Read What You Love, Part 3 by Karen S. Wiesner

            Read What You Love, Part 3

by Karen S. Wiesner

In this three-part article, I talk about what conditions, if any, cultivate or discourage a love of the written word as well as about the importance of reading what you love, regardless of your age, the genre or content appropriateness, your gender, or what's considered your "level". In the last two segments, I'll also review two of my favorite Young Adult book series that any fan of the supernatural should love as I much as I do.

In the first part of this article, I talked about how, in the general sense, people should read what they're interested in. It doesn't matter if someone else dubs it above or below your proper reading level, too mature or immature, if it's in a genre that social convention says adults or kids shouldn't be reading, or if it's something most people think of as gender specific. A love of the written word transcends any boundaries. And don't let anyone tell you otherwise. Read what you love! In the second article, I provided an in-depth review of Brandon Mull's phenomenal Young Adult Fantasy series Fablehaven and its sequel Dragonwatch.

In this final installment, I'll review Joseph Delaney's Spooksworld, which is, in my opinion, the best Young Adult Fantasy multi-series in existence. Many people may have heard of this series based on the film adaptation that came out in 2015 called The Spook's Apprentice, which was adapted as a play script originally by the author's son. The film featured Ben Barnes playing Tom Ward (he also played Prince Caspian in The Chronicles of Narnia film series), Jeff Bridges as John Gregory, Julianne Moore as Mother Malkin, and Kit Harington (yes, John Snow from HBO's Game of Thrones) as Billy Bradley, among many others. My opinion (which may not mean a lot) is that this movie didn't even come close to capturing the magic found in the books. I find it difficult to watch, honestly, because it was such a poor adaptation of what could have been nothing short of amazing, had the books been followed much closer.

Spooksworld began as a dark fantasy novel saga written by Joseph Delaney. Three separate series comprise this "arc" that includes Thomas "Tom" Ward as a central character in each. In this fictional world, the seventh son of a seventh son (and sometimes the seventh daughter of a seventh daughter) is a unique being equipped above all other humans to sense the supernatural and become a defender against "the Dark", which can include all manner of beasties like ghost, witches, boggarts, and demons. Such a fighting master is referred to as a "Spook".

Before I dive into this unique world, I'll point out that Joseph Delaney is a British author and all of the Spooksworld books were originally published in the UK by The Bodley Head division of Random House Publishing (which is now Penguin Random House). That said, it'll make more sense to explain that the three separate Spooksworld series have different names (for pities' sake, sometimes more than one for each!) in the UK and the US, and that includes the titles in the differing series names also being changed. So I'll start with a basic listing of the original series name and title differences between the UK and the US. You can find out more at the author's website: https://josephdelaneyauthor.com/.

In the United States, the original series that began with Tom Ward being apprenticed to the County Spook John Gregory is called The Last Apprentice Series, with the following titles available:

Revenge of the Witch (Book 1)

Curse of the Bane (Book 2)

Night of the Soul Stealer (Book 3)

Attack of the Fiend (Book 4)

Wrath of the Bloodeye (Book 5)

Clash of the Demons (Book 6)

Rise of the Huntress (Book 7)

Rage of the Fallen (Book 8)

Grimalkin the Witch Assassin (Book 9)

Lure of the Dead (Book 10)

Slither (Book 11)

I Am Alice (Book 12)

Fury of the Seventh Son (Book 13)

In the UK it's called The Spook's Series and the individual titles are shortened considerably to:

Apprentice (Book 1)

Curse (Book 2)

Secret (Book 3)

Battle (Book 4)

Mistake (Book 5)

Sacrifice (Book 6)

Nightmare (Book 7)

Destiny (Book 8)

I Am Grimalkin (Book 9)

Blood (Book 10)

Slither’s Tale (Book 11)

Alice (Book 12)

Revenge (Book 13)

Just to make this as confusing as possible, this same series has also been referred to as The Tom/Thomas Ward Chronicles or The Wardstone Chronicles. In French, strangely, it's called L'apprenti L'Épouvanteur, which means "The Scarecrow's Apprentice". Either that's poorly translated or "Spook's" is simply not a word that can be grasped in the French language. Go figure.

In any case, there are also several interconnected offerings to this original series that are occasionally included with further (seemingly conflicting) book numbers in the series. These include: A stand-alone story called Seventh Apprentice, which is an introduction to the series that has an earlier apprentice, Will Johnson, left to fend for himself while his master is away. Bestiary (also called The Guide to Creatures of the Dark), which is a practical record of dealing with the Dark and features John Gregory's personal account of "the denizens " he's encountered, combined with his lessons learned and mistakes made. Short stories are also combined with different stories with varying titles in the UK and US in collections, namely Grimalkin's Tale, Witches, The Spook's Tale and Other Horrors, and A Coven of Witches. Finally, a fun little scary story set in the same world is called The Ghost Prison.

Tom Ward is just a boy when John Gregory comes to claim him as an apprentice. Tom's mother promised her seventh son of a seventh son to the local Spook, who's more than a little cranky and irascible. Though Tom isn't sure about being apprenticed to a hard man like this, he dutifully leaves with the Spook, resigned to being apprenticed by him. Soon, he discovers that most of the man's previous apprentices failed, fled, or were killed in the process of learning the ropes of fighting the Dark. Not surprisingly, Spooks are feared and shunned everywhere…you know, up until ordinary people have need of their unique abilities.

Everything Tom faces as the plot progresses from one book to the next makes for chilling conflict and soul reflection. The uncertain but morally grounded boy grows into a young man changed not only by those he meets, the creatures he fights, and the mystical skills he possesses but by his own convictions about his place in the world.

Seeing Tom mature and become powerful, embracing his role of responsibility to the County he serves, his master, his family, and the world at large was a fascinating byplay of shades of gray. On the surface, as this saga progresses, a hero could easily be a villain while just as easily a former monster may end up becoming an ally. Light and dark coexist, and no one is really what they seem here. My favorite characters can't really be short-listed because there are so many intriguing ones, but those that stand out to me would include Tom first and foremost; his master; his parents and family; Alice Deane, the young witch Tom is warned early on not to trust; the former apprentices of John Gregory who serve in other parts of the world, Bill Arkwright and Judd Brinscall; Grimalkin, the Malkin witch assassin who has many faces, and her apprentice Thorne; and finally Meg, John Gregory's former lover, who lives in his winter house.

When I discovered the first book in the series, I bought all the subsequent ones in one fell swoop, including the miscellaneous bonus offerings. I read them compulsively over the course of about a week, barely sleeping because I was so enthralled, wanting to know what would happen to Tom and his master John Gregory. While there is a point where the books slow down and things are all moving in one direction (toward the defeat of the arch villain, the Fiend, which I didn't find quite as interesting as previous enemies), I've still read the series multiple times. After completing it the first time and feeling sad that there weren't more books about Tom Ward, I went searching for follow-up and discovered that there was indeed a spinoff series to be had.

With the conclusion of the original series in 2013, the author started a spinoff trilogy in 2014 with The Starblade Chronicles (the UK versions go by "Spook's" with the same individual titles) that follows the continued adventures of Tom Ward. The apprentice is now the master Spook, responsible for fighting the evil threatening the County and the surrounding world. The three books include A New Darkness (Book 1), The Dark Army (Book 2), and The Dark Assassin (Book 3).

