Series: Gentleman Bastard
Author info: http://www.scottlynch.us/
I was so looking forward to reading this book since I love heist/con artist stories and I’ve been hearing talk about the Gentleman Bastard series all over the place. I got hooked in the beginning, but unfortunately my excitement turned to disappointment in short order and got worse as I read more chapters. The book has its moments but I have a lot of issues with it.
First of all, there’s far too much infodump. Long, boring infodumps are far too frequent in this book. It kills the excitement of the story in too many places. My other major issue is the secondary characters lacking substance. Most of them are two-dimensional and while some of them have great potential, we don’t get to see enough of them to really connect or care about them. Old Priest Chains and Jean are well written, but all others fall flat.
Magic is lacking big time and there isn’t much of a fantasy feel to the story. The whole place doesn’t have the magical atmosphere of Krondor in Riftwar, for example, despite the nice setting, glowing towers and bridges. I hate to say this but the whole thing read like a draft rather than a finished book. It could have been so much better.
My other major issue was the lack of emotional response from Locke. He reacts like a sociopath even when he faces horrible tragedies happening to the people he cares about. The narrative tells us Locke cares about his friends, but his actions don’t show it. There’s no emotional connection or depth anywhere to be seen. The only thing that kept me reading was Locke’s clever stunts and the curiosity what would happen next and how it would end. The story itself was engaging enough to keep me reading until the end, but like I said I had quite a few issues with it.
The plot wasn’t my cup of tea, either, since I’m not a big fan of mafia stories. Flashback parts showing Locke’s childhood were the best parts of the book, no complaints about those. Some of the scenes and dialogues are brilliant. Fight scenes are very well written.
Despite not being too impressed with this book, I will still read the second one (Red Seas under Red Skies) cause I’m a big fan of pirate and sea stories, and I was told it gets much better. Maybe I’d be more impressed with The Lies of Locke Lamora if I haven’t read Mark Lawrence, R. Scott Bakker, George R.R. Martin and Robin Hobb. Maybe the Renaissance Venetian setting and the Italian mafia theme didn’t do it for me. Maybe I expected different things from this book (like the thieves’ guild sort of stuff I love from Riftwar and Skyrim, more magic, etc.)
Then again millions of people loved this book and there are countless rave reviews, so you may love it if you don’t mind the issues I listed above. It makes decent light read, especially after a bunch of gritty grimdark books.
I hope Scott Lynch doesn’t see this review and hate my guts, but who is going to take me serious if I don’t write honest reviews? After all, it may be your cup of tea.
– “Why YA? Why Not?”
*Grabs a cup of coffee*
Hi everyone, my name’s Brandon, and I write Young Adult Fantasy.
Hoo, okay, that felt good to get off my chest.
I guess you could say it started innocently enough, with my sister urging me to write something en vogue, something with a young female protagonist set in a dystopian society. Naturally, my inclination was to figure out how to do this in a fantasy setting.
Also, to make sure that I wasn’t writing a YA novel.
Denial was a huge part of a number of the creative decisions I made with The Summerlark Elf. I made Enna twenty years old solely so she wouldn’t be a teenager. I left out any trace of a romance subplot, never mind even broaching the idea of a love triangle. I kept the female protagonist and the dystopian setting though (sort of).
After the book was released, I was steadfast in my belief that it was decidedly not a YA book. I made sure to tell everyone who asked that it was meant for an adult audience, though I made sure to add the caveat that it could be read and enjoyed by someone as young as twelve.
Definitely not YA, though. Not at all, thank you kindly.
“But why not?” my girlfriend and cover artist asked on more than one occasion. “What’s wrong with YA?”
“I want to be taken seriously as a fantasy author.” I would reply, with a surprising lack of irony. “I want my books to appeal to a wide range of people!”
And they have, I’m proud to say. I’ve spoken to teens for their library book club, received fan mail from people well into their senior years (of life, not school), been read by the most hardcore genre fans and people who have never read a fantasy book in their life. But then, the same can be said of a lot of people who write books billed as YA, especially genre YA.
Hell, look at people like Terry Brooks, David Eddings, or Raymond Feist. You cannot tell me that, had their respective series’ been released today, they would not be pushed as YA titles. Let’s take it further and admit that most post-Tolkien fantasy up until the mid-90s or so fits the most basic tenant of Young Adult fiction, in that the protagonist is a young adult.
Which, if the media is correct (I know), is anyone between 18 and 25. Not unlike Enna Summerlark.
So, that being said, what was my issue, and what changed my mind?
I think we can chalk a lot of it up to me, frankly, being an elitist jerk, and assuming that most fantasy readers are the same.
You see, a funny thing happened when I released The Summerlark Elf. For the first time since I started reading fantasy way back in the before times, I was interacting with other fantasy readers, readers who put my credentials to shame. Readers who, by and large, were perfectly happy to read a YA book, provided it was good. Not just that, but the more people read the book, the more they would tell me it felt like a YA book, and not derisively.
Moreover, something else happened this past year. For a tenure of about eight months, my books were being published by the ultimately ill-fated Realmwalker Publishing Group, and damned if they weren’t selling better that I had hoped. A large part of that, upon careful examination, was the fact that RPG had opted to start billing Summerlark, and its follow-up The Missing Thane’s War as Young Adult Fantasy! Apparently, the best way to broaden my readership was ultimately to narrow my work’s genre classification – who knew?!
It took me longer than I care to admit, but it doesn’t matter who I think my writing is supposed to appeal to, but rather who it does appeal to. Calling my books Young Adult doesn’t change the story in any real way; I’m still writing the books I want to write. And really, YA is a ridiculously large market with a really ridiculously large fan base. If my books sell as Young Adult books, then who am I to say no?
Still not crazy about love triangles, though.
I’m looking at you, Wil Ohmsford…
Brandon Draga was born in 1986, just outside Toronto, Ontario. His love of all things fantasy began at an early age with games like The Legend of Zelda, Heroquest, and Dungeons and Dragons. This affinity for the arcane and archaic led to his studying history at York University from 2005 to 2011. In late 2012, he began writing a D&D campaign setting that would lay the groundwork for the world of Olhean, the setting for his “Four Kingdoms Saga” novel series, compared by critics to the works of Terry Brooks, Michael J. Sullivan, and R.A. Salvatore. Brandon has also proven that SF/F can be made accessible at any age, writing the lauded picture book “Dragon in the Doghouse”. Brandon still lives just outside Toronto, and when he is not writing enjoys skateboarding, playing guitar, and playing tabletop games.
You can learn more about Brandon’s work on his web site: http://www.brandondraga.com/