Category Archives: Book Reviews

Shades of Milk and Honey

Shades of Milk and Honey by Mary Robinette Kowel

The story revolves around Jane Ellsworth living in Dorchester. She is the self-described unattractive eldest daughter of a doting father and neurotic mother. Her younger sister, Melody, has all the beauty and liveliness of nature; whereas plain Jane has all the talent. In this fantasy Regency World, magic comes in the artistic form of Glamours. By twisting the fabric of the ether, people are able to make magical illusions that have varying lengths of existence, from seconds to years. And differ in complexity from changes to light in a room to changing a room to an exotic grove.

Image of the cover - borrowed from the internets.

Image of the cover – borrowed from the internets.

It is a fair story, with an unexceptional tone that has been described as reminiscent of Jane Austin. I certainly can see the influence of Pride and Prejudice and Sense and Sensibility in the narrative. Jane and her family pull heavily from the beloved characters of Pride and Prejudice. There are many similarities in terms of plot, though the story pulls from other Jane Austin works too. This is not an inherently bad thing. I really like Jane Austin stories, however, Shades of Milk and Honey does suffer from predictability. It also suffers from pacing.

The narrative is plodding, with only Jane’s view to show us the world. Jane by her nature is a thoughtful, pleasant individual who strives to remain composed in all situations. She is bland and as a narrator very daft at see the obvious.

Despite the length of the book, it feels as though nothing much happens. Strangely, there is a plot, one that is reasonably complex. Yet, the manner in which the story is told is plodding. The buildup of betrayal, mystery and even the love story is lacking. The attempt at tension fails. The love story does not engage the reader, who could see it coming from the first hello (the main character however, is completely caught off guard – largely because they are slow). Some of my favourite authors: Jane Austin and Georgette Heyer, have lovely simple stories. They are character studies, with successfully engaging characters who have properly developed faults and changes over time. There was no emotional draw to this story and no real payoff in the end. In fact the ending, when Jane suddenly falls in love with the Glamourist seems rushed considering she just spent the previous 250 pages pining for the other guy.

My other big complaint with the story is the lack of show, instead of tell when it comes to the main character. Jane is supposed to be unattractive by the measures of the time. She is old (all of 29 years of age) and unmarried with no apparent prospects. However, when we enter the tale, she already (or very shortly thereafter) starts to attract one and then a second male suitor.

Book cover borrowed from the internet.

Book cover borrowed from the internet.

All the while we don’t see any concrete signs of her lack of connections. Jane is praised repeatedly for her skills, her wit and her general disposition. While she may not flirt with the younger and flashier men, she certainly doesn’t appear to suffer from social stigma. There is only one instance in the entire 300+ pages where Jane is criticized without provocation.

This is not to be expected if she really is snubbed for her appearance. It was almost as if the author was writing the perfect character, than realized she needed to give the heroine a flaw. Now, as best as I can tell Jane is not ugly – she isn’t deformed or scarred. Her nose is large, her chin too square, her skin too sallow. As the main character is described only once, it is through her actions and interactions that we get to know her. In these Jane is a lovely character, thoughtful, honest, and loyal. Sure she argues with her sister, Melody. But then Melody is shown to be a selfish, bratty younger sibling. We need constant reminders that Jane is not attractive, but even these attempts sound shallow. This sort of ignorable physical trait is not a true flaw in the character. It is a minor inconvenience easily forgotten. Without a proper flaw there is no conflict, at least no room for the character to grow. The conflict, such as it is feels hastily added to the end of a story that is ultimately about nothing. I think more attention needed to be spent exploring these last few pages and far less time spent on the set up – which certainly could have been established with fewer words.

Final thoughts: it was fine – far from stellar, but not terrible. Will I read the rest of the series (some 5 or more books at present)? Well, probably not. They are not available from the library and I am not willing to spend more money on this one.

Wild Ways – by Tanya Huff

I do like Tanya Huff’s work – at least the portion of modern urban fantasy I have read (only a part of her published works). One of my favourite books is Summon the Keeper, which hosts hell in the basement of a bed and breakfast.

The book cover as found on the itnerwebs.

The book cover as found on the itnerwebs.

This post will focus on a different metaphysical charm-worker. Wild Ways is the sequel to the Enchanted Emporium, which introduces the Gale family. And really, after you peel back the layers of magic and fey (which are not offensively used), the banter and the various romantic elements you have a story about family; a slightly twisted and off-kilter family.

Family is at the heart of these stories. Family provides both the antagonists and the protagonists. Sure there are a few non-family elements. In Wild Ways, Aunt Catherine continues to manipulate the Gales into doing her bidding. But there are a few scattered others to act as additional villains: trolls, goblins and ethically-challenged oil corporations.

The focus of the story falls to Charlie, as she tries to find her place in the weave of the family. Being a Wild One means that she is different. Her powers are different and her role in the family is different. It is a difference she has come to embrace, yet on some level she still is struggling to understand her position in the overall whole. Jack, the sorcerer-dragon Gale boy, echoes this struggle as he also is learning what it means to be part of the family and how to cope with that place.

One thing I really appreciate in Huff’s writing is her use of diversity. Her characters have different skin colours, sexuality and power. Her villain is understandable. The motivations of all the antagonists are explained. While their actions might seem a bit over the top, they make sense. I understand why the ethically-challenged corporate president was trying to force an oil well into protected habitat. Do I side with the environmentalists? Well yes. But I completely understand the desperate the woman faced as she tried to do her best by the company.

I like the way the book is set in Canada, without making a big deal about its setting. There is no explanation about how Canadian the Maritimes are. Rather, it is treated as a setting. It adds something to the overall flavour without trying too hard. It is also nice to read about places I have actually travelled to. Since I am not American, I do not have a personal connection to the popular story locations of New York, Washington and wherever else. I have, however, been to Cheticamp and Louisburg in Cape Breton.

I have not, however, followed the Celtic music festival. I suppose that you could also say the book was about the power of music, the potential created when eager and talented individuals musicians come together to enchant the audience (sometimes in the literal sense of the word, other times figuratively).

In short, Wild Ways was a well written, entertaining book. I look forward to reading the next in the series, which I shall hopefully pick up from the library this weekend.

www.Wake – Book Review

Yes this is November. Yes that means that I have been busy juggling work, job applications and the yearly Nanowrimo challenge. Does this mean I haven’t read anything? Well, not quite. I have read, though considerably less than at other points in the year. What I have been reading has been largely ridiculous and thus not worth the bother of writing a review (or too embarrassing to admit that I read that trash).

The book I am reviewing today is www.Wake by Robert J Sawyer. It came highly recommended by a person at work. The individual was so enthusiastic that they mentioned this book on some half dozen occasions over the past year. Even though they know I am more of a fantasy and less of a sci-fi reader.

