Friday, December 26, 2025

Angelfire by GT_Cooper at Inkitt

Blurb

Trapped, tortured, and at the mercy of a sadistic councilman, a young warrior must reclaim her stolen powers to survive. With every agonizing strike, she plots her escape — and vengeance. As her strength returns, she faces impossible odds: deadly guards, her own exhaustion, and a merciless enemy who will stop at nothing. In a world of fire and shadow, only cunning, courage, and unrelenting determination can turn the tide.


Original (First 500)

Pain ripped through me as I heard the crack of the whip. Again and again and again. I could feel my blood oozing from my slashes, hot and wet. I fought against my restraints, my wrists burning as the metal cuffs chafed them. Then Mordecai, the traitor, came around to face me, and ask me questions. Once I didn’t know the answer to. So he tortured me.

After I burned the ice away from Aquaia, and passed out from exhaustion, I woke up to find myself here. And at the mercy of Mordecai Gregori, one of the most trusted council members.

I couldn’t escape using my powers either since, I guess, I burnt out. I can’t feel it anymore. It’s like I had no power to begin with. At least that’s how it was when I first got here but now I can feel creeping back in everyday.

And today I think I could use it. That I could escape. So I let Mordecai think I was still weak, that I didn’t have my power yet. But I was waiting for the perfect moment to get out of these chain, and kill him. Because he would help the enemy. And he had probably injured many more before me. The sadistic bastard.

So today, I was trying to escape. And when Mordecai came to caress me, as he usually does which was extremely weird and creepy, I grabbed his arm and let the fire free. He was ash on the wind in no time. Then I burned through the cuffs, the hot metal burning into me. I peels off the hot metal, and rubbed my raw, bleeding wrists, trying to soothe them. It didn’t help.

I took two daggers from the assortment of knives, and daggers. They were about the same size, and light enough for my weak body to wield. I hadn’t had a proper meal in weeks, maybe months. And I was so hungry. I was starving. I had been fed a small meal everyday. And it wasn’t enough to feed me, as well as keep my strength, my power. Finally I had enough strength to escape.

I went out the door, having to route around in Mordecai’s pocket for a key to unlock, the door. Gross. Once the door was unlocked I walked out to see that there were guards lining the hallways, and when they saw me all of them unsheathed their weapons, most of the weapons two handed swords. Not as efficient as my dagger, but that’s why I was able to keep my stamina and agility up. After that long time chained up all of the muscle had disappeared and it was a wonder that I could even walk or hold the daggers in my hand.

They attacked, and I slashed. I had killed maybe five guards, most of them different kinds of dark creatures. Then ones of them slashed my leg. I hissed in pain, and hurried to get this fight over with.

My Edit

The whip cracks. Pain rips through me — bright, blinding. Again. And again. I lose count of the slashes as my back and my mind go numb. Blood runs down my ribs, hot and slick. After weeks of this, I can’t believe I have any left. I barely have the strength to kneel. I barely have the will to draw another breath.

Silence.

Mordecai's boots echo across the concrete floor — slow, measured, familiar. The whip slithers behind him, leaving a dark smear across the stone. He steps in front of me.

“Tell me where to find the crystal,” Mordecai says, gently.

I lift my head. Tears blur him into a wavering shadow, but I refuse to wipe them away. The pain is nothing. He trained me to breathe past it, compartmentalize. But he never taught me what to do with betrayal. The monsters he trained me to fight were strangers.

“You promised,” I whisper. My lips split when I speak. I taste iron.

His jaw tightens, but his voice stays calm. “Tell me.”

Mordecai. When my power first sparked and burned the curtains from my bedroom walls, he was the one who knelt beside me and said it was a gift. When I scorched the training yard, he laughed and called it progress. He taught me how to breathe through flame. How to hold it. How to shape it. How to love it.

When I burned out my magic saving Aquaia — the harbor, the ships, every soul trapped behind the sea wall — I thought it had killed me. I remember the roar of the wave turning to steam. I remember the sky going white.

Weeks in this cell have reduced me to a quivering mass of torn tissue and broken promises. But within the ruin, something glows. Slow. Quiet. Patient. My magic has returned. It coils low in my chest like an ember waiting for breath.

Mordecai steps closer. He crouches in front of me, his coat brushing the blood-slick floor. For a moment, he just looks at me.

Then his hand rises. I flinch, chains biting into my wrists.

His fingers brush my cheek, pushing a grease-matted strand of hair behind my ear. The gesture is achingly familiar.

"You don't have to do this," I say, my voice hoarse and heartbroken.

His hand falls as he steps back, the tenderness disappearing from his gaze. He towers over me, looking at me through the eyes of a stranger. Of an enemy. "Yes, I do," he says. The regret in his voice makes me close my eyes.

I draw a breath. I open my eyes. I free the fire.

It explodes outward in a roar. Mordecai screams as his coat ignites, then his skin. The smell hits me — sweet and sickening. Flames crawl over him, devouring cloth, flesh, hair. His cries collapse into something smaller, thinner. The last bit of him are the eyes that once gleamed with pride at my first step, my first word, my first fireball.

Then they, too, are gone. Mordecai. Gone. I killed him. How — I can't deal with this right now. I can't —  Somewhere beyond the cell, something shifts. The air itself seems to shudder. A distant howl answers another. The wards Mordecai wove into this prison flicker and fail.

They know. His creatures will not last long without him. But they will last long enough to tear me apart.

Heat spreads down my arms. The iron around my wrists glows red beneath my focus. I tighten my will. Metal softens. Locks melt. Chains crash to the floor. Without them holding me upright, I collapse onto my hands and knees. The wounds across my back awaken and shriek. I swallow the screams clawing up my throat.

A lifetime of training forces me to my feet. I stagger toward the door. My fingers leave streaks of blood along the wall. I press my palm to the lock and let the heat build until it runs like wax. The door swings open.

A shape hurtles through the smoke-choked corridor toward me — an oversized black cat with torn, leathery wings and green eyes split by vertical pupils. Its mouth opens too wide, rows of needle teeth glinting wetly.

It shrieks. I burn it to ash. The corridor fills with the smell of cinders.

And I step into it.

(Original word count: ~499 → Edited: ~727)


Critique

The hook is strong: a captured and tortured hero trying to escape someone she once trusted. Opening with action and betrayal is always effective—you can’t get more dynamic than the MC being whipped in the first line.

That said, the original excerpt leaves several key details too vague to dramatize. Mordecai asks questions the MC can’t answer, but we never learn what he’s asking. We’re told he was trusted, but given no specific memories. His “caressing” is mentioned without context — is it paternal, manipulative, ritualistic? 

Because the excerpt doesn’t supply these details, I invented some for my edit. For instance, I framed him as her former mentor and had him demand the location of “the crystal”. 

Setting

The setting for this scene is a prison cell. Pretty basic; metal bars, a locked door, and a cement floor. If you're going to open on an action scene, it's really smart choose a simple setting. It cuts down on scene description and  allows the reader to focus on the two characters at the center of the scene.

Characterization

Another nice get-out-of-jail-free card that you get from opening with an action scene is that the bare bones of characterization is all you need to focus on. We have Mordecai; a once-trusted council member turned traitor and torturer. And we have the MC whose body is weak from the torture, but her magic has returned enough for her to escape. 

That said, the tell rather than show style of the original excerpt uses a lot of vague language like "the traitor", "the enemy", "the sadistic bastard". Mordecai showing up every day to caress her face is a great detail, but describing the event as "weird and creepy" is a little impersonal for a mortal enemy. As this scene is our intro and outro for this character, some sort of emotional stakes would be nice. In my edit, I made Mordecai more of a father/mentor figure, which helps anchor the action of the scene with emotion.

Also, while it's nice to have a badass MC who can withstand torture and scorch her enemies into ash, this is our intro to her as a person, as well, so a little bit of internalization goes a long way.

Conflict/Tension

The premise is full of conflict and tension, but the execution diffuses it. Aside from the strong opening lines, the excerpt shifts quickly into exposition, reading more like a summary than a scene. The nice thing about underwriting a scene is that you have a skeleton that you just need to flesh out into a living thing. 

In my edit, I added dialogue, more immediate visuals and scents, and slowed down and focused on the connection between the MC and her torturer.

Final Thoughts

As written, the excerpt reads like a summary of a series of dramatic actions mixed with some backstory and world building. Aside from the whipping in the first sentence, there isn't any action to ground all of this information. There are benefits to telling instead of showing. For instance, in the original excerpt, the MC is able to lose all of her power, gain it all back, be tortured, kill her torturer, arm herself, and kill five guards. In my edit, it took over 700 words just for her to deal with Mordecai and kill one minion. 

I would argue that when we're meeting a new character, especially a main character in a physical or emotional situation, it's okay to slow down and focus on that moment. 

I also think that the premise of this scene — to establish a completely new world, an MC, the loss and gaining of the MC's power, torture and escape  — that's a lot of pressure on the very first scene of the story. I did my best with my edit, but I would actually probably start a scene or two before this one. Have the MC wake up in a cell, introduce the betrayal and the torture slowly. That way, by the time the MC burns up Mordecai, there's a nice release of the tension that has been built up over several scenes. In this case, we're starting mid-tension and that ratchets up the level of difficulty in establishing emotional stakes in the story and personal investment in the action.

Wednesday, December 17, 2025

Darcy's Date by Crystal Charee

This is an original of mine. Darcy is a mermaid who gave her daughter up for adoption when she was sixteen years old. The daughter is Aura, who features in Britney, The Dwarf Queen, which I'll posted a First 500 challenge on, someday. Aura is also a main character in her own story, A Thousand Auras, and is a recurring character across several of my fictional universes.

