Review: BELIEVE IT OR NOT

BELIEVE IT OR NOT

Tawna Fenske

Contemporary Romance

Sourcebooks, March 2012

Premise: Non-believer accountant agrees to run her mother's psychic business while she is in hospital, meets neighbour who runs a bar with male exotic entertainment.

Cover: Title - Belief (what it's based on, how it changes) is the theme for the whole story, so this title makes a lot of sense. Art - Dreadful. Apprentice Writer hoped the cover would change from the Advanced Reader Copy she received, but judging from the Goodread listing it didn't. Blurry background beachy boardwalk has nothing to do with anything, foreground couple look like they spend too much time in a subpar tanning salon, and the tarot card in the woman's hand looks badly photoshopped. AW's unsolicited advice to the author: insist that future covers be done by artist responsible for fellow Sourcebook Author Amy Thomas' debut, which was one of the best ever by this publisher.

What Works: AW liked the premise, which promised much potential in the form of a straight-laced, super pragmatic character who moved across a continent to get away from her new age, paranormal-open upbringing being forced to masquerade as a psychic or risk seeing her mother go bankrupt. Equally promising was the conflict between modern day heroine and hero who makes a living by having men get naked. As novel building goes, the author came up with a great pair of sources for narrative tension.

AW also really liked the hero. Amiable and believable as he strove to build up his business, look out for his naive ex-brother-in-law, and work through some issues leftover from marital breakup. He also got all the best lines:

"You don't understand,"she slurred. "Psychics don't exist."

"Oh. Okay. Well, then, you're a pleasant figment of my imagination."

and:

"Chris is a normal guy. A safe guy. A wholesome, healthy guy," (she said).

"You make him sound like a salad."

What Doesn't: Often in romantic-comedy type stories, the secondary characters are exaggeratedly one-dimensional. This serves a purpose for the sub genre, and AW accepts this. Even so, she had some trouble with how often and persistently both the hero's dates and his exotic dancers were shown as stupid.

She also struggled with some of the heroine's behaviour. AW couldn't quite buy the straight laced accountant heroine drunkenly falling off tables and smacking the dancers on their behinds. Especially when it felt like she was judgemental about the hero's dates having a specific pair of physical assets. It made the former out of character, or the latter hypocritical; either way, it distanced this reader from the protagonist.

What AW Changed her Mind About: AW is not fond of popular culture references in novels. Partly because half of the time she is unfamiliar with it and then spends the rest of the story irked that she's missing something, partly because of how often they make the book seem passé. Her favourite illustration of the latter is a character who wished for a relationship as romantic and committed as Brad Pitt and Jennifer Aniston.

So when the many glam rock band names and song titles started and kept on coming, she was not impressed. However she warmed up to them more as it because clear that rather than mood-setting window dressing, they were a integral part of the plot.

One of the criticisms of the romance genre is that it relies too much on stereotypes. There is some truth to this, and fans of the genre will laughingly talk about favourite and least favourite

tropes. AW's view is that she gets impatient with seeing the same situations over and over, but adores it when an author manages to tweak it in a new way. One overused standbys involves the heroine stumbling or starting to fall and the hero saving her. AW is DYING for a heroine to catch a stumbling hero, for once, or for the hero to try and actually miss.

So the Gentle Reader can imagine that when this heroine is - wait for it! - saved from a fall by the hero, it was not a high point. However, when the heroine had been in the same type of situation three times by page 40, AW decided this met the criteria of successful stereotype tweak and it moved from "Doesn't Work" to "Works".

Overall: Breezy and lighthearted, this is an example of the kind of story usually described as "romp" with the term "hijinks ensue" attached. If the reader usually enjoys that type of story, including exaggerated secondary characters and physical comedy, then this is a good choice.

Cover Art Snark & Author Self-Mockery: Woot!

Apprentice Writer appreciates people who don't take themselves too seriously. She flat out adores readers who like a genre but can recognize the over-the-top elements in it. She got a does of both from the lovely and talented Scientist Gone Wordy, who made AW snort tea at breakfast with a link to author Jim C. Hines' reflectionss on urban fantasy/scifi cover art.

He doesn't just opine. He conducts research.

That's right. He tries to recreate cover poses.

Bravo to Mrs. Hines for having a spouse with the chutzpah to post the far-from-pretty results.

Book Activists Unite!

There are two kinds of people in world: those who are passionate about books, and everyone else.

Of the passionate group, there are also two kinds: those who pull back with glum sigh when bookdom is threatened, and those who take up (symbolic) arms in defence.

Mr. Bill Wrigley of Toronto is an engineer and bridge builder by profession, who appears to hold the motto, "When the going gets tough, the tough get building!"

In an early instance of toughness, he regarded his wife's 3000+ mysteries and apparently concluded that a bookshelf probably wouldn't do. Rather than harping on her to dissolve the collection, he built her a reading room with such features as secret doors and a button on one volume's spine which ignites the fireplace when pressed.

Apprentice Writer would have adored Mr. Wrigley for that alone. But!

He has now gone on to new heights of heroism. How, the Gentle Reader may ask?

Toronto currently has a mayor who won the election by promising to "Stop the Gravytrain" (i.e. eliminate wasteful spending at city hall). Once elected, he found there was surprisingly little actual gravy on the train. In order to fulfill election promises, he has embarked on an in-depth examination of city expenditure with a view to cutting/selling.

One of the culling candidates is the city library service, with some branches projected for outright closure and others "merely" looking at limitations like weekend closures (when user numbers have traditionally been highest). When literary giant Margaret Atwood protested, the mayor famously stated that he would probably not recognize her on the street.

Many Torontonians responded by forming unfavorable conclusions about a holder of Canadian public office who didn't know who Margaret Atwood is. Mr. Wrigley did something much more useful: he built a Little Free Library on his street.

It is open 24/7, operates on the principle of take one, leave one, and is carefully stocked with items that appeal to various age groups. It had its grand opening celebration this past weekend.

Mr. Wrigley considered inviting Margaret Atwood but decided he didn't want to make political statements.

Bravo, Mr. Wrigley, for this gem of an example of "Deeds, not Words", and for making your neighborhood more interactive and neighborhoody. Apprentice Writer hopes that in future there will be friendly competitions of who can build the most architecturally interesting Little Free Library in their town.

Review: EVERYTHING I KNOW ABOUT LOVE I LEARNED FROM ROMANCE NOVELS

EVERYTHING I KNOW ABOUT LOVE
I LEARNED FROM ROMANCE NOVELS
Sarah Wendell
Non-Fiction
Sourcebooks, October 2011

Premise: Blogger and devotee of the much-maligned genre draws helpful real-life insights about personal growth and relationships from the books, their authors, and their fans.

Cover: In a book with an already high tongue-in-cheek factor, the cover may be the tongue-in-cheekiest of all. The iconic clinch-cover image is obscured by what looks like brown paper wrapping, a clear and sassy nod to the perception that the genre is merely "chick porn" (hence reference to delivery method of X-rated material in the days before internet and the author's name looking handwritten, as in a postal address). It made Apprentice Writer laugh, which is a great way to begin a relationship with a book before the first page is even read.

What Works: A lot.