Book cover, image from the intelligent internet. Careful - it is watching you.

Book cover, image from the intelligent internet. Careful – it is watching you.

Well, partly out of boredom and partly out of stress I borrowed www.Wake from the library. I was told it was a story about a blind girl who had an implant that let her interface with the internet where she discovered intelligence (AI). It was a stupid sounding plot. It was also strangely misleading.

So what was the story about? Well it is about a corner of the internet gaining consciousness. It is also about an orangutan-bonobo hybrid demonstrating the ability to learn language and starting to paint in perspective. And yes there is also a blind girl, who undergoes a procedure designed to correct her vision problem. There is also a conspiracy/cover-up in China just to add more tension. In short there is a lot going on. While most of the secondary strands are simplistic they all contribute to the ideas of flow of information, self-awareness and identity.

The book is first and foremost well-written. The plot progresses at a reasonable pace. A lot work is done to build realistic and complex characters. Even more time is spent trying to develop different perspectives. I really liked the geeky math-based humour that actually had me laughing as I read.

A number of interesting and potentially controversial ideas are raised. I am of two minds about this. On the one hand it might get people thinking, which is always a good thing. On the other hand, real science doesn’t support these ideas. The idea that humans did not gain true consciousness until some 1000 BC is ludicrous. The arguments put forth for this idea (researched while I was reading the story) are easily countered by the simple fact that other civilizations existed around the world with written language. The book has an ape capable of meaningful communication – which real life has failed to produce. The concerns about the ape being a hybrid is really questionable. Most interspecies hybrids are sterile – which is why we have different species. While these points might be fun to think about or even talk about, they don’t hold up to modern science.

My other complaint comes from the authors efforts to make the story Canadian. There is nothing wrong with writing about Canadians. However, this one felt like he was trying too hard. Each Canadian-ism felt like it was being shoved in my face. The writing was smoother when Sawyer forgot he needed to reinforce the idea the story took place in Ontario and instead focused on the characters and their personal struggles.

Also, the birth of AI in the internet is silly. I may know next to nothing about programing, but this was clearly science-magic. AI is fine for a story. While I don’t personally find it compelling, others I understand like reading about it.

Summary: it is a well-written book. I enjoyed it despite all my complaints. That said, I have zero interest in the sequels that round out the trilogy so don’t expect more on this topic. Now back to my own sad scribbles.

No Free Will For You!

Apparently, I’m a compatibilist. I wasn’t aware of this fact myself but Sam Harris has informed me as such so it must be true. I, certainly, didn’t consider myself as such but that is irrelevant because I am not the author of my own words. Or, truly, the author of anything at all. Thus, I should preface all my work with, “I would like to thank the universe for writing all my stories for me. I would further like to blame the universe for not unloading a helluva lot more success upon me for this work that it did on my behalf.”

For those who aren’t in on the minutia of my life, I’ve been spending the last week in a heated debate about Free Will. Mostly, this has revolved around my inexplicable compulsion to engage in Derek’s annual year moving when he likes to box all his worldly possessions and shuffle them a few feet or hundreds of kilometers depending on whether the sun is trying to murder me or not. Why have I felt compelled to consistently assist him with this duty when he has never returned the favour? I could tell you a lengthy tale about how he’s my friend, how I like to help those I’m close with and the dated ideals of social reciprocity and bonding suggest that this is advantageous to my survival as it enables me to enlist his help at a future date should I so desire.

Sadly, I have discovered all of this is a lie. Thanks a lot Sam Harris.

Accessed from http://americanhumanist.org/system/storage/2/b8/d/2962/fw.jpg

Free Will obviously belongs to Sam Harris and whatever publishing house has claimed its rights. You can find the book here: http://www.samharris.org/free-will

I just finished Free Will but the aforementioned good doctor. It’s, ostensibly, a rejection of free will based on neuroscience and psychology. The book was, considering it’s subject matter, a surprising 65 pages. Needless to say, it wasn’t the most verbose argument I’ve ever read but at least it made for a quick read. For all that I can (and will!) say about Sam Harris, the man does take an approach similar to Derek’s–focus on comprehensibility over a stuffy and impenetrable air of academia.

By Mr. Harris’ admission, it is “difficult to think about law, politics, religion, public policy, intimate relationships, morality…without first imagining that every person is the true source of his or her thoughts and actions.” Of course, Harris wouldn’t have a book if he didn’t propose that all of this is an illusion. The jacket of the book goes on to explain that Harris will enlighten us all on the truth of the human mind while not undermining society’s morals or the importance of political freedom all the while changing our understanding of life’s most importance questions.

At least, that’s what the cover claims. In sixty-five pages, I too would have been impressed if he’d accomplished this. If you hadn’t picked up my tone yet, I am unconvinced. Not that some lowly blogger in some remote part of the Internet must try be impressed by Harris’ work for legitimacy, especially when our only traffic are copyright lawyers hunting down malicious use of intellectual infringement, but here we are anyway. Thankfully, it’s not my fault (the infringement, to be clear, though I’m not to be blamed for the forth coming ramble on psychology and philosophy).

Let’s jump into the meat of things, shall we? Free will has been a hot debate in the course of philosophy for… I don’t know… longer than I was an undergraduate that’s for certain! You would thusly imagine that someone who so definitely claims to put the subject to rest would have some lengthy treatise on his position. Alas, only the first fourteen pages of the book are devoted to actual research–which made the work even quicker for me to finish.

If you haven’t heard of Libet’s experiment then you are not alone. The poor man is already dead and only now does his work seem to be gaining any traction with the wider public. Isn’t that always the case? To be fair to Mr. Libet, we really didn’t have a choice in the matter.

Benjamin Libet’s experiment, however, is somewhat interesting in the discussion of consciousness and decision making. I won’t bog the blog down in details that no one is truly interested in, but he demonstrated through the use of a digital clock that when people “consciously” choose to make a decision via button press on when to pause the clock, neuronal reading of their brains demonstrated that there was a build-up of activation which predicted said behaviour upwards of ten seconds before conscious awareness.

This, Harris hinges upon, is the definitive evidence that free will is an illusion (e.d. – ok, there’s a bit more research but this is essentially the launching point so forgive me the simplification). He puts forth the “controversial” position that our wills are simply the byproduct of background causes of which we are unaware and lie beyond our control. I place controversial in quotations because, ultimately, if you have engaged in a discussion about free will, then you know ho incoherent the concept is.

As Harris puts forward, our thoughts are not spontaneously generated within our conscious thought. This shouldn’t really be that surprising. You don’t determine that you are hungry after long consideration. Likewise, you don’t will yourself into sleepiness but realizing you’re tired or hungry are both realizations of your own body’s feedback. Likewise, Harris purports, we are not the creators of our conscious thoughts and that these very words which I’m typing upon this page sort of congealed from some unspecified void and was enacted by my fingers longer before my consciousness truly became aware of them.

