Back to the land of Deverry for Dragonspell, the end of the first series in the sprawling affair that is the Deverry Cycle. I'll once again be be doing a first time and second time review, with the second half having most of the spoilers. The first half will assume a little that you've read the other books in the series, or some of the other stuff I've written about Daggerspell, Darkspell and Dawnspell, or reviews at other great sites like Womble's or Imyril's but it should work just fine on it's own.
Now get in the fast lane Grandma, this bingo game's ready to roll!
First Time
Friend, Rhwmanes, Nerdyfolk,
I am actually here to praise. I'm here to praise a lot. The first series of the Deverry Cycle is one filled with huge ambition in terms of the narrative arc, a personal focus, and sharp observations about the world. It's a fine ride but often stories are only as good as their ending. Fortunately, Dragonspell offers the finest take on Deverry since the series opener. Or to be more strictly accurate, the world of Deverry, because most of the action takes place not in the High Kingdom but in its neighbour Bardek.
It's at this point that I realise writing a review of book 4 that doesn't spoil books 1, 2 and 3 is basically impossible. Oh well. You've been warned. Still gonna try
The reason most of the action takes place in Bardek is due to a trap the Dark Dweomer has set for Nevyn, designed to lure him there. The old wonder himself is in Deverry for most of it, dealing with various political issues. That's the only real Deverry element though, particularly as this is the only book in the opening quartet that doesn't have any preincarnations. While this loses a bit of the charm the other books had, it does allow for a more compact and focused storytelling experience. For the ending, I think it was a wise move.
Ultimately, what makes a good ending is resolution. This is something Kerr mostly nails, although a few moments will come too easy for some tastes, and in some areas she deliberately leaves things open. It works for me but some might find it merely good. Rhodry the boy wonder finally - mostly - learns to see beyond his upbringing as the perfect honourable warrior-noble and get a more responsible view on life. He's no longer the man who'd cause endless trouble simply because he can't keep a lie. It's a long road, a painful one, and one that's not entirely altruistic, but it's realistic and satisfying. Cullyn finds happiness and truly leaves his many life-long obsessions behind.
And Jill? Jill finds the dweomer. Jill finds the understanding that she can't have it all, that no love is worth more than her self-worth and destiny. It's a hard ending but one that makes total sense.
If I had one criticism, it'd be that the plot is fairly straight forwards. This isn't a thriller and at times it trends towards introspection - it's the least warlike of this series. And that works for me.
All in all, a very fine ending.
Second Time
I'm not sure I really have a whole lot to add that's spoilery and deep. This is the least complicated of the books, after all.
Let's start with Lord Perryn, the mostly unwitting supernatural rapist. I'll be honest, I have a slight soft spot for his story simply because his not quite human nature manifests in such a dick. Don't get me wrong, in real life I'd have zero patience, but fantasy thrives on the alien and his half-understanding of morality is just that. Does he get off lightly for what he's done? Maybe. He suffers (some), he helps (some). It's restitution of a sort but I'm not sure it's enough to earn his very happy ending. But maybe that's the point. Sod revenge, go easy on the justice, and concentrate on our own happiness. Perryn won't do what he did again, and the rest can move on. As they do.
That said, this doesn't line up too great with a lot of the book. Jill accidentally creates magical creatures of pure revenge with very little consequence. Rhodry runs into an inferno just for revenge and survives. We know his desire for vengeance on Slaith will result in a very unhappy marriage, but that consequence is out of story. If Kerr's theme came through clear as flame in prior books, it's a little muddled here. It's a cracking character driven narrative but there's some issues that maybe don't hold up to more than casual scrutiny.
I'm really struggling to think of other issues. It's like Kerr's doled out all her lessons and here's it about the characters showing they've done their homework. In Rhodry's case, I do sometimes wonder about Kerr's decision to give him a fairly enjoyable bout of slavery (with the worst parts happening of screen). Maybe she needed him to be a slave but didn't want to go too deep into misery in her story. I certainly don't object to this. Maybe there's some subtle point of story I'm missing.
In any case, this is Jill's story. Thematically this makes sense. The boys needed to stop controlling her life so she could figure things out. Well, Cullyn and Nevyn saw sense long ago, and without the need to care for Rhodry, she's free. Arguably too free as she's learning the dweomer with only that prattling elf Salamander for guidance, which as noted, doesn't end well. This is not a tract in favour of complete total independence; it clearly says one of the best things you can do with your choice is to follow the right person. Is that satisfying? It was when reading it I guess.
And that's all that counts.
Tuesday, 16 June 2020
Really Late Round Up
I had meant to post this round up on Friday as per normal but the world got away from me and in any case, there's been some other stuff that's popped up then. I'll stick that towards the back though, as it's long and not all that relevant to everyone and who knows, maybe it's all died down enough that I shouldn't even write it?
1) I recently had a good chat on Twitter about the way Small Press is getting squeezed by the publicity machines of the Big Trad Publishers on one side and the determination to support Self-Publishing on the other - which is great but doesn't usually include the Small Presses. I know some places do try to do right by them (The Fantasy Hive has some good pieces and I know Womble is looking for authors to review). I'd like to do a little to highlight and talk about the Small Press thing. The emphasis is very much on the little as this is not a big platform (although I am going to ask some of the bigger places if they want to run it) but hey, I do what I can.
So if anyone reading this is - or knows - a small press publisher or author and would be happy to answer some questions or do an inteview, or just someone who has some recs, please let me know. If you want to go anonymous and complain, that too is cool. Anything to get people talking about it.
2) Right! Cool stuff. Aliette de Bodard has sold a new novella called Fireheart Tiger to Tor and yes, I am already excited for it. I've had a little lull so current novella Of Dragons, Feasts and Murders has only been read a little but it's very charming so far (well, okay, I just got up to the murder victim, but it's a charming murder victim) and I am all about the spate of novellas popping up (speaking of novellas, there's a This is How You Lose The Time War review coming soon). Bonus points for having a really metal name, because that is what matters to me.
3) While I'm touting authors, Jen Williams' art looks really fun and full of character and I keep musing about what I might get if I didn't have lots of moving house in my future. And there's a really good craft twitter thread from Megan O'Keefe here.
