The Three-Body Problem by Cixin Liu (Audiobook)

Fantastic science fiction that should be read, nothing more need be said.

The Three-Body Problem by Cixin Liu (translated by Ken Liu)

Published by Tor Books. Read by Luke Daniels. Produced by Macmillon Audio. I got this a long time ago because it won the Hugo in 2015, but I only just got around to it in my January 2018 listening binge.

Set against the backdrop of China’s Cultural Revolution, a secret military project sends signals into space to establish contact with aliens. An alien civilization on the brink of destruction captures the signal and plans to invade Earth. Meanwhile, on Earth, different camps start forming, planning to either welcome the superior beings and help them take over a world seen as corrupt, or to fight against the invasion. The result is a science fiction masterpiece of enormous scope and vision.

Listen time: 13.5 hours, 1/24/2018 – 1/26/2018.

This book is a masterpiece of science fiction. You should read it, or listen to it. It deserved to win the Hugo Award in 2015. That’s all I really need to say about it.

It is obvious that this is a translation, but it did not detract from the experience at all for me. In fact, I found it even more interesting because of it. Sentences were not quite the way I might have expected them to sound, which gave them a mysterious and creative appeal.

The first half of the book is a little confusing, and I didn’t quite understand how everything fit together, but there is an underlying mystery that compelled me to keep listening. (Actually, if I’d read the blurb above, the first half might have made more sense… I had no idea there were going to be aliens in this book.)

I was surprised to find Luke Daniels reading this book. I didn’t know if he could pull off reading a serious book, but he did. At first it was a little jarring to hear obvious American-sounding characters in a Chinese book about Chinese people, but after a while, the story engrossed me so much that I didn’t care.

The book stands alone, but there are more in this series. I’m not sure I want or need to listen to any more though. What if the sequels aren’t as good? Might it cheapen the experience of the first book?

As an aspiring author, this is the kind of book that it is both inspiring and thoroughly depressing. My immediate reaction is something like, “Well that’s it then, I guess there’s no point in trying to sell a book now.” There is simply no way I could come up with a plot to compete with the level of detail and imagination in this one. Only after some time has passed will I be able to return to my silly pew-pew stories again with any confidence.

See more of my book reviews here.


After I lamented my lack of confidence in writing, I noticed Yoast had this to say about this very post:

Gardens of the Moon by Steven Erikson (Audiobook)

A very artful, atmospheric fantasy where “stuff happens.”

Gardens of the Moon: The Malazan Book of the Fallen, Book 1 by Steven Erikson

Published by Tor Books. Read by Ralph Lister. Produced by Brilliance Audio.

The Malazan Empire simmers with discontent, bled dry by interminable warfare, bitter infighting and bloody confrontations with the formidable Anomander Rake and his Tiste Andii, ancient and implacable sorcerers. Even the imperial legions, long inured to the bloodshed, yearn for some respite. Yet Empress Laseen’s rule remains absolute, enforced by her dread Claw assassins.

This is a fantasy book that is not quite grimdark but nowhere near high fantasy, either. Somewhere in the realm of low fantasy I suppose, except that there is a lot of magic. I guess there was a lot of fighting and dying so maybe it’s classified as grimdark after all. It wasn’t really “on screen,” though, and there’s magic of a distinctly high fantasy sort (teleportation), so maybe not. I don’t know what it is, to be honest. :)

Listen time: About 4 out of  the 26 hours, 1/23/2018 – 1/24/2018.

After four hours of listening I couldn’t identify a plot or any characters that I cared about. I would describe this as a fantastic book where “stuff happens.” The stuff that happens is relayed to the reader very artfully, with interesting sentences and dialog, but I wasn’t hooked by any of it. Perhaps it is a long, slow burn, which makes some sense because it’s a long audiobook, and it’s the first book of a series. I intentionally listened for a long time (four hours) because I figured it would start slow, but then I remembered that I had tons of other books in my backlog.

I will admit that my attention faded in and out while listening to the first four hours, so I’m not terribly clear on the story. There is a war, but I don’t know what they are fighting over, for, or against. I’m not even sure *who* is fighting. It’s hard to get invested in a book when you don’t know the stakes.

