Thoughts On DRM
First off, a quick explanation. DRM stands for digital rights management, which is encoding placed on a digital file that locks it for use on certain platforms or a certain number of accesses. So for a more specific industry example, a Nook book I buy could probably not be loaded to my Kindle. I can only read it on registered Nook apps and devices. In some cases, I might only be able to access the item on a certain number of devices.
The frustrations and impracticalities of this should be apparent from the start. When you purchase a DRMed ebook, you're not really buying the book in the traditional sense - you're buying the license to use the book. This means you don't actually own that book - the company you purchased it from does. This means you can't take a book you legally purchased and read it on another device. I recently moved from using a Kindle to a Nook, and I was faced with the choice of either breaking the law by stripping the DRM from the Kindle books I'd bought or abandoning my bought-and-paid-for Kindle library. It also means that if your Amazon account gets banned, your Kindle becomes an expensive paperweight. And what about that one time Amazon actually removed books customers had legitimately purchased from their libraries (fortunately, that move was for legitimate reasons and Amazon claims to have learned their lesson, but it doesn't stop the possibility of something similar happening again)? Here's another consideration: what if the company from which you've purchased the ebook goes under, like when Sony closed their (sizable) ebook store? Fortunately, companies realize this and have so far made deals to migrate user libraries to other retailers.
So you're probably thinking, "But I don't want people to pirate my books!" And that's a good point. No author doesn't want to receive payment for his or her work. But here's the problem: DRM only punishes customers. For so long the media industry has counted every illegal download as a lost sale, when in reality many of those downloads were by people who were never going to buy it in the first place. And there are more legitimate ways to combat the try-before-they-buy people, such as offering the first book of a series for free or generous sampling. Indie authors especially have more to worry about from lack of exposure than from digital piracy. Even big publishers, like TOR, have gone DRM-free - and the move has been hailed as a step forward.
But does DRM fight piracy? I'm pretty sure it doesn't. Hackers strip DRM from files with relative ease and sometimes just because they can. Unfortunately I can't find a link to it anymore, but I distinctly remember reading about an indie developer who released two versions of their game as an experiment: one with DRM and the other without. Apparently, it was the one locked with DRM that appeared on torrent sites.
As an historian, I also feel for future historians, who might not be able to access certain files because the devices that can read them are long gone. Another reason I think DRM is losing its worth is the continued globalization of our society - it no longer makes much sense to restrict media to one region alone.
So I encourage all of you to think twice before selecting the "Enable DRM" option when publishing your next book on Amazon. Do what you think is best, but I can assure you, all of my works have been and will continue to be published sans DRM.
Book Review - The Taken
Author: Inbali Iserles
Publisher: Scholastic
Publication Date: September 29, 2015
Version I Read: Ebook
Rating: 3.5/5
So, I, uh, guess I have a thing for animal fantasy stories and am really happy they're selling right now? Even if they're children's and middle grade books?
Anyway, here's the next one I found. It's called the Foxcraft series, of which only the first book, The Taken, is out. Like the Wings of Fire series, it's written by one of the Erin Hunter team.
Foxcraft stars a young fox named Isla, who lives in the city with her parents, grandmother, and brother. One day, Isla returns to find strange foxes around their den and her family nowhere in sight. Frightened, she runs away, finding herself alone and trying to survive in the city while searching for her family. After running into a strange fox from the Wildlands named Siffrin, learning about the magical powers of Foxcraft, and staying on the run from a malicious fox that might kill Isla if she gets in her way, Isla's life is sure to never be the same.
Spoilers!
Overall, I found the book quite good. The foxcraft itself is probably what the book does best - it's a really clever magic system grounded in reality and the various mythologies about foxes. The mythology of this world is also shaping up to be interesting, with one of the most different takes I've ever seen on wolves in particular. Though I do have to wonder, since there are obviously more canids than just wolves, dogs, and foxes, about what the place of other species, such as African wild dogs or even the mythologically somewhat-similar tanuki of Japan, would be in this world's mythology. The author is British, so I assume she's just going with European species, though us Americans would probably be interested to see where our coyote would fit in among Canista's children.
The book does a very good job of showing readers the human world through the eyes of animals, which is not always easy to do but extremely effective when executed correctly. It made me think and try and figure out what Isla was talking about, seeing, and experiencing, which is great for kids.
While the side characters are just fine, I found some issues with the major ones. Isla herself works well as the protagonist of a middle grade novel, but there's not really anything different about her. Siffrin doesn't appear to have much of a reason for keeping the fact that Isla's family is already dead from her - in fact, it probably would have been to his advantage to tell her, because then she would have trusted him and been really serious about helping him find Pirie. Him being such a jerk for no apparent reason also put me off - I'm kind of getting sick of seeing characters like that. Perhaps he has good reasons for not being forthright with her about a lot of things, but for the reader it just gets annoying after a while and any reasons are never presented, in this book anyway. And Karka isn't given the chance to be a good villain because she has minimal interaction with the main characters before being killed off.
For being the namesake of the book, the Taken don't play much of a major role and we don't know anything more about them other than their eyes glow red and they've had their will taken away by someone called the Mage. How the Taken are made is left a mystery, as well as exactly how it affects foxes. The concept of the Taken is also a little strange, as all the other magic in the book has some basis in reality or folklore, with the magic ability to remove a fox's free will kind of sticking out. This was probably intentional, however, because it adds a wrong, unnatural power, and thematically it works against a mythology that claims foxes chose and will always choose freedom.
The book does a very good job of showing readers the human world through the eyes of animals, which is not always easy to do but extremely effective when executed correctly. It made me think and try and figure out what Isla was talking about, seeing, and experiencing, which is great for kids.
While the side characters are just fine, I found some issues with the major ones. Isla herself works well as the protagonist of a middle grade novel, but there's not really anything different about her. Siffrin doesn't appear to have much of a reason for keeping the fact that Isla's family is already dead from her - in fact, it probably would have been to his advantage to tell her, because then she would have trusted him and been really serious about helping him find Pirie. Him being such a jerk for no apparent reason also put me off - I'm kind of getting sick of seeing characters like that. Perhaps he has good reasons for not being forthright with her about a lot of things, but for the reader it just gets annoying after a while and any reasons are never presented, in this book anyway. And Karka isn't given the chance to be a good villain because she has minimal interaction with the main characters before being killed off.
