Showing posts with label Wednesday. Show all posts
Showing posts with label Wednesday. Show all posts

Tuesday, February 17, 2015

We Cannot Be Content

So I've begun a side project, which will become my main focus once I finished editing Resonance. The new book is called We Cannot Be Content and stems from some of the history in Embassy and Resonance (in fact, they mention it a lot in Resonance).

I wrote the first chapter a couple weeks ago, and have been adding to and tweaking it since, so here's the final version I've come up with for now.

--------------------

ONE
BENEDICT – 2305, Earth

He didn’t like giving interviews. He preferred to write his own questions and answer them without the pressure of a live interviewer and audience. Posting an insightful video on Wander Enterprises’ site would do, or even a FAQ section. Both alternatives were more appealing than his current situation, staring at himself on the small monitor hanging below the camera that was focused on him and Johna Radizzo for their one-on-one interview.
The man working the camera raised his hand and counted down from five—
“And we’re live.”
“Welcome back to Today in the Plaza,” Johna immediately said, turning her hips more toward the camera to open her stance. Then her voice relaxed. “Twenty years ago, we received a positive signal from the crews of the Almanac and the Endurance that they had landed safely on two exoplanets, each between six and eight light years from Earth. Scientists across the solar system lauded the mission as the greatest of humanity’s achievements since the Mars and Europa missions. Humankind had not only inhabited the solar system—it had inhabited the stars.
“Now I’m here with Dr. Benedict Drake, the current CEO of Wander Enterprises, the company responsible for those missions. We’re so glad you could join us, Dr. Drake.”
Benedict cleared his throat. “Thank you.”
“Dr. Drake,” Johna went on, shifting her posture toward him, “you are about to embark on your own tour of the exoplanets I just mentioned. You leave in two days. The question everyone wants to know is: are you scared?”
He averted his eyes and attempted to laugh. “I think everyone gets scared in some way, you know, before they go on a trip of any kind. There’s always something…nagging in the back of your head.”
“Like whether or not you remembered to turn off the oven,” Johna joked.
That got a real laugh out of him. He loosened up a bit, felt some of his nerves diffuse.
“Of which I’m guilty,” he responded, even though it was a lie. He wasn’t forgetful, especially not in clumsy ways. Besides, he didn’t have an oven. He couldn’t even remember the last time he’d made his own supper, because he hadn’t in years. Either way, Benedict figured that was a good time to drop a joke. Rose told him to appear more likeable, more relatable than he tended to act. Today more than ever, Benedict needed to be liked. It was a crucial part of the plan.
“Dr. Drake, you’re thirty-three years old. You’re one of the richest people alive, you own the company some of the world’s top minds say have brought about the greatest age in space exploration humankind has ever seen—and now you decide to leave Earth for seventy-five years. You say you aren’t afraid of this intergalactic trip—”
Interstellar, Benedict thought, though he didn’t correct her.
“—but what does the future hold for Wander Enterprises while you’re gone?”
Benedict bit his lip and tried to force another grin, as if the answer was a simple one. The truth was, the future of Wander wasn’t what Benedict considered secure. Honestly, it hung in the balance, and was dependent on two factors: the trip he was about to embark on, and the hope that Rose could carry out Phase 3 in his absence. They needed public support. His fortune meant nothing if the world didn’t see the value of keeping Wander Enterprises around for at least the next five generations, and Benedict knew it would be difficult to inspire the world as it was today.
“I have my assets in place,” he said. “If… If I die during this trip… I’m confident Wander Enterprises will continue to thrive.”
But not the program he was trying to implement. Benedict knew if he met some ill fate, all his work would be for naught. Less than fifty people knew about the Gateway Program, and in two days’ time, all but a few of them were boarding the same space cruiser—the Meridian—and embarking on a trip through the stars.
“Out of curiosity: do you think you will make it back?”
He tried to be funny again. “I guess that depends on if I like these exoplanets.”