It is this assertion which we can begin to see the problem in Harris’ position. Reading through his book, he seems to be intrinsically motivated to disprove the concept of conservative or religious thought–that we are truly independent beings being held back by either our own laziness (conservatism) or disobedience (theology). Ironically, Harris seems primarily motivated to reject the dualism philosophy of consciousness: we are biological beings being manipulated by a disconnected soul or mind. And yet, Harris argues just as vehemently that there is a dualism nevertheless. He never specifies what the “self” is and thus, when he argues our thoughts are never self-generated, he fails to say where the hell they come from. By Harris’ description, there’s some mystery “thought void” which simply shunts thoughts into our minds which we misconstrue as originating from ourselves like a petulant redditor who has stumbled across a humorous cartoon and wishes to post it under their own name to reap that delicious, delicious reddit karma.

To Harris, the unconscious mind is some masterful machine ultimately directing our bodies. It’s this mysterious black box formed by our genes and shaped by our environment into a highly predictable machine that makes us dance to its invisible puppet strings. His book is nearly sixty pages of repeating this statement again and again, “You do not generate your thoughts. You do not generate your thoughts. You do not generate your thoughts.”

Of course, he can’t say how our thoughts are generated. They’re simply intrusive worms into our mind garden which we are forced to tolerate as they eat through our mulch. He poses this problem without giving an inch on the obvious answer: a person is the combination of their unconscious and conscious processes. This seems, to me, immediately obvious. I would have thought that the global penetration of Freudian theory into the public consciousness had made this concept a clear alternative. It is the interaction between conscious and unconscious thought, motivation and action which gives rise to the entity of individuality. It’s a unique combination influenced and formed by the genes we inherit and the environment we inhabit that structures our heuristics, biases and perspective.

But for Harris, this is not enough. Even Libet didn’t argue that free will was absent but proposed a sort of conscious “veto” which our higher cognitive processes were able to dictate to our unconscious urges. We can “feel” hungry but stop ourselves from eating in a garbage can until we get home for a proper meal. Harris concedes  (and must as there’s an incredible body of research to demonstrate) that our abilities are formed based on our personal reflection and motivation which often leads to overcoming short-term desires to follow better long-term goals. But this isn’t good enough for Harris because the initial drives are produced in the unconscious. The heuristics you utilize are, according him, nothing more than previous reasoning and influence on behaviour which are nothing more than reasoning and prior influences before that. Down and down we go with turtles upon turtles with no end in sight. Somewhere down the line, someone spilled a glass of milk and that’s made you the angry, aggressive driver you are today.

I had, initially, written a lot of words to discuss the theories Harris proposes, but the format which he writes makes a lot of them redundant. Essentially, the crux of his argument is this confusing and contradicting statement:

“Choices, efforts, intentions, and reasoning influence our behaviour–but they are themselves part of a chain of causes that precede conscious awareness and over which we exert no ultimate control. My choices matter–and there are paths toward making wiser ones–but I can not choose what I choose. And if it ever appears that I do–for instance, after going back and forth between two options–I do not choose to choose what I choose. There is a regress here that always ends in darkness. I must take a first step, or a last one, for reasons that are bound to remain inscrutable.”

Harris has, essentially, framed the discourse in such a way that he can never be wrong. Free will, he proposes, can only be demonstrated if you can be the sole and uninfluenced source of your own thoughts. But this is a ludicrous position. We have, by nearly all consensus, evolved from organisms which had no such capabilities. Our consciousness is not the sole attribute of our personhood. We are the culmination of both our conscious directive and unconscious motivations. Think about that for a second. How would you describe yourself? And how many of those attributes did you consciously generate?

Not a lot, I presume. I never choose to be a male. I didn’t ever make the conscious decision to be gay. My self identity is based upon my own introspection, interaction with others and capabilities I have demonstrated. There is no value in thinking I’m a terrific basketball player if I have never picked up a ball in my entire life. I did not separate and exist as my own entity the moment I achieved some sense of consciousness. The two spiders on my wall are not one entity because they have no demonstrable higher cognitive functioning.

Harris puts forth a hard vision of determinism. All things are, essentially, preordained by his estimation. The only component he’s lacking for a truly religious view is a sentient, all-powerful creator to kickstart the process. He tries to argue that there’s a difference between determinism and fatalism but he provides no evidence for this. If we truly are just passengers in this twisted machine of genes and history, then we have no capability for altering its course. All thoughts originate in that unfathom unconscious and we are powerless to stop whichever ones bubble out and we blindly follow. And yet, Free Will is chalk full of the importance of our choices, motivations and intentions. He dislikes fatalism because it’s an unpleasant consequence of his theory but he never disproves it from his position.

This is, ultimately, my dislike of Free Will. It’s philosophy masquerading as psychology. The only evidence he draws upon is incredibly divisive in its interpretation. Many people debate what’s truly being measured and what it ultimately means on our conscious will. There seems intuitively, a difference between pressing a button and choosing your spouse. We have lots of research on unconscious and conscious decisions as well as a good idea of what consciousness can achieve. We, however, have very little information on how unconscious and conscious processes interact or even how decisions are made. We know so little about the brain that it is an understatement to even suggest Harris’ conclusions are grossly premature. His extrapolations are, invariably, well beyond the scope of the conversation we can have based on the research we have.

I do not begrudge him, at the end. From my reading, I ultimately agree with much of his motivations. But his conclusion seems shortsighted and underdeveloped. He provides no good explanation for why a compatibilist (the argument of our self being both unconscious and conscious elements) is wrong or how his vision truly does not change much in our perspectives of the world. In fact, there’s a very brief chapter on research which suggests that abandoning the concept of free will can lead people to acting more aggressive and dishonest. These studies he simply blithely dismisses because he, personally, has not acted that way.

And, finally, his concluding stream of consciousness ramble is incredibly incoherent. James Joyce did it far better.

A World of Thieves

It is nearing the end of a quarter and I have work due for competitions while I pound away on my second novel. I inform you of this so that you can understand how I may lose track of time every now and again and I totally didn’t mean to not post yesterday – I just merely forgot it was Monday. Regardless, I have been rather busy with my work and preparing another adventure up north that I have little to share. Combined with some recent posts focused on complaining, I thought it was perhaps high time that I wrote a glowing and wonderful review that extols the enjoyment of this medium and art form. So, of course, here’s a long overdue praising of the anthology Thieves’ World.

“What inspired you to write?” no one asked me ever. But if they did, I am certain I would list Robert Asprin and Lynn Abbey’s 1980s anthology collection as one of my biggest influences. On the rare occasions I actually discuss fantasy with anyone, I always mention it as one of my favourite series. This usually prompts a “who?” from my companion which gives me the impression of a well learned hipster. Let others have their Tolkiens, Rothfuss’, Salvatores and Bradleys for I am more than happy with the rough and seedy world of Sanctuary.

