Happy May to you, my fell creatives!
As I mentioned last month, I got something of a stick in my craw, a monkeywrench in my gears, a fly in my ointment, and other such little irritants over some story series two friends recommended to me. These irritants led me to create this rant/debate/discussion/whatever you want to call it that we’ll be getting into today, so buckle up, my friends–this one’s going to be a bit raw (in a good way (I hope)).
First, a little context.
My podcast You’ve Got Five Pages…To Tell Me It’s Good has me constantly asking the questions about what as readers, hooks us into a story and what, as writers, helps us create that hook. By looking at first chapters only, I am expecting a book to somehow get my attention in those opening pages. Usually, one of two things will do the trick: either a fascinating setup for the story, or fascinating characters I want to hear more about. Ideally, we would get both, but I know this will not always be the case. The lovely P.J. Lazos recently reminded me that there will always be stories that take their time building up interest and intrigue (Outlander was her example). She’s certainly not wrong! How often have we come across stories where “the good stuff” showed up later on? So I won’t knock a book for that approach. Yet I do think something in those opening pages encourages a reader to keep going. When that something peters out…well, that’s why we’re here today.
So, the books in question: one was all about epic battles with fire and ice and lightning–
Both series sounded promising to me from the outset. One’s providing insight into the silent character whose heart is a mystery to the characters around him, while the other alludes to a mysterious Ascension, the physical lifting of six gigantic islands the size of Australia into the air in order to save humanity from drowning in the now Endless Ocean.
So, on the one hand, you have a character-centric story; on the other, a plot-driven story.
Is it necessarily bad to have one or the other? No, not…not necessarily. But it’s certainly tougher to appeal to readers. Jeff Gerke is pretty blunt about this matter in Plot versus Character: A Balance Approach to Writing Great Fiction:
The problem is that each kind of novelist is usually as awful at the one thing as she is terrific at the other thing. The plot-first novelist tends to create characters who are flat, unrealistic stereotypes: cardboard cutouts who, despite different moods, agendas, genders, and occupations, seem eerily similar to one another–and the author’s personality. The character-first novelist produces wonderfully vibrant characters–but often has no idea what to make these interesting people do.
This point came home as I read each series. Here’s the blurb for Skyborn, which is both succinct and totally encompassing of the story at the same time:
Six islands float high above the Endless Ocean, where humanity’s final remnants are locked in brutal civil war.
Their parents slain in battle, twins Kael and Brenna Skyborn are training to be Seraphim, elite soldiers of aerial combat who wield elements of ice, fire, stone and lightning.
When the invasion comes, they will take to the skies, and claim their vengeance.
Aaaand that’s what they do. So there’s no false advertising, at least.
Now again, I want to be clear: this series, to me, had a really cool premise. After all, SOMEthing like an apocalypse must have happened to lead to this Ascension that allows SIX continent-sized land masses to remain perched atop giant beams of water high above an endless ocean. How could such an event affect these different lands? What kinds of people would live on each land, what kinds of wildlife? Would they have different habitats, like deserts and rainforests and such? Plus, these islands had strange prisms that could help power metal wings one could strap on–where did those come from? How do they shoot fire and stuff? Does that mean they have advanced technology, too? Where and how does all that history affect this world’s present?
I had so many questions about this epic place filled with epic war. And oh yes, there’s lots of fighting with ice and fire and lightning and such. This author knows how to write a battle, and there are a LOT of battles across the trilogy. Plus, he included some very interesting themes at work involving God and free will, the needs of the many over the few, and so on. Such themes fit very well in a world where people flew like angels.
And yet, I was bored. Why?
Because I didn’t care about the characters. There wasn’t enough about them to make them feel like actual people.
Readers meet these twins just as they are watching their parents battle in the sky and die. And the next thing you know these twins are now going to school to be Seraphim. We don’t really explore how such a traumatic event affects these two. They were growing up to be Seraphim, and they’re still going to be Seraphim. The first book almost immediately takes us away from whatever sort of everyday setting there could have been for the twins to process their grief so we could instead see “underdog kids in school” situations while they train to be Seraphim. Grief? What grief?
On school grounds, the twins are surrounded by cutouts like “snob boy,” “quiet girl,” “smart librarian,” “deceitful politician,” “kindly teacher.” And what really got me is that the very protagonists themselves never really grew out of such descriptions either: the girl Bree was eternally “out to prove herself,” and the boy Kael was eternally “thoughtful and supportive.” Even when the twins’ father who was thought dead in the first two books shows up in Book 3, there’s hardly any interaction between him and his children–and as a result, there’s hardly any emotional resonance. (spoiler alert) And since he also dies in Book 3, the aftershock of his loss amounts to…nothing.
In all of their epic battles, the characters never really transform. Even when the boy twin literally grows wings at one point, it never seems to matter because the girl twin’s got to prove herself again, so off she goes with his support to keep fighting and on and on.