Tom is now 17 but he never finished his apprenticeship as a Spook. Nevertheless, the County needs his unique skills more than ever and there is no one else willing or able to do what he can. To further complicate his life, a young girl named Jenny, a seventh daughter of a seventh daughter, comes, asking to be his apprentice. Never before has a girl been a Spook, and Tom isn't sure how to feel about it. Yet Jenny has vital information and knowledge that he needs to defeat a new evil threatening humanity. Like it or not, he has to take a chance on her.

Returning to Tom's life after the events of the original series was a thrill for me. I wasn't disappointed, but I was very surprised by a lot of the changes in store that weren't ideal and weren't necessarily what I would have hoped for in a spinoff. However, I enjoyed these books very much, read them just as voraciously as the original series, but I will say I was blindsided by the events in the conclusion. As a tremendous fan of the series, I wasn't entirely happy with the outcome and resolution either. Luckily for me, it wasn't actually the end of Tom's story, though fans of the series did have to wait nearly three years before the author brought back our most beloved Spook.

In 2020, Tom Ward, Alice, and other series favorites returned in a new spinoff series, Brother Wulf, which includes four offerings: Brother Wulf (Book 1), Wulf's Bane (Book 2), The Last Spook (Book 3), and Wulf's War (Book 4, coming 8/17/23).

A young novice monk, Brother Beowulf, is being manipulated and sent by the church to spy on Spook Johnson, who takes Wulf along on his monster battles. After Spook Johnson is captured by one of the very creatures he was supposed to be eliminating, Wulf has no choice but to seek out Tom Ward's help. In this spinoff series, Wulf is the main character, while Tom is the secondary, though still a major protagonist. As with the young Tom Ward in the original series, I was charmed by Wulf, who isn't tainted by the evil that plagues the world around him. He remains pure and determined to do good in a world with so many contradictory players. But Wulf is more than he seems, just as this author's characters always prove to be in the end, and that makes him another hero to root for.

Those new to these books may not realize that Joseph Delaney was battling illness while he was writing the last few books in this series. I'd read all three of the first offerings in it. (Incidentally, I had to purchase Book 3 from Blackwell's booksellers in the UK https://blackwells.co.uk/bookshop/home because it wasn't available in the US, nor do I believe it is even now.) I went to the author's website to find out when the conclusion to the series would be released, and it was there that I was devastated to learn Joseph Delaney lost his battle. The third story ended on a cliffhanger with no satisfactory resolution. It took a long time to resign myself to the fact that I would never learn the conclusion of such a wonderful saga. But then, while I was researching for this review, I discovered that a fourth book would be released posthumously August 2023, on the anniversary of the author's death. Wulf's War was apparently the last book Delaney wrote. I hope this final book provides an ideal conclusion to the series, though I will be more understanding, given how hard it must have been for the author to write this one.

I've also read Delaney's Aberrations series, another dark fantasy sequence, that currently has two installments. I actually talked to the author several years ago (before the Brother Wulf series was published), asking him if more books would follow in that series. I believe he was writing more, but he said that the publisher hadn't yet committed to releasing the next. I'm strongly hoping this series will also be finished at some point in the future, but I don't expect that will be the case. I'll be devastated, since Crafty and his friends may never defeat the evil mist that brought the aberration monsters to their world. Naturally, I'll blame the publisher. I've written a note to those responsible for the upkeep of his website, requesting information about potential future offerings in the series. We'll see if I get a response.

As I said early in this article series, I discovered Spooksworld as a 30-something year old adult and would have missed it (and been the worse for it) and so many others if I cared a whit about maturity, appropriateness, genre, and level classifications when it comes to selecting my reading material.

Life is too short to read only what's expected of you. Instead, make the most of the remaining years you have exploring an entire universe of wonderful reading material available to you.

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Read What You Love, Part 2 by Karen S. Wiesner

Read What You Love, Part 2

by Karen S. Wiesner

In this three-part article, I talk about what conditions, if any, cultivate or discourage a love of the written word as well as about the importance of reading what you love, regardless of your age, the genre or content appropriateness, your gender, or what's considered your "level". In the last two segments, I'll also review two of my favorite Young Adult book series that any fan of the supernatural should love as I much as I do.

In the first part of this article, I talked about how, in the general sense, people should read what they're interested in. It doesn't matter if someone else dubs it above or below your proper reading level, too mature or immature, if it's in a genre that social convention says adults or kids shouldn't be reading, or if it's something most people think of as gender specific. A love of the written word transcends any boundaries. And don't let anyone tell you otherwise. Read what you love!

In this next part, I'll review a phenomenal Young Adult series I discovered as a 30-something year old adult and would have missed (and been the worse for it) if I cared anything about maturity, appropriateness, genre, and level classifications. Fablehaven is a Young Adult Fantasy series with five books in the first set with another five in the spinoff Dragonwatch.

In the very first installment that shares the same name as the series, the main characters of the series, young adults Kendra and Seth Sorenson, are spending the summer with grandparents they've barely met up to this point in their lives. Never could they have imagined that Stan and Ruth are the current caretakers of Fablehaven, a centuries' old hidden refuge for all sorts of mythical creatures they're protecting from extinction. This sanctuary survives as one of the last strongholds of magic in the real world. In the restricted woods around the property, ancient laws dictate order among a wide selection of supernatural creatures that run the gamut between good and evil and sometimes a little of both at once. The kids meet witches, fairies, satyrs, trolls, imps, mermaids, and--hoo-ya!--dragons. And that's not even close to all that crop up as the first saga is spun. Each volume introduces new additions to the creatures that inhabit this fascinating secret world along with compelling characters in various organizations on the outside pursuing the incredible wealth and power controlling the magical preserves and the arcane magic hidden in each that could be theirs.

Being the older of the two, Kendra (12-13) is more sensible and mature (if a bit too perfect), almost always working to do the altruistic thing and/or to right the wrongs--frequently those caused by her own brother. In contrast, Seth (11) is immature, reckless, impulsive, a bit greedy, and far too curious for his own good. In large part, the problems that take place in both of the connected series are due to Seth's consistent failure to think things through to the inevitable conclusion instead of the one he optimistically envisions. However, lest you think these are clichéd or what-you-see-on-the-surface-is-what-you-get characters, let me assure you, they're not. Seth is fun and fun-loving, and you can't help but love and root for him, even as you're rolling your eyes, going "Seth, Seth, have you learned nothing from the last time you tried something stupid like this?!" His boundless enthusiasm pulls you along despite yourself. Kendra is also a multifaceted character with strengths and weaknesses, though she begins and often is very typical of what you'd expect. She serves as a good role model to anyone else who's had their vision of what life and reality are turned completely upside down. The siblings discover their own sort of magic power within the course of the series that can help or hinder their efforts to keep the magical refuges unharmed and intact.

The grandparents Stan and Ruth running Fablehaven are well-drawn and complex, as you'd expect, as are those associated with the sanctuary--Lena, the housekeeper, Dale, the groundskeeper, and his brother Warren; and Hugo the golem; the mystical world at large; and secret organizations, each in their capacities of helping or harming. There are many other intriguing characters that readers will enjoy having join the cast. The parents of Kendra and Seth are nearly non-existent. In Book 1, I accepted that they were going on a 17-day cruise and so basically dropped off the kids and had no reason to really worry anything could go wrong. But their continued absence and/or lack of involvement through the other four books in the series were the only aspect I found a little bit unsettling and unrealistic.

