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Has anyone seen the 3D Inheritance Swords?

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Keep in mind this isn't a dig against the modeler, they did a great job. It's about the original concept, and me trying to prove a point. Here's the link:

http://corellastudios.deviantart.com/art/Blades-of-Alagaesia-Revised-269966839

Seeing them like that just kind of hammers in how dumb the riders swords were. They look like shiny toys. I can't imagine any bad guy going up against a rider cowering in fear when said rider pulls out his cyan sword.

Ironically, the only cool looking one out of the entire bunch is Galby's sword. Because a bleached white sword is actually a neat idea

Eragon - Now In Colouring Book Form!

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Okay, I still can't believe this is going to be a thing, but it is. They're releasing an Eragon colouring book.

Also, check out the comments where one idiot admits to having named his kid Eragon. I shit you not. It's moments like these that make me want to weep for humanity.

Preorder your copy on Amazon today! Thrill to Eragon's "quiet dignity" and Roran's "strength"! (Eragon? Quietly dignified? LOLWHUT. And personally I never saw Roran as "strong" - a man who threatens innocent women isn't "strong" - he's just a violent thug).

I don't know about you guys, but they've left it just a little late to be cashing in on this nonsense now. Adult colouring books are right at the tail end of their fifteen minutes of fame, and the Cycle is almost completely irrelevant. I have to say I'm slightly surprised that Knopf is putting it out; I guess looking over previous sales was enough to motivate them, the cynical bastards.

Blagden, and Prophecies in General

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There hasn't been much discussion that I've seen concerning Blagden the white raven. There has been some analysis of his idiotic "riddles", but not much about the actual character (such as he is). In my opinion, Blagden and Elva are basically the same thing. Both of them were given special powers of foresight thanks to a spell gone awry, both of them are irritating Deus Ex Machinas (admittedly Elva more so than Blagden, if only because she gets more screen-time), and both of them run completely contrary to how the magic system is supposed to work.

Blagden's backstory is that he was originally an ordinary raven, who for no reason whatsoever attacked an Urgal in the middle of a battle, and saved the life of Arya's father, the Elven King (whatever happened to that guy? And don't even get me started on how a mere Urgal could possibly pose a threat to one of Pao's uber-powerful, super fast and strong elves). To reward the bird for his help (even though he's a friggin' bird and couldn't possibly have saved the King intentionally), someone or other cast a spell on him to grant him long life and the power of speech. And, again for no reason whatsoever, these spells also granted the bird white feathers and the power of foresight. No-one knows why.

Um, no. Just no.

For one thing, it's expressly stated at the beginning of Brisingr that a spellcaster cannot cast spells on people to give them extended lifespans that way. (There was admittedly some nonsense about how you could theoretically do it if you also periodically erased the victim's memory or some junk like that - I blanked out most of it). Either way this makes it sound like they just cast this one spell and that was it. Where is the "energy" coming from to keep said spell running? And why would they want to give him a long life and the power of speech in the first place? How are either of these things of any use to a bird? Personally, rather than magically meddling with the poor animal, I'd reward it with a nice comfy home, good food and shiny things, which is what a raven would actually want. As it is, Blagden's "reward" comes across as completely arbitrary and more like some sort of deranged magical experiment some elf performed on him just for yuks.

That actually leads me to wonder whether magical experiments on animals are a thing in Alaglag. Do the "spellweavers" have lab rats to practise on? Now that would royally piss off Eragon "Animal Lives Are Way More Important Than My Fellow Humans" Shadeslayer.

That aside, why in the blue hell would either of these spells come with the side-effect of white feathers and foresight? Magic in this setting is supposed to be ridiculously precise, and the elves are like 5000 years old and speak the AL fluently. How could there possibly be anything in either the wording or the "intent" that would produce this effect? And all we're given is a weak non-explanation along the lines of "nobody knows why". What, did no-one think to investigate any further? 'Cause foresight is kind of a useful power to have. Surely there's at least one elf out there who'd like to have it too (and an elf or a human would hopefully share their foresight without using stupid annoying rhymes).

And why does Blagden give all his stupid little prophecies in the form of dopey rhymes and phoney riddles anyway? Uh-oh, I spy the tired old cliche of the prophet who refuses to give anyone a straight answer because that would spoil the surprise later on. Why do prophets and seers always have to be such unhelpful dicks? Personally, if I had the power (and everyone knew I had it) and foresaw that, say, a building was going to collapse, I'd immediately tell everyone in straightforward terms "stay away from the IMAX Theatre in Darling Harbour on Tuesday the 9th of January 2017 at 4:15 in the afternoon. A previously unnoticed structural problem will cause it to completely cave in on itself and kill everyone inside" (Irony alert - said theatre is currently mostly demolished anyway. Probably why it was the first one to spring to mind).

On the subject of seer characters and prophecies, but there are certain rules of thumb which can make a prophecy work without spoiling the suspense or otherwise wasting everybody's time.

One really good idea, most notably used by George R R Martin, is to have many different prophecies with different interpretations, and to have at least some of them turn out to be complete nonsense. A good way to study for this is to look at so-called prophecies in the real world. There are people who really really want to believe Nostradamus was a real prophet, but his prophecies are so vague that they can be applied to just about anything. Meanwhile we also have prophecies in religious texts like the Bible, and in the case of those people believe those to be true as a matter of religious faith. Because who else could possibly know the future other than the gods themselves?

Then there's the apocalyptic prophecies, both religious and secular. Someone predicts the end of the world every five minutes or so, and plenty of people believe them no matter how many times the "prophet" winds up having to tell them "Ah... the world didn't end in 2012 like I said because... uh... I forgot to carry the y! Revised date is 2027. Sell all your possessions!"

So that's an important point right there: in the real world prophecies are more often than not outright lies, used to manipulate others for fun and profit. This is why doomsday cults and suchlike are a thing. If you want to put a prophet or prohets in your book, consider making them a straight-up liar.

Or maybe your prophet is just straight-up deluded? Imagine following the whim of a prophecy given to you by someone who was in the middle of a psychotic episode. Probably not the best idea, but it could lead to some pretty interesting situations. And gods know there are a few schitzophrenics out there who think they can talk to god and predict the future and so forth.

As for the prophecies themselves, a useful guideline is to keep them a) Short b) Non-specific enough to be open to more than one interpretation, and c) Not the assurance of a happy ending. A good prophecy can be either a prediction along the lines of "so and so will die in ten days" or whatever, but it can also be presented as a "what-if", ie. a prediction of what might happen if the characters follow a certain path. A good example of that is the prophecy from Kung Fu Panda 2, where the soothsayer (she was such a funny character!) tells the villain "if you continue on this path, you will be defeated by a warrior of black and white". Note the "if". In other words, if the villain abandons his evil plans, the prophecy won't come true. He is ultimately defeated (oops, spoilers) by Po because he chooses not to listen to the soothsayer's warning.

I personally like the second kind of prophecy best, because it doesn't rob the characters of their agency. They're not slaves to the prophecy and unable to escape their predestined fates. Having a prophecy which will come true no matter what means running the risk of railroading the plot unless it's carefully handled. Inescapable prophecies can however be interesting because if the characters know about it they can end up doing all sorts of things they might not otherwise do (this happens a fair bit in Greek mythology), and if it predicts a certain ending the interest then lies in how on earth that will come about.

So... how does Paolini handle prophecies? Well, he pretty much goes for everything at once. In the Cycle we have a) Prophetic dreams, b) A fortune-teller, and c) Cryptic clues given by both Serious Ass and Blagden, in both cases in an annoyingly vague fashion. Unfortunately, 90% of the prophecies given in the series only serve to railroad the plot and give away important plot points ahead of time (if the editors had any damn sense, they'd have ordered the entire scene where Angela tells Eragon's fortune to be cut out of hand. Maybe they did and he refused like a big stubborn jackass). The remaining 10% are completely pointless. And the non-pointless ones are constantly used as free plot coupons which rob Eragon of even more of what little agency he ever had as a character. When it's not another character ordering him about, a convenient prophecy pops up just when it's needed, so he won't have to (gods forbid) actually figure out what to do next on his own. As many have noted, Eragon is basically a slave to "fate" and "destiny". A major problem with this, other than making him that much less interesting than he could have been (a character's choices tell you a lot about who they are as a person, and Eragon rarely if ever gets to make his own choices), is that Eragon never seems to actually notice this. Being bound to a predestined fate with no chance to live your own life and go your own way would be a pretty awful experience if you think about it.

I want you to stop reading for a moment now. Look at your surroundings. Maybe you're at home, sitting at your computer. Maybe you're in a library. Maybe you're at the bus stop, reading this on your phone (poor you!).

Think about your home. Think about your friends and family, and your job if you have one. Your school. Your pets. Your favourite cinema.

And now imagine that all of that was taken away from you, forever, and you had no say in the matter. Instead you have to go away to a completely different place, and become a completely different person, and it's not because you want to do it - it's because it's your Destiny, and no matter what you do, there's no escaping it. You can try to run, you can try to hide, you can even try to take your own life. But none of it will ever work. Your free will is irrelevant. Oh, and now you have to go to war and start slaughtering people left and right, and you don't have any choice about that either.

Now... how would you feel about that? Honestly? If the answer is anything other than "absolutely fucking traumatised and miserable", I'll be very surprised. I think that, first and foremost, this is the most important thing to keep in mind when writing prophecies. Imagine what it would actually feel like to be the subject of one. There's an ongoing theme in Brisingr, and in Inheritance as well, about how you can't fight fate and shouldn't try either. But even if you're told you can't change your destiny, you can sure as shit still fight back. Why would you not want to at the very least try? Human beings are stubborn bastards; we hate being told what to do, and we frequently do the opposite just to be contrary. And if you don't get to make any of your own choices or control your own life, what's the point in living at all? Honestly?

One final note of irony: Eragon thinks slavery is Wrong and Evil (not that this stops him from basically enslaving Sloan), but is completely oblivious to the cold fact that he himself is little better than a slave. At least that means we don't have to listen to him wangst about it.

Early present: new Q&A

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Merry Penultimate Celebration of the Gregorian Calendar Year of 2016CE, everyone! To celebrate, let's have a brand new Q&A, not scavenged from previous Q&As, and not taken from the Reddit AMA.

These are the Top Ten most asked questions of 2016! Compiled by Paolini's "team", and presumably answered by Christopher.


Q&As with Christopher: The Most Popular Questions of 2016

In collaboration with Alex Vivaut of Eragons.com in Spain, we asked Christopher the most popular questions of 2016! Curious about if there will be another movie? Want to know the current status of Book Five and the new science fiction novel? Will your favorite Inheritance Cycle love affairs end with a happily ever after? Find out below

Hooray.

1. Is there going to be a new Eragon movie?

    I hope so! Hollywood is a strange and unpredictable place, which means it’s hard to know for certain what projects may actually see the light of day, but I’m pushing hard for a remake of Eragon. It would be wonderful to see a faithful adaptation of the story up on the big screen.

Actual answer: given the established fanbase was basically gutted, and the movie flopped worse (16%) than the CGI crime against art that was "Video Games: The Movie" (18%), no.

2. Are you going to write any other book based in Alagaësia?

    Of course! I’ve plotted out a whole bunch of new stories set in Alagaësia, including Book Five! First, though, I have to finish my current novel (a big science-fiction epic). I’m writing as fast as possible.

Despite the insistence of fans, Paolini obviously does not care about writing any more about Eragon. Or he would have done so, and not spent more than 5 years on a sci-fi book that nobody wanted or cares about.

3. When is the fifth book of Inheritance going to release?

    I really can’t say, but I can’t wait to share these stories with you. (Plus, just wait until you see what happens with Angela!)

See above. He'll string his remaining fans along for as long as possible, but he just doesn't care any more.

4.Is the plot of the fifth book about Eragon, Saphira, and Arya?

    Yes? . . . Ha! I can’t really answer that question in any greater detail without spoiling the story. However, I can say that it takes place after “Inheritance” and that we’ll see many of our favorite characters along with a whole bunch of new ones. It’s exciting stuff.

Another non-answer that reveals nothing. How difficult is it to reveal details that don't "spoil the plot"? Move trailers and other better authors do it all the time. How hard is it to say "it will be about the struggles of a young magician in service to Queen Nasuada, as he/she is tempted by the powers of sorcery and Spirits, and wrestles with the Queen's magical restrictions on Empire wizardry"?

5. How is your new science fiction book going?

    This project has taken way longer than I expected: over a year to research the science and create a new universe for my characters;

Only a year to create a new universe? Or do you mean a year to mash together the universes of your "inspiration" novels in a shoddy cut-and-paste that will have huge plot holes and inconsistencies because you haven't thought any of it through in any real detail?

several months to write short stories that helped me find the voice for this new setting

Actually this is a really good idea, one that I wish he's done prior to publishing the IC as it could have cut down on inconsistencies in narration, tone, and characterisation.

(it’s most definitely not fantasy!); and then a couple more years to plot and write the first draft.

So, only one year to develop the setting, but then a couple of years for plot development AND writing? To me as a worldbuilder,  that seems a little reversed. Considering Paolini was going on about the mathematics and advanced science and this and that, I would hope he spent more than a year researching and learning about how science actually works. The plot should arise as a consequence of the world and characters, it shouldn't need years and years of development unless you're writing a whodunnit or an intricate thriller mystery. Popcorn Scifi like Paolini is inevitably going to produce does not require that.

My relief at finally reaching the end last spring was tempered when I read the beast from beginning to end and realized that the characters needed more development and the plot some clarification.

If only he'd re-read any of the Inhertiance Cycle books after the first draft.

Creating a good story takes a lot of work!

He says as if he has any idea what a good story looks like, let alone how to write one.

So here we are at the end of 2016. My rewrite is progressing extremely well,

debatable.

and I can finally see the light at the end of the tunnel. Here’s a teaser: the story has a female protagonist, aliens, space battles . . . and a cat. I can’t wait for you to read it!

That is not a teaser. If you think you are some kind of trailblazer for having a sci-fi book with alien battles and a female protagonist, you are not. A teaser would be some information regarding the setting, the plot, or the backstory or setup for the story. A teaser would be introducing a specific character and touching on their background/origins.

6. When will your new science fiction book be published?

    As soon as possible! Once I finish this rewrite, I’ll share the manuscript with my agent, and the official process of finding a publisher will proceed.

So, he hasn't given it to the agent yet, and the agent therefore has not secured a publishing deal for it. We still have hope for a big pile of rejection letters and a much-deserved and years-late serving of humble pie.

7. Who is Angela the herbalist?

    She’s a trickster and an enigma and a question wrapped up in an answer. You can be sure that we’ll be seeing much more of her in Book Five. Not only that, I have another book planned that’s centered just on her.

Fuck no.



8. Are Eragon and Arya going to be together?

    You’ll have to read Book Five to find out! Their story is far from over, though.

The Book 5 that either will never happen, or will be so out of date that even the remaining fans that still hang around would be long gone?

9. Are Murtagh and Nasuada going to be together?

    Again, I can’t say without spoiling future events, but neither of them is the sort to give up on something (or someone) they care about.