This story was supposed to help me explore Darcy's character so that she can be a full person in my mind. I never got far with it, but I do love her.

Original (2005)

Darcy was stumped. She stared into her wardrobe, trying to figure out what to wear. She briefly wondered if she should just go topless and get the fun part started early. But then her stomach rumbled and she didn’t feel like cooking, so she grabbed a tank top and slipped it on. It was black, naturally. With tiny purple hearts and a doubloon-sized skull embroidered on it in tiny beads. It would be dressy enough for almost anywhere, but casual enough if he’d just packed a picnic or something.

Darcy heard banging on the hatch. It was probably the doorknocker she’d attached to it. Sometimes the tide – Darcy’s eye caught the clock –damn the man for being on time! Caught with her hair down, she answered the door. Vincent was there, sparklier than ever, framed against the black waters of the ocean. Appreciating the view, her eyes traveled from his handsome face, all the way down – to his new appendage. It was small, female, and looked like it was about eleven years old. “Crap,” Darcy said.

“Nice to meet you too,” the girl said like a little Miss Smarty Pants. The girl brushed Darcy aside and entered her home. Darcy felt like her inner sanctum was being violated. Vincent had never been invited in, and this brat certainly hadn’t. Darcy swam forward a bit, pushed Vincent back to clear the way, and grabbed the girl who was – touching something! Snatching back her ceramic replication of a bottle of poison, she tossed the girl out the door. Vincent caught the girl as she nearly swooshed past. Both merpeople stared at Darcy in shock.

Carefully replacing the bottle on the side table next to her couch, Darcy turned back to Vincent and friend, and asked politely, “Would you like to come in?”

Vincent shushed the girl who was about to reply. “Maybe we should just be on our way,” he responded. Holding out his hand, he waited for Darcy to take it.

She hesitated. She wasn’t sure what to do with a gentleman, and that more than the pre-teen brat compelled her to stay home. No doubt her memory played tricks on her, making it seem as though those kisses had been better than they actually were. The possibility that she was wrong though, was what made her hold out her hand. He pulled her through the hatch as though she were a delicate, crystal feather. Light, delicate, and beautiful. Once again, she suppressed the urge to turn, swim, and slam the hatch behind her.

As if he could read her mind, Vincent took Darcy’s hand more firmly in his own. Taking both girls by the hand, he led them to a carriage that was attached to a baby whale. He picked up the reins and shook them a little. The whale moved forward, graceful for something that size, under Vincent’s power. She could relate.

“This is my niece, Learah,” Vincent explained. “Her mother is in labor and can’t leave the girl alone for a minute...."

My Edit (2025)

Darcy stared into her wardrobe, trying to figure out what to wear. More importantly, she wondered why she'd agreed to a date with Vincent. Nerdy, adorable, way too nice Vincent. She wondered if she should answer the door topless and really freak him out.

Her stomach rumbled. She sighed. She couldn't really afford to chase off a free dinner. Plus, she still had to work with the guy. She grabbed a black sequined tank top, and slipped it on. She was thinking about what to do with her hair when she heard banging on the hatch of her sunken yacht.

She pulled up the pocket watch the she wore wrapped around her waist and cursed to herself. Of course he was early. Vincent was always early. She sighed, pulling her eyepatch down. If she took the time to put her hair up, he'd think that she was taking a long time to get ready, for him. But if she left it down, the long pink curls were going to be in her way all night. She pulled it into a loose braid over her shoulder as she swam from her room to the companionway and then up to the aft deck.

Along the way, she cursed herself for caring if he'd like her hair in a braid instead of her usual messy bun. She hadn't been on a date since she was fifteen, and even then, she couldn't say that her boyfriend took her out on dates. Did that mean she'd never been on a date? Oh, God. That meant that first date was going to be with Vincent. How pathetic was that? She was probably his first date, too.

Vincent was there, his long grey fin sparkling against the black waters of the ocean. He'd ditched the tie, for once, but wore a short-sleeved button-down shirt. His smile was warm, but a little worried. It should definitely have been more worried. Darcy was going to make him regret asking her out.

Then she noticed that instead of his usual briefcase, he had a small mermaid with him. She had big, watchful, turquoise eyes, a swirling mass of blonde hair, and a turquoise tail that matched her eyes. She was probably around ten or eleven years old.

“Ugh. No thank you,” Darcy said, involuntarily. She did not deal with children. At all.

“Nice to meet you too,” the girl said, in sign language. Darcy blinked. She eyed the girl. The girl's tail was mechanical. There was only one mermaid in the entire kingdom, hell, anywhere in the world that Darcy knew of, who had a mechanical tail and spoke sign language.

Darcy said, glaring at Vincent, who, now, was looking more guilty than nervous. "You brought the princess on our date?"

"It was a last-minute thing," Vincent said, pleadingly, his warm, grey eyes sparkled sweetly in the light that shone through her cockpit windows. "It was either bring her or cancel the date."

"Cancel the date!" Darcy said, glaring harder. Rage flooded her body. She wondered that the water around her didn't boil. "Nevermind, I'll cancel it." She turned to swim back through her companionway, but the flash of the kid's hands stopped her. She turned back.

"I've never met a pirate before," the girl signed, again. "You're not that scary. I like your hair," she added with a grin.

"It's taken me two years to get you to go out with me," Vincent said. "And you said this was my one chance. If I'd cancelled, you'd never agree to go out with me again. And, if I had told you about the kid, you wouldn't have believed me." He still had his pleading look, but that sharky lawyer look that he got when he was talking business was creeping into his gaze. "So," he continued, transitioning into his bargaining tone, "If you would like to reschedule, I can make that happen."

Darcy liked to convince herself that Vincent was boring to look at with his gray eyes and gray tail and gray personality. But his eyes generally held a spark of humor in them, as they did now, his tail was pinstriped with dark and light gray, and his fins were long and flowy. And he never bored her. His off-duty personality was sweet and almost shy, but he was full of stories and when he negotiated with her, his "boring" gray eyes would flash like steel. Now, he waited, a challenging smile twitching at his lips.

She glared at him even more, mostly just to give herself time to think. He'd just given her the option to re-schedule or to let him take her on a date with a tiny brat. She was aware of the unspoken third option, to just cancel and never give him another chance. But, it would have been cowardly. It wasn't like Vincent would have had the option to say no to babysitting a princess -- it was pretty much the only excuse she would have accepted.

She hated the option of cancelling. She'd never admit to anxiety, but the anticipation had made her nearly cancel at least once an hour since she'd agreed, in a moment of pure insanity, to go out with him, once. She didn't want to go through all of that again. But to go on a date with a ten-year-old child in tow? How was that supposed to play out? Actually, she thought, how was that supposed to play out? Did he really think that he could pull off a once-chance date with a kid around? She couldn't help but grin at the thought.

"Alright," she said, mirroring his challenge with her uncovered violet eye. "Wow me."

The way his brows went up said that he was surprised, but his shoulders squared, and he grinned. He held out one hand to her, and gestured toward the bow of her ship with the other. "Your chariot awaits," he said.

It really was a chariot, a golden one, with six silver, mechanical dolphins harnessed to the front of it. Suddenly, she knew she wasn't dressed up enough to go wherever he'd planned to take them. Well, she thought darkly, if she embarrassed him, that was his problem. She wasn't fancy enough to see any of the fancy folk he wanted to parade her in front of, again. He'd be the one who'd be judged for dragging a circus act around.

Darcy took his hand, grimly, and he turned to offer his free hand to the child. "Princess," he murmured.

The little girl ducked her head, blonde hair swishing, and took his hand too. Darcy didn't miss the worshipful gaze the girl shot up at Vincent as they moved toward the chariot. He handed the girl in first, and then turned to Darcy. Registering her wooden expression, he smiled, and kissed her hand. "Don't worry," he said, a promise in his warm gray eyes. "This will be fun."

"Worry," Darcy scoffed, allowing herself to be guided into the carriage. She couldn't help but relax at his words, though. And as he took up the reigns and the dolphins swooshed through the night waters, she allowed herself the tiniest moment to appreciate the luxury of being escorted to a fancy, unknown place, in the dark, with a reasonably attractive man.


And a ten-year-old brat.

(Original word count: ~507 → Edited: ~1222)


Critique

Darcy has a unique voice — snarky and insecure at the same time. She’s a misanthrope, but that cynicism masks a deep insecurity. In the original version, it’s hilarious that she’s completely uninterested in impressing her date or accommodating him or the kid. In my revision, I toned down the child abuse but ramped up her sass toward Vincent, letting her humor cover for vulnerability instead of cruelty.

Setting

The original setting wasn’t entirely clear, and I didn’t add much description in my revision — but I did try to orient the reader with a sense of movement as Darcy swam from her bedroom to the deck. At least now, it’s easier to picture her inside a sunken boat. I'll explore setting more in a future draft. In this draft, I was more focused on characterization.

Characterization

The original carried a light, almost chick-lit tone, but Darcy is darker. She has a past she’s ashamed of, a strong survival instinct, and intense social anxiety. The bubbly tone didn’t fit her—or me. I gravitate toward interiority and emotional realism, so I leaned into her internal reactions and motivations instead of staying on the surface.

Something I didn’t yet explore is how she knows Vincent. We find out that he’s a lawyer, but we never see how that intersects with her life as a scavenger of sunken ships. That relationship will either need more backstory or a change to his vocation.

In this rewrite, removing the scene where Darcy manhandles the child also fixes Vincent’s earlier passivity. He’s still kind and a little playful, but now he has the quiet confidence of someone who can handle her sharp edges. He senses her discomfort about not being “fancy” enough for wherever he’s taking her and reassures her without condescension.