Starting in the second book in the series, Rise of the Evening Star (an archaic society seeking to grab control of the magic preserves around the globe), five artifacts of immense power become the focus of this story and Books 3-5 (titled respectively The Grip of the Shadow Plague, Secrets of the Dragon Sanctuary, and Keys to the Demon Prison) as those protecting the sanctuary and the other four like it all over the globe try to keep these talismans from falling into the hands of those who wish to subvert and unleash what could destroy the world--magic and human alike--as they know it.

Though Book 5 ends on an optimistic, if a little unresolved (purposely, I believe) note, it's not the end. Secrets of the Dragon Sanctuary introduced Wyrmroost, a hidden dragon sanctuary, that becomes the focus of the spinoff series, Dragonwatch. In the first book of the same name as the series, four months have passed since the events of Keys of the Demon Prison. Kendra and Seth are a little older, a little wiser, and both are equipped with powers that will prove vital to fighting an all-new threat. Their cousins Knox and Tess are also visiting Fablehaven for the summer, which is bound to cause endless issues and conflicts.

In Dragonwatch, a fearless dragon named Celebrant, King of Dragons, wants to reign without borders by returning the world to the Age of Dragons, when dragons, not humans, ruled. Celebrant was actually one of the many heroes of the previous series instrumental in its satisfactory, if not ideal, conclusion. Dragonwatch was an ancient order of wizards, sorceresses, and dragon slayers that subdued the dragons in the past, but nearly all of the former guardians are gone. 

Once again, in the course of the five books (Dragonwatch, Wrath of the Dragon King, Master of the Phantom Isle, Champion of the Titan Games, and Return of the Dragon Slayers), we're treated to a host of compelling creatures including the dragons (both good, evil, and those who could go either way), of course, but also unicorns, giants, fairies, demons, and the king of the undead. Kendra and Seth are unfathomably made co-caretakers of the Wyrmroost dragon prison (along with a wizard). The two main characters we rooted for all through the first series retain the traits we either loved or decried then in this new series. Incidentally, Kendra and Seth's all but missing parents in Fablehaven do put in an appearance this time, eventually, as I wanted them to in the previous series.

In Dragonwatch, the humans, wizards, the characters we've come to love in Fablehaven as well as new ones (Knox and Tess, in particular), and even some previous enemies become allies in this "enemy of my enemy is my friend" plotline. Those assembled in the course of the series form another intriguing cast. Kendra and Seth are separated for most of the stories, as they work to prevent the seven dragon sanctuaries around the globe from falling. But only together can they become the comingled dragon slayer that can end the threat of draconic domination.

As the Fablehaven volumes did, each book starts where the previous one left off, so there's solid conflict from start to finish, and you're immediately plunged into tense scenarios at the beginning while also unable to keep yourself from grabbing the next when one ends.

I've read Fablehaven a number of times, Dragonwatch only once (so far). The creatures pull me in each and every time while the characters keep me on my toes, following them from one (mis)adventures to the next. The suspense is incredible, with each book impossibly better than the previous. I couldn't set any of the stories aside to read something else altogether. I was too enthralled with both series. I read them back to back, barely sleeping until I'd finished them from start to finish. These are keepers worth every penny I spent on them. I expect to read them indefinitely for the rest of my life. Incidentally, while there has been talk of a Fablehaven movie, which would be amazing beyond belief, so far nothing has come of it. Fingers crossed for the future!

In the final installment of this article next week, I'll review Joseph Delaney's Spooksworld, what is, in my opinion, the most fantastic Young Adult fantasy multi-series in existence.

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Read What You Love, Part 1 by Karen S. Wiesner

Read What You Love, Part 1

by Karen S. Wiesner

In this three-part article, I talk about what conditions, if any, cultivate or discourage a love of the written word as well as about the importance of reading what you love, regardless of your age, the genre or content appropriateness, your gender, or what's considered your "level". In the last two segments, I'll also review two of my favorite Young Adult book series that any fan of the supernatural should love as I much as I do.

I don't know when I started reading as a child, though I suspect it wasn't as soon as I would like to brag it was, if anyone in my family could actually recall such a thing. For as long as I can remember, every catalog, magazine, even the TV Guide, as well as literally anything that had words on it (shampoo bottles, cereal boxes, telephone directories, maps…), I devoured. We didn't have many books lying around our house. I suspect those we owned had been left there by the previous home owner. We had a very old dictionary that lost its hard cover binding long before I dug it out of a junk pile--and read it front to back. Hey, maybe that aided the reading comprehension I seemed to have grasped very early in life.

I also unearthed one of what had to be the very first Nancy Drew novels published (a cloth hardcover!) that had, once upon a time, fallen down the well, been retrieved, and dried, making the gray cloth shrink, and the pages stick together until I carefully freed each one so I could read it.

I reread that book and the dictionary until I started grade school and discovered an entire world open to me through the school library. I was in utter awe. From the time I got to school each day, I went to the library whenever I could between classes. From Kindergarten and on, the elementary school librarian let me help her in the library, checking books in and out, reshelving those returned, getting brand new selections ready. She even let me have early access to each of those. I knew where everything went in that little library in no time at all based on the decimal number classification.

All my years in that school, I loved it when the librarian read books to us. I was utterly lost in the fictional world of those stories as me and my classmates sat on the reading rug. I barely noticed how uncomfortable it was to sit on the floor, I was so enraptured. I didn't want her to stop until she read the very last word of each book.

The librarian saw my love of books in how often I was there and the sheer number of books I checked out on a weekly basis. I got over my extreme shyness, at least to a certain level, because I saw a kindred soul in that kind lady. She never questioned whether I understood what I was reading. Instead, she asked me how I liked it, and we talked about those books all the time. From my introduction to the library, I always checked out books that interested me, regardless of genre and the suggested age level, which I can't imagine I even noticed back then. Even that young, I suspect I wouldn't have cared to be told reading material was beyond my age group or comprehension level, let alone appropriate for me to read. In fact, ever harboring a bit of the rebel, I would have taken it as a challenge.

I swear I read every single book in that teeny-tiny library before I graduated to the middle and high school that were in a single building. That new library was triple the size, another whole new world for me to explore. I was quick to set myself up for working there when I joined Library Club and became an aid to the librarian. I might not have read all of those books in the years I was there, but I sure made a dent in them.

As I got older, I fully realized there were actually age-related guidelines and categories for books. Additionally, comprehension determined what levels of books a person could or should read. I think those standardized tests we took, where I excelled almost to the extreme at language and reading comprehension (and performed dismally in math, lol), made me aware that (and appreciative of) my ability to understand nearly any book I picked up. I was also starting to comprehend that cultivating a love of the written word had more to do with personality and preference, not always (or at least not necessarily) with environment or conditioning. After all, I don't think I ever saw my parents reading, and the only time I remember them reading to me and my siblings was when I was watching for the school bus to pick us up in the morning. While I stood at the window, my mom would read out loud from the library books I checked out in towering stacks for those precious minutes on weekdays.

It's true that some people are just drawn to reading and books while others aren't--sometimes at all--for a variety of reasons, which can include skills, abilities, preferences, and personality quirks (or lack thereof). I don't think environment and conditioning are solid criteria for deciding emphatically that someone will turn out to be an avid reader or not. But that doesn't mean you can't slant the odds in your favor, as I actively did when I was old enough to start having my own children.

