Kippur be boooored.
Nov. 3rd, 2008 01:44 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
kippurbirdYou can tell I'm bored, can't you. ^_^ Can't work on my NaNo here. From anti-Shurtugal's posting of an interview with Paolini on his thoughts of Brisingr and the up-coming fourth novel Rocks Fall, Everyone dies. Okay, maybe I'm being a wee bit too wistful on that last part. The interview was posted Here. There's a second part that I shall do later.
Q: What was the specific point of bringing in and then killing the Shade at the end of the book?
A: I had to find an ending to the book, because I hadn't planned to end the book here. I needed an event strong enough to hold reader interest through the ending of the book. Also, I needed a confrontation as exciting as that of Glaeder and Oromis vs Thorn and Murtagh to keep reader interest. Also, it seemed nice to have Arya confront a shade in the way Eragon had in the first book. I wanted them both to be on equal footing, to a certain degree, but also the fact that she never got to do in Durza, as she certainly deserved to. So it was a combination of different elements.
I wanted to show how a shade could be brought into existence. Obviously, this isn't the only way, it could happen with just one sorcerer, but this is certainly one of the ways and I wanted to show that.
Endings aren't just cut offs. Endings are the natural and logical progression of an idea where you follow it to it's inevitable conclusion. There's a beginning, middle and end. It's one of the basic things you learn in writing, even in essays and articles. Most writers that I know have the beginning and the end and try to figure out how to get there. If he's ending the book earlier than he thought he should, then he should have restructured it so that it went to a middle point than just stopping.
Also, confrontations don't have to be battles, but instead hundreds of other things that causes tension between two or more characters. If anything he could have switched things around (I'm saying this without having read the book, but knowing his abilities with time lines, I'm fairly certain this could be done.) Secondly if you want to show how a shade could be brought into existence then you should weave it into the plot as opposed to suddenly dropping it, like you did in the first book with Durza. If it's not important to the plot, make it so as a subplot or just drop it all together.
Q: What did the Menoa tree want from Eragon in return for the Bright Steel? Has she already taken it, and if so, what did she take?
A: That's a difficult question for me to answer without spoiling something for the future. Let's say that it's a good question, but not really one that I can answer at the moment. This reminds me that one of the things I did in Brisingr that I think I mentioned in an earlier articles or interviews is that I've threaded a few little themes and elements and clues in this book that are actually the setup for some other stories I may write in the future. Maybe people will pick that out, maybe not. I deliberately left that scene somewhat ambigious for very good reasons.
These are difficult questions to answer. I'm not sure how I'd answer it myself. I think he should have just stopped after the second sentence. It's pointing out the obvious that he threaded things in the previous books for future books, but saying that you may write it in the future is a bit of a cheat. You're saying that you may not answer the question in the next book and may never answer it. If you don't know if you are or not, just say that it can't be answered as opposed to throwing herrings out.
Q: Are we finally going to get some Murtagh point of view in book 4?
A: I'm not going to answer that specifically, but I think it's safe to say, we will see a lot more of Murtagh in the fourth book. He's sort of been by the side of the story for Eldest and Brisingr. Obviously, he's very important, but we haven't seen that much of him because every time he shows up, he's trying to kill Eragon or capture Eragon and Saphira. But, he will definitely have a much larger role in the last book. Hopefully people will enjoy it.
Saying if you're going to give Murtagh a pov in the next book does nothing to spoil it, especially if you say that he's going to have a greater presence. The answer to this one doesn't need to be ambiguous or mysterious as it doesn't give away any bits of the plot. Any more than he did when he said we'd have Saphira's POV.
This is starting feel how to conduct an interview. Ah well.
Q: What about the Murtagh following? (Implied Question)
A: I have noticed that on book tour a lot fans and a lot the female fans have asked me to not kill Murtagh in the last book. And they're very concerned about that. Of course, I may or may not, I'm not going to answer that. But I do have a number of surprised up my sleeve, so we'll see.
I can see Russia from Alaska! Oh and by the way! Hi to all you great American's out there! *winks* Have I told you about my energy plans? >.>
Q: Will we be seeing Tenga again?
