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J Kelley
07-29-2011, 09:41 PM
[Not sure where this will go in the context of the story, or if will sense to anyone just by itself...but the following is an excerpt that I keep shuffling from place to place. It describes an encounter between 2 characters that become major players in a novel that I've been working on since the beginning of time. Any and all feedback is welcome and appreciated, especially on the narrative voice in general, and if you kind of get a sense of the characters....]


Trouble

Across the railroad tracks of an adjacent city the temperature had climbed. Foothills crouched against a matte sky amidst clusters of bungalows boxed with rusty chain link fences and dirt lawns. A little boy in baggy shorts and hiking boots sat on the curb, jabbing a stick into the carcass of a squirrel. There were scabs on the boy’s knees and elbows, and his eye had swollen beneath longish, black hair that kept sliding into his face.

Behind him a woman in three layers of patchwork skirts stood in the doorway of a grungy white bungalow, shouting for the boy to come home. The boy pretended not to hear. His shoulders tensed, and he gathered his knees, letting the stick fall. He tossed an icy glare at the porch steps and shook his head. His jaw stiffened. “Get in the house!” his mother scolded. “Your father wants a word with you.”

The little boy knew better. He stared hard at the asphalt, determined not to cry. Inside the house, he could hear his father cursing and tossing around furniture. “Israel, you get inside this instant. You’re only making things worse.”

Israel knew she was right. If he could make the blood stop shaking in his chest, he would march into the living room and look his father in the face. He’d show his father that he wasn’t afraid. But Israel was afraid. It would only make him cry to see his father so angry, and crying would only make things worse. It would make things worse than staying outside on the curb until he cooled down a little.

Israel branded the carcass with a sullen glower and took a deep breath. The sooner he could pull himself together and walk into that grungy white house, the easier it would be, and he couldn’t very well sit on the curbstone all night long while his father stayed inside getting angrier and angrier.

By now his father’s face had contorted with rage and the veins were standing on his forehead, beads of sweat springing to his temples, nostrils flaring. Soon his eyes would go dead and the house would be quiet. Mother would go back inside to fix his supper and tidy up the mess of shattered glass and skewed end tables and everyone would speak softly or not at all. They would scuttle along the walls trying not to be noticed while Israel’s father stayed very still, motorcycle boots planted to the carpet, holding a yellow yardstick. Israel knew the longer he let his father sit that way, the worse things would be for him. It would be easier to go inside right now if he could keep himself from crying.

Suddenly he felt sick. His mother had stopped calling him, and Israel wondered if she was still standing on the porch. Slowly he climbed to his feet and, pocketing his fists, started up the walk with eyes skimming the ground. Then he felt someone watching him from across the street, and he turned.

A boy his own age stood on the opposite sidewalk with the same hiking boots and a bruise over the same eye. Shadows filled his pale skin, making him look ill, and he seemed kind of weird for a kid. Coal-dark hair hung to his shoulders. They stared across the street at each other. “Hello,” the boy greeted.

Stooping to the ground Israel gathered a handful of rocks and started hurling them in the direction of the boy one at a time. At first the boy didn’t move; he only curled his arms over his head. So Israel paused, aimed carefully, and beamed the kid’s elbow with a chunk of asphalt. There.

Eyes narrowing Israel shook his head and would’ve shouted at the kid to get the hell off his street if his mother hadn’t called again from the porch. So letting the rest of his ammunition fall Israel turned and marched into the house.


Across the street the other little boy rubbed his eyes. Certainly he hadn’t just seen a phoenix. Absently, the little boy with the pale skin licked blood off his elbow and turned all the way around to see if anyone was watching. Perhaps it had only been the sun glinting off a windshield somewhere, but the kid in his same hiking boots appeared to have a deep red aura and a shadow much darker than the shadows of the palm trees. His eyes appeared to glow from a fiery halo. Magnificently. “It can’t really be a phoenix,” the little boy mumbled, scratching his head, and continued down the block on some imaginary quest, to save the world or maybe destroy it. He hadn’t decided yet.

hillwalker
07-30-2011, 04:13 PM
I can see why you’re keen to work this into your story. It’s very good – quite intriguing – and would make a great opening with a little tinkering.

One glaring fault was the temporary switch of pov. We’re out watching the boy at the roadside and experiencing pretty much everything through his eyes. Then in paragraph 6 you describe the transformation in his father’s face.
Who witnessed this? Israel doesn’t, so how are you able to describe something that he can’t actually see or be aware of?
Then, of course, you immediately switch back to the previous pov and all is well again.

It’s an easy mistake to make when writing in the position of all-seeing narrator. But once you start with descriptions of your main character and his behaviour you are stuck with telling everything from his perspective unless you take a deliberate step to remove the reader into a new setting… along the lines of ‘Meanwhile, inside the house…’ but that can be awkward and it's not always a good idea to switch the focus from the main scene anyway.

A couple of other things

– using the word ‘grungy’ twice in such a short piece is a little lazy

- paragraphs 4 and 5 could probably be trimmed and combined – they get a little repetitive

- and I found the first 2 sentences of the opening paragraph a little clumsy :
adjacent to what? then we have against followed by amidst. I began to think I would need to take notes to maintain my bearings.

But aside from these minor quibbles this shows great promise. I hope you are able to weave it into something a little more enduring.

H

J Kelley
07-31-2011, 02:30 AM
Thanks so much for the constructive feedback. It was very helpful. The first line will definitely change according to where it ends up in the context of the larger story. Also, I had meant the description of the father to be Israel's imagination for how his father looked so I will definitely rework that to make it clear. Actually all your suggestions were great so thanks!

hillwalker
07-31-2011, 06:10 AM
I had meant the description of the father to be Israel's imagination for how his father looked so I will definitely rework that to make it clear.!

That would work well - the pov remains consistent (revealing it as Israel's imagination is fine as long as you do tell the reader).

H

TeranikaSloane
08-01-2011, 04:10 AM
In terms of writing it is brilliant, everything flows very nicely and it is both easy to understand and relate too. Just, the end is confusing me. What does he mean by Phionex? i am guessing you do mean the mythical bird.

J Kelley
08-01-2011, 12:22 PM
Thank you!
I might end up changing that last part all together since it's not necessary to the scene. I suppose it makes absolutely no sense here since you're only seeing a snippet, but elsewhere in the story, it is explained. The kid in the hiking boots has a form of schizophrenia and sort of has his own mythology that he creates. He uses the word phoenix to describe a person with "mystical" powers, a very old soul that has been reincarnated (rising from death) many, many times. The symbol for these people (in his personal mythos) is the phoenix bird.

TeranikaSloane
08-01-2011, 07:42 PM
Ah, in that case its really good haha.