For being the namesake of the book, the Taken don't play much of a major role and we don't know anything more about them other than their eyes glow red and they've had their will taken away by someone called the Mage. How the Taken are made is left a mystery, as well as exactly how it affects foxes. The concept of the Taken is also a little strange, as all the other magic in the book has some basis in reality or folklore, with the magic ability to remove a fox's free will kind of sticking out. This was probably intentional, however, because it adds a wrong, unnatural power, and thematically it works against a mythology that claims foxes chose and will always choose freedom.
I also had a hard time in numerous places throughout the book being clear on what was going on. Something about the manner in which it's written, which makes it hard for readers to visualize the action some of the time.
While the scene with the snatchers (animal control) is pretty nerve-wracking and well-told from the perspective of a fox, as a human, I'm still trying to puzzle it out. I can tell the author did lots of research, so I'd be a little surprised if it was incorrect, but if they are really killing the foxes, several things don't make sense. First off, I did a little poking myself, and it turns out pretty much all pest control organizations recommend nothing be done with foxes, because they pose a negligible threat to people, pets, and property. If they are killing the foxes, why do they only take them behind the door one at a time (I can't imagine they'd be able to give them a lethal shot, so perhaps they're using gas, but I wouldn't think they'd do that one at a time)? Also, if the humans are killing the foxes, why are they going through the trouble of rounding them up (you'd think they'd just use poison or traps), feeding them (water I get, they don't want to be inhumane, but that's a waste of food if you're going to kill the animal right away). If they aren't killing the foxes, then we're sure to see some of the captured characters again. But if that's it and it's not brought up again, it seems a little weird to me.
Perhaps the biggest problem with this book is the sheer lack of any kind of resolution. Sure, there need to be things hanging for the next book, but basically the only resolution in book one is that we know for sure Isla's parents and grandmother are dead. Karka gets killed off without having barely any interaction with Isla through which to reveal anything about herself and her motivations, and Siffrin constantly refuses to tell Isla much of anything. Siffrin and Isla get separated before the climax and he doesn't make a reappearance to give any closure either. The one thread that does come full circle is the wolf Isla encounters in the zoo early in the book (another hole: I don't know of ANY reputable zoo that would keep a wolf alone except under extreme circumstances).
The Verdict: A promising beginning, with some misfires, to another animal fantasy series.
Neither Karen Lofgren nor Loyalty Press has any affiliation with the author or publisher. This review constitutes Fair Use.
While the scene with the snatchers (animal control) is pretty nerve-wracking and well-told from the perspective of a fox, as a human, I'm still trying to puzzle it out. I can tell the author did lots of research, so I'd be a little surprised if it was incorrect, but if they are really killing the foxes, several things don't make sense. First off, I did a little poking myself, and it turns out pretty much all pest control organizations recommend nothing be done with foxes, because they pose a negligible threat to people, pets, and property. If they are killing the foxes, why do they only take them behind the door one at a time (I can't imagine they'd be able to give them a lethal shot, so perhaps they're using gas, but I wouldn't think they'd do that one at a time)? Also, if the humans are killing the foxes, why are they going through the trouble of rounding them up (you'd think they'd just use poison or traps), feeding them (water I get, they don't want to be inhumane, but that's a waste of food if you're going to kill the animal right away). If they aren't killing the foxes, then we're sure to see some of the captured characters again. But if that's it and it's not brought up again, it seems a little weird to me.
Perhaps the biggest problem with this book is the sheer lack of any kind of resolution. Sure, there need to be things hanging for the next book, but basically the only resolution in book one is that we know for sure Isla's parents and grandmother are dead. Karka gets killed off without having barely any interaction with Isla through which to reveal anything about herself and her motivations, and Siffrin constantly refuses to tell Isla much of anything. Siffrin and Isla get separated before the climax and he doesn't make a reappearance to give any closure either. The one thread that does come full circle is the wolf Isla encounters in the zoo early in the book (another hole: I don't know of ANY reputable zoo that would keep a wolf alone except under extreme circumstances).
The Verdict: A promising beginning, with some misfires, to another animal fantasy series.
Neither Karen Lofgren nor Loyalty Press has any affiliation with the author or publisher. This review constitutes Fair Use.
Book Review - Soldier
Labels:
book review,
dragons,
julie kagawa,
paranormal romance,
Soldier,
talon,
talon saga,
young adult
·
 |
| Cover image courtesy of Barnes and Noble |
Author: Julie Kagawa
Publisher: Harlequin Teen
Publication Date: April 26, 2016
Version I Read: Hardcover
Rating: 4.5/5
I previously reviewed the first book in this series, and since I just finished the newest one, I wanted to talk about it.
Soldier continues the story from Talon and Rogue, following the group as they split up. Garret learns an earthshaking secret about the Order of St. George while in London and Ember and Riley continue to remain on the run from Talon while trying to protect their underground network from all sides.
MAJOR spoilers this time.
Soldier was a great read for a number of reasons. The series continues to feel more like a thriller than a young adult romance, especially considering who the publisher is. And boy is it a thriller - multiple, multiple scenes throughout this book are complete nail-biters, especially the climax and final duel between Garret and the Patriarch. The cliffhanger is not entirely welcome, (they never are) but drops some big ones on us for the next book - Garret is told his parents were operatives of Talon and then shot (though I'd be very surprised if Kagawa kills him off) and Dante meets the Elder Wyrm, who tells him she is his mother. That means she's Ember's mother too, and goes a long way towards explaining why Dante and Ember are supposedly so special. (I was starting to wonder if they were somehow half human or something).
Jade was a more than welcome addition. It's about time Eastern dragons appeared on the scene - I was starting to wonder if other cultures' concepts of dragons would make an appearance in this series. I hope we get to see more of her and her kind in later installments.
A few things still bother me that I've talked about before. I don't feel certain aspects of the story and world have been explained well enough, especially concerning why so many humans work for Talon and why there aren't any other rogue dragons (either in his network or from outside it) who have teamed up with or want to help Riley.
As for newer developments in this book: I liked the inclusion of the concept of Sallith'tahn, and especially its repression by Talon. Great concept and idea. I do, however, think having Cobalt, the only eligible male dragon Ember's had any contact with in her entire life, be her Sallith'tahn was more than a little contrived. I mean, what are the odds?
I feel the issues surrounding the Patriarch were not always given the moral questioning by the characters that they should. For example, several times during the book Ember gets very stressed and suffers guilt over killing, even though pretty much all of it is in justifiable self-defense. Garret laments once about whether or not fallen soldiers of St. George could have come around to the truth. But when they know deliberately exposing the Patriarch of St. George is likely to get him executed, no one bats an eye. And he's not a complete villain to boot - him falling in with Talon was far from entirely his fault, and the way the Order views the situation makes some semblance of sense. Talon and their operatives ARE horrible people, and very few dragons have escaped. How is St. George supposed to know that not all dragons are trying to take over the world and enslave humans or that they have human feelings, when Talon is deliberately trying to bury that information themselves? I'm not saying they were wrong to take the actions they did, but the choice wasn't given the debate it needed to have.
