Thread: D&D Snippets
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Old 05-16-2011, 04:41 AM   Top  -  End  -  #456
Werekat
Dwarf in the Playground
 
Join Date: Sep 2008
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Kiev, Ukraine
Gender: Female
Default Re: D&D Snippets

First, the general stuff: Jailin is male. All of the great age of 119 (basically 19 going on 20 human time). I guess it might be hard to tell from first person, considering the fact that elves, as I write them, have more acute senses than the average human, and thus pay a lot more attention to things like color, texture, quality of material, as well as to gestures and touch as a way to transmit information. Think not nearly entirely visually-based, as with humans, but an even three-way split between visual, audial, and kinesthetic. Which creates an attention to detail that should be seen as feminine without additional information - which I really have no idea how to give, so if anyone has suggestions, I'm open.

Gods and dragons: Huh, I was wondering whether I was getting too repetitive with those two details. Glad to see that actually strengthened the feel of unity across pieces, as I aimed it to.

Machuchang: Thanks! My favorite part of working on worldbuilding is taking details that were thrown in for random flavor, and then building up a culture around them. It helps that I'm a cultural studies major.

Now, as for Moving On: I have to say I can't really get a feel for what Hero's been living in. He's been in that cave for three years, presumably brooding over the death of a friend. Here's the catch: I can't get the character his brooding takes. Is he still shocked to the point of not taking care of himself, does the cave have the bare minimum for survival? Has he just decided to live a life away from all that reminds him of Nissa, and has made his life more or less comfortable? Has he been actually wandering, and is this place only a temporary shelter?

What also makes me wonder is what god chose Hero, and what is the nature of their relationship, now and previously. What does he know about the gods? Can they only act through their clerics and chosen, or can they actually *do* what Hero wanted them to do - only they didn't? The fact that this is unclear - only slightly implied by Azring that they'd come across a full-blown manifestation while having only partial powers (and I'm not at all sure I got that correctly) - makes it more difficult to understand Hero's reaction. Does he know in his soul that there was really nothing to be done?

To summarize, I'd like a little more background to make the piece more meaningful, to contrast Hero's character. What you've got there is basic, pure emotion, and you do that well - a man who's wanted for three years to scream out his rage and sorrow at someone for whom Nissa is not just some casualty, but a friend, so that they'd understand - but without context it doesn't shine as much as it could.

Lady Moreta: *laughs* That's what working without peer review does to you. *nods* I know there's a sort of awkward effect in these pieces. I'm just not really sure where it came from and what to do with it. I think I've slipped a lot into the "tell-don't-show" mistake, which is easy to do in first person. If there are any particular places that look wrong, could you please tell me?

As for Lyra: The repetition works well. I mean how she remembers from the oldest to the most recent incident. It's done in a good rhythm that works: the interludes in italic help establish that. The fact that the last interlude is longer helps in the dynamic, as well - it leaves the reader with Lyra's expectation that because of her curse she *will* be rescued tortured, and it's going to go *horribly* wrong she's finally going to be punished for her sins and be freed of them.

There's the good part, I think, actually. You speak of her tormentors with the same language as someone awaiting a rescue would speak of his or her friends who have not come yet. Where are they? Why aren't they coming? When will they relieve me? It creates a kind of "1984" effect, very creepy and appropriate. And when you realize she's actually waiting for her *captors* it becomes really crushing.

And, of course, the fact that she's actually being watched all this time - which means, since her captors are happy, that she was desperate enough that they could notice it. This creates an additional level of indirect depiction, at least for me: not just tears, but the kind of tears that you know the person shedding them is going to break down soon.

I think that's the crux of what worked - hope it helps!

As for my own stuff: the other two parts of the tale!

Human Oaths and Dragons
or
Psychoanalysis for the Draconic Soul

Spoiler


And the last part of the series, which I think is the best written (yay, third person, and yay, Cypher who was a former bard and is easier to write!) Heed my warning, though: it's long.


Hypocrisy
or
D&D has no wound penalties - that's no reason not to roleplay them, is it?

Spoiler
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