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by Jodie Renner, editor, author, and speaker

This week's critique is of the first page of a mystery thriller. Here's the opening to the novel:


The smell woke him first—a spicy, rancid arousal—followed by the fetid hot breath on his face. William Law’s eyes flickered open. In the dark alleyway, he’d fallen asleep. He gasped and struggled to draw breath, aware of the pressure at his throat. Dark eyes stared down into his.

“Shut up. Don’t make a sound.”

William wheezed, thrashed his legs, and clawed at the man’s hands, desperate for air. A knee dropped down hard onto his chest, threatened to crush him. He beat his fists against thick muscular biceps and dug his heels into the ground, tried to buck his body beneath the weight on top of him. He brought up his leg and drove a knee hard into the other man’s lower back, used every ounce of his strength to resist.

“Damn it.” 

The man fought back harder, grabbed William’s head and twisted, put agonizing pressure on his neck. Pain exploded behind his eyes. Frantic, William clawed at the ground for a rock or a stick, anything he could use to beat off the mugger. As his sight faded and the edge of blackness crept in, his fingers touched a hard object. He clutched at it, gripped hold, and swung with the remainder of his strength, heard the dull sound of glass against bone, followed by a groan. Blood pumping, heart pounding, he lashed out again, his last chance to survive. The jagged edge of the broken glass bottle tore across the soft exposed flesh of the man’s throat.


This is a gripping, very well-written opening that definitely grabbed my attention right away. I can tell this is going to be an intriguing page-turner! 

But I would move this scene further down and back up and let us get to know William Law a bit first, before thrusting him into a life-threatening situation like this. Readers need to warm up to the protagonist a bit and start bonding with him before they can start worrying about him. No need to spend pages introducing him, but I'd present him in a scene where he's interacting with others in his "normal" world, then something suddenly happens to disturb that world. He encounters the first problem or conflict of the story, which could then lead up to this much more critical situation. 

Also, that approach would establish the main character and his world right away, and answer the 4 W's that every opening should reveal: Who, What, Where, and When. Readers like to get situated at the beginning of the novel. They want to know immediately whose story it is and a bit about that person. And they want to know where the story is taking place and roughly when.

This writer is obviously very talented, so I can't wait to see the new opening and read the whole novel!

Click on these links for other first-page critiques: mainstream, historical fiction, historical thriller, and western.

If you'd like me to critique the first page of your novel or short story anonymously, please email the first 400 words or so, plus the genre and a sentence or two about the story, to: j.renner.editing(at)hotmail(dot)com. Thanks!

REGIONAL WRITERS’ WORKSHOPS

Today, I’m highlighting some notable, exciting, regional writers’ workshops or smaller conferences, all of which feature top-notch instructors who are leaders in the field. If you’re tired of huge, expensive conferences or don’t want to feel overwhelmed or lost in the crowd, these workshops will not only stimulate you, but they’ll make you feel like you’re part of a community and among friends. Please let me know of any other regional writers’ workshops and I'll add them.

by Jodie Renner, editor & author
Follow Jodie on Twitter

Gone are the days when fiction readers were willing to read pages of description and lead-up before being introduced to the characters and the plot. Readers, agents, and publishers today don’t have the time or patience to wade through pages of backstory and description, so you need to grab their interest right from the first sentence and first paragraph of your story.

As James Scott Bell says in Revision and Self-Editing, about the opening paragraphs, “Give us a character in motion. Something happening to a person from line one. Make that a disturbing thing, or have it presage something disturbing.”

Here are twelve dos and don’ts for making the first page of your novel more compelling:

1. Don’t begin with a long description of the setting or with background information on your main character.

~ Do begin with dialogue and action; then add any necessary backstory or description in small doses, on a need-to-know basis as you progress through the story.

2. Don’t start with a character other than your protagonist.

~ Do introduce your protagonist right in the first paragraph.

1. Don't start with a description of past events. Do jump right in with what the main character is involved in right now, and introduce some tension or conflict as soon as possible.

2. Don't start in a viewpoint other than the main character’s. Do start telling the story from your protagonist’s point of view. It’s best to stay in the protagonist’s point of view for the whole first chapter, or most of it, and don’t change the point of view within a scene.