Another thing nobody seemed to take into account was how dangerous destabilizing and possibly destroying St. George could be. Because without them, Talon's powers will now be unchecked, and they can devote all their resources to hunting down the rogues. This will likely be addressed in the next book, given the closing line.
The Verdict: Another pulse-pounding addition to this series with great twists and turns and only some holes. The series continues to deliver more than your standard YA paranormal romance.
Neither Karen Lofgren nor Loyalty Press has any affiliation with the author or publisher. This review constitutes Fair Use.
Book Review - Evensong
 |
| Cover image courtesy of Barnes and Noble. |
Title: Evensong
Author: Krista Walsh
Publisher: Raven's Quill Press
Publication Date: January 30, 2014
Version I Read: Ebook
Rating: 3.75/5
The premise of this one intrigued me a lot, and not just because I'm a writer myself. I've always been a big fan of portal fantasy, and this one had a different take on it, so I checked it out.
Evensong is about a snarky, awkward author named Jeff Powell whose characters kidnap him and pull him into his own book - one he's frantically working on to meet his deadline - in order to enlist his help to save their world.
There will be spoilers.
There will be spoilers.
The world building, even though it could have been better, was still satisfactory - the author certainly did not bite off more than she could chew. I liked how she consistently showed that there was a lot more to Jeff's novel than he knew or realized - like the true temperament of the dragon, Raul's presence (whom Jeff just had a vague idea of existing) and history with the main characters, and the true feelings and memories of his characters. There was a particularly sweet moment near the end where Jasmine thinks a memory she has is something Jeff forced upon her, and he just smiles and says he didn't write that one.
There are also interesting ethical dilemmas posed that will make authors really think about why they do terrible things to their characters. We do it to make a plot, because without conflict, there is no story. But at the same time, as the book seems to suggest, we must have meaningful conflict, and not just throw in things because you have no better ideas. We really do make our characters suffer when, if we were to know them in real life, intentionally hurting or killing them would be out of the question.
Having Jeff sacrifice his creativity for a shot at helping everyone was a good idea, but I don't think the consequences were consistently shown all that well. What does it mean to give up your "creativity?" That could go so far as to take away your basic human reasoning (i.e. use a different tool to get a better result) and I don't feel that was adequately addressed.
The plot is winding and moves along at a pace that keeps you invested (with one significant example near the end that we'll get to later), and several well-timed deaths are effective in showing both Jeff and the reader that, in this world, people play for keeps.
There are also interesting ethical dilemmas posed that will make authors really think about why they do terrible things to their characters. We do it to make a plot, because without conflict, there is no story. But at the same time, as the book seems to suggest, we must have meaningful conflict, and not just throw in things because you have no better ideas. We really do make our characters suffer when, if we were to know them in real life, intentionally hurting or killing them would be out of the question.
Having Jeff sacrifice his creativity for a shot at helping everyone was a good idea, but I don't think the consequences were consistently shown all that well. What does it mean to give up your "creativity?" That could go so far as to take away your basic human reasoning (i.e. use a different tool to get a better result) and I don't feel that was adequately addressed.
The plot is winding and moves along at a pace that keeps you invested (with one significant example near the end that we'll get to later), and several well-timed deaths are effective in showing both Jeff and the reader that, in this world, people play for keeps.
I think the biggest problem are the characters - with the exception of Jeff, none of them had a lot of depth. This was quite the missed opportunity and perhaps this will get better in later books - we'll see. Jeff's insistence that none of it was real upon finding himself in his own book went on for far too long and really dragged the story down.
The plotting also starts to suffer and drag towards the end - I'm not quite sure why Walsh decided to have Jeff imprisoned and then try and squeeze a new character in towards the end (who quickly dies). I suppose this character does give the readers a little insight into why Raul's people follow him, but her and Raul's guards' interactions with Jeff just started to get repetitive and boring. The writing and plotting suffered from after Cassie's escape to the final climax, which was an interesting ending and I'm pretty sure will lead to the issues of the next book.
The final significant issue is the lack of clarity regarding how exactly Jeff influences the world. This one isn't as glaring as the former two, but I think it's still worth mentioning. While I do like the unanswered question of whether Jeff's just observing this world and writing down what he sees vs. actually being akin to a god, towards the end of the story greater clarity was critical to make the plot make sense (why COULDN'T he just write Cassie out of the book, or kill off Raul in a twist, for example?).
The final significant issue is the lack of clarity regarding how exactly Jeff influences the world. This one isn't as glaring as the former two, but I think it's still worth mentioning. While I do like the unanswered question of whether Jeff's just observing this world and writing down what he sees vs. actually being akin to a god, towards the end of the story greater clarity was critical to make the plot make sense (why COULDN'T he just write Cassie out of the book, or kill off Raul in a twist, for example?).
Unfortunately, I can't bring myself to give the book 4 stars due to its flaws, but it is certainly not deserving of the mediocre 3 or even 3.5, so I'm going with 3.75 for this one. I am interested enough to read the next book, once my pile thins a little.
The Verdict: Evensong is a well-written, fast-paced book that poses some interesting questions to authors. The characters are weaker than they should have been, there are some plotting issues near the end, and some obscurity in how certain things worked.
Neither Karen Lofgren nor Loyalty Press has any affiliation with the author or publisher. This review constitutes Fair Use.
Why Creators Shouldn't Insist On A Specific Interpretation Of Their Work
Labels:
creative writing,
creative writing interpretation
·
Most creators of media have a vision in mind when they set off to make their masterpiece, and so when audiences don't "get it," they can understandably get frustrated. Some creators even seem to get resentful of the audience they've attracted, if they feel the audience has been attracted for the wrong reasons.
The thing is, as creators of artistic work, we have to accept the fact that each person is going to experience it differently than we do and take away something a little different, whether or not we intended it to be that way.
The reality of the matter is, if someone sees or doesn't see something in your work, that is a valid interpretation, no matter how disagreeable it might be. When you turn your work loose on the world, it's no longer truly yours. Other people are going to see and have opinions on it. And this is a good thing. It means you have created something that has touched other people, that has made them want to stay in your world a bit longer, even if they see it a different way.
