I've been on Goodreads for almost a year now, plus book blogging for several months, and I still can't believe I've read over 50 books and written 130 reviews in 2013. This while completing my final year at uni and finding a job. Now that I've got a job my reading and reviewing time will be much shortened. Nevertheless I aim to read and write constantly in 2014.
I wish to give a big thank you to my Goodreads and Google friends for friending me :) A happy new year to you all.
Lucky 2014 reading!
Tuesday 31 December 2013
Monday 30 December 2013
Graphic Novel Review - 'The Adventures of Superhero Girl' by Faith Erin Hicks
2023 EDIT: Part of my 2023 clear-up, of books I no longer like, or am no longer interested in, or remember well as standing out, or find as special anymore, or I otherwise will not miss.
Final Score: 3.5/5
Original Review:
It's a graphic novel about a female hero who ISN'T sexualised and who DOESN'T use her sexuality as a weapon. In fact sex is barely mentioned at all. And she's portrayed like a real person!
With that out of the way, on to the review.
I love superheroes. And female-driven stories. So a superheroine comic by Faith Erin Hicks was something I knew I just had to check out.
Here's what I got:
'The Misadventures of Superhero Girl' (more fitting than its actual title, I find) has no overall plot per say. It's a collection of sort-of connected comic strips about a daft, passionate, and brooding young female superhero. She has no tragic backstory, no goals or plans (apart from looking for an arch-nemesis, since every "true" hero must have one), or even a proper superhero costume or name. She's just a girl with superpowers who chose to fight crime because she wants to. And because she is tired of living in her famous older brother's supershadow. As well as beating up random monsters and nonthreatening "villains" and ninjas (lots and lots of ninjas), Superhero Girl has real-life problems to overcome; such as paying the rent, earning money, getting her clothes clean, catching sickness, finding a hobby when the small town crime rate is low, and feeding her pet (a cat, which her roommate is apparently allergic to (this doesn't go anywhere)).
The whole comic is a metaphor for the bizarre and complicated challenges that come for a teenager who's becoming an adult. It's a lot of fun - a good superhero parody - while at the same time reflective of what actually goes on in one's life concerning jobs, family and friends. Kevin, Superhero Girl's brother, might be lonelier than she is, in spite of his fame and fanbase. He has to deal with looking good for people, who count on him being invincible and perfect all the time. Superhero Girl has no worries regarding this - the people in her town are largely ungrateful and think more of her embarrassing shortcomings than her successes, which could be a blessing in disguise.
'The Misadventures of Superhero Girl" could have done more with its parody/deconstruction element, such as showing Superhero Girl deal with property damage. And the ending is rather abrupt and inconclusive - similar to Ms Hicks' other graphic novel, 'Friends with Boys'. I also wanted Superhero Girl's roommate - simply called Roomie - to be given an actual name, especially since, unlike the many other secondary characters, she does play a major role in the comic. She is as funny and proactive as the heroine herself, and she is not a superhero; merely a normal, down-to-earth adversary. In a way Roomie is Superhero Girl's nemesis - she is more realistic but manages to keep herself in check and have a healthy social life.
Well at least the comic book, in 112 pages, squeezes in other characters with more than two dimensions to them; such as Spectacle, who is newer than Superhero Girl and is better at fighting crime than her (but who adoringly looks up to her).
A benchmark for graphic novels aimed at both genders - that focus on female relationships in their stories - 'The Misadventures of Superhero Girl' is funny, colourful, clever and a little bit sad. I'm glad I gave this one a chance.
However I think I'll take a break from comic books for a while now - too many written-word novels to get through.
Final Score: 4/5
Final Score: 3.5/5
Original Review:
It's a graphic novel about a female hero who ISN'T sexualised and who DOESN'T use her sexuality as a weapon. In fact sex is barely mentioned at all. And she's portrayed like a real person!
With that out of the way, on to the review.
I love superheroes. And female-driven stories. So a superheroine comic by Faith Erin Hicks was something I knew I just had to check out.
