out that shadow that lies floating on the floor
Shall be lifted--nevermore!


I liked the way you used “The Raven” as a framework for this piece. The only complaint that I would have is that anyone who is familiar with the poem will probably guess early on what is going to happen. Which is not necessarily a bad thing—it just means that you have to put that much more work into making the intermittent story more intriguing—kind of like “Titanic”—you know that in the end the boat’s going to sink, but you get caught up in the story all the same and at the end wish that maybe it wouldn’t go down (well, if you liked that particular movie…it was just a good example) There were parts that I felt were more exposition than story, and I think that fleshing those sections out a bit more would create that feeling of intrigue I was just mentioning. I know I stated this before, but the instance in the narrative where you had shattered/scattered at the end of a block of narrative just before you went back into “The Raven” seemed almost like a stylistic effort, but I didn’t catch any other such instances, so I assume it wasn’t intentional. Either way, I like it. And ditto for the whole piece! *Wink*
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Review of Chapter 3  Open in new Window.
Review by Nadja B Author IconMail Icon
Rated: E | (4.0)
Is this wagon rather large? You may want to clarify how Ari is able to hide the fact that he found something under the hay, not to mention the fact that he's probably been into it and eating.

Interesting...one moment it's food, then it's horse manure...the plot thickens *Smile*

I'm not crazy about using parentheses in narrative. They always pull me, as a reader, out of the words/scenario you've created, and interrupt the rhythm and relatively smooth flow you've got going.

I like how you've set up a spirit of conflict/contest between the two boys. I'm thinking that this will continue throughout their training, making Alak come to resent Ali. You've quickly set him up as the more questioning (and dare I say it) and more intelligent one.

Let me know if you continue posting chapters, I'd be interested to see where you go with this.

Nadja
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Review of Chapter 2  Open in new Window.
Review by Nadja B Author IconMail Icon
Rated: E | (4.0)
Ari soon became hungry and searched through the hay for any food the Prayer makers might Prayermakers one word! *Wink*

Hmm...I sense a bit of a competition coming on. The narrative voice is not quite as strong in this as it was in the first chapter, meaning only that it's not as childlike. It could just be that there is just a lot more information/speculation in here than in the first.

Despite the short length of your chapters, you're able to pack a good amount of info into them indirectly--such as the fact that Prayermakers have access to magic, teach their students through indirect learn-by-your mistakes methods, and that they are very individual--i.e., Ari's master will teach him, Alak's will teach the other boy, with little or no mingling of the core training. As I see it anyway, feel free to correct me if I am wrong!

If there is one thing I'd warn against in this part, it's ending with an exclamation point--especially if your entries are short (and that's not a bad thing at all), you should use exclamation points very sparingly. A piece of advice I once received that I think is valid: Every story has only one moment worthly of an exclamation point. Choose it wisely. Now, I'm not saying I agree whole-heartedly. For instance, I don't believe that it's entirely applicable where dialogue is involved, but as to within narrative, I think it's solid advice.

Anyway, that's my little opinion, for whatever it's worth. You're doing well keeping up the mystery of the Prayermakers and still revealing just enough to keep the reader's interest piqued.

Nicely done.

Nadja
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Review of Chapter 1  Open in new Window.
Review by Nadja B Author IconMail Icon
Rated: E | (4.0)
The narrative voice is wonderfully childlike, which is appropriate for such a young character.

"all of the boys turning eight the next day"--are children all born on the same day, or is age a more ceremonial thing than an actual count?

You've captured an 8-year-old's voice exceptionally well in his reactions to what is going on around him, and how he is excited despite his confusion.

On the whole an intriguing beginning chapter. It reminds me of RF's Magician.

The only gripe I sort of have (meaning, I think you could probably hold off on it until a later point) is that we don't know anything about what Ari looks like, except that he seems to be a fairly typical child.

Nadja
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Review by Nadja B Author IconMail Icon
Rated: 18+ | (4.5)
What a switch from the intense scenes from the first two parts! It's a great contrast, as well as a nice break from the constant nail-biting action.

I enjoyed the POV, and you transitioned pretty well from a male to female perspective. It probably helps that she's a tomboy, but I haven't questioned either character's sex at all.

I was pretty surprised that this was so "short"! I was preparing myself for another marathon review--I'm almost disappointed that this is it...okay, I'm actually really disappointed that this is (for now) the last part. I want more!

There were a few questions I had:

in EP1 (yeah, my computer at work hates Edit Points), one of the soldiers (Llewin, right?) has a near-white bandage--where did he get this? I thought one of his men bandaged the wound, in which case it would have been impossible for it to be anywhere near white, since they're head-to-toe black mud. It'd be easily explained if you let us know in the 2nd part that this is a bandage supplied by the Redwing's guards.