Thieves' World Book 1 cover. Obviously, I do not own the rights to any of these.

Thieves’ World Book 1 cover. Obviously, I do not own the rights to any of these.

Sadly, I am not a hipster. I didn’t choose Thieves World as my favourite series because no one has ever read them. In fact, I was rooting through questionable second hand book stores for elusive copies to finish my twelve volume collection well before I cared about social presentation and fitting in with my peers. In fact, it was an act of serendipity that I stumbled across the works in the first place. I was visiting my Aunt and she took me to this large warehouse where rows and rows of books stretched out like a literary farmer’s market. Placards dangling from thin chains were the only guideposts for navigating the maze of tables in search fare which would be palatable to my tastes. I was a child raised on Lewis and Tolkien and long gravitated towards the fantasy genre even though this particular place had only the smallest section devoted to my budding imagination.

I peered over the narrow collection squeezed between horror and murder mystery – for I was well in the fiction portion of the warehouse and in the late eighties the crime and suspense genres were in full swing. On reflection, I should not have been surprised by a lack of frolicking and light-hearted tales. If ever there was an adoration for gritty realism it would be the time when even James Bond fell into the edgy era of Timothy Dalton’s Living Daylights and Licence to Kill. Here was a small collection of dark covers with a fascination for blood and weaponry sandwiched between the walnut cracking biceps of Conan the Barbarian.

I don’t know what attracted me specifically to this collection. Had I to guess, it would have been its oddly pear-white border shared with its brethren amongst those dark tomes. Of course, as a child, my decisions were based hardly on fact or reason. This cover had a large, red clad gladiatorial figure looming over some ratty individual in bright blue as a classical Romanesque figure stood motioning in the background. There was a sense of life on its front but it bore the wear and fade of time. I picked it up, thumbing through the aged yellow pages curious over the held tale. I know I debated long and hard whether I wanted this book. I had only the one to pick and that it had so many in its series was both a blessing and curse. Reading over the back, I discovered that it wasn’t just the beginning of a lengthy saga as fantasy is so apt to follow now but merely a collection of disparate tales bound together like some medieval manuscript plucked from some forgotten vault.

I took the plunge, thinking if I did enjoy it I would have many more to look forward to reading and if it was awful then there was no great loss since it was self contained anyway. I wouldn’t be left with some dangling thread or cliffhanger urging me to purchase the next installment.

I took the book proudly to my aunt and it was one of the best decisions I’ve ever made.

I’ve read the series over and over through the years and can say, with certainty, that my love for the books is not due solely to being a child and having no taste. There was something fresh and exciting about the stale, despicable land of Sanctuary. This was not a world of glorious heroes, distressed damsels and wicked beasts. I did not know it at the time but the Thieves’ World anthologies represented everything I’ve argued for fantasy. It was unapologetically chaotic, despicable, salacious and objectionable. It was a series that placed the magnifying lens over the worst that humanity had to offer and it was unapologetic in the representations it gave.

It was also, predominantly, written by authors who didn’t write fantasy.

Here's the original cover for the series and a great example of how varied the world and its characters are envisioned by different artists.

Here’s the original cover for the series and a great example of how varied the world and its characters are envisioned by different artists.

I don’t think this is a coincidence. I never appreciated the people behind the works until I started reading the collection of rants and essays provided the rare volume whenever the editor didn’t have enough submissions to fill out the pages. I found the real world struggle in producing the tales almost as fascinating as the stories themselves. They gave such insight into the creative process and the politics behind writing itself that carry every bit as much drama as the trials faced by the heroes on the pages.

But I am getting well ahead of myself.

Thieves’ World is, in essence, a literary game of Dungeons and Dragons. It spawned from the mind of Robert Asprin at a fantasy and science fiction convention where he conceived of creating a series composed of different authors writing in a shared space and with similar characters. He basically envisioned a written MMO. Authors would be given an idea of the world and setting, an outline of all other participating authors and their characters and given the freedom to do what they liked with the sole caveat that no author’s character was to be killed or disposed without their permission. Basically, the premise would be that Harry Potter, while spending his time fighting evil Lord Voldemort, would have moments when he’d stumble across private eye and magician Dresden on his way to solve another ridiculous crime and in that brief exchange the two could pass on important information or artifacts to help one another or maybe Dresden would divert a bunch of pursuing vampires to go bother Potter while he sneaked off to do whatever it is that character does.

Needless to say, there was copious amounts of alcohol involved in the creation of this series and probably quite a bit required for recruiting as well.

However, I find that this approach created a rather unique world. The setting was, essentially, a hastily drawn map handed out to a very diverse group of authors. In my envisioning, the city exists like a sort of dry, dusty northern African commune with mudbrick adobes and curious bazaars filled with relics from around the world. Other authors, however, had different visions and sections of the city would produce squeezing York narrows or grand palaces on raised hills. Instead of detracting from the overall experience, this hectic creativity lends a frenetic energy to the works. They breathe more fully than any other world. This clash of cultures added a strange diversity you can not find in any other work. Just when you think you have an idea of what the city of Sanctuary and its people are like, another author comes along and introduces whole swathes of locations and people that continue to delight and surprise.

I do not liken it to D&D for no reason. It is the only example of a collective creation that I can recall and the original premise – to have heroes weaving in and out of tales – creates a very personal and intricate web of deception and politics. While no great harm could be done to an author’s character, this did not exclude terribly inconveniencing them, dismembering them or murdering those closest to them.

And there is much inconveniencing, dismembering and murdering.

There is, of course, a danger to this format. Due to the wildly different nature of the authors, the writing style varied greatly. Also, authors and their characters came and went without any explanation of what happened to them. Some of my favourite authors contributed only one or two stories and their characters would feature as important players in a number of tales before quietly disappearing into the shadows. There were a few authors who I simply did not like and chief amongst them was the overly prolific Janet Morris who railroaded a few of the volumes with her obnoxiously do-goody Tempus and Stepsons who follow far closer in vein to the fantasy wish-fulfillment of Patrick Rothfuss then the den of thieves and anti-heroes of the other contributors.

More than anything, however, is the undermining of traditional fantasy tropes and expectations. As I mentioned, many of the authors weren’t fantasy writers. A number of them were more famous for their science fiction contributions and I feel there is a very distinct difference how authors, in general, approach the different streams. Blood Brothers by Joe Haldeman is perhaps the best example, following a despicable crime lord that runs the seedy popular tavern in town and whose story mostly focuses around a missing brick of illicit drug. The story is one of the more grounded and disturbing of the original bunch, owing in large part to Haldeman’s own admission that it was based on an experience of his during the Vietnam War.