3. Don't delay letting your readers get to know your protagonist, or present her in a static, neutral (boring) situation. Do develop your main character quickly by putting her in a bit of hot water and showing how she reacts to the situation, so readers can empathize and “bond” with her, and start caring enough about her to keep reading.

4. Don't start with your character all alone, reflecting on his life. Do have more than one character (two is best) interacting, with action and dialogue. That’s more compelling than reading the thoughts of one person.

5. Don't start with your protagonist planning a trip, or traveling somewhere, in other words, as a lead-up to an important scene. Do start in media res — jump right into the middle of the action. Present her in a meaningful scene.

6. Don't introduce a lot of characters in the first few pages. Do limit the number of characters you introduce in the first few pages to three or less.

7. Don't leave the reader wondering what the characters look like. Do provide a brief description of each character as they’re introduced, or as soon as you can work it in, so the readers can form a picture of him or her in their minds.

8. Don't have the main character looking in the mirror as a device for describing him/her. This has been overdone. Do work in the description by relating it to his or her actions or interactions with others.

9. Don't wait too long to introduce the romantic interest in a romantic suspense, or the villain in a thriller. To add intrigue, do introduce the hero (love interest) or villain within the first chapter or two.

10. Don't spend too long leading up to the main conflict or problem the protagonist faces. Do
introduce the main conflict (or at least some significant tension) within the first chapter.

Remember, you can always start your story wherever you want in the draft stage, if it’ll make you feel better. Then in the editing stage, you can go back and cut out the first several paragraphs or pages or even most of the first chapter, so that, in your final draft, your actual story starts after all that lead-up (some of which may appear later, in snippets here and there).

In conclusion, here’s a little rule coined by James Scott Bell, for writing compelling fiction:

Act first, explain later.

by Jodie Renner, freelance editor and craft-of-fiction writer

So far in this series of critiques of the first page of a novel or short story, I've introduced the series, then critiqued the first page of a mainstream novel, historical fiction, and a historical thriller. Today's first page is from a western novel.

I recently presented a workshop on writing compelling first pages to a writers' group, and afterward, volunteers read their first page aloud and we discussed their strengths and also ways in which they could set the scene better and be more engaging and intriguing, to hook readers in right away.

This one, the beginning of a western, is obviously well-written, but could have been much more gripping right from the first paragraphs. The author, GK Parker, has given me permission to use it and their name in today's blog.

Here's the original:

Trip Forrester studied the bank of heavy clouds collecting over the distant peaks of the Wyoming Cinnabar mountain range. Winter was coming. And it would be nothing like what passed for winter in Alabama. Overhead, the sky transformed from pink to soft shades of deepening purple and red as the sun slipped behind the mountains, stealing the day with it. A cool breeze sprang up, whispering through the branches of several nearby Ponderosa pines. In the buckboard traces Wilson, his ten-year-old gelding, shifted, his harness jingling. He stamped one foot impatiently. 

"Yep, me too," Trip said. He slapped the leather reins and they made their way down the valley to Snake Creek ranch. The crumpled letter rustled in his pocket. He ignored the temptation to throw it away just like he'd resisted the urge to punch the post office clerk who handed him the letter that had arrived five days earlier. Not that the pock-faced kid had really done anything to deserve it, but he was in front of Trip when he opened the letter and read the Mr. Forrester line. 

The small homestead he had put up with his partner, Marty Helms, stood in deepening shadows. Coming around the last copse of trees lining the dirt lane he caught sight of the small cabin. A light glowed through the single window of wavy glass Trip had bought from Otto Gramm's in Laramie at great expense. So, Marty was back from his hunting trip. 

He pulled into the yard, stopping on the apron of raw earth near the front steps to the porch. The wagon creaked when he set the brake, jumped down where he unhitched and led Wilson to the small paddock. Blue Dog, the roan he had won in a poker game last fall, hung his dark head over the top rail and nickered at them. Cactus, Marty's mustang, joined in.

With Marty home, maybe they could get the drift fence finished this week after all. He glanced toward the wood piled beside the newly finished barn. It was ready, now it only needed two men willing to put their butts to work and keep them there until the job was done.

