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1 .

Couple of things.

- Sometimes it's not always clear in the scenes where the characters are in relation to each other or the room that they're in. (I also tend to have that problem myself since I write a lot of scenes dialogue first before figuring out how to "set the stage", as it were.)

For example, at the beginning:

The Engineer smiled up at him. [Who? Yes, the narrative makes it clear later that this "him" is the Spy, but since this is the first sentence of your story it behooves you to introduce both of the characters by "name".]
“What?” [I presume Spy is saying this. Might want to make that more clear.]
“…Nothin’.”
How close are they? Are they both sitting? Are they directly looking at each other, or engaging and dis-engaging as the conversation goes on? Do they give each other their undivided attention, or are they fiddling with their hands? Etc. The more senses that are involved in the narrative, the more immersion the reader gets into the scene.

- I don't quite buy the dialogue. A lot of the things they say to each other sound more like exposition for the audience. A fully omniscient narrator (which I presume your story has) would be able to examine what both of them are thinking without the need to say things out loud; a narrator limited to one party should make it more clear that we are stuck to the perceptions of said party.

- The premise has promise, but it could use a lot of fleshing out. Do you want to tell the full arc of Spy and Engineer's relationship starting from when they first met to ending up officially together? Or do you want to focus on the moment that Spy, and then Engineer, realize what they mean to each other? Why should I care about them getting together? (I'm open to all pairings, but I tend to assume that both sides are rather hostile to their enemies, so How Did They Get Here?)