The child mermaid, originally Vincent’s niece Learah, was mostly a plot device to inject conflict. While revising, I realized her description matched an existing character: Princess Coral. The mechanical tail and sign language are hers. I think it will be fun to explore her character, especially in interaction with Darcy during the date. 

The date might ultimately become less about romance and more about Darcy exploring a “what if” — what life might have been like for the daughter she gave up, if Aura had been able to grow up under the sea with her.

That said, with Vincent there, we'll get to deepen the relationship between him and Darcy based on how they interact with Coral together. This scenario will highlight aspects of each of their personalities that may only have glimpsed during their business dealings.

Conflict/Tension

In the original, the tension came mostly from the kid — contrived, but it showed my instinct that a scene like this needs conflict. I think I avoided deeper tension at the time because I didn’t know how to write a date scene without romantic or sexual charge, and the story was intended for middle grade readers.

Now, I can rely on Darcy’s social anxiety and bluntness to create friction. Vincent’s empathy disarms her — it feels good but also unbearable. Like stepping into a warm room after being out in the cold: the warmth hurts a little. She can’t trust it, because she never knows when she’ll be tossed back into the cold again. That’s why she lives alone, keeping her world small and predictable.

Final Thoughts

Ultimately, even though having Vincent unexpectedly babysitting was contrived at the time, I'm committed to the idea now. That means that the weakest part of the story, now, is the beginning when Darcy is looking in her closet. What does a mermaid's closet look like? The clothes can't be on hangers, because the hangers would float off of the closet rod.

Also, Darcy staring into her closet, wondering what to wear? That doesn’t fit her. She’s the kind to distract herself from nerves by working, not primping. She’d be startled by Vincent’s knock because she was absorbed in something mechanical, maybe salvaging or tinkering.

I'm actually exploring that idea in another revision, but it's so different from the original version that I didn't want to use it for this post. I'll use another post to explore the edited original versus the final revision.

Wednesday, December 10, 2025

Over My Dead Body by RebelleFleur00 on Wattpad

Blurb

Deadly assassins Allegra and Ace have been trying in vain to kill each other for years. With a mutual enemy threatening their mafias, they find themselves in an unexpected alliance, and soon discover killing each other isn't the only temptation they need to resist...


Original (First 500)

I slowly turned the knob on my scope, focusing the red crosshair into the middle of my sight. I slowly rotated my sniper rifle, scanning the five-star restaurant fifteen hundred meters away. My breathing steadied as I laid my eyes upon my target. Francesco De Luca, and he was aligned perfectly within my sight. He was an unpleasant-looking man, to say the least. Overweight, silver hair, the kind of smile that makes your skin crawl. No surprise he was surrounded by escorts half his age. But what else can you expect from a De Luca?

Now the question of the day: Headshot? Or heart shot?

That was always my biggest dilemma during my missions. I contemplated my options as I tapped my finger against the trigger lightly while pursing my lips. I waited for a few moments before I sighed and settled for the head. I held my breath to focus the shot, and quickly pulled the trigger.

His head practically exploded, sending blood flying all over the women he was with as his lifeless body plopped to the floor. His security detail rushed over to him, frantically trying to grasp what just happened as a chorus of screams filled the air. 

"Gotcha." I chuckled as my lips curved into a grin.

I grabbed my sniper rifle, my trusty McMillan Tac-50, and quickly began to pack it up. I dismantled my weapon in record time and dusted myself off before reaching into my pants pocket, pulling out a pack of cigarettes. I hit the bottom of the box three times, before opening it and sliding one out. I lifted it to my mouth as I hummed Fly Me to the Moon by Frank Sinatra. A fucking classic. I slid the box back into my pocket, grabbed my rifle, and made my way downstairs.

The vantage point I picked was an abandoned warehouse about a mile away from the restaurant. Still humming, I quickly descended 5 flights of stairs while I puffed on my cigarette. Sirens screamed in the distance, and I smiled knowing that they were cleaning up the mess I made.

The vibrations of my phone snapped me back to reality. Biting my cigarette, I dug through my bag trying to find that annoying device.

"What?" I mumbled, still holding the cigarette between my teeth.

"Is he taken care of?" The cold voice asked.

"Yup." I stated, popping the p obnoxiously. I knew how much he hated that.

"Good job. We'll see you at the safehouse." My father spoke out quickly.

"Alright, see  you soon." I stated before I hung up.

I took a step forward only to see a quick glimmer of an object flying towards me. Reacting quickly, I ducked as something pierced the wall behind me. I stood up before examining the wall behind me, scowling as I laid my eyes upon a very large knife sticking out of the drywall where my head was just a few minutes ago.

"Well, look what we have here." A chilling, yet familiar voice called out from the shadows.

My Edit

His head exploded, sending blood splattering all over his women. 

"Gotcha." I chuckled.

Even though I was a mile away, I could swear I heard the chorus of screams, as his women scattered and his security detail rushed to him. I lowered the scope.

I dismantled my trusty McMillan Tac-50, and packed it up. I picked up the rifle case with one hand and reached into my pocket with the other. Heading toward the rooftop door of the abandoned warehouse, humming Fly Me to the Moon, I pulled out a pack of cigarettes. I tapped the bottom of the pack against my thigh three times. 

My booted feet tapped down the first few stairs as I flipped open the pack with my chin and used my teeth to slide out a ciggy. I slid the pack back into my pocket, exchanging it for my lighter. 

Sirens screamed in the distance, and I smiled knowing that they were on their way to clean up the mess I'd made.

The phone in my bra vibrated. I lit the cigarette and took a drag before tapping my earbud twice. "What?" I demanded, ciggy between my teeth, boots tap-tapping down the stairs.

"Is he taken care of?" 

"Yup." I stated, popping the p obnoxiously. My father hated that.

"Good. We'll see you at the safehouse." He hung up.

"Always a pleasure," I muttered, taking another drag. Just as I reached the landing of the third floor, a glimmer caught my eye, and I ducked. I scowled up at the knife vibrating in the drywall where my head had been a moment before.

"Well, look what we have here." A chilling, familiar voice said from the doorway of the landing.

(Original word count: ~510 → Edited: ~285)


Critique

I'm generally not interested in Mafia stories, but the idea of two assassins who have been trying to kill each other for years falling in love is just so...charming. I couldn't resist.


This is a Wonderful Wednesday post. What qualifies a first 500 excerpt for a Wonderful Wednesday post is a successful combination of what I look for in every first 500 words of a story: interesting setting, interesting characters, and a metric butt ton of conflict and tension.

I always have some nitpicks that I discuss in a WW post, but I don't generally do a full "My Version" because I don't feel like my version would be different enough to make someone read both versions. I felt like this excerpt was a good example of a really fun, engaging first 500 words, but that even good writing can usually be tightened up in certain areas.

Setting

The first setting is great -- a rooftop of an abandoned warehouse. The author doesn't describe the setting at all, and this is what's smart about choosing a setting that is familiar enough to readers that it doesn't require much of a description, if any. In this case, this is a place we're going to spend about five seconds in, it's not sentimental to Allegra, and it's not one we'll return to (presumably). Even if your reader has never seen a movie, they can probably imagine that there's not much of visual interest in a rooftop of an abandoned warehouse.

We also have the stairwell that Allegra takes to exit the building, and this is where the action takes place. I will say that this sentence: "Well, look what we have here." A chilling, yet familiar voice called out from the shadows." threw me off a bit. "Shadows" is just too vague for a setting as small as a stairwell. Also, these two are about to fight, so establishing where the familiar voice is coming from would be good in this sentence, so that it won't have to be established when we move into the fight. In my version, I just placed him a few feet away from her, in the doorway.

Characterization

We have three characters in this excerpt: Allegra, Ace, and Allegra's father. Allegra's characterization is simple but effective. Murder is, for most people, a big ethical question. Most of us would feel weird or bad if we'd just made another person's head explode. Allegra says "gotcha" and grins. We also have her popping the "p" in "yup" in order to annoy her father. That is a succinct and fun way to add dimension to both Allegra and her father, as well as establish the type of relationship they have.

Their entire phone conversation is actually revealing. It's short, professional on his part, snarky but just as abrupt on hers. Allegra describes her father's voice as cold. Wow.

The third character, Ace, has one sentence of dialogue before this excerpt ends, but boy, does he make an impact. I'm curious as to whether he missed her with the knife on purpose, or not. He certainly doesn't seem particularly upset. He also doesn't follow up the first knife with a second, more accurate one. He seems to want to play.

Conflict/Tension

There is plenty of tension. We have Allegra murdering someone in the first sentence to nearly being murdered herself. In smaller ways, we have the tension between Allegra and her father, and between Allegra and Ace (attempted murder). Even Ace's dialogue, "Well, look what we have here" is a conflict between what we'd expect a person who just tried to put a knife through her head and what he actually says. He's so casual. Very weird.

That said, although the scene is rife with tension, the writing isn't. I like the casual tone that the author establishes, especially in juxtaposition with such a fraught scene, but the tension could be tightened up a bit. For instance, something as simple as "his head practically exploded" doesn't need the word "practically". We're adding a question into what would otherwise be a powerful statement.
Another thing is, we spend 158 words with Allegra looking through the telescopic lens and readying herself to take the shot. She steadies her breath, she purses her lips, she holds her breath. We don't need any of this. I do like the detail that the man she's targeting is surrounded by escorts half his age, but it's also not technically necessary.

What makes "I slowly turned the knob on my scope, focusing the red crosshair into the middle of my sight." such a powerful opening line is that we're about to see a dude get killed. And then we don't for 140 unnecessary words. I think the author is trying to build tension but it actually deflates the tension created with the first sentence.

Another area where the author tries to create unnecessary suspense is with who Allegra is talking to on the phone. It's not until his third line of dialogue that we find out that it's her father. Why? It makes the kind of bland dialogue way more interesting when we understand that she's talking to her father. The fact that he's so professional and abrupt only adds to the intrigue. There's no need to bury that reveal.