EP6--the parantheses take me out of the narrative. Your work usually flows very smoothly--sometimes a bit to quickly because of all the commas *Wink*--so this is a bit of a jolt.

I like that Ildrayne (for some reason I kept wanting to type Ilyena--I wrote it three times and had to keep deleting! I'm a dork!) seems to know what has happened, but that her mind won't let her believe it, wanting her to hold on to childish fantasies--in fact, I think all of EP 8 is superbly written.

EP 9--the very first sentence. This seems an awfully naïve thought. I'm struggling with it, because although she's only 12, she doesn't seem to be that naïve. I guess I read her as subconsciously understanding the situation, but needing to hear the words spoken out loud in order for the news to be real.

EP11--Little technical issue toward the end--is it that a child could not be invited, or just generally would not? It's fine the way it is, just wanted to make sure in case it was a typo.

You've written the Lady of the House as a very strong character, which I love (and I'm hoping Ildrayne sticks around for a bit longer to become one!) Historical fiction often times writes women out because of the "traditional" view of the sex. Bad writers! Naughty! In EP21, you've done very well in capturing her reaction/orders. You could make a weightier emotion impact if you emphasize the first time she corrects herself and says "my" instead of "my husband's" guards even more so. I was wondering though about your choice to have her say the line about "Rest now, my love." with the soldiers still in the room. Granted, she says it under her breath, but I would have thought she would put on a stoic face until they left, then spoken the words, however softly when she was alone.

The last paragraph is incredibly sad. Something good is going to have to happen soon...I'm so sad for all the dead characters *Frown* It's a good thing. The memorable one is the giant, when he jumps on top of the Redwing's body to hide it and tells the rest to go--this painted a very vivid picture in my mind, and now this scene with mother & daughter sobbing on the pantry floor. You break my heart!

All in all...I WISH THERE WAS MORE! *Smile*

Nadja
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Review by Nadja B Author IconMail Icon
Rated: 18+ | (4.5)
Robert had not made it out of that deadly circle.~3~
I like that you've sacrificed one of the characters instead of trying to keep up such incredible luck for the Ten

After EP 5 (my computer's just not cooperating with me at all), I started thinking that maybe you'd want to draw this whole chase out into a full scene instead of a flashback. I don't know how long you're planning on making this novel, or what all you're trying to fit in, so it's hard for me to judge, but some of the images (Jacob stading against the dozen Saxons, Eric running off in a blind rage, etc) would make such powerful scenes.

They had not seen their pursuers at all that day, not, in fact, since Jacob’s stand at the stream. None of the remaining mercenaries were foolish enough to think they were safe, wondering instead what the fair-haired barbarians would try now, wondering when they would spring whatever trap they had spent the day laying. You use a Lot of commas in your writing. It's not necessarily a bad thing, as it does keep the pace really elevated as you rush from memory to memory, but it also makes me rush over parts of it. If you broke up the structure, you'd lose a little of the pacing, but if you keep it as a flashback occurence instead of a scene, you wouldn't lose anything. If you turn it into scenes, then the high volume of commas would work well to heighten tension, and you could break it every so often when they temporarily lose their trackers.

him like rotten straw every what an appropriate simile!

here's a questions that popped into my head around EP20--has rigor mortis set in in the Redwing? That would make transporting him a bit awkward...

I'm still finding the dialogue distracting--it sounds a bit too modern, and it takes me into a much later time period than what they are in.

all were in that zombie-like state Would they have called them 'zombies' or something more along the lines of 'waking dead' in 6th C?

Timothy stood at the edge of his vision, forward and to the left into the fen. He appeared to be standing on ground as firm as that Llewin had found. He took a step toward the scout—and found himself up to his knees in frigid, watery mud, the sudden change almost pitching him forward on his face. He started to panic; he had never been a strong swimmer. He forced the fear down, and noticed that Timothy’s legs were some of the him's/his's are a bit confusing at the beginning here--I'm unclear at first which one of them has sunk in the muck

Around EP 50: Be careful not to overdo the image of Llewin forcing/pummeling/beating his fear into submission


they are about fifteen minutes behind us Would they have counted time in minutes? I think clocks might have been a foreign concept, unless they adopted that fromt the Romans as well. Also, it takes approximately 20 minutes to walk a mile comfortably. If they are going at a fast walk (or a fast jog that is slowed down by the mud), 15 minutes would mean their pursuers are somewhere between 3/4 and a full mile away. Is the marsh that still that they would hear them? Is there any sort of life in the marsh that might make noise & cover it? I"m asking because earlier the scout mentions not being able to hear well in the marsh (I think)

EP 62: If Charles speaks in dialect, you may want to make the We a Ve

the great winged helmet, now covered with mud, tied to the sword belt so it, too I know it's probably symbolic, but if he lost his own helmet and there was one available, why wouldn't he wear it? if he really wouldn't, maybe just toss in a line about his reverence for the Redwing's belongings

yards, they heard Derrick start to scream. *Frown* but I liked him....I see why you kind of have to cram all the characters in there...they all start dying right away!

