Dieselpunks

Dieselpunk + Steampunk Culture

I've finally found a new batch of time (and inspiration) to get to work on my "pulp" style fiction.  I'd love to know what the other members thoughts and feelings are regarding this small introduction to my project.  Does it feel "Dieselpunk"?

 

NOTE: Keep in mind the only editing that's been done so far is a run through a spell checker.  It's still a rough first draft.

 

Adventure 1

With an unmistakable rumble the Monorail painted an even darker shadow on to the pitch-black night atop of the poor and dilapidated neighborhoods it’s track support system were built into as the 11:30 express railed by. The pocket areas built around the track system that dotted the cities underbelly were called by one name: Track town. It was not a place to find your self once the sun went down and the monorail began running single payload, passenger only, cars out of the industrial zones of the city and into the entertainment districts.

"Right on time." Jackknife grumbled to a second man as he spat the cigarette from his mouth into one of the many rain puddles that surrounded his perch outside the storage garage. It was one of hundreds of the “mixed used” wide concrete buildings the city had sold the monorail to it’s peoples with. Think of the jobs, they said. Think of the housing?

In reality they were built to have a stable platform for the monorail tracks to be leveled on throughout the city. Spaced just far enough apart to have ample privacy, renters could literally get away with murder inside of them since owners wanted nothing to do with the spaces now that the monorail was up and running.

"McAllister and his hide outs." Ratchet gruffed. He spun around and followed his leader Jackknife into the shadowy dank box of a room, closing the roll down door behind the two of them as they entered.

Originally zoned completely industrial it was filled with storage, parking, garages, and box style multi-use buildings that didn't really have any enforced zoning. This left people squatting in garages and pouring drinks in storage spaces on a nightly basis along the zig zag course that “Track town” carved through the city.

"You ready to talk yet Sparky?" Jackknife asked from the dark edges of the storehouse. The boxes, crates, and car parts had been pushed aside to make an empty space in it’s center where one man was now located, tied to a chair.
"I've told you everything I know Knife, Jesus man." Sparky blubbered from the chair.
"You aren’t said squat yet Spark." Ratchet gave the tied man a right cross with his leather-gloved fist.

Jackknife shucked his wet overcoat allowing the engine man to have his fun. It wasn't often Ratchet was able to participate at this level. The grease monkey was usually busy under a car or three for the duration of a gig while the gang was operating together on the street. Since they were laying low they didn’t need any custom transportation and Ratchet had been getting more and more restless every day.

Besides, Sparky had at one time recently been one of them, Jackknife figured Ratchet felt just as much betrayal as Jackknife did. Might as well let the gear head get it out of his system here while it serves Knifes purpose.

"McAllister’s got something big coming in Sparky." Jackknife stated as he came out of the shadows with his sleeves rolled up. His black tattoos covered his forearms completely from short sleeve to tan leather glove.

"But he don't want to use us this time!" Ratchet screeched in frustration, giving a left cross this time.

"One of us talked about the last gig. That's what McAllister thinks. Did you talk Ratchet?" Jackknife pulled his zippo from his pocket and clicked the lid over and over again in a rhythmic motion almost as if he didn't realize he was doing it.

"To who Knife? You know I don't likes people. I don't never talk to know one!" Ratchet spat a glob of tobacco onto the floor just missing Sparky's boot with everything but splatter.

"Ratchet was off-site all that night prepping the rigs for the next gig, he was never part of any planning. Slider was shot, he's breathing through tubes down at county." Jackknife pulled a cigar out from his vest pocket as he paced before the man tied up to the chair under the spot light.

"Sam's been in Europe." Ratchet stated from the other side of the tied up man.

Jackknife knew that wasn't true, Samantha had been staying at one of his places since the last job, but he didn't see any need to inform the rest of them about her distaste for living with street urchins for days on end. A woman like her, she was used to a certain style and Knife kept her lavished with it. He simply nodded in agreement with Ratchet.

"I know I didn't tell anyone Sparky, which only leaves..."

Jackknife flicked the top of the Zippo to light the cigar he'd put in his teeth. The small square chamber glimmered with flickering light as the flame grew inside it.

As it did, the three-man crew became aware of an unexpected addition to their environment.
The flame of the Zippo was brilliantly reflected back at everyone off of the body of a matte gray motorcycle parked in the shadows of the far corner of their unit.

Atop the motorcycle, a masked man sat determined, yet patient.

"Don't let me stop you." The man the newspapers had been calling Iron Horse stated to all three of them with a grin. “Keep incriminating your selves.”
“What the?”
“Don’t just stand there you fool, kill him.”