4) One of the predictable responses to expressions of support for Black Lives Matter from publishers was black authors asking where the support had been when it came to getting published and paid. There have been some calls for submissions from them but we'll see how this goes. I say this not to criticize, but to highlight the big issue here which is ongoing support. Who wants to put money against there not being many more authors from outside the main cultural strand of fantasy in one or two years? Or five years? If we're looking for equality of opportunity, then people need to be mindful to keep giving opportunities. So far I've done one list of sample reviews that made a big effort to highlight authors from outside the fantasy mainstream. Am I still going to be doing that in a year? I hope I'm still giving them a shot and am challenging myself to do so. And I hope other people are committing to change and if anyone else has recs, let me know - it's a shame a lot of the good ones are more YA (like this one from Jenna) which is not quite my cup of tea but gotta keep looking.
5) A blogger stuck up an account of their experiences with book tours last night that was fairly critical and things went downhill from there very quick, particularly as it was very clear which book tour they were talking about and the organisers (both book bloggers themselves) felt attacked.
Note - I'm not using names here as I'd rather talk about the generalities and those involved have enough heat on them right now. There's no intent to talk about people behind their back
Now, there's two main issues as I'm seeing them. The first is the pressure to stick up a good review. The second is a lack of transparency about why the tour organisers are doing it i.e. are they getting paid. And it all folds into a general mass grumble that goes around every now and again about how book bloggers put in a lot of work that is important in an ecosystem of making money but in which they don't, and all they get is some occasional kudos and satisfaction. The risk of losing that kudos is big; nobody wants to be seen as dishonest. The subject of money in the whole thing, both in terms of integrity and probably secretly in fairness, is sore. This is certainly something that should be born in mind when talking about blogger responses, and ample reason to treat them with a degree of sympathy, rather than shrugs and fuck yous. Not that the organisers deserve that either. It's not pleasant to put a lot of work into something for not a whole lot and be told it's all bullshit. A pinch of empathy would go a long way right now.
Personally, I do think that it is important that there is transparency over who gets paid what and who knows who in an honest review system. I want to know how the reviewer got the book and what strings were attached, I want to know if they're friends with the author. And yes, I'd want to know if the book tour organiser got paid, particularly if they're paying their own review. Do I believe anyone involved in book blogging is crooked? I don't want to, I've never met anyone I'd point a finger at, but we're only human and there are stories of reviewers approaching authors asking for payment for five star reviews. It would be stupid to assume every review is free of bias. Which, to be honest, is what I do do when reading them - unless I have reason to think someone's not being honest about how they came to be reviewing the book.
So, please, let us be transparent. And more important, let's not blow this up more than needs be (said the guy who wrote five paragraphs on it). Not every group activity will work all the time. There's no need to make it more than that. Yes, there some's talking to be done in the community about how it engages with the publicity machine. But the drama probably doesn't help.
1) I recently had a good chat on Twitter about the way Small Press is getting squeezed by the publicity machines of the Big Trad Publishers on one side and the determination to support Self-Publishing on the other - which is great but doesn't usually include the Small Presses. I know some places do try to do right by them (The Fantasy Hive has some good pieces and I know Womble is looking for authors to review). I'd like to do a little to highlight and talk about the Small Press thing. The emphasis is very much on the little as this is not a big platform (although I am going to ask some of the bigger places if they want to run it) but hey, I do what I can.
So if anyone reading this is - or knows - a small press publisher or author and would be happy to answer some questions or do an inteview, or just someone who has some recs, please let me know. If you want to go anonymous and complain, that too is cool. Anything to get people talking about it.
2) Right! Cool stuff. Aliette de Bodard has sold a new novella called Fireheart Tiger to Tor and yes, I am already excited for it. I've had a little lull so current novella Of Dragons, Feasts and Murders has only been read a little but it's very charming so far (well, okay, I just got up to the murder victim, but it's a charming murder victim) and I am all about the spate of novellas popping up (speaking of novellas, there's a This is How You Lose The Time War review coming soon). Bonus points for having a really metal name, because that is what matters to me.
3) While I'm touting authors, Jen Williams' art looks really fun and full of character and I keep musing about what I might get if I didn't have lots of moving house in my future. And there's a really good craft twitter thread from Megan O'Keefe here.
4) One of the predictable responses to expressions of support for Black Lives Matter from publishers was black authors asking where the support had been when it came to getting published and paid. There have been some calls for submissions from them but we'll see how this goes. I say this not to criticize, but to highlight the big issue here which is ongoing support. Who wants to put money against there not being many more authors from outside the main cultural strand of fantasy in one or two years? Or five years? If we're looking for equality of opportunity, then people need to be mindful to keep giving opportunities. So far I've done one list of sample reviews that made a big effort to highlight authors from outside the fantasy mainstream. Am I still going to be doing that in a year? I hope I'm still giving them a shot and am challenging myself to do so. And I hope other people are committing to change and if anyone else has recs, let me know - it's a shame a lot of the good ones are more YA (like this one from Jenna) which is not quite my cup of tea but gotta keep looking.
5) A blogger stuck up an account of their experiences with book tours last night that was fairly critical and things went downhill from there very quick, particularly as it was very clear which book tour they were talking about and the organisers (both book bloggers themselves) felt attacked.
Note - I'm not using names here as I'd rather talk about the generalities and those involved have enough heat on them right now. There's no intent to talk about people behind their back
Now, there's two main issues as I'm seeing them. The first is the pressure to stick up a good review. The second is a lack of transparency about why the tour organisers are doing it i.e. are they getting paid. And it all folds into a general mass grumble that goes around every now and again about how book bloggers put in a lot of work that is important in an ecosystem of making money but in which they don't, and all they get is some occasional kudos and satisfaction. The risk of losing that kudos is big; nobody wants to be seen as dishonest. The subject of money in the whole thing, both in terms of integrity and probably secretly in fairness, is sore. This is certainly something that should be born in mind when talking about blogger responses, and ample reason to treat them with a degree of sympathy, rather than shrugs and fuck yous. Not that the organisers deserve that either. It's not pleasant to put a lot of work into something for not a whole lot and be told it's all bullshit. A pinch of empathy would go a long way right now.
Personally, I do think that it is important that there is transparency over who gets paid what and who knows who in an honest review system. I want to know how the reviewer got the book and what strings were attached, I want to know if they're friends with the author. And yes, I'd want to know if the book tour organiser got paid, particularly if they're paying their own review. Do I believe anyone involved in book blogging is crooked? I don't want to, I've never met anyone I'd point a finger at, but we're only human and there are stories of reviewers approaching authors asking for payment for five star reviews. It would be stupid to assume every review is free of bias. Which, to be honest, is what I do do when reading them - unless I have reason to think someone's not being honest about how they came to be reviewing the book.