Here's what I got:
'The Misadventures of Superhero Girl' (more fitting than its actual title, I find) has no overall plot per say. It's a collection of sort-of connected comic strips about a daft, passionate, and brooding young female superhero. She has no tragic backstory, no goals or plans (apart from looking for an arch-nemesis, since every "true" hero must have one), or even a proper superhero costume or name. She's just a girl with superpowers who chose to fight crime because she wants to. And because she is tired of living in her famous older brother's supershadow. As well as beating up random monsters and nonthreatening "villains" and ninjas (lots and lots of ninjas), Superhero Girl has real-life problems to overcome; such as paying the rent, earning money, getting her clothes clean, catching sickness, finding a hobby when the small town crime rate is low, and feeding her pet (a cat, which her roommate is apparently allergic to (this doesn't go anywhere)).
The whole comic is a metaphor for the bizarre and complicated challenges that come for a teenager who's becoming an adult. It's a lot of fun - a good superhero parody - while at the same time reflective of what actually goes on in one's life concerning jobs, family and friends. Kevin, Superhero Girl's brother, might be lonelier than she is, in spite of his fame and fanbase. He has to deal with looking good for people, who count on him being invincible and perfect all the time. Superhero Girl has no worries regarding this - the people in her town are largely ungrateful and think more of her embarrassing shortcomings than her successes, which could be a blessing in disguise.
'The Misadventures of Superhero Girl" could have done more with its parody/deconstruction element, such as showing Superhero Girl deal with property damage. And the ending is rather abrupt and inconclusive - similar to Ms Hicks' other graphic novel, 'Friends with Boys'. I also wanted Superhero Girl's roommate - simply called Roomie - to be given an actual name, especially since, unlike the many other secondary characters, she does play a major role in the comic. She is as funny and proactive as the heroine herself, and she is not a superhero; merely a normal, down-to-earth adversary. In a way Roomie is Superhero Girl's nemesis - she is more realistic but manages to keep herself in check and have a healthy social life.
Well at least the comic book, in 112 pages, squeezes in other characters with more than two dimensions to them; such as Spectacle, who is newer than Superhero Girl and is better at fighting crime than her (but who adoringly looks up to her).
A benchmark for graphic novels aimed at both genders - that focus on female relationships in their stories - 'The Misadventures of Superhero Girl' is funny, colourful, clever and a little bit sad. I'm glad I gave this one a chance.
However I think I'll take a break from comic books for a while now - too many written-word novels to get through.
Final Score: 4/5
Wednesday 25 December 2013
Tuesday 24 December 2013
Sunday 22 December 2013
Book Review - 'The Girl Who Played with Fire' by Stieg Larsson, Reg Keeland (Translator)
2023 EDIT: Part of my 2023 clear-up, of books I no longer like, or am no longer interested in, or remember well as standing out, or find as special anymore, or I otherwise will not miss.
[In this case it's books that no longer fit my personal tastes, and are of such monstrous sizes and density I cannot see myself rereading them.]
Final Score: 3.5/5
Original (embarrassing and naïve and oh-goddess-it's-been-years) Review:
I finally have time to write a review of ‘The Girl Who Played with Fire’. Though given how long it took me to get around to it, and that my first attempt inexplicably got lost during the editing process, it might not come out as epic as I’d originally intended when I first finished reading the book.
‘The Girl Who Played with Fire’ is easier to critique for its flaws than with its predecessor. While I loved ‘The Girl with the Dragon Tattoo’, I am aware that it had problems. But because of the overall scope of its mystery, characters and atmosphere, I easily overlooked any weaknesses in the writing. It was the most gripping, bleak, disturbing and thrilling work of crime fiction I've ever had the pleasure to read. Now in reviewing its sequel, I think I can talk more in depth about Stieg Larsson’s bestselling series, especially when its flaws are more apparent this time around. I still love it – not as much as the first installment, but there’s plenty of love left nonetheless.
