Frustrations with Edgar Rice Burroughs

  • by Gitabushi

I’ve been reading more slowly lately. Life, plus an obsession with a mobile game* as a stress reliever.

I am really trying to like Pulp. There is much to like about Pulp. But there is also much to dislike about Pulp.

Edgar Rice Burroughs (ERB) provides some good examples of both.

I’ve read enough of ERB and Robert E. Howard that I can get into a pulp mindset where I turn off my writing critic and just enjoy the story.  And *still* ERB annoys with some of his poor plotting mechanics.

I have to conclude that ERB was great at coming up with an amazing archetype of a hero, and then just writing about his bad-ass character. His fame comes from being the first to have such a bad-ass character, rather than from actual writing talent.

Maybe that’s harsh. I know it’s going to irritate some people. But look, I’ve read The Monster Men (which was one of ERB’s later works, and an attempt to be more literary), and while it still had some problems, it was actually a fairly well-written book, with some twists, some character complexity, proper foreshadowing, etc.

But I’m still in the midst of slogging through Gods of Mars, and there are just so many examples of poor writing.

I feel like nearly every 3-4 pages there’s an example of poor writing that jars me out of my Willing Suspension of Disbelief.

Sometimes it is having incredible luck that saves John Carter from failure/death or otherwise continue the narrative. One would be irritating, but there have been at least 10 so far…way too many.  Examples: How was it John Carter to Barsoom returned just in time to encounter Tars Tarkas? How was it Tars Tarkas wasn’t the Green Warrior surprised by the unexpected jumping tactics of the Plant Men? How did Thuvia and Tars happen to be right at the location where the damaged air car of John Carter, Xodar, and Carthoris comes to ground?  Why does Thuvia have the ability of nearly perfect telepathy with beasts? Is this something other Barsoomians have? The answer seems to be that ERB needed something to get the characters through a nearly-impossible situation, so he just pulled something out of the air and ran with it.

Or the characters encounter an obstacle, and what do you know, they just happen to have the ability/item they need, right at that moment, but ERB just forgot to mention it before then! This is probably the most irritating, because it gives an impression of first draft writing: if your writing leads you to put your characters into a difficult situation, you go back and add the solution earlier in the work, at a time that it won’t seem unusual or significant.  Call it effective foreshadowing, call it effective preparation to  avoid a deus ex machina, I don’t really know the right way to put it. But ERB completely misses the mark for this in A Princess of Mars and Gods of Mars.

One that bothers me even more, however, is when ERB is inconsistent with the world and the rules of the world he himself set up.  In A Princess of Mars, he explains at length that the Green Men have rifles capable of amazing long distance accuracy, and the marksmanship skills to use them at incredible ranges. Yet when the Green Men would reasonably use that advantage in a way that might hurt the main characters, the Green Men conviently forget to use them.  A prime example of this (which I just read, and pushed me over the edge to needing to write this complaint) is when the Warhoons are chasing John Carter’s band after he rescued Tars Tarkas, but the Warhoons merely pursue them instead of shooting their mounts from underneath them. Another example is several pages earlier when John Carter merely follows Tars’ escorting guards through the dungeon, intead of attacking them immediately to free Tars. And immediately following when John Carter regretfully feels forced to ambush Tars’ guards, clearly feeling it was not up to his standards of fairness.  This bothers me because John Carter had not hesitated to attack far more than just four Green Men warriors previously, and he had killed one with a single blow from his fist before. Why would he hesitate in this situation, and why would he finally decide on a somewhat-dishonorable ambush? Inconsistency.

There are other things to like about the book, but this isn’t really a book review. I like it better than the Land that Time Forgot, because when I put The Gods of Mars down, I do want to pick it up again.  But it isn’t compelling me to reach the finish like The Monster Men did.

I’m not saying the book sucks.  But it does spur contemplation on the nature of successful writing. Should I sacrifice quality for speed in writing? Should I just come up with a great character and not stress plot and consistency?  Why does the best of SFF pulp have this many problems, but the best of Western and Detective Noir do not?

