Still on the fantasy/SF kick, I just finished the first two Ender novels by Orson Scott Card, Ender’s Game and Speaker for the Dead, and now I’m all political-philosophical. I was completely hooked by the brainiac-thriller Ender’s Game; read it in all my “spare” time (on the Metro, at lunch, on the Metro, after dinner) two straight days. It is so filled with ideas and interesting writing choices I chewed on them for the rest of the week, then read Speaker the same way (Thursday-Friday marathon reading).
Now I’m starting to see the holes in the plot and giant coincidences, but the twists and Big Ideas still linger. I love that the writing is so confident that it doesn’t need “he said, she said” to keep the reader oriented; you know who is speaking because of the words and ideas they use.
“They’re the most brilliant children in the world, each in his own way.”
“But shouldn’t they act like children? They aren’t normal. They act like—history. Napoleon and Wellington, Caesar and Brutus.”
“We’re trying to save the world, not heal the wounded heart. You’re too compassionate.
“General Levy has no pity for anyone. All the videos say so. But don’t hurt this boy.”
“Are you joking?”
“I mean, don’t hurt him any more than you have to.” (Ender’s Game, Tor paperback, 1991, p. 67)
I also appreciated the little snippets of writings “of the day,” a technique I am trying in my Regency newspaper story. It gives the story a first-hand source feel as well as packing in some backstory that would be hard to get in otherwise—it’s not likely two people at a ball in 1815 are going to discourse about the plight of the veterans returned from war, but a newspaper paragraph could.
I may break down (all this reading is taking up writing time) and keep reading the Ender books (six more? More?), just to see how long an all-powerful, all-wise lead character can stay interesting (also because I got the 4-book set for birthday). Ender wins a lot of battles, he understands everything, his touch is gold. How is it that we feel sympathy for him, and keep rooting for such a god? For me, through pity that he is so misunderstood and victimized and through hope because I think his goals are good. But I don’t sense much humanity in him, beyond the operatic emotions (extreme loss, extreme pain, extreme suffering).
In romance, humanity is exactly what I’m looking for, and why most of the flurry of paranormal titles and romantic-suspense don’t interest me. When book after book is Threatened With Death-Hot Sex-Happily Ever After, after a while it’s all just a video game in text. Those who give writers advice on penning a best-seller say the characters must be larger than life, the conflicts life or death, the resolution big, big, big. Some authors (Eloisa James) can weave in touches of humanity, which I cling to as I flounder through all the wachy premises and crafty characters, but it doesn’t seem to be a requirement. And if it’s gone from romance, it’s gone.
I miss it.
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