So let me type up what I think to be the flaws of ‘The Girl Who Played with Fire’ first of all:
There are a lot of characters to keep track of. The blurb promises a double-murder mystery, but that murder doesn't happen 'til about 200 pages in, so not much exciting action happens beforehand. During which the reader has to go through many long descriptive passages and pointless accounts of day-to-day routines (chiefly concerning Lisbeth). I figured out the plot twist before it was revealed (although that was about 20 pages before the revealing itself). Blomkvist’s daughter – who played a vital-albeit-brief part in helping him to solve the mystery in the last novel – isn't mentioned at all here, despite him having a family Christmas dinner at one point. It’s like Blomkvist never had children (his ex-wife is only referred to in one paragraph). And the mathematics theme is to me rather meaningless when you analyze the mystery as a whole.
However, similar to its predecessor, its merits are not only founded, but are profound. Let’s talk about the characters:
Mikael Blomkvist – Despite obviously being Larsson’s self-insertion, he is a good guy with realistic flaws. He is a ladies man who even got Lisbeth to fall for him, and he seems to have no standards when it comes to sleeping with any woman whom sex (especially when it’s casual) should be the very last thing on her mind. But his journalism skills and determination to seek the truth are admirable, and also cathartic in a world that is corrupt and obsessed with propaganda. He isn’t selfish or disrespectful. And while I am slightly disappointed that Blomkvist’s daughter and ex-wife don’t appear in his life anymore (so it seems), his sister, Annika, a lawyer, plays a major role in the second book’s plot. He has purely platonic relationships with women as well, and I love that when he works with a female colleague (Eriksson, I think her name is), it is never brought up whether he wants to sleep with her or not. They are business partners and friends, nothing more. What a relief!
Lisbeth Salander – I think I love you more than ever. She is at the pinnacle of well-written female characters in fiction. Don’t be fooled by her childlike body and records of mental instability; she is a frightful force to be reckoned with. An abuse and rape survivor, she will fight and take advantage of whoever dares to do her harm. She is nobody’s victim. ‘The Girl with the Dragon Tattoo’ sees her skills, strengths and thought processes and how she uses them to assist Blomkvist in solving a case, and ‘The Girl Who Played with Fire’ explores her backstory more, and her growth and improvement in her abilities and assertiveness. I find it funny that whenever her twin sister Camilla is mentioned, someone says something along the lines of, “Oh God, there’s two of her?” Bisexual (although she hates labels – there’s one thing we share in common), a computer hacker, an arse-kicker, a motorbike rider, and a development case in learning to trust and respect others again (not necessarily authority figures), I thank Mr Larsson in Heaven for this wonderful creation.
Some people say Lisbeth is too indestructible; that against impossible odds she always survives and wins over every situation she comes across. In response to this claim I will present this argument: Nobody bats an eye when a perfect, Byronic male hero such as James Bond gets out of any scrap thrown at him, hunky-dory. Why not have female heroes do the same? Why can’t a woman save her own person and not wait for a man to come rescue her when she can clearly take care of herself? Lisbeth Salander is an endearing and interesting heroine with many personality flaws to grow out of in her story, and so this balances out the moments of suspension-of-disbelief when she survives what would have ended a human being. In fact it makes the reader WANT to see her live to achieve her well-intentioned goals, and it is intense when it looks like she might be in serious danger with no chance of escaping her circumstances. There are a lot of male heroes – in fiction, mythology etc. – with no notable flaws or interests and are, from a story viewpoint, static and boring; this may be because they are the creator’s and audiences’ projection of a wish-fulfillment male power fantasy. Lisbeth struggles through danger and uses her abilities and gifts to survive them – because she utilizes them as her strengths. It isn't so easy to pity her or feel the need to protect her then. Her superhuman traits are only a small part of her when compared to her weaknesses which she never gives up on overcoming in her everyday life.
She is a survivor – and that is the point of her character.
Throughout the majority of ‘The Girl Who Played with Fire’, Blomkvist and Lisbeth only interact via computers, so there is less banter between these two who are characteristically polar opposites. This is understandable since Lisbeth has been avoiding Mikael after finding out about his relationships with other women, and she is now wanted internationally for a triple murder. This novel explores the relationship between these truth-seeker protagonists further, and it is far more complex and fascinating than before.
