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Thread: Cars, Suits, and Guns

  1. #1
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    Cars, Suits, and Guns

    This is a short, short piece I wrote simply as a test for written action and how tension could be added or improved by writing and working on such a piece.

    Without further ado, here is "Cars, Suits, and Guns"!



    A man dressed entirely in black, from the top of his head to the bottom of his feet, sprints down a corridor, then opens a door marked “Exit” to an enclosed alleyway, and proceeds to take a left into the alleyway.

    A few moments later, a man also dressed in black, is jogging to the door, breathing heavy. He opens the door, and also turns left after stepping past the doorway.

    He starts running faster down the alleyway, running much better, but looking very strained and tired from running. After running for a short length, he reaches the sidewalk.

    As he takes his first step out into the rest of the world, the passenger door of the car to his right pops open. He can see through the back windshield that the other man wearing all black has removed his mask and is ready to drive, having leaned over to open the passenger side door.

    The second man dressed in black quickly removes his mask, looks back, then begins to run towards the open car door. As he jumps into the empty seat and closes the door, the rear passenger side door of the car parked behind their car opens up.

    A man, dressed in a blue suit with a black tie and wearing well polished black shoes, steps out, staring intently at the car in front of him.

    Back in the first car, the man driving mentions after his partner closes the door, “You run too slow.”

    The man in the passenger side remarks, an airy, “No, you just run too fast.”

    The driver opens his mouth to make a reply when suddenly his partner's jawbone explodes with a dark red and the surviving facial tissue instantly drains of all color. The man in the passenger side leans forward and extends his hands to his broken chin, only to suddenly jolt three times, then his head twitches in an odd manner.

    It is at this time that the driver of the first car feels pain in his shoulder. His initial reaction is to panic. He opens his door, but stays seated. He sees his partner in his peripheral vision still breathing heavily.

    The man in the blue suit with the black tie hears the driver side door open, and he stands up to look over to see who exits. He leaves his hand at his sides as he begins to walk towards the front of the car to get a better view.

    The driver dressed in all black made sure to draw his pistol before exiting the vehicle. He is mostly hiding behind the door with just his head and pistol exposed on the left side of the door, waiting for the man in the blue suit to get into sight.

    The man in the blue suit grips his pistol tightly, but does not raise it. He makes it near the right headlight of the car and pauses.

    That is when the driver in black pulls the trigger of his semi-automatic pistol, aimed at the center of the man's black tie.

    The first round enters on the left side of the tie, tearing the silk.

    The second round enters a little more to the right of the first shot, and buries itself in the man's heart after glancing off a rib.

    After seeing the exposed pistol and a portion of a head, the man in the blue suit had begun to raise his pistol. He got it halfway up to parallel with the ground when the first round hit him. This is when he had panicked, and fired as he continued to raise his pistol.

    By the time a third shot enters the blue suited man's throat, he is dead, and has also fired three shots total but without aiming.

    The driver in the black stands up, knowing he has killed the blue suited man.

    What he does not know until he turns around is that the driver of the second car that the blue suited man had previously exited from had followed suit by also exiting the car. He did not close his door as to not alert the driver of the first car dressed entirely in black.

    What the driver of the second car, in a dark gray suit, black tie, and also wearing exceptionally well polished black shoes, did not know was that his partner was going to shoot wildly past the driver of the first car dressed in black.

    The man in black holsters his pistol, takes a step forward after turning around, and sees a man on the ground bleeding profusely and the cars driver door ajar.

    He walks to the man on the ground, and sees a wound on the man's chest.. He is unconscious, but alive.

    The driver in black removes his pistol, aims it at the man's forehead, and shoots. The round enters the dying man's forehead and kills him.

    He then turns around, walks back to his car, and sits down on the drivers seat. His head turns to his right, and he sighs slightly as he looks at his partners broken body. In death, the man sitting in the passenger seat looks fake.

    The man dressed entirely in black places the key into the ignition and turns it. Revving to life, the car shakes as it begins to warm up, but the man does not give it enough time to smooth out.

    He pulls the lever into gear and pushes down the accelerator.

    His front right wheel bumps, then quickly after the back wheels followed suit.

    The man drives off quickly as sirens begin to sound louder and louder. It is not long before he no longer hears them.

    Soon after blue and red lights reflect on two pairs of well-polished shoes, and the sirens are shut off.

  2. #2
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    For such an action-packed piece, I felt this moved rather slowly. Maybe consider adding some sounds, so we feel like we're there instead of just watching the scene?

