Feedback request —the uncrowned paragon ( survival, escape, and complex power system)(please i really need it)

abysslover12

New member
Joined
Dec 20, 2025
Messages
12
Points
3
I'll be honest and maybe a little harsh.

First, your prologue is like any mainstream Chinese manhua or novel I've ever read. It's very typical... a protagonist with a sick (and then deceased) family member and a cheating lover.

I understand you might want to create a tragic and complex protagonist. But this kind of plot feels cheap... some people will be immediately allergic to the NTR element in the prologue.

A prologue is supposed to provide a hook for new readers to connect with your fiction. Presenting NTR drama like this might hurt readers and turn them away, rather than making them applaud.

So, your conflict is too cheap - it might be harsh, but I don't like prologues like this either. Can you create a more human and dignified MC character, even if it's tragic?

In this case, I appreciate manhwa that present more human drama and MC. Try reading manhwa and comparing it with manhua to see the differences. Maybe you'll find a better formula for designing a human, even if tragic MC.

Second, from a writing perspective... your chapter is full of long dialogues. Honestly, I had a hard time identifying who was speaking, especially since you introduced three characters without any introduction—and immediately launched into a long dialogue.

Could you give a proper introduction before going into such a long dialogue? Well, you can introduce your characters with action or dialogue—that's fine. However, even dialogue should have something that stands out to make the reader care about your characters.

For example, by designing a humorous yet tragic voice. You do seem to try (the protagonist's sick brother makes a joke before dying). However, it feels more like a forced dark comedy, rather than born from the character's personality.

My suggestion is that you could make the hospital room scene more subtle and symbolic. There are many references you could use to build this scene... like the scene where Kaori is visited by Arima Kousei in the hospital (watch the anime Kimi no Uso).

Observe how the atmosphere is built, the dialogue between Kaori and Arima, the items they carry, and their expressions. All of this is written to narrate the conflict of the sick character. Please write a more grounded scene that will make the reader cry.

Third, your characters are more like 2D characters than living (3D) characters. It's oversimplified, as if they were more like plot devices.

Your protagonist... I don't see anything special about him. I can't identify any personality other than a character forced into a tragic situation after the death of his sibling and the betrayal of his girlfriend. And his girlfriend?

Well, she's more like a cheap villain who appears for one chapter and annoys people before disappearing (or being killed off by the plot). Her betrayal is too cheap.

Characters like this in manhua will likely regret it later, cry, and beg the MC to get back together. Why?

Because she has no personality... she's more like a plot device whose purpose is to validate the MC's future achievements. She's just a plot character, not a living character who can feel, think, have a personality, and moral values.

Please make the characters more humane... imagine the characters living in their own world, instead of characters being forced into the plot.

Fourth, you're lacking in character visualization. It's best to narrate your character's distinctive appearance through actions to make them memorable to readers.

You can describe their hair, eyes, clothing style, and even their gait, rather than simply labeling them with names.

Names are meaningless if readers can't differentiate between characters. Design iconic, easily recognizable characters.

Fifth, please format your chapters better to be mobile-friendly. Each paragraph should be 1-3 sentences long, separated by a line.

Separate dialogue between characters to easily identify who is speaking. Separate dialogue from descriptions or explanations by the narrator.

And combine dialogue with body language only to reinforce a single meaning.

Sixth, perhaps reinforce the principle of show it, don't tell it. Your narrative is still more telling than showing.

That's not wrong. However, too much telling will reduce immersion. You can create character emotions more subtly with body language, circumstances, and symbolism.

Use showing to narrate crucial moments and use telling to strengthen the narrative.

Finally, I've rambled a lot. My criticism may be biased. After all, I only read one chapter of yours, and perhaps the average reader will only read one prologue before deciding whether to continue or stop.

Please improve your narrative. Sorry if my words are too harsh. Good luck!

Regards.
First of all,

Thank you — I appreciate the blunt, detailed feedback. I can see you put time into this, and I value the honesty. Your points landed, and I want you to know I’m taking them seriously.

So, to summarize what you said:
  • The prologue leans on a familiar, cheap conflict (sick relative + NTR) that can turn readers off.
  • Characters feel like plot devices rather than people.
  • Dialogue is long and confusing; speakers aren’t clearly introduced.
  • The scene tells more than it shows and uses broad metaphors instead of grounded, physical detail.
  • Visual distinctiveness and mobile‑friendly formatting are weak.
For the first point, it’s central to John’s arc, and I can't really change it, as it’s a turning point for John and appears later in ways that matter to his choices and relationships. Instead of removing the moment, I’ll try to change how it’s presented so readers will find it easier to connect with it.

And the second one: all the characters introduced here will again have importance in later chapters and be developed in more depth.

Regarding the third and fourth points, I have attempted to improve them based on your feedback, and I have included a sample scene below. The last point was a problem when I was copy‑pasting; the formatting was actually fixed on the actual chapter page.

Now, this is the sample hospital scene I tried based on what you said:

CHAPTER 0: PROLOGUE

The steady beep of the heart monitor filled the hospital room, each sound carving itself into John’s memory. The fluorescent light hummed above them. The air smelled of antiseptic and a faint, stale floral scent.

Alex, his brother, lay propped on pillows, pale but smiling. His black hair was messy, falling just short of reaching his shoulders. Dark circles rimmed his eyes; his beard was rough and unkempt but if you look closer you could glimpse at what would have once been a handsome face hidden underneath. Beside him, His favorite jacket lay folded on the chair.

“Come here, kid,” Alex said, voice rough but warm. He reached out and squeezed John’s shoulder with surprising strength. “You’ve got to stop looking like the world’s ending. I’m not gone yet.”

John moved closer without thinking, the chair scraping softly against the floor. He let Alex’s hand rest on his shoulder, feeling the tremor in Alex’s fingers as they relaxed.

John tried to smile. But It didn’t quite stick. “Yeah… you’re right. I just… I don’t know what I’d do without you.”

Alex snorted. “Oh please. You’re a grown ass man. Stop acting like I’m about to ascend into the afterlife.” He shifted, the pillow sighing under his breath. “It’s going to take a lot more than this to kill me.”

John exhaled, watching the shallow rise and fall of Alex’s chest. “That’s not very reassuring, considering you already look like you’re halfway there.” He continued chuckling a little. “Now that I take a closer look… you could actually pass for a zomb

Alex smiled, his eyes flicking away for a beat before returning. “Wow. Straight to insults. Real comforting.”

Beside John, a girl sat with silky black hair draped over one shoulder; her hazel eyes caught the light as she tilted her head, brows knitting in concern. She tucked a loose strand behind her ear and curled her fingers around John’s hand. “He’s not wrong, though. You really need a makeover.”

Alex’s smile faltered for a second, then his face twisted into a man who just suffered a stab wound. “Wow. From him, I expect nothing less. But you too Lisa?” He clutched his chest with mock drama. “My heart. Oh, you have killed me.”

John rolled his eyes . “OK, now you are just being dramatic.”

“I will be as dramatic as I want,” Alex shot back, his voice bright and loud. “How dare you insult this divine face?” He glanced at Lisa. “And especially you. I expect respect from my ‘MUCH’ younger sister-in-law.”