My other favourite characters (and like I stated, there are many) include: Erika Berger, Dag Svensson, Holger Palmgren, Miriam Wu, Sonja Modig, Inspector Jan Bublanski, Paolo Roberto, Annika, and Armansky. Advokat Bjurman, Faste and all the other misogynists, murderers and/or rapists can go and die painful deaths.
The story – once it gets going halfway through – is compelling and as rich in detail as in the first book. One of its aspects is that it superbly reflects how the policing, journalism and psychology worlds would react to a double-to-triple murder, especially when they already have a suspect who they cannot find and is a hell of a lot smarter than they originally thought. Lisbeth Salander is under guardianship and has a documented history of mental illness and violence, so she is an easy target for authority figures to suspect her of being a murderer. A so-called lesbian, satanic cultist murderer at that; things that journalists love to eat up for shock value. The climax is one of the most frightening, bizarre and exciting I've read in years, and it cemented my decision to give this novel five stars instead of four.
‘The Girl Who Played with Fire’ – so the road is a little bumpy on the way towards its destination; in the end I adored it. Stieg Larsson’s Millennium Trilogy is becoming one of my favourite book series, and I can’t wait to get around to plowing through the final installment.
Final Score: 4.5/5
[In this case it's books that no longer fit my personal tastes, and are of such monstrous sizes and density I cannot see myself rereading them.]
Final Score: 3.5/5
Original (embarrassing and naïve and oh-goddess-it's-been-years) Review:
I finally have time to write a review of ‘The Girl Who Played with Fire’. Though given how long it took me to get around to it, and that my first attempt inexplicably got lost during the editing process, it might not come out as epic as I’d originally intended when I first finished reading the book.
‘The Girl Who Played with Fire’ is easier to critique for its flaws than with its predecessor. While I loved ‘The Girl with the Dragon Tattoo’, I am aware that it had problems. But because of the overall scope of its mystery, characters and atmosphere, I easily overlooked any weaknesses in the writing. It was the most gripping, bleak, disturbing and thrilling work of crime fiction I've ever had the pleasure to read. Now in reviewing its sequel, I think I can talk more in depth about Stieg Larsson’s bestselling series, especially when its flaws are more apparent this time around. I still love it – not as much as the first installment, but there’s plenty of love left nonetheless.
So let me type up what I think to be the flaws of ‘The Girl Who Played with Fire’ first of all:
There are a lot of characters to keep track of. The blurb promises a double-murder mystery, but that murder doesn't happen 'til about 200 pages in, so not much exciting action happens beforehand. During which the reader has to go through many long descriptive passages and pointless accounts of day-to-day routines (chiefly concerning Lisbeth). I figured out the plot twist before it was revealed (although that was about 20 pages before the revealing itself). Blomkvist’s daughter – who played a vital-albeit-brief part in helping him to solve the mystery in the last novel – isn't mentioned at all here, despite him having a family Christmas dinner at one point. It’s like Blomkvist never had children (his ex-wife is only referred to in one paragraph). And the mathematics theme is to me rather meaningless when you analyze the mystery as a whole.
However, similar to its predecessor, its merits are not only founded, but are profound. Let’s talk about the characters:
Mikael Blomkvist – Despite obviously being Larsson’s self-insertion, he is a good guy with realistic flaws. He is a ladies man who even got Lisbeth to fall for him, and he seems to have no standards when it comes to sleeping with any woman whom sex (especially when it’s casual) should be the very last thing on her mind. But his journalism skills and determination to seek the truth are admirable, and also cathartic in a world that is corrupt and obsessed with propaganda. He isn’t selfish or disrespectful. And while I am slightly disappointed that Blomkvist’s daughter and ex-wife don’t appear in his life anymore (so it seems), his sister, Annika, a lawyer, plays a major role in the second book’s plot. He has purely platonic relationships with women as well, and I love that when he works with a female colleague (Eriksson, I think her name is), it is never brought up whether he wants to sleep with her or not. They are business partners and friends, nothing more. What a relief!