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    It reads more like a pitch for a screenplay than a story since there is no plot development or character development to it. We know what everybody is wearing but they are merely cardboard cut-outs that need fleshing out for this to work.

    Normally writing in the present tense does add a degree of tension to a story since the reader feels they are part of it - experiencing it in the here and now. But that generaly works much more effectively when written from the first person pov (so we experience everything through the narrator's eyes).

    The main problem with this piece is that as uninvolved observers we fail to engage with any of it. It's certainly difficult to keep track of who is who (so many people dressed in black) and the reportage style becomes rather irritating after a while. It lacks tension because every sentence sounds the same - stating one bald fact after another.

    Trimming this to the bare bones - losing expressions like 'from the top of his head to the bottom of his feet' (??) can only improve it. But then you need to actually add vibrant descriptions and interesting dialogue otherwise the piece is heading nowhere fast.

    H

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    Did you miss the part where I say it is an test based on the "action"? As n depicting an action scene? As in "I did not care about or even think of a plot" for this device to help with my writing?

    You certainly must have.

    You're pretty much spot on as for thinking of it being a pitch for a screenplay. I did pitch this as an idea for a short film my friends and I could make and we are planning on creating it summer break if we get the chance (doubt it).

  5. #5
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    Quote Originally Posted by Ace View Post
    Did you miss the part where I say it is an test based on the "action"? As n depicting an action scene? As in "I did not care about or even think of a plot" for this device to help with my writing?
    You certainly must have.
    No. I was merely offering feedback apropos your comment how tension could be added or improved by writing and working on such a piece.

    If you prefer to post pieces to be read but not replied to then a polite 'please do not respond to this' at the beginning or end will serve the purpose.

    H

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    Quote Originally Posted by hillwalker View Post
    No. I was merely offering feedback apropos your comment how tension could be added or improved by writing and working on such a piece.

    If you prefer to post pieces to be read but not replied to then a polite 'please do not respond to this' at the beginning or end will serve the purpose.

    H
    The problem is the only thing you could say to add tension would be to put it in a first person narrative, I thought I made it clear it was not to be that way before I posted the story, hence my response.

    Had you brought up other ways to increase the tension, I would have gladly taken them into account and spoken on the possibilities. If you look at previous threads of mine I've made, I've taken constructive criticism and used it to work on my stories before.

    Sorry if I came off a bit terse, I tend to remember the way people treat others in other threads and such and did not like your attitude in many of them. Apologies.

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    Quote Originally Posted by Ace View Post
    Sorry if I came off a bit terse, I tend to remember the way people treat others in other threads and such and did not like your attitude in many of them. Apologies.
    Apology accepted - and thanks. As for my attitude, well I tend not to suffer fools gladly.

    Anyway, to explore further how to increase the tension while maintaining the same pov I would suggest you trim away all the references to who was wearing what and where they were at each stage of the story. The reader has to concentrate so much on keeping track of who's who and where they are that any build-up is diminished.

    Secondly the rather flat, almost journalistic way it is written - a set of sentences reporting events - conveys no tension because every sentence sounds the same. Varying sentence length can change the pace of a piece quite dramatically.

    For example:

    What he does not know until he turns around is that the driver of the second car that the blue suited man had previously exited from had followed suit by also exiting the car. He did not close his door as to not alert the driver of the first car dressed entirely in black.
    can be condensed and sharpened to something like -

    He has taken his eye off the driver of the second car. Not heard the car door open. Not heard him exit. Is not even aware how close he is until he turns, and by then it is too late.

    Not exactly what you intended perhaps, but it builds up the expectation in the reader that something is about to happen.

    Also continually switching from one set of characters to another makes it almost impossible to make sense of what is actually happening.

    Good luck

    H

  8. #8
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    Ace, Hillwalker generally gives pretty good advice, and in my experience he tries to be objective unless somebody tries to pick a fight with him.
    As the author, you have full control over your piece, and you don't have to follow the advice you don't agree with. But if you get self-defensive, it makes all of us hesitant to post comments. We're all here to help each other. If you don't agree with someone's opinion, a "thanks for commenting, sorry it didn't work for you" will do.
    Looking forward to seeing what adventure you'll come up with next...
    EA

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    Quote Originally Posted by hillwalker View Post
    Apology accepted - and thanks. As for my attitude, well I tend not to suffer fools gladly.

    Good luck

    H
    Thank you for the post, that is actually much more helpful. I appreciate it immensely.

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