A: Again, these are great questions, but I can't really answer it without spoiling something in the story.
Q: Will we see Naegling, the sword of...
A: Yes.
I think I'm going to be terrible at interviews like this because all my answers will probably be like that.
Q: How could Galbatorix possess Murtagh in the battle of Gil'ead?
A: It could be done a number of ways. Remember, in Eldest, when Eragon was with Arya, floating on the barges towards Ellesmera, and he asked her how far she could communicate with telepathy? This is related to why she didn't just contact her Islanzadi in Ellesmera from a distance. No one could, because of the magical wards protecting the forest. Arya said something to the effect that she could, from their position in the Beor Mountains, she could, if she wanted to, communicate with someone all the way on the other side of Alagaesia. Telepathy takes very little energy. It becomes increasingly difficult to isolate and locate the mind you want at great distances, and that is part of the problem that Eragon and Saphira have as they move apart they lose contact with each other. That's something they don't have much experience with as Arya, and I think Arya would probably use some spell to augment her communication if she were communicating with someone at that great a distance. So there was that thought that Galbatorix could do something with his mind, and probably with a spell or two. On top of that, Murtagh had in his possession several of the Dragon Hearts. It's entirely possible Galbatorix was able to contact Murtagh through them using his own. There's a number of different ways he could do it and even if his own physical strength wouldn't be enough to do, certainly all the strength and power and energy he has access to from the Dragon Hearts would allow him to do it.
MAAAGIC *finger waggles* Ie: He could do it because the plot called for it.
Q: How many Dragon Hearts does Galbatorix possess?
A: I don't want to give a specific figure. You would have to imagine that he would have the majority of the Dragons that were alive when he began his insurrection. Some of those Hearts he wouldn't be able to get, the Dragons died with their hearts still in their bodies, or the Dragons destroyed their hearts before letting Galbatorix get his hands on them. But, you'd have to imagine Galbatorix got his hands on at least a good chunk of them, perhaps three quarters of the dragons that were alive then. It would a substantial number of them.
Don't you just love it when something is thrown into the plot as a source of magic without it being hinted at before? Yes, yes, I know, nag, nag, nag. Though, how would he have the majority of the hearts before the insurrection when, I imagine, trying to take their hearts would cause one. OH! And Dragonheart stealing where the dragon is able to remove part of his heart and give it to people. Which probably explains how the dragons were able to remove their hearts. Again this is conjecture as I haven't yet read the book.
Q: Martin Redbeard is or was the Earl of Thune. Where is Thune? And is that an old name from before Galbatorix's and it goes by another name now? If so, what is it called now?
A: Thune, I imagine, was a district or section within the Human kingdom that existed from before Galbatorix began his rise to power. It may still exist under that name, and I imagine it was located somewhere along the Spine within what is now the Empire. I haven't come up with an actual location for it. I didn't need to at the time I was writing the story.
You have a bloody map. Put the damn thing on the map. You may never have to tell it's location, but at least you know where it is and you can avoid sounding like an utter git about your own world. You either know or you don't know. It's not something you just imagine. If you're creating new places, you know where they are. It's called updating your maps.
Q: Why did Galbatorix rename Illirea to Uru'baen? Is there a special meaning in the names of these cities?
A: I believe that in the beginning of the glossary in all of the books, I have a brief discussion of the origin of names in the world of Alagaesia and how they come from different traditions: some are Elvish, some are Dwarvish, some are Human, some even come from the Urgals. Uru'baen, and I discussed this in the book, and you can see this, if my memory serves me correctly, Uru'baen is a combination of Dwarvish and Elvish, I believe, the "baen" part means "bad thing" and "doom" and various other things, and "Uru" means something like "sages" or "wise men" or something like that. "Wisdom". Essentially, the name is "Downfall of the Wise Men", that would be a liberal translation of the name. So it's Galbatorix thumbing his nose at the Elves and the Dwarves and everyone else who he was trying to overthrow. A more accurate translation should be in the back of each book. If it's not in the regular edition, I know it would be in the deluxe one.