The three geldings nickered back and forth while Trip unharnessed Wilson. He slapped the gelding's broad rump to get him moving through the gate. He checked the water and feed trough and found Marty had already taken care of both. Using his calfskin gloves, he wiped the dust and sweat off Wilson's back. Gate latched behind him, Trip carried the harness to the barn, sidestepping Nonny, Marty's milk goat, on the way out. Striding toward the cabin, he tried not to think of the letter scorching a hole in his pocket. He had ridden thirty-one miles to Laramie to meet the train carrying his potential bride only to be handed her letter instead." 

Jodie: I felt that, although quite lyrical and nicely written, to hook in today's busy and often impatient readers, this opening needs a lot more tension, conflict, and intrigue. Also, to bring the character alive and make us identify with him and start worrying about him, we need to see his emotions and reactions more. And it would be more dynamic to have him interacting with someone else, preferably someone with an opposing agenda, rather than alone, thinking. There's way too much description and not enough action and interaction and reaction. Also, I wasn't sure whether it was a historical western or a modern western, so it would be good to clarify the time period.

The author emailed me a second version, which was much improved, but I offered a few more tips. then they came up with this final version, which is much more gripping and engaging, I think, and really makes me want to read on and find out more about this character and what happens to him. 

Here's the second rewrite:

October 6, 1874 

Trip Forrester's fingers fumbled as he struggled to get the ivory buttons through the button holes. Even before the top one closed, the starched collar of his white shirt was chafing his neck. It would be raw before he reached town. He pulled on the blue silk vest and got the bolo tie in place and pushed the discomfort aside. He'd wanted this. 

Once he'd figured the only way he was going to get a wife was to advertise for one. He'd started all this with his post to the eastern papers before Christmas last year.

No time to get spooky. The girl come all this way to marry you.

He stared down at the brand spanking new boots that hurt and made him feel like a dandified Eastern dude. The bowler hat just looked ridiculous.

"Yer barkin' at a frog," he muttered, running calloused fingers under the stiff collar. "She's gonna come."

So why were his hands shaking? 

He pulled his duster on to keep his fancy clothes looking good. His gaze kept darting toward the door; he was gonna be late if he kept this primping up. 

"Never had to look this good for no damn cayuse."

Sweat dripped down his brow, stinging the raw flesh of his neck. He strode out into the sun-bleached yard. It hadn't rained in weeks, the road to Laramie would be bone dry. He'd be able to make the trip in three hours. The Union Pacific was due in at twelve-ten. He pulled out his pocket-watch. Nine-twenty. 

Pulling Roach, his ten-year-old gelding out of the paddock he put him to the buckboard. It was nearly twenty minutes before he guided the wagon off Snake Creek ranch.

[...] (Left out two short paragraphs in here that slow the momentum a bit and could be condensed or deleted.)

The steady clop-clop of Roach's shod hooves mesmerized him, messing up his sense of time but not his growing apprehension. Late. What kind of man was late for his own wedding? Butterflies, or something a whole lot bigger, thrashed around in his stomach. The road into Laramie was a flat stretch of dusty clay, pot-marked by much heavier traffic than what was near Snake Creek ranch. He trotted the last mile, passing a wagon carrying newly cut logs and a few riders out on business. One group led a half a dozen young horses down the side of the road. Mustangs. The canyons around here were full of them, ripe for the picking.

With the arrival of Union Pacific a few years ago the town was exploding. Too much so for Trip's taste but it meant a steady market for the stock he planned to bring in next year.

In the distance he heard the train whistle.

He didn't have time to stable Roach and left him in front of the terminal amid a cluster of other carriages and buckboards. Climbing down, Trip found himself hanging back, one hand on Roach's collar. He sucked in several deep breaths of air that smelled like burnt sand. 

The low, red brick two-story building loomed at the east end of town. As crowds streamed past him, he straightened, smoothing his hands over his hair, hoping the grease he had put on it was holding the normally curly mess in place. His newly shaved cheeks left him feeling naked and he knew he stood out like a peacock in a pen full of chickens.