Simply put, I love the Thieves’ World anthologies. I was really excited for the brief return of the anthology beneath Lynn Abbey’s care but, unfortunately, it lacked a lot of the heart of the original series. Partly, Lynn is a far more traditional fantasy author and I feel the two volumes produced beneath her were trending into a lot of the cliches of the genre the originals avoided. Mostly, however, it lacked all the characters that I had grown to love over twelve stories. Shadowspawn, Enas Yorl, Cappen Vara and even Prince Rakein were all absent and the new cast didn’t catch as well as the old. Possibly because there was only two books but it’s hard to say.

But I'm just going to use the reprinted covers since I spent well over five years getting a full collection of them.

But I’m just going to use the reprinted covers since I spent well over five years getting a full collection of them.

Anyway, I full-heartily recommend the series to anyone who listens to me. My sister gave it a go but abandoned it because it was too “heavy” for her tastes. But, after having friends continuously push their favourites upon me without any consideration for my preferences, I think it’s only fair I do the same from time to time.

So if you can ever find them, pick them up! Though doing so may involve the harrowing adventure through musty and aged used book stores as I had done so many years ago.

Mirror Sight by Kristen Britain – Part 2

Well, I can formally say that all my predictions for Mirror Sight by Kristen Britain were wrong. As for my final verdict on the book: it was largely a waste of time. It reads like filler, a story that has no real bearing on the great arch of the world.

So what went wrong? The primary culprit was the time travel. This was a problem in many different ways.

First, the reader was disconnected from the Green Rider world. The fantasy medieval setting with its largely equal views on the role of women and hate of slaves was replaced with a repressive society. Two hundred years in the future, women are treated more like Victorian Era ladies, to be barely seen and rarely heard. In fact they are to wear fully covered bodies and long veils. Further slaves abound (mostly to show how Evil the future is). This was disconcerting in many ways. While the author tried to use Karigan’s perspective to show how bad society in the future was, it was all tell and no show. It came across as preachy and utterly unnecessary. The entire set up of the Green Rider world with its strong female characters does more for equality than Mirror Sight’s long-winded rants ever could.

Book 4 in the series. I was not fond of this one either.

Book 4 in the series. I was not fond of this one either.

The steampunk elements served no apparent purpose in the world other than making it different. Long sections were spent describing some of the mechanicals. This bloated the book but added nothing as the descriptions were not engaging. There was no sense of wonder when reading about Enforcers. In fact, machines seemed to be present as further evidence the Emperor was Evil. If anything was to come out of it, I would say the author was once again expressing a negative (preachy) view against technology.

Finally, being in the future stripped the reader of all their favourite secondary characters. Personally, I feel the previous books became too tangled with secondary plot lines and additional points of view. So in principal I appreciated the more focused story telling in Mirror Sight. On the other hand, we had glimpses of other characters, teasers, to remind us that we would certainly be returning to the ‘proper’ time. This lessened all the experiences of the future. Ultimately, the author undercut her long-winded novel herself when she returned Karigan to the past (the main-character’s present) with hints the future was completely changed (unmade) and the main character now forgetting all her experiences (because they never happened). If this doesn’t scream Waste Of Time, I don’t know what else would.

Now, I might have been able to forgive such terrible set up if the writing had been brilliant. It wasn’t. This was the least engagingly written book in the series. After a little thought, I believe there were a couple of very obvious and correctable problems. First, it was by far too long. I don’t know the word count of a novel with 770 pages, but it felt like it was well over 300 000 words. The author cannot even claim that she was rushed and didn’t have time for editing as it has been three years since Blackveil.

Book 5 in the Green Rider Series.

Book 5 in the Green Rider Series.

Another complaint (that I will reiterate from the previous mess of a post) was the long exposition about what was happening without ever doing anything. Description is both good and important. However, every chapter in the book should serve a purpose. The first half …. Hell, the entire book dragged because of its inflated word count and lengthy paragraphs of explanation. The book should NOT have summarized every previous novel. It should NOT have described events like a log-book of a scientist. The reader didn’t need the information and they can read the earlier works to better understand the references. Also, I am pretty sure it was repetitive in its descriptions. One clear example stands out. About 4/5 into the book Karigan ‘explains’ her experiences from Blackveil (previous book) to another character in the world. The reader gets a one page paragraph rehashing old information. This could have been handled in several ways. For example one sentence could have been used to indicate what Karigan was talking about (topic only). Or Karigan could have related her experiences in dialogue in some interesting manner.

Further, the character development was weak and often last minute. There was little progression of the characters and when they did ‘grow/change’ it was rushed, requiring more paragraphs of explanation. For example, the kindly Professor that shelters Karigan is driven to turn against her. The explanation of why he is doing this comes mostly as he is giving her a large dose of morphine (or the fantasy world equivalent). Now, I will grant the lead up to this decision was not entirely out of nowhere. It was not well structured, but not entirely surprising. However, within two sentences, the Professor instantly regrets his decision, has a complete about face, helps Karigan to escape and kills himself in part to protect her. Really?! If it only took 10 seconds for the character to go from betrayer to martyr why did he have to betray her in the first place?

Like the above, there were too many instances when characters did things only to drive the plot. Which is amusing as this was the slowest moving plot in the world. But while Miriam never betrayed Karigan, the Professor, Arhys, and Luke all did. Why? Well, we were given explanations as needed to help explain why these characters did what they did. Sure, the explanations were reasonable, but that doesn’t change the feeling everything is more than a little contrived.

Book 1 in the series. The best book I think.

Book 1 in the series. The best book I think.

Finally, I would like to take a moment to indicate how disappointed I am with the manner in which the Author dealt with her other great creation, the Black Shields (Weapons). This order of elite swordfighters has dedicated their lives to their monarchs. They are cultish in their oaths and highly secretive. Yet, throughout all the books the Author has teased her readers with the idea of ancient order of Weapon masters. In the first books there was just enough mention and reaction to the Weapons to make their mysteriousness intriguing. However, here we are in book 5 and the Author is trying to incorporate a Black Shield (well, a want-be-Weapon) into the story. Now is the time to unravel some of the mysteries, at least to the reader if not the main character. Only she still only teases about the goals and beliefs of the Weapons. Why? Well, I have come to the conclusion the Author does not herself know anything about this elite order. It is a great shame, because this was an opportunity for her to do something new and interesting that was still tied to the familiar world of the ‘past’.

I could continue to complain about the introduction of p’hedrose (half human half moose creatures – which don’t make any sense), the suggestion of a half-Eletian (half-elf), the tediously drawn out relationship between Karigan and her King (please let it end) or any other of things that irk me. But I won’t.