The author's trademark funny, breezy, low-key conversational style, familiar to legions of her website and twitter followers, translates seamlessly to the printed non-fiction page. New readers should be aware that this style sometimes includes expressions that may not be suitable at work, or with kids reading along. On the other hand, it provides learning opportunties for new vocabulary - AW, for example, had not come across the terms "giddypants" or "crapmonkeys" before.

Another appealling aspect is that the author does not set herself up as the one with all the expertise. She shares her views (sometimes vehemently; witness "giddypants" and "crapmonkeys") however for every personal opinion stated she seeks out those of others as well, and in so doing, gives equal measure to those crafting the tales and those consuming them. This is a refreshing reminder that the book community is composed not just of writers influencing readers through their work but equally of readers influencing writers through their reactions to and discussions about that work.

When Sarah Wendell sends out a query into the blogosphere or twitterverse, she really truly (to use the technical term) listens to the responses that boomerang back, and incorporates them into a more expanded understanding of whatever the issue may be. This collaborative attitude permeates the whole book, and is encapsulated in the dedication to "...the fabulous readers who have come to Smart Bitches over the years to talk romance novels, celebrate the excellence, and bemoan the bizarre."

This willingness to explore said bizarre is also a plus, of the book and the site. If the internet is to be believed (and why in the world shouldn't it?) (Just kidding. Kind of.) that vast army of romance novel afficionados that singlehandedly drives the lion's share of profits of the mass-market publishing industry can roughly be divided into two camps: those who believe it is "mean" to mention anything critical about a romance novel (meaning reviews are all rainbows and roses), and those who believe in mentioning aspects that could be improved (meaning reviews run the gamut between all out raves and full on evisceration. AW, the Gentle Reader may have guessed, leans toward the side that says all types of honest reviews are legitimate so long as this doesn't cross the line into personal slights or attacks on the author.

AW loved the mix of analysis and jokes/gentle teasing about certain common features, such as:

"...4..A romance heroine doesn't just stand by her man, she stands up to him!....5. A romance hero must always be willing to rush into a burning building to save a basket of kittens."

"...Reading romances and taking them literally is definitely not the path to everlasting happiness. There are some crazy over-the-top plots that would never fly in the real world...For any (real-life) men who may be reading this...if you like a girl, I suggest asking her out on a date, in preference to threatening to turn her ecologically sound tourism location into a strip mall."

AW's favorite parts were pseudo-scientific lists and tables. The list of best heros of all time, for example (who's #1? P&P's Mr. Darcy, of course) should provide endless room for debate on correctness of numeration and inclusion, the suggested newbie shopping list of ten iconic novels to start a romance collection that spans most subgenres and which AW imagines was Holy-Melting-Eyebrows-Batman difficult to keep so brief for a passionate lover (ha!) of the genre, the step by step guide to looking like a romance hero ("Step 1: Acquire a mullet. Step 5: Ensure that the wind is buffeting your manly chestular landscape in as flattering a manner as possible.").

Perhaps the most educational (albeit snortworthy) aspect for people who think that all romance is of the Harlequin Presents type (i.e. with a title along the lines of "The Latvian Tycoon Playboy Sheikh Billionaire's Virgin Pregnant Secretary Mistress Bride") is the graph "Which Romance Are You?" which illustrates how diverse the genre really is. It puts specific questions to each of 9 subgenres. In this way, one learns that the answer to the question "How Do You Like Your Steak?" is "Mooing" in Western and "Hairy in Paranormal, the answer to the question "What is Your Favorite Dessert?" is "whipped cream" for erotica and "anything on fire" for romantic suspense, and the answer for "What is Your Favorite Holiday?" is "Boss's Day" for Harlequin Presents and "Talk Like a Pirate Day" for Historical.


What Doesn't: Not so much a criticism as a desire for a specific point's greater emphasis of a or repetition (not, AW grants you, the usual type of request).

The author mentions early on how the life lessons explored are taken from more more recent decades, and may not be contained in quite the same way (or at all) in some older examples of the genre. This is so true, and significant, that AW almost feels like it should be tacked onto the bottom of each page of this book as a warning message. As in: "This is old-skool romance! May contain the opposite of messages like "We Know Who We are, and We Know Our Own Worth", "We Know How to Solve Problems", and especially "Happy Endings Take Work"! Content may be hazardous to feminist sentiments, the concept of men and women being equal partners, the expectation that men NOT solve every problem with might-makes-right, and the idea that women need to do more than just look pretty and blush on cue!"

Failing such distinction between what was then and what is now could lead readers newly willing to give the genre a try to feel like all their preconceived notions were well-founded. AW can certainly remember a couple of earlier-published works that ended up being thrown against a wall from the time that she had newly discovered the genre. Luckily for her, she simultaneously came across some other volumes with much more positive underlying messages (plus great writing) so continued exploring rather than giving up on the genre.


Things AW Wishes Had Been Included:
1. The author's husband's reaction. Not just because a person detailing all the great things they've learned about love just BEGS for a statement from that person's spouse. Not just because it would be nod to the Great Romance Debate on novels told only from the heroine's point of view vs. inclusion of the hero's point of view. But because this particular spouse once did a book review on his wife's site and as AW recalls he was just as funny as she.

2. A stepback cover. As AW may have mentioned (one or two dozen times), she loathes stepback covers because she has yet to see one that she didn't think was snarkworthy to the highest degree. It would have been a lot of fun to see a parody.

Overall: Strikes a good balance between thoughtful and entertaining. Readers already familiar with the author will not be disappointed, while those for whom this is new territory might well rethink a preconceived or perhaps outdated notion or two, and, who knows? Even pick up one of the myriad books mentioned, see if it clicks for them, and whether they can draw a worthwhile life lesson from it themselves.

Review: THE ROSE GARDEN

THE ROSE GARDEN
Susanna Kearsley

Timetravel
Sourcebooks, October 2011

Premise: Grieving contemporary woman returns to childhood Cornwall home and begins travelling back in time to an era of smugglers and uprisings.

Cover: Title - very pretty, but held more significance for the contemporary portion of the story than the historical. Would have liked it if a title had been found that was equally significant to both time periods.
Art - Lovely, and much more eye-catching and also fitting than the art on the ARC Apprentice Writer received, which put her in mind of a story of a brave cancer survivor or some such. This one shows a titular rose, colors that recall the sepia tints of old daguerrotypes, and features hair (in a style which could be historical or contemporary) as the central element - so right for the story. Very well done.

What Works: The author has above average writing skill and an engaging style which draws the reader into the story, an effect which is further enhanced by use of first person and sympathy the reader feels for the protagonist from the first page as she talks of how bereft she is following the death of her beloved older sister.

The choice to have the protagonist keep going back and forth between time periods, as opposed to leaping close to the start and spending the bulk of the story in the past/future, with a final leap back to own time at the end, created a great contrast between typical daily life challenges of average people now (setting up a new business, keeping on old one viable, negotiating dating life) and typical life challenges then (having to be watchful of local law enforcement due to no recourse to higher authority, political choices that can mean swift and bloody death no matter which side one comes down on, gender inequality that placed any female without male protectors with enough muscle and in close enough proximity at risk, the sheer labor and difficulty associated with tasks of daily life).