"Big day, isn't it?" Ross Parker, the druggist slapped him on the back. "Bet this day's been a long time coming."

"Yeah," he said. "A long time."

I think these first two pages bring the scene and character to life much more vividly than the original. If I were working with this author I would probably still have a few more small suggestions here and there, but I think this opening has come a long way! It definitely hooked me in!

Feel free to submit the first page of your novel or short story (maximum 400 words) to j.renner.editing(at)hotmail(dot)com. I'll be glad to add it to the ones I've already received to critique here anonymously.

Jodie Renner, a freelance fiction editor specializing in thrillers and other fast-paced fiction, has published two books to date in her series, An Editor’s Guide to Writing Compelling Fiction: WRITING A KILLER THRILLER and STYLE THAT SIZZLES & PACING FOR POWER (Silver Medalist in the FAPA Book Awards, 2013). Both titles are available in e-book and paperback. For more info, please visit Jodie’s author website or editor website, or find her on Facebook or Twitter.

To subscribe to Jodie’s Resources for Writers newsletter (published about 4-10 times a year), please click on this link: http://eepurl.com/C9dKD

Jane Friedman has published an excellent breakdown of all the avenues now open to author to publish their books, from fully assisted traditional publishing to self-publishing with no assistance from companies or industry professionals.

Here's Jane's introduction:

One of the biggest questions for authors today is:

It’s an important question—one that tends to result in heated debate—but it’s becoming an increasingly confusing and complicated question to answer because:

1. There are now many varieties of traditional publishing and self-publishing—with evolving models and varying contracts.
2. You won’t find a universal, agreed-upon definition of what it means to “traditionally publish” or “self-publish.”
3. It’s not an either/or proposition. You can do both.

To see the rest of this post and Jane's very informative, comprehensive infographic on the 5 Kep Book Publishing paths, click on this link:

http://janefriedman.com/2013/05/20/infographic-5-key-book-publishing-paths/

by Jodie Renner, freelance editor and craft-of-fiction writer

Today I'm continuing my Wednesday feature in which I critique all or part of the first page of a novel, anonymously. You may also want to check out my first and second critiques, of the first pages of two different novels.

If you'd like me to critique the first page of your novel or short story, please send the first 400-500 words to me at j.renner.editing(at)hotmail(dot)com, and I'll critique the first 150-300 words here. If you have a prologue, don't send that - send the beginning of Chapter 1 instead.

Also, include the genre, setting (time and place), and a few sentences about the story and main character. Thanks.

The author who sent this to me called it a historical thriller, and it seems to be a travel adventure, too.

Here's the first page of the novel: (I've changed the name of the protagonist.)

Paris, December 1888 

Strolling down the leafy Boulevard des Italiens, a patch of glittery snow on the cobblestones reminded Francois Beauchemin of the snow-capped mountains of the Hindu Kush. The muddy sidewalk became the wind-swept valleys of Fergana, and the frozen puddles beneath the horses' hooves shimmered like the pristine blue lakes of Turkestan.

Here's an excellent article I just came across, by Russell Blake. A very comprehensive, down-to-earth, smart plan for selling a lot of books.

Here's the beginning:

by Jodie Renner, editor & author, @JodieRennerEd

Today I'm continuing my new Wednesday feature, where I critique all or part of the first page of a novel, anonymously. Click here to read my first critique, of the beginning of a different novel.

Red indicates comments by me and any words I have added, which would normally be in the margin, not interrupting the text as it is here, but unfortunately, I'm unable to reproduce that aspect of my Track Changes here.

If you'd like me to critique the first page of your novel or short story, please send the first 400-500 words to me at j.renner.editing(at)hotmail(dot)com, and I'll critique the first 150-300 words here. If you have a prologue, don't send that - send the beginning of Chapter 1 instead. Also, tell me the genre and a sentence or two about the story and main character. Thanks.

I chose this first page for today because it interested me and made me want to read more. But I could also see lots of ways to make it more compelling and intriguing, to hook more readers in and get them engaged right from the start.

I've changed the name of the character and the city, for greater anonymity.

Here's the original version first, with my suggestions in red in the version just below it.