Okay, come at me.

* Kingdom Rush. My obsession is finishing every level without using any of the one-time use special abilities you can purchase with diamonds.  I’m almost done. I’m stressed because the new job I mentioned on Twitter as getting hired for FIVE MONTHS AGO still hasn’t given me a start date. Long story there.

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Guitar Lust: Why Don’t They Make More “Blackout” Models?

  • by Gitabushi

Okay, maybe “blackout” isn’t the right term.  That’s part of the problem: there is no name for the style of guitar I like best. What I’m talking about is a Stratocaster-style guitar, with black hardware, black pickguard, black headstock, and black fretboard, and just about any body color, combine to make what is, in my opinion, the most beautiful guitar imaginable.

Let me pause a moment and discuss taste.  Specifically, my taste. I’m kind of a rebel. I like what I like, and it seems like I always like the things that are a little different. Okay, a lot different.  For instance, I genuinely like the movie “Orcs!” (2011).  I love listening to Chinese pop music; but my wife tells me that even for Chinese pop, I like the songs most other people have never heard of. When I’m not listening to Chinese music, my favorite band is Styx, which garners more than a little derision. I like 80s hair metal, too, which would be embarrassing enough, except that I like Giant and Loudness, two of the least-popular hair metal bands that were just popular enough you might have heard of them.

But I’m not a hipster. I’ve never stopped liking someone or something because they got popular. In fact, I’m usually very eager to share the things I like with other people, in hopes of it catching on.

I would like everyone to watch and like Chuck and Flash Forward. The more people that like Chinese pop music, Chuck, CJ Cherryh, etc., the more people I have to talk with about my passions.

Alas: my tastes are apparently weird.

So getting to guitars, here’s what I like:

This is Brad Gillis’ guitar. Er, a guitar made by Fernandes in the style of Brad Gillis’ guitar.

It is, quite simply, bad ass.

(the opposite being found here)

And yet, it is very difficult to find many guitars that have all those elements. I had to search for quite some time just to find these pictures:

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And to be honest, there is no telling what the headstock looks like in these photos.  Too often, they go with a plain headstock or a body color, instead of plain black.

If I want to get really picky, I’d insist on a strat style headstock, which leaves this one out:

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But I think I have to allow it, just because there are so few examples that meet all my criteria.

Too often, the manufacturer changes one thing that just makes the guitar fall short of perfection, like a chrome bridge, or light colored fretboard, or the aforementioned headstock color mistakes:

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Close. They just *had* to use a chrome bridge, didn’t they?  Bastards:

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Just imagine how gorgeous this red guitar below would look with a black input jack, black bridge, and black tuners!

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This is so close to perfection, I could almost cry. Or grab a brush and some black paint:

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And Charvel is an interesting case.  The orange guitar above is rare, in that it has a rosewood fingerboard.  Charvel comes the closest to what I want with black hardware and beautifully-painted bodies.  But they insist (or their buyers insist) on maple fretboard and unfinished headstock.  It just ruins it for me.

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These would all be better if they just had an ebony fingerboard and black headstock.

Interestingly, this one works pretty well for me:

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I guess I’m okay with a gray pickguard.  It still looks better than white, or tortoise, or any other color.  Black would still be better.

This guitar I have is the closest I’ve been able to get so far.  The headstock isn’t black, but at least it isn’t a light maple:

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So now you have an idea of what I like in guitars.  Why aren’t there more of them? Or at the very least, why isn’t there a name for this color combination to make it easier for me to search for them on guitar selling websites?

 

MUST READ SFF: Replay, by Ken Grimwood

  • by Gitabushi

It should be no surprise by now that I like books with good stories, good characters, and ideas that challenge me.  Who doesn’t want to be entertained?  But there are so many options for entertainment, so when I read, I want my mind to get a workout.

