Welcome to UKAuthors

  Login or CLICK HERE to Register

     HOME  ·  SUBMIT  ·  UKAWIKI  ·  FORUM  ·  UKAPRESS  ·  RESOURCES  ·  LATEST 50  ·  NEWSLETTER ·  LINKS  ·  CONTACT

 UKA Content
 Home
 
 Writers' Links
 

 
Keep UKA Writing!
Here's how you can pay your £10 annual subscription fee
Please consider donating. Every little bit helps!

Recent donations :

2010

17 Feb Anon
3 Mar Anon
4 Mar woodbine
23 Mar Gee
7 May Anon
13 May e-griff
14 June Anon
24 July chrissy

Your generosity is very much appreciated. Every penny is vital and helps keep your site going.


 
WHO'S ONLINE

You are a Guest on UKAuthors. Register now by clicking here
Guests Online:62

 
Random Story
Click to read a randomly selected story

No Audio on this Submission There is no audio for this submission
Fiction: A Question of Pace 30-07-2010 - by sirat   (1033 words)
Drama

  Click to see MORE Top Choices  

This is my submission in response to Pombal's challenge in the Prose Discussion/Workshop forum – to create a piece of writing in which the pace seems to make time pass more quickly for the reader.

As Sandra emerged from the station she realised two things: firstly that it was starting to rain, secondly that she had left her stylish and rather expensive Italian umbrella on the train.
      One more misfortune to add to the list. The first was the big one and she didn’t want to think about that. Then the excruciating leaving-party for Earl, with fat Jason leering at her and trying to touch her all afternoon. Then he had somehow managed to get into the same compartment on the train and sit opposite her for forty minutes, alcohol on his breath, spouting incessant stupid chat-up lines – until she had snapped and told him to sling his hook. Now she regretted doing it. He was somebody she had to work with. She hoped that by tomorrow he would have sobered-up and forgotten the whole thing.
      Sandra hated confrontations. It was probably because of the scene with Jason that she’d left her cherished umbrella on the train.
      Pausing now by the station exit, she watched the concrete darkening as the raindrop circles joined up.
      I used to enjoy my life, she thought, before I allowed men into it. Jason’s drunken attentions seemed to symbolise all the cruelties, disappointments and broken promises she had ever suffered at the hands of men. Self-centred uncaring bastards, the lot of them.
      She now had a choice. Go home the long way on the bright main road, or cut across the waste ground behind the housing estate and be there in half the time. In the daylight she would have taken the shortcut without hesitation, but the light was failing and the rough path through the high brambles would be scary for a woman on her own after dark. The alternative of course was getting soaked.
      It’s not all that dark, she decided, the path will be fine. She hurried to the gap between the houses and along the alley that separated the back gardens from the high stone wall of the churchyard.
      It had seemed quite bright around the station, but here, half way along the rambling path through the undergrowth, there was just the eerie afterglow of the winter sunset to light her way. Invisible now from the road and the houses, and with her heels sinking into the damp earth, she began to regret her decision.
      As well as the incipient depression she had been fighting back for the last few days she was now in clear physical danger. How could she be making all these silly mistakes and bad decisions? What was wrong with her? Tears began to blur her vision and she paused. Should she go back?
      Through the hissing of the rain, from somewhere behind her, she imagined she could hear the drumming of heavy footsteps.
      Impossible. Ridiculous. But no, it wasn’t her imagination. Those were footfalls. She could hear twigs snapping now. Somebody was running in her direction!
      Instinct took over. Lifting her shoulder-bag to shield her face from the overhanging branches she started to run mindlessly into the gloom, ignoring the path that others had traced out, ripping her tights, insensitive to the cruel contact of thorns against her arms and legs.
      Faced now with a wall of impenetrable undergrowth, far from the path and in almost total darkness, she stopped and tried to separate the sound of the footfalls from the pounding of her own heart.
      The sounds were still there. Panting now – somebody frenzied and out of breath. Was he still running or had he stopped too?
      Why didn’t she carry an attack alarm, like other girls at work? Should she make a noise? But who would come to her aid, out here in the darkness and the pouring rain? It would just tell him her position.
      Better to be silent – crouch down – maybe he was still on the path. Maybe he hadn’t seen her flee into the bushes.
      Close to despair, she looked to right and left. Was there some other possible route, some way to get even further in? All she could see was a little hollow under the dense bushes in front of her. Maybe she could crawl in there. Make herself invisible. Maybe he wouldn’t see…
      Sudden inspiration. Her phone! Where was it? If he just saw her using it he might think twice… No time for niceties. She emptied her shoulder-bag onto the ground. Horrified, she watched everything disappear under the vegetation, the phone nowhere to be seen. She knelt down and started to scrabble through the spilled items in the wet undergrowth.
      “Where…where the… the fuck…”
      Too late. He had found her. It was a voice she knew all too well. The bitter taste of vomit invaded her mouth.
      Slowly standing up and turning around, she faced him.
      He was only feet away. Short though he was he seemed to tower above her, trembling with exertion from his run, rocking back and forth, gasping for breath as he tried to get the words out. He might not be physically fit but he had easily twice her body weight. Realistically, she didn’t stand a chance. Her spirit seemed to give up. She felt her shoulders slump.
      I don’t want to be raped, she screamed in her head. I don’t want to be hurt. God, if you’re real, have mercy on me.
      Yet when she spoke, the calmness of her voice surprised her. It came out in the kind of tone you might use to humour a child, or a madman. “What are you doing here, Jason? This isn’t your stop.”
      “Where…where the fuck are you going… in such a bleeding hurry?” he managed to stutter before returning to his panting, gathering enough breath for his next sentence. “Are you trying to… fucking kill me?”
      She looked up at him without comprehension. He threw some dim object towards her and it fell at her feet, vanishing like everything else into the tall ground-cover.
      “You left your sodding umbrella on the train,” he said between gasps, before turning and commencing his painful journey back towards the station.