Book Review - Huntress
Labels:
book review,
huntress,
novella,
renee carter hall
·
 |
| Cover art courtesy of Barnes and Noble. |
Author: Renee Carter Hall
Publisher: Smashwords
Publication Date: September 20, 2015
Version I Read: Ebook
Rating: 5/5
I've always loved anthropomorphic animal fantasy, so when I found this book I was instantly drawn in (the cover floored me, especially for an indie). I don't regret it - Huntress was amazing.
Note: this review is only regarding Huntress, not the short stories that are included in the ebook. I haven't read those yet, but I most certainly will when I get a minute.
Huntress tells the story of Leya, a young lioness who wants nothing more than to join the karanja, proud huntresses who bring meat to their villages. But to do that, she must forego life with a mate and cubs. At first, she can't wait to get out from village life and under her mother, but when her childhood friend confesses his love for her, her choice becomes more complicated than she could have imagined.
Huntress, is, quite simply, a magnificent piece. If anything, it could have easily been expanded into a novel.
Spoiler warning.
The world building and sheer details of the culture stand out most of all. These are truly anthropomorphized animals, as they act human but still very much live in animal ways (the males are the leaders of their villages while the karanja are groups of all female hunters - that's basically how lions work.) A lot is crammed into this novella in regards to their culture and mythology, which grabbed and fascinated me from page one. But none of it manages to get convoluted or confusing. The only thing I would have liked more of was more information on the other anthropomorphized animals out there, since Hall chose to include them (the painted dogs and the jackals). Perhaps they'll feature more in the short stories.
Even in such a small space, every character is given significance and views the world and situations in very different ways, which only serves to make the story more interesting. Leya is, of course, a spunky, likable heroine who grows tremendously over the course of the story and I'm never going to say no to that, Bahati was the very kind, stable pillar she needed, Thembe was a cool substitute mom and guiding force for her, and Nuru had lots of interesting things about him. Even Masika, Naimah, Shani, and Ndiri, relatively minor characters, all had dimension and came to life. I think I liked pretty much everyone.
Leya's choice becomes more complicated the more she learns, and it's effectively communicated to the reader how hard this choice is. At first I wanted her to get together with Bahati, but the karanja are so cool too and I wanted her to follow her dream as well. The things she had to do to become a karanja were also creative (such as the initiation test with the ants; even her thought process was well thought out and believable) and horrifying (having their breasts cut off. Eeek.). I also really appreciated the spiritualism and Hall's choice to make it maybe magic, maybe mundane - it's up to you. (Maybe the elephant is her spirit guide or Thembe's spirit, maybe it's both, or maybe it's just her own inner voice given shape.) Her final decision to take a third option and forge a path for herself, scary as that must have been, left me feeling very satisfied for these characters and the world they are going to build together.
The Verdict: Huntress is an engaging novella with fantastic world building, likable characters, and a good story.
Neither Karen Lofgren nor Loyalty Press has any affiliation with the author or publisher. This review constitutes Fair Use.
New Story - Past, Present, and Future
Labels:
creative writing,
fiction,
free book,
karen lofgren,
science fiction
·
"Modern soon-to-be college freshmen Melanie Geyer discovers she has the rare and amazing ability to Jump - time travel - between two times other than her own. One is Victorian England, the other a space station orbiting a devastated Earth far in the future. As more and more complications come to light, Melanie finds herself faced with an agonizing choice.
An 11,000 word digital exclusive from Loyalty Press and Karen Lofgren, author of the urban fantasy Imagine Someday and the epic space opera saga The Souls of the Stars."
An 11,000 word digital exclusive from Loyalty Press and Karen Lofgren, author of the urban fantasy Imagine Someday and the epic space opera saga The Souls of the Stars."
Here are the links to download:
Kindle*
Nook
Kobo
iBookstore
Smashwords
*I am still working with Amazon to get the title free on their site, but until then, if you have a Kindle and you want to read the book and not pay the $0.99, please visit Smashwords and simply download the .mobi link from them and load it onto your Kindle.
Thank you, as always, for checking out my work. If you enjoy the book, please consider leaving a review and taking a look at my other work. Look for more to come from me and Loyalty Press in 2016!
Kindle*
Nook
Kobo
iBookstore
Smashwords
*I am still working with Amazon to get the title free on their site, but until then, if you have a Kindle and you want to read the book and not pay the $0.99, please visit Smashwords and simply download the .mobi link from them and load it onto your Kindle.
Thank you, as always, for checking out my work. If you enjoy the book, please consider leaving a review and taking a look at my other work. Look for more to come from me and Loyalty Press in 2016!
Book Review - The Hundred Thousand Kingdoms
 |
| Cover image courtesy of Barnes and Noble. |
Author: N.K. Jemisin
Publisher: Orbit
Publication Date: October 1, 2010
Version I Read: Mass Market Paperback
Rating: 3.75/5
I have mixed feelings about this one. The book is, quite simply, amazingly crafted, but I had a hard time really emotionally liking it. Perhaps this is just one of those titles that I appreciate critically while not liking personally.
I can't really think of a good way to give a quick recap, so you might want to go read the official book description. Also, spoilers.
The cultures (that the book addresses, at least) and mythology of this world are lushly presented. The plotting is also very, very good, with many engaging twists and turns, especially near the end. I like the narrative style and the voice - the way Yeine's narration jumps around feels authentic to real thought. This was one of the few pieces of media I've come across where it actually makes sense why this cruel ruling class is and remains in power: they literally have enslaved gods on their side.
The narrative isn't as vast or expansive as its title suggests, which is fine because the book really does only focus on certain characters. But I think it's a misnomer to call it The Hundred Thousand Kingdoms. It's not really epic fantasy - more like political intrigue low fantasy with a dash of mystery. The focus isn't on the mortal world and its goings-on but the gods: their past, present, and future. Which, fortunately, was well done.
The big problem for me was the characters. The only ones I cared about at all were T'vril, Relad, and, most of the time, Yeine. I genuinely liked T'vril and Relad - they were decent guys and I wanted to take them home and bake them cookies. While I may not have liked him, Viraine was truly a multidimensional character - probably the only one besides Yeine, Dekarta, and, to a lesser extent, Nahadoth and Relad.
Yeine herself is a refreshing heroine in the fantasy genre, just as the author, N.K. Jemisin, is a refreshing voice, being a black woman able to make that too-long-unheard voice heard. Yeine is decidedly human, with flaws and a believable voice. Most of the time, I was completely behind her, wanting her to triumph. I especially admire her desire, even after all the horrors she has seen, to make the world a better place, even if she must die for it. But every now and again, she would really try my patience. My two biggest problems with her are as follows: her choice to kill the two Menchey men and her relationship with Nahadoth.