It might have been nice to have that put into the text somewhere, as opposed to having to explain it away somewhere else. Rather like the lubricating vampires. (Suddenly, I wonder if the Twilight vampires have self lubricating asses for gay sex. >.> ) Though I suppose his answer is a bit reasonable. I would never name something "Downfall of the Wise Men" because that could come back and bite me.
Q: What does the name of Brom's sword mean?
A: I'm not willing to say yet. Not all of the names in the Ancient Language actually have meaning. Brom's sword does. Sometimes they are simply names. "Eragon" doesn't have any meaning within the Ancient Language. It's simply a name.
*headdesk* Nothing is just simply a name. Every noun describes a Person, place, idea or thing. Every noun is identifiable to a "concrete" idea. Names that are used to day, even if we don't know their meaning is now. And really, that's highly unlikely because we can trace names back fairly well. What happened here is that Paolini just admitted that he made it up. After all his constant yammering about things like changing Illirea to Uru'baen and what the names mean, he can't give a simple significant meaning to his Main Character? Obviously this requires me to give the name Eragon a definition. "Creator's Mistake" Has a nice ring to it, doesn't it?
Q: Is there anything else Brom has told Saphira that hasn't been revealed yet?
A: You don't seriously expect this answered? I believe Saphira said "No". You'll have to take Saphira's word for that.
Unreliable narrator? By saying that Paolini doesn't seriously expect this to be answered sort of indicate that yes, there must be more.
Q: Is the flame that surrounds Brisingr any different from an ordinary flame put around a blade with magic? Does it have any hidden properties?
A: No, it's simply a flame. I think it's only unusual properties it has is that: It's being sustained by magic, so it's probably impossible to extinguish. And of course, it doesn't actually harm the blade itself. And it can burn at a heat that would be very hard to reach with something like a wood fire. Eragon's able to use to cut through the gate in Feinster during the final battle of the book. I've seen pieces of metal with spirits on them, like alcohol, just taken right out of the fire and with flames around the hot metal. It's such an amazing sight and I wanted to use it in the story.
OOOH SHINY!! Moment here. You do not put something into the story for an OOH SHINY moment unless you can back it up for story reasons. Even if it is, yes there the flame is different. Or there are other swords that can do it and they're x y and z made for these reasons, continue to be vague and mysterious. Alec's tattoo was an OOOH SHINY moment for me, but I realized that I needed to back it up because it wasn't a fashion statement or anything like that in his world. By correcting that I stumbled upon a huge plot for my world and for Alec's life, which is now the center of my four novel series. He wants to have a neat shiny flaming sword? Fine, but just don't say you put it in there because it looks neat. Please.
Q: Will we ever learn the seven words that Brom told Saphira as he was dying?
A: No comment.
Translation: Yes. Might as well just have said yes, but you don't want to say what those words. (My sudden guess? Saphira, tell Eragon I am his father. What?)
Q: Will the two women whose fortune Angela told play more of an important role in the next book?
A: Oh, darn it! No comment.
My response to this would be, they better, but he does have a tendency to put things in there for no particular reason. See the sword.
Q: When Eragon tells Oromis that his sword catches fire when ever he says "Brisingr", Oromis looks off into the distance and says "I wonder". What did Oromis wonder?
A: I believe he was wondering if the fact that Eragon was actually involved in the forging and was the instrument that Rhunon used to forge the sword with, if Eragon's essence, his personality, had become linked with the sword. I didn't want to get into a big explanation or theory with that, but that's what I was thinking when I wrote that scene. Also, because it links with some other things I'm going to be doing with magic in the fourth book. There's a lot in the fourth book, let's put it that way.
Wouldn't that have happened with other riders and their swords, thus explaining their oooh shiny flames? I'd need to see the scene in question to actually comment on this better though.
Q: How far are you into writing book four?
A: Not very far. I didn't have a lot of time to get started on it before Book Tour and when I get back, I'm going to take some time of to do some drawings for the Deluxe Edition of Brisingr, and then I'll finally be buckling down on the fourth book.
He should NaNo! =3
Q: What was the specific point of bringing in and then killing the Shade at the end of the book?