Johna laughed as if there was nothing to worry about. Of course, she’d never been to space, never flown out to Mars, or Venus, or Europa, or Titan, or any of the other settlements the Global Space Initiative had erected. In fact, the GSI was the only reason humans went beyond Mars. History proved how fickle the inspiration that drove human endeavor truly was. One great leap would be made, and people would rally around the world’s space programs proclaiming the next space age had arrived. But before long, the excitement would die, the people would forget their fragile love of the cosmos, and the world would go on, content to remain as it was.
More than anything, Benedict sought to end that contentment once and for all, but it would take more than a leap—it would take a blind lunge into the unknown.
“Yours would be the first crew to make it there and back again.”
“This is true.”
“Do you think there will be a day when we won’t need to come back to Earth? We’ve heard of plans from both Wander Enterprises and the GSI to relocate several of Earth’s species to these exoplanets. Do you think we’ll ever need to relocate humans in the same way?”
“If we have a cruiser big enough.”
They laughed together, except only Johna’s was real. Benedict faked it again, and his ended several seconds before hers, at which point he leaned forward and put his palms together.
“No, no. In all seriousness, I think that one day, yes, we’ll have to give Earth up. Some people speculate we should’ve left when we colonized Mars—however impractical the idea—and let nature reclaim Earth. We’re only borrowing it, after all.”
“Borrowing it?”
In the corner of his eye, Benedict saw the screen zoom in on his face, saw the caption scrolling under his chin: ‘Richest Man Alive is Leaving Earth.’ He ignored the tagline. They made him out to be some sort of celebrity, as if all his work was an overnight success, as if managing Wander Enterprises was something any kid who loved the stars could do. They overlooked the years of solitude, the painstaking work of developing faster hyper drives and crafting new cruiser designs—and it still wasn’t enough for him. Benedict was never satisfied with his work, no matter how revolutionary it was.
And that’s what drove him to organize the Gateway Program.
“There’s, what…somewhere around nine billion people alive today? Only a few thousand live elsewhere in our solar system, all of them scientists.”
Johna deliberately shrugged and faced the camera to show off her white teeth. “You’re the man with the degree, Dr. Drake,” she said with a laugh.
This time, he couldn’t even work up a smile. Anger was creeping up inside of him, boiling in his chest. He both loved humanity for its achievement, and hated it for its contentment, the plateau it reached, with only a few more small steps ever few decades. He wanted to shout at the camera. Yell at the millions of people watching his interview before their daily commutes. Stop what you’re doing and listen to me! he screamed inside his head. Have you lost your sense of wonder? Look up! We need to be out there! That’s where the challenge lies.
But he didn’t say it. His lips never moved. His eyes never so much as flickered at the camera.
“Dr. Drake, you were saying?”
“Yes.” He shook his head and looked up at Johna. “I don’t think we can call ourselves a spacefaring civilization when one hundred percent of the general population still lives on Earth. That’s like…claiming I traveled the world, when in reality I just drove down to my local Thai restaurant. Only a few humans have had a taste of the spacefaring life—why aren’t we all trying to set foot on other worlds?”
Johna looked back at the camera and raised her eyebrows in an expression of confusion mixed with curiosity.
“I’m sure there are many people wondering the same thing, Dr. Drake. We all share your dreams.”
If everyone shared my dreams, we wouldn’t be having this interview.
“Finally, we’ve all heard about MACE’s most recent rallies.”
Benedict’s muscles went rigid with hatred the moment she said the name, but Johna either didn’t notice or didn’t care. She was too busy looking down at her cue and waving her hands in the air.
“The organization has made a name for itself these last few decades, with open protests against the GSI and Wander Enterprises, causing public support of space programs to drastically decline to a historical low of thirty-eight percent—according to the latest polls. Can you tell us how you’ve gone about handling that situation?”
He began to speak, but stuttered. He hated MACE and all it stood for. The Movement Against Cosmic Exploration spanned centuries, but didn’t gain any traction until scientific settlements began popping up around the solar system. MACE sought to sway public interest away from space exploration, publishing magazines and books and airing television shows devoted to mocking astronomical discoveries and condemning space programs as worthless, flashy demonstrations to keep the people distracted from the goings-on down on Earth.
