Big Books Bad

After buying a US import copy of Neal Stephenson’s Quicksilver almost as soon as it was released, I’m now ready to give up on it. I’ve read the first 200 pages, and I can’t stand the thought of another 800. It’s too damned dull.

Amazon is full of mixed reviews for the book. Plenty of people are of the same opinion as I am, namely that it’s a tedious slog. Others, who have liked the book, make macho statements like “recommended, but not to the faint-hearted” and belch tough-guy exhortations to “put in the effort.”

Well, nuts to that. The fact that they feel the need to trumpet their own heroic struggles to finish it is a) pretentious, and b) shows that no matter how worthwhile it may be in the end, it still is a slog. Don’t try to make me feel like a wimp for wanting to be entertained by a book I’ve laid out twenty quid for.

I’ve been stuck on it for four weeks now. Every time I want to sit down and read something, I take a look at its cover and ask myself: “can I really be bothered with another few pages, or will I just stare mindlessly into space instead?”

Staring into space usually wins. This is why I’ve only managed to get through 200 pages of it. And because I don’t like reading more than one (fiction) book at once, this is all the fiction I’ve read in that time. I feel constipated in the head. What a fucking waste of a month’s bus journeys.

This experience makes me less inclined to start reading any other big books. If I choose to invest my time getting involved with a set of characters and the world they live in, then I want a proportionate pay-back. I can easily make it through a short novel (300-400 pages, in the current publishing climate) in a week. I find that a nice, comfortable time to spend with a book. I love spending a lazy afternoon reading a novel cover-to-cover, but with a toddler running around the house that doesn’t happen very often. No, a week is fine by me.

But if I have to wade through six, seven, or eight hundred pages over the course of a fortnight or more, then that book had damn well better be extraordinary.

If the page count of a book were a measure of its quality, or of how much I am likely to enjoy it, then it would make sense to play those odds. I’d read more bigger books. But that isn’t the case. No matter how many reviews I scan or recommendations I get, I don’t know how much I’ll like a book until I actually read it. So by reading doorstops I’m actually reducing the average amount of enjoyment I derive from fiction. Hmm.

(If I take that argument too far, though, I’d end up reading nothing but short stories. That doesn’t work for me, either, so there’s clearly some happy medium to be found.)

My reading diet has recently consisted mainly of science fiction. I think it’s about time that I hunkered down with a few good 300-page mysteries. China Mieville’s 860-page Perdido Street Station is just going to have to wait. John Sandford has a new Prey book out, though, and Robert B. Parker has a new Spenser coming up next week. Reviews suggest that they’re good, but not the best in their respective series. But I know for certain that I’m going to enjoy them, and that their pleasure-to-effort ratio is going to be high. That’s what I want right now.

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Sidelined Protagonist Syndrome

Sidelined Protagonist Syndrome (SPS) is what happens when a writer gets to the end of a story, finds that the Protagonist doesn’t have the means to resolve (or even influence) the final conflict themselves, and therefore pulls in an Outside Agency to do it for them. The Protagonist may skulk around the periphery of the action and deliver a running commentary on events, or they may get called in for the mopping-up scene, where they find out how the Outside Agency put the pieces together and finally came through to pull the Protagonist’s nuts out of the fire.

Key questions to ask to find out if a story is suffering from SPS:

  • If the Outside Agency had not stepped in, would the final conflict have turned out the same way, or would the outcome have been completely different?
  • Did the Protagonist issue direct instructions for the Outside Agency to act, or did the Agency come in of their own accord? (Having the Outside Agency ignore dire warnings from the Protagonist, only to come through in the end, may offset the worst effects of SPS.)
  • Once the Outside Agency stepped in, did they need the help of the Protagonist in order to emerge victorious, or was the Protagonist just another concerned onlooker (aka JAFO)?

The worst case of SPS I’ve come across recently was Vitals by Greg Bear. Nasty. If you can think of any, please zap ’em in the comment section.

Harry F***ing Potter

Harry Potter and the Order of the PhoenixI’m very annoyed with myself because I bought the new Harry Potter book yesterday. The fourth book may have won the Hugo award for best novel, but I found it disappointing. It stomped over the same ground as the first three books, and it didn’t deliver any significant growth in the characters. Magic, Quidditch, Voldemort. Wooo, scary. Like there was ever any whiff of danger involved, or the possibility of Harry not winning through in the end.

Oh, and the book was way too long. You don’t need 600 pages to tell that story. But what can you say to the goose that lays the golden eggs? “Get an editor with some fucking backbone?” I think not.