Finally, a great strength of this book is the historical love interest. How Apprentice Writer adored him, his relationship to his brother and best friend, the way he chooses to deal with economic and political reality of the time, but most of all, how he responds to a woman with modern sensibilities. He was swoonworthy, and AW would have been happy to read more about his backstory and what happens next to him. He gives Jamie Fraser (of the mega timetravel hit "Outlander) - who is #2 on the list of best romantic heros of all times, as compiled by fellow Sourcebooks author Sarah Wendell ("Everything I Know About Love I Learned from Romanc Novels" review to come shortly), a run for his money. If anything, Daniel Butler comes out ahead, considering Jamie's unfortunate disciplinary episode (cue groaning of the "Outlander" faithful).

What Doesn't: In AW's view, if you going to write a timetravel, then do the reader the courtesy of not treating the actual timetravel element like a trivial afterthought. In this case, the explanations of where and to whom it happened were tepid and unconvincing (because the conditions for both should have affected many, many more people than it did) while the explanation of why it happened at some times and not others was never given. The fact that the protagonist seemed to show such little curiosity about the mechanics of the thing gave this reader an ever dimmer opninion about her intelligence. It also made her WILD that in contrast to, say, Henry of "The Time Traveller's Wife" who cannot take anything with him from the old place (including clothes) when he shifts, the protagonist here could, but never thought to do so. You can bet your sweet petticoat that AW would have taken care to have a supply of toothpaste/brush, dental floss, aspirin, swiss army knife, and feminine hygiene products with her at times.

Apart from the personal grooming aspect, AW was very surprised at how the protagonist never thought of the possibility of some small gift for the two historical men who literally risk their lives for her, given that having other people of their time seeing her appear or disappear would brand them as associates of a witch. There is a whole subtheme of capacity to create fire (in the form of skill to strike a spark), thus symbolizing access to light, life-giving warmth, capacity to eat, and feeling of security - all of which the hero and his best friend continually bestow on the heroine. The hero even shows special interest in the future invention of matches. But does the heroine think to slip a lousy book of matches for him in her jeans pocket, or some small modern kitchen gadget in recognition of her adopted brother's culinary interest? Not at all. This willingness of the heroine to accept all the tangible and intangible gifts offered to her by these men without any notion of return created an uncomfortable sense of imbalance, all the more peculiar considering the extravagant gift she bestows on some secondary characters in the contemporary time.

Overall: The single word previous reviewers seem to apply most often to this novel is "haunting"; AW would agree with that, as well as the "well-written" description. The story is more about the psychology and emotion of the person going back and forth in time rather than the action-adventure (such as found in "Outlander") or the modern time luxuries/olden time privations angle (such as found in "Confessions of a Jane Austen Addict"). From this perspective, the feelings and actions of the cast of characters was (with exception mentioned above) convincing and satisfying.

Non-Laughter Review: PILLOW TALK

PILLOWTALK
Freya North
Sourcebooks, July 2011 (reissue)
Women's Fiction

Premise: After a brief period of non-acted upon attraction when they were teens, a London jeweller and rural teacher meet again.

Cover: Title - Relevant on two levels: it signals 'relationships' as theme, and points to the sleepwalking and insomnia that bedevil hero and heroine. Art - colors and cartoonish font and illustration look like classic chicklit, and the story contains several elements that point in that direction (if we all did not know that Chicklit Is Dead. Or so we keep being told). Altogether, the cover gives a good indication of what the reader will find inside.

What Works: It is very easy to like the protagonists. Artist Petra is passionate about her work, good to her friends, and doggedly determined to keep up her relationships with her divorced parents and stepsiblings despite zero energy on their part to make an effort in that direction. Arlo is a former rock singer/songwriter who now teaches music at an uppercrust private school, and seems genuinely fond of his pupils and sincere in carrying out his duties.

Their story is not about tumultuous passion or wild adventure, but rather, the quiet moments and steps that build up on each other to help everyday people decide whether a relationship is worth sticking with or no longer functional. This is pretty much the opposite of what happens in genres like urban fantasy, space opera, or stories that involve, let's say, espionage, so it is a refreshing and thoughtful change from those types of novels.

Apprentice Writer also found it interesting how sleep was used to underscore what is going on. How, where, with whom, how effectively we do it - all become symbolic of trust and affection. AW liked how it was developed beyond the simple euphemism for sex that is often deployed in contemporary fiction.

What Doesn't: The story hinges heavily on the protagonists not knowing how to get in touch with one another. As young(ish), hip(ish), (partial) Londoners, this trampled AW's suspension of belief. Just because the protagonists liked riding bikes does not convince her that they were so retro that don't know how to operate Facebook, Google, or even something so low-tech as a phone directory.

There was also a moment when the Petra thought she was reliving a very negative experience with her former boyfriend all over again with Arlo, and takes certain immediate action without allowing Arlo even a minimum of opportunity to share his point of view. AW supposes that the reader was intended to take this as a sign of the degree of hurt she had experienced. The way it came off, though, was as childish. It felt like one step away from being too immature to be deserving of the genuine adult relationship she had set her sights on.

Overall: A pleasant beach read, especially for those who miss stories in a chicklit direction.

Notable Quotes

How to describe a goddess? It would need to be in a way that sets her apart from mortals, of course. Regarding Hera:

"Her hair was the color of blackmail, her spine like a guillotine..."

from "Gods Behaving Badly" by Marie Phillips

Non-Laughter Reviews: WHISPERS IN THE SAND

WHISPERS IN THE SAND
Barbara Erskine
Paranormal Mystery
Sourcebooks, 2011 (reissue)


Premise: Contemporary divorcee travels to Egypt and finds her life increasingly entwined with that of a Victorian ancestress and a mysterious ancient artefact.

Cover: Title - Creates sense of drama and is relevant to content. Art - Pretty, eyecatching colors and style of hairdo and dress captures the sense of modern with historical. Overall - well done.

What Works: The author clearly has a tremendous love for Egypt and respect for the profoundly deep sweep of its history. This attachment soaks into the story and makes the reader yearn to get on a plane to see the sights and experience that antiquity personally. At the very least, for those lacking time and travel budget (Apprentice Writer, for instance), the novel motivates to search out more historically-based fiction about the kings and queens mentioned.

AW became caught up in the life of the ancestress. A gifted painter and grieving widow, she tries to regain her physical health and emotional equilibrium by sailing along the Nile. Like her granddaughter, she is challenged to understand the secrets of the antique glass bottle in her posession, but she has the added obstacles of racism, sexism, and stifling Victorian morality rules to deal with. Her choices, and how they affect the contemporary protagonist, held AW's interest.

AW is not a huge ghost-story afficionada, but nevertheless became engrossed in the eternal-seeming power struggle between the rival priest spirits who form the mystery element of the story. What do they want from the bearer of the artefact? Are they benevolent or malevolent? Can they be released from their prison? Will they actually speak? AW could never quite figure out which was the good guy and bad guy between them - perhaps intentionally on the part of the author, to represent how no-one is ever completely innocent or guilty? - and read on more to find out what happened to them than to know what happened to the nominal heroine of the story.