Yes, on Earth. Where half the major cities on the American seaboards were partially flooded and desert regions had expanded to the temperate zones and droughts had ruined the dryer regions. Where living in areas prone to hurricanes and tornados and wildfires was a death sentence, and natural fresh water was a memory no living person had. Where more than three hundred species of animals and plants and insects went extinct every single day.
Earth.
“We’re aware of the…opposition MACE presents,” Benedict finally answered, doing his best to keep his voice steady. He couldn’t let them hear the truth in it. “The reality of the situation is that we’re moving forward with our projects. My supervisors and I agree that MACE hasn’t…how can I put this?…fully come to terms with Earth’s current state.”
“How do you mean?”
Benedict wanted to gawk at her. Was this an interview question, or was she really asking him why he thought Earth wasn’t suitable for sustaining human life much longer?
“Political and foreign affairs aside… Consider our resources. More than half of all our mining is done on asteroids we’ve slung into orbit. Rocket fuels, construction material for cities, computer chips, cars, the hyperloops—most of these materials aren’t accessible here on Earth in quantities that were available in the past.”
“So you think MACE disagrees?”
He took a deep breath, hoping to calm his nerves.
It didn’t work.
“They don’t disagree. Not…not necessarily. They just don’t think we have any right to move beyond Earth. That the human race—the only intelligent civilization we’ve ever known—deserves to die when Earth dies.” He paused and looked at the feet of the cameraman. “That notion is… That…”
He shook his head. He knew what he wanted to say, but he couldn’t say it on a live stream. Not yet. It was too early. Too risky. Rose had warned him not to let his anger show if Johna brought up MACE. Now he saw why. Because MACE could use it. Would use it. Even now, they were watching, and they would know they had dug into him. If Benedict slipped too far, they could use his own words against the campaign Wander Enterprises would launch in the coming months, the campaign that would stretch three-quarters of a century until Benedict and the crew of the Meridian returned from their tour of the two exoplanets.
Johna shot him a glance. He barely caught it before she looked back to the camera, but it looked skeptical, unimpressed, as if she found his answer underwhelming, even crazy.
“It was certainly a pleasure speaking with you, Dr. Drake,” she went on, hardly missing a beat. “We all wish you the best of luck on your trip. We’ll see you when you get back in…well, seventy-five years.”
Benedict took a deep breath and grinned for the camera. One last joke to fix the mood.
“I’m sure you won’t have aged a day.”
Johna laughed, then introduced the next segment of the newscast before Benedict was allowed to leave. The cast director thanked him for giving the interview and ushered him to the exit so the crew could prepare. Benedict knew the way out from there, and soon found himself in NBC Studios’ lobby.
Outside was the rally.
People leered at him. They shouted, spat insults, cursed at him. They hoisted signs—DOWN WITH SPACE!—DRAKE THE MISTAKE—BECAUSE KILLING EARTH WASN’T ENOUGH! Someone had started a chant, and it was spreading. Part of the crowd shouted, “Earth to Drake!” and another part shouted, “Come in, Drake!” And then they’d all laugh.
Though the sentries were holding back the crowd, Benedict refused to look up. In the corners of his eyes, he saw they all had the small, symbolic canister of mace dangling from their belt loops, their wrists, their backpacks. Seeing those fueled his anger even more. He wanted to shut his ears, close his eyes. Then they could laugh, but he wouldn’t hear, and their efforts to enrage him would be childish at best. When they’d had their fun, they’d stop.
But he could hear them, and they knew it, so they were relentless.
The rally filled all of Rockefeller Plaza, even spilled into the Avenue of the Americas, though the ranks grew thin there. The throng of the crowd was the worst, but out here, Benedict saw signs supporting him and Wander Enterprises—though they were few.
“Dr. Drake.”
He looked up at the voice: a man and son stood at the corner of the block. The boy, who might’ve been nine or ten years old, gave Benedict a young, giddy smile and two thumbs up.
After he had passed, Benedict regretted not having smiled back at him.