Whether or not she felt the need to appear strong, killing the Menchey men (especially the second one) was, put simply, a dick move and almost made me not finish the book. It would have actually made a lot more sense for her to allow the first man to die (because he had tried to attack her) while sparing the second one (because all he tried to do was help his comrade). I think that would have sent a more powerful message to Menchey: that if you attack us, we will destroy you, but if you don't, you won't be harmed. This would have sent a two-pronged message of threat and assuredness that's more likely to get what you want. Whether she felt guilty afterward or not is irrelevant; she made the choice and was the direct cause of the innocent death of a pawn who really didn't have much choice to begin with. That turned me off to her hard and fast. (Also, why didn't she bring Relad back to life at the end?)
That moment was both a little hypocritical and, I'd even argue, out of character, as throughout the rest of the book, Yeine proves herself to be a decent, compassionate human being, wanting nothing more than to not be Arameri. And then she goes ahead and does something very Arameri. It's understandable that she wants to protect her homeland, especially seeing as she knows she is going to die, has some power now, and is the former leader of her people. However, when taken along with her wish that the world become a better place, her actions come across as hypocritical. She shows no interest in any nation other than her own Darre, including the ones that she's given responsibility for.
Her relationship with Nahadoth is also problematic for a number of reasons (besides the over-the-top supernatural bed-destroying sex scene). First, it continues to pander to the "girls want bad boys" trope, which I have written about before. It's not necessarily a bad thing, but only if handled exceedingly well. In this case, I couldn't really fathom why Yeine is so drawn to Nahadoth over T'vril, unless it's because 1) she wants to experience a more exciting relationship before she dies (which is problematic because that's hardly the basis for a healthy romantic relationship) or 2) she carries the soul of his beloved sister and she is drawn to him because of Enefa (also problematic, because then she's not wholly herself in choosing him, even if you overlook the squicky fact that Enefa and Nahadoth are siblings). I'm not against sex and romance in fantasy, in fact, I encourage it, but something about the portrayal here felt lacking. He just seemed too inhuman for her to really have any chemistry with. A guy who sleeps with his kids and his brother and sister. Yeah, a real winner. Befitting behavior for a god, certainly, but not something to be admired or sought after by mortal morals.
The ending was fantastic and I want to see where this world goes now that its gods are no longer present. This is a plot I love to see in fantasy and so I will definitely be reading the next book.
The Verdict: Rich mythology, amazing take on the relations between gods and mortals, engaging plot and ending. Problematic romance. Characters largely unlikable or flat.
Neither Karen Lofgren nor Loyalty Press has any affiliation with the author or publisher. This review constitutes Fair Use.
On Depictions of Abuse in Fiction
Labels:
abuse,
author advice,
book authors,
child abuse,
creative writing,
emotional abuse,
fiction,
opinion,
physical abuse,
sexual abuse
·
This disturbed me for a number of reasons, but first and foremost, the astounding number of people (including people who knew abuse survivors) stating that they would never read such a thing, that the subject matter was appalling, and even that it shouldn't be written. This type of attitude, this silence about such a horrific yet important issue, only makes the problem worse.
Child abuse is a subject commonly depicted in my works, because I feel the greatest sorrow in my very soul for human beings who have had to go through such deep pain. I have been fortunate to never have it happen to me, but I know several people who have. It is an issue that is dear to my heart and I truly want to gain support and understanding for victims by depicting abuse and its life-destroying consequences in my fiction.
So when people act as if this kind of subject matter shouldn't even be brought up, I get a little upset. Fiction is meant to challenge us, and no, it's not always rosy or easy to read. But without it, we're never going to grow as a society and rally together against all of the horrible things that happen behind closed doors. People in abusive relationships sometimes don't even recognize the abuse for what it is, and instead of remaining silent about it, we need to scream loud and clear, though our fiction and otherwise, that these things are not okay. And sometimes, yes, this involves details you probably don't want to know. If making our readers feel and see the pain of these fictional characters helps even one real life person, and we have to share descriptions not everyone wants to read, so be it. After all, for real victims, there are no scene changes or time jumps.
Now obviously, I am not referring to any abuse written in an obviously salacious way (that's beyond disgusting), or if the abuse is simply used for shock value. While it is never a good idea to make an abusive experience practically the sole trait of a character (because, hello, it's not), keep in mind that this might be the result of an inexperienced or mediocre writer with good intentions even if the execution fell short. Also, while I'm not the biggest fan of trigger warnings, if your book contains scenes of detailed abuse or its aftermath, you owe it to your readers to slap a warning label on it.
What do you all think? Speak in the comments!
Announcing a New Story!
Labels:
creative writing,
free book,
novelette,
science fiction,
writing
·
Past, Present, and Future is an 11,000 word digital standalone exclusive, due out on February 29th and will be published by Loyalty Press.
The price will be free. That's right, free. This is partially to apologize for my lack of new material published in 2015 (it was a big year for me), but also for the fact it's taking me a lot longer than I would have hoped to get a draft ready of December's sequel, July. At this point, The Brooch of Storisvaria will probably be ready first... So I'm sorry, and I hope you can enjoy this in the meantime.
Past, Present, and Future began life as a piece in my still-in-progress short story collection, The Profane and the Sacred and Other Stories. After it became much longer than I would have wanted to put in a short story collection and it became clear I wouldn't have a new novel to present in 2015, I have chosen to publish it separately for everyone to enjoy.
The story is about a soon-to-be modern college freshmen, Melanie, discovering that she has the rare and amazing ability to Jump to two times other than her own. One is Victorian England, and the other a space station orbiting a devastated Earth far in the future. As more and more complications come to light, Melanie finds herself faced with an agonizing choice.
Again, Past, Present, and Future is due out on all major digital platforms on February 29, 2016. Be sure to pick up a copy!
On the Editorial Process
After finishing the first draft, the first thing I do is absolutely nothing. You heard right. Nothing. I sit on the piece for as long as I can - ideally at least a month. If I can't do that, I still give it as much time as I can.
I then read through it again, start to finish, in Word, making changes and notes. Here are some simple things I look for that all writers should at this stage:
- Remove as many occurrences of "that" as possible.
- Check for long, wordy, stringy sentences.
- Also check for short, choppy sentences (especially if they're close together).
- If need be, read dialogue aloud to make sure it sounds natural.