What Doesn't: Warning! Mild Spoilers!
AW struggled with the protagonist. Presented as a depressed, trying-too-hard-to-please, somewhat passive character at first, it seemed logical to expect that over the course of the story arc she would grow into an empowered, active, confident character who realizes she is capable of standing on her own two feet. Didn't happen. True, she does try to tell some other characters that she does not appreciate their behavior, and does take some steps towards determining her own romantic future. Altogether, though, by the end she still spent much time being "taken care of" by a male character and AW repeatedly wanted to shake her for not grasping such basic concepts as: just because someone asks you a question doesn't mean you are compelled to provide an answer if you don't want to. And: if someone enters your living area uninvited and takes some of your property, despite your clear demand that they not do so, there are actions that you can take about it.

AW tried to figure out whether the frusrtation she felt for this character would be unique to her personal reader style, or whether it could be more broadly based. Was there truly a lack of character development on the protagonist's part? Or was it more a case of AW being used to the take-charge (sometimes with skillful violence) attitude of female protagonists found in urban fantasy novels, meaning it was unfair to expect similar backbone in characters from other types of fiction?

It was not possible for her to tease out a clear answer, partly because the waters were muddied by another factor: surprise at the multi-level open endings. Questions about the ancestress, the spirits, the hero and heroine all remained. AW tried to take this in a philosophical way, but in all honesty would have been happier to know some things more definitively rather than imagining for herself what could have happened.

She was also left with a headscratcher: at one point in the novel the protagonist learns that by virtue of their gender women have protection from ill effects of the artefact. Yet in other parts of the story, a woman dies prematurely and some families (presumably containing female members) also perish due to proximity. Any explanations the Gentle Reader can share?

Overall: The two biggest predictors for liking this novel are enjoyment of a paranormal element, and tolerance for open endings. Readers who like their fiction realistic and loose endsl tied up may be left unsatisfied. But readers who welcome a sprinkling of ghosts and who can appreciate tantalizingly unanswered questions as a symbol of the endlessness of time (without question, relevant to a place so old as Egypt) or the eternal nature of humans trying to find their true love, may well be entranced by this story.

Free Ebook

Readers of this space may recall that Apprentice Writer reviewed historical fiction author Ciji Ware's novel "Island of the Swans".

Ms. Ware has just released a new novel, A Race to Splendour, with another lovely cover. The premise sounds intriguing, being set in San Francisco with a female architect trying to rebuild a landmark building destroyed by earthquake. From April 5-11 the ebook is priced for 4.99 U.S. at a slew of ebook retailers.

To celebrate the new novel, Sourcebooks is offering a previous novel, Cottage by the Sea, for free through the same eretailers, April 5-11.

Non-Laughter Review: MODERN FANTASY

Readers of this space know that Apprentice Writer struggled previously with Urban Fantasy burnout. It was taking more and more innovation and stellar writing on the part of the authors to elicit reaction from her, and it gradually dawned on her that it was, perhaps, a little unfair to keep holding novels up to ever-escalating expectations when really, what she needed was a break.

Return to epic fantasy, in the form of the second-to-last volume of the 'Wheel of Time' megaseries, didn't do the trick either.

Paranormal, often considered to appeal to a similar type of demographic as UF, has never really worked for AW. The shapeshifting, blood-sucking, demonic storyliness somehow never quite hold her attention.

AW really liked Ilona Andrews pioneering 'rural fantasy' novels, but those are far and few between and so far other authors don't seem to be leaping into the new subgenre.

What is a voracious reader with taste for well-written fantastical worlds to do? By this point, AW was growing a little desperate.

Then: Rescue! Three books, each very different from the others, very different from classic urban/epic/paranormal, that she all adored. AW thinks of these novels (and hopefully, the many more that will ride in on what she dearly wishes will be a wave) as Modern Fantasy.

1. The Hundred Thousand Kingdoms, N.K. Jemisin (Inheritance Trilogy, Book 1)
2. The Broken Kingdoms, N.K. Jemisin (Inheritance Trilogy, Book 2)
3. Indigo Springs, A.M. Dellamonica (Book 1 in series of unknown length)


Premise:
1. Orphaned offspring of renegade branch of the royal family is summoned to palace hanging in the sky and tossed into a battle of succession in a world balanced on a knife edge between enslaved gods and humans branded into strict social classes.

2. Blind artist rescues an injured, homeless man and is unwittingly caught up between jostling factions of godlings and an uprising of humans against gods in the Tree of Life on the planet beneath the Skypalace of Book 1.

3. Recently bereaved young woman inherits a house and slowly learns of the magical powers conveyed by the springs below, with catastrophic results.


Cover:
1. Title - Intriguing and apt for content. Art - Beautiful, indicative on content, AW was amused by inclusion of streaming hair of her favorite character in the story. Amused because the way it's streaming here is technically impossible unless underwater, yet in in this character's case is correctly depicted - and how this reminds her of the many romance covers that have been snarked because of hair blowing wildly in one way from the heroine's scalp while blowing in the other from hero's scalp, etc.

2. Title - relates well to title of Book 1, apt for content. Art - the tree of life is accurate for content, but the searchlight eyes creeped AW out. Not a cover she would habe been attracted to on its own.

3. Title - Simple (which is always good) and perfectly accurate for content. Art - gorgeous, gorgeous, gorgeous. AW doesn't know why the 'corrugated' effect was added but for some strange reason it works.


What Works:
For all three books the strengths are the same: Beautiful writing. Superb, creative world-building. Intriguing, sympathetic protagist. Memorable secondary characters. And the best bit: unpredictability.

Which all leads up to AW salivating as she waits for the next books in each series.


What Doesn't:
This is a subjective matter, because the two aspects that might not work for some readers (judging by selective Goodreads comments) both actually worked really well for AW.

One was first person voice. AW thought it worked well it was well-suited to the subject matter and let the reader react like the protagonist when shocking things happened.

Another was the at times non-linear writing style. In the case of Jemisin, this took the form of occasional short paragraphs, usually at the start of a new chapter, wherein the protagonist appears to be talking to herself from a point in time after the story. AW will admit that it takes a bit of mental sorting out to adjust to this occasional gear changes, but she did not find them excessive or incomprehensible

In the case of Dellamonica it took the form of the story starting out in the 'head' of a secondary character, who interviews the protagonist after the bulk of the story events have taken place. This is tricky to assimilate on three levels: it is not the protagonist, it is a later point in time, and the protagonist is shown in an odd light. But once these first pages are dealt with, the rest of the story flows free and clear (Heh. AW loves a good pun).

Why did the author put them in, then, the Gentle Reader may ask? AW has to date not perfected the art of reading authorly minds. She will however speculate that the author may, at some point in time, have begun her story in the more conventional manner - that is, at the beginning, in the protagonist's 'regular' life, before anything especially unusual happened - and received feedback that this was not enough of a hook to keep readers interested in this short-attenion span age. Presto - the story starts with such blazingly spectacular events that even the most jaded reader would not be able to describe the setting as 'boring'.