How is it spoiling anything to give your fans something solid to ancitipate? Paolini really doesn't understand what a spoiler is, and he apparently also had no idea what marketing is.

10. Will Eragon come back to the land of Alagaësia?

    No comment. 🙂

Fuck you.

Closing comments?

    As always, thank you to all of my fans for reading the Inheritance Cycle! It’s humbling to know that people all around the world enjoy the series. I appreciate your support as I work to bring you new stories. Exciting things are coming!

All three of your fans appreciate your thanks.

    As Eragon himself would say, “Sé onr sverdar sitja hvass!” May your swords stay sharp.

Eragon has never said this.

    Christopher Paolini

~~~

Bonus fun fact: While searching for any verifiable instances of Eragon actually saying any variation of "may your sword stay sharp" in the series, I found this quote:

“I'll fight when needed, revel when there's an occasion, mourn when there is grief and die if my time comes...But I will not let anyone use me against my will.”

HAHAHAHAHA. It is to laugh.

Brisingr Spork, Part 8: The Trial of the Long Knives (Part Two of Two)

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On the Twelfth Day of Christmas my true love gave to me,
Fadawar's drummers drumming,
An elven Pipedream piping,
Ten tribesmen talking
Nasuada stripping
One maid awaiting
Human gods invented
Six Nighthawks hovering
Five previous scaaaars!
Four sleevéd drums
Three silly-similes
"Two" much padding
and a Deus Ex Machinaaaaa...
Merry Christmas and Boxing Day to all! Hope antis everywhere are having a fantastic holiday season no matter the hemisphere you hail from.

As he was the one who had issued the challenge, Fadawar went first. He held his left arm straight out from his shoulder, palm upward; placed the blade of his knife against his forearm, just below the crease of his elbow; and drew the mirror-polished edge across his flesh. His skin split like an overripe berry, blood welling from within the crimson crevice.

Alright, so it's truly trial time.

If Fadawar's skin really did act like an overripe berry wouldn't it bruise inwards quite dramatically straight away and smush the entire thing in a mess of juice and pulp? See, this thing about strange unhelpful similes cropping up again. Our skin doesn't act anything like the skin of a berry, ripe or otherwise. See, we have this thing called skin layers, each one doing its bit to protect against infection in different ways.

For those meanwhile distracted by the fact that someone just cut themselves with an extremely sharp knife (ignoring the irritating crimson crevice alliteration) yes, this is canonically something these tribes do.

Theirs was a test of wills to discover who could withstand the most cuts. The belief was that whoever aspired to become the chief of a tribe, or even a warlord, should be willing to endure more pain than anyone else for the sake of his or her people. Otherwise, how could the tribes trust their leaders to place the concerns of the community before their own selfish desires? It was Nasuada’s opinion that the practice encouraged extremism, but she also understood the ability of the gesture to earn people’s trust. Although the Trial of the Long Knives was specific to the dark-skinned tribes, besting Fadawar would solidify her standing among the Varden and, she hoped, King Orrin’s followers.

I think this simplification on the act throws up all sorts of issues. Are there simply no tribe members who personally believe that the ritual has the potential to endanger one's life and thus shows the reverse message that they simply have no concern for their own safety? Does that thought just not exist in Pao-land?

What about people aspiring to be warlords or chiefs that maybe can't mentally stand the sight or smell of blood, but have the amazing instincts and the learned smarts to lead well? Guess they're shit out of luck when someone who lack those same attributes are able to win against them simply by challenging them to the Trial and making one tiny cut - watching as the one who would be better suited for the job faints dead away.

What about people who mentally have no issue with this but physically can't? I know they exist - I'm one of them. I can't even give blood because my body will simply start shutting down - dizzy spells, nausea, fading senses, etc.

So sometimes, taking flesh wounds isn't just about enduring pain to prove to others they're willing to take intense pain on for them in future. What makes this concept even more complicated - everyone's mileage and opinions will probably vary here wildly - is that this story is not in a vacuum. At the height of the series's popularity, it was being read. By young adults. Some of whom may have self harmed. disclaimer don't be concerned I'm not speaking from personal experience

I don't know. I just sometimes have to take a step back here past the prose and story and think, why did Nasuada's Trial even have to involve taking a knife to one's arm? Seriously, real life tribes and communities on Earth do some amazingly inventive and hardcore trials to become full-fledged adults or warriors... like wearing a bullet-ant glove for ten minutes (holy shit) or hunting lions, or old-school bungee. Or hell, even getting a huge ceremonial tattoo. Sure, these examples all include varying degrees danger and pain and all those tasking things that trials generally involve. But this one? It's named after a real life event yet shares no similarities. It mirrors real life yet the only similarity is the physical act. To be honest, delving into this squicks me the hell out since it reads as somewhat unthinking. That may just be me, I don't know.

So I'll just continue on and say this in response to the rest of the paragraph. How on earth is undertaking this particular book's trial (a stubborn anything you can do I can and must do better 'cause I gotta win act on your own body simply in order to win the unspoken command of other tribe members and not die in the process) not selfish? How does it win trust and show they're concerned about the community at large? How does it prove that they can withstand more pain, when so many other physical and mental factors would be at work? How has this ritual withstood the test of time when people could very well have been going too hard/deep and simply bleeding out for the entire existance of these tribes? Wouldn't they have turned around and some point and thought - uh, let's try something else that can also test them to their limits; we're losing too many of our best warriors to bloodloss as they try to overthrow the chief, and we kinda need them all to defend our village...?

Nasuada prays quickly to Gokukara the praying mantis goddess (I'm reminded of one of my Inheritance spork chapters) - any similarities to well known anime characters entirely coincidental? - and makes her own first cut.

She shuddered at the sensation. She wanted to fling the knife away and clutch her wound and scream. She did none of those things. She kept her muscles slack; if she tensed, the process would hurt all the more. And she kept smiling as, slowly, the blade mutilated her body. The cut ended after only three seconds, but in those seconds, her outraged flesh delivered a thousand shrieking complaints, and each one nearly made her stop. As she lowered the knife, she noticed that while the tribesmen still beat upon their drums, she heard naught but the pounding of her pulse.

She is the werecat's mother. Naturally, whilst Nasuada feels horrified instantly, she doesn't even flinch outwardly. Ugh, she's such a robot. Mostly because the writing is extremely robotic. Blade cut her arm? Hmm... nah, I've used that word too many times. Hey, why don't I throw in a 'mutilated' and swap 'arm' for 'body' to really ramp up the tension - ooh, that sounds great! thinks our Super Thesaurus wielding writer without realising that 'mutilated' doesn't very well match with her first light slicing.

Whilst Nasuada's skin keeps screaming at her, Fadawar goes again. It's written in the same fraught tone as if we're meant to be glued to the page, as if we don't know who's going to actually come up on top. Nas goes again:

Nasuada saw it was her turn again. Knowing what to expect only increased her fear. Her instinct for self-preservation—an instinct that had served her well on all other occasions—warred against the commands she sent to her arm and hand. Desperate, she concentrated upon her desire to preserve the Varden and overthrow Galbatorix: the two causes to which she had devoted her entire being. In her mind, she saw her father and Jörmundur and Eragon and the people of the Varden, and she thought, For them! I do this for them. I was born to serve, and this is my service.

Y'see, when main characters find it remarkably easy to prevail against their struggles within the paragraph, readers tend not to care so much. I don't exactly know why all of Paolini's characters fall flat when going through emotional turmoil - oh wait, who am I kidding, of course I know why: because none of them think or behave or respond like actual people. Alagaesians are robots. Mere meat puppets. Sure, she shudders once at the start but it reads as if she's only doing so in response to the thought of how easily the blade could cut her too deeply. Where's the faces and underarms suddenly drenched in sweat? Where's the struggle to keep breathing deeply and not collapse? Shaking legs? Hammering heart? (yes, yes - I'll sort of pay Paolini here as he mentions her pulse going wild...) Accidental vocalisations? C'mon man, why do I feel so removed from this "hardcore", "tense" situation?

A strange lethargy overtook Nasuada. She was so very tired, and cold as well. It occurred to her then that tolerance of pain might not decide the trial, but rather who would faint first from loss of blood.

Telling us she's tired, rather than having her eyelids drooping or fingers shaking; the hairs on her arms and legs standing up, her fingers and toes going cold or even numb. How's about having her experience what it's like to feel faint first-hand (hah, take that alliteration, Paolini) and noticing in horror as her head starts pounding, her vision shrinking from the edges and overtaken in black until she can barely even see through the barest circle of sight yet she can barely lift her head from staring blankly at the floor and Fadawar's shoes? What about that awful tinny 'eeeeeeeeeee' noise starting up faintly in her ears and increasing in volume until even her heartbeat is drowned out? Her mind going absolutely numb until she can barely even string a mental sentence together or even remember what she's doing as the bodily trauma gets worse and worse? Where is it all? Nope; she's still thinking cleanly and clearly that she's concerned about fainting due to loss of blood. Dizzy people are not in the same normal state of mind by this stage.

The row of gaping red slits on the warlord’s arm reminded Nasuada of the gills of a fish, a thought that for some reason seemed incredibly funny to her; she had to bite her tongue to keep from giggling.

This surely can't be the behaviour or mental state of someone who has just opened their arm in five places and has a pool of blood at their feet.

Fad makes his sixth. “Best that, you feckless witch!” he shouted over the noise of the drums, and dropped to one knee.

She did.


I don't even think Paolini cares any longer about this scene. As I am fast losing patience with it... Fadawar moves his attention onto his other arm as rules state you can't make any more than six cuts per arm. Nas goes to do the same but Orrin jumps in and demands they stop. Nasuada jabs the knife in his direction and growls at him not to meddle. Fadawar makes #7 and Nasuada manages to notice that he's clenching his muscles bringing more pain and blood.

She cries out (thank you) from the pain of her own seventh cut. Her pained left arm makes an improper cut and goes deeper and jagged. The razor edge burned like a white-hot wire. Bad simile is bad.

I can’t go on, she thought. I can’t . . . I can’t!It’s too much to bear. I’d rather die. . . . Oh please, let it end! It gave her some relief to indulge in those and other desperate complaints, but in the depths of her heart, she knew she would never give up.

Dance, puppet Nasuada, dance! Hey, here's an idea. How about King Orrin be right all along to have an issue with this trial and the fate of the entire Varden? Have Nasuada lose even though she was determined, even though she said she'd never give up, even though Elva lied and said she'd win (Wyrda!). Wow, an actual main character not getting their way? What sorcery is this? The potential ways the rest of the story and the interactions between characters would go depending on that thrown-for-a-loop twist could make things interesting. If you really wanted Nas to be the Varden's leader during the last book, well; have Fadawar killed trying to save her being abducted or something.

But no. Instead, Fadawar reluctantly prepares for #8. He remained thus as sweat dripped over his eyes and his wounds shed ruby tears.

Bonus points for dripping sweat instantly cancelled out by the awful 'ruby tears'.

Nasuada plays her trump card: His hesitation bolstered Nasuada’s flagging strength. A fierce exhilaration overtook her, transmuting her pain into an almost pleasurable sensation. She matched Fadawar’s effort and then, spurred onward by her sudden, heedless disregard for her own well-being, brought the knife down again. “Best that, ” she whispered.

I don't really have any new words or arguments to bring against this. Sometimes the spirit can be as willing as it likes but the flesh will be too weak. The body is not the instrument of the mind, at least not all the time. There's a reason why torture and the like works. The mind will be too broken in the end to resist so much drawn-out pain. And as for the response of her pain turning to almost-pleasure? Whilst that is a thing that exists, and whilst a viciously masochistic character would be fun to read, one can't just turn pain vs. pleasure on and off as you go.

Finally, Fadawar hesitates enough to seal the deal.

The prospect of having to make two cuts in a row—one to equal the number of Nasuada’s and one to advance the contest—seemed to intimidate Fadawar. He blinked, licked his lips, and adjusted his grip on his knife three times before he raised the weapon over his arm.

His tongue darted out and moistened his lips again.

A spasm distorted his left hand, and the knife dropped from his contorted fingers, burying itself upright in the ground. He picked it up. Underneath his robe, his chest rose and fell with frantic speed. Lifting the knife, he touched it to his arm; it promptly drew a small trickle of blood. Fadawar’s jaw knotted and writhed, and then a shudder ran the length of his spine and he doubled over, pressing his injured arms against his belly. “I submit,” he said.

The drums stopped.


Wow, was not expecting Nasuada to win from the get-go, I was so worried and nervous for the character; said no one ever. The crowd goes wild, and the whole bus claps, Nasuada sits down on her chair, and finally gets those vision-altering symptoms that she should have been getting whilst standing if she was going to get them at all. Farica her handmaid starts bandaging her arms.

“Never before has anyone endured so many cuts in the Trial of the Long Knives. Both you and Fadawar proved your mettle, but you are undoubtedly the victor. We shall tell our people of your achievement, and they shall give you their fealty.”

Yeah, and Eragon-Sue is the best poet in all of elf-land, and Roran kills the most mooks, and Saphira is the most beautiful dragon in all of dragon-land. Aren't these guys so awesome? Don't you just wanna, y'know, name your kids after them?

Trianna approaches in order to heal Nas. Nas declines. “The Trial of the Long Knives requires participants to allow their wounds to heal at their natural pace. Otherwise, we won’t have experienced the full measure of pain the trial entails. If I violate the rule, Fadawar will be declared the victor.”

Have a good time with your infected arms there, Nas. Trianna tries again. "If you had consulted me beforehand, I could have arranged it so that you could lop off an entire limb without the slightest discomfort.”

Isn't that what the laughing soldiers were all about? How are these the good guys, again? Oh, so it's ok when the Varden leader does it, but not Galbatorix? Oh, ok.

In a deadly soft tone, King Orrin said, “But what if you had lost?”

“I could not lose. Even if it meant my death, I never would have allowed Fadawar to gain control of the Varden.”

Grave, Orrin studied her for a long while. “I believe you. Only, is the tribes’ loyalty worth such a great sacrifice? You are not so common that we can easily replace you.”

“The tribes’ loyalty? No. But this will have an effect far beyond the tribes, as you must know. It should help unify our forces. And that is a prize valuable enough for me to willingly brave a host of unpleasant deaths.”

“Pray tell, what would the Varden have gained if you had died today? No benefit would exist then. Your legacy would be discouragement, chaos, and likely ruin.”

Whenever Nasuada drank wine, mead, and especially strong spirits, she became most cautious with her speech and motions, for even if she did not notice it at once, she knew the alcohol degraded her judgment and coordination, and she had no desire to behave inappropriately or to give others an advantage in their dealings with her.

Pain-drunk as she was, she later realized she should have been as vigilant in her discussion with Orrin as if she had imbibed three tankards of the dwarves’ blackberry-honey mead. If she had, her well-developed sense of courtesy would have prevented her from replying so: “You worry like an old man, Orrin. I had to do this, and it is done. ’Tis bootless to fret about it now. . . . I took a risk, yes. But we cannot defeat Galbatorix unless we dance along the very cliff edge of disaster. You are a king. You ought to understand that danger is the mantle a person assumes when he—or she—has the arrogance to decide the fates of other men.”