- Check for incomplete sentences and run-ons.
- Revise passive writing if at all possible.
- Try and notice repeated words/phrases and awkward/clunky sentences or phrasing.
- Watch for any inserted exposition that could grind the narrative to a halt.
Bonus Tip: If you have to stop and reread a sentence, it likely needs to be revised.
It's exceptionally hard for authors to notice potential issues with characterization or logical fallacies in their own stories because we're so close to our writing, so while I keep an eye out for those, I also address them in the next step.
I then send the story to both my editor and a close friend. My editor checks the story with a professional eye and my close friend reads the book and tells me what she thinks as a casual reader. Both viewpoints, in my opinion, are of equal value. Their edits are considered and implemented or not.
(As an aside, I also offer editing services, if anyone is interested.)
The last step is the final read. To do this, I convert and load the story onto my ereader. I then read through and highlight words, phrases, or even scenes I still think might need edits. Once done, I then get back into the main document and make those edits.
After that, I begin the formatting process for the ebook and print versions of the piece, and release them on the date they're due out.
So that's my process. Is yours different? Discuss in the comments!
To Pen Name or Not To Pen Name?
Despite the fact that I use a pen name, I actually advocate using your real one if at all possible for a number of reasons and to avoid several complications.
In my opinion, authors should really only use a pen name for one of the following reasons:
- You have an extremely common name (i.e. John Smith).
- You have written a book or write in a genre that you don't want connected to you for personal or professional reasons. (Example: if you primarily write children's fiction but want to try your hand at erotica)
- You share your real name with a reasonably famous author (this one's my issue and why I use a pen name).
- Previous books you have published have had a negative reception and you're trying to restart.
- If you really, really just hate your name, are transgender, or are better known by a nickname.
Bonus Tips:
- While it used to be true that books written by certain genders in certain genres didn't sell, I think this trend is largely going away and so it is not necessary to use an opposite-gendered name, unisex name, or initials. However, if this is still an issue for your gender/genre, you might choose to use a pen name.
- If your name is difficult to spell or pronounce, you might want to use a pen name, even though I personally think it's better to use that uniqueness to help build your brand and stand out from the crowd.
- It's an extraordinarily bad idea to use a pen name to hide from people (Examples: while writing non-fiction that lambastes real people or to avoid breaches of publishing contracts). You will likely be found out and could be sued for libel or breach of contract.
If you're self-publishing, it's really nothing to use as many pen names as you want. It will, however, make it harder to build an audience with readers because there will not be as much name recognition. Book marketing is largely personal these days, so consider how you will accomplish that if you don't want people to know who you are.
If you are publishing traditionally, using a pen name is a little more involved. You do not want to only use your pen name when communicating with your agent or publisher. Make it clear up front that you want to publish your piece under your pen name, but again, use your real name for all formal communication. Advances and royalties can get complicated if you use a pen name as well.
For registering copyright, you can use your pen name or your real name. It is generally recommended to register so both names are on record, but if you can only pick one, use your real name for maximum protection.
As for how far you should go with an assumed identity, I think that is up to the individual author to determine. For example, if you are writing under a pen name of the opposite gender, it might be pertinent to come up with a vaguely factual fake biography for your back cover. Jury's still out on how appropriate it is to use opposite gendered pronouns. Don't claim credentials you haven't earned or outright lie. Major lies, if discovered, are likely to make readers lose faith in you.
So that's what I have to say about pen names. Agree? Disagree? Anything I missed? Any interesting pen name stories? Be sure to say so in the comments!
Book Review - Artemis Awakening
Labels:
artemis awakening,
book review,
jane lindskold,
science fiction
·
 |
| Cover image courtesy of Barnes and Noble. |
Author: Jane Lindskold
Publisher: Tor
Publication Date: May 27, 2014
Version I Read: Mass Market Paperback
Rating: 5/5
By now, it should be no secret that I'm a big fan of Jane Lindskold's work, so when I heard she had a new series coming out, I nabbed a copy at the earliest opportunity. Needless to say from my five star rating, it's good.
Centuries ago, a powerful empire dominated the stars. With their advanced technology, they were able to accomplish seemingly the impossible, like creating an entire pleasure planet for their elite, complete with residents. When the empire and their technology were destroyed in a war, the planet, named Artemis, was lost and left to evolve on its own. Now, young archaeologist Griffin Dane has come to the planet, hoping to make the archaeological find of the century. Too bad his shuttle crashes...
There's not a lot to talk about, really. It's just a good all around book. No one thing in particular sticks out, but that's because every element is done nicely and it all blends together to create a good story that still leaves some questions unanswered and some plot threads open.
Major spoilers!
First off, this book, unlike some others, has been edited down to necessity, making it very tightly-plotted. The allows the action and the story to move along at a clipped pace and never drag.
The villain, the Old One Who Is Young, is not a new breed by any stretch of the imagination, but he is an effective one. When describing the horrors of the Old One's experiment/breeding program, Lindskold pulls no punches, making a great case for why this man is so unbelievably horrible he deserves to be called a villain. (Long story short, he's breeding human beings for reasons that make sense in context, and abduction, rape, and removing children from their parents is a regular occurrence). This also allows the narrative to scratch the surface of showing how Stockholm Syndrome can cause victims to victimize others, and why they shouldn't be held entirely accountable for it. He is also mentioned early enough that his importance is consistent throughout the novel, and his betrayal is effective in its surprise.
I also found the romance realistic, especially in regards to Adara and Julyan. It's a spot-on description of a young woman, caught up in the throes of first love, falling for a man whose dominant personality becomes problematic (understatement) in the future. The interactions between Griffin and Adara and Terrell and Adara (and Griffin and Terrell's friendship in spite of the "competition") turn them into real people (albeit from completely different origins) and the reader, as well as Adara, can see the good points of each. Both Griffin and Adara thinking they are not good enough for the other (for different reasons) was a nice touch. They also make a very good team. Adara herself is sufficiently badass and crafty (pretending to be stupid around the Old One so she may avoid his attentions while sneaking about on her own to investigate), joining the ranks of other similar Lindskold heroines. Her connection to the planet itself is intriguing and I'm interested to see where it will go as the story continues.
Research was clearly done on pumas in order to write Sand Shadow, and Artemis itself is an organic, fascinating world that, hopefully, will only continue to be built upon in subsequent novels. While it's been done before, the discovery of this lost world is just as mysterious and intriguing as any which came before.
