Free First Chapter Feedback (V2)

Evil-Empire

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Calling someone beautiful isn't sexualizing them. At any age. How is it okay to call a newborn beautiful but if you say the same thing about a toddler it's pedophilia? The logic isn't logicing.
 

TheTrinary

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Calling someone beautiful isn't sexualizing them. At any age. How is it okay to call a newborn beautiful but if you say the same thing about a toddler it's pedophilia? The logic isn't logicing.
Might be a cultural thing. Maybe you would say that in England but you would not say that in the United States. Fricken creepy to call a four year old aesthetically pleasing my man.
Hello, Trinary! (Stephen?)

Whenever it's convenient, please offer your opinion on the prologue of The Celestial Way:


Thanks in advance!

Regards,
Sagacious

Hey I recognize you, this explains a lot actually. Anyways, RATING: Would Keep Reading

Instead of doing a break down, I'm going to have to talk about this one generally:

One of the reasons I don't like to do prologues, is because they aren't necessarily representative of the story as a whole, and this feels like the poster child for that. My interpretation is that you're going to have a somewhat standard story with this almost meta-narrative behind it? It's an interesting, albiet strange, choice.

Which brings me to my second point, the writing. When reading a prologue, that's normally what I'm laser focused on since I expect that to be representative of the entire work, and I think the writing was good. It reads easily enough, you throw a level of detail in there that paints a picture, and I was convinced early on that'd I keep reading based on that factor.

It's not perfect, mind you. Coupled with the dialogue, there are sentences that felt like they existed just to move us on to the next things. Parts could be punched up a bit-- especially character information outside of the technobabble talk.

OVERALL: It's an odd way to start a story off and I'm not sure if I should be excited or worried. How much of the meta element is going to be in the story or invalidate the story? Or will you use that to elevate the story in some way? Really don't know. What I do know, is that typically this kind of information normally comes later in the story to recontextualize and not at the front which also makes me worried how thought out it is.

It's impossible to comment further without knowing your intentions or where the story goes, but at least I'm willing to find out for the time being.
 
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Sagacious_Punk

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Thanks for the feedback, Trinary!

My quest for finding a reader who catches the reference that is TCW's entire prologue continues. Maybe I've made it too oblique - when I was worried during writing that it was too obvious.

You're right, the choice for making this prologue was a non-standard one - while using a bog-standard narrative device. The subversion, however, will come in later books. Without spoiling, things are supposed to mark stuff that happens much, much more down the line, at a drip-feed pace. I saw this framing device used in a dark fantasy series I read years ago, and made an (ongoing) attempt at using it. Time will tell how well that goes.

The meta-narrative stuff is... well, spoilers, but it is also another nod to a time-honored wordsmithing master. (Hint: he has been knighted for his literary contributions.)

You know what's the book's real weakness? The fact it has four starting chapters.

But the story structure wouldn't have worked without such a crowded beginning. So I'm stuck with it.


Once again, thanks for taking the time to provide feedback!

Regards,
Sagacious
 

TheTrinary

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Thanks for the feedback, Trinary!

My quest for finding a reader who catches the reference that is TCW's entire prologue continues. Maybe I've made it too oblique - when I was worried during writing that it was too obvious.

You're right, the choice for making this prologue was a non-standard one - while using a bog-standard narrative device. The subversion, however, will come in later books. Without spoiling, things are supposed to mark stuff that happens much, much more down the line, at a drip-feed pace. I saw this framing device used in a dark fantasy series I read years ago, and made an (ongoing) attempt at using it. Time will tell how well that goes.

The meta-narrative stuff is... well, spoilers, but it is also another nod to a time-honored wordsmithing master. (Hint: he has been knighted for his literary contributions.)

You know what's the book's real weakness? The fact it has four starting chapters.

But the story structure wouldn't have worked without such a crowded beginning. So I'm stuck with it.


Once again, thanks for taking the time to provide feedback!

Regards,
Sagacious
What dark fantasy series were you pulling from?
 

