The self doubting paragraph that opens this.. please delete it. It drives off your readers. Diffidence is natural when you're revealing a story out of your imagination, but fake a brazen attitude.
The land is overrun by a species of Homans, with a lifespan up to 500 years that have never seen before Good sentence up to 500 years, but what does the sub-clause "that have never seen before" relate to?
The first chapter feels crowded - runon sentences (which read as breathless narration) a lot of information delivered in condensed form, too much to take in. You treat this back story as prologue, and you're trying to get to the story proper fast.
All of which means that these short paragraphs are over burdened with info-dumping. My suggestion isn't to lose the material. It's good and it's plotty, and it's essential to the later development. I would say, pick a couple of key scenes (at least) and make set pieces of this, with dialogue and some visuals of the Ganliks. I had no sense of what they were at the end of this bit, and as a reader I should have.
Mind, this is good story, but it needs to be extended with details and speech and people. It's like a stock cube now; add water and make it into something delicious.
By the way, when you do get going with dialogue, it reads very teenspeak to me. I mean, it authentically sounds the way people talk.
Some their/they're, your/you're, to/too type typos.
They are; the Harloquin eighth which is the lowest strata, I’m in that. A Ganlik semicolon has infiltrated your prose to discredit you.
There're a couple of places - the beginning, the end of chapter 2 - where you pause midstream to address the reader directly. This is high risk. Great writers have done it - Thackeray does it a lot for instance, but it's a controversial move, and even the classics which employ the technique get marked down by the literary critics. The reason some readers hate it is that they feel ripped out of the story at the writer's whim then dumped back in again, and the shift in tone cripples their suspension of disbelief.
She wore contacts though she wouldn’t admit it to anyone and perfect eyebrows to go with them. The way this runs I wonder did Maria pick up her nice eyebrows from the same shop she got the contact lenses. Try not to have two different thoughts in the same sentence. Looking at her face, you'd see the eye colour and think "oh, she has nice eyebrows, too." So the one thought led to the other. Put it in the following sentence, maybe? I'm making a silly fuss about a workable sentence, but the thing this made me think was that many times, your sentences would work better broken down a bit into multiple sentences.
Your hero/heroine (don't know which yet, and am in chapter 4) appears to be obsessed by everyone's eyebrows. Quirky.
“Yeah, I know that there is no way that I could have heard correctly.”
“Because that would mean EDITED FOR SPOILER REASONS.”
“And that would mean EDITED FOR SPOILER REASONS.” I said slowly trying to come to grips with it.
I hereby let you off fixing all the your/you're (not really) so long as you rewrite this passage. It is your classic sci-fi, people-explaining-things-to-each-other-they-already-know scene. I'm an old Blakes7 fan; I was glued to Dr Who waybackwhen, this is familiar stuff. I know it will be hard to write this so that the reader picks up the situation and the characters don't sound weird, but try. Are any of them likely to be yammering and panicking and while they yammer what they have to do flows out of the, er, yammer?
*o blast unfinished*
This is well worth continuing with and concluding, but there are a lot of typo fixes to do, and chapter one, as I said, needs to be less textbook, more novel. People are all too apt to click out if you don't hook em into your story right away, and this is getting better as it moves along into its action-adventure strengths.
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