Overall:
AW highly encourages her Gentle Readers to seek out these stories if they have not done so already, and then by all means let her reactions! Also, whether the Gentle Reader has any recommendations to round out her 'Modern Fantasy' list.

Next in Series:

For N.K. Jemisin: Book 3 in the 'Inheritance' Trilogy - 'Kingdom of the Gods'

For A.M. Dellamonica: Book 2 - "Blue Magic"

/m

Quote of the Day: Stephanie Dolgoff

And because of the instant recognition Apprentice Writer felt when she read it, another quote from Stephanie Dolgoff's ruminations on the progress of time taken from the chapter 'The Comfort vs. Style Smackdown' :


"...finding clothes that stylishly bridge the gap between too young and middle-aged frump is not simple. When I look at what other Formerlies on the street are wearing, I mostly see three categories:

1) Those trying too hard to look younger than they are. I'm thinking if your C-section scar is visible over your jeans, they are too low...

2) Those who seem to think they are being punished and so are only permitted to shop at Dress Barn..

3) Those who don't appear to be trying at all. I respect these opt-outers, but I hope they're choosing to live off the fashion grid in defiance of child exploitation or because they prefer to cultivate their inner selves than because they have nothing but sweats in their closet. My friend Kelly is an opt-outer most days of the week. She drives a mini-van, wears Uggs and even worn pjs under her coat to drop off her kids at school, 'a veritable trifecta of mom-letting-go offences,' as she puts it. She has decided to believe that she is one of those people, like incognito movie stars and models who look good wearing a mesh laundry bag, who is so fabulous she can pull it off. It works for the three weeks of the month she's not about to have her period. 'Then for one unholy week you are just a fat, middle-aged, angry woman sitting in a mini-van,' she says. "

As the Gentle Reader may have guessed, AW drives a mini-van. *sigh*

Quote of the Day: Stephanie Dolgoff

Apprentice Writer has reached the age when the way she feels in her head is mysteriously at odds with the number of the candles that should be on the cake. 'Should be', because she has long since disallowed something so distasteful as mathematically correct flames on her cake.

As such, the non-fiction collection of short stories in "My Formerly Hot Life: Dispatches from Just the Other Side of Young" called out to her. They also made her laugh in rueful recognition, such as the author's description of that exquisite torture known as 'shopping for new jeans'.

"...I needed jeans, badly.

The ones that fit were clearly out of style.

The ones that didn't (yeah, no, they hadn't gotten too loose) had a nasty habit of dialing my Blackberry whenever I carried it in my back pocket. I'd get home after a long day at work and find three messages on my machine from my own ass...."

She goes on to describe the disparity between the labels of 'young' brand jeans, and the reality of her own current life, and lists the kinds of brand names that she would buy:

"Solvent and Still Viable
Good Credit Score Jeans
Call Me 'Ma'am' at Your Own Risk Jeans
Nothing to Prove Jeans
So Over It Jeans
You Just Wait Jeans
Talk to Me When You're 30 Jeans
Love That Lycra Jeans
Been There, Done That (Twice) Jeans"

Ha!


The author has a 'Formerly' blog here.

YA: How Young is Too Young?

In contrast to the dismal news coming out of the publishing industry as a whole these days, young adult fiction seems to buck the trend in a big way. Formerly a type of literature actually intended for the young, it is now being read by vast numbers of people long past their teens. Perhaps because of this dual audience, top-tier YA authors command advances and contracts other authors can only dream of.

Why does Apprentice Writer know this? She attended a seminar conducted by ultra author Kelley Armstrong, whose current paranormal YA series launched her up among that genre stratosphere - a place that should feel comfortable given she landed there before with her adult-oriented paranormal series.

Does this expanding popularity simply mean that stories intended for a youthful audience have wide-ranging appeal?

Could it be that the content of the stories is changing to accommodate more mature readers?

Or is it possible that Apprentice Writer is operating under a wrong assumption of the definition of YA fiction?

AW wants to know because she has started reading novels in which junior apprentice writer #1 is interested so as to have topics of discussion with him. At least, that was the reason to start with. It quickly was joined by another reason, which threatens to overshadow the first. It is called parental policing.

Because sometimes, the content of YA books can be eye-bulging. When she commented on this at the seminar, she learned that

"....A YA book is simply one which features a young protagonist."

Meaning: in terms of content, anything the market will bear goes. Therefore, caveat emptor.

Here's the problem: it is natural for young readers to choose books that feature protagonists who are similar, or slightly older, than themselves in age. But the content of books with a YA label at the library or on YA shelves at the store vary enormously. If it is hard for AW as a adult to figure out if a book may be too mature for a pre-teen or young teen, wouldn't it be hard for the kids to figure out also? Do they really have to get to a part of the book that is too much for them to decide it may not be the best choice (by which time, they may be so invested in the story that they plow on)?

Some examples: MODERATE - MAJOR SPOILERS! BEWARE!

Julie of the Wolves, Jean Craighead George (protagonist: age 13)
This is rightly considered a classic and AW read and enjoyed most of it while at school at a double-digit age. The parts that she didn't enjoy as much - and, more importantly, did not have an adult with whom to talk it through for reasons that are not pertinent to this post - were her first ever exposure to the issues of attempted sexual assault, fetal alcohol syndrome, and domestic violence, which form the catalyst for the protagonist to run away into the wilderness. The bulk of the story has to do with what happens there and how she decides whether to stay 'away' or return to life with people, provides much food for thought, and is in AW's view well worth reading (with her single big criticism being that recovery from sexual attack is depicted way too facile and simplistic a manner). That worthwhile reading, however, should be done by readers old enough to be able to process the stark elements.

She was therefore highly surprised to encounter it on a recommended reading list for junior apprentice #1 in Grade 3 (= age 7-8) . When AW inquired how this title had landed on the recommend list for such young readers without any warning to parents who might not be familiar with the content about the very serious themes, she was informed that it was based purely on evaluation of the difficulty of the vocabulary.


White Cat, Holly Black (protagonist: age 16?)
This is a recent, megapopular YA title that came highly recommended to AW from different sources. It fell into that group of books that results in split personality for her. As an aspiring writer she was impressed with the deceptive ease with which the author unfolded the story about the youngest member of a con-artist family in first-person, present tense mode, something which requires enormous skill and resulted in multiple points where the reader thinks, "Wow, I didn't see that coming.".

At the same time, she questioned whether she would directly encourage junior apprentice writer #1, aged 13, to immerse himself in a world where the protagonist supports himself by exploiting the desire of his classmates to gamble. She decided 'No' when she reached the part where the character's two older brothers beat him up on orders of someone else, and he figures out that not only is this is something they've done to him before but that they willfully manipulate his memory, and have been holding someone hostage in a cage for years. Too dark, too casually violent for AW to recommend it to a new teen, as opposed to him choosing it on his own or through peer word-of-mouth. In such a case, she would not try to discourage his reading it, but make sure to talk to him about it during.


Bleeding Violet, Dia Reeves (protagonist: age 16)
This is the title that AW feels most strongly about, perhaps because it had so much going for it at the outset: biracial heroine (as someone of mixed background herself, AW loves these kinds of stories), rejection issues, bipolar disorder (mental health deserves much more media/literary attention), and the big one: some really deft writing.

