Reviews for Protecting You
MileyRowling chapter 28 . 7/24
Nice update!
MileyRowling chapter 27 . 7/19
Nice one!
MileyRowling chapter 26 . 7/10
Nice one!
MileyRowling chapter 25 . 7/5
Nice update!
MileyRowling chapter 24 . 6/20
Great update!
Guest chapter 15 . 6/2
Wait, so Alice is his lawyer? Shouldn't she not be aiding and abetting his escape then? Now I'm confused.

Okay, so let's back up here for a second. The cops surround him. Kylie is the one who turns him in. But, when did they see each other? I know that he calls her before he gets to town, but he doesn't actually see her, right? In the chapter before, he goes home to see her, but his dad is there, so he doesn't go in. How does she know he's there then? Did I miss something?

The other thing about the first part of the chapter is that there's no surprise here. We think the cops are coming. He thinks the cops are coming. And then the cops...they come. Whee? I think it's more suspenseful if he gets away, gets out of town, hides out for another week, catches his breath, and THEN gets caught because people were keeping track of his movements since he was spotted at the hospital (by his mother) and questions begat new questions that would lead to his capture in the one place he thinks he's safe.

The number one rule of suspense is to flip the reader's expectation, but keep it believable.

About Tyler's adrenaline, the reader is left to assume that the thrill is what kept him acting so illegally. That's fine, but what about his life makes that necessary? Is it possible to show that thrill taking form in the earlier chapters, giving him cause to keep doing it, and not just this perceived necessity that the reader is led to believe in the beginning?

Regarding his cold feelings toward Kylie-why doesn't he forgive her? Didn't he want to get caught? Shouldn't he be thanking her for breaking him out of the downward cycle he knew he had fallen into? Or is this more proof that he's emotions driven and not logic driven?

It's still heartbreaking, though. The snapshot of her reaction is strong enough to convey what she must be feeling by his reaction.

His view of Biffy is important. Knowing Biffy's crime and feeling indifferently about it is far more powerful than Tyler simply explaining that he feels dead inside. The details matter here, and this is a great place to show it.

Alice knew him for three years? Why didn't she try to stop his life of crime before it started? Maybe I'm forgetting the timeline though. I do think it's funny that Tyler is criticizing her ethics as a lawyer for wanting him to run to Mexico. I was thinking the same thing. :)

Watch your verb tense. "When my parents HAD first CAME to see me..." Should be "had come."

"The tension in the room could have been cut with a knife." Google that phrase and see how often it appears.

The last section is okay for the most part. I'm curious why the reality of dying fuels him now and not before. The explanation is given in a line, and not really shown. I think it's important to show the critical moments of a character's change of heart, not simply to explain them.

I'm glad we're finally caught up to the present. My idea of what this story is and should be may be different than where it's ready to go. I can talk more about that when I get to the final chapter, but I think reader expectation of the plot is important because you'll want to make sure it ends in a place appropriate to where it begins, and fifteen chapters of summary is a long stretch if the real story is just now beginning. But I'll table that discussion for later.
Guest chapter 14 . 6/2
Hmm...this one needs work.

Section 1:

Most of the problems with this section happen in the first few paragraphs.

1. Tyler is on the run, with a new identity, new places to live, and he still commits crimes, or "dirty jobs" for money? Why not just get a job flipping hamburgers? Or, if he's living under the table, why not get a real dirty job, like farming or custodial work?

I don't actually have a problem with him living like a thug, even when on the run, but I think we need an explanation-not an internal monologue like we've been given, but a scene where a client interviews him to see if he's right for the job, and even though he doesn't really want to keep doing this type of work, it's the only work he knows how to do well-when it isn't getting him into trouble with the law-so he's going to keep pushing the envelope, as stupid as he knows it is. Otherwise, it doesn't make sense that he would risk his alter ego's identity, too.

2. Payphones? Isn't this the future? Where is he running that they still have payphones? Payphones that actually work?

3. Dialogue should be split up into separate paragraphs when spoken by separate people. The same rule can be applied when actions are committed by other people. When Tyler calls his mom and bites his fist as he listens to her speaking, his actions should be on separate lines. I'd say you could get away with putting it all on the same line if you had two lines of dialogue and one action. But with three lines of dialogue and two actions, you're better off splitting them up.

4. Even though I don't disagree that Tyler's dad would think the silent person is Tyler calling, I still find it odd that he immediately assumes it's Tyler. I would at least have them probing the caller, and maybe threatening to hang up on him. I don't know. Just seems too "scripted" here.

