YABookgate

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Like how there's a whole fan theory about how the Berserk manga went on hiatus due to Idolmaster because Miura was a superfan. People don't mind when authors take time to do what they like.
I am ashamed to admit I used to love using that Idolmaster meme to make fun of the hiatus, only to learn after his death that Miura actually suffered from chronic disease. Fucking Japanese and their aversion to admit something like illness. At least now every companies will take the health, both physical and psychological, of their authors seriously now

Also it's seriously fucked up that even after the death of Miura, Berserk is going to be finished before Martin going to finish ASOIAF. How much of a lazy bastard that fat fuck really is? Like for fuck sake, even Togashi made an unexpected (and miraculous) comeback to finish Hunter x Hunter even with his fucked up spine
 
God, no. It's fantasy where the most fantastical it gets is, like, escaping college loans and being obsessed with one particular woman. There's a bit where Mary Sue Kvothe says the most incel nice guy shit, and I quote: “I have known her longer, my smile said. True, you have been inside the circle of her arms, tasted her mouth, felt the warmth of her, and that is something I have never had. But there is a part of her that is only for me. You cannot touch it, no matter how hard you might try. And after she has left you I will still be here, making her laugh. My light shining in her. I will still be here long after she has forgotten your name.”

He'll never finish the third book. His writing is okay at points but at other times it's just the most banal motivational poster shit you can find, except dragged out with double the amount of words needed to get to the thought-provokingly prosaic point. He never actually tells the story of how Kvothe isn't the great hero people think he is. It's similar to Ready Player One where it's more proof that the SF/F world had an odd episode of mass psychosis for a few years.
You could take that quote and stick it on some angsty teenage edgelord's Facebook and it would look right at home next to all the faux-philosophical reposts and selfies where they're scowling at the camera with captions like "no one knows the demons I keep locked away".
 
Some of my friends who are diehard ASOIAF fans refuse to listen when I tell them we're never going to see A Dream of Spring, and maybe not even Winds of Winter. I counter with all this stuff, plus the fact that it has now been eleven years since Dance with Dragons and GRRM isn't getting any younger. Even if his editors lock him in a room and threaten to sic angry fans on him until he sorts out the Meereenese Knot and we get Winds, I figure he's going to do a Herbert and croak before he makes any substantive progress on Dream of Spring.

This whole thing has been such a strange phenomenon. I don't think I've ever seen anything that rose so high and crashed so hard as Game of Thrones did. I think we'll still be talking about GoT fifty or a hundred years down the road, but as a cautionary tale, not as a literary classic like Lord of the Rings or a pop-culture juggernaut like Marvel or Star Wars.

The issue Martin ran into with ASOIAF is, ironically, one of this own hand... he spent five books subverting expectations, killing key characters, torturing and scattering the survivors to the ends of creation... and only now realized that there's no way in hell he can actually bring them all back in one place and piece together a story that makes sense in just two books. The problem with endless deconstruction is that, eventually, you have nothing left to build with.

You pointing out that legacy is why Martin will never write the book - the old hippie has made his life's work a refutation of classic fantasy like Tolkien, and admitting that maybe he was wrong? That would sting worse than even declining sales. Better an unfinished book with a ton of questions than a badly ended one that disproves its own central thesis.

I don't like how The Dark Tower turned out, nor am I fan of latter day Stephen King in general, but I give the man credit: when he felt the chill of death approaching he got off his ass and knocked out three novels in a couple of years just to be done with the fucking thing. GRRM is just playing out the string.

My favorite anecdote over just how Martin has pissed away goodwill is Larry Correia had repeatedly and openly said the fifth and final book in his Forgotten Warrior Saga will have a dedication that reads the following:

Dear George RR Martin,
I wrote a whole series since you wrote your last book. This is how you finish a series, you lazy hack.
Yours,
Larry Correia

Granted, I absolutely adore the series, but Fatbeard's reaction alone would be worth seeing when book five drops.

Looking in the same genre, the only reason Robert Jordan couldn't publish the last 2 Wheel of Time books is because, when he dictated them to his wife during chemo, she didn't write it all down so some parts had to be filled in. The guy was literally on his deathbed telling it aloud to make sure people could see the story he wanted.

If GRRM keels over do you think fans will be disappointed when that cuck Sanderson writes the last 2 books?

It's funny you think Sanderson would want to touch ASOIAF.

I don't think that Martin would allow him or anyone else to finish it even if he did. See my above post about his ego and thesis.