Tuesday, December 9, 2014

Revisions for RESONANCE

This weekend I revised the entire PART ONE of Resonance, and today I reached Chapter 20, meaning I'm a little less than halfway through revisions!...in the course of about 5 days.

Wut.

Part 1 of Resonance

Things I've noticed I need to adjust:


  • Chapters 1-6 and Chapters 16-18, I need to slow the pace down. Things fly by (or maybe I'm just reading really fast). No, I think the story is just hopping and skipping during these parts and not taking the time to develop. So I need to fix those up.
  • The Archives Program is a bit shaky in terms of what the new program ACTUALLY does. I toss in all this jargon, but I feel like there still isn't a clear sense of why they need to revamp the program.
  • Conferences and interviews for the archives program. Stuff happens -- important stuff -- but again, it flies by and isn't totally clear. I need to slow some of that down and let the program develop.
  • Characters. Some new characters are introduced!....but I think the pacing forces them to run across the stage and say goodbye in the blink of an eye, particularly in Chapter 3. I'll be working on that.
  • Personalities. Lon, Lon, Lon. He switched personalities halfway through the story, so I need to get him back on the original track. Gah. I hate when I mix characters' personalities up.

Those are the biggest things I've noticed revision-wise so far. I should knock out another few chapters tomorrow, hopefully hit the end of Part 2 before Friday. I'm loving it! But I also need to work on those few things....

Make sure you grab your copy of Embassy! Read, review, and share it with friends! Resonance will be available December 2015 or January 2016, so mark your calendars. You'll be able to pre-order during the summer.


Tuesday, July 29, 2014

10 Effective Writing Rules


Earlier today I came across a Daily Writing Prompt that said: "Write your top 10 rules for writing fiction." I immediately sat down and did so. Perhaps you've already seen the picture of my rules floating around on Pinterest.

You can find this list
on Pinterest.

Well I want to expand on those and give detailed descriptions to each so that you can have a grounded basis for why those are my Top 10 Rules. So without further ado...

S. Alex Martin's Top 10 Rules for Writing Fiction

RULE #1. USE THE SIMPLEST WORDS POSSIBLE

When it comes to reading a book, people want it to be two things: easy and clear. Unless you are a scholar studying ancient or classical literature, you'll probably stop reading a book that has huge words that you keep opening a dictionary to figure what they mean.

Let me just lay this out for you: the other day I was browsing Facebook and came across a post on a writing group where the person was trying to sound professional and important...but done in such a ridiculous way that he lost all credibility in one paragraph. The post has since been deleted, but I've been using it for examples of what not to do. I'm copying it exactly how the person wrote it, so here it is:

"I read some stuff you guys wrote here with venerate. I joined this group for a reason, You see I have been vacuous for some time now, my mind is undulate I can't write no more. It's a bit confusing for me has anyone else here been through this feeling?
my thoughts were ubiquitous and now my mind seems numb of ideas. I think my mind transmuted. What i wish to know is as you all are writers and you all know the beautiful feeling to put down emotions on a paper, how wonderful it is."



Be honest. You brain hurts, too. Not only did he use those huge words incorrectly, but they just wouldn't make much sense to begin with even if he had used them correctly. It's a struggle to read that. Writing should be easy. Use simple words with strong meanings. Don't say, "I took the gun from him." Say, "I swiped the gun from him." It conveys so much more meaning and is still easy to read.

A good rule to follow is: when writing fiction novels, keep the writing at a fifth-grade level. It doesn't have to be complicated to be good. Don't fall into the trap. You'll just look silly if you start spouting out words you don't even know the definition of.