Lisa smiled and leaned in towards john, closing the small space between them. “Sorry but My baby comes first.”

John’s smirk was small and private, one that hinted at warmth and pride. “Well, you heard her. Honestly, it might help if you had moved on and got a girl of your own. I don’t know why you’re so hung up on that one girl.”

Alex went quiet for a beat, eyes dropping to the blanket, then lifted them again with a faint smile. “Well… forget it, you wouldn’t get it anyway.”

“Well, it was nice talking to you all, but I’m bored of you now, so you can go,” he continued, waving a hand in a lazy arc. “Meanwhile, I’ll admire my divine face.”

John shook his head. “Narcissistic much.”

Alex ignored the jab and turned his face toward Lisa; his expression softened in a way that made the room feel smaller. He leaned forward a fraction, voice gentler. “But on a more serious note, on the chance I close my eyes forever—take care of this crybaby for me. He’s a handful. Stubborn. Annoying.”

He looked at John, the words steady. “But he is my brother and doesn’t have anyone else other than you and me, so I will have to rely on you.”

Lisa’s nod came immediately. She squeezed John’s hand once, then let her fingers rest lightly along his wrist. “I will try my best.”

John’s face tightened, a shadow passing across it. He swallowed, jaw working. Alex watched him, eyes soft. “Oh, don’t start,” Alex said.

“This isn’t goodbye. It’s just… precautions.” He tried a smirk that didn’t reach his eyes. “I’ll make it. Obviously.”

John nodded, the motion small and forced, as if he were agreeing to a promise he didn’t believe. “Yeah. You’re too stubborn to die like this.”

Lisa slid her hand fully into his, thumb finding the pulse at his wrist and pressing gently. “You won’t be alone,” she whispered. “I will always be with you.”

Alex let out a short, amused sound and looked between them, the corner of his mouth lifting. “See? You’ve got someone who won’t let you drown. That’s more than most people get.”

The smile left his face as quickly as it had come. He leaned forward, lowering his voice to a conspiratorial hush. “Okay, one last thing. John, come closer. Lisa, this is a secret, so close your ears.”

John leaned in; the chair creaked beneath him. Alex’s gaze sharpened, his jaw tightening. “John, promise me. If by some miracle I die… listen to me clearly now… promise me you will delete my search history.”

John blinked, the tension in his shoulders loosening into something like relief. He let out a short laugh that shook at the edges. “Ah, grow up, you idiot. You almost gave me a heart attack there.”

Alex still held onto the serious look. “I need you to promise.”

John’s face folded into a mock solemnity for a second before cracking. “Of-course... not, hahah, I will make sure the shame follows you to the afterlife.”

Alex’s expression shifted to mock outrage, then softened into something warmer. “Wow betrayed by my own flesh and blood. Unbelievable. I practically raised you. I even changed your diapers, and this is how you repay me?”

Lisa, who had been half-listening, pushed a loose curl behind her ear and stepped a fraction closer, curiosity pulling at her features. “What are you two whispering about?”

Alex cleared his throat, a small, embarrassed sound. “Nothing important.”

John’s grin came quick and bright. “Oh, he was just asking me—”

Alex flushed, a brief color that made him look less fragile and more alive. “Hey, you little—”

Lisa laughed, the sound soft and contained. John’s smirk answered hers, and for a single breath the machines and the light and the smell of antiseptic all fell away into the background.

The monitor’s beeps kept time with their breathing. John kept his hand where Lisa held it; Alex watched them both with a look that was equal parts pride and worry. They sat like that for a moment, hands linked and small noises filling the gaps.
***
and I really appreciate the feed back
 

MFontana

Well-known member
Joined
Oct 24, 2025
Messages
382
Points
93
Firstly; El has a lot of great advice. Take it to heart. She's already covered most of it, narrative-wise, so I'll stick to the technical aspects.
Second, which is more of an expansion on the fourth point El brought up; I'll just quote it from another advice post here.
Some of the best advice that I was given early on, (besides the standard) is this:
Description follows Action.
Or in short, don't just describe things statically, immerse the reader by describing what they are doing. It blends with the whole 'Show, don't Tell' side of things but is more specialized and focused.
For example, don't just describe how someone looks, use those descriptions actively through the perspective of the "PoV Character" (usually the protagonist).

So, lets say your protagonist is looking at someone and you want to describe what she looks like as she approaches him.
DON'T say: She was five and a half feet tall, has black hair and blue eyes, and is walking towards him.
INSTEAD say something like: Each steady, deliberate, step she took brought her closer to where he stood. Her clear blue eyes locked on his, belied the icy glare she levelled his way. One only obscured in part by the raven blank bangs that hung over her left eye.

Of course, you can take this kind of thing in any direction you want. What's important is that descriptions are relevant to the actions being performed, that the PoV character is directly perceiving, or interacting with, them.
You were off to a solid start, on a structural and technical level with this, but quickly veered off into one of the more common amateur mistakes in regards to sentence and paragraph structure. In short, "One Sentence = One Paragraph". This isn't something you want to rely on as the heart of your authorial voice and style.
The "ideal" sweet spot, as far as paragraph length is between two and four sentences in the English language. It's not too long, and not too short, and gives each paragraph beat space to breathe. Sure, some SHOULD be shorter, and others SHOULD be longer, but having your standard in this range will help every moment shine exactly as you intend it to.
Structurally, what you're doing throughout just doesn't work when it is repeated frequently, or in every paragraph like you've been doing there.
Those single sentence, and sharp staccato beats are great, when used sparingly to deliver an intense, emotional, punch, but they lose that edge when that is the only register you're writing in.

The first question that comes to mind is "Why should I care about these characters?"
You could have the greatest narrative structure in the world, but if your characters are flat, it won't have any lasting impact, because nobody will be able to get invested in it.
The trick is that the world has to feel lived in. The characters have to feel real. This creates, and allows for, verisimilitude, or simply, the 'suspension of disbelief' and that allows all of the greatest stories ever told to matter to their readers.
What you're doing there is just giving what you feel is a tragic backstory to try and make your character's struggles relatable. Sure, there may be a lot more coming down the line, but what's there falls flat, because it's just the lows. There's nothing else. Nothing to make us (the readers) care about what is happening.

If you want to do the whole 'tragic backstory thing' don't just start in the hospital moment. There's no investment in the characters at that point, so it will fall flat for most readers, unless they have personally experienced the moment, and are self-projecting on the scene. Tragedy is created in context, not in a vacuum. Without the the emotional highs, and the normalcy, there is no weight to the tragedy.
IE: Batman's Origin Story. In order for the tragic murder of Bruce's parents to land sharply, the reader/viewer is allowed to see 'normal life' BEFORE tragedy strikes. We all KNOW it's coming, because it is dramatically necessary to the character's origin story, but the moment is allowed to breathe and form naturally. We're able to get invested in the character before it happens, so it hurts when it does.

The first step, admittedly, is breaking your current habits.
Namely.
This.
One.
Writing like this.
Where every sentence.
Is it's own paragraph.