I suppose since my happiest memories as a child mostly all involved books, I began to read to my son even before he was born. Early on, he discovered his love of books. He started reading on his own when he was only four. Nevertheless, I still read to him all the time, by mutual consent. I don't remember when I started reading things like The Hobbit, Terry Brooks' Shannara Chronicles, and Harry Potter to him, but I know he was still in his early single digits. I could tell he understood most of what I read to him by 1) the discussions we had during and afterward about what we read and 2) how excited he was to get back to the story, just as I was, each time.

Later in life, another thing that struck me was when someone my husband knew asked what kinds of books I wrote. Because that was what I was writing at the time, my husband said science fiction. This person commented about how that genre was for little kids, wasn't it? I confess I was initially offended and embarrassed when I heard this, though of course I concluded eventually that this person wasn't a reader per se and didn't really know much about reading or writing. Commonsense says that most kids' books are written by adults, right? My science fiction was an adult novel series, but I imagine those younger would also enjoy it just as much. Besides, even if science fiction as a category could be relegated to only youth reading it, I couldn't help wondering how anyone would think that age, let alone genre, should dictate someone's reading likes and dislikes. I knew plenty of grown men who still enjoyed comic books and manga as well as grown women who continued to indulge in those "true confession" magazines that tantalized and scandalized them as teenage girls.

I do want to be clear here that I don't think there's anything wrong with parents "censoring" stories that are far too sexual or violent for their children. There's a lot of shocking material that's readily available these days to kids that wasn't anywhere near as accessible in my time. Also, in my day nearly everyone cared about being a role model to kids (not something that seems prevalent in today's world). While freely admitting that I never had any boundaries set on me and probably read a lot of things that weren't appropriate for my age, I turned out pretty good, despite this. My point here, for the most part, is that in the general sense, people should read what they're interested in. It doesn't matter if someone else dubs it too mature or immature, or if it's in a genre that social convention says adults or kids shouldn't be reading. Additionally, I don't think gender should play a factor either. Why can't males read romance novels while females read action/adventure and horror? Read what you love!

I myself am no respecter of age or level dictating what I do and should read. When I was young, I read books that others, even educators, would have (wrongly) assumed were far beyond my comprehension and, yeah, as I said earlier, some that was wildly inappropriate reading material for my age. Now, as an adult, the tables have turned. I read (and sometimes write) books that many would consider far below my level and too immature for someone my age. Oh, the wondrous things many readers are missing, all because of ill-perceived restrictions on age, level, gender, and/or genre!

I was never too young or sheltered to read Go Ask Alice (by Anonymous), Black Like Me (a must-read for every human that I'd read long before my high school teacher assigned it), anything by S.E. Hinton, Janet Dailey, Bruce and Carole Hart, Paul Zindel, and Judy Blume. I even read the occasional Western, which was simply not something girls read in my time.

I will never be too old or mature to love the brilliant works of Dr. Seuss, Astrid Lindgren, Peggy Parrish (and her belovedly ditzy, literalist character Amelia Bedelia), Betty MacDonald, the crazy-fun Robert Munch, Scott O'Dell, Brandon Mull, and Joseph Delaney.

A love of the written word transcends any boundaries. And don't let anyone tell you otherwise.

In the next two parts of this article, I'll post in-depth reviews of two phenomenal Young Adult series I discovered as a 30-something year old adult and would have missed (and been the worse for it) if I cared anything about maturity, appropriateness, genre, and level classifications.

Karen Wiesner is an award-winning, multi-genre author of over 150 titles and 16 series.

Visit her website here: https://karenwiesner.weebly.com/

and https://karenwiesner.weebly.com/karens-quill-blog

Find out more about her books and see her art here: http://www.facebook.com/KarenWiesnerAuthor

Visit her publisher here: https://www.writers-exchange.com/Karen-Wiesner/

Mysteries of Pacing Part 6 - How To Change A Character's Mind

Mysteries of Pacing

Part 6

How To Change A Character's Mind

by

Jacqueline Lichtenberg 

Previous parts in this series:

Part 1
 https://aliendjinnromances.blogspot.com/2019/09/mysteries-of-pacing-part-1-siri-reads.html

Part 2
https://aliendjinnromances.blogspot.com/2019/10/mysteries-of-pacing-part-2-romance-at.html

Part 3 - where we discussed the TV Series Outlander
https://aliendjinnromances.blogspot.com/2019/10/mysteries-of-pacing-part-3-punctuated.html

Part 4 Story Pacing
https://aliendjinnromances.blogspot.com/2019/10/mysteries-of-pacing-part-4-story-pacing.html

Part 5 How Fast Can A Character Arc?
https://aliendjinnromances.blogspot.com/2019/10/mysteries-of-pacing-part-5-how-fast-can.html


One of the top five glaring errors that beginning writers make in crafting a novel is to start it in the wrong place.  The usual mistake is to start the opening scene after the actual end of the novel.

How can that be?

The newest writers open the first scene with the Main Character already having learned the lesson the novel's plot events teach.

Remember, we established previously, that one reason readers read novels is page-one, the narrative hook.

On Page One, the main Character does something (Save the Cat!) that endears the Character to the reader, and at the same time lures the reader to see, "Oh, has that one got a lesson to learn!"

We read to watch Characters learn their lesson, -- both lessons we have learned (to validate our own understanding of the world), and lessons we have yet to face (to glimpse our future and reinforce our courage to face it heroically.)

If the Main Character has already learned the lesson contained in the Plot's challenges, the Main Character can not "arc" (or change in response to the blows the plot delivers.)  The Character's Arc is the story.

As discussed previously, there are two moving parts to a novel that have to be "paced" -- or move in a way that
a) keeps the reader enthralled, and
b) convey an element of verisimilitude.

Those tandem elements (called by different names by different writing teachers and editors) are Plot and Story.  All agree that there are two elements, and that they must work together.

Like two horses hitched to a wagon, they must move in concert, and render the most impressive, smooth ride when trained to keep to the same rhythm in the same direction.

Imagine one horse goes one way, the other charges off in the opposite direction, the wagon tree and tackle break, the wagon overturns.  That overturned wagon is a symbol for the rejection letter.

Here, I use "Plot" to mean the sequence of external events, what happens next, or what I call "the because line."  I use "Story" to mean the assessment of "Life, The Universe and Everything" which motivates the Main Viewpoint Character.

The plot is driven by the External Conflict 

Joanne vs Government.

The story is driven by the Internal Conflict

Joanne vs. "Go Along To Get Along"

This year, rumors are resurfacing that the US Government has possession of the wreckage of a UFO.  It hasn't been identified, so you can't say it's the ship of  alien from outer space or an experiment of some other Government on Earth.  There has been nothing about there being the remains of an occupant.

Since distrust of government and media is so very high, right now, it is very easy to believe Government has been lying about UFOs.

Another reason to disbelieve all government denials of the UFO rumors is that telescopes, orbital observatories, etc are mapping the galaxies around us and identifying many planets.  A few decades ago, mathematicians "proved" planetary systems around stars had to be so rare that our solar system might be the only one.

Also a few decades ago, the argument against the UFO rumors included scientific (mathematical) proof that even if some stars had planets, there just couldn't be many in the kind of "life zone" that Earth is in -- liquid water, etc..