RULE #2. DON'T INCLUDE EVENTS OR DETAILS THAT AREN'T IMPORTANT TO CHARACTERIZATION OR PLOT

This is easier said than done. Especially when we write early drafts, we tend to stuff in as much information as possible. It might be our innate instinct toward world building. We want to stuff our readers' heads full of the world in our story. We want them to know EVERYTHING.

Well...sometimes less is more. The people critiquing my novel, Embassy, made good work of pointing out things that just weren't important. For example: is it important to learn that the home city of Arman, my MC, has two libraries? What's more, is it important to find that out more than halfway through the novel, after they've flown away from that planet? No. The fact that Cornell has two libraries doesn't matter one single bit.

Try to include details that characterize or advance the plot. When you meet Glacia Haverns, my FMC, she is described as "...Cornell's ambidextrous Hologis junkie....in fact, she's so well known that six people groan when she walks into the waiting room." That's eight pages into the book, and it's all you need to know about her for a while. You understand she gets a thrill out of Hologis (a futuristic sport in my book) and she has a reputation surrounding it. Those are the details you want to include.

(Since then, Embassy has been edited 13 times)



RULE #3. USE ACTION TO EXPLAIN EVENTS WHERE POSSIBLE

Which would you prefer to read: a paragraph explaining the climatic fight scene, or several pages showing the injuries and punches and bullets flying? The second one, right? Should be.

Action is exciting. Not just fight scenes, but seeing interaction between characters, an argument, a race, a living maze...draw these events out and make them come alive. Show us what happens as it happens. Gets our hearts pounding. Make us smile. Let us hear the angry voices.

Readers want to get as much as possible out of books, so learn what's important to show over a couple pages and what's acceptable to describe in a paragraph.

Just please don't take lessons from Michael Bay.

RULE #4. WRITE AT LEAST 90% OF THE STORY IN THE ACTIVE VOICE

I'll keep this one plain and simple: statistics show that books written somewhere between 90--95% in the active voice sell better than books written with any lower percentage. Passive voice is wordy. Say what you want to say, and be done with it. If you want to see an example of active vs. passive, it's your lucky day because I'm about to give you an example.

Example One
ACTIVE: "She carried the bucket to the barn."
PASSIVE: "The bucket was carried to the barn by her."

Example Two
ACTIVE: "I'm not selling those books."
PASSIVE: "Those books aren't for sale."

What? Wait. Why is the passive voice of the second example wrong? Okay, to be honest, this is one of those that you can be lenient about. It means exactly the same thing as its active voice equivalent--except in one way. Nothing is doing the selling in the passive voice. The books aren't being acted upon. That's what's wrong.



RULE #5. DIALOGUE IS THE STRONGEST FORM OF CHARACTERIZATION

There are so many ways to characterize through dialogue, it's not even funny. Speech patterns, quirks, stutters, slurs, screams, whispers, catch phrases, monosyllabic word choices, evil words, heroic words, funny words, sad words. All of that and more inside a pair of quotation marks. It's literally a perfectly acceptable form of telling.

Of course, don't do too much telling. You still want the speech to sound natural. But that's the beauty of it all. Get to know the ways each character talks, and the characterization possibilities are endless. Harness that power. Use it wisely.



RULE #6. MAKE SURE SOMETHING CHANGES BY THE END OF THE STORY, PREFERABLY THE MAIN CHARACTER

If you send readers on a journey with a character who learns nothing whatsoever...you're going to lose a lot of readers before the end. Something has to change. Whether it be a power struggle, a noble death, coming-of-age...doesn't matter. If readers can compare and contrast the characters as they were in the beginning of the story versus how the characters were in the end, you've done your job right.

Make the changes and transitions natural. Don't rush. People don't usually change overnight. A series of events happens and they learn things from those events. Oh, and make the change logical. Think of Star Wars. Anakin was supposed to become a Jedi, but the way events unfolded made him succumb to the Dark Side.