There is a time, and a place for it, sure but until you break the habit of always writing like that, you'll find it difficult to really make those beats land how they should. I'm not saying it's wrong to use that structure in general, only to rely heavily upon it. You'll find (several times throughout) that I'll throw beats like that into my own work as well, when I want those sharper, staccato hits to land and intensify a moment while letting it breathe.
(Like you did here:
But he didn’t let her finish. He couldn’t stay there another second, couldn’t breathe in that house filled with betrayal and broken promises. He turned and walked out.
Lisa called after him, her voice shaking. “John...wait!”
He didn’t.
Couldn’t.
The storm swallowed him whole.
Rain hit like icy bullets. Cars blurred past, horns blaring distantly. His mind was a mess: his brother’s laugh, Lisa’s voice, Eliyas’s mocking tone, the sting of her slap.
He didn’t feel the cold anymore.
He didn’t hear the screech of tires.
Didn’t see the headlights.
Only one voice cut through—Lisa’s scream.
“John!”
It was the last thing he heard before everything went dark.
This, admittedly isn't bad (structurally-speaking). You've got the sharp beats where you want them, and they SHOULD be used here.
It's just the redundant structure that has them used throughout which causes them to lose their impact. It could definitely do with a lot of polish still, but from a technical standpoint, it is solid. This is exactly the time when you WANT those sharp beats to hit. Hard. And they would, if not for the near-constant use in earlier scenes.

My advice, harsh as it is going to be, is: Rewrite the entire thing. From scratch. But do not write a single paragraph with only one sentence in it. Instead, write no less than four complete sentences for each paragraph. When you're done, set them side by side, and read them yourself, out loud, with this question in mind. "Which of these sounds better?" Give each paragraph roughly a one second rest (beat of silence) before moving on to help isolate the beats within the narrative.

You'll thank me later.
 

abysslover12

New member
Joined
Dec 20, 2025
Messages
12
Points
3
Firstly; El has a lot of great advice. Take it to heart. She's already covered most of it, narrative-wise, so I'll stick to the technical aspects.
Second, which is more of an expansion on the fourth point El brought up; I'll just quote it from another advice post here.

You were off to a solid start, on a structural and technical level with this, but quickly veered off into one of the more common amateur mistakes in regards to sentence and paragraph structure. In short, "One Sentence = One Paragraph". This isn't something you want to rely on as the heart of your authorial voice and style.
The "ideal" sweet spot, as far as paragraph length is between two and four sentences in the English language. It's not too long, and not too short, and gives each paragraph beat space to breathe. Sure, some SHOULD be shorter, and others SHOULD be longer, but having your standard in this range will help every moment shine exactly as you intend it to.
Structurally, what you're doing throughout just doesn't work when it is repeated frequently, or in every paragraph like you've been doing there.
Those single sentence, and sharp staccato beats are great, when used sparingly to deliver an intense, emotional, punch, but they lose that edge when that is the only register you're writing in.

The first question that comes to mind is "Why should I care about these characters?"
You could have the greatest narrative structure in the world, but if your characters are flat, it won't have any lasting impact, because nobody will be able to get invested in it.
The trick is that the world has to feel lived in. The characters have to feel real. This creates, and allows for, verisimilitude, or simply, the 'suspension of disbelief' and that allows all of the greatest stories ever told to matter to their readers.
What you're doing there is just giving what you feel is a tragic backstory to try and make your character's struggles relatable. Sure, there may be a lot more coming down the line, but what's there falls flat, because it's just the lows. There's nothing else. Nothing to make us (the readers) care about what is happening.

If you want to do the whole 'tragic backstory thing' don't just start in the hospital moment. There's no investment in the characters at that point, so it will fall flat for most readers, unless they have personally experienced the moment, and are self-projecting on the scene. Tragedy is created in context, not in a vacuum. Without the the emotional highs, and the normalcy, there is no weight to the tragedy.
IE: Batman's Origin Story. In order for the tragic murder of Bruce's parents to land sharply, the reader/viewer is allowed to see 'normal life' BEFORE tragedy strikes. We all KNOW it's coming, because it is dramatically necessary to the character's origin story, but the moment is allowed to breathe and form naturally. We're able to get invested in the character before it happens, so it hurts when it does.

The first step, admittedly, is breaking your current habits.
Namely.
This.
One.
Writing like this.
Where every sentence.
Is it's own paragraph.

There is a time, and a place for it, sure but until you break the habit of always writing like that, you'll find it difficult to really make those beats land how they should. I'm not saying it's wrong to use that structure in general, only to rely heavily upon it. You'll find (several times throughout) that I'll throw beats like that into my own work as well, when I want those sharper, staccato hits to land and intensify a moment while letting it breathe.
(Like you did here:

This, admittedly isn't bad (structurally-speaking). You've got the sharp beats where you want them, and they SHOULD be used here.
It's just the redundant structure that has them used throughout which causes them to lose their impact. It could definitely do with a lot of polish still, but from a technical standpoint, it is solid. This is exactly the time when you WANT those sharp beats to hit. Hard. And they would, if not for the near-constant use in earlier scenes.

My advice, harsh as it is going to be, is: Rewrite the entire thing. From scratch. But do not write a single paragraph with only one sentence in it. Instead, write no less than four complete sentences for each paragraph. When you're done, set them side by side, and read them yourself, out loud, with this question in mind. "Which of these sounds better?" Give each paragraph roughly a one second rest (beat of silence) before moving on to help isolate the beats within the narrative.

You'll thank me later.
Alright I will rewrite the whole thing and try to incorporate all the points you and el listed. Appreciate you guys giving your time to help me out.
 

MFontana

Well-known member
Joined
Oct 24, 2025
Messages
382
Points
93
Alright I will rewrite the whole thing and try to incorporate all the points you and el listed. Appreciate you guys giving your time to help me out.
Glad to be of help.
And just in case you weren't aware, the advice I gave is part of my own editing process as well, just tailored to help you break what can easily become a very bad writing habit.
For my own stories (Proof-of-Concept scenes aside) what's posted here is usually the second or third draft, where I literally go back and re-write the entire chapter with the intent of polishing each moment.
Step 1: Draft Notes - Scribbles in my notebooks for scene and chapter beats, complete with mark-up tags. (*direct character action*, "dialogue", etc - They look like shit, but deliver on their purpose. Barebones structure, narrative beats, and story beats.)
Step 2: Rough Draft - Convert the draft notes into a rough, written, product. (~3000 - ~4500 words on average)
Step 3: Revisions & Polish - Re-write the draft with the sole question: "Okay, how can I improve what's written here?" -- (Typically ends up in my average range of ~5500 - ~6500 words)
Step 4: Repeat Step 3 if I'm not satisfied after reading the finished product.
Step 5: Release the current draft (only if I'm satisfied, or have finished the third draft).

I'm sharing this, just to help it sink in, that I'm not telling you to re-write it "to be an ass". There is method to my madness, and I'm just trying to help you hone your own craft. Also, while no "finished product" will ever have four complete sentences in every paragraph (for the same reason you don't want a single sentence per paragraph), doing this should help break the habit of writing only one sentence per paragraph.

For a finished product, you'll want a variety of both sentence, and paragraph, lengths because it creates a subtle ebb and flow in the narrative to direct the pacing.