“I understand well enough,” growled Orrin. “My family and I have defended Surda against the Empire’s encroachment every day of our lives for generations, while the Varden merely hid in Farthen Dûr and leeched off Hrothgar’s generosity.” His robes swirled about him as he turned and stalked out of the pavilion.

“That was badly handled, my Lady,” observed Jörmundur. Nasuada winced as Farica tugged on her bandages.

“I know,” she gasped. “I’ll mend his broken pride tomorrow."


Growling, observing and gasping, oh my...

The 7 Changes That Could Have "Saved" the Inheritance Series

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Hey all!

I used to be an active member of the AS community many, many years ago. Perhaps I've eaten too many member-berries, but I've been rereading the Inheritance series, which I read for the first time nearly a decade ago. I was incredibly surprised to see a pocket of AS still in existence. Hope ya'll are doing well!

I liked the books initially, and still do at some level. I think the reason they're so addicting to critique is there are many OBVIOUS ways to have made the series at least half-way decent.

Now, as a whole, the main flaws of the books are 1) their lack of originality, and 2) that Paolini just writes (excuse my native Boston vernacular) wicked weird. Forget purple prose and walking-thesaurus syndrome - Paolini consistently narrates in a way that's just odd. From cringe-inducing philosophizing to creepy attempts at romance... I don't have to remind everybody of the naked elf 'nads right?

So that's stuff that just an inherent flaw of the author. However, here are seven specific practical changes that could have "saved" Inheritance (or at least made it somewhat more enjoyable). Let me know what you think!

1) Simplify the freaking magic system. For God's sake.

The magic in Inheritance just drives me nuts. Essentially, there's a special language that lets you do ANYTHING as long as you say the right made-up word, and that you have enough energy in your body to do that magic. Better start counting calories!

I don't mind mind having a whole ancient language for magic, but maybe Paolini should have emphasized the whole "ancient" part. Paolini's magical world would have made sense if dragon riders could have control over a certain range of the natural world through different words, as well as the telepathic stuff. But imitations could have been placed if maybe much of the Ancient language was lost to history, for example. Without limitations, you basically give Eragon god-like powers and expect us to be held in suspense.

2) Don't "kill off' Murtagh at the start of Eldest!

CP ludicrously pretends to off his absolute best character at the start of the Red Brick. I suppose he wanted a "big reveal" for the end, but there were better ways to do it (see below). Maybe he also wanted to build tension, but any one with a brain could tell Murtagh was still alive. Killing off Ajihad was action enough. What Paolini should have done is kept Murtagh around, maybe as like Nasuada's bodyguard or something for the whole of the novel. She somehow gets a POV in Eldest over and over. Having Murtagh around doing cool things (saving her from assassins?) and still getting blamed for his father's misdeeds for no good reason would only have made Book 2 stronger. It also makes the contrived romance between the two developed in Book 4 actually make a bit of sense.

3) Have Murtagh get kidnapped by the Twins at the end of Eldest, after the Darth Vader - er I mean Morzan - reveal

The Battle at Burning Man (is that what it was called?) would be so much better if heroes Eragon, Roran, and Murtagh all end up converging together and doing hero things together. Then the Twins could show up, kill the dwarf king dude, and reveal the big "father moment" to Eragon and Murtagh when they're all fighting. It'd be all brothers vs brothers moment. CP would just love the lazy symmetry.

(AND - here's a bonus. Eldest could have featured an epilogue with Murtagh's POV, brought before Galbatorix. Apparently, Murtagh touched the red egg before he left the capital in the first book. It'd be a great cliffhanger if the Red dragon had ALREADY hatched, and was waiting for Murtagh the whole time. It would also explain why King John Malkovich always left his dirty work to less competent people. He was dragon-sitting - DUH).


4) Just cut out 90% of the scenes involving elves and dwarves.

I don't mind that they're in the story, as blatant rip offs as they are, but if I wanted to read about their fake histories, I'd rather read Lord of the Rings. And even then it's not that appealing, at least to me. And in Inheritance, there's literally like 500+ pages of unnecessary dwarf and elf stuff. (Yes, that's a whole book's worth.)

You know, there's an old famous movie that features aliens and monsters in a deep galactic adventure that understood you can't get too absorbed with weird creatures people can't relate to. The reason the movie worked is because it focused on the human beings in the movie and their characters, and the non-humans kind of take a backseat. That movie is called Star Wars. I wonder if Paolini has seen it.

5) Let Arya and Eragon get hot for each other!

Oh - the famous Eragon-Arya romance. When Eldest first came out, People Magazine nearly reported on the affair as much as they did Brangelina.

The reason it doesn't work - aside from Paolini just not being able to write romance at all - is that any potential for romantic tension is suppressed right from the start. Paolini writes himself into a corner by not letting the elf-lady develop or release feelings for Eragon until the very, very end of the series. Of course it all comes across weird! The audience gets the sense that Arya hates Eragon and his advances (making Eragon look like a creep). I get that she had an elf lover dude who dies in the first chapter, but why not let them get hot and heavy by the middle of Eldest or so if they both have they both have interest? They're both in a war, you never know what's going to happen. ;) Not only would that add more emotion to two lifeless characters, but it would make the 'romance" 10 times more interesting. Imagine the Elf Queen finding out her Princess has been dating the Dragon Rider. Watch Eragon, a 15 year old boy, struggle with the ludicrous age gap he's gotten himself into. And although I doubt there could ever be a sex scene in these books for children, if Chris ever wanted to go that way I'm sure it would be absolutely glorious in its hilarity. I'm sure a "single tear" would be involved.

6) Have Shruikan - the big, bad dragon, be the one controlling Galbatorix

Galbatorix as a villain pretty much sucks. We almost never see him, never see his power, and he dies in a flukey way after basically killing himself.

Here's this for a better plot twist. Galbatorix originally lost his first dragon, and then apparently enslaved a dragon he stole, the big black one named Shruikan. Except, WHAT IF - Skruikan was the one that mentally enslaved the supposed king?

It would make sense based on the original story. Galbatorix only ever starts going apeshit AFTER he bonds with his new dragon. What if the dragon has a hidden agenda - like wanting dragons to be the ones in control of their Riders instead of the other way around. Maybe some of the dead dragons living in their hearts are actually in on it. Shruikan has been using the king to purge human-loving dragons and is now trying to start anew. Saphira loves Eragon though, so she fights to protect him and stays loyal.

It would definitely shine the whole preceding story in a different light, and spin the Dark Lord cliche right on its head. Would also highlight dragons and their larger role in the whole story.

Speaking of which...

7. Have Saphira LIGHT MORE THINGS ON FIRE.

This is a book series about dragons right? In Game of Thrones, the dragons literally fly around and light something on fire every episode. Saphira literally spends half the series acting as Eragon's Shrink (yes - I'm retired), and doesn't do the ONE THING that makes her a tremendous asset to beating Galbatorix and the war effort. How about instead taking slow, relaxing journeys for half the series, you just start kicking ass, huh Eragon? I could fault Inheritance for many things - if they just actually had their dragons do more dragon things in a book ABOUT DRAGONS, things would be much better.

Geez, and I thought you were good at plagiarizing Paolini :)

Anyway, just a few random thoughts! Was wondering if you all had different takes. It was nice to take a dive back into this series. I hope to never do it again!

Saphira Is a Hypocrite

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Okay, here's something I recently remembered from Eldest which had me rolling my eyes. Remember the bit in the early part of the book where Trianna the sorcererss flirts with Eragon and Saphira chases her away? Saphira calls the woman a "slattern" - an old world for "slut" - and basically tells Eragon he's not allowed to get involved with any woman without her approval.

Now, not only is this disgustingly sexist - flirting with a guy in no way makes anyone a "slut" - but guess what Saphira does the instant she claps eyes on Glaedr? She starts hitting on him like a lovestruck teenager, and then attempts to force herself on him.

Is Eragon given any say in this behaviour? No. Does anyone call Saphira a slattern? No. Is there any sign of Eragon's own feelings becoming engaged as Saphira said would happen if he got involved with anyone? No. (Well unless you count him randomly perving on Oromis, but I'm pretty sure that was unintentional). So it's okay for Saphira to get all horny and flirty, but not Eragon.

So Saphira forcibly stops her "partner-of-heart-and-mind" from having a love life, but doesn't apply her own conditions to herself in any way shape or form and later gets it on with Firnen after knowing him for all of five minutes. Hypocrite much?

And no I'm not giving her a pass because she's a dragon, because if she's meant to have a relaxed attitude toward mating and such she shouldn't care if Eragon wants some action too. Gods forbid the selfish bitch acknowledge that he has needs too.

I hate Saphira, quite frankly.

Eragon Comic

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Oh GOD after typing that heading up there I instantly pictured an Inheritance manga. *shudder* The Twilight one was horrifying enough. Actually, that's an interesting possiblity -what d'you guys think? Could it have worked as a manga? Or an anime? Surely the transition couldn't possibly make it any worse.

Any road, I found this on my hard drive from a while back - I think it was originally posted on Deviantart. Still makes me chuckle.

Meanwhile, the next chapter up for sporking is Winged Tidings, yet another pointless chapter in which nothing interesting happens! bishop8 is on sporking duty. Unclaimed chapters are as follows:

Amid the Restless Crowd – Eragon reaches the Varden and reunites with Saphira.Amid the Restless Crowd – Eragon reaches the Varden and reunites with Saphira. (filler)

A Feast with Friends – Eragon catches up with the villagers of Carvahall. (filler)

A Forest of Stone – Eragon talks with Orik. (even more filler)

Glumra – Eragon supports the grieving mother of the dwarven bodyguard that died for him. (gosh, could this be another filler chapter?)

Among the Clouds – Eragon and Saphira fly to Ellesmera. (and... it's another filler chapter in which nothing important happens. Do you REALLY need to spend an entire chapter on nothing but boring travelling?)

If these chapters remain unclaimed, I'll take them. No sweat.

Brisingr Spork, Part 9: Winged Tidings

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Happy New Year! Here we are with the next chapter, Winged Tidings. We're still with Nasuada because...well, there really isn't a reason because this is another pointless chapter, but I'm getting ahead of myself.


The chapter starts with Jormundur shaking Nasuada awake. Nasuada was passed out from the blood loss, but doesn't actually remember passing out. Or at least I think that's what happened; Paolini wrote it out in a really convoluted manner.


After she assures them she's alright, she gives Jormundur and her handmaiden orders. She says that the tribe leader who lost can keep his position as long he swears loyalty to her, because his leadership skills are too valuable to waste. Leadership skills I'm sure we'll see much of for the rest of the series. She also asks them to have Angela come heal her. Aren't her wounds supposed to heal naturally? Why is she allowed to use medicine and not magic?


But they don't want to leave her alone.


“I won’t leave you alone in this condition,” declared Jörmundur.


Farica nodded. “Begging your pardon, my Lady, but I agree with him. It’s not safe.”


I can't tell what they're worried about or why her guards aren't the solution.


She assures them that she is never alone. Jormundur wants to know what precautions she's taken, but Nasuada refuses him.


“For the sake of my own peace of mind, I need to have a dagger no one else can see: a hidden weapon tucked up my sleeve, if you will.”


1. Yet when Elva ditches her, she doesn't get a new “hidden weapon” for her own peace of mind.


2. Elva saved her from an assassin once and she didn't keep that a secret. So wouldn't the next assassin try to learn from that and prepare their own attempt with Elva in mind? Making Elva not a hidden weapon at all.


This reassures them, and they leave. A minute later, Elva comes out from her hiding place and we get her description.


She's wearing a black dress. Her hair is darker than that, flows down to her lower back, and is described as a “liquid void”.


Hoo boy.


Elva compliments Nasuada for withstanding so many cuts. Except the compliment doesn't make sense because we find out soon that Nasuada wouldn't have been able to make so many cuts if it weren't for Elva.


Even though Nasuada had heard it many times, Elva’s voice still inspired a thrill of alarm in her, for it was the bitter, mocking voice of a world-weary adult, not that of a child.


If she has the body of a child, wouldn't she have the voice of a child?


Nasuada says that Elva is stronger than her, because she had to feel the pain of both Nasuada and the other guy.


“Thank you for staying with me. I know what it must have cost you, and I’m grateful.”


You're grateful? Now that I think about it, why did Elva agree to help you anyway? What are you giving her in return besides your “gratefulness”?


“At least you won’t have to live like this for much longer. As soon as Eragon returns, he’ll remove the spell.”


Nasuada does not actually want the spell removed, but this isn't mentioned yet even though now would be a fine time to introduce that.


“I lied about the Trial of the Long Knives.”


“What do you mean?”


“I foresaw that you would lose, not win.”


“What!”


“If I had allowed events to take their course, your nerve would have broken on the seventh cut and Fadawar would be sitting where you are now. So I told you what you needed to hear in order to prevail.”


Here's some quotes from the last chapter to consider while we think about this.


Desperate, she concentrated upon her desire to preserve the Varden and overthrow Galbatorix: the two causes to which she had devoted her entire being. In her mind, she saw her father and Jörmundur and Eragon and the people of the Varden, and she thought, For them! I do this for them. I was born to serve, and this is my service.


-


in the depths of her heart, she knew she would never give up.


-


“I could not lose. Even if it meant my death, I never would have allowed Fadawar to gain control of the Varden.”


These are supposed to show how dedicated Nasuada is to her cause.


Even when Elva told Nasuada she would win, Nasuada could still think to herself “Those motivational thoughts would have mattered if Elva hadn't said anything.” Elva is basically saying, nope, all that dedication was and would have been meaningless.


Nasuada has countless reasons and motivations to win. Fadawar was supposedly only greedy and wanted power or something. You would think this would get Nasuada to feel an emotion like self-doubt or something? Any emotion really, I'm not picky. She is told that her dedication to her cause wouldn't have been good enough to beat Fadawar, and doesn't react at all. She recognizes that she owes Elva even more of a debt (even though she never acts like she owes Elva anything) and thanks her for the help. That's it. It's never brought up again. Elva might as well have said nothing.


“I see. It seems I must thank you once again.”


Elva laughed then, a brittle sound. “And you hate every moment of it, don’t you? No matter. You need not worry about offending me, Nasuada. We are useful to each other, no more.”


Again, how is Nasuada useful to Elva?


Now Angela arrives to help heal Nasuada's cuts. Oh, joy.


“Really! Between you and Eragon, I seem to spend most of my time among the Varden healing people too silly to realize they need to avoid getting chopped into tiny little pieces.”


This seems to imply that Angela heals Eragon and Nasuada a lot. Except she has only ever healed Eragon once, and this should be the first time she's healed Nasuada because Nasuada has always had access to people who could heal her with magic. On top of that, it isn't a funny or clever line, but that's normal for Angela.


“Barzûl,” muttered Angela. “Only men would think of cutting themselves to determine who the pack leader is. Idiots!”


I agree 100%. You are an idiot for coming up with it Paolini.


That aside, Nasuada agrees with Angela. On top of that, Eragon calls the Trial “barbaric” when he hears about it. Considering that it seems to be based on rituals that tribes and communities do in real life, is Paolini trying to insult them?


As Angela is finishing up, the guards halt someone outside the tent. The two human guards cross their swords, which causes “a chorus of shimmering, bell-like notes” because of course they do.


Nasuada, Angela, and Solembum all get ready to defend themselves. Um, just because the guards stopped someone doesn't mean the person stopped is an enemy. I'm not saying don't be vigilant, but wait until you hear sounds of fighting at least. Plus, Elva isn't reacting at all. They trust her, so I'm not sure why they're bothering.