This is the weakest paragraph in the excerpt:
I took a step forward only to see a quick glimmer of an object flying towards me. Reacting quickly, I ducked as something pierced the wall behind me. I stood up before examining the wall behind me, scowling as I laid my eyes upon a very large knife sticking out of the drywall where my head was just a few minutes ago.

Okay, first, we don't need "reacting quickly" because "I ducked" conveys the same thought. Second, it's really dumb to stand up and examine a knife sticking out of a wall that was meant to be sticking out of your head. That is something that you see in Kung Fu movies, but it happens visually quickly and is played for comedic effect. In this case, it would be smarter to remain ducked and look up at the knife.
Also, in this scene, a lot of things are supposed to happen quickly, in succession, so we want the wording to reflect that idea. 

Consider my edit:
Just as I reached the landing of the third floor, a glimmer caught my eye, and I ducked. I scowled up at the knife vibrating in the drywall where my head had been a moment before.

This is the same amount of action but done in 36 words instead of 62. Actually, most of my edit is the same exact verbiage as the original excerpt, just condensed from 510 words to 285. Now, does that mean that my edit is better? No. There's a pretty good chance that if you asked 100 people which version they liked better, they'd prefer the original.
 
This is why I don't usually do an edit of Wonderful Wednesday posts. This excerpt hit enough of my personal bugaboos that I wanted to see what my version would look like. If I was this author's editor, these would be the changes I'd suggest, but my feelings wouldn't be hurt if the author rejected them. I'm not even a hundred percent sure I like my version better. It's more concise, but is it more engaging? I don't know. I don't really think so. But it was a fun exercise.

Tuesday, December 2, 2025

The Summer I Drowned by solacing on Wattpad

Blurb

It's been years since Olivia nearly drowned in Caldwell Beach, and after moving away, she's back for the summer to reconnect with old friends. However, not everything-or everyone-is the same. Her childhood best friend, Miles, is still sweet and carefree, but his older brother West is not. Disowned and working at the local garage, he's distanced himself from everyone, until Olivia accidentally uncovers the reason why. But as the two grow closer, strange things begin happening to Olivia. She can't stop seeing shadows and hearing voices, but as she slips into a downward spiral of obsessiveness and paranoia, she must fight to uncover the truth behind who is after her, and why.


Original (First 500)

Growing up in Caldwell Beach, there were rules hammered into our heads designed to keep us safe. Don't swim too far out into the ocean, or the undertow will pull you in. Don't climb trees if they extend over the water, because you'll fall with them if they break. 

Like most little kids, I didn't listen. My friends and I swam deep into the Atlantic Ocean every chance we got and hoped someday we'd reach the spot where the sun sparkled on the horizon. We'd get tired before then, of course, and the waves would carry us back to the rocky Maine shore. But even when the undertow pushed and pulled at my feet, I was never scared -- a girl like me was made for the water. Sometimes I fantasized that if it did get me, it would carry me to the land of mermaids, right where I belonged.

But one rule was repeated so often, it became more of a superstitious warning: never, ever play on the cliffs. Especially the one by the lighthouse.

I obeyed that rule -- when I was in kindergarten, fifteen-year-old Samwell Ellis cracked his skull open as he scaled the cliff's edge, and our teacher told us a sea monster had taken him. Our town was small -- we believed no one died unless they were old or sick -- so it made sense a monster was responsible for the boy's death. The Ellis family then packed up and moved away, calling the town a curse, which fueled the legends and rumors that dominoed through my classroom.

It wasn't until I was old enough to question my parents that they finally told me the truth. Monsters didn't kill anyone; it was an accident brought on by teenage recklessness. 

Even years later, that story still spiraled in my head; it was all I could think about as I gripped the flimsy rope fence, my toes only inches away from the cliff's edge. I wiggled them until the white rubber of my Vans moved. I'd heard you could get a better grip climbing rock without shoes, but only if your skin was strong enough to withstand the jagged edges. There's no way anyone's skin could be that thick.

Sure, teenage recklessness had killed Samwell Ellis in this very spot, but I wasn't a teenager -- I had just turned twelve. I clung to that fact, as if it would protect me.

Cool wind licked my bare arms and legs. The ocean sloshed fifty feet below, inky and terrifying, and jaw-like rocks lined the curve of the cliff. One wrong move and I would fall. My body would become a waterlogged lump of flesh and disappear into the ocean, rot away like the whale corpses they showed us on Planet Earth in class. Maybe a shark would eat me, or maybe I'd become food for a school of fish.

The thought was almost enough to make me turn back.

"Liv, stop," Miles said from behind me. "Seriously, we're going to get in trouble!"

His blue-green eyes came into focus. The lighthouse faded into the churning clouds. Miles's curls whipped around his face as the thunder growled, and light rain began to sprinkle onto my arms.

Miles is right, this is stupid.

But then Faye Hendrick's face flared in my mind and said I was way too chicken to complete the cliff challenge. Faye had done it as some sort of initiation into being accepted by the older kids, and now everyone in our class thought she had more guts than me.

Screw that. All I had to do was climb down the cliff, reach the one rock called checkpoint, and climb back up. Piece of cake.

"Your sister's a jerk, Miles. Take a video. Don't worry, I'll be fine."

Miles whimpered as my bare knees sank into the cold, soggy grass. Icy rain pelted me until my skin was bumpy and purple, the veins on my hands, thin blue snakes. A deep breath and I climbed over the edge. Concentrated adrenaline coursed through me, but the rocks, though slick with water, kept me in place.

Breathe. You can do this; just breathe.

One step down. And another. I was just going to make it. Just a few more steps. 

But right before checkpoint, my foot slipped -- and I fell.

My Edit

"Liv, stop," Miles Hendrick said from behind me. "Remember Sam-"

"Miles!" I turned. Miles' curls whipped around his face as the thunder growled. "Are you trying to jinx me?" 

When we were in kindergarten, fifteen-year-old Samwell Ellis cracked his skull open as he scaled the lighthouse cliff, and our teacher told us a sea monster had taken him. The Ellis family moved away soon after, calling the town a curse, which did nothing to dispute the legend. 

Rain began to fall, light but icy. Miles didn't say anything but his blue-green eyes were worried. Churning fog swallowed the base of the lighthouse behind him. I sighed, turning back toward the cliff's edge. 

Cool wind licked my bare arms and legs. The ocean sloshed fifty feet below, inky and terrifying, and jaw-like rocks lined the curve of the cliff. One wrong move and I would fall. My body would become a waterlogged lump of flesh and disappear into the ocean, rot away like the whale corpses they showed us on Planet Earth in class. Maybe a shark would eat me, or maybe sea monsters were real. Miles was right, this was stupid. I poised to turn back.

Faye Hendrick flashed in my mind, saying I was way too chicken to complete the cliff challenge. She had done it as some sort of initiation into being accepted by the older kids, and now everyone in our class thought she had more guts than me.

Screw that. All I had to do was climb down the cliff, reach the one rock everyone called Checkpoint, and then climb back up. Piece of cake. If Miles' sister could do it, so could I.

"Just take the video," I said over my shoulder.

I gripped the flimsy rope fence, the toes of my Vans only inches away from the cliff's edge. Miles didn't argue with me anymore, but I could hear him whimper as my bare knees sank into the cold, soggy grass. 

I didn't look up at him, I didn't dare, or I'd lose my nerve. I took a deep breath and climbed over the edge. Adrenaline coursed through me, but the rocks, though slick, were firm footholds. My fingers gripped the rock face as though my life depended on it. 

Breathe. You can do this; just breathe.

One step down. Another. Another. I was going to make it. A few more steps. 

One step away from Checkpoint, my foot slipped. My freezing fingers couldn't hold my weight. I fell.

(Original word count: ~722 → Edited: ~416)


Critique

The original excerpt is very strong writing that seamlessly interweaves setting and characterization with conflict and tension. Some minor tweaks to the order of the scene, like starting with Miles trying to stop Olivia and then going into Samwell's back story tightens the narrative a bit and heightens the stakes of the scene. 

Setting
Miles whimpered as my bare knees sank into the cold, soggy grass. Icy rain pelted me until my skin was bumpy and purple, the veins on my hands, thin blue snakes. A deep breath and I climbed over the edge. Concentrated adrenaline coursed through me, but the rocks, though slick with water, kept me in place.
This is an excellent example of scene setting because it is integrated seamlessly not only into the action but into characterization. I love that Miles is whimpering, not out of fear for himself, but for his friend. It shows him to not only be a more timid (or sensible) character, but also a caring one. And it shows Olivia's focus. She's aware of her surroundings in a very visceral way but in the way that happens when adrenaline is trying to keep us safe.

Characterization
The characterization is also solid. From this short excerpt, we get that Olivia is brave, competitive, and focused. She doesn't belittle Miles' fear, and she almost turns back because of her own fear. 
My body would become a waterlogged lump of flesh and disappear into the ocean, rot away like the whale corpses they showed us on Planet Earth in class.
This is such a great line. It exposes her age and the context where she gets her information, and highlights her imagination. The catastrophizing is relatable and visceral and ratchets up the tension.

Miles is less dimensional, uniformly worried about the danger and "getting in trouble". I think that line in particular undercuts his fear for her safety. It's also a line that any character in any book could say. If we were more specific, for instance, if he brought up Samwell, then he would feel like he belongs in this story, not just any story. 

As-is, I like their dynamic. I like that she doesn't taunt him for being scared and I like that he doesn't call her stupid for doing this. There is a sense of equality in the relationship. However, since this is our first introduction to these characters, a touch more dialogue specific to this world would add more dimension to his character. 