EDIT:
Speaking of... I really do need to get back to work on my own writing now that I'm feeling a bit better.
Aestelle Nocte, Chapter 2 Rough draft... here we go.
 
Last edited:

abysslover12

New member
Joined
Dec 20, 2025
Messages
12
Points
3
Firstly; El has a lot of great advice. Take it to heart. She's already covered most of it, narrative-wise, so I'll stick to the technical aspects.
Second, which is more of an expansion on the fourth point El brought up; I'll just quote it from another advice post here.

You were off to a solid start, on a structural and technical level with this, but quickly veered off into one of the more common amateur mistakes in regards to sentence and paragraph structure. In short, "One Sentence = One Paragraph". This isn't something you want to rely on as the heart of your authorial voice and style.
The "ideal" sweet spot, as far as paragraph length is between two and four sentences in the English language. It's not too long, and not too short, and gives each paragraph beat space to breathe. Sure, some SHOULD be shorter, and others SHOULD be longer, but having your standard in this range will help every moment shine exactly as you intend it to.
Structurally, what you're doing throughout just doesn't work when it is repeated frequently, or in every paragraph like you've been doing there.
Those single sentence, and sharp staccato beats are great, when used sparingly to deliver an intense, emotional, punch, but they lose that edge when that is the only register you're writing in.

The first question that comes to mind is "Why should I care about these characters?"
You could have the greatest narrative structure in the world, but if your characters are flat, it won't have any lasting impact, because nobody will be able to get invested in it.
The trick is that the world has to feel lived in. The characters have to feel real. This creates, and allows for, verisimilitude, or simply, the 'suspension of disbelief' and that allows all of the greatest stories ever told to matter to their readers.
What you're doing there is just giving what you feel is a tragic backstory to try and make your character's struggles relatable. Sure, there may be a lot more coming down the line, but what's there falls flat, because it's just the lows. There's nothing else. Nothing to make us (the readers) care about what is happening.

If you want to do the whole 'tragic backstory thing' don't just start in the hospital moment. There's no investment in the characters at that point, so it will fall flat for most readers, unless they have personally experienced the moment, and are self-projecting on the scene. Tragedy is created in context, not in a vacuum. Without the the emotional highs, and the normalcy, there is no weight to the tragedy.
IE: Batman's Origin Story. In order for the tragic murder of Bruce's parents to land sharply, the reader/viewer is allowed to see 'normal life' BEFORE tragedy strikes. We all KNOW it's coming, because it is dramatically necessary to the character's origin story, but the moment is allowed to breathe and form naturally. We're able to get invested in the character before it happens, so it hurts when it does.

The first step, admittedly, is breaking your current habits.
Namely.
This.
One.
Writing like this.
Where every sentence.
Is it's own paragraph.

There is a time, and a place for it, sure but until you break the habit of always writing like that, you'll find it difficult to really make those beats land how they should. I'm not saying it's wrong to use that structure in general, only to rely heavily upon it. You'll find (several times throughout) that I'll throw beats like that into my own work as well, when I want those sharper, staccato hits to land and intensify a moment while letting it breathe.
(Like you did here:

This, admittedly isn't bad (structurally-speaking). You've got the sharp beats where you want them, and they SHOULD be used here.
It's just the redundant structure that has them used throughout which causes them to lose their impact. It could definitely do with a lot of polish still, but from a technical standpoint, it is solid. This is exactly the time when you WANT those sharp beats to hit. Hard. And they would, if not for the near-constant use in earlier scenes.

My advice, harsh as it is going to be, is: Rewrite the entire thing. From scratch. But do not write a single paragraph with only one sentence in it. Instead, write no less than four complete sentences for each paragraph. When you're done, set them side by side, and read them yourself, out loud, with this question in mind. "Which of these sounds better?" Give each paragraph roughly a one second rest (beat of silence) before moving on to help isolate the beats within the narrative.

You'll thank me later.
I tried to make the scene more emotional, but I think I stretched it too far. I’d like your feedback.


Here is the chapter I did keep the hospital scene as is, though

CHAPTER 0: PROLOGUE

The steady beep of the heart monitor filled the hospital room, each sound carving itself into John’s memory. Above them, the fluorescent light hummed faintly, casting a sterile glow across the walls. The air carried the sharp bite of antiseptic, softened only by a stale floral scent that clung to the curtains.

Alex, his brother, lay propped against pillows, pale but smiling. His black hair was messy, falling just short of his shoulders. Dark circles rimmed his eyes, and his beard was rough and unkempt, though if you looked closely you could glimpse the handsome face that had once been there. Beside him, his favorite jacket lay folded neatly on the chair, a reminder of better days.

“Come here, kid,” Alex said, his voice rough but warm. He reached out and squeezed John’s shoulder with surprising strength. “You’ve got to stop looking like the world’s ending. I’m not gone yet.”

John moved closer without thinking, the chair scraping softly against the floor. He let Alex’s hand rest on his shoulder, feeling the tremor in his brother’s fingers as they slowly relaxed.

John tried to smile, but it didn’t quite stick. “Yeah… you’re right. I just… I don’t know what I’d do without you.”

Alex snorted. “Oh please. You’re a grown ass man. Stop acting like I’m about to ascend into the afterlife.” He shifted, the pillow sighing beneath him. “It’s going to take a lot more than this to kill me.”

John exhaled, watching the shallow rise and fall of Alex’s chest. “That’s not very reassuring, considering you already look like you’re halfway there.” He chuckled softly. “Now that I take a closer look… you could actually pass for a zombie.”

Alex smiled, his eyes flicking away for a beat before returning. “Wow. Straight to insults. Real comforting.”

Beside John, Lisa sat with silky black hair draped over one shoulder. Her hazel eyes caught the light as she tilted her head, brows knitting in concern. She tucked a loose strand behind her ear and curled her fingers around John’s hand. “He’s not wrong, though. You really need a makeover.”

Alex’s smile faltered, then twisted into mock agony. “Wow. From him, I expect nothing less. But you too, Lisa?” He clutched his chest with exaggerated drama. “My heart. Oh, you have killed me.”

John rolled his eyes. “Okay, now you’re just being dramatic.”

“I will be as dramatic as I want,” Alex shot back, his voice bright and loud. “How dare you insult this divine face?” He glanced at Lisa. “And especially you. I expect respect from my much younger sisterinlaw.”

Lisa leaned closer to John, her smile playful. “Sorry, but my baby comes first.”

John’s smirk was small and private, a flicker of warmth and pride. “Well, you heard her. Honestly, it might help if you moved on and got a girl of your own. I don’t know why you’re so hung up on that one girl.”

Alex went quiet for a beat, eyes dropping to the blanket before lifting again with a faint smile. “Well… forget it. You wouldn’t get it anyway.”

He waved a hand lazily. “Well, it was nice talking to you all, but I’m bored now. You can go. Meanwhile, I’ll admire my divine face.”

John shook his head. “Narcissistic much.”

Alex ignored the jab and turned toward Lisa, his expression softening in a way that made the room feel smaller. He leaned forward slightly, his voice gentler. “But on a more serious note, on the chance I close my eyes forever—take care of this crybaby for me. He’s a handful. Stubborn. Annoying.”