So, please, let us be transparent. And more important, let's not blow this up more than needs be (said the guy who wrote five paragraphs on it). Not every group activity will work all the time. There's no need to make it more than that. Yes, there some's talking to be done in the community about how it engages with the publicity machine. But the drama probably doesn't help.
Friday, 12 June 2020
Project Transformation Part Eight - Holiday
I'd meant to stick this up yesterday but was just feeling down about everything, which is part of my decision to take a holiday. Everybody has their point at which fatigue and stress simply sits too heavy (I'm keeping Tade Thompson's twitter thread on this bookmarked from now on). I feel ridiculous but there we go. That said, that's post-fact rationalising.
What I'd actually meant to do was let the story sit and percolate for a couple of weeks so I could make the decisions that would make the writing go smoother while I worked on something else. Project Transformation would end up taking the same amount of time because there'd be less wading through treacle, and the redraft would be a lot smoother, and I'd get work done on the other ideas that deserve it.
Now it's Thur - it's Friday m - it's Friday afternoon and, well, not a whole lot. I've written a new line in Gumshoe Paladin and taken a little time to be very specific with myself about what I'm doing. I've had a half-idea for a Heroic Fantasy-esque tale in a which a priestess, her bodyguard, and a bunch of mercs and thieves quest for the cure to a plague. Workable, but lacking in awesomeness. I've had another idea for a story, this one non-fantasy, about a bloke who persuades his black mate to come join him playing rugby at a club down sorta where London becomes Kent (i.e. where I play my rugby). It's a fun idea and one that'd be super relevant but, while it's my best idea for making it big, it's not the one I feel most about and not the one I'd do best. I know damn well that racism happens in the game but very little of it, or at least that I understand, within my hearing.
I've done a bit of worldbuilding and talking things over with a friend about some of the choices I need to make to solidify this too. I haven't got much resolution out of it but, with the help of a few days' thinking and article by Seth Dickinson about The Traitor Baru Cormorant I'm starting to get an idea of the things I need to resolve.
1) What type of story is this?
Yeah, that's a real big one to leave flapping around. The nature of fantasy is that just calling a book a fantasy - even a High Fantasy or Epic Fantasy or Urban Fantasy - still leaves a certain amount of ground unmarked. I never really addressed this with Project Transformation and have, as a result, piled concept after concept onto it. At some point this needs to stop and a few base concepts need to be established, with everything else either kowtowing to their demands or getting the hell off of base.
2) What's the time usage?
Does this story span years, told in short sharp bursts of things happening with development left off screen? Or it is one continuous chain of events, everything chronicled? I'd assumed the latter and feel those are easier stories to write but the former opens up a lot of doors, such as...
3) When does it start?
Does it start when Sooley becomes a healer in the Sovereignity's Mission? When his mentor disappears? When the new guy arrives confirming Sooley's in charge, giving him a split loyalty? Is it some moment in the rebellion? I probably don't need to know this right away but it help gives me a few things towards getting the ending right.
4) What happens in the denouement? Is this a series?
I am at roughly halfway. I do have an idea for an ending, but it's a fairly similar scene to the climatic middle part, and I don't know how I feel about that. I have a rough three book arc if I want to use it, but I'm not a 100% sure about that. I have one interesting infiltration path but that would require some revision and again, I'm not sure how I feel about it. We're kind of back to the "what concepts am I using" thing here but the specificness helps.
5) Who's the central cast?
I think I've mentioned something about this in the past but I've got a lot of characters and I can't make them all cool. I've got to pick three-four peeps who are going to carry this book, and then work out how all the others show them off.
I'm probably going to have to add more, or distill these down, or something. I'll settle that when I'm back on holiday from the book. But this is where my mind is roughly at in terms of what I've got keep pondering while I'm on holiday.
What I'd actually meant to do was let the story sit and percolate for a couple of weeks so I could make the decisions that would make the writing go smoother while I worked on something else. Project Transformation would end up taking the same amount of time because there'd be less wading through treacle, and the redraft would be a lot smoother, and I'd get work done on the other ideas that deserve it.
Now it's Thur - it's Friday m - it's Friday afternoon and, well, not a whole lot. I've written a new line in Gumshoe Paladin and taken a little time to be very specific with myself about what I'm doing. I've had a half-idea for a Heroic Fantasy-esque tale in a which a priestess, her bodyguard, and a bunch of mercs and thieves quest for the cure to a plague. Workable, but lacking in awesomeness. I've had another idea for a story, this one non-fantasy, about a bloke who persuades his black mate to come join him playing rugby at a club down sorta where London becomes Kent (i.e. where I play my rugby). It's a fun idea and one that'd be super relevant but, while it's my best idea for making it big, it's not the one I feel most about and not the one I'd do best. I know damn well that racism happens in the game but very little of it, or at least that I understand, within my hearing.
I've done a bit of worldbuilding and talking things over with a friend about some of the choices I need to make to solidify this too. I haven't got much resolution out of it but, with the help of a few days' thinking and article by Seth Dickinson about The Traitor Baru Cormorant I'm starting to get an idea of the things I need to resolve.
1) What type of story is this?
Yeah, that's a real big one to leave flapping around. The nature of fantasy is that just calling a book a fantasy - even a High Fantasy or Epic Fantasy or Urban Fantasy - still leaves a certain amount of ground unmarked. I never really addressed this with Project Transformation and have, as a result, piled concept after concept onto it. At some point this needs to stop and a few base concepts need to be established, with everything else either kowtowing to their demands or getting the hell off of base.
2) What's the time usage?
Does this story span years, told in short sharp bursts of things happening with development left off screen? Or it is one continuous chain of events, everything chronicled? I'd assumed the latter and feel those are easier stories to write but the former opens up a lot of doors, such as...
3) When does it start?
Does it start when Sooley becomes a healer in the Sovereignity's Mission? When his mentor disappears? When the new guy arrives confirming Sooley's in charge, giving him a split loyalty? Is it some moment in the rebellion? I probably don't need to know this right away but it help gives me a few things towards getting the ending right.
4) What happens in the denouement? Is this a series?
I am at roughly halfway. I do have an idea for an ending, but it's a fairly similar scene to the climatic middle part, and I don't know how I feel about that. I have a rough three book arc if I want to use it, but I'm not a 100% sure about that. I have one interesting infiltration path but that would require some revision and again, I'm not sure how I feel about it. We're kind of back to the "what concepts am I using" thing here but the specificness helps.
5) Who's the central cast?