The masked man laid a thick sticky torrent of black rubber on the floor as he popped the engine in gear and lurched out of the dark corner. With a flick of his wrist the motorcycles head lamp erupted in the confined space. The three pedestrians cringed, falling away from the direct path of the bike that now rocketed toward them.
“Kill that light!” Ratchet screamed as he dove for cover.
“Cover the door!” Screamed Jackknife as he fumbled for one of the firearms lying about.
“Untie me!” Screamed Sparky as the chair he was tied to toppled over into complete shadows.

“What the hell is going on over their Stratton?” Squawked a voice in the masked mans ear.

Iron Horse sped the bike to the roll door, currently secured closed to the floor, and kicked out at the latch handle as he spun around to face his attackers. Tucking in close to the fuel tank Iron Horse was sure he could actually feel the bullets that were escaping Ratchet’s revolver as they whizzed over him.

With the click of slider tab on the motorcycle’s handlebar the headlamp began to strobe in irregular patterns, colors, and wavelengths of light as it barreled down on the firing man. Iron Horse skidded out just slightly to put the fiery red hot exhaust pipe in contact with Ratchet’s thinly panted leg, followed by one of Iron Horses reinforced jacket elbows to the face.

With a wet ker-snap Ratchet fell back to the floor clutching his bloody face. Catching the revolver in the air Iron Horse arched the bike east, putting the roll door on his right and his target directly in front of him, he fired the remaining two shots loaded in the revolver at the big doors wench sending the door screaming up into the ceiling as the control box sparked and smoked.

The man known as Jackknife stood from the shadows, now armed with a Thompson machine gun, he aimed to finish what he’d been sent here to do.
“Die motor-head!” Jackknife pulled back the mechanism to fire and let loose with an army of speeding led.

Iron Horse pulled his bike to a stop, placing it between his target and the crazed lunatic with the gun, just in time. He laid down the big bike, exposing it’s armored underbelly, to provide all the cover he’d need. The Thompson’s bullets crashed into the bike, the walls, and the floor all around them in a thunderous concert of death.

“It was a mistake!” Sparky screamed in the masked man’s face as the two lay nearly nose-to-nose.
“You gotta believe me it was a mistake. I wasn’t gonna testify honest I wasn’t.”
“I say again Stratton, what the hell have you gotten your self into out there?” Squawked the radio rig again.
“Shut up.” Iron Horse said to anyone and everyone who could hear him.
“You gotta get me out of here so I can tell that to Mr. McAllister!” Sparky screamed.

Iron Horse pulled a knife from his boot. The moonlight glinting off it’s razor sharp edge caused Sparky to squeal again before the masked man could cut him free.
“You believe me?” Sparky moaned a question.
“Can you walk?” The mask man grunted, ignoring the plea.
“I don’t know, I’ve been tied up for days....”

Hearing the Thompson’s ammunition chamber click empty Iron Horse leaned over the bike and threw his knife. It stuck directly into Jackknife’s shoulder causing the bigger man to go down like his comrade just moments earlier.
“Get up off the floor if you want to live.” Iron Horse shouted as he stood up, placing his weight beneath the big bike and pushing it to its upright position.

Without time for an equipment check Iron Horse revved the big bike and layed another torrent of black rubber and smoke as he turned the bike to face the exit. Grabbing the man known as Sparky by his big custom belt buckle made from a huge machined gear Iron Horse piloted the road rocket out of confined storage space with his target in tow.

Struggling to get on the big machine Sparky panicked and flailed as he felt him self loosing his grip. Kicking out in an attempt to fling his leg over the back of the bike Sparky knocked over a gas can and spilled a thick spray of petrol over the still sparking door wench causing a fiery explosion that incinerated all of the contents of the storage space and forcefully shoved the federal witness Steven “Sparky” Coller secure on to the rear seat of Iron Horses motorcycle.

Holding the lapel of his armored jacket close to his face Iron Horse spoke softly.
“Agent Hawk, I’ve got the witness, we’re coming in now.”
“About time.” Squawked the reply.

 

  


Thank you for your time.  I'm looking forward to your comments...

Caine

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@Blaquesaber I just got around to checking this discussion. Sorry this is a bit late in coming, but I took a read here and found plenty of dieselpunk flavors to enjoy. The most obvious stuff would be the motorcycle, the tommy gun, and just the over all noir sort of story. I really like the idea of track town winding through a larger metro area underneath the elevated train. The multi-use buildings also provide a very nice device/setting for some great action and mystery.
From this small sampling it is hard for me to draw great comparisons, but it feels something like a alt-Dick Tracy sort of thing with a bit darker tone. In my humble opinion, this is straight up dieselpunk.
If you don't mind me asking, how much more have you written, and where do you plan on taking it?
I won't offer it if you don't want it, but I've been tring to improve my critical/editing skills. I could shoot you some more critique for you to use or dismiss if you were interested. I have found critique to be the most helpful thing for me to improve my writing.
Good luck with it.
David,
Thank you so much!
I really appreciate your thoughts & if you have more I'd love to hear/read all of them. I plan on writing a novella and while I had envisioned this as the opening scene I've recently been more critical of my plot so I'm still forming/reforming the remainder of the project.