His gaze shifted to John, steady and unflinching. “But he’s my brother, and he doesn’t have anyone else other than you and me. So I’ll have to rely on you.”

Lisa nodded immediately. She squeezed John’s hand once, then let her fingers rest lightly along his wrist. “I will try my best.”

John’s face tightened, a shadow crossing it. He swallowed hard, jaw working. Alex watched him, eyes soft. “Oh, don’t start,” Alex said.

“This isn’t goodbye. It’s just… precautions.” He tried a smirk that didn’t reach his eyes. “I’ll make it. Obviously.”

John nodded, the motion small and forced, as if agreeing to a promise he didn’t believe. “Yeah. You’re too stubborn to die like this.”

Lisa slid her hand fully into his, thumb pressing gently against the pulse at his wrist. “You won’t be alone,” she whispered. “I will always be with you.”

Alex let out a short, amused sound and looked between them, the corner of his mouth lifting. “See? You’ve got someone who won’t let you drown. That’s more than most people get.”

The smile faded quickly. He leaned forward, lowering his voice to a conspiratorial hush. “Okay, one last thing. John, come closer. Lisa, this is a secret, so close your ears.”

John leaned in, the chair creaking beneath him. Alex’s gaze sharpened, his jaw tightening. “John, promise me. If by some miracle I die… listen to me clearly now… promise me you will delete my search history.”

John blinked, the tension in his shoulders loosening into something like relief. He let out a short laugh that shook at the edges. “Ah, grow up, you idiot. You almost gave me a heart attack there.”

Alex held onto the serious look. “I need you to promise.”

John’s face folded into mock solemnity before cracking into a grin. “Of course… not. I’ll make sure the shame follows you to the afterlife.”

Alex’s expression shifted to mock outrage, then softened into something warmer. “Wow. Betrayed by my own flesh and blood. Unbelievable. I practically raised you. I even changed your diapers, and this is how you repay me?”

Lisa, who had been halflistening, pushed a loose curl behind her ear and stepped closer, curiosity tugging at her features. “What are you two whispering about?”

Alex cleared his throat, a small, embarrassed sound. “Nothing important.”

John’s grin came quick and bright. “Oh, he was just asking me—”

Alex flushed, color rising to his cheeks, making him look less fragile and more alive. “Hey, you little—”

Lisa laughed, the sound soft and contained. John’s smirk answered hers, and for a single breath the machines, the light, and the antiseptic smell all faded into the background.

The monitor’s beeps kept time with their breathing. John kept his hand where Lisa held it; Alex watched them both with a look that was equal parts pride and worry. They sat like that for a moment—hands linked, small noises filling the gaps.

***

A month had passed since that visit. Time moved forward in quiet increments—hospital checkins, recovery, the slow return of strength. What had once felt fragile began to settle into something steadier, though the weight of those days lingered in John’s chest like a shadow that refused to fade.

The quiet of the morning shattered with the sharp buzz of an alarm. John lay sprawled across the bed, face buried in the pillow, sheets tangled around him like the aftermath of a restless night. He cracked his eyes open halfway, groaning as he reached out and slapped the alarm into silence.

“Ah… I want to sleep,” he muttered, voice muffled against the pillow. He rolled his head to the side, ready to sink back into sleep—until another alarm blared from across the room. Louder. More insistent. Impossible to ignore.

John let out a long, defeated sigh. His hand dragged across his face, fingers pressing into his eyes as if he could rub the fatigue away. Slowly, he pushed himself upright, shoulders heavy, movements sluggish. Pale morning light slipped through the blinds, striping the room in muted gold. Dust motes drifted lazily in the beams, catching the air like fragments of a dream.

For a moment he sat hunched on the edge of the bed, caught between the comfort of rest and the inevitability of another day. Then, with reluctant resolve, he swung his legs down, the chill of the floor biting at his bare feet.

He didn’t bother with slippers as he pushed himself off the bed, bare feet hitting the cold floor. The bedroom door was already open; he slipped through without glancing around, moving straight toward the bathroom.

The shower was quick, just enough to wash the weight of sleep away. He grabbed the towel from the hanger, patted himself dry and wrapped it around his waist.

The mirror caught him on the way out. A young man stared back—black hair clinging in damp strands, framing a face sharpened by the morning light. His eyes, a clear skyblue, caught the glow and threw it back, bright and restless even in the haze of sleep. He lifted a hand, slicked his hair back from his forehead, and let a smirk curl across his mouth.

“Damn. I look good.”

The thought lingered longer than it should have. Another face slipped into the mirror—Alex, grinning the way only he could, smug and selfsatisfied, the kind of narcissist who knew he was goodlooking and never let anyone forget it. John’s smirk faltered, the resemblance too close for comfort.

‘Focus, John. Don’t let that cringe lord corrupt you.’

He shook his head, a short laugh escaping as he leaned over the sink. The bristles of the toothbrush scraped rhythmically, the sound filling the quiet as he tried to wash away the thought along with the taste of sleep.

Back in the bedroom, he pulled open the wardrobe. Normally he’d settle for something simple. Not today. Today was different. Alex was finally cleared to leave the hospital. ‘Took that idiot long enough,’ he thought, tugging on his best clothes.

Minutes later, he stepped out of the house, locked the door behind him, and called for a ride. The city waited, and so did the hospital.

The ride carried him through the city, streets blurring past the window. The sky was heavy, clouds pressing low, and halfway there the first drops began to fall. By the time the car slowed near the hospital, rain was coming down in sheets, hammering the pavement, streaking the glass.

John frowned, pressing a hand against the window.’ What the hell…? ‘The day wasn’t supposed to feel like this.

He paid the driver, shoved the door open, and jogged through the downpour, his clothes plastered to his skin by the time he reached the entrance.

Inside, the air was warm, dry—quiet, with that faint hospital smell John had grown sick of. He shook himself off, drops of rain sliding from his sleeves, and set the flower he’d bought earlier on the counter. Leaning forward, he steadied his voice.

“I’m here for Alex Blackwell. My brother. He was supposed to be discharged today.”

The receptionist gave her professional smile. “Okay, just give me a second.”

John nodded, shifting his weight as his eyes wandered across the lobby. The minutes stretched, the hum of fluorescent lights filling the silence.

Two minutes later, the receptionist looked up again. The smile was gone. Her tone had changed, careful, hesitant.
“Sir… just to confirm, you said your brother’s name was Alex Blackwell?”

John’s stomach tightened. “Yeah,” he answered, voice rough. “Is something wrong?”

She drew in a breath, her eyes flicking down to the screen before meeting his again. The look alone made his gut twist.
“I… I’m very sorry to tell you this. Alex passed away earlier this morning.”

The words landed like a blow. For a moment, John just stood there, frozen, the hum of the hospital collapsing into a dull roar in his ears. His chest tightened, his breath caught, and the world tilted as if the floor had dropped out beneath him

John’s breath caught, his chest tightening as the words echoed in his head. Passed away. No. That wasn’t right. That wasn’t possible.