A: I had to find an ending to the book, because I hadn't planned to end the book here. I needed an event strong enough to hold reader interest through the ending of the book. Also, I needed a confrontation as exciting as that of Glaeder and Oromis vs Thorn and Murtagh to keep reader interest. Also, it seemed nice to have Arya confront a shade in the way Eragon had in the first book. I wanted them both to be on equal footing, to a certain degree, but also the fact that she never got to do in Durza, as she certainly deserved to. So it was a combination of different elements.
I wanted to show how a shade could be brought into existence. Obviously, this isn't the only way, it could happen with just one sorcerer, but this is certainly one of the ways and I wanted to show that.
Endings aren't just cut offs. Endings are the natural and logical progression of an idea where you follow it to it's inevitable conclusion. There's a beginning, middle and end. It's one of the basic things you learn in writing, even in essays and articles. Most writers that I know have the beginning and the end and try to figure out how to get there. If he's ending the book earlier than he thought he should, then he should have restructured it so that it went to a middle point than just stopping.
Also, confrontations don't have to be battles, but instead hundreds of other things that causes tension between two or more characters. If anything he could have switched things around (I'm saying this without having read the book, but knowing his abilities with time lines, I'm fairly certain this could be done.) Secondly if you want to show how a shade could be brought into existence then you should weave it into the plot as opposed to suddenly dropping it, like you did in the first book with Durza. If it's not important to the plot, make it so as a subplot or just drop it all together.
Q: What did the Menoa tree want from Eragon in return for the Bright Steel? Has she already taken it, and if so, what did she take?
A: That's a difficult question for me to answer without spoiling something for the future. Let's say that it's a good question, but not really one that I can answer at the moment. This reminds me that one of the things I did in Brisingr that I think I mentioned in an earlier articles or interviews is that I've threaded a few little themes and elements and clues in this book that are actually the setup for some other stories I may write in the future. Maybe people will pick that out, maybe not. I deliberately left that scene somewhat ambigious for very good reasons.
These are difficult questions to answer. I'm not sure how I'd answer it myself. I think he should have just stopped after the second sentence. It's pointing out the obvious that he threaded things in the previous books for future books, but saying that you may write it in the future is a bit of a cheat. You're saying that you may not answer the question in the next book and may never answer it. If you don't know if you are or not, just say that it can't be answered as opposed to throwing herrings out.
Q: Are we finally going to get some Murtagh point of view in book 4?
A: I'm not going to answer that specifically, but I think it's safe to say, we will see a lot more of Murtagh in the fourth book. He's sort of been by the side of the story for Eldest and Brisingr. Obviously, he's very important, but we haven't seen that much of him because every time he shows up, he's trying to kill Eragon or capture Eragon and Saphira. But, he will definitely have a much larger role in the last book. Hopefully people will enjoy it.
Saying if you're going to give Murtagh a pov in the next book does nothing to spoil it, especially if you say that he's going to have a greater presence. The answer to this one doesn't need to be ambiguous or mysterious as it doesn't give away any bits of the plot. Any more than he did when he said we'd have Saphira's POV.
This is starting feel how to conduct an interview. Ah well.
Q: What about the Murtagh following? (Implied Question)
A: I have noticed that on book tour a lot fans and a lot the female fans have asked me to not kill Murtagh in the last book. And they're very concerned about that. Of course, I may or may not, I'm not going to answer that. But I do have a number of surprised up my sleeve, so we'll see.
I can see Russia from Alaska! Oh and by the way! Hi to all you great American's out there! *winks* Have I told you about my energy plans? >.>
Q: Will we be seeing Tenga again?
A: Again, these are great questions, but I can't really answer it without spoiling something in the story.
Q: Will we see Naegling, the sword of...
A: Yes.
I think I'm going to be terrible at interviews like this because all my answers will probably be like that.
Q: How could Galbatorix possess Murtagh in the battle of Gil'ead?