Conflict/Tension
Obviously, a girl in a story called "The Summer I Drowned" on a cliff face in freezing rain is a premise fraught with tension. The author is good at playing up the tension with lines like, "I gripped the flimsy rope fence, my toes only inches away from the cliff's edge." and "The ocean sloshed fifty feet below, inky and terrifying, and jaw-like rocks lined the curve of the cliff."

We do lose a bit of the immediacy with the amount of set-up and back story we get at the beginning of the original excerpt. I ended up trimming the first 175 words so that we could get to the action a bit quicker.

Final Thoughts

It's rare to find a prologue being used so effectively. Since the main story takes place years after the summer Olivia "drowned", it's smart to give us the drowning up front, without making us wait for a flashback or something. It's a great intro to Olivia's character at age twelve so that we can immediately compare her with her aged up character, and, frankly, it's just smart to start the story on a really exciting scene.

The author does spend a lot of time setting up the danger of the ocean through rumination. The writing is fine, but it makes the story feel more philosophical and ruminative, whereas I think the intention of the scene is to be as suspenseful and exciting as possible. 

That said, I like that the kids are written as believable twelve-year-olds without dumbing down the writing. Olivia in particular, feels like a specific, young, person. Between the excerpt and the blurb, this is a really promising start to a story.

Monday, November 24, 2025

Crash by luv234_luv on Wattpad

Blurb

Lyra Jay Kellie’s plane goes down in a violent Montana storm, leaving her stranded, injured, and completely alone. Her pilot is dead. Her satellite phone is useless. And the wilderness is closing in fast.

Then another crash lights the sky.

Nathan Wesley survives his own wreck—barely—thanks so Lyra, who drags him from the burning plane. Grateful and determined, he vows to get her back to civilization, no matter what it costs.

But the Rockies don’t forgive mistakes. Something is stalking the forest. Resources are vanishing. And the storm isn’t done with them yet.

Together, Lyra and Nathan must outrun the cold, the mountains, and the unseen danger hunting them.
Survival is the goal—falling for each other might be the only thing that saves them.

Original (First 500)

"Lyra! Come here now!" I yelled, irritatedly tapping the toe of my shoe. 

"What, what do you want?"

She stalked into the room as if she owned the place. Well, news flash, I own this place. Half of it, at least. It's my right and no one around here seems to act like it.

"What is this mess?" I demanded and looking at all the filth on the floor and then back at Lyra. This is disgusting, who lives like this? When I was a teenager, I never lived like this.

"Um, I'm packing. I'm going to go with dad to Fort Peck," she quipped and I glared at her. This girl has such an attitude and David never fixed it. That's what happens when you baby twenty year olds.

"Well do you have to make a damn mess just to pack a few bags?" I crossed my arms over my chest. She mirrored my glare and frustration bubbles in my chest.

"It's not a mess. But don't worry, I know where everything is and I'll be out of here tomorrow," she smirked at me, putting a hand on her hip.

"Thank god..." she  muttered under her breath.

"You disrespectful, annoying little brat. Someone is going to have to teach you to have some manners," I said lowly.

"Oh I have manners, you're just not worthy of receiving them," Lyra said defiantly. I could feel my blood boil and my face redden.

"And how exactly am I not worthy in your eyes?" I said through clenched teeth.

"Well, let's see. One, you're a bitch. Two, you're trying to steal all of my father's money but let's face it, as long as I'm around, you won't touch it. Three, I just plain resent you. Do you need more reasons? I have a list," she chuckled.

We were far past civil commentary.

"I am not trying to take your fathers money!" I gasped. Lie, but she's only a witless teenager, she doesn't know any better.

Really, David is loaded. I would love to get in on more than what I'm privy to, but he's got little miss everything and would hand his still beating heart over to the little rat.

"You're a liar," Lyra spat flatly.

"That's it! Give me your phone, your grounded!" I held my hand out to take her phone.

I had to do something about this girl or I'll never get anything I need to do done, dammit.

Lyra let out a humorless guffaw "I'm twenty years old and pay my own phone bill. You've got no right."

She continued to laugh, making me angrier by the minute. This girl was a walking entity of sass and I was close to beating it out of her.

"Wow, you're really off your rocker now. Does dad know you're getting crazier by every year?" she chuckled and quirked the corner of her lips into that annoying little smirk of hers. 

My Edit

I descended the half of the double stairway that led from my and David's wing of the house -- okay, let's be real -- mansion. I swept my gaze over the flawless marble stairs, the miniature statue of Venus de Milo set into an arched niche halfway down, the perfectly polished ebony wood banister. I wore flowing pastel blue robe over matching frilly silk nightgown. Slippers with kitten heels like a heroine in a black-and-white movie, clicked with each step.

Then I saw that my husband's twenty-year-old brat had taken over my formal living room, entryway, and the stairs that led up to the guest wing. 

"Lyra!" I screamed in fury. I felt my beauty mask crack. I hated this girl. She ruined everything.

Lyra walked into the formal living room from the deck as if she'd earned the place, not me. She wore jeans and a t-shirt, her blonde hair swept back in a neat ponytail. The toes of her red socks dotted with white hearts peeked out from under the hem of her jeans.

"What is this mess?" I demanded. Clothes, bags, shoes, and other stepdaughter detritus littered every inch of my flawlessly-decorated home.

"Um, I'm packing," she answered distractedly, looking around. "I'm going with my dad to Fort Peck." Her usual vitriol was at bay, her voice even, and she didn't meet my gaze. I'd overheard David on the phone with her a few days before she'd come to visit, making her promise not to pick fights with me. It seemed like she intended to keep that promise verbally, but assaulting the pristine beauty of my home meant war, as far as I was concerned. 

"Well do you have to make such a mess just to pack a few bags?" I crossed my arms, the fluffy sleeves of my dressing gown tickling my chin. "You have a bedroom, private bath, and walk-in closet you could be doing this in."

"It's not that bad," she said. She looked around again. "Don't worry, I know where everything is. And, I'll be out of here tomorrow." She turned to fuss with a make-up bag that she'd left open on my foyer table. She'd shoved the enormous bouquet out of center in order to make space for her crap. "Thank God..." she muttered under her breath.

"You disrespectful brat," I spat. "Someone needs to teach you some manners." My mask cracked even more with my scowl and started sliding down my face. I pulled at the pieces, collecting them with the French-tipped fingernails of my left hand, and piling them neatly in the palm of my right hand. If I'd been born rich, I'd probably just toss them onto the floor for the staff to clean up, but unlike this monster who had been spoiled every second of her twenty years, I had respect for my possessions.

"Oh I have manners, you're just not worthy of receiving them," Lyra said with a faux sweet smile. She finally turned to look me directly in the eye. 

That born-rich, nose-in-the-air expression made my blood boil. I took a step toward her. "And how exactly am I not worthy in your eyes?" I asked, through clenched teeth. As though we hadn't had this fight a million times.

"Well, let's see. One, you're a bitch. Two, you're trying to steal my father's money. Three, you're lazy. It's almost noon and you're still in your pajamas," she added, with a sweeping gesture toward my elegant nightwear. "Do you want more? I have a list," she said, disgust twisting her pretty face.

Her promise to her father lasted about as long as I had expected. Lyra hated me as much as I hated her.

My husband is still handsome for his age, but his best feature is his money. But his worst feature is his devotion to this little rat. He'd hand his still-beating heart over to her, if she asked for it.

I have to do something about this girl.

(Original word count: ~490 → Edited: ~677)


Critique

For an intro to a brand new story, we look for setting, characterization, and conflict/tension. To be honest, tension is the most important, so the compelling blurb and opening with a confrontation is a good start.

Slowing down a bit and describing the setting will add a ton of dimension to the scene, and in a case like this, because luxury is such an extreme setting, the way the characters interact with it automatically adds characterization.

Setting
We know that these characters are a) in Alexandra and David's home and b) Lyra is visiting. Other than that, we're not given a lot of context for the scene. Based on Alexandra throwing a conniption over the mess, we would expect to be in a smaller apartment or condo. But the mention of how rich David is suggests otherwise, which could be confusing to a reader.

For my edit, I created a classic mansion with a marble double staircase. I threw in a foyer, and a fancy living room, and I had Lyra take over all of this space. In a house this big, with Lyra having her own suite, taking over the living room is a pointed choice, one that the would make specifically to make Alexandra angry.

A cute little vacation condo or cottage would also work, but the effect would be less extreme, and I thought it was fun to play up the wealth aspect.

Characterization
In the original excerpt, the stepmother, Alexandra reads as an exaggerated evil stepmother. If she was as deeply unstable as her demanding Lyra's phone suggests, her husband would notice. Even if Alexandra is "crazy", she's still intelligent. Like, having the same argument with your twenty-year-old stepdaughter every time you see her is pretty immature, but we all behave irrationally when we're jealous. If we want to ground Alexandra's emotional immaturity, an easy way to do that is to give her a quick back story where she had to fight for what she has whereas Lyra takes it for granted. 

Alexandra should also be smarter than to defend herself against the gold-digging accusation. She's been married to David for six years, so this accusation isn't new, and people don't react to old accusations with the same horror and defensiveness as new ones. 

In the original excerpt, Alexandra remarks on Lyra not needing to destroy the whole house just to pack a few bags. This is a good observation that I think got a little lost in the original, so I just highlighted it in my version. Compare:

"What is this mess?" I demanded and looking at all the filth on the floor and then back at Lyra. This is disgusting, who lives like this? When I was a teenager, I never lived like this.

"Um, I'm packing. I'm going to go with dad to Fort Peck," she quipped and I glared at her. This girl has such an attitude and David never fixed it. That's what happens when you baby twenty year olds.