Lisbeth Salander – I think I love you more than ever. She is at the pinnacle of well-written female characters in fiction. Don’t be fooled by her childlike body and records of mental instability; she is a frightful force to be reckoned with. An abuse and rape survivor, she will fight and take advantage of whoever dares to do her harm. She is nobody’s victim. ‘The Girl with the Dragon Tattoo’ sees her skills, strengths and thought processes and how she uses them to assist Blomkvist in solving a case, and ‘The Girl Who Played with Fire’ explores her backstory more, and her growth and improvement in her abilities and assertiveness. I find it funny that whenever her twin sister Camilla is mentioned, someone says something along the lines of, “Oh God, there’s two of her?” Bisexual (although she hates labels – there’s one thing we share in common), a computer hacker, an arse-kicker, a motorbike rider, and a development case in learning to trust and respect others again (not necessarily authority figures), I thank Mr Larsson in Heaven for this wonderful creation.
Some people say Lisbeth is too indestructible; that against impossible odds she always survives and wins over every situation she comes across. In response to this claim I will present this argument: Nobody bats an eye when a perfect, Byronic male hero such as James Bond gets out of any scrap thrown at him, hunky-dory. Why not have female heroes do the same? Why can’t a woman save her own person and not wait for a man to come rescue her when she can clearly take care of herself? Lisbeth Salander is an endearing and interesting heroine with many personality flaws to grow out of in her story, and so this balances out the moments of suspension-of-disbelief when she survives what would have ended a human being. In fact it makes the reader WANT to see her live to achieve her well-intentioned goals, and it is intense when it looks like she might be in serious danger with no chance of escaping her circumstances. There are a lot of male heroes – in fiction, mythology etc. – with no notable flaws or interests and are, from a story viewpoint, static and boring; this may be because they are the creator’s and audiences’ projection of a wish-fulfillment male power fantasy. Lisbeth struggles through danger and uses her abilities and gifts to survive them – because she utilizes them as her strengths. It isn't so easy to pity her or feel the need to protect her then. Her superhuman traits are only a small part of her when compared to her weaknesses which she never gives up on overcoming in her everyday life.
She is a survivor – and that is the point of her character.
Throughout the majority of ‘The Girl Who Played with Fire’, Blomkvist and Lisbeth only interact via computers, so there is less banter between these two who are characteristically polar opposites. This is understandable since Lisbeth has been avoiding Mikael after finding out about his relationships with other women, and she is now wanted internationally for a triple murder. This novel explores the relationship between these truth-seeker protagonists further, and it is far more complex and fascinating than before.
My other favourite characters (and like I stated, there are many) include: Erika Berger, Dag Svensson, Holger Palmgren, Miriam Wu, Sonja Modig, Inspector Jan Bublanski, Paolo Roberto, Annika, and Armansky. Advokat Bjurman, Faste and all the other misogynists, murderers and/or rapists can go and die painful deaths.
The story – once it gets going halfway through – is compelling and as rich in detail as in the first book. One of its aspects is that it superbly reflects how the policing, journalism and psychology worlds would react to a double-to-triple murder, especially when they already have a suspect who they cannot find and is a hell of a lot smarter than they originally thought. Lisbeth Salander is under guardianship and has a documented history of mental illness and violence, so she is an easy target for authority figures to suspect her of being a murderer. A so-called lesbian, satanic cultist murderer at that; things that journalists love to eat up for shock value. The climax is one of the most frightening, bizarre and exciting I've read in years, and it cemented my decision to give this novel five stars instead of four.
‘The Girl Who Played with Fire’ – so the road is a little bumpy on the way towards its destination; in the end I adored it. Stieg Larsson’s Millennium Trilogy is becoming one of my favourite book series, and I can’t wait to get around to plowing through the final installment.
Final Score: 4.5/5
Friday 13 December 2013
I just got back from seeing 'Frozen'. While there are a few elements I thought could have been handled more carefully, and that Anna's personality is barely distinguishable from Rapunzel's, it is nevertheless a very good film. Disney does a new take on love triangles, and is progressing further and further regarding the portrayal of the necessities of female relationships.