He shook his head, voice breaking. “No. You’re wrong. He was supposed to be discharged today. He was doing well.”

Before the receptionist could respond, John turned and bolted down the hallway. His shoes squeaked against the polished floor, his pulse pounding louder than the hum of the lights above. He reached Alex’s room, shoved the door open—empty. The bed was done, machines gone, curtains drawn.

His stomach dropped. “Where is he? Where the hell is he?”

A nurse appeared, hands raised in calm. “Sir, please—”

John’s voice cracked, raw with panic. “Don’t call me sir. Just tell me where he is. Take me to him!”

The nurse hesitated, her eyes flickering with recognition. She’d seen John here too many times—waiting, worrying, clinging to hope. Her voice softened, careful. “John… please. You need to calm down. Just breathe.”

But John shook his head violently, his voice breaking as it rose. “Don’t tell me to calm down. He was supposed to be discharged today. Why are you all saying he’s dead?” His chest heaved, words tumbling out raw, tangled with fear. He leaned closer, eyes burning, desperate.

The nurse lowered her gaze, her voice heavy. “Yes… he was supposed to leave today. Everything looked fine. But this morning… he… he just stopped breathing. We don’t even know why.”

John’s voice cracked, trembling. “No… no I don’t believe you. Please… just take me to him.”

Her lips pressed tight, sympathy softening her eyes. She nodded once, quietly, and turned.

The walk felt endless. Each step echoed too loud, the air colder, heavier. John’s breath came shallow, his pulse hammering in his ears. When the door to the corpse room opened, the world narrowed to a single point.

Alex lay still. No smile. No voice. No warmth. Just silence.

John froze, then moved forward slowly, as if his body no longer belonged to him. He reached the bed, his hands trembling as he gripped Alex’s shoulders. “Wake up,”

He whispered, shaking him gently. “Come on, man. The joke’s not funny.” His voice cracked, rising. “Wake up!”

The nurse stepped closer, trying to steady him. “John… please.”

But John shook harder, desperation spilling out. “You promised me! You said you wouldn’t die. You said you wouldn’t leave me! WAKE UP, YOU IDIOT!”

His voice cracked into a scream, echoing against the sterile walls. His knees gave way, buckling beneath him, and he collapsed against the bed. His forehead pressed into the sheets, his sobs tearing through the quiet—raw, jagged, broken.

The nurse hovered nearby, her own eyes wet, torn between duty and compassion. She reached out, steadying his shoulder, but didn’t try to pull him away. She knew this wasn’t something to interrupt.

Finally, when his sobs dulled into silence, she held out Alex’s jacket. The familiar fabric, worn and folded, carried the weight of memory. John took it with shaking hands, clutching it to his chest. The scent, the feel, shattered him all over again.

He sat there for a long moment, jacket pressed tight, whispering through the tears. “You promised me… you promised.”

When John finally pushed himself up, the jacket weighed heavy in his arms. He stepped out of the hospital doors, the automatic glass sliding open with a hiss. The world outside felt different—colder, heavier. Rain hammered down, relentless, soaking him the instant he crossed the threshold. He didn’t flinch. He didn’t reach for cover.

The jacket clung to him, darkening as the water seeped in, each drop striking like a drumbeat, like a reminder of what he’d lost. His hair plastered to his forehead, his shoes splashing through shallow puddles, but he kept walking. No umbrella. No direction. Just forward.

His feet carried him forward without thought. Each drop struck like a drumbeat, like a reminder of what he’d lost. He pulled out his phone, thumb trembling against the screen, and called Lisa. The line rang, unanswered. His jaw tightened.

‘I need her. I can’t do this alone.’

Memories of her flickered in his mind—her hand squeezing his at Alex’s bedside, her voice promising he wouldn’t be alone. That promise was all he had left, and it pulled him through the storm.

By the time he reached her house or more like palace, his clothes clung to him, hair plastered to his forehead. He didn’t knock. He pushed the door open, desperate, blind to anything else.

John started down the corridor, the weight of Alex’s jacket dragging at his shoulders. Then he heard it—Lisa’s voice, light and familiar, drifting from the living room. He turned, hope flickering for the first time all day.

But what he saw shattered it.

Lisa’s lips pressed against Eliyas, the man’s hand lingering at her waist. Eliyas’s smirk broke into laughter, the kind of laugh John had heard too many times in schoolyards and parties—mocking, entitled, rich.

Something inside John cracked. A sound escaped him—half laugh, half sob.

Lisa spun, eyes wide, her body jerking away from Eliyas as if burned. “J…John? What are you—” She faltered, panic flooding her face. “Wait… wait, let me explain, this isn’t—”

John’s hollow laugh cut her off, his voice shaking. “Explain? What’s there to explain? That you’re cheating on me… with the guy I hate most?”

Eliyas turned, confusion flickering before it hardened into smugness. He wiped his mouth with the back of his hand, eyes narrowing.
“Well, if it isn’t the charity case. Did you really think Lisa would stay with someone like you when someone so much better is in-front of her?”

John’s rage surged, but his voice came out low, cutting. “Better? You mean you? The guy who hides behind daddy’s money? The guy who has to buy his friends?”

Eliyas’s smirk widened, slow and deliberate, his words dripping poison.
“At least I have a father,” he sneered. “Yours didn’t even bother sticking around. Walked away like you were nothing. Hell, he probably doesn’t even know you exist. Or maybe your mother never even knew who he was. That’s why you carry her name, Blackwell — because there was nothing from him to claim. You’re not a son, you’re a mistake. Just another bastard she dragged into the world while selling herself to anyone who’d throw a few bills her way. That’s your legacy, John — dirt, shame, and a name that means nothing.”

The words sank deep, sharper than any fist.

John snapped.

His knuckles smashed into Eliyas’s jaw, the impact snapping his head sideways and sending him staggering back. Shock flashed across Eliyas’s face before it twisted into fury.

They crashed into each other, fists flying, the room erupting into chaos.

Lisa screamed, rushing forward.
“Stop it! Both of you, stop!”

She grabbed at John’s arm, trying to pull him back, but he tore free and drove Eliyas to the ground.

John straddled him, fists slamming down again and again, every blow fueled by grief and something uglier.
“You don’t get to talk about my mother!” he shouted. “You don’t know anything about her!”

Blood smeared across Eliyas’s mouth as he laughed, the sound thin, cracked, and cruel. He spat red onto the floor, eyes burning up at John.
“I know exactly what people say,” he snapped. “She was broke, desperate, and willing to spread her legs for anyone who’d pay. And you?” He sneered. “You’re the result. Tell me I’m wrong.”

Lisa shoved between them, tears streaking her face. “Stop it! Please, stop! This isn’t you, John!” Her voice cracked, torn between fear and guilt, her hands trembling as she tried to hold him back.

John’s hand closed around a bottle on the counter, knuckles white as he raised it high. His breath came ragged, eyes wild.

“John, stop!” Lisa’s voice cracked, desperate. She threw herself between them, her hand flying across his face. The slap rang sharp, cutting through the storm inside him.

John froze, stunned, the bottle slipping from his grip. His chest heaved, disbelief flooding him.