Well, now math and astrophysics has produced evidence that there are many stars with planets - in fact, it's common.  Some of the stars not very different from our Sun even have planets in the "life zone" -- often too large or too small, but there are a lot we have detected so the "facts" have changed.

Here is a video - running a bit over an hour - about defining the core essence of a human.  What makes us human? What distinguishes us from animals?  This video suggests how we could identify Aliens who should be treated as we treat human beings (poor Aliens!).

https://www.chabad.org/multimedia/video_cdo/aid/2480059/jewish/Is-There-Life-on-Other-Planets.htm

The fellow in the video seems to me to be widely read in Science Fiction and understands how science fiction writers think.

What is your "mind" and how do you "make it up?"

If the facts change, does your Main Character change her mind?

We like to believe that sane people change their mind when presented with new facts.

We like to identify with characters who are sane, level headed, goal directed, and resilient.  Characters who can say, "Oh, I was wrong about that."

But the thing is humans discard ideas and attitudes readily only when they are not rooted in belief.

Just as plot and story are yoked in tandem, 

so are thinking and belief.  

Plot and Story pull the wagon of the novel.  Thinking and Belief pull the wagon of the Character Motivations.

In structuring your Characters, you as the writer must know not just what your Characters think, but what they believe, and how they came to believe it.

How the Characters came to believe it (the backstory) is important in Science Fiction Romance because there is a human tendency to believe in science.

You find both kind of humans - the born skeptic and the born believer - in the world of computer science.

The current push to recruit women into "STEM" majors will scoop up more and more of the True Believer mentality type (which type has hitherto been diverted).  Meanwhile, the social trend toward Secularism will predispose the True Believer type of human to "believe in" Science instead of Mysticism, God, Magic.

You can change a scientist's mind with a new peer-reviewed paper contradicting what the scientist was taught in school.

But you can't change a True Believer's mind with ONE simple declaration of a contradictory fact.

Could this be the definition of "human?"  Could the ability to cling to Belief despite facts be what we must identify in life on other planets - to decide if that life is to be granted "Human Rights Protections?"

All humans have a mental compartment where they store what they Believe. The contents of that compartment generally manifests in unconscious ways, motivating responses to situations that the person is not even aware of.  Illogical behavior may be mostly rooted in unconscious Beliefs, and be rigorously, logically derived from that Belief.

A mis-match between contents of the Belief Compartment and the contents of the Knowledge Compartment can tear marriages apart.  I know of some where that happened, even over Politics, not Religion!  We believe in our favorite celebrities, and favorite politicians, even when we "know" nothing about them but the public image.

What your Character knows is subject to abrupt revision as the plot unfolds,   but what the Character believes must never be called into question unless the Theme demands it.

Any opposing Character who attacks such a belief will meet with vigorous rejection, scorn used as a weapon, character assassination in the workplace, and so forth.

If your theme needs the kind of raging fire ignited by the Catholic/Protestant furor in Northern Ireland that gave rise to video cameras and gunshot detectors all over London, then let the Plot attack Belief.

One example of a collision of Beliefs with Facts would be the place and role of masculinity in the workplace.  The reason we still have very real sexual harassment, favor trading, career advancement  for sexual favors, and even forced sex as an act of dominance, is the cultural belief in the role of masculinity in society.

The knowledge regarding the role of masculinity has changed over the last few decades -- the belief has barely been touched.

So now we have a generation of men in charge of corporate offices who suffer a mis-match between what they know and what they believe.  Belief will dominate, for some of them, from time to time.  For others, it always dominates.

The exact same thing is going on with women, the core readership for Romance of all sub-genres.  The mismatch between what is believed and what is known may actually be growing.

The writer's job is to convince the reader that this Character has had a change of belief.  To be convincing, the writer must craft page one from a point at which the Action of the Plot begins, where the Main Character has not yet changed Belief, but does something that will rebound to teach them a lesson (the hard way).

We want to see the Bad Guys get their comeuppance and the Good Guys learn their lesson.  The "lesson" is your theme.  The Good Guys come to a brighter understanding of the truth of the universe.

Which brings us right back to Targeting An Audience.

https://aliendjinnromances.blogspot.com/2013/10/index-to-targeting-readership-series-by.html

Each specific genre has an audience that is selected for the distinctive process by which that audience routinely changes their Beliefs.

I doubt any Editor has ever looked at the target audience for an imprint in quite this way, but though it is dynamic, it is the coarse sieve through which the general public passes on the way to choosing what to read or view tonight.

We enjoy books about Characters who regard their beliefs the same way we do, even if the Characters don't believe what we do.

We enjoy stories about Characters who change (or don't change) their Beliefs and their Knowledge using the same method we do.  Those Characters seem real to us, people we can identify with, walk in their moccasins, and enjoy wondering, "What would I do faced with that problem?"

Would what I would do actually work in that Character's world and situation?

Ayn Rand pegged "Psychological Visibility" as a human need, vital to sanity.  We need people to validate our existence by understanding what we feel when we say certain things.

We enjoy fiction where the Character is internally visible to us, and what we see in that Character validates our own unique individuality, our hodge-lodge of contradictory Beliefs stored in that walled off mental compartment.

In humans, that compartment can not be empty.  Maybe you can portray an Alien (or an Artificial Intelligence) who has no belief compartment, or has the option of leaving it empty, but with humans, something will crawl in to inhabit and proliferate in that compartment.

That is why it is so important to limit and control what a young child is exposed to, and in what order they encounter information and situations.  The parent fills the Belief compartment, stuffed brim full, and then whatever facts come along may be known,  but likely not believed.

There is a segment of the population that wants (even needs) to control how parents dominate and control their children, feeding the children only certain beliefs, and not others. The old adage, "As the twig is bent; so grows the tree," is being used by people who don't want others to believe in bending twigs.

Another old saying, "Give me a child until he is seven years old, and you can do what you want with him after that - he will always be mine."  And that, too, has enough truth in it for writers to use constructing fictional Characters.

So, if you set out to Pace your Story - the development of the Character's internal conflict toward an internal resolution - advance both knowledge and belief in tandem.

As a writer, you need to know more about knowledge and belief, as well as the relationship between them, than readers do.

Learn a few theories extant - both the theoretical work done in universities, and the everyday practical usage of the general public, or at least your specific Target Readership - about how people internalize beliefs.

One good source of discourse on Belief is non-fiction autobiographies about religious conversion.  The "Come To Jesus" moment people talk incessantly about is worth your close study.

Understand your own Beliefs, especially the ones you don't know you have.  You will find them in your responses to non-fiction, to news, to TV Series.  You see them reflected in other people -- you generally approve of, and want to be friends with, people who share some of your beliefs.  You will find yourself repelled  by those whose beliefs are incompatible.

Usually, around college age, people choose which beliefs to internalize and found their whole lives upon.  Very often the set of beliefs are chosen so that the individual can "fit in" to a certain group.  Humans need that "psychological visibility" and the validation of their Group.  So some people, at college age, find their Belief Compartment enlarging as their views expand.  Humans (maybe not Aliens) can happily hold contradictory beliefs.

Contradictory knowledge, on the other hand, demands current, real-time, choices.

For example, we don't know if the US Government is holding a crashed UFO, but we do know that a reporter said that a government employee said that the US Government has possession of a "something" that might be extraterrestrial.