The guy trying to enter just tells them that Eragon and Saphira are in sight and approaching. Nasuada gets dressed, then asks if she should hide or reveal the cuts she got from the Trial.


“That depends,” said Angela. “Do you think showing them will increase your standing or encourage your enemies, because they assume you are weak and vulnerable?”


Angela phrases it as if only one or the other can to happen, but if she thinks either could happen, why couldn't both happen at the same time? I don't actually think both could happen though; any person who can get passed Nasuada's guards isn't likely to care if she's injured or not.


The question is actually a rather philosophical one, predicated on whether when looking at a man who has lost a big toe, you say, ‘Oh, he’s a cripple’ or ‘Oh, he was smart or strong or lucky enough to escape worse injury.’ ”


Again, you can think both of those things. “Oh, he's a cripple, but at least he was smart or strong or lucky enough to escape worse injury”. They aren't mutually exclusive, Angela.


“You make the strangest comparisons.”


Was it strange? I guess, but this just feels like Paolini thought we needed a reminder of how Quirky Angela is, and how the other characters think she's Quirky and Weird. Angela takes it as a compliment of course.


“The Trial of the Long Knives is a contest of strength,” said Elva. “That is well known among the Varden and Surdans. Are you proud of your strength, Nasuada?”


Well, that's more logical than what Angela said at least. So Nasuada has them cut her dress at the elbows and says that she'll just have it repaired later. Who does she keep around in a war camp that has the skill and free time to repair dresses?


They leave the tent, and Nasuada's guards form up around them. They don't question Elva being there even though it was a secret to them that she was in the tent.


We get description about the land around the Varden camp, until we get to the North:


But Nasuada had eyes only for the north, and the glittering shape of Saphira descending thence. Light from the fading sun still illuminated her, cloaking her in a blue halo. She appeared like a cluster of stars falling from the heavens. The sight was so majestic, Nasuada stood transfixed for a moment, thankful she was fortunate enough to witness it.


It's hard not to think of a character as a Sue when they get described like this. How does she get a halo of light around her? How does she look like a “cluster” of falling stars, or even a falling star to begin with? Falling stars zip across the sky in the blink of an eye, Saphira is a ten minute flight away.


The guy who spotted Saphira tries to fish for praise from Nasuada. Nasuada gives him what he wants, telling him he must have a good eye for spotting the majestic slow moving cluster of falling stars that is Saphira.


They then just stand around for ten minutes waiting for Saphira. Then Arya shows up:


The tall elf woman wove her way through the crowd toward Nasuada. Even with Saphira nigh upon them, men and women alike tore their gaze from the sky to watch Arya’s progress, she presented such a striking image. (…) And she moved with a slinking, muscular grace that bespoke her skill with a blade, and also her supernatural strength.


She has such a striking image, people are looking away from Saphira to look at her, which is simply amazing given the description of Saphira we had. And the way she walks somehow shows people how strong and skilled with a blade she is. Sure Paolini. Whatever you want.


Nasuada had to admit that even if Arya donned a gown of rags, she would still appear more regal and dignified than any mortal-born noble.


Is this because Elves Are Superior To Humans or is this because Arya Is Really Beautiful? I can't tell.


Arya gestured with one elegant finger at Nasuada’s wounds. “As the poet Earnë said, to place yourself in harm’s way for the sake of the people and the country you love is the finest thing one can do. I have known every leader of the Varden, and they were all mighty men and women, and none so much as Ajihad. In this, though, I believe you have surpassed even him.”


Place yourself in harm's way? Nasuada was forced into the trial, but okay. And of course she's already more awesome than her dad was. Not because she won the Battle of the Burning Plains or anything, but because of the Trial, obviously.


“You honor me, Arya, but I fear that if I burn so brightly, too few shall remember my father as he deserves.”


“The deeds of the children are a testament of the upbringing they received from their parents. Burn like the sun, Nasuada, for the brighter you burn, the more people there shall be who will respect Ajihad for teaching you how to bear the responsibilities of command at such a tender age.”


Eh, I guess. I haven't really noticed this in actual famous people. Even in story, its not like we ever see people talk about how cool Garrow must have been for Roran and Eragon to be so awesome. Nor do we see people talking about how bad Galby's parents must have been for him to be so evil. Is it even common knowledge that Ajihad taught Nasuada? Would people even care? What Arya says sounds like something that could happen in theory, but wouldn't actually happen. Ajihad will be acknowledged in the history books at best.


“A tender age? I’m a grown woman, by our reckoning.”


Amusement gleamed in Arya’s green eyes. “True. But if we judge by years, and not wisdom, no human would be considered an adult among my kind. Except for Galbatorix, that is.”


But why would you judge humans by years and not wisdom, I mean besides casually showing off how superior elves are to humans.


Elva tells Nasuada that Eragon isn't on Saphira, so she makes all the unimportant people leave. The important people walk up to Nasuada and ask what's up. The urgal chieftain is apparently so big and heavy that Nasuada can feel the ground shake as he walks.


It occurred to Nasuada, as she regarded them, that this was probably the first time in thousands of years that members of so many of the races of Alagaësia had gathered together in peace.The only ones missing were the Ra’zac and their mounts, and Nasuada knew no sane being would ever invite those foul creatures into their secret councils.


You only have to go two weeks back to find people saying the exact same thing about urgals, but okay Nasuada.


Saphira lands and Nasuada studies Katrina. She's strong-boned apparently. I'm not sure what that means, or how you can tell if a person is strong-boned or weak-boned, but okay. She's also really pale, but other than that she's completely fine and suffers no lasting effects from her captivity.


Even when she noticed Garzhvog, Katrina did not flinch or quail but remained standing where she was, next to Roran.


A few chapters ago she freaked out about maybe being blind, now she's completely stoic seeing a Kull? Sure, Paolini.


She was curious to see what kind of woman could inspire a man to undertake such extraordinary feats in order to rescue her.


-


“Welcome to the Varden, Katrina,” said Nasuada. “We have all heard your name here, on account of Roran’s uncommon devotion. Songs of his love for you already spread across the land.”


-


That anyone should sacrifice so much for another person meant, by reason of the price paid, that person must be unusually precious.


It keeps getting mentioned how amazing and awesome Roran is for rescuing Katrina. Except what are they talking about when they mean “sacrifice”? If Roran and all the villagers had stayed in Carvahall, the village would still have been burned down eventually and they would have all been killed. You can say Roran did most of what he did because of his devotion, but they're ignoring how the only other option he and the villagers had most of the time was “die”.


Nasuada noticed that the king had eyes only for Katrina, as did every man present, including the dwarves, and Nasuada was certain they would be recounting tales of Katrina’s charms to their comrades-in-arms before the night was out. What Roran had done on her behalf elevated her far above ordinary women; it made her an object of mystery, fascination, and allure to the warriors.


I can somewhat see what Paolini is trying to do here, but wow does he take it too far.


Katrina blushed and smiled. Along with her embarrassment at such attentions, a hint of pride colored her expression, as if she knew how remarkable Roran was and delighted in having captured his heart, of all the women in Alagaësia. He was hers, and that was all the status or treasure she desired.


Of course Katrina is only embarrassed by the attention and is not uncomfortable at all. Also geez, Nasuada is sure able to read Katrina's expression well.


Nasuada swallowed as Saphira’s consciousness brushed against her own. Saphira felt unlike any other being Nasuada had encountered: ancient, alien, and both ferocious and gentle.


It feels ancient eve though she's only a year old at most? How does she feel both ferocious and gentle at the same time?


So Saphira explains what happened and lies to them about why Eragon stayed behind. They then talk about what to do next.


“We have to get him back.”


Angela laughed. “How? He’ll be traveling during the day, and Saphira daren’t fly around searching for him when the sun’s up and anyone might spot her and alert Galbatorix.”


Why can't Saphira look for him at night then?


“Yes, but he’s our Rider! We cannot sit by idly while he remains in the midst of our enemies.”


Why not? I mean, the Empire shouldn't even know that Eragon is still in there territory, so Eragon should be able to get through the Empire without any trouble. These are rebel types though, so they automatically aren't the type of people to sit around and do nothing.


Arya then has the brilliant idea to run off to find Eragon by herself. Nasuada hopes Arya can keep Eragon safe...from what I don't know. She can't keep him safe from Murtagh and Thorn, and who else could reasonably find, catch, and subdue him? How doesshe expect to find him anyway? What would be hilarious is if Eragon came back to the Varden safe and sound while Arya was still out looking for him. It would show how pointless and irrelevant it is for Arya to go after him, but that doesn't happen sadly.


Of course, the real reason Arya went after Eragon is because her role in this book would be really minor if she didn't.


Anyway, that was the end of that chapter. So, why did we need this chapter? So we could see Arya going after Eragon? Arya explains herself just fine when she meets up with Eragon. This is really nothing more than another pointless chapter to toss onto the pile. *tosses*


Next up is Urchin with Escape and Evasion. After that we have Epistler with A Delicate Matter.

Life and Death Sporking, Part ??: Acting Like A Serial Killer = True Love!!

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Hey, you guys remember how I started sporking Stephenie Meyer's gender-swapped "rewrite" of Twilight all those years ago? Well I finally got bored enough to finish the damn thing. Here's the next installment! Don't worry; you haven't missed anything important, plot-wise. This book has no plot.


In a shocking turn of events, nothing happens in this chapter.
Beau finds that he his now excited about going to school, because it will mean seeing Edythe Cullen again. Edythe being the girl he knows nothing about and has barely spoken to. He reflects that she is “out of his league”, which is not a cliché at all. This line would be far less meaningless if Beau had actually been established as an unpopular loser, which he very much has not. Nobody has picked on him, he makes friends with implausible ease, and his home life is perfectly happy. The fact that he insists upon referring to himself as a loser merely paints him as a whiny, entitled brat.
Yet another case of the text claiming one thing while showing another – see the “evil” Empire in Inheritance which never actually does anything evil.
Beau briefly reflects that Edythe “might have at one point wanted [him] dead” so he shouldn’t be this excited about seeing her again. But of course he is, because the author says so.
This really comes across as out of character behaviour for our hero. Which is odd given that SM has not actually troubled herself to establish what his character is. When a character with no personality somehow manages to behave out of character, there is a problem.
Beau goes to school, and a carbon copy of the scene with the van happens. That is, a van skids toward him and Edythe rescues him with supernatural speed and strength. Typically of SM, the action is described in a very detached and emotionless manner, as if Beau is describing something happening on TV. Beau shows absolutely no sign of being shocked or otherwise traumatised after what has happened, and immediately begins bickering with Edythe, who uses her magical EyePower to convince him to pretend nothing out of the ordinary happened. To wit:
“She stared at me and something strange happened. It was like the gold of her eyes turned up, like her eyes were drugging me, hypnotising me. It was devastating in a weird, exciting way. But her expression was anxious. I thought she was trying to communicate something crucial”
This prose is simply painful to read.
Beau then moves on to being cranky with his One True Love for encouraging the arriving help to take him to hospital, and as Bella did he whines about being fitted with a neck brace in front of the other students, which is Just So Humiliating.
Nobody acts like this. Nobody. Not unless they are a sociopath, of course. Which perhaps Beau is – he is after all entitled, arrogant, and completely void of empathy. His supposed insecurity comes across as a pretense at modesty – such behaviour is fairly typical of the average sociopath.
Beau is taken to hospital, where Taylor, the girl who nearly ran him over, is also being treated. Here we are introduced to Dr Cullen, who like most of the other characters has been gender swapped to become an incredibly attractive blonde woman. The description of her is typically overblown:

“She was young, she was blond [sic]… and she was more beautiful than any movie star I’d ever seen. Like someone sliced up Audrey Hepburn [shouldn’t that be Andrew Hepburn?], Grace Kelly and Marilyn Monroe, took the best parts and glued them together to form one goddess”

Why exactly is a contemporary teenager thinking of Audrey Hepburn? How many sixteen year olds even know what she looked like? Would it not be more realistic for Beau to be thinking of, say, Miley Cyrus or Jennifer Lawrence?
Surely this has nothing to do with the person actually writing this being a middle-aged woman.
Either way, the goddess like Dr Cullen does not speak or act like an actual doctor, and Beau is immediately allowed to leave. Beau proceeds to confront Edythe, demanding an explanation, but to the Epistler’s shock she immediately begins acting like a rude jerk again. She tells Beau that nobody will believe him, and when he finally asks her why she bothered to save him at all when she clearly hates him, she admits that she doesn’t know before stalking off.
Because clearly, when someone displays supernatural powers the logical response is to be more concerned about their feelings toward you. Actually feeling frightened or disturbed would be realistic and is therefore not an option.
To Beau’s horror, his father and classmates are then on hand to offer their kind sympathies. This display of compassion is clearly the worst thing ever to happen to him, and having blown them off he reflects that for once he’s “relieved” to be getting into his father’s car.
Because being given a lift by your loving father is just so terrible? The Epistler still cannot fathom just what is so bad about being unconditionally cared about by other people. Beau is further horrified to learn that his father has called his mother with the news and that he must now speak to her himself and experience her own caring and concern for him.
He then proceeds to go back to obsessing about Edythe, and that night dreams about her for the first time.
Obviously, mooning over a nasty, hostile bitch is far more important than the feelings of the people who actually like you.
And now the Epistler has a headache.

Brisingr Spork, Part 10: Escape and Evasion (1/3)

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“Escape and Evasion” is a twenty-six page monster in which very little happens.  A good editor would have suggested that Paolini cut this chapter and shift the only important conversation to another chapter.  Unfortunately, Michelle Frey phoned it in on this one.  In order to make the slog less painful, I have broken down the chapter based on whether or not a sense of continuity exists from scene to scene.  This is the first of three sporks.

***

Random Encounters (~ 2, 700 words)

And we’re off and running.  Well, Eragon is running.  The chapter plods.

This opening, especially, points to one of the persistent problems with Paolini’s work: he has a very poor grasp of pacing.  Eragon is in a hurry to return to the Varden and also anxious about escaping Galbatorix’s patrols.  However, the reader would never know it from the prose.  Instead of using short, snappy sentences that propel the reader through the boring parts of running a marathon, Paolini describes the sensation of running; the things Eragon sees, hears, and smells as he runs; and the logistical reasoning behind Eragon’s route choice in extreme detail, meaning over a page and a half.  In fact, Paolini spends more time here exploring Eragon’s running than he does describing a close encounter with Thorn.

That’s a backwards narrative choice.  Running with scene description carries very little tension and offers few opportunities for character definition.  Being hunted by an enemy dragon, one enslaved by your opponent?  That’s far more compelling. Remember: always seek out opportunities to increase tension, reveal character, or reveal plot.  If your passage does not do these things, consider cutting it.

