>30+ pages of exposition
30+ pages of exposition
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>preface with tons of spoilers
>50+ pages of reactionary conservative political theory
I'm a fascist and even this annoyed me
>first chapter introduces more than 15 characters
Really? I quite liked it
Probably wasn't too good for you because Heinlein's Terran Federation has much closer resemblance to Athenian Democracy than Mussolini's Fascism
> it's a "I can't characterize through dialogue so I'm going to tell you about the characters' personalities instead."
> it's a "I'm going to tell you things about the world instead of showing them to you"
> it's a "I can't allude to the character's thoughts so I am just going to tell you in no uncertain terms the awkward relationship he has to teh love interest chick isntead of demonstrating it with a conversation"
Shit like this is why I now write with a cinematic style. The only writer I'll tolerate this kind of shit from is John Grisham because those books are cheap airport fiction that my mom got me into and are now my guilty pleasure.
> it's a "I can't characterize through dialogue so I'm going to tell you about the characters' personalities instead."
You can do that in novels, if it is interesting, imo. The only place you can't do that for sure is in theater.
> it's a "I'm going to tell you things about the world instead of showing them to you"
This is a common mistake in theater, but in novels that isn't a problem, or it is?
> it's a "I can't allude to the character's thoughts so I am just going to tell you in no uncertain terms the awkward relationship he has to teh love interest chick isntead of demonstrating it with a conversation"
That's the same as point one, isn't it?
>A play without action, characters or concrete space.
As far as points one and two go, it's only a flaw if the character's actions don't reaffirm the narration
Raskolnikov being weird without his rambling walks would be trite