I’m really not looking forward to The Order of the Phoenix. It’s over 800 pages long. I’m dreading the thought of another year going by at Hogwarts without the characters evolving in some way. Sure, the books are classed as “children’s” fiction, and she may be writing for a young audience, but the fact is that a large proportion of Rowling’s readership are grown-ups, and grown-ups have different expectations of a book than children do. Her publisher recognizes this reality. Does J.K.?

So why did I buy it? A certain completist tendency, I suppose. And the hope that not all of the 800 pages will be wasted by fluff about talking statues and spooky hallways. The book is going to have to work really hard to please me. I’m disappointed in myself because I don’t usually even start a book unless I think I’m going to like it. But there just isn’t much hope there.

John Sandford’s web site

I’ve been a fan of John Sandford’s for some time now. The Prey novels are excellent police thrillers, and Lucas Davenport is one of my favourite series characters–right up there with Elvis Cole, Spenser, Kinsey Millhone, and Miles Vorkosigan. But it’s only today that I stumbled across John Sandford’s web site–and it’s a cracker.

Looking at it in terms of my criteria for what makes a “good” web site, the Sandford site excels in a number of areas:

  • Content: lots of it. For most of his novels, there is a brief synopsis, the book’s first chapter, author comments (actually by the author’s son), and also pictures of the covers of all published editions. This is great stuff! Basic facts about the books, as well as insight from the writer himself.
  • Indexing/findability. The Information architecture for the site is beautifully simple and perfectly effective. On the left hand side of the page there is a sidebar with links to main page for each book, and links to the other key sections of the site (FAQ, author bio, etc.). This sidebar is consistent, and always visible on each page. On the book sub-sections of the site, there are contextual navigation links at the top of the page. These allow you to switch between the pages that are available for that book: synopsis, chapter, covers, etc. There is no search facility, but the site is simple enough that it doesn’t need one.
  • Community. The site has a message board. Nothing complicated, but it allows fans to interact.
  • Connectedness. All of the book pages are internally hyperlinked to each other, so if you’re reading the comments for Chosen Prey, and see a reference to Easy Prey, it takes you there. Simple and effective. There is also a links page, which hooks you up to a number of rare book sites and other author sites.

Another very cool thing is that the site is run by John Sandford’s son, Roswell Camp. I can dig the whole father-and-son thing. 🙂

There are a few things that could be improved, for example allowing you to navigate directly to a book’s comments page, rather than having to go via its index, but overall the site is just damn good. It also mirrors exactly what I’m planning to do with my Bob Shaw project.

For some years now I have been on a quest to collect copies of all editions of Bob Shaw’s novels. I’m up to about a hundred or so now, and am probably about half to two-thirds of the way there–for the English-language editions. (I haven’t started on the foreign editions yet.) My intention is to create an “Encyclopedia of Shaw” on the web, containing detailed information about each book, reviews, comments, and all sorts of other things.

I made an abortive attempt at doing this back in 1998 (for some reason Compuserve is still maintaining the page, even though I left them long ago). It was just plain HTML, it was a pig to maintain, and I didn’t really have the time to put into it. Now, in 2003 I still don’t really have the time to spend on it, but Movable Type is going to make it so much more functional (Comments! Trackbacks!) and easier to maintain when I do get round to it.

I really ought to buckle down and get to work on it. It would be kinda cool. And it would be a lovely memorial to a fantastic writer.

Down and out in the Magic Kingdom

In case you don’t read the Boing Boing blog (you should), Cory Doctorow’s book Down And Out In The Magic Kingdom has just been published (in the US at least). Apart from Cory’s status in the blogging community (he has even set up a new blog for the book itself, the buzz around it, details of personal appearances, etc.), why is this of note? Well, he has also released the electronic text of the novel under a Creative Commons license.

Basically, he’s encouraging you to download it, copy it, and share it with your friends–so long as you make sure that he is attributed as the author, and you don’t create any derivative works from it. You can grab it as plain text, HTML, or easily printable PDF.

So what do you think this is going to do? Is it going to reduce the sales of the book itself? Is he robbing himself? Or is it going to bring his work under the noses of people who might not otherwise been aware of it? Are these people going to plunk down money for the dead trees version if they enjoy the free download?

I’m inclined to think that this is a good thing. I think it will probably stimulate sales, and grow Cory’s fan base. But possibly because this is a rare event. If all authors make their books available for free at the same time as releasing the tangible edition, will anyone raise an eyebrow any more? Will everyone then adopt a “try before you buy” stance, and only pay when they think they have received value?

One thing I’m sure of, is that this is going to happen more and more. Prentice Hall is already publishing a series of books under an open license, where the text will be available for free when the book is published. The Baen Free Library has been around for a couple of years now.

The world of publishing is on the cusp of some major change. It’s going to be interesting to see where it ends up some ten years from now.

Update: See also the interview with Cory Doctorow on the Creative Commons web site.