And don’t rely on an editor when it comes to identifying such passages because, if Brisingr is anything to go by, they don’t always catch the problem.

I think the root of the problem lies in a misapplication of the “show, don’t tell” advice combined with “include sensory details.”  Novice writers are taught to describe, describe, describe.  The next step, of course, is to learn what is appropriate to describe and how to include those descriptions in such a way that you support the story instead of bringing to a screeching halt.  At the time he wrote Brisingr, Paolini had not reached that next step.  He thought he was doing what he was supposed to by being descriptive, but he hadn’t yet worked out what details were important to include and how to weave them into the main narrative.  Thus, we get long blocks of description in inappropriate places.

We do get a nice little bit of character development, although as is Paolini’s style it goes on too long and doesn’t quite hit the emotional notes it’s aiming for.  Essentially, Eragon thinks on how nice it is to have some time to himself for a change, to not have people making demands of him, scolding him, or having Saphira in his head.  Instead,

Far better, he thought, to listen to the songs of the flitting birds and the sighing of the breeze through the grass and leafy branches.

Tone it down a bit.  That description is just too overwrought.  Pacing, Paolini, pacing.  Furthermore, it doesn’t carry the rhythm of the action, which contributes to slowing the pace.  If a character is running, I’d expect the rhythm of the language to run as well to emotionally reflect what’s happening in the scene.  This language doesn’t run, or even jog; it ambles, like a nice nature stroll on a little woodland path.

And that ends that section of filler (two pages).  The entire section could have fit into one or two paragraphs, if not been cut entirely.

After giving us some nice scenery porn and not much else, Paolini remembered that something needs to happen in book chapters.

Enter Galbatorix’s soldiers. Dun-dun-dun.

That’s why I call this section “random encounters.”  Instead of being built around the idea of “escape and evasion,” as the chapter is titled, which would actually be exciting and tension-filled if written by an experienced author, this chapter is built around travelling from Point A to Point B with Stuff Happening in between, like in a video game.

This would have been a stronger place to start the chapter, addressing some of the video game feel and pacing issues, and I think it was where Paolini’s intuition wanted to start the chapter.  Why?  Because it’s decently written for him, balancing description, thought, action, and reaction.

Hearing the soldiers approach, Eragon rushes to hide himself, taking cover under the “drooping branches” of some juniper trees.  From concealment, Eragon watches the soldiers as they search for the thing they thought they saw, the one closest his hiding place in particular.  He sees the soldier in great detail.

Unlike in the first section, the description here works.  The soldiers are predators, Eragon prey, so it’s believable that he sees everything as he tries to decide if he’s been made or not.  Furthermore, the observation heightens the tension of the scene because it drags out the moment of the search, leaving the reader wondering if Eragon will be discovered or not.

Eragon responds by casting a spell.

Just as the soldier paused in front of him, Eragon completed the spell and felt his strength ebb as the magic took effect.  He was an instant too late, however, to completely escape detection, for the solider exclaimed, “Aha!” and brushed aside the branches, exposing Eragon.

Eragon did not move.

The soldier searches the thicket--but finds nothing--and withdraws, believing he merely imagined what he saw.

The soldiers then have a short discussion about how hard they’re working as they search to find a fugitive.  Perhaps it’s Eragon they search for?  Or perhaps it’s Murtagh, as Murtagh said something of interest?

Of course, we never find out what that was.  (This is another example of false tension.  It’s a plot thread that doesn’t really do anything for the story as a whole, but only serves to try and spice up the scene.  It’s blatantly manipulative and therefore ineffective.)

Exeunt Galbatorix’s soldiers.

Eragon ends the spell.

The spell he had used contained two parts: the first bent rays of light around his body so he appeared invisible, and the second hopefully prevented other spellweavers from detecting his use of magic.  The spell’s main drawbacks were that it could not conceal footprints—therefore one had to remain stone-still while using it—and it often failed to completely eliminate a person’s shadow.

Eragon continues his run, puzzling over what Murtagh may have said.

This section is another two pages of filler.  It’s simultaneously better filler than the previous section and worse filler.  It’s better in that it ties to the expressed theme of the chapter (escape and evasion, or the evasion part, at least); something happens in it; and it’s decently written for Paolini.

It’s much, much worse for the impact it has on the overall narrative and the future character of Eragon.

This scene was probably included solely to show Eragon evading some imperial soldiers and drop a plot thread about Murtagh, which, if I recall correctly, is then promptly dropped.  However, the critical information that the reader pulls out of the scene (due to it being the central plot point, the climax, and explicitly described later) is that Eragon can turn invisible.

Eragon can turn invisible.

This knowledge changes the way the reader perceives Eragon in “Mercy, Dragon Rider,” and not in a good way.  Had it been omitted, the reader’s perception of Eragon in the later chapter would be different.  Not substantially better, but different.

This scene, right here, is why continuity matters.

Now we get a very strange one-and-a-half page interlude.  So far, these sections lack anything to tie them together other than that they are arranged in a chronological sequence on a page.  They’re truly a bunch of “and then this happens and then this happens” events, which violates the basic idea of a story as being built on causal relationships.

This one does not change from the randomness.  It’s another “oh, I need something to happen now” scene. However, it’s different because it doesn’t involve anything external to Eragon.

Eragon screams and wakes suddenly, “[twisting] nearly in half as he [rolls] away from where he had been lying.  Scrabbling backward, he [pushes] himself to his feet and [raises] his arms in front of himself to deflect oncoming blows.”  He searches for the source of the attack that he is certain is about to come, but finds nothing because nothing is there.

For a moment, he thought he was in Farthen Dûr, fighting the Urgals, and then on the Burning Plains, crossing swords with men like himself.  Each location was so real, he would have sworn some strange magic had transported him backward through space and time.  He saw standing before him the men and the Urgals whom he had slain…and while he no longer bore the scares of his wounds, his body remembered the many injuries he had suffered, and he shuddered as he again felt swords and arrows piercing his flesh.

Eragon is having a flashback, and it’s effect on him is to leave him as broken on the ground as Sloan was after Eragon’s assault.

And it’s weird.

It’s very clear what Paolini is attempting to do here: he wants to show Eragon as suffering from some level of PTSD, to add another level of complexity to the character and maturity to the story.  Unfortunately, he isn’t nearly skilled enough to pull it off successfully.  The problem, of course, is that this scene is utterly disconnected from the established character of Eragon.  Despite the strong description of Eragon’s reaction to his flashback, Eragon has been shown repeatedly as a character who acts on impulse and shows no remorse for his choices, or even reflection beyond the most superficial.

It’s a reverse problem of the previous section.  Continuity has established a certain characterization for Eragon and this passage violates it.  Therefore, it does not fit seamlessly into what the reader knows of the character or the character’s arc.  It stands out, a short vignette of a hero that could have been but never was.

It’s too bad too.  Eragon agonizes over his perceived weakness, wondering why he’s the only warrior he knows, in life or in song, who is responding this way.

I’m weak, thought Eragon.  A man should not feel like this.  A Rider should not feel like this.  Garrow or Brom would have been fine, I know.  They did what needed to be done, and that was that.  No crying about it, no endless worrying or gnashing of teeth….I’m weak.

This is one of the most interesting thoughts Eragon has had.  The subtext points to all sorts of social values—what it means to be a man, what it means to be a warrior, what it means to be a hero—that conflict with reality.  It even hints at how toxic those values are.  If Paolini had built his story and characters around exploring this idea through narrative, he could have said something important.  He could have even allowed his story to explore the toxicity in other portrayal’s of heroism, deconstructed our heroes to show what is at the heart of that heroism.

Unfortunately, all we get is a snippet that should have been cut for not adding to the overall narrative.

I can’t really fault Paolini too much here.  He was still quite young when he wrote Brisingr, and he was trying to wrestle with a topic along the lines of those which challenge our greatest authors.

Anyway, Eragon decides to start running again.

I’m beginning to think Eragon’s motto is, “Just keep running.  Just keep running.  Just keep run-ning, run-ning, run-ing.”

The chapter jumps again in another disconnected flash.  None of these scenes are building a narrative at all.

A flock of starlings darted across the afternoon sky, like fish through the ocean.

I’m not entirely sure Paolini has seen either a flock of starlings or a school of fish move.

The narrative stops so Eragon can admire the scenery some more.  He has arrived at Amon Sûl on Weathertop.

A broken tower stood [in the glade].  The lower part of the tower was wide and ribbed, like the trunk of a tree.  Then the structure narrowed and rose toward the sky for over thirty feet, ending in a sharp, jagged line.  The upper half of the tower lay on the ground…

OK maybe not quite, but that’s what I thought of when I read the description of the ruined watchtower.

Eragon suspects that it’s of elven construction as “no other race had the skill or inclination to build such a structure.”

Elves are teh awesomest, y’all.  Dwarves may be stonemasons and skilled builders, but it’s not like they would build a tower.   Humans?  Eh, these humans are based on people from the Middle Ages and it’s not like they ever built any large, complex, stone structures.

This is, of course, Tenga’s home.

Tenga is an old man whose “gray beard was so long, it lay piled in his lap like a mound of uncombed wool.”  He introduces himself with Angela-like whimsy, offering Eragon a meal in exchange for Eragon’s help weeding the garden.  Eragon, forgetting that he’s in a hurry to get back to the Varden and being hunted by the Empire, accepts.

As he weeded, he allowed his mind to expand and touch the multitude of living things within the glade.  He welcomed the sense of unity he shared with them.

Except the weeds that he’s ripping from the ground to let wither in the sun.

Tenga’s home is full of books and scrolls, with a circular staircase leading to a second story.

I’m getting a strong Merlin-vibe from the guy.

Tenga lights his fire with a gesture, not incanting in the ancient language.  Ever reactive, Eragon “[tenses], ready to grapple physically and mentally with Tenga.”  This is another moment of false tension.  Outside of using magic, Tenga has done nothing to warrant suspicion and there is nothing about the setting to give the reader an ominous feeling.  Instead, it feels like quite a cozy home with a hospitable, if somewhat odd, resident.

Eragon is stunned by Tenga’s skill with magic.  (Granted, it's not too hard to stun Eragon.  He's not the shiniest egg in the clutch.)

…words were the means by which one controlled the release of magic.  To cast a spell without the structure of language binding that motive power was to risk having a stray thought or emotion distort the result.

This would have been a better moment for tension.  Eragon is in the home of someone with extreme mental discipline and who far outclasses him in the use of magic.

But does Eragon recognize the threat?

Of course not.  He’s distracted by the shiny.

Eragon studies the books and scrolls, which cover a range of topics and include many rare manuscripts of magic.  (He does this until further distracted by the delicious meal Tenga offers him.)

And, faced with a man who can use magic in a way even the elves cannot, and who owns more rare books of magic than anyone else Eragon has heard of, what is Eragon’s first question?

“Did the elves build this tower?”

That’s our Eragon.  Always focusing on the important things.

The conversation does get around to what Tenga is doing.  He’s looking for something, which he describes in Angela-like riddle.  This is another plot thread dropped into the story, which is just as quickly dropped from it.  Therefore, I will not bother quoting or otherwise discussing it.  Mainly, it’s a koan about questions and answers.

Deciding that he’s dealing with a person who is “mad,” Eragon asks Tenga about some wood carvings.  Tenga starts to ramble about the carvings made by a mysterious “she”—my money is on Angela—he leaves.

No thank you?

These were another four pages of pointless filler.  What makes the Tenga encounter unique, however, is that it could have been a decent kernel for a short story.  It is utterly disconnected from the main story, but with a well-defined setting, central mystery, and supporting character.  Unlike the other scenes, which were more draft sketches in feel, this one could have been salvaged for a different Inheritance series project.

Ultimately, the first eleven pages of this chapter just don't fit.  They don't fit into the story because they add nothing to it.  They also don't fit into the style of the rest of the book because they are disconnected snippets of Eragon's experience.  Furthermore, these scenes actually detract from the story due to their disconnected nature.  They’re just a series of random events.  Cutting them would have improved the text greatly.  The only reason I can imagine for their inclusion is that someone was being paid by the word.

***

Part Two of this spork will be posted Sunday, January 8, PST.

After rereading Eragon, this is how I would personally approach the concept of dragon riders

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So I finally got around to finishing my reread of Eragon. And honestly, I cannot get over how badly Galbatorix messed up. With how overpowered he is (Not to mention just how powerful Durza alone is), the Varden should have been snuffed out in this book. There shouldn’t have ever been a rebellion to begin with. There shouldn’t have been three other books because Galbatorix is too damn overpowered. The problem is that he’s so powerful that Paolini had to make him stupid in order for his heroes to gain the upper hand, and that’s lazy writing and even lazier character development.

So I wrote down what I’d do if I wrote about dragon riders and how the world around the characters would shape the central conflict (I always felt Alaglag just sort of existed around the characters for some reason), and what started as a rant became a weird little semi-outline of something resembling the Cycle if it centered around a character like Galbatorix actually doing stuff instead of just waiting for stuff to happen around him, and if the dragons actually played a more important role than just carting various people from place to place. I don’t know if I’ll ever actually do something with any of this as it was mostly written out of frustration in the spur of the moment after a little too much wine (Plus I feel like the main protagonist is probably too recognizable as being mostly inspired by Galbatorix) especially because I’m currently about a third through a fantasy novel that has more potential for publication than something involving dragon riders, but I guess I just want to share how I would approach the concept now.

Out of curiosity, how would you all approach the concept of dragon riders if you had to write about it? I feel like there was so much he could have done with the idea, but his dragons really were just relegated to being horses of the air mostly. Also, anyone have any news on the galactic brick front? I’m dying to know if he’s even got a publisher for it.

https://docs.google.com/document/d/1Zq5z8bj8-mRPDfOlA0R4DaE3m-LijJ_fP-3dYHSCQFY/edit

Life and Death Part Whatever: Beau Is Still an Asshole

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Note - there isn't much of this spork left to go; I ended up cutting it short to get to the ending, which was the only thing about this stupid excuse for fanfiction that's actually different from the original in any significant way.

So, would anyone like to hazard a guess as to what Beau does in this chapter?
Wait, your money’s on “whine a lot and obsess over Edythe”? How on earth did you know that? Ugh, 52 pages in and it’s been nothing but. No wonder the Epistler left off sporking this nonsense for such an extended period. Surely there must be a way to make it entertaining to read about.
Anyhoo, so Beau has begun having dreams about Edythe. No word on whether they are of the “wet” variety, but let’s pretend. In fact, let’s substitute the cheesy descriptions of Beau’s not-at-all-symbolically-important dreams with one of him sitting up all night whacking it while staring at a picture of her. Sure it would be gross and disturbing, but at least it would be less painfully bland than the actual text. And it’s not as if Beau has any likeability left to lose.