Bonnie walked [Try to use a more specific, interesting synonym for “walked,” like “trudged” or “strode along” or "hurried along” or “strolled” or “raced through” or something that more accurately conveys her mood and how she’s moving.] the noisy, dusty streets of Boston. As she passed near the docks, she noticed the fishing ships were coming in for the evening. as she passed near the docks. There looked to be another steamer in from Ireland as well. The smell of the city was always mixed, some wonderful aroma from a fire or a bakery... and something awful, rotting. Fish. [Maybe “Like fish,” as there were other things rotting then, too.] Always, the smell of fish. She had to go a good ways inland to escape that smell. But tonight, she headed to work. [Try to add some urgency and tension here. Is she hurrying? Is she late for work? Is she worried about something at work? Also, what does she do? What’s her job? And how does she feel about it? Is she eager to go to work? Or does she hate her job?]

Tension and conflict are what drive fiction forward, and you especially need tension and intrigue in your first paragraphs and first page.

Also, since you mentioned this is historical fiction, I’d offer more indications of that right away, so the readers realize immediately that this story takes place in the past, and roughly how long ago – what period? For example, what kinds of vehicles or modes of transportation are passing her? Horses and buggies? Or...? Also, how is she dressed? How are people around her dressed? What are they doing? (Don’t get carried away in a great long descriptive passage, but add just enough telling detail to bring the scene to life and show the era.)

She kept a close eye out. [Try to add more tension to this sentence. Show her nervousness.] She had gotten in some trouble [kind of vague – can you be more specific?] recently, but she had no idea if she was being pursued. Could be, no one knew. [I’d take this sentence out, as it doesn’t really add anything more than we’ve found out from the previous sentence.] Or it could be she was a walking target. [Try to rephrase this in a more urgent, direct way, from inside her head, with more of her worries and fears apparent. Maybe something like, “She glanced around as she hurried along. Was she being followed? She felt like a walking target.”] There was no way to know [this is repetitive], but it had been two weeks now since the incident [can you give us some more hints, to add to the intrigue?], and no problems yet. [maybe rephrase this to show her worry more, like "and every day she expected to pay...." or whatever.] She could never let her guard down- but that sort of survival was a strain on her. [Try to rephrase this in a more direct way, showing her emotions and physical feelings/sensations. In other words, show, don’t tell.]

She hoped [“longed”?] for a time [maybe “future” or “life”] that wasn’t so hard. [This is a bit vague. Can you maybe add something specific here?] In fact, she was planning on it. [Can leave this out.] But her face gave a cynical slight grin [We’re inside Bonnie’s head, in her point of view, and she can’t see her face, nor is she thinking about the expression on her face, so this is a POV gaffe / violation. Show only what she is perceiving – seeing, hearing, feeling, thinking about, etc.] as she thought of it—her life had never followed the plans she laid out. If it had, she certainly wouldn’t be where she was now. She would have to work her way out. [Try to state this in a more urgent way, with more tension. How is she feeling? Overwhelmed? Discouraged? Worried? Exhausted? Determined? The more tension, the better, as a happy character is a boring character, and readers have no reason to read on or root for her.]

General comments from Jodie: I find this first page interesting, and definitely want to read more! But please show me more of Bonnie’s inner thoughts and emotions, with lots of tension! You want readers to identify with Bonnie right away and start bonding with her and rooting for her. In order for readers to become emotionally engaged with Bonnie and start caring about her plight, they need to feel what she’s feeling. So show us Bonnie’s thoughts, fears, hopes, worries, and other emotions, as well as her physical feelings, as much as possible in the first paragraphs and pages. Also, try to bring the scene more to life on the page by appealing to most of the five senses. What is she seeing? Hearing? Smelling? (that one's covered quite well). Also, is she hot or cold? Is it summertime? Any other tactile sensations or even tastes? And of course, her reactions to all this sensory barrage as she hurries to work.

Thanks for submitting this first page for a critique! I hope you find my comments and suggestions helpful. Who's up next?

Or, if you're tired of waiting for your first page to be critiqued here or you prefer to see the results in private, please contact me about critiquing your first page for $12. (PayPal takes $2, so that leaves me with $10.) Thanks! Alternatively, if you write a positive review on Amazon for one of my books below (please read the book first!), I'll put your name in a much smaller draw, so your chance of getting a free critique of your first page will be about 50%.