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This book does that.

To be honest, this book may be generation-locked.  The main character was born in the 1940s, and so is in college in the 1960s, and the culture of the 1960s has an impact on the plot. Growing up in the 1970s myself, I didn’t live 1960s culture…but most of the books I had available growing up were written in the 1960s or early 1970s, and set in the late 1950s and 1960s, so I was familiar with the culture.  For someone who never had to dial a rotary phone or never lived before there was cable TV or microwaves, maybe the book will lack some impact.  I don’t know. If you are one such reader, try it out and let me know.

However, Grimwood does an excellent job capturing the normality of those early times.  The protagonist goes back to his youth, but brings his adult sensibilities with him. And if you can imagine how society has changed just from the introduction of widespread use of the birth control pill, you can imagine how his mature assumptions clash with the culture and society of his youth.

The entire book is written with bedrock-solid descriptions of mainstream life in the United States. It feels real. The characters actions and reactions seem real. The author thinks of aspects I didn’t (and maybe couldn’t) and plays them to the hilt. The result is a book that makes it extremely easy to willingly suspend disbelief. It is easy to get drawn in, to care about the protagonists, what they want to do, and why.

It is also intersting to see things fall apart when the main character gets to experience one of the most common wishes of humankind: “If I knew then what I know now.”  Jeff gets several lifetimes of that wish fulfillment, and it still never turns out like he expects.

From that point of view, the book can be seen as a comfort: you are already doing pretty much the best  you can. More knowledge wouldn’t make your life better, it would just move you along to encounter new problems. Life is life. Stop pining for how things could be different, and start appreciating what you actually have.

In the end, you may get a “Groundhog Day” vibe out of this book, but rest assured: this preceded Groundhog Day by several years.

In fact, I would like to challenge all writers: Take the premise of this book, or Groundhog Day, or Flash Forward, and write your own stories. We have endless takes on zombies, vampires, young adult dystopias. Enough!  These three formats are crying out for additional exploration.

But first, you have to read this. Find it and read it. Let me know if you think I steered you wrong, but I think you’ll love it as much as I did.

Oh, and give me a review of the review. Did it make you want to read the book? If not, what else should I have included to help persuade you?

Replay Radar

 

Writing: Three Elements

  • by Gitabushi

Here are three elements of writing I haven’t seen discussed much before, but are currently at the forefront of my mind.

  1. Tropes. You are writing within a genre. As Daddy Warpig said, genre can be defined by a collection of tropes. You don’t need (or want!) all of them, but you need enough of them to set some parameters for your reader. Your task is then to balance your use of tropes (formulas) against innovation.  Too many tropes, and your work will seem hackneyed, derivative, and boring, and your reader will no longer be willing to Suspend Disbelief.  Too much innovation, and your reader will feel jarred, cheated, and will no longer be wiling to suspend disbelief. I’m still trying to work on how to know if you’ve over- or under-used tropes.
  2. Willing Suspension of Disbelief. Get it from your readers. With it, and you can have plot holes, weak dialogue, unrealistic character actions, etc. But plot holes, weak dialogue, unrealistic character actions, etc., destroy your readers’ willingness to Suspend Disbelief.  Make it easier for them to Suspend and stay Suspended: perfect your craft.
  3. Provide a satisfying ending to everything you write. Make every work be self-contained. Even if you plan on writing a trilogy, make each book have its own arc that resolves most of the issues.  See “Chuck” or “The Man in the High Castle” (not until the end of the 2nd season, but we’ll grant them this one) for excellent examples of how to do this.

Discuss

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MUST WATCH SFF Television Show: Chuck

  • by Gitabushi

chuck

tl;dr: “Chuck” is quite simply the best television show in recent history. Maybe in television history, but that is a little more subjective.

Okay, let’s get into it: I hate incomplete stories. Hate hate hate hate.

