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.