Since we know the reporter said that someone said, we will choose to believe it (or not) based on our current beliefs about the Government.  So some people will accept as incontrovertible fact that the Government has been hiding the truth about UFOs from the citizens for decades. Others won't accept that idea.

Why would some Characters reject the idea that the Government is hiding the facts about UFO's?

The reason the Character rejects the IDEA matters to the plot of your novel.

A) The U.S. Government is unique in the world, elected by a free people, monitored by a Free Press.  The U. S. Government doesn't lie, the way a Communist dictatorship does.  There's no reason to lie about UFOs.

B) Only crazy people with an ax to grind talk about UFOs as if there really is life on other planets. I don't want to be seen as crazy, so I won't believe in UFOs (but yeah, they spook me).

C) It's a scientific fact that planets like Earth are rare.  The ones we think we found are so far away nothing could get here - and probably wouldn't get near enough to us to notice it.  Math shows that two space-going civilizations wouldn't encounter each other because one would be extinct before the other emerges.  Forget the whole Idea - you're nuts.

D) My Religion holds that Earth is the center of Creation (if not The Universe), and humans are created in the Image of God, therefore any life out there won't be more than microbes, certainly not spaceship builders.

How would you change that Character to make it plausible to your readers that the Character now believes there's a UFO sequestered by the government?

How would you convince the skeptical reader that UFOs are real, so the Character the reader admires can accept them and still be admirable?

This is the essence of genre --

 not "a genre" but the very concept of genre.

Many (especially editors) think that if the novel is set in space, it must be science fiction.  Nothing could be farther from the truth.  The essence that binds science fiction writer to science fiction reader is the shared process of how we choose what we believe.

Among humans, the ability to choose what to believe, and the lifelong, intensive practice of actively editing, selecting and choosing the content of the Belief Compartment, is extremely rare.

Intelligence doesn't matter.  Anyone of any I.Q. might have this ability to edit their Beliefs, but among those rare individuals who are able to do it, very few choose to train and exercise to perfect that ability.

Writers, all sorts of Artists, especially performing arts specialists, do generally refine their ability to edit the subconscious to extraordinary levels.  The business of Art is the business of making visible or perceptible, the unconscious beliefs of a generation.

Each of the 4 categories of reasons why a Character might start Chapter One of a novel disbelieving in UFO's, and especially a wreck sequestered by the U.S. Government represent subconscious assumptions driving large swaths of the U. S. population.

Each of the 4 Categories could be fully realized in specific genres.

A) Political Intrigue (let the Character learn that the government lies)

 B) Romance (the Character falls for an Alien. Gini Koch's ALIEN series.)

C) Science Fiction (the Character follows a signal to the craft the government has sequestered)

D) Religious Conversion Romance (the Character falls in love with someone whose religion allows for Aliens but still holds Earth is the center of Creation)

We have discussed many aspects of how Theme connects these separate elements of fiction into a cohesive artistic work, a realistic world the audience can walk into.

https://aliendjinnromances.blogspot.com/2014/07/index-to-theme-character-integration.html

https://aliendjinnromances.blogspot.com/2016/11/index-to-believing-in-happily-ever-after.html

https://aliendjinnromances.blogspot.com/2014/04/index-to-theme-worldbuilding.html

https://aliendjinnromances.blogspot.com/2013/05/index-to-theme-plot-integration.html

https://aliendjinnromances.blogspot.com/2015/12/index-to-theme-plot-character.html

Theme is the secret to pacing.  Theme is what you, the writer, are saying to the reader.  Theme is what the story is about.

Theme is the lesson the Character is about the learn, preferably the hard way, but just like the reader learned it.

Theme is the glue that holds Plot and Story together - or in terms of the above analogy, theme is the wagon tree that the pair of horses (Plot and Story) are hitched to.  The wagon is the novel, or whole series of novels, moved by Plot and Story.

Romance genre's overall theme is Love Conquers All.

Science Fiction's overall theme is nailed in Star Trek's opening, "...where no one has gone before."

Love Conquers All

 is definitely

 Where No One Has Gone Before

Many people (not me), believe, that our everyday existence belies the idea of love conquering, and the brutality of humanity's past illustrates clearly that Love Always Loses.

This connection between Love Conquers All and "...where no one has gone before," is a big reason why Science Fiction and Romance blend so easily into a new genre.

Both genres require the Characters and the reader to edit their Belief Compartment's contents, scrutinize the tangled mess of the subconscious and make conscious choices of what to believe and what to discard.

In other words, Romance pushes humans toward crafting a logical subconscious, a belief system that shifts and changes as new facts emerge.

Under the impact of Love, a human (maybe an Alien, too) can adjust what they know, and what they believe, to be just a little bit more in harmony with each other, a bit more harnessed in tandem to drive Character motivation.

Internal peace, the relief from internal conflict, is a critical ingredient in happiness, and thus in the Happily Ever After.

To live Happily Ever After, the Character must have a plausible, permanent and reliable reduction in internal conflict, and thus a realistic sense of being at peace within.

The esoteric theory is that our internal conflicts roil the external world into a furious tempest that resists our every move.  By increasing internal peace, we increase our ability to walk the world without being stomped on and trampled at every turn.

Romance and Science Fiction readers both accept this premise at least subconsciously and see the story finished when the Character's internal conflict is fully resolved.  This often takes a long series of long novels to accomplish, as true Hero material generally nurture a stubborn streak.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Thoughts on Genre

A blog post by fantasy author Seanan McGuire on what genre is and is not, plus her own expectations for genre:

Genre Is Not a Prison

For one thing, it can be easier to tell what genre a particular work is not than what it is. McGuire cites one of the clearest examples, romance. Concluding with a Happily Ever After (or at least a Happily for Now) is essential to the definition of romance. Without that feature, a story isn't a romance regardless of any "romantic elements" it may include. GONE WITH THE WIND and ROMEO AND JULIET are not romances (in the modern sense, leaving aside the various medieval or Renaissance meanings of the term, which don't necessarily entail "love story" content). Her explanation reminded me of another component that used to be considered integral to the definition of "romance": Decades ago, a scholar of the genre defined a romance as the story of "the courtship of one or more heroines" (e.g., PRIDE AND PREJUDICE). The field has changed to make that definition obsolete; a romance novel today might focus on the love story of a male couple.

McGuire brings up the often-debated distinction between science fiction and fantasy, noting that people "can take their genres very seriously indeed" and that, for example, "Something that was perfectly acceptable when it was being read as Fantasy is rejected when it turns out to be secret Science Fiction." That potential reaction caused some disagreement between my husband and me, as well as with our editor, when the conclusion of the third novel in our Wild Sorceress trilogy revealed our fantasy world to have been an SF world all along. I worried that some readers might react with annoyance to what they might see as a bait-and-switch, and the adjustments we had to make to accommodate the editor's reservations validated my concerns. On the other hand, fiction with a fantasy "feel" that turns out to be SF isn't all that uncommon. The laran powers on Marion Zimmer Bradley's Darkover look like magic (and are viewed as such by the common people of that world), and a reader who starts with the Ages of Chaos novels might well be shocked when the Terrans arrive and Darkover is revealed as a lost Earth colony. The abilities of the characters in Andre Norton's Witch World series seem to be true magic, yet the stories take place on a distant planet rather than in an alternate world such as Narnia. And both authors' works are considered classics of the field, so those series' position on the fantasy/science fiction borderline hasn't hurt their enduring popularity.