Your analogy of a darker Dick Tracy is dead on.

blaquesaber@gmail.com
O.k. The set up here makes it a bit challenging, but I'll shoot you a few ideas using the first paragraph and let you decide if you want to e-mail a .doc file or something for more in depth stuff. Again, this is just me, so weigh it.

"With an unmistakable rumble the Monorail painted an even darker shadow on to the pitch-black night atop of the poor and dilapidated neighborhoods it’s track support system were built into as the 11:30 express railed by."

Here is the first trimmed down sort of rewrite I would suggest. "The dark shadow of the monorail rumbled atop poor neighborhoods on a pitch-black night, the rhythms of the 11:00 express unmistakeable."

But ultimately I would rewrite the first sentence as something more like the following. "The oily blotch of the 11:30 express rumbled atop tracktown on a starless night."

Here are the things I saw and my reasoning for the suggestions:
1.) verbs: you use three verbs - painted, were built, railed. I felt like railed was a bit odd, painted didn't work for me and were built is passive and didn't connect with the imagery you were wanting to get across. But, you had the word 'rumble' in there as a noun. I thought it was your strongest and best descriptive verb for the motion and sound that it communicates, so I used it as my one verb. That change alone I thought really made the great imagery you use pop.

2.) discriptors (adjectives/adverbs): unmistakable, monorail, even, darker, pitch-black, poor, dilapidated. I am pretty sure this list would be considered way too many descriptors for one sentence by most editors, agents, etc. Their volume begins to cloud the writing rather than sharpen it. So with double adjectives you can almost always choose the stronger one or throw them both out and come up with a single, even better one. Maybe poor and dilapidated could become 'ratty' instead. (or something like that). In general I think when verbs are strong and precise then sentences won't need fluffy adjectives and adverbs. Apply them lightly and they will accomplish tons with a little.

3.) redundant or unnecessary words/phrases: "painted an even darker shadow on to the pitch-black night"; "track support systems were built into". These two phrases are clunky and slow down the expression of your imagery. I write like this on my first draft all the time, but I try to force myself to go back and trim every 5th word of my entire manuscript. I obviously took a little freedom in reexpresing what I thought you were trying to say by changing your "blackness" image to "the oily blotch" at the front end of the sentence and then "starless night." at the back end. This takes an 11 word phrase and breaks it into a 3 word and 4 word that I felt flowed better, saved wordage, and still communicated the really nice image of a somehow even blacker black on a totally dark night scape. I thought this was the real visual beauty of your opening sentence, especially considering how much it communicates symbolically of the style and content of your story.

4.) losing best images in too much wordage: the other two details I found most interesting in your opening sentence were the specific reference to the 11:30 express and the idea of tracktown (which actually comes a bit later). The 11:30 express is so great because it not only establishes me (as the reader) in a time/setting right from the beginning, but it communicates authenticity and soul. I can image that a person in tracktown would have specific ideas attached to the 11:30 express. I don't need to know those ideas right away, but my interest is perked. Secondly, I thought that tracktown was so cool and such a marvelously interesting setting that I think you accomplish more compelling reason for me to keep reading after your opening sentence if you just give me the word 'tracktown' instead of trying to describe the place just yet. In the scene that follows I get plenty of description to help me fill in the picture.

So by cutting away the fat I think the much leaner sentence is clear, sharp, vivid and most importantly, intriguing. After one sentence I want to know, "What's tracktown?" Why the 11:30 express? Plus I already know that the story is Noir with words like oily, blotch and night. One downside (that I can think of) is that I cut out the fact that the train was a monorail. This is a great detail you would want to get in there still, but I felt like it could wait (was less powerful compared to the others).

Anyway. That was a lot just for one sentence. Feel free to ask questions or argue with me if you disagree. That sort of debate will make me a better writer too. Again, this stuff is mechanical not creative per se. The creativity you have already put into the story and it shows. The more I pound the keyboard the more I am discovering that the mechanical aspects are equally as important. Without them the creativity gets lost. But mechanics are debatable and people have different styles. That being said, let me know if you want to send the rest as a .doc or .rtf. My e-mail is: hachebrown(at)gmail.com
Thanks a lot man, I appreciate your thoughts & exposing me to more of the mechanical side of writing. I may very well take you up on your offer. :)
No problem. I hope it helps. If not, that's fine too. I love a good action story. I have just switched to the genre this last year, as far as writing. It is definitely a different bag. Let me know how it goes. I'll be posting some stuff here pretty soon and will be looking for feedback too.

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