Critique/comments welcome
Average Score: 10  /  Votes: 1



Printer Friendly Page  Printer Friendly Page  Send to a Friend  Send to a Friend

Nominate this piece for Future UKAuthors Anthologies




Add this author to your favourites list   Add this story to your favourites list

Comment posted by pombal (30-07-2010 11:34) Send pombal a Private Message

Thank you for joining in David.

Yes - a very different approach with a twist that I wasnt expecting but now it seems so obvious. I liked the way you built up the pace here and then staccato sentences when the action was in flow - nice technique - opposite to mine where I used long sentences with loads of 'ands' instead of the punctuation. You succeeded in your intention in my opinion to build the suspense. Very cool.

The guy Jason in the end - the dialogue made me feel a bit unsympathetic towards him - maybe if you gave the impression that he was a nice guy it may add another dimension to the ending?

Reply from sirat
I think after his run he's no longer in a 'nice guy' mood.

Well, I tried to practice what I preached in the Prose Writing Tips forum thread. This technique seems to work for me, but I don't think it's the only possible way to create pace.


Comment posted by pdemitchell (30-07-2010 12:24) Send pdemitchell a Private Message

Hi David - yeah, I agree with Pombal here. A simple idea and well-crafted tension bulding with balanced sentence structures and the business woman upending her handbag into the undergrowth was a nce touch leading to a satisfying 'whew' anti-climax. Excellent read. Mitch :-)

rated 10

Reply from sirat
Thanks Paul. Glad you thought it worked as a story.


Comment posted by pombal (30-07-2010 12:28) Send pombal a Private Message

The fact that he is not in a nice guy mood in some way vindicates what the protagonist is saying in the beginning - whereas if he is just some overweight loser trying to please or garner her affection ... I think the dialogue of Jason at the end (the first time he speaks) could be a good opportunity to subvert what her impression is of him and maybe indicate to the reader that there is another interpretation to what she is saying/observing...