JackJohnJackson

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Hi! I'd love to get some feedback on my first chapter, I'm wondering if it's as gripping and interesting for the greater plot as it should be, story in sig
 

Sagacious_Punk

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What dark fantasy series were you pulling from?
The Wings of War series by Bryce O'Connor. He's a selfpub who got kinda popular (in the indie writing scene) a few years back, and the recognition went to his head. Books 1-3 were fantastic. Book 4 was weak. Book 5 was an unmitigated disaster, and I dropped the series. (There should be a final book, but dunno if it's even written yet.)

The series had a kind of unique twist on the old "so the prophecy has foretold" trope, where the plot arc that connected the whole narrative was advanced by a single chapter in each book, giving it a glacial but mesmerizing air of mysticism and tension.

Sadly, the author kinda botched the payoff when time came to resolve it. But it was an interesting idea as a pan-series framing device, and I decided to adopt it for my series. I'm not copying the formula verbatim, but rather exploring it in spirit.
 

TheTrinary

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The Wings of War series by Bryce O'Connor. He's a selfpub who got kinda popular (in the indie writing scene) a few years back, and the recognition went to his head. Books 1-3 were fantastic. Book 4 was weak. Book 5 was an unmitigated disaster, and I dropped the series. (There should be a final book, but dunno if it's even written yet.)

The series had a kind of unique twist on the old "so the prophecy has foretold" trope, where the plot arc that connected the whole narrative was advanced by a single chapter in each book, giving it a glacial but mesmerizing air of mysticism and tension.

Sadly, the author kinda botched the payoff when time came to resolve it. But it was an interesting idea as a pan-series framing device, and I decided to adopt it for my series. I'm not copying the formula verbatim, but rather exploring it in spirit.
Never heard of it, but by the sounds of it I won't be picking it up. Sounds like a cool idea though and I'd be interested in something else that pulled it off.
 

TotallyHuman

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hello, can I have some feedback on this first chapter?
 

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solacenpc

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TheTrinary

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here’s my story, hope it’s good enough for you
RATING: Would not Keep Reading.

Let's just start with some sweeping statements. "Sucked Into A Video Game" stories have become the number 1 thing I see on sites like this replacing "I died and went to a new world stories". There's nothing inherently bad about that, but you are being compared to other writers writing the carbon copy same first chapter-- and sometimes the carbon copy same scenes beat for beat.

To the degree that you made the chapter a very in the moment story wihtout bogging us down worked, right down to the Elden Ring esque boss helper. On the video game side, I think it's something that other authors should take note of, because your audience knows what a video game is and how it functions and basing it off a real experience (or what could be one) makes it relatable. Bigger picture this falls flat because we have no idea who your character is or what they want.

Now let's throw all this out, because none of this matters in terms of my rating here. The issue I had was with so much of the writing just wasting my time or wasting space.

I booted up my YCircle, and opened up the game I’d been playing for the past month: Re:Life. I really liked this first sentence. It's not high art but you had the confidence to throw out YCircle and not expalin it; you correclty assumed that your audience weren't idiots. Its story, visuals and lore were quite possibly the best thing my senses have ever been blessed with, but it was almost strange how little popularity it had. Good idea but the first half is thin. This was your oppurtunity to paint a picture: what about the story, visuals, and lore were so good? E.g. The story about returning a dead world to life, art direction right out of an H.R. Geiger painting, and lore that would require a companion wiki to get to the bottom of was sublime, but. . . . It was a VR game with almost lifelike characteristics adds nothing, yet it only averaged around 300 monthly players, This would be a good lead in to qualify what came before if it jumped into a bigger idea, but what you have next is. . . which I’d only found out after extensive research; A simple Google search didn’t show any information, due to the game’s lack of popularity. My first thought was how do you play an online game and not realize no one is playing it? Like, shouldn't he realize it's empty and that causes him to investiagte. Instead, the MC investigates for no reason and somehow that requires "extensive" research. And once again at the end, just completely worthless words for things we know.