Centuries ago, a powerful empire dominated the stars. With their advanced technology, they were able to accomplish seemingly the impossible, like creating an entire pleasure planet for their elite, complete with residents. When the empire and their technology were destroyed in a war, the planet, named Artemis, was lost and left to evolve on its own. Now, young archaeologist Griffin Dane has come to the planet, hoping to make the archaeological find of the century. Too bad his shuttle crashes...
There's not a lot to talk about, really. It's just a good all around book. No one thing in particular sticks out, but that's because every element is done nicely and it all blends together to create a good story that still leaves some questions unanswered and some plot threads open.
Major spoilers!
First off, this book, unlike some others, has been edited down to necessity, making it very tightly-plotted. The allows the action and the story to move along at a clipped pace and never drag.
The villain, the Old One Who Is Young, is not a new breed by any stretch of the imagination, but he is an effective one. When describing the horrors of the Old One's experiment/breeding program, Lindskold pulls no punches, making a great case for why this man is so unbelievably horrible he deserves to be called a villain. (Long story short, he's breeding human beings for reasons that make sense in context, and abduction, rape, and removing children from their parents is a regular occurrence). This also allows the narrative to scratch the surface of showing how Stockholm Syndrome can cause victims to victimize others, and why they shouldn't be held entirely accountable for it. He is also mentioned early enough that his importance is consistent throughout the novel, and his betrayal is effective in its surprise.
I also found the romance realistic, especially in regards to Adara and Julyan. It's a spot-on description of a young woman, caught up in the throes of first love, falling for a man whose dominant personality becomes problematic (understatement) in the future. The interactions between Griffin and Adara and Terrell and Adara (and Griffin and Terrell's friendship in spite of the "competition") turn them into real people (albeit from completely different origins) and the reader, as well as Adara, can see the good points of each. Both Griffin and Adara thinking they are not good enough for the other (for different reasons) was a nice touch. They also make a very good team. Adara herself is sufficiently badass and crafty (pretending to be stupid around the Old One so she may avoid his attentions while sneaking about on her own to investigate), joining the ranks of other similar Lindskold heroines. Her connection to the planet itself is intriguing and I'm interested to see where it will go as the story continues.
Research was clearly done on pumas in order to write Sand Shadow, and Artemis itself is an organic, fascinating world that, hopefully, will only continue to be built upon in subsequent novels. While it's been done before, the discovery of this lost world is just as mysterious and intriguing as any which came before.
Neither Karen Lofgren nor Loyalty Press has any affiliation with the author or publisher. This review constitutes Fair Use.
Book Review - The Novice
Labels:
book review,
fantasy,
taran matharu,
the novice,
the summoner trilogy,
YA,
young adult
·
 |
| Cover image courtesy of Barnes and Noble. |
Author: Taran Matharu
Publisher: Feiwel & Friends
Publication Date: May 5, 2015
Version I Read: Hardcover
Rating: 4/5
Version I Read: Hardcover
Rating: 4/5
I picked this one up on a whim because it sounded interesting, and I certainly was not disappointed. Not completely wowed, but certainly not disappointed.
The Novice tells the story of Fletcher, an orphan living in a small remote mountain town in the north of the empire of Hominum. On accident, he ends up summoning a demon, proving he has the ability to summon. On the run from a "crime he didn't commit," according to the book cover, but more like a possible murder in self-defense, he finds himself enrolled at the academy that trains adept summoners where he is bound to learn more about himself and the world around him.
Some spoilers.
The two biggest strengths of this book are the world building and the magic system. The entire system for summoning and keeping a demon is amazingly logical and thought out. The politics and players in them are likewise astonishingly well-detailed for a book like this, especially the relations between the races and the interesting cultural details about each one the author manages to squeeze into the narrative (like the dwarven women's customs being so similar to Islamic ones. It was nice to see a positive portrayal.) This book also had a rather fresh approach to elves, dwarves, and possibly even the orcs (as well as the somewhat unique inclusion of firearms), which I appreciated.
The plot is also pretty decent, especially the neat twist that even the reader doesn't know if Didric actually died or not. The opening third is the best part, but the book also ends on a high note with a cliffhanger of an ending that would bother me if it hadn't been built up. Unfortunately, while it does the school sections better than most, I have never been a big fan of magical school stories for precisely that reason. The school sections tend to be boring and drag. While they weren't as bad here because the magic system was so solid and the reader was learning along with the characters, these sections still felt tedious in places.
Most of the messages of the story are generic (don't discriminate against people based on their origin or race) but a small one near the end was noteworthy enough to be mentioned here: the dwarf Othello has a more radical twin brother named Atilla whom Othello regularly impersonated in order to keep his brother from harm. But near the end of the book, after Fletcher and co have rescued Atilla, Othello admits he was wrong because his brother rarely had a sense of consequence, and so his self-destructive behavior continued. While there's nothing wrong with protecting those you love, shielding them too much can, obviously, lead to problems and it was nice to see this book point that out.
There are some other issues. Namely, the sheer hatred everyone seems to have towards commoners being battlemages. It comes off as more shallow and stupid than usual. Medieval society or not, they are desperately fighting a war on two fronts and need everyone capable they can find. This leads to the order about not testing orphans for summoning ability because they could be bastard children of nobles (the ability is usually inherited) coming off as incredibly stupid. First, the vast majority of orphans are not going to be illegitimate nobles. Second, I'm sure plenty of those kids did end up with families who pretend to be their biological ones, so how is being an orphan such a big indicator? You're going to pass on a rare and powerful resource just because some of your nobles couldn't keep it in their pants and they don't want their honor tarnished? It was their fault in the first place! The racism towards the dwarves and the elves works a lot better, in spite of the fact that it's been done to death. But can we start exploring some other issues in our fantasy, please?
The characters are mostly hits with some misses. For being as many as there are, they all do have their places and are relatively well-developed. Fletcher, Captain Lovett, Othello, Sylva, Sereph, and to a lesser extent Atilla and Arcturus are all badasses. On the flip side, most of the other students at the academy don't get to do much (I was expecting both Genevieve and Rory to have more of a front and center role, and I think it was interesting that the author decided to have Sylva, Othello, and Fletcher be the power trio instead.) The villains, however, are downright irritating in their simplicity, especially Didric and Rook. At least Isadora and Tarquin have some sort of motivation, but it doesn't make them three-dimensional characters. All of the villainous characters' lack of any sort of depth or being anything other than obnoxious bullies is quite jarring compared to the excellent thought the author put into the world, the magic system, and the rest of the characters. Hell, it even looks like the orcs might not be everything they seem.
Last but not least, the book would have greatly benefited from a character list and world map.