No more…talking,” Llewin shot back. “Got to…keep…in front…of them…can’t…let them…get ahead…of us…save…strength.” His own limbs had remembered their fatigue. They had to get out soon, or they were lost. He guessed If he's naturally falling into the role of leader, I wouldn't have him explain himself. Let him give an order and watch it followed without question. Even if he feels the need to explain himself, the rest would follow without it anyway, right?


they could, numb fingers letting weapons fall to the ground Really? Would they really let them drop?

Another really intesnse segment! I'm in a bit of a rush now since this was so long and I'm running late--(you may want to shorten these segments even if the breaks are illogical just for the sake of reviewing. Personally, I don't really mind, but I don't do them as thoroughly as I do shorter pieces. Also, a lot of readers are intimidated by length. Just a suggestion *Smile* )

You're balancing setting and action very well. Your characters are dropping like flies! I'm glad some of them make it out. I was sad that the giant fell...which is a good sign for your writing, because it's not very far into it to have a reader care about a character.

Good job!



15
15
Review by Nadja B Author IconMail Icon
Rated: 18+ | (4.5)
I feel this is a marked improvement over the original. The pace clips along at a good pace, and the tension leading up to the battle is amazing how it builds so slowly and finally culminates in such epic proportions.

The opening line grabs my attention right away now.

(I'm not going to go into great grammatical detail, because I'd really like to get to the next chapter...sorry! *Wink* )

Llewin's character has become a bit more sinister. For some reason the fact that he enjoys killing the Saxon's sticks in my mind a bit more now. Nice touch with the detail about his sister's smile!!!!!

I think I realized what seems off with this work--(and it's me and not you, which is good news for you, right?) It's all the contractions that the characters speak in. It's not distracting in the narrative at all, but in my head, 6th century Britons speak like a mix between Beowulf and Shakespeare, which I know doesn't even make any sense, especially since these are Barbaric-type characters & in my head I want them to speak with great ceremony and proper grammar. Silly me! Now that I've identified the quirk, I think it will be less distracting for me. Just thought I'd let you know in case you get any more "Something is strange but I don't know what" comments. *Smile*

I'm running off to chapter 2. Good rewrite!

16
16
Review by Nadja B Author IconMail Icon
Rated: 18+ | (4.5)
The Hundred straddled the Roman road almost perfectly, thirty men on the east side and forty on
My computer stopped wanting to use your edit points...sorry. So the "Hundred" is rather more a name than an actual count?

The numbers of this force only made it more imperative that they stop the Saxons here, for to allow this army to enter Britain would lead only to disaster This sets the stage for the story to progress far beyond this battle. Very well done.

screamed as they fell dying before the curtain of feathered steel Your style can be very poetic at times without being overly distracting (ie, 'look at the pretty words I use to say they all die'), which I consider to be the mark of a talented writer.

I'm no historian...but would Llewin have thought in "yards"? Was that an established measure in the 6th C.?


All around, men screamed, metal clashed, the clang of iron, the ring of steel. Wood cracked against wood as shields splintered, and more than once Llewin heard the wet crunch as wood or iron tore into bone. Screams of rage turned into screams of frustration, or pain, or were suddenly cut off as throats or chests or guts were ripped open. Every man screamed, to frighten his enemies, to give vent to his rage, to remind himself that he was still alive this whole segment was particularly well written
He had heard men liken battle to a dance, and it often seemed to Llewin that it was so; macabre and bloody, to be sure, but a dance nonetheless. He danced with his enemies for minutes, or hours, among the rocks, pausing occasionally long enough to remind one of his men to draw back, to get back to the shelter of the rocks, to hold the line and not get separated from the others Likening battle to dance is an often-used metaphor, but you do it very carefully, and it doesn't sound cliche.

Iron hands to again wait behind their rocks, had their attention fixed on the fight to their front and never even noticed that their flank was open, much less that death was coming from that direction.~41~
you missed cap. "Hands" here.

Llewin opened his mouth to ask a question, but no words would come. He closed it again and nodded weakly. “Aye, Sir,” he finally found the strength to say. So we live, and the rest die. We run, and our friends die so we can get away. It was a sentence worse than death; he could not imagine living with the shame Your description of Llewin's reaction goes a long way to develop his character in a short space. He's quickly becoming that noble knight I want him to be...tell me he slays the Saxons in a herioc epic battle scene later! *Wink*

ooh...what a tantalizing ending to the first piece. Gave me chills!