Wednesday 11 December 2013
Non-Fiction Book Review - 'A Street Cat Named Bob' by James Bowen
A wonderful true story all about hope. It is set in good old London (though one half of a chapter is in Australia) and stars the cat of the century, Bob.
The narrator, on a drug rehabilitation programme, made money playing his guitar on the streets for up to ten years, with no clear goal and not really going anywhere in life. Until, in Spring 2007, he found a ginger cat sitting outside his neighbour's door in his sheltered accommodation. This amazing, intelligent, mysterious and apparently fearless street moggy got James Bowen's life back on track - with the responsibility of caring for another living thing.
This applies to both the man and the cat.
Funny, sad, sweet and thought-provoking. The writing in 'A Street Cat Named Bob' is simple and easy to breeze through in an afternoon or evening time of reading. And yet I really believed in James's struggles to get through his day-to-day life. This life became more difficult when the recession hit in 2008 and he had to seriously start thinking about how he would achieve getting a solid job and integrating himself into society once more. I especially liked when he describes going "cold turkey" when he went off drugs completely for forty-two hours. The people in James's story are angels, bitter enemies, or in between, as ordinary people are. The book misses one star because there are a few inconsistencies - a women called Davika is then called Vanika on the next page.
'A Street Cat Named Bob' is as real as life on the streets - which happens to more people than we feel comfortable knowing about. It is an adorable book for cat lovers, but also an important milestone of non-fiction that I would recommend to anyone. This story is not even a quarter similar to those millions of internet cat films - there is a dark, gritty side to London, even in its most attractive tourist attractions, and to looking after and loving a pet on your own.
Not that that destroyed James Bowen's sense of humour and hope for the future. Or Bob's bravery and persistence in finding companionship.
(I halfheartedly apologise if this review reads as being muddled and all over the place. Pedantic aspiring author that I am, I just type my thoughts and hope it looks good when I separate them into paragraphs :P)
Final Score: 4/5
The narrator, on a drug rehabilitation programme, made money playing his guitar on the streets for up to ten years, with no clear goal and not really going anywhere in life. Until, in Spring 2007, he found a ginger cat sitting outside his neighbour's door in his sheltered accommodation. This amazing, intelligent, mysterious and apparently fearless street moggy got James Bowen's life back on track - with the responsibility of caring for another living thing.
This applies to both the man and the cat.
Funny, sad, sweet and thought-provoking. The writing in 'A Street Cat Named Bob' is simple and easy to breeze through in an afternoon or evening time of reading. And yet I really believed in James's struggles to get through his day-to-day life. This life became more difficult when the recession hit in 2008 and he had to seriously start thinking about how he would achieve getting a solid job and integrating himself into society once more. I especially liked when he describes going "cold turkey" when he went off drugs completely for forty-two hours. The people in James's story are angels, bitter enemies, or in between, as ordinary people are. The book misses one star because there are a few inconsistencies - a women called Davika is then called Vanika on the next page.
'A Street Cat Named Bob' is as real as life on the streets - which happens to more people than we feel comfortable knowing about. It is an adorable book for cat lovers, but also an important milestone of non-fiction that I would recommend to anyone. This story is not even a quarter similar to those millions of internet cat films - there is a dark, gritty side to London, even in its most attractive tourist attractions, and to looking after and loving a pet on your own.
Not that that destroyed James Bowen's sense of humour and hope for the future. Or Bob's bravery and persistence in finding companionship.
(I halfheartedly apologise if this review reads as being muddled and all over the place. Pedantic aspiring author that I am, I just type my thoughts and hope it looks good when I separate them into paragraphs :P)
Final Score: 4/5
Tuesday 3 December 2013
Book Review - 'Old Bear' by Jane Hissey
I admit it, I remember little about the book itself. I'm basing my rating on the television series, and how many laughs and tears my family and I shared during that blissful time called childhood.