By the end of the book, AW had no ambivalent feelings (like with 'White Cat)'. She had problems both as a reader and a parent. Unlike others (to judge by GoodReads reactions), it was not the suicide attempt that gave her pause - since it seems to her that in a book where mental health is one of the central features, it can't really be surprising that suicide might come up. Nor the seriously dysfunctional relationship between mother and child. Though AW had a number of issues with the book, the dealbreaker was when the story crossed the line into full-on horror mode.

AW anticipated this book to be a paranormal story about a mid-range teenager dealing with difficult health and childhood issues (all of this info being plainly available in the back cover blurb). She did not anticipate a teenaged character being not only tortured but made to appear ridiculous as it took place due to inclusion of a sexual element while the protagonist looks idly on, nor that same character being killed in horrific fashion that left body parts dumped at the front door of a family, nor a preschool aged character learning of this.

So why did AW finish the book, the Gentle Reader may ask?

Because she hoped that the story resolution would show some parts having been influenced by the protagonist's altered perception of reality, given her bipolar condition.

Didn't happen.

THE BIG PICTURE:

Does AW think young readers shouldn't read stories with mature themes?

On the contrary. She very much thinks they should. Here's the big IF: They should read them when

a) they have the opportunity to discuss those themes with someone trusted and older, who can guide them past potential nightmares, anxiety, and personal triggers (all of which are very real risks as AW is aware through personal experience and observation), and

b) they have reached a minimum level of developmental maturity for how explicitly those themes are handled in the book. This can vary, depending on the individual parent's views (and given the Grade 3 reading list example, she'd rather go with parent views than teacher views) .

AW's rule of thumb is that it is probably good for the reader to be the same, or very close to, the protagonist's age.

Blanket Labelling of all Books featuring young protagonist with generic YA label = Insanity

Bookstore and library books featuring adult protagonists are not all slapped with a generic A label. They are subdivided into historical, fantasy, science fiction, etc. etc.

Why in the world isn't this done with YA books? If 'Bleeding Violet' had had a horror label attached, AW could have simply left it on the shelf for afficionados of that genre, and everyone would have been happy.

Alternatively, if the front cover and back blurb were more careful to include clues as to content, readers would be better able to sort out which are good personal options and which they should steer clear of.

Is that so hard?

Quote of the Day

Apprentice Writer grows ever more irritated by cliched similes and metaphors. She has been forced to endure far, far too many instances of garments "...fitting like a second skin" and men moving "....like a jungle cat". These kinds of descriptions are not only tedious, but inept as well since they can so easily be interpreted away from where the author wants to go. Frex:

Like a second skin could mean that the garment hangs in wrinkly, saggy folds. So if that's not what the author meant, s/he would have to write "....fit like a second skin of someone not yet past their thirties and who hadn't lost a lot of weight suddenly and who didn't possess longlasting signs of childbirth across their abdomen". That would be more accurate but a little wordy.

Similarly, the description of moving "...like a jungle/large cat" always makes AW think "As opposed to a mountain/small cat, because everyone knows that jungle and large cats are silent and graceful whereas mountain and small cats are leadfooted klutzes."

What all this means is that AW is utterly delighted to come across a fresh new description. Bonus marks if it is funny. Allow her to present the quote of the day from Terry Pratchett's 'Going Postal':

"His beard looked like he'd been interrupted while eating a hedgehog."

Ha!

'About the Author'

As an occasional book reviewer, Apprentice Writer once participated in a survey that asked, among many other things, whether she read the author information page' never', 'sometimes', 'most of the time', or 'always'.

She wished there had been another category: 'before anything else'.

AW adores the author information section. She believes it gives a tiny but true taste of the author's personality and creativity. If the book is supposed to be funny, for example, but she sees no reflection of that in the author blurb, she develops strong doubts as to the veracity of humor content.

Here some entertaining examples.
Dia Reeves, YA author: "I was born. I did some stuff. I haven't died yet. What do you want from me?" (@ Goodreads)

Gail Carriger, light paranormal author: "Ms. Carriger began writing in order to cope with being raised in obscurity by an expatriate Brit and an incurable curmudgeon. She escaped small town life and inadvertently acquired several degrees in Higher Learning. Ms. Carriger then traveled the historic cities of Europe, subsisting entirely on biscuits secreted in her handbag..." (@ Goodreads)

Anna Dean, historical mystery author: "....her interests include...cream teas and canoeing on very flat water." (back cover)

Diana Holquist, contemporary romance author: "I love to write. That’s pretty much all I do. Ask my family about the undone laundry, the un-bought groceries, and the fact that I rarely find time to get dressed in the morning. Actually, if you train your family right, they won’t notice any of these things..." (@ Goodreads)

Laura Kinsale, historical romance author: "...become a romance writer after six years as a geologist--a career which consisted of getting out of bed in the middle of the night and driving hundreds of miles alone across west Texas to sit drilling rigs, wear a hard hat, and attempt to boss around oil-covered males considerably larger than herself. This, she decided, was pushing her luck. So she gave all that up to sit in a chair and stare into space for long periods of time, attempting to figure out What-Happens-Next." (@ Goodreads)

Jill Mansell, contemporary fiction author: "....writes full time. Actually that’s not true; she watches TV, eats fruit gums, admires the rugby players training in the sports field behind her house, and spends hours on the internet marvelling at how many other writers have blogs. Only when she’s completely run out of displacement activities does she write." (@ Goodreads)

Janet Mullany, historical & paranormal author: "Janet Mullany was raised in England by half of an amateur string quartet..." (back cover)

Jasper Fforde, alternate reality author: "Jasper Fforde...is the son of...the 24th Chief Cashier for the Bank of England, whose signature used to appear on sterling banknotes..." (@ Goodreads)

It goes, perhaps, without saying that AW was not disappointed in the entertainment value of these authors' works after the high expectations raised by their self-descriptive snippets.

Non-Laughter Review: THE HEIR

THE HEIR
Grace Burrowes
Historical Romance
Sourceboooks, December 2010

Premise: Housekeeper with secrets and responsibility driven heir to an old title develop feelings for one another.

Cover: Title - Short, succinct, ties in well with the next titles in the series (of which 'The Soldier' will be #2). Art - pretty blue, pretty lady, yet attention inexorably drawn to mondo large man-nipple.

What Works: The writing in this novel is a cut above average of what this reader has seen of the genre. There is many a well-turned sentence, deft bit of description, and enjoyable dialogue interchange, so much so that the author can be forgiven for her most overused word: 'lemonade'.

Apprentice Writer really liked the ending, and LOVED the hero's brothers. They each have different strengths and challenges to deal with, which will without question be explored in follow up novels, but what this reader liked the best about them was how they supported one another.

And as a former psychology student, AW very much enjoyed the how the process of mental/emotional change in various characters was depicted. It reflected the reality that very few individuals are overwhelmingly 'good' or 'bad'. Most are a mix of both, and can be coaxed one way or another on the continuum depending on stimulus, underlying personality traits, and sheer luck of what they may encounter in any given day.