5. The dye job is fine, but why didn't Alice change Tyler's hairstyle, too? If she's going to give him a new identity, she should do all that she can to make him different. Other things like fake scars, cropped eyebrows, etc. should also be considered. It's a cliche (and I know it because I'm guilty of the same thing in my superhero novels) to have the character change his identity through color changes only.

And this sequence reminds me again of how much I'd rather see this stuff played out in scenes rather than in synopsis format. But, I wouldn't want this to become a 700-page novel, so you got to pick your battles. :)

Section 2:

I like this sequence better, even though it would be nice to see key scenes developed more. I think you need to work on developing Tyler's perceptions and observations more. He seems to know what everyone is thinking when he watches them, which is fine at a speculative level, but it forces the reader to assume this stuff with him, even though it might not be the truth. One thing Robert McKee writes about in his book "Story," which I'm reading now and getting a lot out of, is that your story needs to be true. In other words, don't assume things. Don't push agendas. Just write what happens, not what should happen. What we can gain from Tyler's character by this point in the story is that he bases his actions on his assumptions, and not necessarily on what is actually true. I don't think this is bad, well, it is a character flaw, but I think if you know that that's what he's doing, you can take advantage of it through the storytelling and lead him into some really uncomfortable places.

I do like that he finally has his epiphany at the end of this section. About time! :p
Guest chapter 13 . 6/2
It's been a little while since I've read the previous chapter, so I come into this one forgetting a few details. Hopefully you'll see past any detail I've forgotten and make the most of the advice here.

First off, I think this chapter is important. It establishes the idea that Tyler will make an effort to stay ahead of the law. It's hard to tell if he's feeling guilty about his earlier crime-it is clear that he isn't happy how any of this has gone, but whether or not he regrets it, or wishes he could go back and start over, or any of that, is all still up for reader speculation. Part of the question comes back to the core issue I have with his character. Is he just naturally depressed? He doesn't seem to have much hope in anything, even though he still plods along through his circumstances, doing his best to stay out of the law's hands, but not yet willing to do the right thing, which could perhaps increase his hope. It seems to me that he's emotionally driven, and emotionally driven characters go wherever the wind blows them. The advantage of this type of characters is that you can send him anywhere and watch how he reacts to the new and ongoing problems he faces.

This, of course, assumes that his change in character will be some kind of proclamation that he will take charge of his life again, find some hope, and start doing what's right. But I don't know. Not sure what the plan is for Tyler's character arc. Still reading to find out!

I like Alice, but I don't remember her. Who is she again? Is she one of the people he was committing the last crime with? I like that she has a medical contact who can fix him up. That will save you trouble later.

Okay, that brings us to his new life.

I actually don't have any problems with the whole sequence about him blending in with society. I think it's well thought-out. I do have a little bit of a problem with the musician track if he can neither sing nor play an instrument. If we're to assume that he's on the run, we should assume that he will always be on the run, and eventually his voice will heal (based on the story he has to tell anyone he meets). Either he has to move from place to place with the same story so that nobody gets suspicious about his voice that never heals, or he needs to consider the fact that he'll need a new cover story to supplement the first one.

I actually see the musician cover story as sort of a joke, which is why I don't necessarily recommend that you come up with something that Tyler CAN actually defend. It makes me laugh to think that Alice's guy is such an idiot that he would give Tyler a cover story he could not actually do anything useful with. But, you should give Tyler or Alice enough sense to come up with a backup plan for when the musician identity runs its course and Tyler can no longer support it.

So, over all, I think this chapter is useful. At some point I would like to see less summary and more scene development, but for now it works.

Regarding grammar, you left out the word "to" in the second line about "made it the safe house."
MileyRowling chapter 23 . 5/29
Nice update!
MileyRowling chapter 22 . 5/24
Great update!
zippywings chapter 12 . 4/21
I like the second half. I'm guessing this is the last time the two siblings see each other before Tyler is caught. I also like that we have a sense of resolution between them. It's somewhat tense, and definitely bittersweet, but it works well for the situation. It also ends appropriately. No suggestions other than to fill in any missing detail we might need.

The first half is a little rougher around the edges. Grammatically, the first paragraph has a number of past participle errors, and there's another typo in the line halfway down that starts with, "I was silent for several minutes..." (You wrote "it" when you meant "if"), and another in the following paragraph when you write, "Fine, but I don't want you to be involved any MOVE than you have to be..."