I know stories are fiction.  But once I suspend my disbelief to start to enjoy a story, I want it to end.  In the interest of extending this introduction, let me point out that I hated the ending of Wayne’s World, because giving multiple possible endings left me feeling like it didn’t actually end at all.  And I hated reading The Princess Bride, too, because of the book ending subverting the typical fairy tale storybook tropes.  Bah.  Bah, I say!

But I understand that the television business is a rough world.  You have a great premise, but you can’t pay writers until you have a contract.  So you often don’t know for sure how closely the actual filming will stay with the originally-planned storyline, even during the first season. And since subsequent seasons aren’t a sure thing unless the series gets renewed, future storylines aren’t even planned out, and maybe not even considered.

One way to keep your television series on the air is to, just like in writing, raise the stakes.

You already have the premise. People are hooked. Now start complicating things. They are invested in the characters, so put the characters through hell. Set up cliffhangers, particularly about the most popular characters. Leave your audience begging for resolution.

But don’t make it so complicated your audience gives up and ratings plummet.

You can add more and more spinning plates. Kick the resolution down the road.  Tomorrow will take care of itself.

The problem with this short-term thinking?  Sometimes stories never get finished. When things get too complicated, there is no satisfying way to wrap up all the issues, the audience leaves, and the show gets cancelled.  It happened with the X-Files (I’m *so* happy I never started with that). It happened, to an extent, with Lost. It is happening with Game of Thrones, although George R. R. Martin has apparently given an outline to the showrunners so they can finish the story that he can’t seem to.

These sorts of things leave me unsatisfied.

The way to resolve it is to have story arcs. Each episode should be self-contained, for the most part, with an arc that completes at the end of the episode. The season should also have a story arc that wraps up the issues introduced at the beginning of the season and were developed throughout that year.  And then you have an overall series arc, bookended with a resolution.

“Chuck” did those things.  It might have been by accident; I certainly don’t think “Chuck” was able to hire writers significantly better than anyone else in Hollywood. It might have been because they were always hovering at the brink of cancellation, so they felt less at liberty to introduce elements that couldn’t be resolved within one season.

In any case, “Chuck” is a true rarity in American television: a story-based show with nested arcs that actually wraps things up tightly.

The show starts with Chuck having failed at life, having been thrown out of Stanford, dumped by his girl, working at a Big Box store that is beneath his abilities, and lonely. It ends with him accomplished, having developed his many different talents and abilities, retained his humanity despite difficult circumstances, and with the love of his life by his side.

It even bookends locations, (sorta). It doesn’t end at the same location it begins, but the final scene of the last show is at the same location as the final scene of the first show, and for similar reasons.  It was actually masterfully done.

The fact that “Chuck” completes the story is reason enough to watch it.  Writers should study it for structure, characterization, foreshadowing, etc.

But that isn’t all “Chuck” is.

It is a science fiction story: a guy has a supercomputer downloaded into his brain. It’s a comedy: there are some great laugh-out-loud moments. It’s a love story. It’s one of the better assembly-cast works out there: the side characters add so much depth and interest to the story, to include Casey, Morgan, Jeffster, Captain Awesome, and others. It’s a character-growth story: all the characters grow and develop throughout the series.

Another reason to watch is just all the little Easter Eggs and references to past works. There are references to Dune, Spies Like Us, The Terminator, Die Hard, Mighty Morphin Power Rangers, Charade, and more.

And the Guest Stars! Scott Bakula, Linda Hamilton, Brandon Routh, Summer Glau, Kristin Kreuk, Dolph Lundgren, Richard Chamberlain, Tony Hale, Chevy Chase, Robert Englund, Carrie-Anne Moss, Reginald VelJohnson (in a Die-Hard-ish episode), Bruce Boxleitner, Christopher Lloyd, Morgan Fairchild, Robin Givens, Rachel Bilson, Gary Cole, Nicole Richie, Armand Assante, John Larroquette, Steve Austin, James Hong, “Louis Litt” from “Suits”, Robert Patrick, Fred Willard, Craig Kilborn, Cheryl Ladd, Michael Clarke Duncan, Andy Richter, Mark Hamill…

Okay, now even I’m getting bored of the list.