Jodie Renner, freelance fiction editor
www.JodieRennerEditing.com; www.CobaltBooks.net
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Twitter: @JodieRennerEd

New York magazine won the top prize for both its print and digital coverage at last night's presentation of the [U.S.] National Magazine Awards. It also won for best cover for its November 12 "The City and the Storm" front. For details, here is the New York Times story on the results and the American Society of Magazine Editors page about the cover competition (ASME manages the awards.)

Rogers Media is changing its advertising sales structure to reflect an integrated, client-centred approach, according to a story in Marketing. A client can now talk to one Rogers person or team about an integrated solution that might involve everything from magazine ads to TV or radio spots. 

While most integrated media companies have traditionally built their sales departments to be

CAmagazine, a perennial b2b prizewinner, comes out on top in this year's list of nominees for the Kenneth R. Wilson awards for business-to-business publications. From nearly 600 individual entries, CAmagazine got a total of 17 KRW nominations*, followed by Marketing magazine, Les Affaires, Precedent and University Affairs.

This year, the awards have two categories for Magazine of the Year --

Paul and Audrey Grescoe have been named the winners of the Western Magazine Awards Foundation Lifetime Achievement Award. It is the first time that a couple have been so honoured.
"Legendary pioneers in the Western Canadian magazine industry, Paul and Audrey's long personal and professional collaboration in journalism and publishing makes them an ideal choice for this prestigious award," said the

“In traditional media, the Internet was always used as a marketing tool for the print product and we’re trying to reverse engineer that.We’re primarily online because it gives us an opportunity to utilize all of the tools the Internet has to offer, but we do want to have print because it’s a great marketing tool—people love to have a print magazine.”

-- A statement from John Steele, the

The good news, according to the AAM's 2012 digital publishing survey, is that magazines are taking the lead in using technology to produce feature-rich content. The less good news is that 73% of apps are an exact replica of print editions.

"Our research shows a disparity between the content that media companies serve to consumers and the content they believe readers want to consume," says Eric

Toronto Life magazine has received 29 nominations for the National Magazine Awards, which were announced today, the most of any entrant, followed by L’actualité, The Walrus and The Grid. The leading nominees overall were:

Toronto Life 29
L’actualité 24
The Walrus 23
The Grid 22
Maclean’s 20
Report on Business 20
Maisonneuve 14
Cottage Life

by Jodie Renner, editor and craft-of-fiction writer

Today I'm starting a new feature, which I plan to run every Wednesday. I'm critiquing the first page Red indicates words I have added, plus comments and suggestions by me, which would normally be in the margin, not interrupting the text as it is here, but unfortunately, I'm unable to reproduce that aspect of my Track Changes here.
of a novel, anonymously.

If you'd like me to critique the first page of your novel or short story, please send me the first 400-500 words to j.renner.editing(at) Hotmail (dot)com, and I'll critique the first 200-300 words here. If you have a prologue, don't send that - send the beginning of Chapter 1 instead. Also, tell me the genre and a sentence or two about the story and main character. Thanks.

Chapter One:

The cornflower-blue sky stretched far into the distance beyond where the human eye could see. [Good - establishes that we're out in the country, in the prairies.] The air was cool coming in through the open truck windows. Molly glanced over at her nephew Jonas [Establishes that we’re in Molly’s point of view, which is good, as she’s the main character, so it’s best to start in her POV so readers know it’s primarily Molly’s story.] who was playing a game on his cell phone. He looked up from the game long enough to realize his aunt had driven into unfamiliar territory. [Kind of in her nephew’s viewpoint (POV) a bit here.... How does Molly know what he’s thinking or realizing? Best to stick with what she knows for sure or guesses from the expressions, words, body language, and actions of others.] He had not asked where they were as she steered the truck around the curves of several gravel roads that seemed more like washboards than roads. She had taken a detour from their planned destination, Merlkasses [Can leave this name out, unless it's important], a leather shop on the outskirts of town. [Who all is in the truck? Just the two of them?]  [Also, Jonas is on his cell phone, so it's in the present, yet they're going to get shoes and a jacket from a leather shop, which seems to take us back in time, unless Molly has the money to buy the kids shoes and a jacket at a specialty leather boutique, which seems doubtful considering the other info provided.]

