(no subject)

[beccaelizabeth]

I have decided I dislike plots where the whole thing could be cleared up with a couple of emails. They just seem so futile. Battling against terrible foes while hugely outnumbered, yaaaay. Battling against the wrong guy because some bitch told you a lie, unyaaay. Specially since it is also a traitor/betrayal story, and those are really depressing.

Also, when the entire plot revolves around some convenient partial amnesia, that just makes the hand of the author a teensy tiny bit too obvious. Amnesia as comedy, yeah, whatever, merely boring. But amnesia as plot? Give me a break.

Books. I should probably stop reading this series. But I have this whole inability to quit thing going on.

Comments

[pinkdormouse.livejournal.com]

I dunno; there are times when I'm glad I'm writing a story that's set pre everyone having email. If Imogen had got all the notes she needed from Russia as a zip file rather than waiting a month for parcel post then my plot would have happened all the wrong way around.

Gina

[beccaelizabeth]

It wasn't so much specifically email, or the speed of communication. More like, if an entire plot can be cleared up with less than two sentences between people who have absolutely no physical, technical, or even emotional reason not to communicate except the author says they dont, it feels really rather less than heroic or even tragic. Its just dumb.
Third book in the series has done it again. If two people who are in different rooms of the same building had said two sentences to each other then this whole plot arc would be different, and the author hasn't established any earthly reason why they haven't.

[pinkdormouse.livejournal.com]

Ah, I'm with you now.

Gina