I was also impressed by how the show surprised me at times. Chuck was a bumbling dork in the first few episodes, but even very early on, the writers were actually able to have some surprisingly good problem resolutions, where Chuck did something intelligent and innovative to solve a problem that didn’t involve his Intersect ability, but merely his native cleverness.  The resolution in the circumstances I’m thinking of were foreshadowed earlier in the episode, but perfectly set up: they seemed like throwaway humor points, yet Chuck was able to apply them perfectly to win the day.  Little moments of skillful writing like that go a long way to earning my Willful Suspension of Disbelief at other moments.

And it does need your Willful Suspension of Disbelief.  It isn’t a perfect show, and it isn’t a perfect series.  It’s merely the best one humanity has ever produced to date.  But that still isn’t perfect.

Still, I urge you to stream it, or better yet, purchase the entire collection from Amazon.  It’s worth it. It’s a great show.

Don’t believe me? Read this review:

Chuck is the most entertaining show on TV. It’s shot well and the writing is smart and quick. The acting is superb from the extras to the main characters.The story is dramatic and visionary where the character dynamics can be turned on a dime. Love and romance, an agent searching for a good fight, an average guy tossed into the world of espionage; this show has it all.

You will laugh and cry, rejoice and be frustrated because of character depth and great acting. All the characters are lovable and relatable.

NBC has found a hero in Chuck, who as a typical guy, inspires us to be better. The creed of the show is to take care of your family and friends. Simply Chuck calls to do right even in tough times.

It’s certainly a show that will keep you on your toes throughout. Without a doubt this is the best show I’ve ever seen.

At first I was skeptical but after two or three episodes I was hooked because its funny and exciting with a great story to it. I implore you to take a chance on Chuck, trust me its worth it. Regardless of anything else there is nothing else on TV like it.

And no, that wasn’t me that wrote it.  But it captures the show perfectly.

MUST WATCH SFF Television Show: Flash Forward

  • by Gitabushi

An unheralded television show aired on ABC back in 2009.  It was cancelled after just one season in the spring of 2010.  I somehow managed to get a copy of the DVD without knowing anything about it, and my teenage kids and I fell in love with it when we randomly picked it out of the backlog stack and gave it a try.

Premise: The entire world falls unconscious for 137 seconds, for unknown reasons. This causes all sorts of pandemonium, like car crashes, planes falling out of the sky, and other disasters you might expect from such an event.

As the world is coping with the massive loss of life, people begin comparing notes of the dreams they had while unconscious.  In doing so, they discover coincidences that cannot be explained as anything other than visions of a moment six months in the future.  For instance, someone has a vision of being in a meeting with someone they have never met before, but there is enough identifying information from the vision that the other individual can be tracked down. When contact is established, the other individual reveals they had the exact same vision, including the same actions, conversation, etc. Enough visions include looking at a calendar, clock, etc., that the moment of the vision of the future can be established, and all visions with such time-based details all agree with each other.

This causes all sorts of crises, including visions of being intimate with someone not your spouse, dealing with the aftermath of killing someone, discovering that someone you thought was dead is actually still alive.  Worse, perhaps, is the people who do not have visions: the understand rapidly spreads that these people will be dead before the Flash Forward moment.

And as the world is dealing with this realization, the FBI discovers that the event may have been triggered deliberately by unknown, non-government entities. Moreover, closed-circuit television captures at least one person moving during the blackout: the blackout wasn’t, in fact, universal.

Then they discover that you can actually take actions to prevent your vision from coming true, in drastic fashion.

