/You know, we're only a few pages familiar with this guy, and I already feel far sorrier for him than I ever will for Patch or Nora./
You know, it’s one thing when your villains are more sympathetic than your heroes. It’s another when bit characters that are so minor that they only appear for a *few pages* are more sympathetic than them!
/Oh wait, it's because Fitzpatrick doesn't want to associate her precious Patch with demons./
Just like Meyer is very coy about using the word vampire and referring to blood-drinking with the Cullens, because she doesn’t want to upset her image of them as wonderful, heavenly beings.
/What a plot twist! Marcie's father? Why, we just saw him...well, never, actually. I mean, he was briefly alluded to once or twice as a car salesman, but we never really met him./
Fitzpatrick doesn’t seem to understand that plot twists are only surprising and impressive when we’ve actually *seen* the people that they involve to a degree where the plot twists make at least a smidgen of sense. We may not have seen Anakin Skywalker in the original Star Wars trilogy, but we sure saw a lot of Darth Vader and knew enough about him that we *could* buy him as Luke’s father. In good mystery novels, the reader gets to see and learn some things about the culprit at some point in the story before the grand reveal. Jules? Who the heck was Jules, aside from some nondescript kid who tagged along with Elliot? Hank Millar? Who the heck is Hank Millar, aside from Marcie’s rich dad, who up until now has been mute and invisible?
/She completely remembers the dream, and all she cares about is oh no, it was about the icky Millar family (who we hate because they are rich, remember?) and actively forgets about it./
*massive head-desk* This girl is too stupid to live.
/Are you that opposed to being involved in the plots of your own books?/
Maybe she’s traumatized by the consequences of her efforts to be relevant in the last book.
/Because of this, Nora's mother tells her to just take Scott on a quick tour, to shut Mrs. Parnell up. Well, I think we know where Nora gets her spinelessness from./
As well as her bad taste in friends.
/By now, I think even Fitzpatrick has forgotten the events of the first book./
So, she’s a female George Lucas, I see. This is one of the things that makes me wish that Fitzpatrick was a fanfic author instead: she wouldn’t get paid for her drivel, people would call her out on her contrivances, and inconsistencies like this would be mocked.
/And yes, ladies and gentlemen, Patch becomes insanely jealous of Scott and makes up all sorts of excuses why Nora shouldn't be around him./
There should be a support group for Scott and Marcie where they can ask each other what on earth they did to deserve being nothing more than a set of jealousy meters for two yanderes to respectively use in order to prove their “love” for one another.
/She insists that she must drive herself, because "Guys today want a strong, independent woman"./
*stares hard at the screen*
Why, yes, Ms. Fitzpatrick, they do. They do not want a girl who is so paranoid and insecure about her boyfriend that she wishes to stalk him. They do not want a girl who is so spineless that she does what everyone tells her to do instead of just refusing. They do not want a girl who becomes happily accustomed to the idea of her boyfriend *harassing her, stalking her, controlling her, and threatening to rape her!* Yes, guys today do want a strong, independent woman. So, why is your protagonist the complete opposite and why does your “heroic” love interest want the opposite?!
Oh, and Vee, maybe looking out for your friend for once instead of selfishly goading her into trouble and abandoning her because you’re obsessed with men would make you look far more like a “strong, independent woman” than simply driving yourself.
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Date: 2012-03-17 05:25 pm (UTC)You know, it’s one thing when your villains are more sympathetic than your heroes. It’s another when bit characters that are so minor that they only appear for a *few pages* are more sympathetic than them!
/Oh wait, it's because Fitzpatrick doesn't want to associate her precious Patch with demons./
Just like Meyer is very coy about using the word vampire and referring to blood-drinking with the Cullens, because she doesn’t want to upset her image of them as wonderful, heavenly beings.
/What a plot twist! Marcie's father? Why, we just saw him...well, never, actually. I mean, he was briefly alluded to once or twice as a car salesman, but we never really met him./
Fitzpatrick doesn’t seem to understand that plot twists are only surprising and impressive when we’ve actually *seen* the people that they involve to a degree where the plot twists make at least a smidgen of sense. We may not have seen Anakin Skywalker in the original Star Wars trilogy, but we sure saw a lot of Darth Vader and knew enough about him that we *could* buy him as Luke’s father. In good mystery novels, the reader gets to see and learn some things about the culprit at some point in the story before the grand reveal. Jules? Who the heck was Jules, aside from some nondescript kid who tagged along with Elliot? Hank Millar? Who the heck is Hank Millar, aside from Marcie’s rich dad, who up until now has been mute and invisible?
/She completely remembers the dream, and all she cares about is oh no, it was about the icky Millar family (who we hate because they are rich, remember?) and actively forgets about it./
*massive head-desk* This girl is too stupid to live.
/Are you that opposed to being involved in the plots of your own books?/
Maybe she’s traumatized by the consequences of her efforts to be relevant in the last book.
/Because of this, Nora's mother tells her to just take Scott on a quick tour, to shut Mrs. Parnell up. Well, I think we know where Nora gets her spinelessness from./
As well as her bad taste in friends.
/By now, I think even Fitzpatrick has forgotten the events of the first book./
So, she’s a female George Lucas, I see. This is one of the things that makes me wish that Fitzpatrick was a fanfic author instead: she wouldn’t get paid for her drivel, people would call her out on her contrivances, and inconsistencies like this would be mocked.
/And yes, ladies and gentlemen, Patch becomes insanely jealous of Scott and makes up all sorts of excuses why Nora shouldn't be around him./
There should be a support group for Scott and Marcie where they can ask each other what on earth they did to deserve being nothing more than a set of jealousy meters for two yanderes to respectively use in order to prove their “love” for one another.
/She insists that she must drive herself, because "Guys today want a strong, independent woman"./
*stares hard at the screen*
Why, yes, Ms. Fitzpatrick, they do. They do not want a girl who is so paranoid and insecure about her boyfriend that she wishes to stalk him. They do not want a girl who is so spineless that she does what everyone tells her to do instead of just refusing. They do not want a girl who becomes happily accustomed to the idea of her boyfriend *harassing her, stalking her, controlling her, and threatening to rape her!* Yes, guys today do want a strong, independent woman. So, why is your protagonist the complete opposite and why does your “heroic” love interest want the opposite?!
Oh, and Vee, maybe looking out for your friend for once instead of selfishly goading her into trouble and abandoning her because you’re obsessed with men would make you look far more like a “strong, independent woman” than simply driving yourself.