Instead I will say in my own self-defence that I do not hate everything. In fact I am still quite fond of the first Green Rider book. It was good. It was fast paced. I had magic, adventure, structure and compelling characters. Even the second book, though much dark, held a world in change. So, while I might not continue with this increasingly ridiculous series, I will fondly reread the Green Rider (book 1) periodically.

Mirror Sight by Kristen Britain – Part 1

Book 5 in the Green Rider Series.

Book 5 in the Green Rider Series.

I was terribly excited when the library called to inform me that my hold had arrived – and on the day the book was released! Mirror Sight is the latest book in the Green Rider Series by Kristen Britain. Over the past 20 hours I have managed to consume 276 of the 770 pages in this thick novel. So, while this post will be full of Spoilers. It is part one for a reason.

Before I start, I just want to clarify. I really enjoyed the Green Rider (book 1 of the series). I really appreciated what Britain tried to do with book 2 (First Rider’s Call). I thought book 3 was lots of fun (The High King’s Tomb). I was sorely disappointed with Blackveil (book 4) and so started Mirror Sight with mixed emotions. On one hand it is very exciting to read something new in a world I generally enjoy, especially when the author takes 3-4 years to write the next work in the series. However after the abysmal failure that was Blackveil I could only foresee disappointment in the newest novel.

Fortunately the book starts by dealing with the cruel and unnecessary cliff-hanger that ended the previous story. So far that is the best thing to have happened. Almost 300 hundred pages into the book we have finally started to create a plot.

The story takes place nearly 200 hundred years in the future. This leap in time travel is a bit weird to say the least. It is as though Britain became bored with her standard fantasy world – more medieval in feel than anything else – and decided she wanted to do something Steampunk because that is the latest greatest thing. Well, the attempt to add steampunk is meh at best. It mostly comes across as preachy against technology. And the leap forward 200 hundred years is silly – at least when you try to think of the mechanisms. Sure time travel has cropped up in the previous tales, but in small bursts and largely into the past (far more acceptable).

Green Rider - book coverThe future world lacks the feel of the original setting. It comes across as flat, underdeveloped and largely uninteresting. It is too much evil emperor à cartoonish in the villain. Granted, the villains in the stories do tend towards the Evil variety. It is one of the drawbacks of the writing. Evil villains (with a capital E) are really bland. It was one of the strengths of the earlier books. While Evil existed in the world, each story centred around a much more approachable villain – a force with clearly defined motivation.

The huge surprise that the Emperor in the future is not the Evil Mornhavon the Black was so clearly set up from the beginning as to be unsurprising. It is not entirely a bad thing; at least this was set up in advance.

I heard Mirror Sight was supposed to be a stand-alone story in the series. Not dependant on the previous books. Again, I have not finished the story, but thus far I would not recommend it to anyone not already indoctrinated. Mostly because I still feel the first story is the author’s strongest. This book suffers from weak writing and some silly characters. The silliest characters are the Eltians à Tolkien’s elves reused in a different setting. Yup I am bored with these immortal, perfect, beautiful, arrogant, tree-hugging non-humans. They are tiresome in the extreme. Their use is lazy and their character traits are all derivatives of Elves. There is nothing particularly new in these magical beings that are superior to humans in every obvious quality.

The weak writing surfaces most in the telling and not showing. There is far too much info dumping in these first 300 pages. Everything is description and explanation. Sure you could argue the author is providing a recap of all previous books so a new reader doesn’t feel lost – but it sucks! If there is something that has to be retold then find an interesting way of doing so. Don’t just have our main character think about it. At the very least make sure her perspective is biased. But the fact of the matter is I have read all the previous books. If I wanted to know more about them, I would pull them from my shelf to reread. Just to be clear, I totally love the idea of referencing previous events/books. Again it should be done in a new and refreshing way. It can be done obliquely so those familiar with the early part of the series are able to make the connection and those new just skim over that part as unimportant.

Which brings me to one of the interesting connections I had the pleasure of making. The earlier books deal with an underground movement (secret society) dedicated to replacing the world’s king with an ancient emperor (the Evil Mornhavon the Black). This group skulks in the shadows and plots against the good guys. Well, fast forward to book five where our heroine finds herself on the other side of things. Now she is part of the group wanting to over through their emperor and hiding in the shadows. I rather like the symmetry of the situation. Only of course, in this case everything is so decidedly black-and-white we know the emperor is Evil and has to be overthrown.

I feel like I should wrap this up with some sort of unifying comment. I don’t have one, so instead I will put down some of my predictions for the rest of the story.

*Mirriam will end up betraying the underground movement in some fashion.

*Karigan will help to burn the future capital but have to return to the past to prevent Amberhill from becoming the Sea King Reborn.

*The weapon they seek is really a jewel used to trap the spirit of the dragons (possible akin to gods).

Now it is time to find out how are sword yielding, horseback riding heroine fares at a dinner party in a restrained Victorian-esp social setting.

 

Cinderella

Haha! It is not even the end of April and I am posting. On the downside I am procrastinating my novel writing … Don’t expect too much.

From the movie version.

From the movie version.

I am a fan of fairy tales. I was brought up with the Disney retelling of the Grim Brother’s classics. Over the years I have read a number of iterations and have watched numerous movie versions. Recently I found myself watching the film adaptation of Ella Enchanted, which urged me to reread the source material. Then as luck would have it another book arrived at the library for me – another Cinderella-based story.

All three of these stories involve the same basic characteristic elements. They have a young girl whose mother dies when she is young and whose father is either mostly absent or dies. There is a stepmother who despises her stepdaughter and works to make her life miserable.  There is a charming suitor of prestigious background and a grand ball somewhere towards the end. Magic is thick through all three of these Cinderella retellings, though each one is different.

While the movie Ella Enchanted starring Anne Hathaway, Hugh Dancy, and Cary Elwes (and others) is based on the novel by the same title they should be treated as two different works. Certainly, I could not stop the flood of ‘that was not in the book; that was not how things happened, and where did that come from?’ comments while watching. The movie version takes the idea of freedom and runs with it. Everything is changed to make freedom the driving theme. Suddenly, there is a wicked uncle who is enslaving portions of the population. Of course Ella is the primary example, for she is under a curse of obedience which has stripped her of her freedom since birth. While this is not a bad way of dealing with the transition, I do think it removes much of the elegance found in the book. The movie is garish in colour and humour. It is loud, oversized and extreme. But it is also fun. It has an interesting mix of modern music, ideals and dance numbers set in a more medieval setting (with some visual quirks like the moving stairc

The book cover.

The book cover.

ase – also not found in the book). The evil stepsisters are even more comically driven to woo the prince than they are in the book. I would say it is fun, but childish and certainly lacks any depth.