If this feels pedantic, it isn't. These are all problems (except the compliments) that prevented enjoyment, and the rest of the work IS what i've laid out here, just without the positives. It's frequently failing in one of these areas, and the story ultimately suffers because what is important to the plot is either too thin or too clunky.

There's no point in even copy and pasting the secnond paragraph, because I have a problem with it as a whole. What does bankruptcy have to do with anything? How does the character know any of this? Maybe the sales and the stable player base are not the same. The MC even says they don't care, so why should we? It felt like the writer trying to justify something they thought was incredulous, but just why? It isn't movivated by anything. You almost need a line in their about how your character is worried about finishing the game fast in case it shuts down. At least then the information is 1) motivated by something and 2) Relate back to the MC.

OVERALL

Focus on the writing.

That was... quite the review.
You should click the link and really get the experience for yourself.
Hello! If you're reading the first chap only, please ignore the Prologue, thank you for your time!

A most sensible request. RATING: Would Keep Reading.

THE GOOD


Love the start here. I was scared going in that this would be a continuation of the prologue as many authors around here do, and it was not. And I was also happy to find it was solely focused on the MC working harding doing something moderately unusual. I can empathize with hard work more than 90% of how other stories start.

From there, I once again am digging your choices. The MC will only work within reason, and now I'm fully on his side because his dad is a bastard.

You also weave us in to the Schizo voice pretty seemlessly. You had that little laugh at the start just to get us aware which works doubly for both the 'character' and the formatting you chose.

Speaking to the start of the chapter, I think you did a phenominal job as a whole getting us into your story.

THINGS I DID NOT LOVE

I felt the length. There isn't a real discernable structure that this chapter hangs on, and I think the biggest chunk of meat here is the dialogue. It's a character piece which I love conceptually, but in practice the character voice and dialogue were just a little plain and boring at times.

I for one was shocked that I wasn't wholely on board since you won me over that hard at the start. I think some of it has to do with that length, I was just rereading a section and thought, "Wouldn't it be great if those two ideas were closer together and playing off each other." But I'm not sure if that's going to be helpful advice because you can sharpen everything up regardless, punch it up a bit.

And I mentioned the voice. I was refrencing one point near the end where the father makes a comment on mages and there was a weird verbosity that seemed to conflict with his character.

OVERALL

There are things I would work on, but it's still a good start to a story. And while I didn't say this before, I think the premise is a winner as well if you make the most of the dual voices shtik.
I'd like to hear your two salts, if you don't mind. When you have time.
Link to a novel.
Edit: By the time you get here, a lot of time will have gone since I've posted, so let's break it down, shall we?
This is, to say the least, experimental stuff. Not the usual thing you might find. So if you feel you can not rate it well, let me know and I will understand it.
RATING: Would Keep Reading!

Context: I have nothing against abstract or experimental in general, but I do think any statements on quality end up being more subjectional than usual. For example, when I watch a David Lynch movie, what I find good (or bad sometimes) about it, is the way it manages to play with my intuition and emotion. I wrote this off your descriptoin, so I guess we're going to find out if I think its abstract.

THE GOOD and GREAT

The word I won't be using here is abstract. It's a bit more imaginative than a typical chapter you see around here, and there's the occasional styleistic flare that elevates it, but we have the context we need in a few lines and any sort of dream logic is entirely justified. All this ends up being one of the stronger aspects of this piece, it makes it more interesting and enjoyable to read, and I think you did it well. Some writers get in trouble by not reigning themselves in, but you at your most daring strike a nice balance, so I'd recommend approaching most your writing with this creative spirit in mind.

That's all secondary though, because there is one thing you did better than everything else: you elicited a genuine emotion out of me. You instill a decent amount of dread here which is not easy to do. It's clear something is going more and more wrong and you manage to communicate that to us without beating us over the head. I think a major factor in this success is the secondary characters obliviousness to the tonal swap. As the writing shifts gears and becomes panicked, their constant cheery disposition really starts to make an impact.