A: It could be done a number of ways. Remember, in Eldest, when Eragon was with Arya, floating on the barges towards Ellesmera, and he asked her how far she could communicate with telepathy? This is related to why she didn't just contact her Islanzadi in Ellesmera from a distance. No one could, because of the magical wards protecting the forest. Arya said something to the effect that she could, from their position in the Beor Mountains, she could, if she wanted to, communicate with someone all the way on the other side of Alagaesia. Telepathy takes very little energy. It becomes increasingly difficult to isolate and locate the mind you want at great distances, and that is part of the problem that Eragon and Saphira have as they move apart they lose contact with each other. That's something they don't have much experience with as Arya, and I think Arya would probably use some spell to augment her communication if she were communicating with someone at that great a distance. So there was that thought that Galbatorix could do something with his mind, and probably with a spell or two. On top of that, Murtagh had in his possession several of the Dragon Hearts. It's entirely possible Galbatorix was able to contact Murtagh through them using his own. There's a number of different ways he could do it and even if his own physical strength wouldn't be enough to do, certainly all the strength and power and energy he has access to from the Dragon Hearts would allow him to do it.
MAAAGIC *finger waggles* Ie: He could do it because the plot called for it.
Q: How many Dragon Hearts does Galbatorix possess?
A: I don't want to give a specific figure. You would have to imagine that he would have the majority of the Dragons that were alive when he began his insurrection. Some of those Hearts he wouldn't be able to get, the Dragons died with their hearts still in their bodies, or the Dragons destroyed their hearts before letting Galbatorix get his hands on them. But, you'd have to imagine Galbatorix got his hands on at least a good chunk of them, perhaps three quarters of the dragons that were alive then. It would a substantial number of them.
Don't you just love it when something is thrown into the plot as a source of magic without it being hinted at before? Yes, yes, I know, nag, nag, nag. Though, how would he have the majority of the hearts before the insurrection when, I imagine, trying to take their hearts would cause one. OH! And Dragonheart stealing where the dragon is able to remove part of his heart and give it to people. Which probably explains how the dragons were able to remove their hearts. Again this is conjecture as I haven't yet read the book.
Q: Martin Redbeard is or was the Earl of Thune. Where is Thune? And is that an old name from before Galbatorix's and it goes by another name now? If so, what is it called now?
A: Thune, I imagine, was a district or section within the Human kingdom that existed from before Galbatorix began his rise to power. It may still exist under that name, and I imagine it was located somewhere along the Spine within what is now the Empire. I haven't come up with an actual location for it. I didn't need to at the time I was writing the story.
You have a bloody map. Put the damn thing on the map. You may never have to tell it's location, but at least you know where it is and you can avoid sounding like an utter git about your own world. You either know or you don't know. It's not something you just imagine. If you're creating new places, you know where they are. It's called updating your maps.
Q: Why did Galbatorix rename Illirea to Uru'baen? Is there a special meaning in the names of these cities?
A: I believe that in the beginning of the glossary in all of the books, I have a brief discussion of the origin of names in the world of Alagaesia and how they come from different traditions: some are Elvish, some are Dwarvish, some are Human, some even come from the Urgals. Uru'baen, and I discussed this in the book, and you can see this, if my memory serves me correctly, Uru'baen is a combination of Dwarvish and Elvish, I believe, the "baen" part means "bad thing" and "doom" and various other things, and "Uru" means something like "sages" or "wise men" or something like that. "Wisdom". Essentially, the name is "Downfall of the Wise Men", that would be a liberal translation of the name. So it's Galbatorix thumbing his nose at the Elves and the Dwarves and everyone else who he was trying to overthrow. A more accurate translation should be in the back of each book. If it's not in the regular edition, I know it would be in the deluxe one.
It might have been nice to have that put into the text somewhere, as opposed to having to explain it away somewhere else. Rather like the lubricating vampires. (Suddenly, I wonder if the Twilight vampires have self lubricating asses for gay sex. >.> ) Though I suppose his answer is a bit reasonable. I would never name something "Downfall of the Wise Men" because that could come back and bite me.
Q: What does the name of Brom's sword mean?
A: I'm not willing to say yet. Not all of the names in the Ancient Language actually have meaning. Brom's sword does. Sometimes they are simply names. "Eragon" doesn't have any meaning within the Ancient Language. It's simply a name.