"Well do you have to make a damn mess just to pack a few bags?" I crossed my arms over my chest. She mirrored my glare and frustration bubbles in my chest.

With:

"What is this mess?" I demanded. Clothes, bags, shoes, and other stepdaughter detritus littered every inch of my flawlessly-decorated home.

"Um, I'm packing," she answered distractedly, looking around. "I'm going with my dad to Fort Peck." Her usual vitriol was at bay, her voice even, and she didn't meet my gaze. I'd overheard David on the phone with her a few days before she'd come to visit, making her promise not to pick fights with me. It seemed like she intended to keep that promise verbally, but assaulting the pristine beauty of my home meant war, as far as I was concerned.

"Well do you have to make such a mess just to pack a few bags?" I crossed my arms, the fluffy sleeves of my dressing gown tickling my chin. "You have a bedroom, private bath, and walk-in closet you could be doing this in.".
The underlined parts are where I embellished from the original. So, instead of "filth", in the first paragraph, which is a word that suggests actual dirt, I listed clothes and such. I also played up Alexandra's possessiveness of the house with "my flawlessly-decorated home".

In the second paragraph, instead of just describing Lyra as having an "attitude" that David is lax about, I created a conversation for Alexandra to overhear. This does a few things. It makes David a more involved parent and husband, even though he's not physically present in the scene, it makes Lyra passive-aggressive for making a mess instead of picking a verbal fight, and it makes Alexandra smart for observing Lyra's passive aggression. 

In the third paragraph, I added a sensory detail with the fluffy sleeves, which also serves as a reminder of Alexandra's flamboyant opulence. 

For Lyra's characterization, in the original excerpt, she does come off as a bit bratty and entitled. It's not until the end of the excerpt that the reason she's acting like this is because she thinks that Alexandra is a gold digger. Even though cultural awareness of soap operas suggests this dynamic, nothing in the text does. So, by giving Lyra a basic outfit of a t-shirt and jeans along with a pair of heart-patterned socks, we have a visual indicator that Lyra is down-to-earth, but still youthful, as well as a contrasting image to her stepmother's over-the-top outfit.

Conflict/Tension
An argument between Lyra and Alexandra about Lyra leaving a mess is a great way to explore characters dynamics, unspoken versus spoken resentments. Since we're in Alexandra's POV, we get to know her hidden motivations, all the things she doesn't say to Lyra. The interesting this about this excerpt is that both women seem to be pretty up front with how they feel, nothing held back. 

An easy and effective way to exaggerate this dynamic is to play up the contradictions in the scene. Lyra is wearing a t-shirt and jeans and packing to go camping whereas Alexandra is still in her PJs at noon and there isn't even an indication of a plan for her day, even though we're in her POV. Lyra is quiet, where Alexandra is loud, Lyra's presence (through her scattered belongings) is large, whereas Alexandra is small (she carefully collects the pieces of her cracking mask in one hand).


Final Thoughts

The author's note suggests that she was fourteen when she wrote this. I think that explains the lack of nuance in the argument in the original excerpt. It definitely reads like an argument a fourteen-year-old would think that a twenty-year-old would have with her stepmother. 

That said, at its core, a good story is one that we want to keep reading. The author, even at fourteen, starts with a compelling hook and an instinct for Drama. What else do we need?

Sunday, November 16, 2025

Psycho Billionaire by kittykash92 at Inkitt

Blurb

Life has never been easy for Kiara Reeves — she’s trading dreams for tips, bussing tables to keep everything from falling apart. Then one stormy night, she's rescued by a handsome stranger in a tailored suit. Blue-eyed, dark-haired, and utterly out of her world, Jasper Lockhart comes from wealth and power.

When their worlds collide, their friendship blooms into something deeper. But the universe has other plans. Kiara finds herself in over her head — and Jasper swoops in to save her — again. Only, this time, it’s not a free rescue. It comes at a price.


Original (First 500)

I was panting by the time I ran out of the forest. Howls of unknown creatures could be heard through the eerie silence of the forest. I reached the empty road where there was no sign of life. My legs throbbed from the pain, I couldn’t even walk properly. It felt like I had huge sacks of rice attacked to my ankle.

I jogged farther down the road. It was like one of those scenes they showed in horror movies. Even the trees stopped whooshing.

I almost limped. I wouldn’t die without fighting. You see, I had committed a crime. I grew up and lived in a trailer park. To say I was from an underprivileged family would be an understatement. My mother worked a minimum wage job that paid our bills with much difficulty. I, on the other hand, went to university, all thanks to a scholarship and I also worked part time at a diner. They told me if I worked in a stripper club, with my kind of face and body, I could easily get paid thrice the amount my mom and I made but I never considered it.

Although we had a hard time getting by each day, I still had hope that I would make something out of my future by studying, but all of that was about to get thrown out of the window because my crack headed father decided to stop by. He  usually dropped by every once a month, to collect his allowance from mom and me like a fucking pimp. My mom usually gave up all our savings. It pissed me off so much, but she was my mother. She opted to get a swollen face while she told me to lock myself in the kitchen because like any other mother, she didn’t want her child to get hurt.

Rage. That emotion had so much power. I had grabbed for a flower vase and swung the door open. When father saw me, he uttered the nastiest curses his drunk mind could come up with. My mind had blurred and all I could think of was hitting him. I came back to my senses when it was too late. I hadn’t meant to hurt him, I just wanted him to shut his mouth, but I’d silenced him for life. It was an accident and although he was a pain in the butt, he was still my father.

I fled from the scene and my mother assured me she would take care of it. I’d managed to survive for two days until the police tracked my location. I’d been on the run since then. A part of me wanted to surrender and put an end to this, the other part of me knew that if I was ever convicted of the murder, my life would be over within the four walls of prison which meant no university, which equated no career.

I ran faster as I heard the sirens closing in. Cars zoomed by and I waved my arm out to them for a lift. I just wanted to be out of this godforsaken place. I saw another car come forward so I walked towards the middle of the road, waving my arms for it to stop.

To my surprise, the car came to an abrupt halt. It was a slick black BMW SUV. I moved towards the driver’s side and waited until the person rolled down the window.

I just had a couple of seconds to convince this man to let me in his car.

“It’s a little late for a beautiful woman like yourself to be prowling around in the middle of nowhere. Would you like me to drop you somewhere?” The man asked in the most polite way that I had ever heard a man speak. I noticed the way his eyes lingered over me in a quick once over.

He was a very attractive man with dark hair and electrifying blue eyes. His skin was a light shade of bronze. A small scar cutting through his eyebrow, but that little imperfection didn’t stop hi from looking like a women magnet.

“Please. I would really appreciate it.” I said as I walked to the passenger side of the car. I sank into the soft leather chair, the man drove away into the dark night.

The car was filled with awkward silence, and I was starting to feel uncomfortable. I wondered if taking a ride in a total stranger’s card was a bad decision since I’d heard of some gruesome horror stories of hitch-hiking.

“What’s your name?” He decided to break the silence.

“Ki…Kiara.”

“Kiara is a beautiful name.” He complimented me with a smile.

“Thanks.”

“So, where to?”

“I don’t care. Anywhere that you are going.” I responded meekly.

He sniggered. “Well, sweetheart, I’m going home.”

“Then maybe you can drop me to a motel on your way?”

“Or, you could come home with me, stay the night and I’ll drop you off tomorrow morning. Sounds good?”

It sounded tempting since beggars can’t be choosers, not when a hot gentleman was offering me a roof for a night, but trusting a complete stranger wasn’t an option.

“I don’t think I can…”

A police officer waved his hands to us ahead. I panicked and grabbed the man’s hand. “Please don’t let the police take me. I need your help.” I begged him.

He pinned me with the calmest stare. “Have you gone against the law before, Kiara?”

“I can explain everything later, but please just help me out of this situation. I beg you. Don’t stop the car.” My eyes brimmed with tears.

He shrugged off his suit jacket and handed it to me. “Get in the back seat, there’s plenty of space below the seat. Lie down and cover yourself with my jacket.”

I did exactly as I was told as slid into the backseat floor and pulled the dark jacket over myself so I was hidden from view.

The car came to a stop, and I heard the man speak, “Is there a problem, officer?”

“Mr. Lockhart.” The officer addressed him. “We have information that a woman is on the run after she murdered her father. She is about five feet four, long black hair and brown eyes. Is it possible you may have seen her on the road?”

“I’m sure a woman with that description wouldn’t go unnoticed. Haven’t seen a soul.”

Some more exchange of words and then Lockhart said, “you have a great night too, and say hello to Marie for me.”

The car was back on its way on the road. I heard him say something but I couldn’t understand because my eyelids felt very heavy, it was difficult for me to even keep my eyes open. Being on the run for two continuous days had exhausted my body. I drifted off into a peaceful slumber.

My Edit

I burst out of the forest, panting. The air rang with howls—unearthly cries battling the rise of sirens closing in. The road was empty—for now—and it was easier to run on potholed pavement than uneven mud and twigs. 

The hum of an engine behind me made me stop and turn. Not a cop car. Thank God. Or whatever. I stumbled into the middle of the road, waving my arms.

A sleek black BMW SUV braked hard in front of me. I rushed to the driver’s side, lungs burning, sirens swelling, too close.

The window rolled down. The man inside had dark hair, electrifying blue eyes, and wore an expensive suit.

He smiled. “A beautiful woman like yourself shouldn’t be wandering around in the middle of nowhere. Need a ride?” His tone was polite, but his eyes lingered too long. 

He seemed oblivious to my sweat and dust, the panic in my eyes. The sirens. Men. Did he think I was just out for a jog? “Please,” I panted. I tried to look normal, like I wasn’t seconds away from collapsing.