Ralph Lister is a very good narrator and I would definitely listen to more of his work. His narration is probably the main reason that I listened to four hours of a story that wasn’t really grabbing my attention. He reads the material as if it is the most important work of our generation, and really brought the character’s voices to life, far more than the text did, I think. I was also very interested in the way he pronounced certain words, like “swathed” (swaythed) and “migraine” (meegraine). (I always thought they were swahthed and mygraine. I will concede the first but I’m reasonably confident of the second.)

Perhaps another time I will return to this book and finish it.

Pandemic: The Extinction Files by A. G. Riddle (Audiobook)

A disappointment despite some compelling side characters.

Pandemic: The Extinction Files, Book 1 by A. G. Riddle

Published by Riddle, Inc. Read by Edoardo Ballerini. Produced by Audible Studios.

In Africa, a mysterious outbreak spreads quickly. Teams from the CDC and WHO respond, but they soon learn that there is more to the epidemic than they believed. It may be the beginning of a global experiment–an event that will change the human race forever.

Another one where I have no idea how or why this book got into my Audible library. I don’t know if it was recommended to me or if I just randomly clicked on something on the front page of the site to try to use up my Audible credits before I cancelled my subscription. Probably that latter one, because I had a lot to use up, and I try to vary my genres now and then. (I think this is a “thriller.”)

Listen time: About 75% of the ~19 hour run time, 1/21-1/23/2018.

This was a very interesting book, but probably not for the reasons you might expect. I found it to be an incredibly mixed bag. It had *just* enough interesting material to keep me listening to the very end, though.

It might surprise you to learn that Pandemic is about a virus outbreak. It starts with a fairly typical outbreak story that you’ve probably read or seen a hundred times before (person in third world gets sick, local doctors suspects it’s Very Bad, virus spreads, CDC workers begin efforts to stop the outbreak, etc.). It was so ordinary that I thought I would stop listening after an hour or so and move on to another book.

But then a few chapters hooked me, mainly the ones involving a WHO woman named Peyton. I was intrigued by the mobilization efforts to fight the pandemic, and the descriptions of how such a fight is conducted. I am a sucker for end-of-the-world stories, and the realistic portrayals (real to me, at least, who knows absolutely nothing about fighting pandemics) fascinated me. (Personally I am pretty sure the human race will end because of something like a virus or bacteria, not a nuclear war or climate change.)

I, the reader, kept fighting with the author, though, who insisted that Peyton was not the main character, and kept returning to chapters about another guy named Desmond. Desmond is a super-spy-ish, computer-ish guy who had lost his memory, rather similar to that Jason Bourne guy. I started skipping his chapters as soon as I heard his name. He was running from police, logging into computers, hacking passwords, playing virtual reality games, trying to find out who he was. I didn’t care one whit about him, because his plot arc did not intersect with the struggle against the outbreak.

I enjoyed the book the way I was listening to it: Skipping the Desmond chapters without remorse, listening with fascination to the Peyton chapters that dealt with the outbreak in Kenya.

Unfortunately the two characters of Desmond and Peyton came together into a single plot thread, taking Peyton away from the outbreak, and the story kind of veered off a cliff for me. It happened a bit shy of the halfway point. The characters boarded a helicopter, and there followed a very long period of backstory and exposition that demolished the book’s pacing and threw the unfolding pandemic far into the background.

I might have stopped listening, but unfortunately for me, I was invested in a few other side characters that I cared about, and wanted to hear how their stories turned out. Their stories, back in Kenya and Atlanta, were more compelling to me than the main “thriller” story of the globetrotting duo of Desmond and Peyton trying to track down the people responsible for the pandemic. Sadly, the side characters only got about half a chapter in every ten, if they were lucky. I would have loved to hear more of them.

I skipped a lot of chapters. A lot of other chapters I didn’t pay much attention to, even though I technically played them. My ears only perked up when the story returned to the side characters I liked. In the end, I was satisfied with the narrative arc for the side characters, but the plot for the main characters (ie. the main plot for the book) turned out to be a disappointment.