I infinitely prefer the book version by Gail Carson Levine. Though my recent rereading reminded me it was written for a much younger audience. It is not the plot, by the simplicity of the writing, aimed more for early rather than late teens. Still, I really like the struggle the cursed Cinderella faces over the course of the novel. Her we can see how she has always fought against the curse. It also better explains how the orders work. Ella is not magically good at everything. When ordered to sing she does so, but being untrained her voice is awful. However, after a series of increasingly more specific commands, she can be ordered to do what is required. The specificity of the commands is not dealt with at all in the movie. Which actually brings me to the other thing I liked about the book, there is an incident with ogres in which Ella clearly helps the Prince – rather than being saved by him as is seen in the film. Being a book the story spans a year or more, in which Ella is allowed to slowly fall in love with her prince. It shows them building a relationship, something that is difficult to do on film because of time constraints.

cinderella - 2While both works could be described as dealing with Freedom they come across very different. The film is taking the most obvious route of oppressed and oppressor. The message being that no one should be ordered around and told what to do with their lives. The book is not so blatant. Here the author explores choice and responsibility in less obvious ways. Ella is still cursed and ordered around by those who know. However, the ogres are also capable of making unwary people do what they want. It is more manipulation of people and freedom on a very personal level being discussed in the book; the freedom to be yourself in expression and personality. It seems such a slim difference. However the manner in which these ideals are expressed produced two very different works.

Both of these works are targeting a younger audience with their Cinderella retellings. Glass slippers, another Disney element play only a nominal role in the novel version and are not present at all in the film.

cinderella - 4The glass slippers take on a slightly different role in Wayfarer: A Tale of Beauty and Madness by Lili St. Crow. Here the stepmother’s job is to manufacture high-end footwear. While many of the Cinderella elements are present in this book, much was done to create a different and unique fantasy world. I would say the world building was successful – I also enjoyed the first book in this series dealing with Snow White. However, my age started to show through while reading Wayfarer. Ellie Sinder – Cinderella – was not the spunky girl from Ella Enchanted. She was ultimately depressed, convinced that no one would believe how terrible her stepmother was (at least no adult) and that her friends only stayed next to her through pity. Even while she professed these ideas, Ellie also admitted that her friends were really good to her. And really, so many of Ellie’s problems would have been solved if she just told someone she needed help. Instead she flopped between bleak desperation that no one cared and the noble need to sacrifice herself to protect her friends. It was tiresome. Especially, since you get to the end of the book and the adults are quite reasonable and ready to believe the stepmother was evil (she really was). So, while there were many good ideas brought forth in this world it was simply too much self-pity and needless whining for me to really enjoy the story.

cinderella - 3

Moth and Spark – Book Review

In my dutiful attempt to chronicle the books I actually finish reading I present to the readers of this blog another hum-drum title: Moth and Spark by Anne Leonard.

While searching for fantasy book suggestions I stumbled across a list that was supposed to include: good, new, adult fantasy titles that are not the common big names (things like a Game of Thrones, etc).

Moth-and-Spark 1

The tagline held promise: A Prince with a Quest. A Commoner with Mysterious Powers. And Dragons who Demand to be Free – at any Cost.

The jacket cover than goes on to introduce the two leads, Prince Corin, just returning from the North with strange tidings for his father, the King and apprehension about the Summer court and his mother’s intensions to marry him off. Tam is joining her sister-in-law at court. She is cuirous to see what it is like, though disdainful of the flighty chatter of insipid airheads (not quite the words used in the synopsis, but close enough).

“Chance leads Tam and Corin to a meeting in the library, and he impulsively asks her to join him for dinner… Tam is surprised by how easy it is to talk to Corin, and Corin thinks to himself that Tam is the first person to genuinely see him as a man rather than The Prince.”

Well, this section holds promise. Obviously, we are expecting a romance. However, from the last line I am looking forward to a developed romance based on wit and conversation. Things are looking good.

The jacket cover continues to explain that the Dragon’s want Corin to free them from bondage and Tam will discover she is a Seer. Good, good, we have dragons, a romance based on strong personalities, a threat of war, and a bit of magic in the form of a Seer. Things are looking up. And in fact I enjoyed the opening. The prologue spoke of vague, unsettled powers starting to waken and dangerous things to come.

The first couple of chapters were solid in their introductions of the key players. Everything was looking up. Until things stagnated. Until my romance was utterly crushed. Until the ending resolved itself in the most contrived and poorly explained matter that destroyed my enjoyment for this stand-alone novel.

First, the political intrigue initiated at the beginning was solid. But it didn’t develop into anything. What was the importance of the death at the start if it was not to play a roll later in the work? Why kill that character and why do the murder with a very illegal and dangerous substance if you are not going to use that for character development?

Second, the romance sucked. Granted part of that was based on my expectations of strong, witty dialogue. However, even without my preconceived notions I would have been disappointed as the attraction between the characters was physical. She was sooo pretty he just wanted to bed her right then and there. He was sooo handsome that she wanted him as a lover even if that ruined her chances of marriage at some later date. Bleh. Their conversation, when they got past staring longingly into each other’s eyes was flat and boring. It was so restrained as to say nothing. The teasing was so mild I would not have noticed it if the author hadn’t drawn obvious attention to those lines. While she tried to set up conflict within the romance: Corin was a Crown Prince and Tam was a commoner, she undermined it at every opportunity. Tam was from a wealthy, respectable family, who had married into the edges of nobility. Worse, the King and rest of the Royal family instantly liked Tam the moment they met. And unfortunately Tam turned out to be so beautiful that she attracted the attention of everyone at court – all the men wanted her. Which was tedious.

Then there was the magic, it was undefined and supposedly relegated to myth and legend. Certainly, the fact that wizards existed was kept secret. I don’t have a problem with this. I do have issue with the manner in which the King miraculously seemed to know about all the magical happenings around him. He was not fazed to discover his son had been recruited by the dragons. He was the only one who recognized that Tam was a Seer – something she didn’t know anything about. To top it all off magic did stuff without ever being properly defined. The cutting away of reality just meant that it could do anything whenever it was needed. Sigh.

While I liked the animal characteristics of the Dragons their plot line was stupid. They were stolen from their Valley by the Emperor who used them to solidify power and claim more lands. How was this accomplished? A Wizard did it! Really, somehow (though it is not properly explained), the wizards managed to steal the Fire from the Dragons. And how does one correct the problem? Well apparently, the Prince had to enter a crevice and die. Only then the Emperor came, he fought the Prince, nearly died and Tam told a story and ta-da the dragons were free. Confused? I know I am. How did any of those actions return Fire to the Dragons? Hard to say. Why did the Emperor have to live? Apparently because he drank dragon blood which meant that the dragons could only be freed while he lived. Why? Reasons, I suppose. It never was clearly communicated in any manner.