I think I've mentioned something about this in the past but I've got a lot of characters and I can't make them all cool. I've got to pick three-four peeps who are going to carry this book, and then work out how all the others show them off.
I'm probably going to have to add more, or distill these down, or something. I'll settle that when I'm back on holiday from the book. But this is where my mind is roughly at in terms of what I've got keep pondering while I'm on holiday.
Wednesday, 10 June 2020
Inside Sample Mountain - Early June Edition
The Kishi - Antoine Bandele
The first thing that struck me about this sample was how smooth and readable it felt. Bandele has a style that is inviting and flows well and, thanks to the use of thoughts in italics and the slow build opening, feels very 80s/90s classic fantasy. That's a good thing to me. I don't think it's going to work so well for people looking for an immediate hook or action, but there's definitely a sense of tension building. I do want to know more and I'm almost certainly buying the book for reals.
The Throne of the Five Winds - SC Emmett
This is here on the recommendation of cupiscent from Fantasy Faction, a person who I trust immensely on the selection of books. I have to say, I'm not sure I'd be keeping this on the list without her word as the introduction, while well written and posing an obvious source of tension with its post-disaster scenario, just misses some tiny little thing for me. Maybe it's too mannered and formal? Perhaps the stakes for the MC are too focused on family and not themselves? Perhaps it's just a mood thing. It is good, and it does come recommended, but maybe not for me. Or maybe it is. We'll see.
Conquest - Celeste Hart
This one threw me as the blurb and cover led me to expect something medieval-esque and the setting and writing are far more contemporary feeling, with a definite YA vibe to the protagonist. Once I adjusted my expectations I quite enjoyed the first person narration and prose, and the character was interesting. However I was then thrown again by the broadcast from the Great Faresh, which felt like a clunky turn to exposition. I don't think that'd be a deal breaker if I was more invested in the concept and vibe, but this sort of personally focused YA is take it or leave it for me. Worth a look for those who are into that though.
The Last Sun - K.D. Edwards
This one's been heavily touted on my twitter feed and as someone who wants more things based on real world occultism, the whole Tarot thing gave me a push towards it. It's a book that packs a lot of setting into its opening scene, at once modern and openly very magical. And there's a heist. Once you give it time to settle though, it reads rather nicely. Plus the Tarot thing. I think I'll give it a go some day, although maybe not soon. One final note - it has given me a new pet peeve; prose that drops a ton of f-bombs but doesn't have any other swearing in. Not everything has to be The Thick of It, but what's wrong with calling someone an oxygen stealing bastard, or a dozy twat, or a useless bellend, shitehead revisited... okay, maybe everything should be The Thick of It when it comes to swearing. But I'll excuse The Last Sun for not being this.
Nasomi's Quest - Enock Simbaya
In these days of "Go! Go! Go!", I have to note that Nasomi's Quest might have the single most prosaic first line I've read - Nasomi opened the basket to admire her work. And I slightly worry some people will read the first page paragraph or two and never look again, because that would be a shame. There's not only a very real sense of place and realism - Nasomi's father complaining could be so many people's fathers, but it feels like that exact version would only grow where he does - but there's a lot of charm. There's a warmth and wry humour to the characters interactions, particularly between Nasomi and her prospective beau, that's just really well done. Brought.
Water Margin: Outlaws of the Marsh - Shi Naian (translated by JH Jackson and Edwin Lowe)
I actually have very little to say about the book itself, as the foreword and introduction take up most of the sample, and the book's reputation is sufficient that there are many, many better places to look for information on it than my little sample review. Nevertheless, I did sample it, and it struck me as typical of the translated Chinese fiction I've read. What I can say is that the foreword and introduction are very informative, and do a a great deal to give me a context for the book itself and how it's translation came to be. I don't know if this should be the definitive translation, but Lowe does a good job of persuading me it should be.
The Stormcaller - Tom Lloyd
People talk about when prologues should be used. I wouldn't be surprised if there'd been a discussion over whether the two first pages should have been for this book, as they're sufficiently different to stand alone. Which didn't endear me to the book. It also has some of the closest set, smallest type on Kindle, which is not to its favour. Yes, I know I could probably change it. Despite the two biggest things I spotted not being about the book, I did rather enjoy the prose. It has whatever secret ingredient it is that appeals to me, despite not having any other obvious reason to be read over other Epic fantasies (other than ScarletBea has recommended it). It'll stick on the list, probably waiting for a kindle sale.
Priestess of Ishana - Judith Starkston
Another book where I'm wondering whether there was any thought about whether the first chapter should be a prologue or not. Judging from the blurb and the second chapter - which I nearly didn't reach - maybe it should have. In any case this is well written and people will tell me I'm wrong (or so I hope) but I'm afraid to say I didn't feel the love. The first characters I saw didn't give me a strong sense of internal life and the scene didn't grab me. Part of me wonders why someone with such a strong selling point - Hittite fantasy by someone who's done the research - didn't start embedded straight into Hittite culture. A deliberate choice to make it more standard fantasy? Just what felt right? Who knows. In any case, I am still recommending this for anyone who goes "Yes" at the sound of Hittite fantasy, but it's probably not something I'll read.
The Forgotten Beasts of Eld - Patricia McKillip
I'm a big believer in trying to know the genre's past, and I mean really know it, not just read some Jordan, Tolkien and Le Guin. In part of doing so I have come to the conclusion that McKillip is a forgotten beast in her own right - an author with countless awards and accolades who's barely ever talked about. The biggest author you've never heard of. I'm trying to work out which of her books I want to read to try and put right the fact I've never read. The Forgotten Beasts of Eld might be that book because not only is it's concept instantly intriguing, it reads like a forgotten mythology from somewhere you've never heard of. I'm a sucker for that. Very much recommended on a few pages for anyone else who likes that formal mythological style.
The first thing that struck me about this sample was how smooth and readable it felt. Bandele has a style that is inviting and flows well and, thanks to the use of thoughts in italics and the slow build opening, feels very 80s/90s classic fantasy. That's a good thing to me. I don't think it's going to work so well for people looking for an immediate hook or action, but there's definitely a sense of tension building. I do want to know more and I'm almost certainly buying the book for reals.
The Throne of the Five Winds - SC Emmett
This is here on the recommendation of cupiscent from Fantasy Faction, a person who I trust immensely on the selection of books. I have to say, I'm not sure I'd be keeping this on the list without her word as the introduction, while well written and posing an obvious source of tension with its post-disaster scenario, just misses some tiny little thing for me. Maybe it's too mannered and formal? Perhaps the stakes for the MC are too focused on family and not themselves? Perhaps it's just a mood thing. It is good, and it does come recommended, but maybe not for me. Or maybe it is. We'll see.