Reply from sirat
Fundamentally, I can see that you're right. It would be a more satisfying ending if he said something like: "Sweetheart – you left your nice new unbrella on the train. I couldn't bear to think of you getting wet on the way home". But it's quite difficult to make it sound convincing. What exactly do you think he should say?


Comment posted by Nomenklatura (30-07-2010 07:08) Send Nomenklatura a Private Message

I've been hunting about for the challenge (I'm obviously being dense) I'd like to have a go myself.

You could go all Mills and Boon, I suppose.

One thing I considered that he could have said,

'I should have used it, shouldn't I, then at least one of us would have stayed dry."

Reply from sirat
The challenge is HERE. I think Griff is going to enter late so there's no reason why you shouldn't.

Re your suggested ending, to be honest, I don't think it tells us very much about Jason. We want to put across the notion that he's a nicer person than Sandra thinks he is, but without being too crass. My worry is precisely the one you have mentioned – that we might turn it into a piece of Mills and Boon.


Comment posted by pombal (30-07-2010 07:55) Send pombal a Private Message

It could be something like this ...

“Sandra, Sandra ...wait up Sandra,” he managed to stutter before returning to his panting, gathering enough breath for his next sentence. “Why are you running away from me?”       She looked up at him without comprehension. He threw some dim object towards her and it fell at her feet, vanishing like everything else into the tall ground-cover.       “I only wanted to say ...I wanted to say ...oh, forget it ... I wanted to say you left your umbrella on the train,” he said between gasps, before turning and commencing his painful journey back towards the station

Reply from sirat
Okay – ending accepted. But we know he won't get the girl anyway – fat people never do (trust me, I know about these things).


Comment posted by zenbuddhist (31-07-2010 10:22) Send zenbuddhist a Private Message

In elmore leonard's ten rules for writing he said,

'My most important rule is one that sums up the 10.

If it sounds like writing, I rewrite it.'

Which may sound absurd at first glance, but I took out one of his books from the library and realised that what he meant was the writer should try his best to be invisible. The third person narrative in this depiction of panic is in my opinion writer intrusive. Sandra is being forced along a path that seems ridiculously unlikely by a determined writer hellbent on forcing her to imagine that she's about to be raped and murdered because it's raining and dark and someone else happens to be walking behind her. It's a bit obvious that ' a twist' awaits the reader, I find these endings more an act of the writer trying to be cleverer than their readers rather than an attempt to produce an admirable work of art which the reader feels a part of.

Reply from sirat
To a large extent I agree with you. This was just a response to an exercise set by Pombal, in producing a 'fast pace' effect. It isn't one of my better efforts. Surprise endings have to be done very well if they are to work, and this one was just an afterthought.

Is it the fact that it's third person narrative that makes it writer intrusive or do you just find Sandra's panic implausible? If the latter then I disagree, I think a woman walking alone at night in a relatively isolated location like this would be spooked very easily. Somebody running up to her would certainly do it IMO. In fact I think in the situation described it would even spook me!


Comment posted by Michel (01-08-2010 03:01) Send Michel a Private Message

I think the fear would be real, but I thought those thoughts, 'I don't want to be raped, she screamed in her head. I don't want to be hurt. God, if you're real, have mercy on me' sounded a bit artificial, David. Loved the pouring rain atmosphere, and the handbag fiasco!


Comment posted by zenbuddhist (02-08-2010 01:27) Send zenbuddhist a Private Message

Aye it's obvious that this is a response to an exercise, it explains the forced nature of the narrative, I feel a first person internal monologue would be a much more fruitful approach to the tension build up but as michel has pointed out it has its moments.


Please Login or register to post comments

YOUR ACCOUNT  ·  SUBMIT  ·  UKAWIKI  ·  FORUM  ·  UKAPRESS  ·  RESOURCES  ·  LINKS  ·  CONTACT
Need help? Contact UKA admin HERE

By using this site you agree to be bound by our terms & conditions | Please also read our copyright notice.
UKAuthors.com Group © 2002 - 2010. All rights reserved.