Lisa’s eyes brimmed with tears, her own hand trembling as if she couldn’t believe what she’d just done. “John… please. This isn’t you. I didn’t mean for you to find out like this. I’m sorry. Just… listen to me.”

But Eliyas chuckled from the floor, wiping blood from his lip. “Go on, Lisa. Tell him how he was never enough.”

John’s face twisted, but no words came. He turned, stumbling toward the door, silence heavier than any insult.

Lisa called after him, her voice shaking. “John...wait!”

He didn’t.

Couldn’t.

The storm swallowed him whole.

Rain hit like icy bullets. Cars blurred past, horns blaring distantly. His mind was a mess: his brother’s laugh, Lisa’s voice, Eliyas’s mocking tone, the sting of her slap.

He didn’t feel the cold anymore.

He didn’t hear the screech of tires.

Didn’t see the headlights.

Only one voice cut through—Lisa’s scream.

“John!”

It was the last thing he heard before everything went dark.
 

MFontana

Well-known member
Joined
Oct 24, 2025
Messages
382
Points
93
BEFORE
The steady beep of the heart monitor filled the hospital room, each sound carving itself into John’s memory. The fluorescent light hummed above them. The air smelled of antiseptic and a faint, stale floral scent.

Alex, his brother, lay propped on pillows, pale but smiling. His black hair was messy, falling just short of reaching his shoulders. Dark circles rimmed his eyes; his beard was rough and unkempt but if you look closer you could glimpse at what would have once been a handsome face hidden underneath. Beside him, His favorite jacket lay folded on the chair.

“Come here, kid,” Alex said, voice rough but warm. He reached out and squeezed John’s shoulder with surprising strength. “You’ve got to stop looking like the world’s ending. I’m not gone yet.”

John moved closer without thinking, the chair scraping softly against the floor. He let Alex’s hand rest on his shoulder, feeling the tremor in Alex’s fingers as they relaxed.

John tried to smile. But It didn’t quite stick. “Yeah… you’re right. I just… I don’t know what I’d do without you.”

Alex snorted. “Oh please. You’re a grown ass man. Stop acting like I’m about to ascend into the afterlife.” He shifted, the pillow sighing under his breath. “It’s going to take a lot more than this to kill me.”

John exhaled, watching the shallow rise and fall of Alex’s chest. “That’s not very reassuring, considering you already look like you’re halfway there.” He continued chuckling a little. “Now that I take a closer look… you could actually pass for a zomb

Alex smiled, his eyes flicking away for a beat before returning. “Wow. Straight to insults. Real comforting.”

Beside John, a girl sat with silky black hair draped over one shoulder; her hazel eyes caught the light as she tilted her head, brows knitting in concern. She tucked a loose strand behind her ear and curled her fingers around John’s hand. “He’s not wrong, though. You really need a makeover.”
AFTER
The steady beep of the heart monitor filled the hospital room, each sound carving itself into John’s memory. Above them, the fluorescent light hummed faintly, casting a sterile glow across the walls. The air carried the sharp bite of antiseptic, softened only by a stale floral scent that clung to the curtains.

Alex, his brother, lay propped against pillows, pale but smiling. His black hair was messy, falling just short of his shoulders. Dark circles rimmed his eyes, and his beard was rough and unkempt, though if you looked closely you could glimpse the handsome face that had once been there. Beside him, his favorite jacket lay folded neatly on the chair, a reminder of better days.

“Come here, kid,” Alex said, his voice rough but warm. He reached out and squeezed John’s shoulder with surprising strength. “You’ve got to stop looking like the world’s ending. I’m not gone yet.”

John moved closer without thinking, the chair scraping softly against the floor. He let Alex’s hand rest on his shoulder, feeling the tremor in his brother’s fingers as they slowly relaxed.

John tried to smile, but it didn’t quite stick. “Yeah… you’re right. I just… I don’t know what I’d do without you.”

Alex snorted. “Oh please. You’re a grown ass man. Stop acting like I’m about to ascend into the afterlife.” He shifted, the pillow sighing beneath him. “It’s going to take a lot more than this to kill me.”

John exhaled, watching the shallow rise and fall of Alex’s chest. “That’s not very reassuring, considering you already look like you’re halfway there.” He chuckled softly. “Now that I take a closer look… you could actually pass for a zombie.”

Alex smiled, his eyes flicking away for a beat before returning. “Wow. Straight to insults. Real comforting.”

Beside John, Lisa sat with silky black hair draped over one shoulder. Her hazel eyes caught the light as she tilted her head, brows knitting in concern. She tucked a loose strand behind her ear and curled her fingers around John’s hand. “He’s not wrong, though. You really need a makeover.”
Putting the openings side-by-side here.
You've definitely taken the advice to heart, and the effort shows. You're still leaning a little heavily on the "telling" side, but it is clearly not only an improvement (a significant one btw), but a much better hook. You're still using a lot of single-sentence paragraphs, but it shows that you're trying to switch things up a bit, so that alone is also a major improvement.

As a general "rule", I'd suggest the following:
For slower moments, use longer paragraphs (3-4 sentences each) and to create a lingering weight, longer sentences as well.
For faster moments, or sudden and dramatic shifts, or to create a steady and deliberate, pace, lean towards shorter paragraphs and sentences, to make those sharper staccato beats land harder when they need to.


Line-Edits (By Paragraph) of your opening to the prologue.
The steady beep (tone) of the heart monitor filled the hospital room[,](.) eEach sound carving itself into John’s memory burning a hole in John's heart, one hollow beep at a time. Above them, the fluorescent light hummed faintly, casting a sterile its soft glow across the empty walls. [The sharp bite of antiseptic hung in][the air] (repositioned and slightly edited) carried, softened only by a stale floral scent that clung to the curtains. <-- Keep this. It is good.
After the edits
The steady tone of the heart monitor filled the hospital room. Each sound burning a hole in John's heart, one hollow beep at a time. Above them, the fluorescent light hummed faintly, casting its soft glow across the empty walls. The sharp bite of antiseptic hung in the air, softened only by a stale floral scent that clung to the curtains.
Of course, the above "edited" sample still needs a lot of polish too and is far from perfect it should still serve its intended purpose.
Next paragraph.
Alex, his brother, lay propped (up) against (the) pillows, pale (weary) but smiling. His (messy) black hair was messy, (framed his face, pale as it was,) falling just short of his shoulders. Dark circles rimmed his eyes[,]. and hHis beard was rough and unkempt (and had clearly seen better days), though if you looked closely you could (still) glimpse the (a) handsome face that had once been there (beneath it all). Beside him [on the nearby chair], his favorite jacket lay folded neatly [on the chair], a reminder of (those not-so-distant )better days.
And after the edits have been applied.
Alex, his brother, lay propped up against the pillows, weary but smiling. His messy black hair framed his face, pale as it was, falling just short of his shoulders. Dark circles rimmed his eyes. His beard was rough and unkept and had clearly seen better days, though if you looked closely you could still glimpse a handsome face beneath it all. Beside him on the nearby chair, his favorite jacket lay folded neatly, a reminder of those not-so-distant better days.
As before, the edits can still do with some polish, but should suffice as examples of what I meant.
Moving on to the next paragraph. There's not much really that needs to be cut/edited here, but you could definitely add a bit more weight to the moment. Let it linger and breathe a bit to deliver that gut-punch heartache you're aiming for.
“Come here, kid[,](.)” Alex said (mustered the strength to say), his voice (still carried its) rough(,) but warm (edge). (With all the strength he still had,) Hhe reached out and (took hold of) squeezed John’s shoulder (, gripping it) with surprising strength (before pulling him in closer). “You’ve got to stop looking like the world’s ending. I’m not gone yet.”
And after the edits. I intentionally left the dialogue untouched because it is all technically fine, especially if that's how you want the character speaking. Only you can determine the "right way" for the character to speak while staying true to their character.
"Come here, kid." Alex mustered the strength to say, his voice still carried its rough, but warm, edge. With all the strength he still had, he reached out and took hold of John's shoulder, gripping it with surprising strength before pulling him in closer. "You've got to stop looking like the world's ending. I'm not gone yet."