I think you can immediately think of multiple philosophical issues that arise from these various aspects and examples, and the television show doesn’t shy away from exploring them.  My children and I always had plenty to discuss for more than an hour after watching each episode. There were plot twists to discuss, of course, but also the philosophical and psychological ramifications of events and developments.  We had some discussions of fate, comparing/contrasting the actions of those who chose to prevent their future vision and how they did it with those who actually caused their vision to come about via their efforts to avoid it.

Particularly poignant was the relationship between the main protagonist (there are a lot of people you care about in the show) and his wife (also a protagonist) who had a vision of being intimate with a man she didn’t currently know.  At the point of the blackout, they had a strong relationship and were both faithful.  The knowledge of the apparent unfaithfulness did seem to both contribute to it coming about, but also seemed to supply motivation that might help prevent it. Watching the couple struggle through jealousy, guilt, and distress was extremely interesting, and it gave me several launching points for talking to my kids about marriage, love, trust, integrity, desire, dissatisfaction, and proper/improper ways of dealing with marital difficulties.

One person, an FBI agent who would be dead in six months, was engaged to be married.  How does he tell his fiancee he will be dead?  Particularly when her vision is of the wedding ceremony they planned?  How can both their visions be real?

These stories both subvert and play straight the notion of Fate: can it be stopped?  Does fighting it bring it about? The answer to both is Yes, and it seems to conclude that the future is in a box with Schroedinger’s Cat: you don’t know what happens until you get there and open it up. And the story was the better for it.

This is not a television show to binge watch.  Nor is it a show to watch alone.  This is one of the better “what would *I* do if…?” stories I’ve seen.  Watch an episode, and then take a few days to let it sink in, to discuss it with the friends and family you watched it with. Then watch the next episode and have your mind blown.  Rinse and repeat.

The show had declining viewership, and I really don’t see why.  Of course, there were some very depressing points as the season went on, and confusing aspects, and developments we didn’t like.  But we had the whole disc, so it was easy to continue watching.  From that perspective, I guess I could see looking at the next episode coming up and deciding you have better things to do with your time.  It is also true that the episodes were so dense with information that if you missed one, it would be nearly impossible to have any interest or ability to catch up with what was going on.  This was in 2010, so I don’t think there were options to watch the shows online to actually see what you missed.  So I guess I do see why, but I think a bunch of people missed out on an excellent story, and since it resulted in the series being cancelled, I think we are all the poorer for it.

The declining viewership meant the show was cancelled. The season finale was written and filmed before the cancellation, however, and this creates two problems: one, there is a cliffhanger over whether a character survives or not; two, there is a completely new set of intriguing Flash Forward visions, but this time 20 years in the future instead of just 6 months.  I would like to have seen how they handled a 20-year gap.

But the series remains watchable.  For as much love as Firefly got for its single season, I think this is better. The cast is large, and yet you actually know the characters more deeply than on Firefly. Firefly introduces a bunch of elements (particularly regarding River) that change the very nature of the series (making it really all about River); nothing like that happens in Flash Forward. In fact, the season doesn’t just stop, it concludes and wraps up almost all the stories.  It is a pause. It is the end of the first act, but good enough to let you go on with your life without burning questions.  Flash Forward ends like Star Wars: sure, you don’t know what happened to Darth Vader, and the Rebellion hasn’t won, but you get enough of the threads wrapped up that you don’t feel dissatisfied. Firefly is like what you would feel like if they never filmed The Return of the Jedi: imagine never knowing what happened to Han.

So if Firefly can get so much love and attention from just one season, Flash Forward deserves equal treatment.  Find it and watch it.  Let me know if you think I led you wrong.

But my bottom line judgment is: THIS television show is what speculative fiction is and should be: a “What If?” tale that challenges you, teaches you, and still lets you teach yourself.  I can’t imagine watching Flash Forward without growing as a person. And it is also entertaining. What more could you ask?

 

Objective Judgment of Art

  • By Gitabushi

tl,dr: The use of Tropes may be the key to being a successful author.  There is a fine line between playing it so safe you lose your audience to boredom, and forging so far afield that you leave your audience behind.  Find that sweet spot and stay there.