CRITIQUE

Some of the writing is off at points. It isn't something I can be too hard about since the work made an impact in the way it did, but you could slash some words or sentences here or there. Just generally tighten things up with some line edits. If this was cleaned up and shiny without losing anything, it would probably have gone on my best of list.

Bit more formatting related, but the excessive author's notes were a bit much. You write a full page in warning at the start, and then corden off the "traumatic" content again with another warning. It's really excessive. A couple lines up top would be enough, especially considering that it isn't that bad.

You do this stylistic thing to try and convey panic in the reader, but it really isn't your strong suit vs. the building of that tension. I actually wanted that final paragraph-- the payoff-- to be stomach churning, but the form and even some of the language undercuts the intent. Random capps lock, weirdly shouting out "I don't like pain". Even the length becomes confusing as it draws out a very singular idea too far.

OVERALL

I don't know what the rest of the story looks like, but I appreciated this as a highly effective short horror story.
 
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TsumiHokiro

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RATING: Would Keep Reading!

Context: I have nothing against abstract or experimental in general, but I do think any statements on quality end up being more subjectional than usual. For example, when I watch a David Lynch movie, what I find good (or bad sometimes) about it, is the way it manages to play with my intuition and emotion. I wrote this off your descriptoin, so I guess we're going to find out if I think its abstract.

THE GOOD and GREAT

The word I won't be using here is abstract. It's a bit more imaginative than a typical chapter you see around here, and there's the occasional styleistic flare that elevates it, but we have the context we need in a few lines and any sort of dream logic is entirely justified. All this ends up being one of the stronger aspects of this piece, it makes it more interesting and enjoyable to read, and I think you did it well. Some writers get in trouble by not reigning themselves in, but you at your most daring strike a nice balance, so I'd recommend approaching most your writing with this creative spirit in mind.

That's all secondary though, because there is one thing you did better than everything else: you elicited a genuine emotion out of me. You instill a decent amount of dread here which is not easy to do. It's clear something is going more and more wrong and you manage to communicate that to us without beating us over the head. I think a major factor in this success is the secondary characters obliviousness to the tonal swap. As the writing shifts gears and becomes panicked, their constant cheery disposition really starts to make an impact.

CRITIQUE

Some of the writing is off at points. It isn't something I can be too hard about since the work made an impact in the way it did, but you could slash some words or sentences here or there. Just generally tighten things up with some line edits. If this was cleaned up and shiny without losing anything, it would probably have gone on my best of list.

Bit more formatting related, but the excessive author's notes were a bit much. You write a full page in warning at the start, and then corden off the "traumatic" content again with another warning. It's really excessive. A couple lines up top would be enough, especially considering that it isn't that bad.

You do this stylistic thing to try and convey panic in the reader, but it really isn't your strong suit vs. the building of that tension. I actually wanted that final paragraph-- the payoff-- to be stomach churning, but the form and even some of the language undercuts the intent. Random capps lock, weirdly shouting out "I don't like pain". Even the length becomes confusing as it draws out a very singular idea too far.

OVERALL

I don't know what the rest of the story looks like, but I appreciated this as a highly effective short horror story.
I agree with on that last part. It was delivered subpar. I had more for it, but in the end I had cold feet. I was not sure how far I should delve in the scene, and I ended up delivering a disappointing end. I tried asking for people's opinion before uploading my first chapter but, well, it's not that easy to find people who are interested in the way I write.

As for the words, every time I re-read my chapters (I do it every time I need to imagine a new scene, or when I'm looking to understand what has already been written) I find new words to cut. Yeah, it has too many words sometimes, where I will unnecessarily put not the character but myself the author in the scene. This is mainly the reason I consider this to be experimental: I have to juggle between where I, the author, end, and the characters start.