I don't entirely agree with McGuire's comment about fantasy and horror: "Fantasy and Horror are very much 'sister genres,' separated more by mood than content." While true as far as it goes, this remark sounds as if all horror lurks under the same roof as fantasy. Granted, my own favorite subgenre of horror, which I encountered first and still think of as the real thing, is supernatural horror, a subset of fantasy—defined as requiring "an element of the fantastical, magic, or impossible creatures." As the Horror Writers Association maintains, however, horror is a mood rather than a genre. In addition to supernatural or fantastic horror in a contemporary setting, we can have high fantasy horror, historical supernatural horror, science-fiction horror (e.g., many of Lovecraft's stories), or psychological horror (e.g., Robert Bloch's PSYCHO).

McGuire does acknowledge the importance of mood in assigning genre labels: "Because some genres are separated by mood rather than strict rules, it can be hard to say where something should be properly classified." Does that mean we should give up on classifying fiction according to genre? Quite the opposite! I tend to get irked rather than admiring an author's bold individuality when he or she refuses to let one of his or her works (or entire literary output) be "typecast" as science fiction, horror, or whatever category the work clearly belongs to. McGuire seems to feel the same way: “'Genre-defying' is a label that people tend to use when they don’t want to pin themselves down to a set of expectations, and will often lead me to reject a book for something that’s more upfront about the reading experience it wants to offer me." Some authors seem to view the very idea of "expectations" with disdain, as if genre conventions inevitably equate to "cliche" or "formula." Do they feel equally dismissive toward the fourteen lines and fixed rhyme scheme of a sonnet?

As McGuire puts it, "And when someone wants something, they really want it. I react very poorly to a book whose twist is 'a-ha, you thought you were reading one thing, when really, you were reading something else entirely, whose rules were altogether different!' ” Genre, she says, at best resembles "a recipe. It tells the person who’s about to order a dish (or a narrative) roughly what they can expect from the broad strokes." Making it clear what ingredients the "dish" contains is one of the main jobs of marketing. Nowadays, a reader can discover works in exactly the niche he or she is looking for. On the Internet, a book needn't be shelved in only one category, and its genre components can be subcategorized as finely as the writer, publisher, or sales outlet chooses. So a fan of, to quote McGuire's example, “Christian vampire horror Western,” can find stories by like-minded authors.

The concept of "fuzzy sets" can be useful in thinking about genre. A book that's an unmistakable, nearly archetypal example of fantasy would fall in the center of the "fantasy" circle. A different work that has many characteristics of fantasy but doesn't check all the typical boxes might belong somewhere between the center and the boundary of the circle. Some works feel like sort-of-fantasy but not completely and may include markers of other genres. They might fit into an overlapping zone between the "fantasy" circle and the "science fiction" or "horror" circle. A historical novel with a romantic subplot might appear at the intersection between historical fiction and romance. None of this hypothetical fuzziness, however, means that there's no such thing as genre or no point in categorizing fiction.

Margaret L. Carter

Carter's Crypt

Genre: The Root Of All Amazon Comments by Jacqueline Lichtenberg

Genre: The Root Of All Amazon Comments
by
Jacqueline Lichtenberg

Previous parts in this series on Genre:

http://aliendjinnromances.blogspot.com/2009/09/genre-root-of-all-evil.html

http://aliendjinnromances.blogspot.com/2011/06/genre-root-of-all-confusion.html

http://aliendjinnromances.blogspot.com/2011/06/genre-root-of-all-decisions.html

http://aliendjinnromances.blogspot.com/2014/07/genre-root-of-all-passion-by-jacqueline.html

And here is the page that lists the Amazon comments for DEAD LETTER DAY (A MESSENGER NOVEL)
http://amazon.com/Dead-Letter-Day-Messenger-Novel-ebook/product-reviews/B0099CUJF6/

The subtitle A MESSENGER NOVEL or the author's name is necessary because there are many novels titled DEAD LETTER DAY.

You can't copyright a title, so many novels have the same title, and are distinguished by the author's name.  In general, when titling a novel you are writing, it is a good idea to look at Amazon to find out what other novels by the title are "out there" and what, exactly, they are about.

For example, I lifted a classic Vampire line, being used by Chelsea Quinn Yarbro in her St. Germain novels, to use for the title of a Vampire novel which is actually a Science Fiction Romance set on the Moon. The title I chose is THOSE OF MY BLOOD (free on Kindle Unlimited)

http://amazon.com/Those-My-Blood-Tales-Luren-ebook/dp/B00A7WQUIW/

 

The publisher's (St. Martin's Press Hardcover) target audience was Vampire and Fantasy fans, and the title bespeaks the Vampire core of the novel -- which explains the source of Vampire legends using Science.

So when I was doing book signings in Mall bookstores, sitting up front at a table full of copies of the book, with a big easel sign outside the door saying THOSE OF MY BLOOD with an image of the cover, (the old hardcover cover; it has had several editions since and is currently being released in audiobook edition from audible.com), people came up to me asking about my book on GENEALOGY.  Check out the search results on Amazon and you will find some of those nonfiction books.  True, this Vampire novel is all about family relationships, but not exactly genealogy.

So DEAD LETTER DAY is an appropriate title for the novel by Eileen Rendahl, but can be confused with many other books.  Eileen's "Messenger" delivers deadly objects at risk of life and limb.

When titling a novel, be sure to check Amazon and Google search for the phrase you are using.  The title represents or symbolizes the Theme, which is always a "universal" and as a result, can be commonly used to make other sorts of statements.

Throughout 2015, there has been a running battle between Amazon and "reviewers" and publishers and even readers.

Here is an installment in that battle:
http://buildbookbuzz.com/amazon-reviews/

As I have noted in previous posts, we are carving out new territory in a new world when it comes to communication and information.

The connection between "information" and "communication" is crystal clear in the explosive blasts of "fantasy" type statements by politicians and retorts of "that's a lie!" and euphemisms for that retort such as "disingenuous."

We, as writers, are seeing this same fog blurring the line between information and disinformation in the online comments pages -- Amazon being only one such venue.

I'm not talking about Library Journal, The New York Times Book Review (both of which have treated my mass market novels very well indeed) and not even about online blogs that "review" novels.

I'm talking about readers who post on the products page comments such as "I liked it" (i.e. personal reactions offered to people who do not know that person), or statements such as "the characters are wooden."

Without knowing the commenter personally, a potential reader can not tell whether this book would be an enjoyable read.  Enjoying reading a particular book is a very personal experience, an investment of time, energy (and money), and emotional wear and tear.

So the open comments page on Amazon which is called "reviews" really have nothing at all to do with "reviews."

A "review" is an analysis of a novel to communicate information about that novel to people who would (or would not) find that novel worth its cover price.

With novels like Dead Letter Day (A Messenger Novel) by Eileen Rendahl, you see a Kindle Edition price of $7.99, which I consider exorbitant.  The recent negotiations between Amazon and Publishers (and lawsuits flying every which way, including iBooks on Apple platforms), have "settled" in such a way as to push people back to Paper Editions by raising the price of the ebook.

So grabbing a "cheap" ebook edition in case you might like to read the book in the future (collecting a series so you can binge-read it) is being discouraged.

This makes "reviews" by other readers much more important, and gives readers a whole lot more to consider before buying a novel.