Now for the record, we’ve all enjoyed plenty of stories where the characters don’t really change–heavens, I don’t read any given Poirot or Marple mystery by Agatha Christie for the character transformations. I read for the murder, mystery, and mayhem. The characters are just a part of that plot-puzzle. So, I tried to treat the Skyborn books that way as well–the characters were just pieces to lead me to the puzzle that was this world.
But I also feel like this was part of the problem: I wanted to care about these characters and this world. But since, outside of battles, this world interacted so little with the characters and vice versa, we never really got to see much beyond destruction. And considering the obvious care put into creating this world, this felt like a missed opportunity.
Now let’s flip to the character-centric.
Who is Fitzwilliam Darcy?
In An Assembly Such as This, Pamela Aidan finally answers that long-standing question. In this first book of her Fitzwilliam Darcy, Gentleman trilogy, she reintroduces us to Darcy during his visit to Hertfordshire with his friend Charles Bingley and reveals Darcy’s hidden perspective on the events of Pride and Prejudice. As Darcy spends more time at Netherfield supervising Bingley and fending off Miss Bingley’s persistent advances, his unwilling attraction to Elizabeth grows—as does his concern about her relationship with his nemesis, George Wickham.
Setting the story vividly against the colorful historical and political background of the Regency, Aidan writes in a style comfortably at home with Austen but with a wit and humor very much her own. Aidan adds her own cast of fascinating characters to those in Austen’s original, weaving a rich tapestry from Darcy’s past and present. Austen fans and newcomers alike will love this new chapter of the most famous romance of all time.
I found it fascinating to see Pride and Prejudice from a different set of eyes and it was particularly fun because, for those who may not remember, Darcy spends the first half of the book more or less skulking about and staring at Elizabeth. What on earth Darcy was thinking in all of that time? Through this retelling, we know it’s not just his observations of Elizabeth Bennet, but also his concerns as a big brother for his little sister Georgiana. Reading from Austen’s original narrator, we as readers do not learn until Darcy’s letter (halfway through the story) of the cad Mr. Wickham’s attempt to whisk Georgiana Darcy away with elopement. So in this retelling, it makes perfect sense that Darcy’s very worried about his sister from Chapter 1 onward, and the very sight of Wickham drives him to fear and anger. In the original Pride and Prejudice, we as readers just don’t understand that concern’s effect on Darcy’s actions in Meryton until later. In An Assembly Such as This, we see the motivations plain as day, and it helps us better understand why Darcy is as he is.
The first book ends with the Netherfield ball, and the third book takes readers to Rosings Park and Darcy’s first–and disastrous–proposal to Elizabeth Bennet. So what the heck was going on in the second book?
Darcy goes to a rundown castle for what amounts to a bizarre gothic mystery. Darcy’s determined to find a woman of his own class to marry so he can forget about Elizabeth, so he visits a castle to hang out with a bunch of rich people. Only they are all being snobs, and then there’s some sort of haunting, and some sort of ritual sacrifice and kidnapping of children and just all sorts of mysterious whatnots that should be interesting.
Yet it wasn’t. Why?
The plot of this overall story arc has already been set. We know that this retelling can’t divert from the eventual coming together of Mr. Darcy and Elizabeth Bennet. Since it takes Elizabeth’s refusal for Darcy to finally reflect and grow as a character, his character does not really change during this second book, either. So we as readers are simply plowing through this gothic mystery to, essentially, “get back on track.”
And considering how this whole second book could have explored more of Regency England’s concepts of marriage and how such pressures can impact characters and transform them, this installment felt like a missed opportunity.
Perhaps THAT is my problem in all this. I’m a writer grumbling about the “missed opportunities” I see in other writers’ work when all along those stories aren’t mine to dictate. Perhaps all that author wanted to do was make lots of epic battles featuring angel-like people, or perhaps that other author just wanted to get a gothic mystery on paper and this was her moment. We all have a right to tell the stories we want to tell, so please, PLEASE, feel free to love those stories and approach your own tales your way.
For let’s face it–some readers just want those epic battles, or those dramatic interactions. And others still want to see what happens when vastly different genre elements get tossed together. Pride and Prejudice and Zombies, anyone?
Gosh, this post is LONG.
Know what? We’ll break it off here and finish this off June 1st (I’ve an author interview planned for later this month–stay tuned for that!). In exploring books for my podcast, I did find a book that balances character and worldbuilding without sacrificing either, so we’ll cover that next time.
Plus, I will hold myself under this critical lens. Since I’m revamping Middler’s Pride for a novel release instead of its previous serial release, I need to make sure I’m also balancing the worldbuilding and character development to propel the story forward. Stay tuned!
Read on, share on, and write on, my friends!