Conquest - Celeste Hart
This one threw me as the blurb and cover led me to expect something medieval-esque and the setting and writing are far more contemporary feeling, with a definite YA vibe to the protagonist. Once I adjusted my expectations I quite enjoyed the first person narration and prose, and the character was interesting. However I was then thrown again by the broadcast from the Great Faresh, which felt like a clunky turn to exposition. I don't think that'd be a deal breaker if I was more invested in the concept and vibe, but this sort of personally focused YA is take it or leave it for me. Worth a look for those who are into that though.
The Last Sun - K.D. Edwards
This one's been heavily touted on my twitter feed and as someone who wants more things based on real world occultism, the whole Tarot thing gave me a push towards it. It's a book that packs a lot of setting into its opening scene, at once modern and openly very magical. And there's a heist. Once you give it time to settle though, it reads rather nicely. Plus the Tarot thing. I think I'll give it a go some day, although maybe not soon. One final note - it has given me a new pet peeve; prose that drops a ton of f-bombs but doesn't have any other swearing in. Not everything has to be The Thick of It, but what's wrong with calling someone an oxygen stealing bastard, or a dozy twat, or a useless bellend, shitehead revisited... okay, maybe everything should be The Thick of It when it comes to swearing. But I'll excuse The Last Sun for not being this.
Nasomi's Quest - Enock Simbaya
In these days of "Go! Go! Go!", I have to note that Nasomi's Quest might have the single most prosaic first line I've read - Nasomi opened the basket to admire her work. And I slightly worry some people will read the first page paragraph or two and never look again, because that would be a shame. There's not only a very real sense of place and realism - Nasomi's father complaining could be so many people's fathers, but it feels like that exact version would only grow where he does - but there's a lot of charm. There's a warmth and wry humour to the characters interactions, particularly between Nasomi and her prospective beau, that's just really well done. Brought.
Water Margin: Outlaws of the Marsh - Shi Naian (translated by JH Jackson and Edwin Lowe)
I actually have very little to say about the book itself, as the foreword and introduction take up most of the sample, and the book's reputation is sufficient that there are many, many better places to look for information on it than my little sample review. Nevertheless, I did sample it, and it struck me as typical of the translated Chinese fiction I've read. What I can say is that the foreword and introduction are very informative, and do a a great deal to give me a context for the book itself and how it's translation came to be. I don't know if this should be the definitive translation, but Lowe does a good job of persuading me it should be.
The Stormcaller - Tom Lloyd
People talk about when prologues should be used. I wouldn't be surprised if there'd been a discussion over whether the two first pages should have been for this book, as they're sufficiently different to stand alone. Which didn't endear me to the book. It also has some of the closest set, smallest type on Kindle, which is not to its favour. Yes, I know I could probably change it. Despite the two biggest things I spotted not being about the book, I did rather enjoy the prose. It has whatever secret ingredient it is that appeals to me, despite not having any other obvious reason to be read over other Epic fantasies (other than ScarletBea has recommended it). It'll stick on the list, probably waiting for a kindle sale.
Priestess of Ishana - Judith Starkston
Another book where I'm wondering whether there was any thought about whether the first chapter should be a prologue or not. Judging from the blurb and the second chapter - which I nearly didn't reach - maybe it should have. In any case this is well written and people will tell me I'm wrong (or so I hope) but I'm afraid to say I didn't feel the love. The first characters I saw didn't give me a strong sense of internal life and the scene didn't grab me. Part of me wonders why someone with such a strong selling point - Hittite fantasy by someone who's done the research - didn't start embedded straight into Hittite culture. A deliberate choice to make it more standard fantasy? Just what felt right? Who knows. In any case, I am still recommending this for anyone who goes "Yes" at the sound of Hittite fantasy, but it's probably not something I'll read.
The Forgotten Beasts of Eld - Patricia McKillip
I'm a big believer in trying to know the genre's past, and I mean really know it, not just read some Jordan, Tolkien and Le Guin. In part of doing so I have come to the conclusion that McKillip is a forgotten beast in her own right - an author with countless awards and accolades who's barely ever talked about. The biggest author you've never heard of. I'm trying to work out which of her books I want to read to try and put right the fact I've never read. The Forgotten Beasts of Eld might be that book because not only is it's concept instantly intriguing, it reads like a forgotten mythology from somewhere you've never heard of. I'm a sucker for that. Very much recommended on a few pages for anyone else who likes that formal mythological style.
Tuesday, 9 June 2020
Cheap Thrills
I don't know if I've mentioned Will Storr's interview with Joanna Penn, talking about how specific character flaws can really shape a story and other things. If this is the first time I've mentioned it, go read it. It's really good and full of useful things. However, one of the most useful things about it is the way it's started me thinking about the approach he didn't mention.
In particular in came up when talking with my mate Dan Jones. No, not that one. Now, Dan's a very talented author and I'd talk about his book Man O War more if it was fantasy rather than near future Sci-Fi thriller. And maybe if I did, I'd come to the realisation about other ways first. Because when I think about Dan's characters, it's not their specific flaws or deep inner lives that come to mind, it's that one of them found a near-real sex robot floating in the sea and it tore all their lives into pieces.
It's not that Dan's characters are dull or bad. It's that when recalling the book, the conceit, the plot, the scenes, that come first. And in that respect, he's not much that different to Le Carre, Forsyth, Clancy, and probably a lot of other stupidly successful authors.
Now, even in those books, the characters matter and talking about how to build characters is relevant. They may even be pivotal to the way the writers build the books - but they're not to how they're enjoyed.
Like most people who talk on writing, I usually talk a better game on no true way than I play. By the simple nature of curating the advice I take in and pass on based on my tastes, I pick a way and don't show the others. I don't necessarily talk about how to do a book like Le Carre or a story like Line of Duty, for all I do talk about that show on occasion. I pick at ideas of them but the idea of committing hard to that thriller? No. Which is ironic because my first finished manuscripts were a military sci-fi and a fantasy murder mystery.
So. Point One of this is to always keep looking for ideas and not let get comfortable with your one idea of a story.