In the meantime Beau is getting even more attention at school thanks to the accident, and poor Taylor keeps following him around being extra nice and trying to come up with ways to make it up to him. Beau describes this as having “gained another fan”, and this is just so awful and humiliating. It’s amazing how he accepts this sort of ridiculously implausible star treatment as his due, while also complaining about it at every opportunity.
Needless to say, Taylor’s feelings are not remotely important. Empathy toward other people is for losers!
Beau continues to obsess over Edythe, trying to figure out how she moved so fast. Edythe herself remains distant and subtly aggressive, and refuses to speak to Beau or even acknowledge his existence. This makes Beau a sad panda, and he reflects how she “obviously” regrets having saved him and wishes he’d died.
Nice Girl McKayla takes the opportunity to start putting the moves on Beau and wants to ask him to the Spring Dance (it’s “girl’s choice”, as Jeremy helpfully exposits). Beau does exactly the same thing as Bella once did, ie. lies in order to get out of it, then pushes McKayla to ask Jeremy instead while pretending to feel guilty about it.
We then get a repeat of the “lab scene” from Twilight, in which Edythe starts talking to Beau again and awkwardly tells him it would be better if they weren’t friends, and Beau grouses that ‘you wish you’d let Taylor’s van crush me’. Edythe, bless her, responds to this by calling him an idiot.
“You’re an idiot,” she told me.
Well that was my limit. It was bad enough that I was so fixated on this girl, bad enough that I thought about her all the time, [masturbated] about her every night. I didn’t need to sit here like the moron she thought I was and just stare while she insulted me.
And he’s fixated on her… why, exactly? She’s a rude bitch! Either way the two of them both go off in a huff.
Beau is then asked to the spring dance by Erica, and then Taylor as well, in the space of less than ten minutes. He turns them both down with the excuse that he’s going to be in Seattle on that day. And we then find out that McKayla already told Taylor this, but Taylor hoped it was just an excuse and asked anyway! Beau instantly decides that this horrible ordeal is all McKayla’s fault, charmer that he is.
Dude! THREE perfectly nice girls asked you to the dance and this is a bad thing? Beau is such a complete piece of shit. Needless to say, he won’t suffer any repercussions for this and none of them will be remotely annoyed with him. Nor are we given any explanation as to why Beau doesn’t want to go to the dance. He just doesn’t.
We then get a completely unnecessary and boring description of Beau making enchiladas while obsessing over Edythe (again). Here we get a rare piece of self-insight from him:
I was boring – I knew this about myself. And Edythe was the opposite of boring.
Well, you’re not just boring, Beau – you’re also a massive douchebag. And if Edythe is just so interesting, the Epistler would like to see some evidence.
He then proceeds to act like a snot toward his father again:
“I just wanted to let you know I’m going to Seattle a week from Saturday. Just for the day.” I didn’t want to ask for permission – it set a bad precedent.
Oh, fuck you, Beau.
Edythe then shows up again, and acts in a ridiculously suspicious fashion, using her super-speed to show off and then turning evasive when questioned by our lunkheaded protagonist. She then offers him a lift to Seattle (in her awesome shiny Volvo), and after even more pointless stupid bickering Beau accepts. Thank gods; the suspense was killing me.
66 pages in and nothing has happened. Also, I’m going to drop the third-person Epistler voice; it’s not really helping.

Brisingr Spork, Part 10: Escape and Evasion (2/3)

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(I'm posting this one early due to my work schedule.)

“Escape and Evasion” is a twenty-six page monster in which very little happens.  A good editor would have suggested that Paolini cut this chapter and shift the only important conversation to another chapter.  Unfortunately, Michelle Frey phoned it in on this one.  In order to make the slog less painful, I have broken down the chapter based on Eragon’s encounters with other people.  This is the second of three sporks.

***

At the Stock Fantasy Inn (~2,400 words)

After eleven pages of nothing happening, we move into the meat of the chapter.  It’s tough, stringy, and there’s far too little of it, but at least the story has found its feet again.

Eragon joins the mob of refugees on the road, which might have been interesting given that he doesn’t exactly blend in, but the chapter seems to have forgotten the “evasion” part of its title, so we get nothing more than the information that “Eragon set his teeth and silently rehearse the stories he had concocted to explain his trip.”

Ergagon reaches the town of Eastcroft—not that it’s name really matters because it’s just another generic pseudo-medieval town—right before the guards close the gates for the night.  (No, he’s not challenged as he passes through the gate.  Why would you think that?)

A few months ago, he would have worried about being trapped in Eastcroft, but now he was confident he could scale the fortifications barehanded and, if he concealed himself with magic, escape unnoticed in the gloom of the night.

Three points.  First, this passage confirms what happened during the scene between Eragon and the soldiers: he can turn invisible.  In fact, it establishes that Eragon remembers that he can use invisibility to avoid his enemies.

Second, from a storytelling standpoint, these sentences demonstrate how overpowering a character destroys narrative tension.  When your character is caught in a situation where s/he is no longer in control, you want him/her to be anxious.

Consider, for example, the film Indiana Jones and the Last Crusade, specifically the scene where Indy goes to Berlin in order to retrieve his father’s diary.  Indy has gone, in the words of the film, “into the lion’s den.”  He is surrounded by his enemies—people looking for him, no less—and neither he nor the viewer know quite how he’s going to cope with the situation.  That’s when the screenwriter heightens the tension by having Indy come face-to-face with Hitler.  The scene resolves with Indy’s disguise successfully protecting his identity and Hitler thinking only that Indy wanted his autograph.  It’s a humorous ending in style with the adventure serial nature of the series, but until that point no one anticipated that ending and the viewer had a sense it could have gone very differently.  Why? Harrison Ford played Indy’s anxiety.  The viewer may have assumed Indy would get out of the jam--because he always has--but there was no certainty.  Had Harrison Ford played Indy the way that Eragon feels in this moment, the scene would have felt flat and lifeless, as it does here.

Third, not only does the passage suck the tension from Eragon’s presence in Eastcroft, it sucks the tension from an encounter with a guard.

It’s a stock-fantasy challenge: “Have you been here before? What are you doing here?” and so on.  Eragon answers with stock replies: going to fetch his family.  As Eragon waits for a response, Paolini tries to interject some tension into the scene.

Eragon’s story seemed to have no effect on the watchman.  Perhaps he doesn’t believe me, Eragon speculated.  Or perhaps he’s heard so many accounts like mine, they’ve ceased to matter to him.

I never would have guessed that was speculation.

In any case, the range of possibilities Eragon considers utterly fails to create any sense in the reader that Eragon is in a high-stakes conversation because Paolini already established that the stakes do not exist.  They may be informed, but they’re not established through the story and therefore have no effect on the reader.

Not that it matters because the watchman does no more than recommend a place for Eragon to stay.  As Eragon heads for Stock Fantasy Inn, he passes wanted posters for him and Roran.  His poster shows him before he was transformed into an elf.  His only response is to think, “How things have changed.”

It’s an interesting choice, and one that gives the reader little insight into the character.  This could have been a good moment for Eragon to reflect on the changes he’s experienced and how he really feels about them.  After all, instead of being safe at home with friends and family around him, he’s on the run from the empire in a strange city.  Or, perhaps, Eragon stays focused on his current circumstances and reflects on how grateful he is that the empire is in effect looking for the wrong person.  In either case, a human being will react more specifically in this situation than Eragon does and an experience author will remember this as part of the character building process.  If the author misses too many opportunities, the character will strike the reader as being a cardboard cutout instead of a human being.  (While people do think non-specifically on occasion, this approach should be used for a specific effect on the reader.

Eragon eventually reaches Stock Fantasy Inn where the story pauses for a little stock fantasy description.  As Eragon waits to speak to the person who could rent him a room, we get some more.  It’s all in the Paolini block style instead of seamlessly weaving different elements together, which gives the whole scene a disjointed feel, as if Eragon is focusing on only on sense at a time.

Some of Galbatorix’s soldiers are also in the inn.  We’ve already established that there’s no tension in the chapter, and there’s certainly none in Eragon being in the same room with people who are hunting him.  All he thinks as he observes them is

Do they behave like that [shouting, banging on the table, and groping women] because they know no one dares oppose them and they enjoy demonstrating their power…Or because they were forced to join Galbatorix’s army and seek to dull their sense of shame and fear with their revels?

That’s where the contemplation ends.  It’s not a bad thought; there’s a seed of empathy.  The problem is that it never informs how Eragon relates to Galbatorix’s soldiers, nor does it inspire any further curiosity about them.  Just as his ability to turn invisible, this thought has a negative impact on Eragon’s characterization later.

Anyway, after a page or so of description, the story lurches forward again when Eragon spies Arya (in human disguise, of course).  There’s an attempt to create a tense moment where Eragon has to face down some big drunks, but, as with every other attempt to create tension, it goes nowhere.  The men decide they don’t want to fight Eragon and move on, but not before one makes an astute observation.

“I’m not sure I believe you [that Arya is your sister], friend.  You’re just trying to drive us away so you can be with her yourself.”

He’s not far off, thought Eragon.

In vino veritas. Paolini’s intention here appears to be to set the drunk up as a lecher who implies Eragon wants to speak with Arya for sexual purposes, whereas Eragon is pure of heart and only wants to speak to a colleague.  Unfortunately, Eragon has been creeping on Arya for the past three books, so the passage reads far more like the drunk has Eragon’s number and Eragon is confirming it to himself.

Together, they return to Arya’s room, where he can consider her in more detail.

It was a strange experience for Eragon to have their appearances reversed, so that he was the one who looked like an elf, and Arya a human.  The change did nothing to diminish his regard for her, but it did make him more comfortable in her presence, for she was less alien to him now.

Less alien, or less powerful?  Paolini treats elves as the pinnacle of existence, the ideal being.  By transforming herself to look human, Arya has depowered herself.  She’s no longer the physically and magically superior elf, the daughter of a queen, she’s just a unusually beautiful human woman.  As Eragon is still by all appearances an elf, he’s now in her league.  More than that, he’s her superior.  Like negging, a pickup artist strategy in which a man criticizes a woman to either inflate his own perceived social standing as compared to hers by deflating her standing or indicate that he is not intimidated by her perceived social standing, Eragon’s comfort with this role reversal suggest a deep insecurity in the character.

The insecurity could have been interesting if explored and become a truly compelling character flaw.  In this chapter alone it could have been first established when Eragon encountered the wanted poster.  Alas, a promising idea is never explored because it would render our protagonist less than perfect.

After securing from Arya a promise not to share what she’s about to hear with anyone, Eragon tells her why he was delayed.  This is the critical conversation of the chapter, and it could have been moved elsewhere in the story.

Arya listens to Eragon’s story about Sloan’s punishment.

“You should have killed him.”

“Maybe, but I couldn’t.”

“Just because you find your task distasteful is no reason to shirk it.  You were a coward.”

I am struck by Arya’s willingness to kill, not just here but elsewhere in the series.  (For instance, the injured gyrfalcon.)  It’s nicely continuous with Izzy’s willingness to kill.  Together these elements point to a darker side to the elves: that they don’t really understand people and they don’t really value human lives.  Indeed, in a better novel I might assume it also explains Eragon’s behavior.  Being made elf-like hasn’t just changed his body; it’s changed who he is.  Unfortunately, he’d actually have to have a character arc for that theory to hold and he doesn’t.

She does raise an interesting question here: is Eragon a coward for not killing Sloan?

I don’t think so.  Valuing a life should never be considered cowardice.  No, Eragon was a coward for an entirely different reason.  He was a coward because he was unwilling to face the complications of returning Sloan to the Varden to face true justice and to face Katrina and Roran.  Indeed, when he swears Arya to secrecy, he says, “Whatever happens, Roran and Katrina can never learn that Sloan is still alive.  If they do, there’ll be no end of trouble.”  Eragon fears the consequences of Roran, Katrina, and Sloan being in the same place.  He fears Roran and Katrina, particularly Roran, facing consequences for the ways in which they wronged Sloan.  More than that, I think Eragon fears exploring the ways in which he wronged Sloan, which would have been exposed if he had really considered whether or not he had the right to judge the man.  He was presented with a moral dilemma and he ran.

Eragon defends his choice.

“I didn’t kill him because I thought it was wrong.”  Eragon frowned with concentration as he searched for the words to explain himself.  “I wasn’t afraid…not that.  Not after going into battle…”

I’m not a coward, after all.  Men like me never fear battle.  Except for that flashback I had a few pages ago.  We must never speak of that.

“It was something else.  I will kill in war.  But I won’t take it upon myself to decide who lives and who dies.  I don’t have the experience or the wisdom...”

And yet you took it on yourself to do exactly that with Sloan.  You shaped the course of his life, despite your lack experience and wisdom, a deficiency you knew you had at the time.  I think this goes back to the discussion we had during “To Walk the Land Alone.”  Eragon thinks that the worst thing he can do to a person is kill him.  He doesn’t realize that there are fates worse than death.  Therefore he thinks that he’s acting wisely when he condemns a man to one such fate.  More than that, he thinks he’s acting morally when he condemns a man to one such fate.

“Every man has a line he won’t cross, Arya, and I found mine when I looked upon Sloan.  Even if I had Galbatorix as my captive, I would not kill him.  I would take him to Nasuada and King Orrin, and if they condemned him to death, then I would happily lop off his head, but not before.  Call it weakness if you will, but that is how I am made, and I won’t apologize for it.”

Eragon uses Galbatorix to establish his moral boundary: he would take his most dangerous foe to Nasuada and King Orrin to face trial rather than kill him.  Why, then, did he not return Sloan to the Varden as well?  Sloan, a torture survivor and blind old man, is far less dangerous to Eragon and the world than Galbatorix is, yet he warranted in far harsher treatment.  Why?  I would suggest this is further evidence that Eragon’s justice was not only a matter of revenge for him, but also a means of avoiding the complicated relationship between Sloan and his family.  It also points to Eragon’s moral compass being flawed where his own interests or convenience is concerned.   This is not a heroic trait.  Heroes hold to their principles at all costs, even to their own destruction.  Eragon says all of the right things, but he is no hero.

Well, he says almost all of the right things.  Unless there is something wrong with you, you’re not going to behead a person “happily.”  “Willingly,” maybe, or “dutifully,” but not “happily.”

Arya gives in and offers that they agree to disagree, allowing the conversation to move on to more important topics, like how she found Eragon.  Apparently, Eragon is so special that the animals and land announce his presence if you know what to look for.

Eragon says

“You’ll have to teach that trick to me sometime.”

“It is no trick, merely the art of paying attention to what is already around you.”

Well, that’s one trick Eragon won’t learn.  He’s a character who looks at a lot of things and pays attention to very little.

The conversation wanders to Arya’s dress.  She says that “[she’s] lived among the Varden for more years than [she cares] to recall, yet [she] still [forgets] how humans insist upon separating their women from their men.  [She] never could bring [herself] to adopt [their] customs, even if [she] did not conduct [herself] entirely as an elf.”

Look how superior elves are!  Again.

***

The final part of this spork will be posted Wednesday, January 11, PST.

Life and Death: Two Parts For the Price of One!