There was a pretty good, wide-ranging discussion regarding Objectivity regarding Art on Twitter today, if you know the right people.

I’m taking credit for kicking it off with this tweet:

I mean, it certainly is true that I didn’t start that tweet thread, but it had died a natural death before I came along and breathed new life into it.  Or, at least, that is my claim and you can try to prove me wrong.

Anyway, a bunch of points were made, and as I was on a slow system earlier, and then on my cellphone later, I didn’t feel like either enabled me to provide the full scope of my thoughts on Art and Objective Judgments.  So here they are.

As I said at one point in the thread (have fun trying to follow all the different branches), I said that while there is valid, objective pronouncement of “This is clearly good” or “This is clearly bad” (because in every case, there is someone who will disagree with the pronouncement and have reasons for doing so they can back up), I do believe there are objective skills that can be identified and evaluated.  From there, the judgment as to whether a work is “good” or “bad” is personal.

Let me get extremely bogged down in analogies, mainly with music.

If you compared my skills as a guitarist to Joe Satriani, he is clearly a better guitarist.  Even if you don’t particularly like Satriani, he can simply do so much more with confidence that it should be obvious to even someone unfamiliar with guitar playing that he is better than me.

Now, does he have more talent than me?  You don’t know.   Perhaps I have more talent, and can play better for my given hours spent practicing than he could at an equivalent point.

But “talent” is not the point at stake.

Now, is Eric Clapton better than Joe Satriani?  Is Steve Vai better than Joe Satriani?

That is clearly subjective.  Everyone will have their own opinion, and that’s okay.

Because the thing to keep in mind is that we are talking about professionals who are several standard deviations above the mean, and so the collection of skills that make up their overall gestalt of skill is simply beyond objective measurement.

When playing guitar, you have to consider: not choice, picking technique, scale/chord knowledge, feel, speed, fluidity, span of styles able to improvise in, innovation, confidence, flash, etc.

For a writer, there is dialogue, characterization, plot, pacing, theme, message, description, escalation of stakes, foreshadowing, subplots, etc.

Any one artist will have different strengths and weaknesses.  They will learn the rules, and know the rules intimately…and break the rules. But they will do so for reasons, and the breaking of rules will almost always be for a specific effect.

This applies to writers, as well.

So a writer can do badly at some aspects, yet still be a good writer.  A book can be weak in some areas, and still be good. A writer can break some rules without being careful or knowledgeable about how they are breaking the rules, and everything can still be okay.

But those are objective signs of being a “worse” writer than someone else.

A good example, from the book I’m reading now: “Time Salvager” by Wesley Chu:

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At one point, the protagonist, who is equipped with superhuman skill devices, has to fight another person equipped with equal devices.  Chu explains as the fight is about to begin that the protagonist will win, because he has experience fighting in the spaceship graveyard region against pirates equipped with similar devices, while his opponent is a neophyte.

Why is this bad?

Because in the first few pages, Chu introduced the spaceship graveyard region as a place that was difficult to navigate through, and that’s it. No mention of the possibility of encountering pirates. No foreshadowing.

But when the protagonist needs to win a fight easily, up pops the information. “Oh, yeah, I forgot to tell you this, but…”

Lame. And yet, the book is engaging, interesting, and I can’t wait to see how the fight turns out.

That is clearly a fumbled introduction of an element. I’d maybe call it a sort of deus ex machina? It didn’t have to be, though, if the author had properly foreshadowed it.

Now, some readers won’t care.  Other readers will shake their heads and put down the book for good, never to pick it up again. Me? I”m in the middle. It jars me, but it doesn’t jar me out of my Willing Suspension of Disbelief.

Readers will often give you a lot of leeway. That doesn’t mean you should just ignore the rules and do what you want. As a writer, you are a guest in their imagination. Be a good guest, and close all the plot holes and avoid as many of the jarring rules breakings as you can.