He nodded. I jogged around to the passenger side and climbed in. The leather seat hugged me, cool and soft. I almost moaned at the luxury. The car smelled new, and the air-conditioning was heaven.

My breathing sounded way too loud in the silence. What kind of weirdo drove without music?

“What’s your name?" he asked, smiling. I noticed that he had a sexy scar cutting through his left eyebrow. 

I tried to catch my breath. “Kiara.”

“Beautiful name.” he smiled again. Goddamn. This guy was so hot, I didn't understand how he was alone, instead of under a pile of writhing, naked women 24/7.

His icy blue eyes and the blast of cool air on my damp skin made me shiver. “Th-thanks,” I stuttered.

“So, where to?”

I shrugged. “Anywhere you’re going.”

“Sweetheart, I’m going home.” His gaze lingered a second too long.

“Ah.” I flushed. Did he think I was hitting on him? “Can you drop me at a motel?” I could only afford a couple of nights, but as long as it was far enough out of town, I would be safe long enough to figure out what to do next. Judging by his grin, the word ‘motel’ only encouraged him. 

He grinned. “Would you like me to join you? Or, you could come home with me…”

I was irritated — and tempted. He was hot, and if his house was anything like his car, I’d be more comfortable there than in a roach-infested motel. But all I wanted was a shower and a bed, and not for the same reasons he did. He wasn't offering a friendly pillow fight in matching pajamas and a gossip sesh all about how I murdered my father. 

I turned to watch the forest blur by — and saw the roadblock we were zooming toward. “Oh, shit!” Two police cruisers blocked the road ahead. I clenched the door handle, ready to bolt.

He hit the door locks. “What’s going on, Kiara?” His sharp gaze froze me to the spot.

“I—” I didn’t even know where to start  — and locked in, I couldn’t even run.

He studied me, finally noticing my sweat and grime, the rips in my clothes, the scratches on my skin. The guilt on my face. Calmly, he shrugged off his suit jacket and handed it to me. “Get in the back, on the floor. Cover yourself with this.”

Shaking, and not sure why he was helping me, I climbed between the seats and slid to the floor behind his. I pulled the jacket over me. His clean, musky, expensive smell mingled with my sour sweat and forest mud.

The car slowed. His window whirred down. “Is there a problem, officer?”

“Mr. Lockhart,” the cop said. “We on the lookout for a woman on the run — five-four, long black hair, brown eyes. Murdered her father. Have you seen anyone like that?”

I cringed as he described me.

“Haven’t seen a soul,” Mr. Lockhart said smoothly.

Relief flooded me, followed by shame. I didn't deserve his help. But I was too exhausted to move, now that I'd finally stopped running.

The car rolled forward. Lockhart said something, but his words blurred into darkness as sleep dragged me under.

(Original word count: ~500 → Edited: ~565)


Critique

Good Lord, what a great premise. A murderer on the run gets rescued by a handsome, psychotic billionaire. Sounds like this guy’s about to get a run for his money. The original first 500 words are rife with danger, backstory, motive, and the first meeting with the mysterious savior/villain/love interest.

Writers often hear that you should “start with action.” Many do—for a paragraph or two—then slip back into their comfort zone: backstory and exposition. Honestly, that’s valid. If you don’t want to start with action, don’t. Start with a haunting, beautifully written prologue—something the reader can skip on the first read and savor years later on a reread.

Here, though, the author slows down an otherwise tense action scene with too much backstory. If Kiara runs down the road and jumps into this stranger’s car, that’s plenty of opportunity for reflection later—while she’s lying in the back seat with nothing to do but think. Or, she could fall asleep and save the explanations for Lockheart. It’s a natural way to weave in backstory and reveal character dynamics at the same time.

Setting
The settings are great; running through the forest, with sirens and animal noises, to the plush, cold interior of the car. With the only sound being Kiara's breathing, she gets creeped out and starts to wonder if she may have jumped from the frying pan into the fire. 

Characterization

Lockheart is a red flag factory. The first thing he does when he finds a dirty, panicked woman in the middle of the road is comment on her appearance. The second is to proposition her. And when he learns she’s wanted for murdering her father? He lies to the cops and keeps her in his car. Yeah, I trust this guy.

I'm not sure if Lockheart is supposed to come off as creepy. Kiara doesn't seem to pick up on most of his red flags, and probably younger readers wouldn't either. I did add some nuance to the way that she responds to his flirting. Instead of just being flattered or not reacting at all, I let her be a little bit exasperated. It matches better with the cynical tone she uses to describe her backstory.

In the original, Kiara is way too okay with being so openly propositioned when she's clearly in distress. 

“Or, you could come home with me, stay the night and I’ll drop you off tomorrow morning. Sounds good?”

It sounded tempting since beggars can’t be choosers, not when a hot gentleman was offering me a roof for a night, but trusting a complete stranger wasn’t an option.

“I don’t think I can…”

I don't know why Kiara's response makes me giggle. It just sounds like a little kid response. Here's how I had her respond:

I was irritated — and tempted. He was hot, and if his house was anything like his car, I’d be more comfortable there than in a roach-infested motel. But all I wanted was a shower and a bed, and not for the same reasons he did. He wasn't offering a friendly pillow fight in matching pajamas and a gossip sesh all about how I murdered my father. 

This matches her cynical voice better, and now that she's had a second to breathe, her natural snarkiness can show back up. Throwing in the "murdered my father thing" allows the reader to react to the reveal before Lockheart does. 

I'm always jawing on and on about not having POV characters hold back on important reveals. My only caveat is that something more important needs to be happening. This is a good example of that. Everything before this moment is her running, flagging down the car, getting settled in. This is the first time in my edit where it makes sense to slip in that little detail.

Kiara's world weary even before she murders her father. Her description of him is: 

He usually dropped by once a month, to collect his allowance from mom and me like a fucking pimp.

I cut that line in my edit only because it’s not relevant to the immediate scene, but it’s perfect for later—when she’s opening up to Lockheart and the emotional stakes are higher.

Honestly, between the sirens and her flagging him down, it’s hard to believe Lockheart doesn’t pick up on her distress sooner. Too horny, I guess. If he’s not supposed to be creepy, I’d have him recognize she’s in trouble, skip the flirtation, and realize the roadblock ahead is for her, without being tipped off by her panicking.

I’d also love to see Kiara take more agency in this moment. It doesn't fit with her character to just look at him with tears in her eyes and beg him not to pull over. Maybe she tries to convince him she’s innocent or just blurts out, “I killed my father. He was hurting my mom. Again.” This would give him agency to choose to help her, rather than assuming that a pretty girl couldn't have done anything too terrible.

Conflict/Tension
There's a ton of conflict here. We move from the chaos of sirens and running through the woods to the eerie calm of luxury leather seats and air conditioning. Lockheart: rich, powerful, predatory. Kiara: poor, traumatized, freshly patricidal. Then you layer in sexual tension just to make things even messier. Perfect.


Final Thoughts

When I first read this story a few years ago, I didn’t know dark romance was its own genre—I thought, from the title, it might be a parody or reversal of the billionaire trope. Now that I do know the genre, I kind of wish this story were that. Nobody should fall in love with this man. He’s the perfect target for a female-rage thriller.

That said, as a dark romance, the writing is compelling, the premise is great, and I hope that Kiara gives Lockheart hell. We already know she doesn't take kindly to overtly abusive men. It will be interesting to see how she handles a covertly abusive one.

For full transparency, the “first 500 words” here are actually closer to the second 500. The original opening was even heavier on exposition, and we didn’t reach Lockheart until much later. I don’t plan to do that often, but in this case, the end of the chapter was too good to ignore.

Friday, November 7, 2025

Triangle Opportunity by Alex Beyman on Substack

Blurb

Eight years after Samantha Whitaker ghosted out of his orbit, Jack thought he’d deleted that file for good. Then her name flashes across his cracked screen — a relic from a life that ran smoother on caffeine and bad decisions.

The city’s running on cheap tech and unpaid labor now, and Jack’s just another freelancer drowning in algorithmic debt when the call comes through. She’s working for a “promising startup,” the kind that smells like ozone and trouble.

He knows he should hang up. Instead, he says yes. With enthusiasm.



Original (First 500)

When Samantha called me for the first time in eight years, it was surprising for two reasons. The first is that roughly 90% of the calls I receive these days are from debt collectors after me to pay down my student loans. The other being that we parted on pretty ugly terms, most of that was my fault and I honestly never expected to hear from her again.

I scolded myself afterwards for being so eager. Fell out of bed, tangled up in the sheets trying to get my hands on the phone, then tapped the green icon and breathlessly answered. It’s been eight years, I shouldn’t give a shit. She should be like any other person to me.

“Jack? You sound so different. But then, it’s been a while, hasn’t it. I’ve been wondering what’s happening in your life.” I struggled to sound composed but nonetheless stammered a little bit as I searched for words. “Y-yeah Sam, it’s…you sound different too. It’s nice to hear from you though. You must’ve Googled me, right?” She said that she had, and congratulated me on the trip to Africa I’d taken in my first year interning for the local paper.

“That must’ve been so fulfilling. If you don’t mind me asking, what are they paying you?” I assumed she knew it was unpaid if she’d bothered to ask, so I didn’t sugar coat it. “Wow,” that sucks. But that’s the economy, right? Plenty of people are working for free just to get their foot in the door. Then they let you go right before they’d have to hire you and taken on new interns.” Technically the law prevents that, but I was aware of loopholes.

“You know, I might be able to help. I’m working for this promising new tech startup, it’s right up your alley. There’s plenty of opportunities for someone like you, maybe we could meet for coffee and I’ll tell you about it? Sounded just similar enough to a date that my heart skipped a beat. Reflexively, I blurted out yes. She supplied the day and time, which I dutifully recorded in my calendar app after she’d hung up.