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Only one more installment to go after this one. Buckle in, boys 'n' girls. And I FINALLY find something significantly different from the original. And boy is it stupid.

Life and Death Part Fuck This Book: Endless Blushing
In this chapter Edythe finally starts being nice to Beau. This results in at least three separate descriptions of him blushing. Beau now starts trying to figure out “what” she is – with her active encouragement, mind you; way to preserve your cover, you idiot – and we get the same stupid superhero comparisons as we got last time around.
Edythe then trots out the “I’m dangerous and a villain” blah blah, and has “long golden eyes”, and that description is just getting more bizarre every time it shows up.
We then get a straight-up repeat of the “blood test” scene from Twilight, in which poor Beau faints at the sight of blood and Edythe is highly amused. Nothing really worth noting; Meyer probably just used ctrl-f to swap out the names from the original text of Twilight and called it a day.
I’m beginning to see how this book was written so quickly despite being – oh, dear LORD – almost 400 pages long. Clearly I’m never going to finish sporking the thing if I go over everything, so from now on I’m going to skip over everything that’s just a repeat of Twilight and only note the new material. Uh, if I can find any.
Edythe also has a voice “like melting honey” and has “butterscotch eyes”. Ew. I should turn this into a drinking game and take a shot every time the bloody girl’s eyes are described; it’s just about the only way I can think of to make this book any fun to read.
Oh, and we learn that gender-swapped Doctor and Mrs Cullen are named Carine and Earnest. Earnest is a nice name. Always makes me think of the movie Death Becomes Her, where Bruce Willis plays a dorky plastic surgeon named Dr Ernest Menville, and – oh, right, sorry. Got a little side-tracked there.
In the next chapter we meet an obvious Draco Malfoy ripoff – a sneery asshole with “slicked-back, silver-blond hair”, who I think is meant to be a gender-swapped Jessica, but I’m really not sure. Either way Beau and his supposed friends make plans to go to La Push, so we’ll soon get to meet gender-swapped Jacob Black! This should be interesting.
(Please, please be interesting).
She looked fourteen, maybe fifteen, and had long, glossy black hair pulled back with a rubber band at the nape of her neck. Her skin was really beautiful, like coppery silk, her dark eyes were wide-set above her high cheek-bones and her lips were curved like a bow. It was a very pretty face.
Try reading that lovely pair of run-on sentences aloud without passing out on the floor. Anyway, so gender-swapped Jacob is named Jules, and she and Beau are childhood friends who are clearly pleased to see each other again. They have a conversation about their mutual interests and ask about each others’ families.
And that, ladies and gentlemen, is how a real romance is supposed to begin. A healthy one, anyway. With mutual liking, affection and common interests. Not with unhealthy obsession, stalking and general rudeness and disrespect. Who would you rather date? The short-tempered, passive-aggressive jerk who calls you an idiot and won’t share, or the nice, friendly person you have things in common with and who treats you like an equal?
Feh!
Here we are also introduced to the gender swapped… damn, I forgot his name. The head werewolf guy. Ah, right. Sam. Here named Samantha. She’s actually kinda cool – a really tall woman with short hair and an assertive manner. Fiction needs more women characters like this.
Anyway, so Jules and Beau chat, and Jules offers to tell a scary story. During this scene we get this ridiculous bit of description:
We were near one of the beached lots now, a huge white skeleton with the upended roots all tangled out like a hundred spider legs.
Now there’s a mental image I could have done without.
Cue a repeat of the “Quilette” legend (I use inverted commas because it’s obviously not a real Quilette legend) of the “cold ones” , but this time around Jules describes the legend of the women who could turn into wolves. Just women, mind you. I wonder who the token boy werewolf will be, and whether he will also be infertile?
Hmm, does this count as “female empowerment”? A part of me wants to say yes, but when it’s just a result of a lazy cut-and-paste job I’m loath to give the author that much credit.
Seven chapters and 100 pages in, and still no plot.

Life and Death Part I’m So Bloody Bored: Beau Finally Figures Out the Blindingly Obvious
Beau has a bad night’s sleep, researches vampires online, and then throws a temper tantrum. All of this takes Meyer more than three pages to slowly and laboriously describe.
When 4+ pages of writing can be summed up in a single sentence without anything important being left out, you have serious pacing issues.
Anyhoo, so Beau worries that Edythe might be an evil dangerous vampire but is just so obsessessed with her that he doesn’t really care and will go to Seattle with her anyway. And again – she’s an appealing character… why, exactly?
Back at school McKayla is still trying to catch Beau’s interest and Beau continues to snub her. And again – Beau is an appealing character… why exactly?
Beau then goes to Port Angeles with his mates to do some shopping (video games, naturally), and watch a movie. And now at long last we finally get an interesting scene. And by “interesting” I mean “hilariously stupid”.
Unlucky readers may recall the scene in which Bella is almost gang-raped after stupidly wandering into a place she shouldn’t have. Well, we can't have a boy nearly get raped, because that never happens, like, ever. *cough*
What we get instead is something way, way goofier. Beau stumbles across some suspicious looking types who are clearly up to something illegal (an implied drug deal, or possibly prostitution – it’s not made clear). The crooks see him and instantly decided that a freakin’ seventeen year old boy is obviously a plain-clothes cop. So they decide to murder him on the spot.
No, I’m not kidding. They really think murdering a cop is the best response to potentially getting busted for posession of marijuana or whatever.
The crooks prepare to beat Our Hero to death with a pipe (please oh please), but of course he is rescued by Edythe, who totally wasn’t stalking him.
Needless to say, this being Meyer, the scene carries no tension whatsoever and Beau’s inner monologue carries on as usual. Afterwards he’s completely stone-cold calm and acts like nothing actually happened.
Uh-huh. This is so totally how real people behave.
Instead the whole thing is promptly dropped so Edythe can take Beau to dinner (ditching his friends in the process, naturally). Cue a repeat of the famous Restaurant Scene. Only thing worth noting is a goofy moment when Beau implies that Edythe can hypnotise people with her dimples.
The dimples, by the way, have been described almost as frequently as her stupid golden eyes. Meyer, we get the point. She has fucking dimples. How about turning your attention to giving her an actual personality now we’ve established this very important fact?
Edythe keeps fussing over whether Beau might go into shock, but Beau, in all seriousness, is SO obsessed with her that he’s forgotten all about the almost-getting-murdered thing. No, really, that’s what it says. We then get this priceless bit from Edythe:
“I don’t know how you can be so blasé about this. You don’t even look shaken. A normal person – but then you’re not so normal, are you?”
See, that’s why Beau didn’t flip out – it’s because he’s Special!
Blah blah blah, Edythe is just so perfect and beautiful and can read minds, and she totally used that ability to snoop on Beau which isn’t creepy at all. She insists on paying for dinner, and when Beau protests she says,
“Try not to get caught up in antiquainted gender roles.”
Harhar, it is to laugh. Meyer is totally a feminist now. *eyeroll*
Cue the next chapter. Beau finally comes out and says Edythe is a vampire but it doesn’t matter, and she throws a rage-fit and then starts wangsting about being a monster. Beau, the dummy, is completely okay with this whole “my-crush-is-a-vampire” thing and barely bats an eye.
And just like that, they are now in love. For… reasons. Meyer did slightly reword Beau’s silent declaration of love, though. Here it is for your consideration.
There were a few things I knew for sure. For one, Edythe was an actual vampire. For another, there was a part of her that saw me as food. But in the end, none of that mattered [why on earth would a bloodsucking vampire be a problem? Pul-eeze!]. All that mattered was that I loved her, more than I’d ever imagined it was possible to love anything [um, why? You barely KNOW her!]. She was everything I wanted, the only thing I could ever want.

Well that’s not creepy at all.
“YOU ARE TEARING ME APART, LISA EDYTHE!!!!”
Next chapter. Cue more boring crap. The other boys go all bro and hi-five Beau for “getting” the hottest single girl in school, then make fun of him when he tells them they did not in fact spend the night having hot sex. (Imagine screwing an ice-cold vampire. Ewww). Apparently this is how teenage boys talk.
Blah blah, Beau and Edythe are Just So Special, and she’s been just as obsessed with him as he’s been with her, because… reasons. Edythe continues to have stupid annoying mood swings, and she and her adopted siblings feed off protected wildlife. End chapter.
Wow, skipping over the pointless boring crap is making this go way faster. If I take this any further I’ll wind up skipping the entire book (this is an increasingly attractive idea).

Here is some footage of grass growing to provide some actual excitement.


Life and Death: Part I Give Up

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This is the end, beautiful friend. This is the end, my only friend, the end. Of our elaborate plans, of everything that stands, no safety or surprise, the end. I'll never look into her eyes again...

Whoops, sorry, I just had an Apocalypse Now moment. Can't imagine why. Either way here's your last installment, boys 'n' girls.

*drunkenly punches a mirror*

Hokay, I’ve officially had it up to the back teeth with this. There’s nothing new in this book. It’s a rehash of Twilight, and every bit as boring and plotless and stuffed with stupid “romantic” dialogue and BS about how very Special Beau/Bella is on the basis of no evidence whatsoever. We also learn that Beau had no less than ten admirers at school.
And he’s a social outcast how exactly?
245 pages in. Still no plot. So I’m just going to cut this short and fast-forward to the end to see if anything has changed which actually makes a difference in the story.
*starts reading*
It really is irritating how this series completely butchers vampire lore. It scraps everything other than the blood drinking, and even that is treated as a vitual afterthought most of the time. I think I (and plenty of other people) would have less of an issue with it if the re-imagined vampire lore were actually, you know, interesting. Rather than completely idiotic.
Dr Cullen’s backstory has been changed and is actually rather interesting. Her father was an Anglican preacher who believed in vampires. He led a group of others to attack a hidden coven of vampires, which only pissed them off. One of them showed up at his house, and to punish him he bit young Carine in front of him and then killed the preacher very slowly, having left him in the knowledge that his dear daughter would now become a vampire herself.
Now that’s one properly evil vampire. The Cullens are such a bunch of bloody wusses. Vampires are supposed to be evil, not chaste, polite squeaky-clean Mormon stand-ins with the sun practically shining out of their asses! Ugh.
Honestly, the backstories of the Cullen family are way, way more interesting and cool than the “story” we’re enduring right now. It really feels like Meyer is just taunting me by this point.
…291 pages in, and the antagonists finally show up. Where the fuck were you lot all this time?
So the evil vampires have also been gender-swapped, naturally. Interestingly, one of the two female vampires is described as having an olive complextion – I could have sworn that the original series had this stupid thing where becoming a vampire instantly bleached your skin no matter what your original racial makeup was (and that’s not ridiculously offensive or anything). This is Lauren, the imaginatively named female version of Laurent (I actually kinda liked Laurent in the movies – a Jamaican vampire with a lace cravat – what’s not to like?). Her companions are Joss, the female James, who is described as boring and bland-looking, and red-haired Victor.
Okay, here’s something I don’t recall from the original novel – we learn that Joss once hunted Archie (the female Alice), when he was human, but was thwarted by a “good” vampire who spirited him away from the asylum where he was locked up and turned him into a vampire. Joss recognised vampire!Archie right away when they met at the baseball game. It’s a nice addition, I guess. Makes it feel less like Joss just fell out of the sky.
I waited, screaming.
The absolute worst attempt at suspenseful writing I have ever seen.
Well damn me. Something important actually was changed: the ending. In this version of the story Joss bites Beau and Edythe fails to reverse the effects, so he becomes a vampire. The pacing then becomes incredibly rushed, with an entire chapter of exposition on things we really should have been told sooner, all of which is “told” rather than “shown”, as the vampires fill Beau in on… various things. The Volturi, their own backstories – that sort of thing. Cut to Beau’s family and (alleged) friends holding a funeral for him, in which they bury a substitute body (no word on where they got the cadavar from). Said body is horribly burned and mutilated and was planted inside the burned-out remains of Beau’s awesome truck to make it look like he died in a car wreck or some such. And I guess nobody bothered to check dental records or anything.
Beau watches everyone grieving for his stupid selfish ass, including his loving parents, and has no emotional reaction at all. What an asshole. After this the Cullens have an also incredibly rushed confrontation with the werewolves, who are only just now revealed (and Jules has disappeared never to be seen again). Having been assured that Beau was turned by Joss, not the Cullens, the werewolves are satisfied that the treaty hasn’t been broken and leave. And then Beau, as any normal seventeen year old boy in his first relationship would, proposes marriage to Edythe. She, having known him for all of two months, instantly accepts. The end.
Final verdict: This book stinks just as much as Twilight did. Meyer still clearly has no idea how to pace a novel, how to write action or suspense, how to maintain a plot, or how to write interesting and likeable characters. As with all her previous efforts I’ve read, it’s all surface with nothing underneath. Just drown it in cutesy dialogue and endless repetitive assertions that your characters are Beautiful, Perfect and Special, and the rest will take care of itself!
Somehow. As for the gender swap thing, it was a cheap gimmick at best. A couple of moderately interesting female characters who don’t conform to gender stereotypes just doesn’t cut it, and particularly when they play no important role in the story. Either way it’d take a hell of a lot more than that to save this trainwreck.
And now if you’ll excuse me, I’m going to go and throw my copy straight into the recycling bin where it belongs.

My review of Eldest

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Hello. I know this is probably beating a dead horse, but I just finished Eldest last night and have to rant about it somewhere.

1. The writing constantly breaks the "show, don't tell" rule, it's painfully overdone, and there's no emotion in it at all.

2. Eragon is a Gary Stu. Nothing more needs to be said.

3. The elves are blatant Lord of the Rings ripoffs, and bad ones. I can't ever recall wanting to punch any of Tolkien's elves in the face.

4. Arya is a bitch. She's an ambassador, yet she openly mocks and insults the dwarves' religious beliefs. I went through an anti-religious phase myself when I was younger, but I never did anything like that. She forces Eragon to stop eating meat without explaining why or giving him any say in the matter. She destroys Eragon's picture of her. I'm an artist. I remember how upset I was when my brother scribbled on one of my drawings when we were little kids. If someone ruined one of my pictures today, I'd be furious. I hate all the elves, but Arya is the one I hate the most.

5. The passage where Eragon kills and cooks the rabbits, then decides not to eat them, was the preachiest thing I've read since a certain author I will not name. I'm a vegetarian, and that made me sick.

6. I actually like Orik. I mention this because my opinion of him will probably change after I read the next book or two.

7. The author needs to stop lifting names and words from Norse myth and legend, and from Old Norse in general. Earth languages and stories do not belong in a world that's not Earth. He also needs to stop ripping off Star Wars and The Lord of the Rings while he's at it. It bugs me.

8. The magic system sucks. Magic is supposed to have limits, but this system has none. It's very boring.

9. I found the infamous Hairless Groin scene. Snickering ensued.

10. I'm convinced Galbatorix is the real hero of the story.

11. Roran asking Eragon if Nasuada's skin was dyed rubbed me the wrong way.

12. Elva creeps me out. I don't know whether it's in a good way or bad way.

13. Angela constantly flips back and forth between being endearing and being annoying.

14. Murtagh should've been the main character.

That's all for now.

Vampire Pets

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Anyone here ever watch something called Servamp?  I kind of found it fun.  I watched some clips from the ending first before I watched the beginning.  I preferred the sub.