RULE #7. IF YOU CAN'T AVOID A CLICHE, DO SOMETHING DIFFERENT WITH IT

These days, you see all these books with love triangles. The girl can't choose which guy she wants, blah blah blah. Or the MC is actually some prophecized hero who will one day save the world. Or a guy falls into a vat of radioactive acid and becomes a superhero/villain. And then what happens?

Events unfold EXACTLY as we predict they will, making the story boring.

The love triangle becomes the focus of the book. The hero develops the most powerful abilities any character in the world has ever seen. Another guy happens to develop superpowers at the exact same time as the guy who fell into the acid. Didn’t see THAT one coming, did we?

Get creative, people. If you have to recycle plots, add your own twist. Please. I beg you.



RULE #8. IF YOU CAN'T DECIDE WHETHER YOU LIKE WHAT YOU WROTE -- REWRITE IT

You're going to have days where you write a scene, maybe a few pages...heck, even a full chapter, but it just doesn't feel right. Something doesn't fit, or this stretches too far or completely deviates from the plot.

Imagine it like this: you've been looking forward to seeing a movie, but when you walk out of the theatre, you don't really have anything to say about it. You want to like it because you waited so long, but when you're honest with yourself, it just wasn't that great. THAT is the feeling I'm talking about.

If you aren't sure about what you wrote, go and rewrite it. Maybe change everything, maybe tweak a few things. Let yourself find the flow of the story. I deleted 190 pages of Embassy in the fourth draft because they didn't fit...and sometimes as I made the rewrites, I found things I still didn't like. What did I do? Scrapped them and rewrote those scenes.

I probably rewrote close to 250 pages of Embassy out of the final 300 pages (aka almost everything after page 146) by the time everything was said and done. The plot had changed and things just didn't fit like they did before. But now I like what I have and it works so much better.



RULE #9. FIND OUT WHAT TIME OF DAY YOUR IMAGINATION REACHES ITS PEAK AND MAKE SURE TO ALWAYS WRITE DURING THAT TIME

If you want to be productive as a writer--this is crucial. First off, I encourage you to write every day, and whenever you can every day. But if there's one point of the day that you MUST write, it's when your imagination reaches its peak. This is pretty easy to figure out: what time of day do the words just spill off the tips of your fingers with ease?

My imagination reaches its peak between 11 p.m. and 1 a.m. So every day between 11 p.m. and 1 a.m. you'll find me writing. Something. Anything. Homework. Book. Whatever. My mind is a broken dam between those hours. The ideas and words literally flood my head. I don't have to worry about being "uninspired." That's the sure-fire time for me to write. Even if I've gone all day with zero ideas, I can GUARANTEE the minute 11 p.m. rolls around, my imagination will explode.

And there goes your brain.
Sorry.
To be honest, I've reached the point where I can turn my imagination on and off at will, but 11 p.m. is my "primetime" writing hour. Which leads me to the final point....


RULE #10. KEEP A ROUTINE UNTIL YOU FINISH THE DRAFT

Keep a schedule. I repeat: KEEP A SCHEDULE. When you write a book, the best thing to do is set aside time every day to write. Try not to change the time. If two o'clock in the afternoon to three o'clock is the only available time you have, make sure you write in that hour. Maybe on the weekends you can set aside a block of four or five hours to write.


Whatever your plan, STICK TO IT. Discipline is essential. You're going to hate it some days, but who cares? That's life. Finish the draft, whether it be the first, second, or fourth, and then give yourself a well-deserved few weeks (or months, if you'd like) away from that project. Go out for a fancy dinner. Pat yourself on the back. Eat some Ben & Jerry's. Go watch a sunset.


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Also be sure to check out my Get it Write Tonight ebooks, Characters and Edit! That! Book!
While you're at it, check out my New Adult Science-fiction novel, Embassy.

Wednesday, June 25, 2014

Insane Lightning I Just Recorded

I'm a huuuuge lover of thunderstorms, and I always grab the chance to sit by the window and watch them when I can. Watching the lightning and listening to the rain and feeling the wind are some of the most relaxing things in the world. Tonight was no different. I spent about an hour watching this thunderstorm -- and I captured a pretty sweet bolt of lightning, too. It's only 4 seconds long (if that) so check it out!