So, overall you've definitely improved the opening. As a not-so-secret bit of advice, you want the emotional beats to linger. It's entirely fine to stretch them out for as long as you need to in order to build the atmosphere and the tension of the moment that you want. A slow moment like that hospital scene, is perfect to take a slower pace with in order to really build up the emotional heartache of the moment, but don't just focus on the descriptions. Describe how the protagonist 'feels'. by showing it in his posture. His expressions. His actions. His thoughts.
What is he doing?
What is he feeling?

What is he thinking?
It is okay to stretch the moment to let the reader know these things, unless you intend for John to be a 'blank-slate' style protagonist that the reader is meant to project themselves onto. If he isn't meant to serve this purpose, you'll definitely want to give him his own identity in the moment, and let that show in everything he says, does, thinks, and feels.

John moved closer without thinking, the chair scraping softly against the floor. He let Alex’s hand rest on his shoulder, feeling the tremor in his brother’s fingers as they slowly relaxed.
This, for example, is too passive for what I'd consider to be a "good" protagonist, and it isn't really addressing any of the internal questions. As an example, my approach (below) to that same exact moment would be: (without actually changing anything story-wise).
John reflexively slid the chair closer in order to keep his balance, before straightening up in the chair. His (left/right) hand [The one of the shoulder being grabbed] rose to clasp Alex's hand in his own, his brother's skin slightly cool to the touch sent a chill rushing through him. The subtle tremor in his brother's hand became immediately apparent under his own grip, betraying Alex's failing strength, and worsening condition.
'(Thoughts - Single broken sentence)'
'(Thoughts - Single broken sentence)'
'(Thoughts - Single broken sentence)'

You don't have to change the scene at all. Not really. It just needs to be fleshed out, and given the room to breathe and shine on its own merits.
I'll never suggest copying my own stylistic approach because it isn't for everyone, but at least as a structural reference point, my own approach would be to spend at least 2500 - 3000 words (~60%-70% of the chapter) on the hospital room scene to give it the weight, and intensity, that the moment deserves; but hey, that's just me. You do what works for you.

Grammatically, Spelling, and Technical stuff wise, you've made some real strides forwards, and while you're still making what I would consider a major technical mistake (one sentence / paragraph - Outside of the specifically intended staccato beats like the end of the prologue), and it is one that separates "amateur" authors from "professional" authors, especially in the classical sense. That said, some folks like reading stories like that, so if they're your target audience, by all means keep doing what you're doing.
 

abysslover12

New member
Joined
Dec 20, 2025
Messages
12
Points
3
BEFORE

AFTER


Putting the openings side-by-side here.
You've definitely taken the advice to heart, and the effort shows. You're still leaning a little heavily on the "telling" side, but it is clearly not only an improvement (a significant one btw), but a much better hook. You're still using a lot of single-sentence paragraphs, but it shows that you're trying to switch things up a bit, so that alone is also a major improvement.

As a general "rule", I'd suggest the following:
For slower moments, use longer paragraphs (3-4 sentences each) and to create a lingering weight, longer sentences as well.
For faster moments, or sudden and dramatic shifts, or to create a steady and deliberate, pace, lean towards shorter paragraphs and sentences, to make those sharper staccato beats land harder when they need to.


Line-Edits (By Paragraph) of your opening to the prologue.

After the edits

Of course, the above "edited" sample still needs a lot of polish too and is far from perfect it should still serve its intended purpose.
Next paragraph.

And after the edits have been applied.

As before, the edits can still do with some polish, but should suffice as examples of what I meant.
Moving on to the next paragraph. There's not much really that needs to be cut/edited here, but you could definitely add a bit more weight to the moment. Let it linger and breathe a bit to deliver that gut-punch heartache you're aiming for.

And after the edits. I intentionally left the dialogue untouched because it is all technically fine, especially if that's how you want the character speaking. Only you can determine the "right way" for the character to speak while staying true to their character.




So, overall you've definitely improved the opening. As a not-so-secret bit of advice, you want the emotional beats to linger. It's entirely fine to stretch them out for as long as you need to in order to build the atmosphere and the tension of the moment that you want. A slow moment like that hospital scene, is perfect to take a slower pace with in order to really build up the emotional heartache of the moment, but don't just focus on the descriptions. Describe how the protagonist 'feels'. by showing it in his posture. His expressions. His actions. His thoughts.
What is he doing?
What is he feeling?

What is he thinking?
It is okay to stretch the moment to let the reader know these things, unless you intend for John to be a 'blank-slate' style protagonist that the reader is meant to project themselves onto. If he isn't meant to serve this purpose, you'll definitely want to give him his own identity in the moment, and let that show in everything he says, does, thinks, and feels.


This, for example, is too passive for what I'd consider to be a "good" protagonist, and it isn't really addressing any of the internal questions. As an example, my approach (below) to that same exact moment would be: (without actually changing anything story-wise).


You don't have to change the scene at all. Not really. It just needs to be fleshed out, and given the room to breathe and shine on its own merits.
I'll never suggest copying my own stylistic approach because it isn't for everyone, but at least as a structural reference point, my own approach would be to spend at least 2500 - 3000 words (~60%-70% of the chapter) on the hospital room scene to give it the weight, and intensity, that the moment deserves; but hey, that's just me. You do what works for you.

Grammatically, Spelling, and Technical stuff wise, you've made some real strides forwards, and while you're still making what I would consider a major technical mistake (one sentence / paragraph - Outside of the specifically intended staccato beats like the end of the prologue), and it is one that separates "amateur" authors from "professional" authors, especially in the classical sense. That said, some folks like reading stories like that, so if they're your target audience, by all means keep doing what you're doing.
Thank you so much for taking the time to give such a detailed breakdown. As a writer who’s just starting out, feedback like this genuinely helps a lot. I’m not even a native speaker, so most of the time I’m writing based on instinct and what feels right to me from the things I’ve read before. Having someone actually break down why something works or doesn’t work is incredibly valuable, and I really appreciate you doing that.

Your points gave me a clearer way to think about my writing instead of just guessing. It helps me understand what I should keep, what I should rethink, and how to improve without losing my own voice. I really appreciate the help.

so Other than the opening, how did the other scenes feel to you?
 
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