But Point Two is to remember what people remember. Remember what fans actually rave about. Yes, sometimes the theory is necessary to get to that, but ultimately when people rave about Star Wars, it's about lightsabers and spaceships and wookies. Does character matter? Yes. See Han Shot First. But the characters are no deeper or greater than many other speculative fiction characters. They're simply in a story where the conceit and aesthetics wow. Which is why Han Didn't Shoot First doesn't affect the story going forwards. His main importance is his part in the aesthetic, no more and no less. It's easy to forget this sometimes.
In particular in came up when talking with my mate Dan Jones. No, not that one. Now, Dan's a very talented author and I'd talk about his book Man O War more if it was fantasy rather than near future Sci-Fi thriller. And maybe if I did, I'd come to the realisation about other ways first. Because when I think about Dan's characters, it's not their specific flaws or deep inner lives that come to mind, it's that one of them found a near-real sex robot floating in the sea and it tore all their lives into pieces.
It's not that Dan's characters are dull or bad. It's that when recalling the book, the conceit, the plot, the scenes, that come first. And in that respect, he's not much that different to Le Carre, Forsyth, Clancy, and probably a lot of other stupidly successful authors.
Now, even in those books, the characters matter and talking about how to build characters is relevant. They may even be pivotal to the way the writers build the books - but they're not to how they're enjoyed.
Like most people who talk on writing, I usually talk a better game on no true way than I play. By the simple nature of curating the advice I take in and pass on based on my tastes, I pick a way and don't show the others. I don't necessarily talk about how to do a book like Le Carre or a story like Line of Duty, for all I do talk about that show on occasion. I pick at ideas of them but the idea of committing hard to that thriller? No. Which is ironic because my first finished manuscripts were a military sci-fi and a fantasy murder mystery.
So. Point One of this is to always keep looking for ideas and not let get comfortable with your one idea of a story.
But Point Two is to remember what people remember. Remember what fans actually rave about. Yes, sometimes the theory is necessary to get to that, but ultimately when people rave about Star Wars, it's about lightsabers and spaceships and wookies. Does character matter? Yes. See Han Shot First. But the characters are no deeper or greater than many other speculative fiction characters. They're simply in a story where the conceit and aesthetics wow. Which is why Han Didn't Shoot First doesn't affect the story going forwards. His main importance is his part in the aesthetic, no more and no less. It's easy to forget this sometimes.
Thursday, 4 June 2020
Project Transformation Part Seven - In The Mire
The middle.
Writing good beginnings is not that difficult, although the standard demands amazing beginnings these days. Writing good endings isn't that difficult either, at least not in the grand scheme of writing, much as many major screen franchise writers will try and convince you otherwise. I suppose maybe that's a case of weight of expectation?
In any case, it's the middle that's trouble. Sorts the men from the boys, the women from the girls, the finishers from the quitters, the greats from the good...
And sometimes the dumb from the not so dumb, because getting it right takes a dumb amount of work. Or so it feels.
I finished writing today a day shy of 40k words, a total that is minus a few missing scenes here and there right in the middle. It has become like pulling teeth as every unmade decision has caught up with me. It's also seen me completely depart from good story structure, writing transition scenes out of a vague feeling they should be there, putting in emotional heart to heart scenes then ending them quickly because it didn't feel right...
It's sucked. But I'm getting there. It will continue to suck.
There's an idea that I'm very fond of that I kind of stole from this column and that is the bad version of a good idea. It's just tossing out a solution to the creative problem in front of you, even if it's obviously a non-goer, and going from there. It is the same basic idea as the whole "write crap just to get it down and edit" but it sounds better and it goes for everything.
I do believe there's a good idea here. I do believe it's an idea I want to share. But lord oh lord am I stumbling through the iterations.
The idea is getting better and clearer. I read an interview with Storr recently on specificity and that's helping. The theme to this, what makes it cool other than knights and gangsters and alchemists and ghosts and an early-renaissance-esque fantasy mish-mash of adventure and intrigue, is about cowardice and courage when all choices seem terrible. Very specifically that.
What I don't have specificity on is the exact nature of a lot of the things making it cool that are non-theme. The big action scene I just wrote was really hard for not being quite clear on what I was trying to do with it. I now need to build towards the big decision before the finale and I'm not sure what it is. And if I have a flaw as an author, it is the same I possess as a person where I try to use rationality to avoid conflict where possible. Books without conflict are dull. But so are books with super idiots who happily plunge off cliffs! This is the big learning opportunity for me.
This feels very much like the last verse.
What I can say is I'm starting to form a cast around Sooley (Sulei? Salei? Asavei?). There's a bunch of power old untrustworthy mages, a scheming young miss who's picking a difficult path, and a prodigy with a blade. There's also now a ton of setting info, which is the good thing of working in a pre-established world, and if I was nice I'd tell a little about it.
But I'm not nice, it's 1:50 in the morning, and I've done enough to keep myself honest and on track.
The only question is whether I'll stay on track. In a lot of ways, I want to sack this off for a few weeks and do something less painful. Find a few more answers by letting it marinade, do some editing. I'm not sure if that's the right idea but as a headlights planner, I'm really totally driving in the dark. So the plan is to write a bunch tomorrow because I do at least have a few scenes in mind, and then take the weekend off - work on another project a little - and see how I feel.
Writing good beginnings is not that difficult, although the standard demands amazing beginnings these days. Writing good endings isn't that difficult either, at least not in the grand scheme of writing, much as many major screen franchise writers will try and convince you otherwise. I suppose maybe that's a case of weight of expectation?
In any case, it's the middle that's trouble. Sorts the men from the boys, the women from the girls, the finishers from the quitters, the greats from the good...
And sometimes the dumb from the not so dumb, because getting it right takes a dumb amount of work. Or so it feels.
I finished writing today a day shy of 40k words, a total that is minus a few missing scenes here and there right in the middle. It has become like pulling teeth as every unmade decision has caught up with me. It's also seen me completely depart from good story structure, writing transition scenes out of a vague feeling they should be there, putting in emotional heart to heart scenes then ending them quickly because it didn't feel right...
It's sucked. But I'm getting there. It will continue to suck.
There's an idea that I'm very fond of that I kind of stole from this column and that is the bad version of a good idea. It's just tossing out a solution to the creative problem in front of you, even if it's obviously a non-goer, and going from there. It is the same basic idea as the whole "write crap just to get it down and edit" but it sounds better and it goes for everything.
I do believe there's a good idea here. I do believe it's an idea I want to share. But lord oh lord am I stumbling through the iterations.
The idea is getting better and clearer. I read an interview with Storr recently on specificity and that's helping. The theme to this, what makes it cool other than knights and gangsters and alchemists and ghosts and an early-renaissance-esque fantasy mish-mash of adventure and intrigue, is about cowardice and courage when all choices seem terrible. Very specifically that.