As Glacia Haverns (from my book, Embassy) would say,
"Beautiful, huh?"

The Hobbit Airplane Safety Video

Yes, you read the title correctly. I came across this little gem and you should watch it because it's awesome. 
We need more stuff like this.

Tuesday, April 15, 2014

Why "Allegiant" is the Worst Ending to a Trilogy, Ever.

Okay, so I bought Veronica Roth's Allegiant the day it came out waaaaaay back in October, and spent about one week reading it (yes, I take my time). Well, here it is after the Divergent movie release, and I still HATE Allegiant, to the point of rage and fury.



I've wanted to write a post about for a long time. From being beaten over the head with the "Be Brave" message, to the plot holes galore, this book was just plain old awful. I'm going to say this now: there will be spoilers, and I will express my hatred a lot.


#1. THE ENTIRE BOOK WAS TERRIBLE -- NOT JUST THE ENDING

You know what irks me? When the people who liked Allegiant think that the people who hated it only hated it for the ending. THIS IS 100% FALSE IN MOST CASES. I, for one, don't care that Tris died. She won't be missed. I shed no tears. But that's not the point I'm making. I'll save the ending for later.


What I'm saying is that the entire book was just awful. From page 1 to page 526, I was in a constant state of disbelief and anger. I wasn't disappointed -- I WAS ANGRY. There were so many plot holes, you could have played Whack-a-Mole. Every other page had a contrived scene. Here are some examples:

Escaping the fence: only one person chased them, and did absolutely nothing...except....

Killing Tori: completely unnecessary. The only reason she died was so that we would be "shocked" when her we found out her brother was still alive....three pages later.

Nita: purely used to make Tris jealous/distrustful of Four.

Tris's and Four's Arguments: Four blatantly says to Tris that even though she has been right about everything else, she isn't right about David and Nita and Matthew launching an in-the-compound attack. Next chapter, the attack happens, Uriah goes into a coma (and later dies), and Tris says, "I told you so." In reality, Four would NEVER have distrusted her.

Evelyn and Marcus: I wanted to smash my head into a desk when Evelyn -- the most evil woman in the series, suddenly became the good guy in ONE SENTENCE. Then there's Marcus -- who wants all the power and control to himself -- cowers like a dog when Four and Evelyn tell him to give up. Johanna joins in....and....that's that.

"You've got to be F#^%& kidding me!!!"


#2. THE PACING WAS HORRIBLE

I had no clue how long after the events of Insurgent it had been. Allegiant starts very vaguely, trying to pretend like we had all read Insurgent the night before. Some people did!....but most of us didn't. I would've preferred some exposition so I could gather my bearings, but there wasn't any set up before all of sudden they're running for the fence and Tori dies and George is really alive and there's a gene-manipulating government a couple miles down the road where Natalie Prior came from and something about a journal and then and then and then....

WHAT IS GOING ON.

Some parts of Allegiant flew by, and others dragged on for dozens of pages. The largest pacing issue I found was near the end, when the final "attack" (pssh, yeah, "attack." So anti-climatic) was going to happen. They specifically said it would be in 48 hours.

A day went by.

Then another.

Then...another?

And then finally, the attack. Add that up. I got two-and-a-half days when I counted (yes, I went back and counted in the book). Clearly the 48 hours in this book must be completely different than the 48 hours I'm used to, because two-and-a-half days is 60 hours. So David forgot to launch the attack on time. How convenient, because our self-righteous hero squad wasn't ready in 48 hours.

David Tennant explains the pacing of Allegiant.


#3. THE TITLE OF THE BOOK

Okay. Titles should be important. Allegiant was not.


Apparently -- and we're only told this in passing -- there is a group banding together for the Evelyn vs. Marcus showdown called the Allegiant. You think, "Woah, an army! Things are about to go down!"