Anyway, thanks for the critique. I will continue to do my best to polish this. In fact, I continue to reread every chapter, here and there, and doing small edits every time I find something that could have been done better. Unfortunately, for those who have already read, they will never notice (haha).
 

Eelphen

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I'd love to get some feedback on my first chapter, I'm wondering if it's as gripping as it should be.
 

TheTrinary

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With a little unease, since this is my ( or our - there are two people under this account ), I would like to ask for a quick glance at our work:

RATING: Would not Keep Reading


I do want to do some line edits. Especially given that you have two eyes on this and we end up with some questionable results; aka, your first three sentences are not great:

The summer in the northwestern provinces of the Empire of Sorres could generally be called 'uncomfortably warm' on a good day, and 'sweltering curse' on any other. Smaller, get rid of "the". You aren't talking about a specific date but a general time frame.The flow of this sentence is rough with the over use of prepositions chopping up the rhythm. It's not goign to be an easy fix, unfortunately, especially because it manages to convey information okay.

Fortunately for two men working in a spacious cavern, the temperature inside was much lower, and thus, much more bearable.
Not a smart sentence because your reader is ahead of the writer. The underline portion conveys every ounce of meaning that we need and what comes after is 100% redundant. Most of this is chalked up to the word fortunately because it conveys so much the rest of the sentence is moot. Which is a shame because that would be a great way to efficiently convey information if you used it to kip to a new idea. They were kneeling in the soft dirt, busily dusting the floor with small brushes. They could be mistaken for some bizarre cleaners, if not for a selection of other tools, such as shovels in several sizes, pickaxes and small chisels which were scattered around the area. Once again, what do you think you're conveying. As a reader, I uniquivocally undestood the scene with just the underlined porition. This is more egregious because now you're using entire long sentences to repeat information that was already in my head.

with a heavy stelandian accent. Why isn't Stelandian capitalized?

He wore a simple sleeveless vest, a soft cotton scarf, currently tied around his neck "He wore" does not need to be followed with "currently", pretty much ever. The intent is confusing, that's where sarves go. Why are you taking extra time to make sure your audience understands what a scarf is?

The last piece of his attire was fairly unusual in that it had small, open-top satchels sewn-on near the waist. His dark skin gleamed oily in the light. This sentence also fails. You talk about knees and knee pads, and then modify that with color. And then loop back around to the bigger idea simply by stating the "last piece." I genuinley didn't know what piece you referred to here at first.

And this is where I just gave up:


The man gestured towards the shallow pit, which held several strange objects half buried in the packed dirt. His hair, tied into dozens of locks and bundled together, bounced about. His hair started bouncing when he stopped working and pointed? I understood the intent was to naturally weave descriptors in, but where you put things matters, and your attempt to structure pretty much all of this exposition at the start never comes off naturalistic; this one violates logic. His hairdo and facial features were typical for the hoomin living on the islands Once again, the logic falls apart here in terms of basic paragraph structure. You have previous described his nationality in part. Theres a heavy repition of information because you don't have any logical structure to how you're conveying information. of the Sorian Sea, the Northern Ocean and in the far northeast of Sorres, where the temperatures stayed high all year round. And this is where I specifically said, I'm out. You told us all this before. You have specifically taken my time to establish this information. You didn't start with the scene, you started with this information.

OVERALL

The writing is all over the place and poorly thought out. Each sentence is technically fine, but typically there are major issues with the logic and how ideas inter-relate, alternatively, ideas just straight up repeat unnoticed.

Typically I associate paired writing with higher quality work. You've got two eyes and someone is always going to be detached from the sentence being edited, but this seems like the worst of two worlds with parrelell ideas and execution running side by side with no editorial muscle.

And I want to be clear on this point because I know these edits can seem pedantic at times: If I make a note of it, it's because I thought it while reading. It was disruptive in some way (unless I specifically note otherwise which I will occasionally do on a single point (but haven't here)).
Hi! I'd love to get some feedback on my first chapter, I'm wondering if it's as gripping and interesting for the greater plot as it should be, story in sig
RATING: Would not Keep Reading.