Edoardo Ballerini, by the way, is another competent reader, but he doesn’t have a lot of personality. He is more of a TV commercial voice than a storyteller, if you know what I mean. He seems to be more concerned with perfect diction and consistency, as opposed to conveying strong emotions. Actually that’s probably not fair. He’s certainly not the worst I’ve ever heard. But he doesn’t really “bring characters to life” in the way someone like Luke Daniels or an actor would.

Would I recommend it? Not unless you’re bored. It would probably make a much better movie. But they really need to work on Peyton’s character. She started out a “strong female lead” and then deflated into little more than “the girlfriend” for the main character. I was really disappointed in that.

Despite giving this book a somewhat poor review, I still found it fascinating from an author’s perspective. This book broke *so many* of the rules that everyone tells you about. Yet for some reason, it was published, and someone made an audiobook of it! Show, don’t tell, they say. This book told like a maniac. Use active voice, they say. I don’t think this book had a single active verb from beginning to end. Almost every chapter began with a very formulaic establishing line like, “X verbed in Y, verbing.” “Jerry sat in his office, looking over the research papers.” “Betty walked the streets of Berlin, searching for the suitcase.” “Rex stood in the Atlanta hospital, staring at the whiteboard.” Every. Single. Chapter.

Weirdly … sometimes it worked. There were plenty of chapters where I was riveted by what was being “told.” It feels like the kind of book that needs to be studied to understand why some parts worked and others didn’t.

For example, I understand why it makes sense to begin every chapter with a line to quickly establish the character and setting, because almost every chapter switched to a different location. It’s just that the author made no effort to deviate from a very specific grammatical formula. But then, why would you? Formulas are formulas because … they work.

The Land: Founding by Aleron Kong (Audiobook)

A self-published effort that falls short.

The Land: Founding: A LitRPG Saga: Chaos Seeds, Book 1 by Aleron Kong

Self-published. Read by Nick Podehl. Produced by Tamori Publications LLC.

Tricked into a world of banished gods, demons, goblins, sprites and magic, Richter must learn to meet the perils of The Land and begin to forge his own kingdom. Actions have consequences across The Land, with powerful creatures and factions now hell-bent on Richter’s destruction.

This is definitely a winner for the largest number of sub-titles within one title. I have no idea where I heard about this book or why I got it.

Listen time: ~32 minutes on 1/21/2018.

This book did not click with me at all. It is about (stop me if you’ve heard this before) a guy who accidentally gets transported to a real fantasy world after playing a game (a virtual MMORPG). It is, I think, a comedy targeted at an audience demographic who plays online games or tabletop RPGs, i.e. people who will “get” the in-jokes.

I listened to four audio chapters while I was trapped in the shower, and afterward, it was a fairly easy decision not to continue. I would describe the first four chapters as boilerplate setup chapters heavy on exposition, the kind of chapters I have written plenty of times before and been embarrassed about.

On the plus side it is competently read by Nick Podehl, who actually sounds a bit like a cut-rate Luke Daniels. I would consider listening to other books read by him. I don’t think I would consider reading any other LitRPG books, though. It’s possible it gets better, but I just don’t have time to wait for it. Maybe when I run out of other audiobooks I’ll skip ahead to the middle to see if it improves.

See more of my book reviews here.

The Authorities by Scott Meyers (Audiobook)

A fun listen, packed with Scott Meyers absurdity and Luke Daniels voices.

Published by Rocket Hat Industries. Read by Luke Daniels. Produced by … Scott Meyer? (Presumably the author paid Luke Daniels to make the audiobook.)

Sinclair Rutherford is a young Seattle cop with a taste for the finer things. Doing menial tasks and getting hassled by superiors he doesn’t respect are definitely not “finer things.” Good police work and bad luck lead him to crack a case that changes quickly from a career-making break into a high-profile humiliation when footage of his pursuit of the suspect—wildly inappropriate murder weapon in hand—becomes an Internet sensation.

I’m pretty sure I picked up this book because it was another Scott Meyer/Luke Daniels collaboration. I found the Magic 2.0 series juvenile but also very funny.