Moth and Spark 2

The first two thirds of the book was spent setting up conflict and introducing problems: Dragons want Corin to Free them; the Emperor is plotting against our heroic vassal Kingdom; another evil threat is sweeping its way in from the East (with a torturous and twisted leader); there are bandits in the country and war on the horizon and political unrest at the court (only I was never entirely certain what the court nobles were trying to do as their goals became mudded in the confusion). The last third was a rush of trying to tie up all these loose ends. We spent a little time experience war. A little time talking with Dragons. A little time talking with the mysterious Wizards. A very little time being introduced to and then killing the mean Emperor. And someone else went off to kill the Evil Guy from the East – cause really we were running out of time. Still, we did manage to spend more time with the leads as they kissed, touched and proclaimed their love for each other – oh and they had some weird, prophetic dreams and freed their people at the last moment.

The good thing about this book – it is a standalone. The bad thing about this book is the plot progression, the undefined use of magic, the illogical trapping and freeing of the dragons, the random war, the random evil killing of the minor noble, the bland main characters, the king that knows everything for unexplained reasons, the rushed ending …

In short, it could have been better. Though, in all fairness it could have been much worse too.

What is Good Writing?

As with most discussions this didn’t just come out of nowhere. It started with a comment my brother made, which I have mostly forgotten (I have no memory for details). Ultimately he was mocking me for thinking the first part of Name Of the Wind was good, and thus I had not sense of good writing.

Naturally, I was offended. I like to think that I can recognize good writing from bad writing. Which brought me to today’s question: What is Good Writing?

A scribe at work.

A scribe at work.

To answer the question I started by considering the various aspects of writing: plot, character depth and progression, setting and world building, language and dialogue, description, grammar, flow of prose, voice, style, etc. I tried to tease apart the various components of writing as I would break down the elements making up a film (director, writer, actor, cinematographer, etc). With my list of components making up writing I tried to strip away the least important elements. I argued with myself that plot was not as important – a good book could follow a familiar plot and still be interesting because of good writing. However a bad book could have a new and exciting plot and still be terrible to read because of poor writing. Thus, plot was not necessarily part of the intangible writing.

I tried to remove characters under similar arguments. I am drawn to classic archetypes. But then I thought of books that included those familiar archetypes but failed to properly develop the characters. These flat, boring imitations were bad writing. So perhaps I character depth and development was critical to good writing.

How else could I form a base definition of good writing?

Book cover so you know to avoid this poorly written specimen.

I decided to look at books that exemplified good writing and bad writing (for contrast). Examples of bad writing were far easier to remember. First on the list: Name of the Wind which had started this whole problem. At the time, I was intrigued by the opening pages. I read with a curiosity. Then the pages started to elapse and I continued to wonder when the story was really going to start. From my perspective I was reading a very long (and often ridiculous) character introduction. I never got to the end to see if anything came of the opening which held promise for me. As for the bad writing, what caught my eye was the author’s failed attempt to play up classic tropes. The killing of the family (too clichéd for words), the sojourn in the city to show how the child was first bullied and then became stronger and I quit by the time the lead reached university (it was Harry Potter all over – only worse). For me the bad writing was in the character and plot development.

I am not good at reading details in books – mostly I skim read. While this allows me to eat through a story in an afternoon, it does mean I will miss the little details. I was blind to the black on black on black description that proliferate the start of Name of the Wind. I also missed the compulsive bottle polishing performed by the main character. A shame as these two examples are comical for all the wrong reasons. However, this is also an example of terrible writing; world inconsistency and illogic of action (and boring detail).

Now what about an example of good writing?

All the Book covers - the first books are way better than the later ones.

All the Book covers – the first books are way better than the later ones.

For various reasons my mind drifted to my bookshelf and the Harry Potter collection I have there. First, Harry Potter is not brilliant writing. That said, I thought of books 1&3 which I hold as the very best of the series. Are they good writing? Well, they have engaging characters, tightly written plots and an engrossing world. They had that intangible feel, the spark in the writing that I notice in the books that I really like. In contrast the latter half the series is undeniably terrible. It is a combination of things: a plot that is recycled throughout all seven books, a world that becomes internally inconsistent, a villain without motivations (moustache twirling is not a real motivation), and a main character so obnoxiously whiny I really wanted to punch him in the face. They were also bloated, rambling and poorly written. It was more than just bad plots and undeveloped characters. There was something in the stringing of the words and sentences together that was rough, poorly edited, primitive – ultimately bad. It is an interesting series in that I feel you can see deterioration of the actual writing over the seven books.

For an undisputed example of good writing I had fall further back to one of the classics: Pride and Prejudice. It is well written, with compelling characters and a tightly organized plot. There is definite character development. There is functioning world that does not contradict itself. And most importantly it is fun to read. It is good writing.

But was I any closer to defining good writing?

Meh book.

Meh book.

Well, I tried to apply my thoughts and examples to a book I was reading: The Golem and the Jinni by Helene Wecker. Reading the first few pages led me to think this was not an example of bad writing. There were characters with goals and flaws. There was semblance of a plot. However, the style was such that each character of future importance came with their own backstory. It was a trifle cumbersome to read. You would be following the goings-on of the Jinni when he came in contact with another character (on in at least one instance, he came in contact with a tertiary character that then interacted with a secondary character). The introduction of the secondary character was followed by a two page synopsis of that individuals history: he was born in … went to school… married, had a family and was happy until the day when… and that is why he ended up in New York. It was consciously done and thus I attributed it to the style of the book. However, I cannot say it was a good style. I slogged through some 200 pages or so before the two main characters met. I then continued to plod forward until eventually I became bored with the pace and skipped to the last chapter.

What can I take away from this experience? Was it an example of bad writing or an incompatibility between author and reader?

I know that some books, sometimes terribly written books, can be engrossing. I pick them up and charge headlong to the finish without putting them down. Others I savour and all too many books I lose interest in and leave unfished. Personality and taste play a huge part in how a reader reacts to a book. The same can be said for art. I don’t like all art. However, while I may not like a painting, I can appreciate whether it is good or bad. There are qualities that distinguish a child’s crayon drawing of their horse … I mean dog, from those of a master artist. The viewer may prefer the crayon drawing but that doesn’t make it good. So I feel the same can be said with writing.

There has to be some defining characteristics that make the writing of some books good and the writing of other books poor irrespective of who much an individual enjoys the story. Only, after all this thinking I am still not certain exactly how to define those characteristics. It is a combination of plot, character and style that weave together to produce strong writing. A flaw in one of those threads weakens the entire work. And damage to more than one aspect will produce a piece of heavily flawed material, weak to all who read it.

 

This is not me - I typically use a computer and I am not a man.

Man Writing a Letter ~ 1665        This is not me – I typically use a computer and I am not a man.

*PS – I would really love to talk to someone who actually liked Rothfus’ Name of the Wind and can defend it as good writing. I am honestly interested to know what you enjoyed about this piece.