Neither Karen Lofgren nor Loyalty Press has any affiliation with the author or publisher. This review constitutes Fair Use.
Book Review - The Book of Three
 |
| Cover image courtesy of Barnes and Noble. |
Author: Lloyd Alexander
Publisher: Square Fish
Publication Date: March 12, 1964
Version I Read: Paperback
Rating: 5/5
I'll make no secret of it - I think The Chronicles of Prydain is one of the masterworks of the fantasy genre, children's series or no. So, bam, five star rating right there. Going into a bit more detail why:
The Book of Three is the first novel of the Chronicles of Prydain series by American author Lloyd Alexander. While not a retelling of Welsh mythology, the series heavily borrows elements and characters from the legends, while introducing new ones. Despite the title, The Book of Three and its sequel, The Black Cauldron, were mashed together to form the basis of the 1985 animated Disney film (that no one remembers) The Black Cauldron.
The Book of Three begins the story of Taran, Assistant Pig-Keeper of Caer Dallben. Taran, like the protagonists of most fantasy novels, dreams of being a hero but as his title implies, is stuck looking after the pig Hen Wen. Hen Wen, however, is far from ordinary: she is the only ocular pig in Prydain, with the power to show what one is asking for. When Hen Wen runs off, Taran sets off to find her, leading him to a group of odd companions and eventually to confront the dreaded Horned King himself.
Spoilers.
All of the books in the series feature a complex, uncommon moral/lesson/theme that makes them all stand out in one way or another. To illustrate this, I give you an exchange from the end of The Book of Three:
"I have no just cause for pride," Taran said, taking his usual place on the familiar bench. "It was Gwydion who destroyed the Horned King, and Hen Wen helped him do it. But Gurgi, not I, found her. Doli and Fflewddur fought gloriously while I was wounded by a sword I had no right to draw. And Eilonwy was the one who took the sword from the barrow in the first place. As for me, what I mostly did was make mistakes."
"My my," said Dallben, "those are complaints enough to dampen the merriest feast. Though what you say may be true, you have cause for a certain pride nevertheless. It was you who held the companions together and led them. You did what you set out to do, and Hen Wen is safely back with us. If you made mistakes, you recognize them. As I told you, there are times when the seeking counts more than the finding."
The writing itself is quite poetic and even beautiful in places. The pacing is good, the plot moves along logically without characters having to act stupid or random events happening, and there aren't any superfluous scenes. The world-building is simplistic - perhaps a little too simplistic, but I think it works okay in this book, at least. In fact, I think that's one of the only weaknesses of this series: that the world-building is a little confusing at times in later novels.
The characters are all quite memorable in their first appearances here and only become more so as the series goes on and they develop. Eilonwy is spunky and talkative, Fflewddur is the voice of reason in the group despite his tendency to exaggerate. And Doli, well, Doli is just a sourpuss, but his magical abilities make him extremely useful, and he genuinely grows to care about the band. Taran himself is in whiny farm boy mode for most of this book, but it serves to set up his development as a character over the course of the series and he genuinely realizes his mistakes. As the above exchange says, every character gets to do something that is important to the plot and they all have consistent and strong personalities. Gurgi in particular, I feel, is a lot less annoying in the books than in the film adaptation.
The Verdict: The Book of Three is a rousing adventure story set in an interesting fantasy world with complex and somewhat uncommon ideas about heroism and growing up. The characters are also well-developed and memorable.
Neither Karen Lofgren nor Loyalty Press has any affiliation with the author or publisher. This review constitutes Fair Use.
The Book of Three is the first novel of the Chronicles of Prydain series by American author Lloyd Alexander. While not a retelling of Welsh mythology, the series heavily borrows elements and characters from the legends, while introducing new ones. Despite the title, The Book of Three and its sequel, The Black Cauldron, were mashed together to form the basis of the 1985 animated Disney film (that no one remembers) The Black Cauldron.
The Book of Three begins the story of Taran, Assistant Pig-Keeper of Caer Dallben. Taran, like the protagonists of most fantasy novels, dreams of being a hero but as his title implies, is stuck looking after the pig Hen Wen. Hen Wen, however, is far from ordinary: she is the only ocular pig in Prydain, with the power to show what one is asking for. When Hen Wen runs off, Taran sets off to find her, leading him to a group of odd companions and eventually to confront the dreaded Horned King himself.
Spoilers.
All of the books in the series feature a complex, uncommon moral/lesson/theme that makes them all stand out in one way or another. To illustrate this, I give you an exchange from the end of The Book of Three:
"I have no just cause for pride," Taran said, taking his usual place on the familiar bench. "It was Gwydion who destroyed the Horned King, and Hen Wen helped him do it. But Gurgi, not I, found her. Doli and Fflewddur fought gloriously while I was wounded by a sword I had no right to draw. And Eilonwy was the one who took the sword from the barrow in the first place. As for me, what I mostly did was make mistakes."
"My my," said Dallben, "those are complaints enough to dampen the merriest feast. Though what you say may be true, you have cause for a certain pride nevertheless. It was you who held the companions together and led them. You did what you set out to do, and Hen Wen is safely back with us. If you made mistakes, you recognize them. As I told you, there are times when the seeking counts more than the finding."
The writing itself is quite poetic and even beautiful in places. The pacing is good, the plot moves along logically without characters having to act stupid or random events happening, and there aren't any superfluous scenes. The world-building is simplistic - perhaps a little too simplistic, but I think it works okay in this book, at least. In fact, I think that's one of the only weaknesses of this series: that the world-building is a little confusing at times in later novels.
The characters are all quite memorable in their first appearances here and only become more so as the series goes on and they develop. Eilonwy is spunky and talkative, Fflewddur is the voice of reason in the group despite his tendency to exaggerate. And Doli, well, Doli is just a sourpuss, but his magical abilities make him extremely useful, and he genuinely grows to care about the band. Taran himself is in whiny farm boy mode for most of this book, but it serves to set up his development as a character over the course of the series and he genuinely realizes his mistakes. As the above exchange says, every character gets to do something that is important to the plot and they all have consistent and strong personalities. Gurgi in particular, I feel, is a lot less annoying in the books than in the film adaptation.
The Verdict: The Book of Three is a rousing adventure story set in an interesting fantasy world with complex and somewhat uncommon ideas about heroism and growing up. The characters are also well-developed and memorable.
Neither Karen Lofgren nor Loyalty Press has any affiliation with the author or publisher. This review constitutes Fair Use.
Subscribe to:
Posts (Atom)