Yeah, they go down. DOWNHILL.

You hear nothing else about the Allegiant except that they're a group preparing for a battle. They aren't important to the story what.so.ever. They do nothing! NOTHING! Oh, yeah, except for that one -- count it: ONE woman who killed Tori for no discernible purpose.

On a serious note, I want to throw out some more appropriate titles:

  • Convergent -- things were about to hit the fan. Ideals...armies...good genes vs. bad genes (ugh...) Still, this would've worked.
  • Resurgent -- the exposure of the good genes could have led a new era for the experiments, so after a battle (which never happened except for that pathetic excuse in the compound), a new generation could have risen up and worked toward genetic purity.
  • Disclosure -- it would have fit nicely with the whole experiment cities theme. You know, an experiment's information gets disclosed to the public. Essentially, that happened.
  • Infringement -- Roth could have taken this book a whole different direction and had some sort of conflict with the Fringe colonies. That would have been cool. Instead, we got one chapter of talking about how bad the Fringe is.


I couldn't find a better picture, so I chose this.


#4.  THE SPLIT P.O.V. OF TRIS AND FOUR

In Divergent and Insurgent, Four is this tough guy that we respect, fear, and admire. In Allegiant, he turns into Tris, and worse.


Four's voice was feminine in this entire book. This guy cried. This guy described Evelyn's face for an entire two paragraphs. It was horrible. You couldn't tell Tris and Four apart AT ALL. I had to keep flipping back and forth to the chapter pages so I knew who I was following! It helped when they were in the same scene, because then you knew you were following the opposite of "xxx says."


Roth needs to learn how to write in a different voice. Take some time and write a few pages, then go and change them up with a different flow, some new diction, and a variety of different action tags. It works wonders. In fact, this was my second-biggest problem with the book. The plot holes/horrible writing were my biggest.


#5. THE ENDING, OBVIOUSLY.

Why do YA trilogies (or series, for that matter) have generally-bad endings? I'm not talking about Tris's death. I don't care that Tris died. She didn't need to die, and her death was completely illogical characterization-wise, but that's not the point I'm trying to make.


We have a string of 1-paragraph to 1-page chapters. It was like seeing snippets and then jumping forward and seeing snippets and jumping forward. This didn't work. Two and a half years flew by in literally five paragraphs.

Here's the thing: I think this ending could have worked. The reason it didn't is because of the rest of the book. The events just should not have added up to this. You could tell that Roth blatantly wanted this to be the ending, but didn't know how to connect the dots. There were so many illogical decisions and contrived issues: popping the truck tires...really? And George and Amir are gay for each other?

I also want to say that I think Peter deserved a noble redemption. Screw Caleb, he had his chance. Peter, on the other hand, should have wanted redemption, not a cop-out. His character was building toward something good, but then he suddenly had a change of heart? No.



Overall, Allegiant was an awful book, and these are my biggest reasons. There are more (like the unnecessary F-bombs. Really?) It was so disconnected to the stories of Divergent and Insurgent that it doesn't even deserve to share the same characters. A poor ending to a relatively decent series.

Have you seen the Divergent movie? I thought it was excellent and I would definitely go again. I will not be seeing Allegiant, however.

What are your thoughts about Allegiant?

Share below in the comments!




Wednesday, April 2, 2014

Flash Fiction Contest Winner!

Congratulations to Alexa Skrywer, who won the "GO AWAY SNOW!" writing contest with her work, The Snow Spell.

Alexa wins a free critique of her manuscript's first 20 pages!

To visit Alexa, go to her blog: Summer Snowflakes (how fitting for this contest!).

Thank you to everyone who sent in submissions! I will be hosting another flash fiction contest shortly, so keep updated.


Tuesday, January 28, 2014

My Live TV Interview!

Today I appeared on ABC 27 news out of Harrisburg, PA to promote my YA novel, Embassy.


Click Here to watch the interview!

Live Interview on ABC 27 news' "Good Day PA"