What I don't have specificity on is the exact nature of a lot of the things making it cool that are non-theme. The big action scene I just wrote was really hard for not being quite clear on what I was trying to do with it. I now need to build towards the big decision before the finale and I'm not sure what it is. And if I have a flaw as an author, it is the same I possess as a person where I try to use rationality to avoid conflict where possible. Books without conflict are dull. But so are books with super idiots who happily plunge off cliffs! This is the big learning opportunity for me.
This feels very much like the last verse.
What I can say is I'm starting to form a cast around Sooley (Sulei? Salei? Asavei?). There's a bunch of power old untrustworthy mages, a scheming young miss who's picking a difficult path, and a prodigy with a blade. There's also now a ton of setting info, which is the good thing of working in a pre-established world, and if I was nice I'd tell a little about it.
But I'm not nice, it's 1:50 in the morning, and I've done enough to keep myself honest and on track.
The only question is whether I'll stay on track. In a lot of ways, I want to sack this off for a few weeks and do something less painful. Find a few more answers by letting it marinade, do some editing. I'm not sure if that's the right idea but as a headlights planner, I'm really totally driving in the dark. So the plan is to write a bunch tomorrow because I do at least have a few scenes in mind, and then take the weekend off - work on another project a little - and see how I feel.
Tuesday, 2 June 2020
The Goblin Emperor Readalong Parts 3 and 4
Ahem. Not at all late. Here's 3 and 4, all rolled together. Thank you everybody else who took part - going to have a look at everybody else's comments when I'm done with this! To have a look at what everybody else did, go to Imyril's or Lisa's round up
These chapters open with a very candid, yet significantly warmer than most, conversation between Maia and Arbelan, and from there things begin to change as Maia learns to act with more confidence. Do you think Arbelan's kinder treatment of him is what sparks this, and if so, how much of an impact do you think it had?
Excuse me one moment while I look up who Arbelan was again.
Ah! Yes. And yes, I do think it had an impact. Even the most self-sufficient people generally need at least one person who can say "Yes, this is good" and it's easy to downplay people who are in your employ. I feel like Arbelan is that person, and the first person to respond to Maia's attempts to push a different way forwards.
The river bridge scheme proves to be a delightful plot point to push a lot of character interaction forward, as well as opening up the scope of this world. Were you surprised by the developments involving Lord Pashavar?
Mm, not so much. I got the feeling fairly early that most of elf society seems fairly conservative and respectful under the trappings and as and when Maia said "yo, dudes, I am the Emperor" he'd be able to get a decent amount done with most of them. That's pretty much what happened. I did love the glimpse into intimacy, something which felt very rare in the novel.
I have to say that between Arbelan and Pashavar & co, it feels like a lot of this book has the more elderly being willing to break down barriers while the youthful are less sure. It's nice to see it done that way for once.
Like a train gathering steam, a great deal of plot drama happens here. Let's talk about Shevean and Chavar. Were you surprised by their gambit? And how do you feel about the way it all played out (ie. Idra's decision to put his foot down)?
When and how it happened? Yes. That it happened and who was behind it? Nope nope nope. They've both been wrong 'uns from the beginning.
The resolution was... hmm. Part of me did feel a little "Is this it? They've risked their lives and futures and everything on this, and it all turns on them being unable to put their foot down and just make Maia do it, and it all comes down to Idra saying no?" From that perspective, it's one of the fluffiest, least satisfying coups ever. But part of me really enjoyed how it came down to Maia being unwilling to cause more pain and Idra having more time and appreciation for Maia than the mother who overlooked him somewhat. But then again... the woman who's obsessed with being the mother of the Emperor didn't actually spend loads of time moulding her son? And Maia got through to Idra on one conversation?
I don't know. I liked it but wasn't sold by it. But I wasn't sold by it because the book had ceased to convince me of its internal logic/verisimilitude before then and I was reading it overcritically.
We get another surprising turnaround from Ceredin, Maia's intended empress-to-be, as well. What are your thoughts on her by the end of these chapters, compared to her initial impression?
Honestly, in the sea of characters, I didn't have much thoughts on her to begin with and didn't have much thoughts on the change, and wished there'd been more time with her to formulate thoughts.
Let's start with Maia's grandfather! What do you think of the Avar, and his budding relationship with Maia?
The Avar is one of the few characters who immediately leaves an imprint of who they are on the book and other than Cala, one of the few non-Maia characters I can actually picture. He's like Brian Blessed as Richard IV, only regal and empathetic and a goblin. And the way he and Maia bonded made total sense and was sweet and I wish this had happened a lot earlier in the book.
Another plot against Maia is foiled... Were you surprised by the reveal of Tethimar as the one behind the late emperor's murder? And what are your thoughts on this reveal, in light of the way this part of the story played out?
It took me a long, long time to remember who Tethimar was.
When it was all tied together though, it made a ton of sense and this was one of my favourite parts of the book.
For all of the enmity that's shown to him, our emperor has a much more hopeful nickname by the end... Looking back, are you satisfied with/pleased by the way Maia handled all of these situations in which he had to make or break relationships? Was there anything you were left questioning or that you feel should have gone differently?
I don't think Maia should have done anything differently, and admired the way he could put aside his occasional minor impulses to cruelty.
But I wish that Addison had condensed the cast and given Maia more time with Idra, with Ceredin, with the member of his council who offers to help him... I'd have been a lot more satisfied if they'd come at the end of long arcs, rather than short arcs.
And as always, feel free to add any other thoughts/feelings on the book in general, now that it's over!
Hoo boy. I like Addison's prose, I really like the idea of the book and I guess that yeah, overall, I liked it, but there were a bunch of things about it that I wasn't really sold on it and if this hadn't been a group readalong, I wouldn't have finished it. Which would be a shame as the ending was great. Getting there felt like a slog, with much of parts 2 and 3 feeling like the same scene over and over just with a different character at the other end. I got Maia's confusion a little too much. I pride myself on the ability to recall who's who in a book; this time, I was just lost. I really wish Addison had picked a different route through the middle - less characters with deeper connections, more pursuit of a single goal, more immediate threat level, more hard choices... something. Anything.