What Doesn't: This is a story for readers who like character-driven novels. It takes a long time for things to get going, and even at the height of the erstwhile suspense, the action is over pretty quickly. This is not necessarily a flaw - Apprentice Writer quite likes 'quiet' stories, especially when well-written. It was more a matter of there being a fair amount of buildup for the housekeeper's secret aspect such that AW had a bit of a 'That's it?' reaction once it was resolved, intensified by a brief TSTL moment on the part of the heroine.

There is a lot of talk. This can be interpreted both as positive (it's really nice to see how various characters become close to one another) and negative (can verge on 'telling rather than showing'). The characters also seem remarkably insightful about themselves and others. This had an almost humorous effect for AW, as it was the opposite end of the spectrum of how the main characters behaved in the book she had read immediately prior. To be honest, it was kind of a refreshing change.

And finally, the big one: how much the reader enjoys this book may depend on what they define as 'romantic', and/or how skilled they are at division of real life and literature. Because the H/H relationship development is a textbook case of sexual harassment. Given the power imbalance between the main characters, the situations the hero constructs, and the way he tries to persuade to certain courses of action, the fact that there is no physical coercion involved becomes secondary.

It does help that the feelings the couple build for one another are so genuine, and that the heroine is utterly unintimidated by the hero and really makes him work for the happy end. But it could have been a much different (i.e. uglier) situation if she had felt obliged to fake such emotion.

From personal experience, AW is aware that such reality/story division can be achieved. She is personally appalled by infidelity following some instances in her extended family, yet somehow, much to her surprise, she found the characters in 'Same Time, Next Year' sympathetic and the story touching. Go figure. What she is saying is: sexual harassment is a hot-button issue for some people, so the reader may want to evaluate if this is the case for him/her and act accordingly when evaluating whether to read this book.

Overall: A thoughtful, well-written historical romance that will appeal to readers who enjoy exploration of family dynamics. Readers who prefer 'sweet' level love scenes should be aware that these tend to be on the explicit side. AW will look forward to reading the hero's brothers' stories.

/m

Looking Back: 2010 Entertainment

It is The Law! in Bloglandia that bloggers must create end of year lists. If you don't, they send your posts off to black holes in cyberspace and give all your contact information to spammers and trolls. Or something.

Being an upstanding and lawabiding cybercitizen, here Apprentice Writer's EOY list in no particular order.

Most Enjoyable Historical Debut: Rose Lerner, 'In For a Penny'. Sympathetic characters that not only grow but do so believably, and a plot that refreshingly is as much about the group of people surrounding the two main characters as it is about those characters themselves. Ominously, Ms. Lerner is a Dorchester author and will see her follow-up book distributed as ebook only rather than print. Hopefully she has gained enough presence not to suffer unduly from Dorchester's 'reorganization'.

Most Disappointing Junior Movie: Toy Story 3. Way too much tension for the target demographic, too few laughs, this was Disney/Pixar making a grab for the 3D cash cow.

Book that Started Well But Could Have Been So Much More: Audrey Niffenegger, 'Her Fearful Symmetry'. A Ph.D. who doesn't toss aside his more snoozeworthy dissertation subject when the real thing comes along? An undertaker with no curiosity about Very Odd requests? A cemetary bigwig who witnesses something Impossible and says only 'How improper!' (or something to that effect) and that's it? Suspension of disbelief broken to the degree that the book was finished purely for the sake of finding out what happened to infinitely more appealing subplot characters.

Most Enjoyable Movie Seen This Year but Released Last: Sherlock Holmes.
RDJ and Jude Law in top form - come on! What's not to like?

Most Thoughtful Movie Seen This Year but Released Last: Up in the Air

Book that Managed to Live Up to Its Hype: Kathrynn Stockett, 'The Help'

Most Ongoing Guilty Reality TV Pleasures: Top Chef, Next Iron Chef, Amazing Race, So You ThinkYou Can Dance (US & Canada)

Most Missing-in-Action-in-Canada Guilty Reality TV Pleasure: Project Runway

Most Eagerly Anticipated Books Released This Year But Inexplicably Haven't Gotten Around to Yet (AKA longest Category Title, AKA Most Grammatically Incorrect Category Title):
Dark Road to Darjeeling, Deanna Raybourn (historical mystery, Book 4 in a series)
The Iron Duke, Meljean Brook (steampunk, Book 1 in a series)
Lightborn, Alison Sinclair (dark fantasy, Book 2 in a trilogy)
Towers of Midnight, Brandon Sanderson & Robert Jordan (high fantasy, Book 13 and second-to-last in a series)
Major Pettigrew's Last Stand, Helen Simonson (literary fiction, standalone)

Worst Movie: For a long time, the most likely contender was From Paris with Love , which offended cinematically and geopolitically in equal measure. John Travolta channels old Schwarzenegger movies by shooting wildly all over the place while in various forms of motion and having pretty much every bullet hit a target while scads of adversaries miss every time despite dispensing a revolution's worth of ammo. More oddly, EVERY SINGLE ONE of the vast quantities of people he kills are members of visible minority groups. Considering how often parts of Paris have burned due to racial tensions in recent years, this was an astonishingly unfortunate visual image. Does France really need cinematic entertainment that sends the message that visible minorities are criminal scum that deserve eradication by over-the-hill megalomaniacs?
Apprentice Writer thinks not.

Then along came Baby on Board. This utter waste of celluloid was mean-spirited, distasteful, and most of all 100% unfunny. AW is entirely unfamiliar with Jerry O'Connell's previous work (who, by the way, wins this year's award for Worst Haircut for a Male Character) and had only seen 'Bowfinger' (which she really enjoyed) of Heather Graham's work, so she can't tell if this film is representative. But she has been a fan of John Corbett's since his 'Northern Exposure' days and was sorely disappointed to see him as, perhaps, the biggest culprit in this execrable mess. Mr. Corbett - what has happened to you??

Most Unexpectedly Fun Movie: 'Killers'. After the drudgery of 'The Ugly Truth' (Katherine Heigl and Gerrard Butler have NO chemistry), 'The Bounty Hunter' (Jennifer Aniston and Gerrard Butler have NO chemistry), and 'Love Happens' (Jennifer Aniston and Aaron Eckhard have NO chemistry), AW was not expecting a whole lot from this Katherine Heigl/Ashton Kutcher vehicle but she actually really liked it. Maybe the problem with the others was Gerard Butler and Jennifer Aniston?

Most Promising Book Currently Reading: Hundred Thousand Kingdoms by N.K. Jamesin. Holy Gripping Storyline, Batman - this fantasy gives new meaning to the terms 'multi-layered' and 'don't treat the reader like s/he has no intelligence'. Beautifully written, but wow do you ever have to pay attention to what's going on. And it's book 1 of a trilogy, so if the beginning momentum holds up, it looks to be a promising start to the new reading year!

GENTLE READER - HAVE YOU MADE YOUR LIST?

Non-Laughter Review: BENEATH THE 13 MOONS

BENEATH THE 13 MOONS
by Kathryne Kennedy
Sourcebooks Casablanca
December 2010 (reissue)



Premise: On an aquatic planet ruled by access to a narcotic root, individuals from opposite ends of the political spectrum have an opportunity to increase their own paranormal talents and influence their whole society if they co-operate.