Regarding the bandaging scene, I have to wonder how either Tyler or Kylie knows how to sew up a wound. I don't think either of them has gone to medical school, and I'm pretty sure neither was a medic in the military. Maybe Tyler knows how to sew wounds thanks to his new job as a paid-for-hire thug, but how does Kylie know how to sew a wound? Is it like sewing a rip in a T-shirt?

Also, the sewing itself moves quickly, too quickly to have any real effect. I don't think the misery Tyler might feel sticking a needle where he's just been injured is really the crux of the scene, but I do think it can be used to ratchet up the emotional tension he might feel having his sister show up at the cave at the one time she should've stayed home. If you're younger sibling walked in while you tried to self-repair an injury sustained from a crime-without antiseptic or painkillers, mind you-then the scene might play out a bit more tense than this does currently.

The scene is generally okay, but could use refining.
MileyRowling chapter 18 . 4/19
Great update!
MileyRowling chapter 17 . 4/11
Great update!
zippywings chapter 11 . 4/6
Again, this is okay as a sketch, but the scene needs time to germinate and blossom. You've got a lot going on here. Probably enough to fill two or three chapters. I could see one chapter setting up the crime and ending with the tripped alarm and approach of the sirens (after a few HOURS?), another chapter focusing on Tyler's escape, and a third chapter focusing on him dealing with the wound and trying to regroup his thoughts. Even if they all fit into the same chapter, they all need some considerations to really open up the tension and belief:

1. It's plain to see after the fact that the job is big and dangerous, but the reader doesn't really know what they're doing or what's at stake until after the cops are alerted. So, there's not much tension going into the scene at the beginning. Just obligatory tension based on the narration.

2. When the cops do come, the close call with the jiggling keys at the door sounds too much like deus ex machina to pass off as relief. Fortunately, you recovered when you had him trip over the bomb wires (with his "food"-check your spelling) and land face-to-face with the cops. That's accepting the number one rule of maintaining conflict: putting your character in such danger that no solution is good or simple.

3. We never see him escape. We're only told about it.

4. Back at the cave, he takes the bullet out as if he knows what he's doing, as if the act of removing the bullet isn't as painful or dangerous as the act of receiving the bullet, and there's no sense of misery that follows when the bullet is actually removed.

In each of these cases, you have an opportunity to show the reader what kind of character Tyler is in the face of conflict, authority, and pain. By now, we should empathize with his situations, but it's so hard to feel anything for him when he doesn't seem to feel anything for himself, including the burning pain that comes with having a bullet below his ribs.

Whether you take this story to the next level or scrap it for something else, I do think it'll benefit you to research what things sound like, feel like, etc. when writing for authenticity. Having a library of facts at your disposal will give you more opportunities to put your readers into the heads of your characters better. When we have a narration from a safe distance, we have a harder time empathizing with any of the characters involved. So, when Tyler trips over that wire and lands face-to-face with the cop, we should feel the thud of the floor against the palms of his hands and know the pain of his folly when he closes his eyes at the realization of what he'd just done and agree with him when he says under his breath, "Of course."

Anyway, good start. But zoom in!

Oh, and take the advice of many well-established authors: start the scene as late as possible and end it as early as possible. Only include those moments that move the story forward. I bring this up in case you decide that the setting up the crime isn't important to develop (and chances are it isn't-yet the gravity of what he's doing may make it important).
zippywings chapter 10 . 4/6
I like this chapter. It accomplishes a lot. It shows what's at stake between him and Charlie. He's lying to her in the first section (something we've already seen him do), but it's plain to see that he can't really lie to her anymore when he's in the prison. The scene doesn't really make a point to draw that out, but it's there. I also like that he's finally starting to let her break through his barriers. It's the beginning of a turning point, which this story needs now. It's been a nice build getting here, but the scenes and actions are all starting to look the same, so seeing something shift in the relationship between them is good.

Regarding the action in the first section, my comments from previous chapters continue. Good idea, but too much of a summary and not enough of an in-your-face play-by-play. I probably don't need to explain it here. Just play out the scene like you're watching a movie. Take note of sensory details. Mention the plates that clatter from surprised guests when he races through the restaurant and causes them to knock something over. Describe the claustrophobia of the kitchen and its countless racks that stand in his way, making it easy for the cooks to karate chop him with whatever tool they're holding. Slow it down, and you might actually give the effect that you're speeding it up.

Good chapter nonetheless.
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