Let's split the discussion in two.

PART 1: THE DREAM SEQUENCE

Credit where it is due, there are some obvious attempts at style here, and I think you suceed in noticable ways. Especially coming off of the way the chapters are titled, I had music on my mind and there is a rhythm that quickly becomes comforting and grounding.

Past that, I don't think the content or style is gripping. Stylelistically, I wasn't picking up anything outside of that thumbing "That's not how it went line." And the content is a bit blurry?

Your first "real" paragraph doesn't ground us or say anything: She felt the rough sand against her arm first, then the feeling of her hand digging into it with bloody, raw fingers. It sliced like shattered glass into her skin, it ground into the cracks of her nails. She slowly faded into consciousness, the burning feeling spreading from her arm across her body. She realised where she was, once again.

Especially coming off the heels of some wobbly nonsense that does nothign except to attempt to set the mood, we need an anchor. I like the first sentence and it's all I'd keep, tbh. We know she's in a place with sand and that she's in trouble. Sentence 2 just repeats the idea of danger. It's certainly an idea to heighten danger, but danger is only as interesting as we are invested in the character so this doesn't work. We have to care about something before we care that the situation is getting worse. Sentence 3 is pointless? Obviously she's already conciouss. Obviously she's already hurting. It's a bit confusing really. And then sentence 4 tells the audience nothing. She knows where she is? Who cares? We don't. It's only new information to her, not the reader.

PART 2: AKA THE REST

My headspace starting the post-dream was neutral. I liked some of the style and recognized that I could be entertained, but also a dream sequence is a cheap and easy way to start and it certainly didn't get me excited. I say neutral because I did like the stylistic motiff, enough to give you a clean slate for some of the weaker writing.

And from here, it dragged. Right away, I'm going to ask what happens if you just delete paragraph 1? It's all just the same information.

I completely lost who was talking at this sentence:
“It’s not me. Radio.” Soune choked on the mouthful of water, accompanied by a swear. As she scrambled back to the main seat and answered the receiver. When you pair an action with a dialogue you have to be careful, because normally it indicates the action doer is the speaker.

And then I immeadiately became annoyed and kind of gave up when you try to set the scene. Some people come on the radio, and they don't say anything. You're communicating to your reader that something is happening and that the MC is sleeping thorugh it. But as a reader, I don't understand the scene. And it keeps going. They are all talking about. . . something happening, using very vague language so the writer doesn't have to explain it? It's all faux drama. I get the sense that it's supposed to be dangerous or dramatic or soemthing, but I don't understand your scene.

In almost two pages, all I know as a reader is that your MC had a bad dream that they frequently do, they have a robot compaion, and they slept through something.

Which is very on track with your writing style in section 1.

OVERALL

There comes a point where you have to tell your readers things. That point is normally from the start: Characters, motivations, the setting, the conflict, who people interlate. Using traditional structure, in a 10 page chapter, that all needs to be done in 2.5 pages. Patience is not a virtue.

hello, can I have some feedback on this first chapter?
No? You cannot get feedback on something that would download on my computer.
I'll be straight with you, I don't get much fanfiction and I wish I got more. It's incredibly enjoyable to be plunged into a preestablished world I know nothing about, and more than that, seeing how well a writer can manage to properly establish a foundation.

RATING: MIDDLE OF THE ROAD SO WOULD NOT KEEP READING

Only two points here, so I'll keep them brief.

1) I think you did a good job at introducing the story. There's a boy, there's a clan, there are ninjas. Great. I undrestood all of that.

2) You didn't do much with the space. I have no positive or negative emotions here, because no attempts were made. There's this kid, he's a special kid, his clan loves him. There was no character work, no promises made, no hint of a conflict. It's kind of just a character profile? If that character was a small child who didn't have a character yet. . . .