Cover: Title - Intriguingly worded, accurate of content, and displayed in a lovely purple cartouche with cool font. Art - Sourcebooks' love affair with the nekkid anonymous manchest continues. Though Apprentice Writer despises this fixture of romance covers, honesty compels her to state it gives the potential reader fair warning of what to find in these pages, including the mullet wafting in the breeze. AW personally wished that more of the gorgeous background had been visible. She would have loved for the bakers dozen of moons (obscured by the chest), and the partially submerged trees backlit by diffuse sunlight (obscured by various text bytes), to be shown in full on the back cover or maybe in a stepback. Overall: representative of content.

What Works: Would-be writers are often instructed to start their stories with a 'hook'; situation so fascinating or action so gripping that the reader can't help but read on to find out more and get 'sucked' into the story. This novel takes that advice to heart, opening with a woman so desperate to save her village from a killer fever that has struck down her lifemate and child that she risks all to kidnap a healer only to realize that he is heir to the royal throne and she will likely die en route from overdose of the narcotic she uses to enhance her powers to 'See' through the waters. Definitely not a boring opener or ho-hum stakes.

Even better: the world is marvelous. Thirteen moons that exert different types of tidal pull on the waters, villages and palaces alike built in trees, amazing plant life ( including some you can crawl into with interesting results) and animals, aboriginal beings who can mindmerge and be seen or invisible at will, an entire society built around a controlled substance (much like the spice in the classic 'Dune' series)... A lot of imagination went into creating the setting for the story. It reminded AW a bit of Pandora from the recent movie 'Avatar', if the trees had been surrounded by water and the indigenous people less blue.

What Doesn't: 'But AW,' says the Gentle Reader, 'after that kind of intro, what could possibly have not worked?'

Sadly, multiple aspects. Nothing about this book was average for AW; she kept shooting back and forth between elements she loved that those she unloved. Such as:

WARNING! MODERATELY SPOILERIFIC!

- Pacing. After a rocketing start with high stakes kidnapping (hooray!), the two main characters proceed to spend most of the next 100 pages in a boat feeling physically attracted to one another and covering this with verbal sniping (boo!).

- Writing. One of the most fun and creative things about sci/fi and fantasy is the opportunity to create variations in language and expressions to go along with invented worlds. Here, there were scenes in a remote smuggler village (yay!) where the inhabitants say things like 'sexy', 'get it?', and 'boyfriend' that tore this reader out of the story (boo!). There were instances of cliche, both in word choice (people 'tense' and 'freeze' a lot, garments 'fit like second skins', the hero frequently 'threw back his head', etc.) and in genre stereotype, such as the heroine thinking during a life-or-death pursuit situation how much the hero's eye color and hair swishing make her presumed-to-be-lost sexual desire reawaken. There was one (presumably unintentional) comical instance when the frequent romance genre use of 'paling' of a character's face to signify emotion shown rather than told was applied to an animal. This would have been OK except that his skin is covered in scales.

- Character Development. It's nice when there is some, and when it is roughly equivalent if there is more than one main character. In this case, the reader starts off with pleasant sense of curious anticipation about how the author will bring together a woman who is fiercely independent, resourceful, and talented but poor (yay!) with a man who is fiercely proud, privileged, talented, but not entirely closed-minded (double yay!). In practice, far too much space is taken up with the character's growth stalled at thinking/saying to/about each other that one is a 'water rat' and one is 'arrogant' (boo!).

The hero does start to come around and show notable improvement through his association with her and others of her background, but the heroine took far too long to make not enough mental/emotional progress for this reader. It made what was interpreted as independent spirit and fortitude early in the story look more like pig-headedness and reverse snobbism as the novel progressed. Frex: when the hero says he loves her, she thinks and tells him with absolute conviction that he has no idea what love is - without ever having inquired about his previous romantic involvements. Or, for that matter, non-romantic love experiences. It made her endless accusations to him of arrogance sound like the pot calling the kettle black.

- Internal Logic. The conflict between the main characters hinges on the impossibility of their relationship, given her pariah status and his princeliness. Yet when he arranges their wedding within a day after returning to the palace (royal wedding and true love: hooray!) there is no peep of protest, including from his parents, who promptly disappear again from the remainder of the book (boo!). Wildlings (born outside the royal family with unusual powers) are supposedly 'hunted' as the heroine's mother was, yet the heroine is almost entirely ignored by the palace dwelllers. The hero supposedly has enemies at court, yet after a very long time of doing nothing while the heroine is in proximity, they suddenly make their move through her at a highly unlikely time when she is not, that seems calculated purely to emphasize the romantic connection. Etc.

- Sacrifice of other elements to serve the romance. This was the aspect AW had most trouble with because she so yearned for more description of the fantastical world. For the first time ever, a member of the royal family spends time in a hardscrabble swamp village (hooray!) Yet rather than experiencing it through his eyes, it is summarized as '...these past few weeks, hunting and working with your people, I've come to realize they're my people too' (Boo!) The heroine has succeeded in bringing a healer, thus saving the village from mass deaths, yet apart from her immediate in-law family, there is neither reaction from anyone else, nor interest on the heroine's part on how others have fared under the hero's treatment. The only non-family villagers mentioned are two women who remain nameless, who serve solely to make the heroine jealous of the attention he bestows on them. The couple travel to the palace (hooray!) where the heroine has precisely zero curiosity in what the prince does or where he goes all day (boo!). She learns the aboriginal people and animals have astonishing unsuspected knowledge and powers of the mind, but categorically dismisses their efforts to make contact with her because she doesn't like their encouragement of her relationship with the hero, etc.

END SPOILERS!

AW was desperate for more page time devoted to worldbuilding and less time to the push-pull (literal and figurative) between main characters. The gentle reader may ask: Can a satisfying balance between the two be achieved? Yes! For excellent examples of believable emotion with richly detailed worlds, take a look at Ann Aguirre's sci-fi 'Sirantha Jax' series, Alison Sinclair's dark fantasy 'Darkborn' series, Ilona Andrews urban fantasy 'Kate Daniels' series and rural fantasy 'Edge' series, and the queen of them all: Sarah Monett's dark fantasy 'Doctrine of Labyrinths' series. All excellent at providing relationship-building and believable alternate settings in equal measure.


Overall: Rather than fantasy romance, which was what she had expected, AW would describe this novel as Romance, capital 'R', with some fantasy elements.

Consequently, 'pure' romance fans would probably find it more to their liking than this reader, who struggled with unfulfilled expectations about what fantasy novels entail, and with the cover quote that promised '.....will give adult lovers of Harry Potter the fix they've been missing.'

The only thing that could be considered reminiscent of the Potter world were the rare occasions Harry and Lord Voldemort connected with each other's minds for brief flashes of time. But that occured in such a different way that it is a tremendous stretch to compare the two, meaning AW is at a loss to understand why the Potter parallel was even drawn.

She will, however, watch 'Avatar' again, and imagine how the movie could have been enhanced if the Pandoran trees had been in a swamp with treecats and narwhals, subject to the tidal pull of thirteen moons, if the antagonistic groups had socioeconomic rather than ethnic differences, and so on and on.

/m