The characters were distinctive and adorable; and not just because they were stuffed animals and so were automatically endearing to my mind as a nipper. As well as being a cute adventure story, 'Old Bear', most importantly, contains a subtle message about never leaving anybody behind; not your family or your friends. Growing old isn't such a scary thing if you still have people around who care about you, and will do whatever it takes to make you feel happy and welcome.
Age, and whether or not you've "passed it", shouldn't matter to anyone. People and objects should be loved and appreciated for who and what they are. I believe that this is what I (oh, so long ago!) had subconsciously absorbed from both reading and watching 'Old Bear' (maybe that's why I'm always reluctant to give up old things, though I'm very adaptable by nature). It is a sad but lovely tale about never leaving anything go to dust and be forgotten about.
Is it possible to remember only snippets of a story but still feel that warm nostalgic feeling towards it? And to be reminded of it in years gone by because of it? With 'Old Bear', it's possible. Anything is.
Final Score: 5/5
The characters were distinctive and adorable; and not just because they were stuffed animals and so were automatically endearing to my mind as a nipper. As well as being a cute adventure story, 'Old Bear', most importantly, contains a subtle message about never leaving anybody behind; not your family or your friends. Growing old isn't such a scary thing if you still have people around who care about you, and will do whatever it takes to make you feel happy and welcome.
Age, and whether or not you've "passed it", shouldn't matter to anyone. People and objects should be loved and appreciated for who and what they are. I believe that this is what I (oh, so long ago!) had subconsciously absorbed from both reading and watching 'Old Bear' (maybe that's why I'm always reluctant to give up old things, though I'm very adaptable by nature). It is a sad but lovely tale about never leaving anything go to dust and be forgotten about.
Is it possible to remember only snippets of a story but still feel that warm nostalgic feeling towards it? And to be reminded of it in years gone by because of it? With 'Old Bear', it's possible. Anything is.
Final Score: 5/5
Non-Fiction Book Review - 'Teach Yourself Screenwriting' by Raymond G. Frensham
2023 EDIT: Part of my 2023 clear-up, of books I no longer like, or am no longer interested in, or remember well as standing out, or find as special anymore, or I otherwise will not miss.
Final Score: 3.5/5
Original Review:
A straightforward, no-nonsense and no-sentimentality book on how to write scripts. And how to write stories period.
'Teach Yourself Screenwriting' was my first scriptwriting book, and one that taught me that the craft of writing has to be polished and perfected over a long development duration in order to gain acknowledgement, just like every form of craft - you can't achieve goals by talent alone. Having an imagination is great, however you learn by DOING. Breaking the rules is fine as long as you know what those rules are to begin with.
It's harsh, but true. Learning and doing something to achieve your dreams should invigorate your creative spirit, not crush it due to "reality". For that reason - along with its information about plot and character archetypes, and famous, helpful quotes - 'Teach Yourself Screenwriting' gets four stars from me.
Final Score: 4/5
Final Score: 3.5/5
Original Review:
A straightforward, no-nonsense and no-sentimentality book on how to write scripts. And how to write stories period.
'Teach Yourself Screenwriting' was my first scriptwriting book, and one that taught me that the craft of writing has to be polished and perfected over a long development duration in order to gain acknowledgement, just like every form of craft - you can't achieve goals by talent alone. Having an imagination is great, however you learn by DOING. Breaking the rules is fine as long as you know what those rules are to begin with.
It's harsh, but true. Learning and doing something to achieve your dreams should invigorate your creative spirit, not crush it due to "reality". For that reason - along with its information about plot and character archetypes, and famous, helpful quotes - 'Teach Yourself Screenwriting' gets four stars from me.
Final Score: 4/5
Non-Fiction Book Review - 'Screenplay: The Foundations of Screenwriting' by Syd Field
2023 EDIT: Part of my 2023 clear-up, of books I no longer like, or am no longer interested in, or remember well as standing out, or find as special anymore, or I otherwise will not miss.