One thing about the piece as a whole (I tried to put in comments where I found them with the edit points, but at some point my computer gave up on me. I hope none got lost.) I tried to keep sort of the same format with cut & paste so you can see what I was thinking while reading it. Okay, the one negative thing I have to say--this is almost physically exhausting to read! It's wonderful, and descriptive, and the scene plays out so vividly that I hate to tell you that some of it may need to be cut...I don't want you to lose any of it! But it's an incredibly intense scene with not a lot of relief.

All in all, I like it. Your characters are great (maybe save a little of the info you give about the Ten that don't actually do anything specific in this first part to keep from overwhelming your readers--see my edit point in this section).

I'm genuinely looking forward to reading the next bit, though I'm going to have to prepare myself if it's as taxing on the senses as this one! *Wink*

Keep it up!

nadja








17
17
Review by Nadja B Author IconMail Icon
Rated: 13+ | (4.0)
I just reviewed this, but my mouse went all screwy. I meant to give it a 4....

sorry!

nadja
18
18
Review by Nadja B Author IconMail Icon
Rated: 13+ | (3.5)
Yet another, rocks endlessly carving I don't think you need the comma here, it brings an unnecessary pause to the otherwise smooth flow of the paragraph.

Wide eyed grins of astonished wide-eyed, I think is more technically correct

walks behind a large headed large-headed

Ho”, well typo--take out the extra "

skull of the old man the kid will become is already shaping his head. It isn’t a face on which a child’s innocent smile would easily fit. this is a very unique description, one that I really enjoy as a writer. The rist sentence was a bit confusing on the first read through, maybe you could reword it a little (don't lose the sentiment!) I'm not sure why I found it confusing, but it took me 3 reads to figure out what you were saying--once I did, I thought it was great though!

Order placed. I like your style--these short, sweet little sentences that just sum everything up--almost the literary equivolent of one-liner jokes I'd say. Very appropriate to your subject matter.

awe struck would it be awe-struck? I'm too lazy to look that one up right now...

Vernon notices how sorrow has left the father’s face no resistance to gravity. You have a lot of these gorgeous descriptive lines that make your writing very enjoyable. Great imagery.(In the first read-through, I thought right here that the little boy did something to his mother)

Vernon notices how sorrow has left the father’s face no resistance to gravity. and Here I am rewarded! What a creepy little kid!


This job’s over, the last ..... daytime but these lanes are not well lit at 3:30am my issue is with 'this' and 'these'--they make it seem as though you're slipping into 1st person instead of the more intangible 3rd. I think I like it better in a detached voice--i.e., replacing 'this' with 'the'...just my opinion!

He hears the heavy rapid thud someone running toward him. missing 'of' between thud & someone?

at Vernon. then the light goes out. punctuation

Very entertaining. I was a bit confused by the ending, I had to read it a few times, but I think that's because of the wording of "as they passed Vernon the kiddnapper winked at Vernon"--the double 'Vernon''s had me thinking that somehow there were two Vernon's. I think you could replace the second Vernon with 'him' and still have the same effect. I like the twist at the end. It's unexpected, which is kind of nice because the reader expects the kid's blackmail, so unsettling the reader achieves a very "Twilight Zone" effect. A few grammatical/technical issues, I tried to mark them where I caught them. Perect length for this story. I wouldn't advise expanding it, the quick, punch-y delivery is suited well to the story and the pace.

nadja

19
19
Review of The Mining Town  Open in new Window.
Review by Nadja B Author IconMail Icon
Rated: 13+ | (4.5)
no matter what the weather is like. --should this be 'was like'?

When I had to run errands, I would time my trips to avoid the rain. I was no stranger to rainy weather, and I hated it in San Francisco as much as I hated it in Silverton--I love this. It shows real depth in the character, and it kind of starts to show that maybe she won't hate this place forever--almost a turning point of sorts--if there's something here that she hated just as much in SF, then maybe 'here' isn't so bad...

holding my bright pink parasol over my brown hat.--this is funny, because every time I read it, I picture the 'uncouth' townsfold giggling behind their curtains, and I can just imagine what they say about her.

what an ending! I love the little twist at the end, but it's almost a bit disappointing because I was rooting for the 'girl' to change and to see the miners in a different way. however, since that is what i was expecting, I think I rather like it this way. I want it to be longer (of course, nosy me), but when you're keeping it to a certain number of words, that's just not really possible. Although...do you know what a neat historical novel (with a dash of romance) this would make? I would buy it (and I'm not much of one for romance)!

I'm not kidding--I think this would make a very appealing historical novel. Your style is well-suited for this 'genre'--you convey the history through setting/general description without ever once sounding like a history lecture.

more, more, more!

nadja
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