Listen time: ~10 hours, 1/18-1/20/2018.

Very much like the Magic 2.0 books, the story and writing of The Authorities did not do much for me, but it is brilliantly read by Luke Daniels. I am very biased though because anything that Luke Daniels reads becomes 1000% better in my personal opinion. The Authorities is basically a long series of absurdly comedic situations (Scott Meyer’s trademark) loosely tied together into a police procedural format. It’s a fun listen, that’s about it.

I would recommend the audiobook solely because it has a lot of funny moments, and Luke Daniels is perfect for this kind of humor. I’m not sure I would recommend *reading* the book, though. There were long stretches where I checked out and didn’t pay much attention. For example, I didn’t care a whit about the mystery of whodunnit. The victim and the murderer just didn’t matter. But I enjoyed the hijinks that occurred along the way of solving the crime. I guess that’s another way of saying that the characters were far more interesting than the plot. It had a bit of an absurdist A-Team vibe to it.

See more of my book reviews here.

Survey Revisions Continue

Continuing revisions on “Survey.”

I promised myself I would try to write two writing posts a month. Technically this should be the second one, but it’s actually just the first one. Oh well.

While I have not been extremely happy with my progress on editing “Survey,” my 2016 NaNoWriMo project, I have at least *made* progress on it. Last time I described how I was highlighting sections of text that needed attention, and I have more-or-less completed that.

Initially I highlighted text in blue for Backstory and Exposition (“the history behind this thing is…”), then red for Telling, Not Showing (“she felt angry about that”).

I added another category of highlighting: Worldbuilding and Continuity, in green. These are sections of text that refer to any in-world names, places, dates, or times. While I’m writing a draft, those things are very much in flux, so while I might start out the draft thinking that an event occurred a thousand years ago, by the end of the draft it could be six thousand years ago, or vice versa. If I actually took some time to plan things in advance, I might not have to change them all the time.

To be fair, I *did* spend some time worldbuilding for Survey, long before I even knew what the story or characters were. As it turned out, most of the worldbuilding of names, places, etc. did not even end up in the draft.

Now that I’ve finished with the highlighting, my goal is to start working on real edits. This is the hard part for me. The part that I dread the most, and in retrospect, the part that I was simply postponing by highlighting the first draft. That is, moving text around, and writing new text to replace shoddy work in the first draft. I am unfortunately going to need to write a lot of new text for Survey.

The draft told me that this novel has three parts. Part one involves arriving on the planet. Part two involves the events that occur on the planet. Part three involves events that occur after leaving the planet. The vast majority of the draft I wrote happens in parts one and two. Part three got very short shrift because I didn’t get to it until late in November. (That part of the draft is highlighted almost entirely in red.)

I will need to make a lot of major revisions to Part One because the story does not begin very well. There was entirely too much exposition at the beginning of the first draft, despite intentionally trying to move it along quickly. The story is supposed to begin with a ship crash-landing on a planet, but I felt like it took way too long to get to the exciting part in the draft. I tried to explain how the ship got to the planet first. :)

We may kid ourselves into thinking that readers are sophisticated enough to give an author time to develop a story, but the reality is that I’m a new author, so if the first sentence, paragraph, and page doesn’t scream action, mystery, and/or humor into the reader’s face at full volume in short, declarative sentences, I can expect 99% of the audience to go elsewhere. (Especially agents and editors.) After I’ve published a handful of successful books, then maybe I can start with more leisurely exposition.

I’ll be honest, I’m not sure how to approach this part of the editing. It’s *incredibly* intimidating, because it feels like I might as well just delete the entire draft and start over, and obviously that is two months of work, minimum, at the end of which I will have basically a second first draft which is no closer to publication than the first first draft is right now. Surely there must be a better way.

Maybe if I can crack the first chapter or two, it will seem easier to manage. Or perhaps I should start the revisions in the middle. I was reasonably pleased with large sections of the middle. Or maybe I should start with writing the ending that I didn’t have time to write in November. The possibilities are too numerous. :)