Final Score: 3.5/5
Original Review:
Another university screenwriting book I found to be very helpful. Written by a "guru" of screenwriting with decades of teaching under his belt, 'Screenplay: The Foundations of Screenwriting' is, as such, considered to be the bible on how to write for films. Even professional writers such as Anna Hamilton Phelan, Frank Pierson, and James Cameron have benefited from it.
In simple steps Syd Field discusses:
What is a Screenplay?
The Subject
Creating Characters and building their arcs
Endings and Beginnings
The Setup
The Sequence
The Plot Point
The Scene
Building, writing and forming the Screenplay
Adapting from another existing story
Collaborative writing
After the Screenplay is written
Those points are enough to make me consider what the key elements are to writing a good story, not just a movie script. My passion lies more towards novel writing, but I still reread 'Screenplay' to remember how to set up conflict and consequence, content and context, confrontation and resolution, interior and exterior characters and their motivations.
Get an idea for a story. Then develop and know it, and your characters and the world in which they live in, inside out. There isn't a lot discussed about symbolism or themes in 'Screenplay', but the skeletal story mechanics and their internalized plot points (which Mr Field compares to a chessboard - a clever analogy) are there and prevalent. Parts exist to make up a whole.
Mr Field emphasizes how the first ten pages of a script are crucial, and that not knowing how it will end is not okay. Making things up as you go along is "Bullshit!" (quote Syd Field, 'Screenplay' page 60, 1979-94) - knowing your ending is important. It has to make sense and fit into the whole story, thus avoiding the dreaded deus ex machina.
I also like how Mr Field acknowledges how time consuming and life changing writing can be for most, if not all, people. As it should be, for writing is a skill only perfected by continuing to do it, and by learning from mistakes. Know the rules of the trade, but be imaginative and unpredictable as well so people will want to read your stuff. He compares finishing a story to giving birth; another rather clever analogy. He can be funny and insightful without even trying.
'Screenplay: The Foundations of Screenwriting' is essential reading for novices and those already well into the craft of scriptwriting. Well written. Well recommended.
Final Score: 4/5
Final Score: 3.5/5
Original Review:
Another university screenwriting book I found to be very helpful. Written by a "guru" of screenwriting with decades of teaching under his belt, 'Screenplay: The Foundations of Screenwriting' is, as such, considered to be the bible on how to write for films. Even professional writers such as Anna Hamilton Phelan, Frank Pierson, and James Cameron have benefited from it.
In simple steps Syd Field discusses:
What is a Screenplay?
The Subject
Creating Characters and building their arcs
Endings and Beginnings
The Setup
The Sequence
The Plot Point
The Scene
Building, writing and forming the Screenplay
Adapting from another existing story
Collaborative writing
After the Screenplay is written
Those points are enough to make me consider what the key elements are to writing a good story, not just a movie script. My passion lies more towards novel writing, but I still reread 'Screenplay' to remember how to set up conflict and consequence, content and context, confrontation and resolution, interior and exterior characters and their motivations.
Get an idea for a story. Then develop and know it, and your characters and the world in which they live in, inside out. There isn't a lot discussed about symbolism or themes in 'Screenplay', but the skeletal story mechanics and their internalized plot points (which Mr Field compares to a chessboard - a clever analogy) are there and prevalent. Parts exist to make up a whole.
Mr Field emphasizes how the first ten pages of a script are crucial, and that not knowing how it will end is not okay. Making things up as you go along is "Bullshit!" (quote Syd Field, 'Screenplay' page 60, 1979-94) - knowing your ending is important. It has to make sense and fit into the whole story, thus avoiding the dreaded deus ex machina.
I also like how Mr Field acknowledges how time consuming and life changing writing can be for most, if not all, people. As it should be, for writing is a skill only perfected by continuing to do it, and by learning from mistakes. Know the rules of the trade, but be imaginative and unpredictable as well so people will want to read your stuff. He compares finishing a story to giving birth; another rather clever analogy. He can be funny and insightful without even trying.
'Screenplay: The Foundations of Screenwriting' is essential reading for novices and those already well into the craft of scriptwriting. Well written. Well recommended.
Final Score: 4/5
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