I'm not saying you should make this longer. Oh no, dont' do that. But within the space that you have, it felt like you had one point to make and you made that point seven times. Introduce more elements and I think this would be a fine chapter.
I'd love to get some feedback on my first chapter, I'm wondering if it's as gripping as it should be.
RATING: Would Keep Reading

THE GREAT


I think the writing is impeccable. In a night of have immeadiate problems and authors completely failing to set up their stories, yours stands out as the shining example of how to do it. Within the first two paragraphs, I'm hooked. I understand the characters, the conflict, and you've just got some good writing and little details in there that make me say: tell me more.

I'll double down on the prose by saying that it is the highlight as we go forward. There is one major issue that I want to talk about, but the prose is always readable and enjoyable, to the point that I think the story ends up coasting on the basic premise. The writing never gets interferes, so we just don't lose that momentum. Sliding on ice.

CRITIQUE

And when I say coasting, I don't necessarily mean that in a great way. I think you make some misteps that fail to build momentum or elevate the conflict in any way. If anything, you undercut some of your intention.

Your male MC states that he is worried about the political marriage because no one will marry Laa for her qualities. Love it. But as the rest of the chapter unfolds, I feel as if you have failed to follow up on that premise. Not even just follow up; I was seemingly promised that Laa had good qualities that would be ignored, but I'm not sure what they are.

Starting with the scene where she and Arlo talk, you don't demosntrate anything. She isn't beautiful. She isn't smart. It was disapointing because I was seemingly promised more. To fully elevate this chapter, you need to 1) establish what those qualities are and then 2) go a step even further and then play with those ideas, show us that even Arlo's conceptions aren't the 100% truth. Something.

OVERALL

Good but not great. And to be clear, I thought it was going to be great.
 
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TwoApes

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The writing is all over the place and poorly thought out. Each sentence is technically fine, but typically there are major issues with the logic and how ideas inter-relate, alternatively, ideas just straight up repeat unnoticed.

Typically I associate paired writing with higher quality work. You've got two eyes and someone is always going to be detached from the sentence being edited, but this seems like the worst of two worlds with parrelell ideas and execution running side by side with no editorial muscle.

And I want to be clear on this point because I know these edits can seem pedantic at times: If I make a note of it, it's because I thought it while reading. It was disruptive in some way (unless I specifically note otherwise which I will occasionally do on a single point (but haven't here)).
Thank you for spending your time on it. I specifically think that the worst feedback is no feedback. Even if it is 'pedantic', it is appreciated. Neither I nor my partner are native English speakers, in spite of speaking it more than our native, so that might be a reason for some of the weirdness. Which is certainly not justification, just the root of the dynamic.

I'll pass your input to my partner and we'll have a talk about it. Thank you once again.
 

FluffyGamma

Active member
Joined
Nov 3, 2022
Messages
36
Points
33
I've been curious what other's have thought of my writing style in general. With the release of my first actual book going on, now would be a perfect time to ask for feedback when I don't have any minions to do it for me. Definitely not trying to procrastinate editing chapter 3.
I come from a background of roleplaying for 10 whole years with different people and smut is my comfort zone so this type of story is a little different for me. The prologue was an idea I had for a while, taking a scene and adding the draw of more for the chapters after. Not giving anything away but also making it fun for the reader to see engagements between different characters that they could and frankly should get attached too.
Without further ado, this is the prologue for my chapter. Curious what you end up writing.
 

OatMush

up to no good
Joined
Nov 15, 2023
Messages
107
Points
63
Hello, would love to be critiqued by you. I'm very inexperienced writing so I'm expecting a harsh review. I think the title and cover are unique so I'm getting a lot of page views quickly, but only a tiny percent actually seem interested in reading past the first chapter.
Story
Edit: actually don't, I'm rewriting from scratch.
Edit 2: actually do, rewrote and reuploaded
 
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PBJ_Time

Member
Joined
Jun 7, 2023
Messages
77
Points
18
Please let me know what you think. I'm sorry if the formatting looks strange. I was gonna upload this as a PDF, but the story still needed work.
 
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