Spoilers:  It’s about a group of vampires that represent the 7 deadly sins who were created by one man.   These vampires are called Servamps (Servant Vampires) because they form contracts with humans drink that humans blood and obey that person who is called their eve.  The vampires strength comes from the will of the person they are bonded with.  If the person becomes overwhelmed by their emotions their servamp will eat them.  Also if the servamp and their eve get separated the eve will die.

The series itself has very out of place feeling humor.  But I kind of liked it.  In a way if the series was about a group of girls instead of a group of guys it probably wouldn’t feel as out of place.  I also did not mind the vampires changing into animals or objects or that they were highly emotional.  In the book Dracula which I read as a kid, Dracula could become a bat, wolf, mist, and could hypnotize people.  In modern stories of vampires, the vampires can be very emotional in both good and bad ways.  The Vampire Diaries and Twilight are examples of this even though there are kind of sucky stories. I also did not find it that weird that the vampires lived with their eves as pet animals.  I could not help but think about Salem from Sabrina the teenage witch or Binx from Hocus Pocus.  As a werewolf person, while I find it insulting to think of werewolves as ‘pets’, I found it pretty funny to see vampires living as them. Plus they are a special kind of vampire made by a human whose reason for making them is unknown.  However they were probably made to work for humans in some way- win wars, unground work, to gain political power, something… I personally thinks the Servamps Creator may have originally been apart of or the Boss of a secret organization himself known as C3 and these Servamps were made to do their dirty work.


More Spoilers.

The series was more enjoyable to me the second time around.

Kuro (servamp of sloth belonging to Mahiru) sends all his time being lazy, playing video games, and living in his cat form because he believes servamps are monsters and he regrets a decision he made in the past.  He doesn’t want to deal with the real world.  He lets Mahiru make the decisions and control him almost like a video game character. Even to the point were Mahiru asks if any of it matters to him.  Kuro says he will protect or kill anyone Mahiru orders and he is not responsible for his actions.  Kuro has probably been commanded to kill by his past eves because when Mahuri orders him to defeat a subclass vampire (vampire created by an original vampire) Kuro instantly tries to kill him by draining the subclass vampire’s blood which is the only way to kill a subclass.  After Mahiru stops Kuro from killing the subclass.  Kuro goes back to being kind of silly.

Mahuri’s mom was kill in a car accident when he was a little kid.  This may have actually been a vampire attack considering Mahuri’s friend thought he was in a car accident after being attacked by a vampire and surviving.

Sakuya’s insanity about lying makes sense the second time around.

It appears that the vampires choose really weird eves.  Mahiru and Tetsu are the most normal of all the eves.  Licht, Misano, and Mikuni seem very over the top.

The character Licht who is a pianist and believes he is an angel is okay with me because he reminds me of a musician friend of mine who was over the top.  Also his vampire Lawless went out of his way to find an interesting eve.

Misano’s and Mikuni’s backstory is okay, they are half brothers who grew up around the servamps of Lust and Envy.  I think the sin that the vampire represents may affect the people around them. Misano is mostly sheltered and young so is a bit of a brat and thinks he is better than everyone else.  Mikuni has clearly been effected by living with Lust because he accuses everyone of looking at his doll with lustful eyes.

You also learn the vampires were probably created from humans and their sin was probably assigned to them through some kind of ritual that made them.  They are also full of jins.  The vampire Lilly feels bad about the sin of Lust he represents and in the manga thanks Misano for reminding him not to strip.  After Lilly looses his vampire powers he no longer tries to strip.  This suggests to me this behavior was forced by whatever ritual made him into a vampire.

In the past the 7 servamps took a vote on whether or not they should kill their creator.  They had been asked to do so by C3 because it was believed their creator was making more servamps.  Three of the vampires voted no and three voted yes.   Kuro had the last vote and decided the creator should be killed and he would do it.  He agreed that there shouldn’t be anymore monsters like him.  While Kuro deeply regrets this choice he made he is the only vampire who didn’t make any subclasses.  I wonder how he feels about the other vampires making more vampires “monsters” by creating subclasses.  If I was him it would make me feel worse because I killed our creator who meant something to me so I could watch my siblings who also felt their shouldn’t be more created, make more vampires themselves.  Maybe thats why Kuro decided to live as a cat so long, away from his servamp siblings.  He became weak because he didn’t drink any blood in hundreds of years.  Even now with an eve Kuro doesn’t really like drinking blood.

Brisingr Spork, Part 10: Escape and Evasion (3/3)

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“Escape and Evasion” is a twenty-six page monster in which very little happens.  A good editor would have suggested that Paolini cut this chapter and shift the only important conversation to another chapter.  Unfortunately, Michelle Frey phoned it in on this one.  In order to make the slog less painful, I have broken down the chapter based on Eragon’s encounters with other people.  This is the third of three sporks.

***

Eragon Phones a Friend (~2,000 words)

As Arya sleeps, we get a glimpse of honest humanity from Eragon.

He tried every method he knew to relax, but his mind kept returning to Arya…and, above all else, to the feelings he had for her.  What those were exactly, he was unsure.  He longed to be with her, but she had rejected his advances, and that tarnished his affection with hurt and anger, and also frustration, for while Eragon refused to accept that his suit was hopeless, he cold not think of how to proceed.

It’s a classic problem in fiction and in life: Person A likes Person B and Person B could care less. Paolini also captures, albeit in a dispassionate way, the conflicting emotions that come with liking a person who does not reciprocate one’s romantic feelings.  I’d even say that this is a good characterization of Eragon as a teenage boy who has likely had few relationships, particularly of the romantic kind, as has little guidance in the manner of healthy relationships.  He has to figure all of this out on his own.  It’s terrifying and confusing enough as a teen, trying to sort out your own sexual and romantic feelings, even when you have your peers and respected adults to give you advice.  Imagine trying to have a relationship without it.

That said, in the real world, if one is in Eragon’s position—wanting a relationship with a person who does not reciprocate—then there is only one way forward.

Stop.

The other person, as much as you may be infatuated with them, does not belong to you.  They might not be interested in a relationship at that time or they might just not be interested in a relationship with you.  You’ve made your interest clear and they’ve made their disinterest clear.  If something changes, they’ll let you know.  Until then, respect that they don’t like you the same way you like them.

And don’t do that creepy, manipulative thing where you pretend to be their best friend in the hopes that it will lead somewhere sexual/romantic, aka “Nice Guyism.”  That just confirms they made the right choice to keep you at arm’s length.

(End of PSA.)

At dawn, Eragon and Arya leave the inn by making a twelve-foot (roughly three-and-a-half meters) jump out of the window.  Eragon thinks it would be better to leave “like normal travelers,” but Arya insists it is too risky to stay.  After all, “if [they] linger, the king will surely find [them].”

I think Paolini is trying to interject some tension in this “evasion” portion of the chapter, but it just doesn’t work.  A guard looked Eragon in the eye and didn’t recognize him—they’re looking for a human, not an elf-hybrid.  Eragon and Arya had the attention of a pack of drunks, and no one thought anything different about them.  The risk is informed, not shown, and so it has no impact on the reader whatsoever.  Indeed, it contradicts the established narrative.

So, Eragon and Arya sneak through a city where no one is looking for them until they come to the outer wall.  Eragon decides to be chivalrous by offering Arya the chance to climb first until she shoots him down by pointing out that she’s in a dress.  He scampers up the wall where he stands, quite obviously, on “the tips of the sharpened posts.”  There he says he will remain until Arya joins him.  So she climbs the wall, pulling herself up “using only the strength of her arms.”

When she was close enough, Eragon seized her right forearm and lifted her above the remainder of the posts, setting her down next to him.

I’m sure a woman who could climb a palisade using only her arms really needed your help there, Eragon.

There’s a little tension as a watchman passes, but not much because do we really think the NPCs are going to pick now to become competent?

And that’s that.  They’ve escaped Eastcroft.  Thrilling, wasn’t it?

As they run by the farms, the only competent NPCs notice their passage.  I mean, of course, the farm dogs.  This could have been an interesting little moment in a true “Escape and Evasion” chapter.  Since Eragon and Arya can share the thoughts of animals, what kind of encounter might they have with protective dogs?  Is it possible for them to convince the dogs to be quiet as they pass or does the dog’s sense of duty (or territorial behavior, if you don’t wish to anthropomorphize your animals) compel it keep alerting on them?  Do the dogs let each other know that intruders are on the way, perhaps leading to an angry farmer with a bow in their path?

Eragon tried to calm [the dogs] with his mind, but the only way he found to stop the dogs from barking was to assure them that their terrible teeth and claws had scared him and Arya away.  Pleased with their success, the dogs pranced with wagging tails back to the barns, shed, and porches where they had been standing guard over their fiefdoms.  Their smug confidence amused Eragon.

Oh, well.  That works too, I guess.  Although Eragon probably shouldn’t be amused by “smug confidence” in another creature since that’s his defining character trait.

After running for five miles (roughly eight kilometers), Eragon and Arya decide that they’re safe—not that they were ever in danger to begin with—and it’s time to phone a friend.

Arya uses the water spell Eragon used earlier to summon enough water to create a scrying mirror.  She calls Nasuada.

They exchange pleasantries and ask each other questions, the answers of which they promise to share in person.  (The conversation is exactly as boring as it sounds.)  Eragon and Arya are two or three days away from the Varden and now is when Nasuada decides that regular communication is critical.

“…From now on, I want you to contact me at least once before noon and once before nightfall.  If I fail to hear from you, I’ll assume you’ve bee captured, and I’ll send Saphira with a rescue force.”

Really?  So you didn’t have a communications arrangement with Arya prior to now?  And where was the concern for Eragon when he was out fooling around in the middle of nowhere?  You didn’t think to send your rescue force and dragon then, preferring to send a single person?

I think this order is supposed to make Nasuada look like an intelligent, decisive leader.  Really it just makes her look like she’s making everything up as she goes.

“We may not always have the privacy we need to work magic.”

You know what would have been interesting?  If Arya had risked working magic in the inn to let Nasuada know that she had safely connected with Eragon.  That could have set off a real “escape and evasion” scenario in Eastcroft.  It would have committed the cardinal sin of writing (according to Paolini), though.  It would have made the chapter interesting.

“Find a way to get it.  I need to know where you two are and whether you’re safe.”

Why do you care all of a sudden?  If I were a soldier and my CO was suddenly concerned about keeping tabs on me when we’d been out of touch for days with no problem, I would wonder what it is I need to know that I’m not being told.  Like are there increased enemy patrols between where I was and home.  Of course, Arya doesn’t ask, so she’s either delightfully incurious or she knows it’s just inconsistent characterization for Nasuada.

Arya considered for a moment and then said, “If I can, I will do as you ask, but not if it puts Eragon in danger.”

Because that’s something you need to worry about.

After that entirely pointless conversation, Eragon asks to speak with Saphira.  While Nasuada goes to look for her, Eragon studies the inside of Nasuada’s tent and creeps on Arya.

…he allowed his eyes to drift from the pool of water to the back of Arya’s neck.  Her thick black hair fell to one side, exposing a strip of smooth skin just above the collar of her dress.  That transfixed him for the better part of a minute, and then he stirred and leaned against the charred stump.

I think Paolini is trying to show how beautiful Arya is and how infatuated with her Eragon is, but he’s falling short.

The first thing that struck me about this paragraph is how squicky it made me feel.  This is an entirely subjective response, so your mileage may vary, but it made me feel the same way I did when I turned around in class one day to see a guy staring at me with an expression that I could only describe as “over interest,” bordering on a sense of ownership.  (This guy had also made his romantic interest in me known early in the semester.  I told him I wasn’t interested and he stopped asking for a month or so, but you could tell he hadn’t quite given up on it in his head.)

The second thing that struck me about this paragraph is that it really makes me think Eragon has trouble processing what he sees.  If he were to see something so unique or stunning that it transfixes him for a minute once or twice in a story, that would draw the reader’s attention to how arresting the image is.  But Eragon does it for everything, giving every image the same weight for the reader.  What’s more is that he never reflects on what he sees.  He just observes it and moves on.  I think this bit of characterization results from Paolini’s consistent struggle to interweave plot, characterization, and setting; he has to stop everything for description because he doesn’t know how to use it naturally.  The result, however, is that the reader feels like Eragon isn’t all there, like he might have gotten into Angela’s good stuff.  (Come on.  You know she has a stash.)

Anyway, Saphira shows up and Eragon asks Nasuada to translate what she is thinking so he can talk to her.  Saphira asks if Eragon is healthy and Eragon says he’s “healthy as an ox” before asking after Saphira’s health.  She says,

“To compare myself with a bovine would be both ridiculous and insulting, but I’m as fit as ever, if that is what you are asking.”

Thank you, Commander Spock.

They keep their conversation to small talk since Nasuada and Arya are present and neither wants to discuss what happened at Helgrind with those two listening in.  Eragon mouths an apology, though, and Saphira appears to accept it, so relationship problem resolved!

And that’s it.  Yeah, you stop in enemy territory to use magic—risking discovery—just to have the kind of conversation you might have with a friend when you’re bored.  That could’ve been cut.  Alternatively, it could have been a fantastic conversation if the enemy were closing in, Eragon didn’t know if he would survive, and this was his last chance to apologize to Saphira.  After his inevitable survival, he’d have to deal with Nasuada and Arya knowing something intensely private about his relationship with Saphira.  Another missed opportunity.

With the exception of the one conversation—between Eragon and Arya, which could have easily been held until he returned to the Varden—this entire chapter could have been cut.  First, it fails to deliver on its premise.  There is no “escape” from the empire here because Eragon was never a prisoner.  There is no “evasion” because, despite the chapter assuring us that the empire is looking for Eragon, no one really seems to be looking for him.  There’s no need to evade when you can walk right through town and no one recognizes you (or turn yourself invisible if things get too uncomfortable).  Second, this chapter is far too disjointed to be of any narrative use.  It’s a bunch of sketched scenes, prewriting to get the creative juices flowing.  Structurally, it’s a mess.  Third, there’s no illumination of character here and the plot stagnates.  It doesn’t support the overall story in any way.

The only reason I can see for keeping this chapter in place is to inflate the book’s page count.  That’s the only one.


***

The next chapter is “A Delicate Matter,” spork by theepistler.   predak123 is on deck with “Bloodwolf.”
 

Quick note regarding tags

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Hi everyone,

For ease of later recollection, could everybody participating in the Brisingr Spork please try to remember to add "brisingr, sporkings" to the 'tags' section when posting your chapters. Or select brisingr and sporkings from the drop-down box (click 'select' to get the clickable list of tags).

I just think having all the chapters under the same headings would really help anyone looking for it, or for a particular chapter, later on in the future.

Thanks!

P.S. I don't think any of us regular plebs have the ability to modify or make new tags,  so if one of the mods would like to make a "group sporkings" tag, that would be just peachy.
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