#1
The plot is well planned and developed, and the romantic tensions that drive the story are finely balanced. Antoine is loyal to the revolution even though it costs him the life of his lover; ironically - and paradoxically - it his her death that frees him to commit the acts that would have preserved her life.
Not a man who makes up his mind quickly, our Antoine.
Excellently plotted and paced, neither dragging nor rushed. We arrive at the denoument exactly on time and with the message we were meant to have.
#2
The staccato sentences. The short paragraphs. Such tension. A hurried pace.
Technically well done and a useful technique, allowing the form of the sentences and the choice of words to impart a jittery, nervous tension to the scene. This isn't actually fiction as far as I can tell, more fictionalized history, but it is no less well written for that.
Nice work. Good writing. Very tense. Why do I feel like I'm channeling Hemingway?
#3
At first I was going to label this Orwellian satire, but on second read I'm not so certain. Then I was going to mention 'The Guns of Navaronne', which the author must have read or seen (the book is a pot-boiler, the movie infinitely worse).
One thing is for certain, this doesn't take place in any Paradox game on Earth as we know it. No nation ever succeeded in casting a rifled steel cannon larger than 18.1", at least none that I know of. The technical issues of 48" guns are... well, technical, so I won't go into them here except to say they'd either be very short (and inaccurate) or droop like an elephant's trunk.
Aside from my technical quibble, the writing is good but - pardon me - uneven. The pacing feels like the author felt the size limit creeping up on him, so the ending seems rushed. Also the many jumps in topic and time are revealing of the narrator's unsettled frame of mind but a little hard to follow in such a short piece. This may be only a personal issue, and I think the technique would work better if you could begin with longer paragraphs and shorten them (And the sentences. For urgency. ) as the climactic point approaches.
We are told the battery is wrecked but... I'd have preferred something more direct, some info passed from a guard or such.
#4
For myself, this carries 'tell don't show' a little too far to be effective. I applaud the author for casting the secton as dialog, and also for including enough detail (lifting the bottle, moving the chair) to anchor us in the scene. Still, while this would work well as part of a larger work it does not have much power as a stand-alone scene.
Quibbles aside this is a nicely crafted piece that could have benefited from greater length and increased tension. There is treason here of a sort but no tension-and-release.
The plot is well planned and developed, and the romantic tensions that drive the story are finely balanced. Antoine is loyal to the revolution even though it costs him the life of his lover; ironically - and paradoxically - it his her death that frees him to commit the acts that would have preserved her life.
Not a man who makes up his mind quickly, our Antoine.
Excellently plotted and paced, neither dragging nor rushed. We arrive at the denoument exactly on time and with the message we were meant to have.
#2
The staccato sentences. The short paragraphs. Such tension. A hurried pace.
Technically well done and a useful technique, allowing the form of the sentences and the choice of words to impart a jittery, nervous tension to the scene. This isn't actually fiction as far as I can tell, more fictionalized history, but it is no less well written for that.
Nice work. Good writing. Very tense. Why do I feel like I'm channeling Hemingway?
#3
At first I was going to label this Orwellian satire, but on second read I'm not so certain. Then I was going to mention 'The Guns of Navaronne', which the author must have read or seen (the book is a pot-boiler, the movie infinitely worse).
One thing is for certain, this doesn't take place in any Paradox game on Earth as we know it. No nation ever succeeded in casting a rifled steel cannon larger than 18.1", at least none that I know of. The technical issues of 48" guns are... well, technical, so I won't go into them here except to say they'd either be very short (and inaccurate) or droop like an elephant's trunk.
Aside from my technical quibble, the writing is good but - pardon me - uneven. The pacing feels like the author felt the size limit creeping up on him, so the ending seems rushed. Also the many jumps in topic and time are revealing of the narrator's unsettled frame of mind but a little hard to follow in such a short piece. This may be only a personal issue, and I think the technique would work better if you could begin with longer paragraphs and shorten them (And the sentences. For urgency. ) as the climactic point approaches.
We are told the battery is wrecked but... I'd have preferred something more direct, some info passed from a guard or such.
#4
For myself, this carries 'tell don't show' a little too far to be effective. I applaud the author for casting the secton as dialog, and also for including enough detail (lifting the bottle, moving the chair) to anchor us in the scene. Still, while this would work well as part of a larger work it does not have much power as a stand-alone scene.
Charles? Who is Charles? i thought we were talking about Laurence. Is this King Charles?Thomas nodded. “Comte Rochefort spent some time as an aide to the French emissary in London this past year. He knew everyone close to the king. Rochefort identifies him as Sir Laurence Cumberland.”
“Damn Charles to hell!” Henry’s whispered oath seemed loud in the still office.
Quibbles aside this is a nicely crafted piece that could have benefited from greater length and increased tension. There is treason here of a sort but no tension-and-release.