*headdesk* Nothing is just simply a name. Every noun describes a Person, place, idea or thing. Every noun is identifiable to a "concrete" idea. Names that are used to day, even if we don't know their meaning is now. And really, that's highly unlikely because we can trace names back fairly well. What happened here is that Paolini just admitted that he made it up. After all his constant yammering about things like changing Illirea to Uru'baen and what the names mean, he can't give a simple significant meaning to his Main Character? Obviously this requires me to give the name Eragon a definition. "Creator's Mistake" Has a nice ring to it, doesn't it?
Q: Is there anything else Brom has told Saphira that hasn't been revealed yet?
A: You don't seriously expect this answered? I believe Saphira said "No". You'll have to take Saphira's word for that.
Unreliable narrator? By saying that Paolini doesn't seriously expect this to be answered sort of indicate that yes, there must be more.
Q: Is the flame that surrounds Brisingr any different from an ordinary flame put around a blade with magic? Does it have any hidden properties?
A: No, it's simply a flame. I think it's only unusual properties it has is that: It's being sustained by magic, so it's probably impossible to extinguish. And of course, it doesn't actually harm the blade itself. And it can burn at a heat that would be very hard to reach with something like a wood fire. Eragon's able to use to cut through the gate in Feinster during the final battle of the book. I've seen pieces of metal with spirits on them, like alcohol, just taken right out of the fire and with flames around the hot metal. It's such an amazing sight and I wanted to use it in the story.
OOOH SHINY!! Moment here. You do not put something into the story for an OOH SHINY moment unless you can back it up for story reasons. Even if it is, yes there the flame is different. Or there are other swords that can do it and they're x y and z made for these reasons, continue to be vague and mysterious. Alec's tattoo was an OOOH SHINY moment for me, but I realized that I needed to back it up because it wasn't a fashion statement or anything like that in his world. By correcting that I stumbled upon a huge plot for my world and for Alec's life, which is now the center of my four novel series. He wants to have a neat shiny flaming sword? Fine, but just don't say you put it in there because it looks neat. Please.
Q: Will we ever learn the seven words that Brom told Saphira as he was dying?
A: No comment.
Translation: Yes. Might as well just have said yes, but you don't want to say what those words. (My sudden guess? Saphira, tell Eragon I am his father. What?)
Q: Will the two women whose fortune Angela told play more of an important role in the next book?
A: Oh, darn it! No comment.
My response to this would be, they better, but he does have a tendency to put things in there for no particular reason. See the sword.
Q: When Eragon tells Oromis that his sword catches fire when ever he says "Brisingr", Oromis looks off into the distance and says "I wonder". What did Oromis wonder?
A: I believe he was wondering if the fact that Eragon was actually involved in the forging and was the instrument that Rhunon used to forge the sword with, if Eragon's essence, his personality, had become linked with the sword. I didn't want to get into a big explanation or theory with that, but that's what I was thinking when I wrote that scene. Also, because it links with some other things I'm going to be doing with magic in the fourth book. There's a lot in the fourth book, let's put it that way.
Wouldn't that have happened with other riders and their swords, thus explaining their oooh shiny flames? I'd need to see the scene in question to actually comment on this better though.
Q: How far are you into writing book four?
A: Not very far. I didn't have a lot of time to get started on it before Book Tour and when I get back, I'm going to take some time of to do some drawings for the Deluxe Edition of Brisingr, and then I'll finally be buckling down on the fourth book.
He should NaNo! =3
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no subject
Date: 2008-11-03 10:57 pm (UTC)FUCK YOU PAOLINI! FUCK!!! YOU!!!
Jim Henson's UrRu.
FUCK!! YOU!!!
SKEKNA WILL FUCKING WHIP YOUR PUSSY PODLING ASS!!
no subject
Date: 2008-11-04 04:23 am (UTC)no subject
Date: 2008-11-04 05:14 am (UTC)no subject
Date: 2008-11-04 05:39 am (UTC)no subject
Date: 2008-11-04 09:42 am (UTC)I guess it's like Lewis Carroll's 'Alice' stories. Some people find them charmingly whimsical, others find them disturbing.