Coming around a sharp bend in the road, Molly slowed the truck enough to guide it into a driveway that was so neglected the weeds had nearly gobbled it up. Pulling up to an old wooden gate in serious need of repair and a couple of coats of paint, Molly felt a twinge of uneasiness. [Intriguing. But why? What’s making her uneasy? Maybe give us a few more hints.] It vanished when she saw the tremendous amount [or “huge expanse] of deserted property stretched out along the fence line and beyond. [From the next lines, it seems she's familiar with this property, but in the description we've just read, it seems like she's seeing it for the first time...? If she knows this property well, I would revise the preceding sentences to reflect that, as we're in her thoughts here.] She could barely make out the faded realtor's sign that had dropped down in the wildly overgrown grass near the gate. The sign her realtor, and friend, had placed there months earlier offering the dilapidated homestead for an exceptionally low price.

The children [Looks like there’s another child here. Is it his sister? If so, better bring her to life, too. I'd show the two children interacting a bit earlier in the truck - maybe squabbling or teasing.] clambered out of the truck. The older of the two, a large 15-year-old boy, Jacob Finn Larrimore [It seems this guy is her nephew, and we’re in Molly’s POV, so Molly’s head right now. She’s not thinking of her nephew in these terms. Can you express this in a way that stays in Molly’s point of view, as if it’s her thoughts? Maybe: “Her 15-year-old nephew Jonas protested,” then use his exact words.], grumbled that he would prefer to have gone straight to the leather shop where he was to pick up a pair of new boots for himself and a jacket for his sister, Amy. [ Is Amy there too? Or is he just picking up a jacket for her? And wouldn’t she want to pick out her own jacket? Also, better to show his exact words, rather than paraphrasing like this.] 
 
"Why are we here? Where is here?" Jonas protested. His zaffre-blue [Thanks for the new word! :-) ] eyes always seemed to make his moods appear even darker than they were in reality. Yet, the wavy, auburn hair falling across his forehead and high cheekbones softened even his roughest edges. His mother had always said [Apparently, his mother died, so I added the "had" to put it into the past perfect or “past past” to show that she used to say this when she was alive.] his bark was much worse than his bite. [You repeat this just below. Use one or the other, but not both.] 

Molly's sister, Kirsty Mae Larrimore [Too formal with all three names for someone thinking about her sister.] would often said say [in the past] of her son, "His bark is just like his father's. Big bark with little bite—until someone pushes him too far. He is so much like his daddy that some days I can hardly believe it. When I look into his eyes, it is as if I've stepped into the past." Kirsty never would elaborate further when she made comments like those. Instead, she would seem to be lost in a private world that she could not or would not share with anyone else. Molly had [in the past] always found her moods odd, especially since Kirsty's husband, Henley Frederick Larrimore [I’d leave out the middle and last name, or at least the middle name. Seems too formal, especially since Molly knows him well.] had brown eyes that looked nothing at all like Jacob's zaffre-blue eyes in shape or color. [This last statement is intriguing.]


Jodie: I like your voice! And the story looks interesting. Can’t wait to find out more about these people! I would deepen the characterization of Molly, though, by showing her feelings, thoughts, and both inner and outer reactions more. Also, bring the two kids to life more, by showing more interaction between them and with Molly, and more attitude. And maybe indicate earlier on (right now it's after all this) that Molly's sister has died, leaving her with the care of her nephew and niece.

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Jodie Renner, a freelance fiction editor specializing in thrillers and other fast-paced fiction, has published two books to date in her series, An Editor’s Guide to Writing Compelling Fiction: WRITING A KILLER THRILLER and STYLE THAT SIZZLES & PACING FOR POWER(Silver Medalist in the FAPA Book Awards, 2013). Both titles are available in e-book and paperback. For more info, please visit Jodie’s author websiteor editor website, or find her on Facebookor Twitter.

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