Long after the call ended, my heart was still racing. I’d gone through hell after the breakup. I think only because I was dumped. Something about rejection makes you cling to that person, even if they are nothing special to begin with. I’d seen a local therapist about it for three years before I felt put together enough to stop. Well, not a real therapist. Psych students in training. That’s why it’s free.

Clarity began returning to me, and I wondered if I hadn’t made a mistake. Seeing her in person would only rekindle feelings I’d spent most of a decade trying to extinguish. The therapist, insofar as it was right to use that word, urged me to cut off all contact for my own good. That seemed logical at the time. But then, doesn’t absence make the heart grow fonder?

My Edit

I was lying in bed, debating whether to get ready for work or call in and quit.
The light sneaking through my blinds was already taking sides, bright and judgmental.

My phone buzzed. I sighed and groped for it. The screen said Samantha Whitaker.

I’m still not sure whether the phone slipped out of my suddenly sweaty hands or if I threw it, but it skidded across the dusty hardwood and came to rest at the base of Mount Sock. The buzzing stopped.

My heart was pounding, which was stupid. It was just Sam. A shame I’d missed her call, though. Would’ve been nice to catch up—after eight years.

The phone buzzed again.

Oh no. I scrambled up, tangling in the sheets, not sure if I was trying to reach the phone or flee from it. I hit my head on the ceiling and crashed down hard, catching my fall with my elbow. Pain shot up my arm, through my shoulder. My heart felt no pain -- she'd destroyed that by leaving.

I lay there on my back, blankets half on, half off. The phone stopped buzzing again. Thank God.

It started buzzing again.

Groaning, I crawled to it and accepted the call. “Sam?” I croaked.

“Jack? Are you okay?” Her voice slid into my head, light and lilting.

“Sure,” I wheezed. “What’s up?”

“It’s been a while, hasn’t it? I’ve been wondering what’s happening in your life.”

Why?

“I—uh—just got back from Manakara,” I said. “Africa.” Nailed it. Almost sounded human.

“I know,” she said, her tone a little self-conscious. “I Googled you. That piece about the fading spice trade — really enlightening.”

Enlightening, huh? What did that mean? Had my insight into the plight of the Malagasy people renewed her faith in me? 

I could talk about the vanilla fields outside of Manakara forever. The resin stains on the workers’ hands, the smell of smoke and sugar that made the air too heavy — sweet to the point of nausea when the sun got high. The cyclones -- 

I realized that I'd been silent for too long. "Oh. Uh -- th-thanks," I stuttered.

"How much did that pay?" she asked.

Her question zapped me back from the fields and onto my apartment floor. “Intern,” I managed. I kicked my legs free of the blankets, annoyed that she was still all about the bottom line. 

“Oh, wow,” she said, her tone edged with irony. “That sounds fulfilling. What are they paying you, now that you're back?”

I coughed. “Still nothing.” Heat flared in my face. I tried to sit up, failed, and let the sock pile cradle my head. They didn't smell good.

“Wow, that sucks,” she said. “You should write a story about how companies exploit unpaid interns.”

“Yeah. But then they'd fire me. How would I not pay my bills?”

We both laughed — me pathetically, her sympathetically. It was kind of nice.

“You know,” Sam said, “I might be able to help. I’m working for a new tech startup. Right up your alley. Maybe we could meet for coffee, and I’ll tell you about it?”

No. “Yes.”

“Excellent. Tuesday at three?”

No! “Yes!”

She laughed again, and my chest filled with bubbles. “Okay, I’ll see you then.”

She ended the call. The bubbles slowly fizzed out.

I added the appointment to my calendar with shaking fingers. Like I’d forget. Should I show up? No. Would I? Yes.


(Original word count: ~501 → Edited: ~558)


Critique

We've got an interesting premise, a flawed but relatable protagonist who is basically set up to fall into whatever pyramid scheme/medical experiment his ex-girlfriend is about to lead him into, and a mystery to solve. 

First, let’s look at the dialogue structure. In this excerpt, the dialogue of both characters are mixed into shared paragraphs. I imagine that this is a stylistic choice, to show that he's still enmeshed in the way that she thinks about him, but I think in this case, the standard way of separating dialogue from different characters into different paragraphs works better, for clarity.

I was also a little confused by this passage:
“Jack? You sound so different. But then, it’s been a while, hasn’t it. I’ve been wondering what’s happening in your life.” I struggled to sound composed but nonetheless stammered a little bit as I searched for words. “Y-yeah Sam, it’s…you sound different too. It’s nice to hear from you though. You must’ve Googled me, right?”
How does Sam asking Jack, "what's up", essentially, result in an assumption that she's Googled Jack? Was Jack speaking from wishful thinking or because every time he cyber stalks Sam, he's hit with the urge to call her? If so, that should be stated, because otherwise, this is a bizarre response from him.

This is a piece of dialogue from Sam:
“Wow, that sucks. But that’s the economy, right? Plenty of people are working for free just to get their foot in the door. Then they let you go right before they’d have to hire you and taken on new interns.”

This is way too articulate to be believable. in my edit, I went with:

“Wow, that sucks,” she said. “You should write a story about how companies exploit unpaid interns.”

This reads still a bit more articulate than how people speak, but more natural, with some characterization -- she's always looking for an angle.

Setting
We have two locations, Jack's apartment and Jack's head. This has a noir-ish, pulpy vibe, so this is told in past tense, which means that the location of Jack's head exists in the future. This gives him an opportunity for regret. 

However, it's only utilized twice for these two lines, "I scolded myself afterwards for being so eager." and "Long after the call ended, my heart was still racing." I think if we're going to use an older, wiser Jack as the narrator, this POV could be used for foreshadowing, following the noir-ish vibe. Since it wasn't used that way, I just kept to a closer, real time POV in my edit.

For Jack's apartment, we don't get much information. We have a bed that he falls out of, and that's it. I tried to fill in the details a bit -- just the stuff that he would notice, with his focus mostly being on the call.

Characterization
We get to see Jack in several heightened emotional states. We go from shock to nostalgia to self-doubt to regret. With the re-write, I added a little bit of depression, partly because I wanted to start with setting, rather than dialogue, and that's how I feel in the mornings. 

I also added a bit toward the end where his internal voice is saying no to her but his physical voice is saying yes. I did this to replace the explanation of it taking him three years of therapy in order to cut all contact. This more effectively conveys the fact that he knows he shouldn't see her, but she still has a hold on him.

Being a journalist is about objectivity, focus, and a kind of delayed empathy. Depending on his focus, as an intern, he likely would have covered human interest stories, stories focused on the environment, or lighter travel stories. Any of these would shed light onto Jack's character, but we don't get anything more specific than "Africa". 

Choosing Manakara grounds the story in specificity, and having Jack cover the vanilla and clove trade makes him sound worldly and idealistic — but his lack of follow-through once he’s home undercuts that image. He’s more interested in appearing deep than in actually engaging deeply.

Sam is more of a mystery. She seems nice...

We know that she just started working for a start-up, and is trying to get Jack involved. Without relying on the blurb, let's look at the clues in the original excerpt that she's about to drag him into something untoward:
  • They haven't spoken in eight years, and she calls him for no reason -- just thinking about him. 
  • Her opening line is a generic question about how he's been -- this could indicate a lack of interest in him personally and the fact that she's calling for her own benefit. Also, she doesn't congratulate Jack on his internship in Africa until he brings it up first.
  • Her second line immediately asks him what kind of money he's making. Jack assumes she knows it's nothing, but confirms it.
  • She jumps on the confirmation to offer an "opportunity". To her ex, whose heart she broke. Nothing in it for her, obviously.
  • The ending inner monologue mentions three years of therapy to  get over her and Jack seems to be in and out of denial about the affect she still has on him. This suggests some sort of psychological warfare happening on her end, but not conclusive.
Sam’s call mirrors the cadence of a pyramid scheme pitch: generic small talk, a casual inquiry about money, then the irresistible ‘opportunity.’ Readers who are aware this pattern will catch on immediately. 

But those not familiar with these tactics, can still rely on Jack's reaction to Sam calling. She's not saying anything interesting or unusual, it's pretty basic small talk, especially at the beginning. But he's a wreck. Not sure if he's happy to hear from her or not, falling out of bed, blurting out a "yes" to coffee because it sounds enough like a date, his heart still racing long after the conversation is over. 

Even without the internal monologue about three years of therapy, you can tell that Jack's reaction to Sam is not healthy. That doesn't mean that Sam is a bad person -- just like the people from college call you after eight years aren't bad people. She would most likely be genuinely excited to share this opportunity with her friends. But I don't think she would have called Jack unless body count affected her bottom line. 

I do wish that Sam was a bit more of a human being. In my edit, I tried to make her sound a little more human. Instead of being prompted to congratulate him on going to Africa, she compliments him on his article. She at least read the title. 

Also, since we can't see Sam, more description of her voice would be helpful. I gave her a "lilt" which has a connotation to me of Irish or Scottish. I didn't want to go overboard, though, since this scene is a fast-paced dialogue sequence.

Conflict/Tension
This excerpt is a mass of conflict, inside and out. We have Jack lying to himself that he's totally over her, but falling over himself to answer the phone so that he can talk to her. When he does talk to her, he can't string more than a few words together, and when she asks him for coffee, he blurts his assent, and then when he hangs up, it takes several minutes for him to recover from the conversation, and start to wonder if he should have turned her down.


Final Thoughts

With a premise this strong, a little bit of awkwardness with the structure and some of the dialogue, but at the end of the day, there is a man desperate for a good opportunity and it's being offered by the person he wants it from the most. That's a great way to start a story. We need just a few touches of setting and a tiny bit more characterization, and we're good to go.