Different strokes...
no subject
Date: 2008-11-08 12:24 pm (UTC)no subject
Date: 2008-11-04 12:08 am (UTC)I think what's meant here is that Galby currently has the hearts of most of the dragons that were alive at the time that he went all rebel on their asses. That is, he didn't have them at the time, he has been aquiring them through rebelling and killing people and all, and at this time has amassed those hearts. That's what the structure of the sentence and the context suggests to me, anyway, having read that particular bit of the book...
Also, I definitely recommend reading Brisingr. It's lol-tastic.
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Date: 2008-11-04 05:23 am (UTC)I'm going to be doing Brisngr after NaNo.
no subject
Date: 2008-11-04 12:32 am (UTC)Is it just me or is this a tiny bit of evidence that he may be growing past the "she's a girl who can more than take care of herself" mind frame? Maybe? Hopefully? I can dream, at any rate.
(Suddenly, I wonder if the Twilight vampires have self lubricating asses for gay sex. >.> )
Silly Kippur, homosexuality doesn't exist in Meyer's universe! Unless, of course, it's for comedy purposes, i.e. Mike/Eric in her supposed self-parody "Breaking Down". Also, in Breaking Dawn there's a pair of female vampires who were described in a femslashy manner, but it was totally unintentional on her part. Kind of like Carlisle/Edward and James/Edward.
no subject
Date: 2008-11-04 05:25 am (UTC)Or it's a sign of She's a Strong Woman. See?
Unless, of course, it's for comedy purposes, i.e. Mike/Eric in her supposed self-parody "Breaking Down".
What's that, pray tell?
no subject
Date: 2008-11-04 04:51 am (UTC)[Don't read the rest of this comment unless you want implied spoilers.]
My Mum is reading the book right now. Occasionally she'll come into my room to tell me how ridiculous it is. I don't want to spoil you but her latest complaint was to do with that. Plus it totally ruins the Star Wars comparison.
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Date: 2008-11-04 05:26 am (UTC)But really, could you actually seen Paolini making his Insert related to an EVHUL GUY?!
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Date: 2008-11-04 05:36 am (UTC)no subject
Date: 2008-11-04 04:59 pm (UTC)no subject
Date: 2008-11-08 12:28 pm (UTC)Sadly, no I could not. Hell, he and Murtagh don't even have the same nasty daddy. I just couldn't see him sullying his perfect hero by association to anyone BAD. (Because clearly badness is genetic!)
... which is really sad because written correctly, it could make for some truly awesome soul-searching. In Eragon's case, it would be a very, very, very short trip.
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Date: 2008-11-04 05:24 am (UTC)This shit is never going to end.
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Date: 2008-11-04 05:27 am (UTC)No, I don't get it either.
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Date: 2008-11-08 12:29 pm (UTC)no subject
Date: 2008-11-04 09:39 am (UTC)Seriously, half of his answers, at the very least, contain way too many 'maybes' and 'I thinks' and 'I believes'.
You should KNOW your fuckin' stuff, buddy boy, especially if you're gonna toot your own horn so goddamn much about these languages and words you 'created'.
He drops 'Thune' in, and doesn't know where it is. He doesn't need to be able to quote every paragraph of his appendices, but he should at least be confident of the content in them. He should be able to be definite about the properties of his OMG!SHINY sword. He should be able to say yes, no, or 'wait and see' to questions about things to come.
And it's bloody irritating when he goes "There's many ways this could work, so it might be this, or it might be that...". Red herrings are not mysterious, dammit! If we're going to learn the secret in the next book, tell us we'll learn it in the next book! Don't throw out half a dozen possibilities and then throw darts to decide which one it will be!
For such a prodigy, he doesn't know jack shit about his own work. I'd say 'creation', but that would imply he made something original.
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Date: 2008-11-04 05:03 pm (UTC)And if you don't know, fake it. Or at least don't be so Umm about it. Say something like, "While Thune is an ancient country, it may not, as far as Eragon still exist. But it is located here in the world." Thus hedging around the fact that you don't know about it and not looking like a prat.
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Date: 2008-11-04 04:05 pm (UTC)Uh. Why is that he always sounds so silly in his interviews? Maybe´s because he tries so hard to impress, or something. I don´t know.
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Date: 2008-11-04 05:05 pm (UTC)