What the book is, and where it works well, is as Maia's personal journey. His triumph of resilience and grace. But that wasn't enough for me, lovely chap as Maia might be, and even then I feel like the journey would have benefited for more doubt, more temptation. I've just had a chat with a fellow blogger where I said Maia gets off about as lightly as any protagonist in the fantasy genre in terms of what he has to deal with. She disagrees with a long list of things that happened to him. I kinda get her point, I kinda stand by my point, but the big deal in terms of this is that Addison didn't sell me on them. And that's what it boils down to. Some of it I enjoyed, other bits I didn't and started looking for why.
For me, there's few things more frustrating than an objectively good book with a lot of subjectively good traits and a just right sized pile of subjectively bad things that I can't just enjoy it and I can't just write it off either.
That aside... I'm pleased that Setheris didn't do any more dickish stuff, and kinda enjoyed the resolution there, but am slightly nonplussed that was it after all the build up. Chekov's gun didn't get fired there for me. I enjoyed finally getting a little depth into Csevet, I wish we had with Cala.
And I guess that's it. Thanks for reading, time to read everybody else's.
These chapters open with a very candid, yet significantly warmer than most, conversation between Maia and Arbelan, and from there things begin to change as Maia learns to act with more confidence. Do you think Arbelan's kinder treatment of him is what sparks this, and if so, how much of an impact do you think it had?
Excuse me one moment while I look up who Arbelan was again.
Ah! Yes. And yes, I do think it had an impact. Even the most self-sufficient people generally need at least one person who can say "Yes, this is good" and it's easy to downplay people who are in your employ. I feel like Arbelan is that person, and the first person to respond to Maia's attempts to push a different way forwards.
The river bridge scheme proves to be a delightful plot point to push a lot of character interaction forward, as well as opening up the scope of this world. Were you surprised by the developments involving Lord Pashavar?
Mm, not so much. I got the feeling fairly early that most of elf society seems fairly conservative and respectful under the trappings and as and when Maia said "yo, dudes, I am the Emperor" he'd be able to get a decent amount done with most of them. That's pretty much what happened. I did love the glimpse into intimacy, something which felt very rare in the novel.
I have to say that between Arbelan and Pashavar & co, it feels like a lot of this book has the more elderly being willing to break down barriers while the youthful are less sure. It's nice to see it done that way for once.
Like a train gathering steam, a great deal of plot drama happens here. Let's talk about Shevean and Chavar. Were you surprised by their gambit? And how do you feel about the way it all played out (ie. Idra's decision to put his foot down)?
When and how it happened? Yes. That it happened and who was behind it? Nope nope nope. They've both been wrong 'uns from the beginning.
The resolution was... hmm. Part of me did feel a little "Is this it? They've risked their lives and futures and everything on this, and it all turns on them being unable to put their foot down and just make Maia do it, and it all comes down to Idra saying no?" From that perspective, it's one of the fluffiest, least satisfying coups ever. But part of me really enjoyed how it came down to Maia being unwilling to cause more pain and Idra having more time and appreciation for Maia than the mother who overlooked him somewhat. But then again... the woman who's obsessed with being the mother of the Emperor didn't actually spend loads of time moulding her son? And Maia got through to Idra on one conversation?
I don't know. I liked it but wasn't sold by it. But I wasn't sold by it because the book had ceased to convince me of its internal logic/verisimilitude before then and I was reading it overcritically.
We get another surprising turnaround from Ceredin, Maia's intended empress-to-be, as well. What are your thoughts on her by the end of these chapters, compared to her initial impression?
Honestly, in the sea of characters, I didn't have much thoughts on her to begin with and didn't have much thoughts on the change, and wished there'd been more time with her to formulate thoughts.
Let's start with Maia's grandfather! What do you think of the Avar, and his budding relationship with Maia?
The Avar is one of the few characters who immediately leaves an imprint of who they are on the book and other than Cala, one of the few non-Maia characters I can actually picture. He's like Brian Blessed as Richard IV, only regal and empathetic and a goblin. And the way he and Maia bonded made total sense and was sweet and I wish this had happened a lot earlier in the book.
Another plot against Maia is foiled... Were you surprised by the reveal of Tethimar as the one behind the late emperor's murder? And what are your thoughts on this reveal, in light of the way this part of the story played out?
It took me a long, long time to remember who Tethimar was.
When it was all tied together though, it made a ton of sense and this was one of my favourite parts of the book.
For all of the enmity that's shown to him, our emperor has a much more hopeful nickname by the end... Looking back, are you satisfied with/pleased by the way Maia handled all of these situations in which he had to make or break relationships? Was there anything you were left questioning or that you feel should have gone differently?
I don't think Maia should have done anything differently, and admired the way he could put aside his occasional minor impulses to cruelty.
But I wish that Addison had condensed the cast and given Maia more time with Idra, with Ceredin, with the member of his council who offers to help him... I'd have been a lot more satisfied if they'd come at the end of long arcs, rather than short arcs.
And as always, feel free to add any other thoughts/feelings on the book in general, now that it's over!
Hoo boy. I like Addison's prose, I really like the idea of the book and I guess that yeah, overall, I liked it, but there were a bunch of things about it that I wasn't really sold on it and if this hadn't been a group readalong, I wouldn't have finished it. Which would be a shame as the ending was great. Getting there felt like a slog, with much of parts 2 and 3 feeling like the same scene over and over just with a different character at the other end. I got Maia's confusion a little too much. I pride myself on the ability to recall who's who in a book; this time, I was just lost. I really wish Addison had picked a different route through the middle - less characters with deeper connections, more pursuit of a single goal, more immediate threat level, more hard choices... something. Anything.
What the book is, and where it works well, is as Maia's personal journey. His triumph of resilience and grace. But that wasn't enough for me, lovely chap as Maia might be, and even then I feel like the journey would have benefited for more doubt, more temptation. I've just had a chat with a fellow blogger where I said Maia gets off about as lightly as any protagonist in the fantasy genre in terms of what he has to deal with. She disagrees with a long list of things that happened to him. I kinda get her point, I kinda stand by my point, but the big deal in terms of this is that Addison didn't sell me on them. And that's what it boils down to. Some of it I enjoyed, other bits I didn't and started looking for why.
For me, there's few things more frustrating than an objectively good book with a lot of subjectively good traits and a just right sized pile of subjectively bad things that I can't just enjoy it and I can't just write it off either.
That aside... I'm pleased that Setheris didn't do any more dickish stuff, and kinda enjoyed the resolution there, but am slightly nonplussed that was it after all the build up. Chekov's gun didn't get fired there for me. I enjoyed finally getting a little depth into Csevet, I wish we had with Cala.
And I guess that's it. Thanks for reading, time to read everybody else's.
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