It muddies the decision waters -- which is something marketers are taught to avoid at all costs.

So Amazon has been "cracking down" on "reviews" written by "reviewers" for money.

The problem is not that "reviews" are being posted for money -- but rather that the words posted by such "independent contractors" are  not reviews at all, but comments.

Comments are different from reviews.  As noted above, comments take one or both of two stances:
A) I liked/didn't like it, and
B) My disappointment in this book was the book's fault, not mine, so YOU will be disappointed, too because the writer is bad at writing.  It's not my fault I chose the wrong book to pay my hard earned money for.

Neither statement has anything to do with whether YOU will like this book, or what properties are inherent in the novel itself.

Reviews, on the other hand, focus entirely on whether the book delivers what the cover, title, genre category indicate is inside, and which particular audience is targeted by the publisher.

Yes, audience targeting is done by the writer as I've described

http://aliendjinnromances.blogspot.com/2013/10/index-to-targeting-readership-series-by.html

... but the target can be adjusted by a clever editor issuing rewrite instructions.

The Editor's job ...

Here is Part 7 of Editing -- with links to previous 6 parts:
http://aliendjinnromances.blogspot.com/2010/09/what-exactly-is-editing-part-vii-how-do.html

...is the 'get reviews' via the Publicity Department.  That means the Editor must carve the material into a shape a Publicist would recognize as being in demand by a specific market.

"Reviews" are a marketing tool.  "Reviews" are INFORMATION.

"Comments" are a sharing tool.  "Comments" are COMMUNICATION.

Amazon has gotten the two distinct forms confused, which is why they are in such a tangled muddle.

Reviewers GET PAID to read, analyze, and write up their analysis, specifically targeting mass-buyers such as Libraries, Bookstores, Retailers, Warehousers, and yes, even newspapers such as the New York Times Book Review.

Commenters must not get paid in money, perhaps not even with a free copy.  The whole point of "sharing" a reaction you, personally, experience when reading a novel is that you are COMMUNICATING to the world something about who you are.

Comments are about you -- and are useful to people who have something in common with you, who know who you are (via social networking, for example), and would like to discuss a particular book with you, personally, because you have something in common.

Reviewers get paid to prevent you from wasting your money, and have no interest in hearing back from you.

In other words, COMMENTERS (as distinct from Commentators) get paid via your response to their comments.  REVIEWERS get paid by someone else to "get the word out" to the specific market the publisher intended.

Both get paid, but in different "coin of the realm."

I know this distinction because I've done both, in fandom and fanzines, online in social networking and Twitter chats, as well as professionally paid by a paper print magazine to review free copies of books.

That is I get free copies and a salary, to sort books out into piles, and direct the piles of books at those who would benefit from the content.  Dead Letter Day is one of the books I was sent, free, to review but without a salary or stipend, just the free book.  The review I write here is "optional" -- I will still be sent review copies even if I do not review Dead Letter Day.  A Reviewer is assigned titles they must read and review, and turn in their review by a certain date.

I only review books that will still be a great read and instructive by whatever date you might happen to pick them up.  Timing "reviews" is all about marketing.  My commentary on titles is all about what you can learn by analyzing, contrasting and comparing certain novels to other novels, and I recommend checking your library for ebook or paper copies to read free.

Reviewers are paid to part you from your money.  Commenters are trying to get your attention.  I am intent on illuminating the dark corners of writing lessons your readers can benefit from.

What I choose to say about a book has a lot to do with who is listening.

Here, on this blog, I am talking mostly to Romance writers who use elements of science fiction, fantasy, and/or Paranormal genres to broaden their audience reach.  Other readers here are working toward selling novels with several of these elements.  Still others are readers who love knowing how novels get made and published.  You might be surprised how many readers love seeing how writers do it!

Right now, due to the whole self-publishing, internet, ebook, social networking phenomenon, the world of publishing is redefining the concept Genre, not just the content of books with a genre label on the spine but the very parameters that define what constitutes a genre.

So new experimental genre names are appearing on book spines, and a wide variety of twists, blends, and content are being included under genre labels that sell well for no reason the publisher understands.

As a result, many readers are being led astray by the publisher, then blaming the author for their disappointment in a book.

A track record of disappointing readers is one of the legitimate reasons for an author to change their byline.

I've covered Pen Names in previous posts.

http://aliendjinnromances.blogspot.com/2015/06/reviews-15-by-jacqueline-lichtenberg.html

Here, though, I am telling you to study the comments on the Amazon page for this particular Messenger Novel, and then read the book, and discern the difference between a comment and a review.

Also read this article on the whole 2015 Amazon dust-up which I mentioned above.
http://buildbookbuzz.com/amazon-reviews/

Think about what you, as a reader, want to know about a book before you put down $8 to get a copy.

DEAD LETTER DAY is 294 pages, and the  3rd in the MESSENGER series -- DON'T KILL THE MESSENGER, DEAD ON DELIVERY are the prequels.

I recalled reading the previous ones as I was reading DEAD LETTER DAY, but only vaguely. I didn't find anything in Dead Letter Day that tripped me up or made me think I should reread the prequels.

The series premise is that there is a paranormal world interspersed with our normal world, and it has werewolves and vampires and other "things."  Marlena Markowitz is a young woman whose magical talent, training, and obligation is to deliver packages to paranormal beings -- wherever the recipient might be.

A friend of hers, Paul, a werewolf, has gone missing, and his pack does not seem as concerned as she thinks they should be.

This is an Amateur Private Eye novel, set in a Fantasy universe, with Romance and many other genres skillfully interwoven.

Marlena investigates Paul's disappearance until she puzzles out the motivations of the various paranormal characters involved with her friend, Paul, and locates him.  She is indefatigable and relentless, despite many discouragements that would stop most people.

Meanwhile, Marlena delivers packages and runs her dojo for young children, and trains her own apprentice Messenger.

With so much material compressed into such a short novel, the author still makes room for a Romance thread.  This is an installment in an ongoing Paranormal Romance story which reads well as a stand-alone, but is enhanced by memory of the previous novels.  It is not a Romance.  It is a Private Eye Novel.

I highly recommend Eileen Rendahl's Messenger Novels to those who like a variegated Paranormal world revealed through multiple plot threads and a cast of vividly drawn Characters.

But more than that, I recommend studying the contrast between the comments on Amazon and your own response to the novel.

Try to discern what you, as a Romance writer, can do to attract "reviews" on Amazon that point specific readers at your books, and other readers (who would not enjoy your book) away from wasting their money and posting bitter comments.

As a reader, try to figure out ways to avoid wasting your money.

Genre used to be the sort-mechanism.  You would walk into a book store, glance up at the signs, and go right to the shelves which had all the books you might want to read.  Then you'd pick one by some hint of content, or author's name, but all of them were "good."

Now readers are aswim in a turbulent sea of indistinguishable titles, and the readers do not know why they are whipped around and pointed at "bad" books.  They blame the writers for bad writing, when in fact it is the blurring of the lines between genres coupled to the blurring of the distinction between Review and Comment that is causing confusion.  Add to that the plethora of ebooks that are really early drafts needing work or perhaps fan fiction recycled for publishing.  Review Blogs are strenuously trying to fill the gap, but still falling short.

Publishing needs new ways to sort books for readers.  Can you think of a new one using tech in novel ways (as Uber applied tech to the taxi problem?)  Then write a novel about that method.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com