What really chaps my arse over ASOIAF is George's lack of communication and constant lying and manipulation when he does. All he has to do is come out with the truth and so many people would be understanding, there's zero downside to doing it.

I had a link that I can't find now of his NotABlog and interviews for ADWD, where someone went through what he was saying at the time and what he was actually writing. It was complete bullshit. You don't have to go full progress bar like Sanderson, but jesus christ you can just say "Hey, I'm having a rough time because XYZ, I'd rather be doing ABC instead for the meantime, but I'm still keen on doing it!"

That retard Rothfuss could do the same thing and be honest with everyone and he'd get back so much goodwill.

That's actually why Scott Lynch isn't mentioned in the same breath as Martin or Rothfuss, despite Gentleman Bastards being another much hyped series the author hasn't touched in years.

Lynch came forward and admitted he's basically dealing with a list of mental health issues, chief among them a horrifying type of clinical depression that basically they're still trying drug cocktails to get in check. Lynch being open about his medical and mental issues actually was kind of a gateway moment in the industry - a lot of authors became much more comfortable working with their editors through and around that stuff because Lynch went public with his. Whatever you think of him as an author, I respect the man for doing that at least.

Thing is, Martin and Rothfuss don't have a condition besides being lazy.

"Look guys, I tried to make a series that proves all of the modern fantasy standbys wrong, and can't face that my failure is proof that maybe they exist for a reason."
"I just kind of prefer playing video games all day. Fuck you nerds."

Question for the thread is name of the wind worth reading?

Not at this point no.

At the time it came out, it was revolutionary - here we have a fantasy series that's genuinely beautifully written, has some unforgettable moments and yet is self contained enough that it's only a trilogy. Only a trilogy! And he's already done with two books! It's not cashing in on an endless series like Wheel of Time, or Malazan, Sword of Truth or Shannara.

Then in a cruelly ironic twist, three of the poster children for "never ending fantasy series", WoT, Malazan and Shannara all came to satisfying ends within a decade, and the last, Sword of Truth, had at least ended the main arcs before the author died... Hell, we even got endings for Thomas Covenant and Elric of Melninone, and soon even The Black Company!

Meanwhile, in that same period, a novella is the sum total that Patrick Rothfus has put out in a decade, and his own editor admitted he's not done a goddamned thing for book three. He'd much rather piss around playing D&D with Felecia Day.

Martin and Rothfuss have done more damage to the fantasy genre's reputation and sales numbers with two books they will never write than I think many will ever realize. Decades of goodwill and fan trust not even hurt by scores of bad riffs on Lord of the Rings, dozens upon dozens of "Clone-ans", or a series clearly being used to explore the authors politics or fetishes, all gone from two fat assholes refusing to actually finish two damned books.

That's actually a thing now within the fantasy genre - now a ton of people refuse to try a new fantasy series until its completed. Sales in the fantasy genre have suffered, even by good/popular authors, as a result of these two idiots.

Which, tragically or ironically, ensures the publishers put the kibosh on those series' when the sales are lousy.

I am ashamed to admit I used to love using that Idolmaster meme to make fun of the hiatus, only to learn after his death that Miura actually suffered from chronic disease. Fucking Japanese and their aversion to admit something like illness. At least now every companies will take the health, both physical and psychological, of their authors seriously now

Also it's seriously fucked up that even after the death of Miura, Berserk is going to be finished before Martin going to finish ASOIAF. How much of a lazy bastard that fat fuck really is? Like for fuck sake, even Togashi made an unexpected (and miraculous) comeback to finish Hunter x Hunter even with his fucked up spine

Yes, but here's the thing.

Miura and Togashi actually cared about their creations, and enjoyed being storytellers.

Martin was in it for the money and to be a contrarian asshole, and he has the money, and finishing the books would mean actually going against the latter.
 
"The issue Martin ran into with ASOIAF is, ironically, one of this own hand... he spent five books subverting expectations, killing key characters, torturing and scattering the survivors to the ends of creation... and only now realized that there's no way in hell he can actually bring them all back in one place and piece together a story that makes sense in just two books. The problem with endless deconstruction is that, eventually, you have nothing left to build with.

You pointing out that legacy is why Martin will never write the book - the old hippie has made his life's work a refutation of classic fantasy like Tolkien, and admitting that maybe he was wrong? That would sting worse than even declining sales. Better an unfinished book with a ton of questions than a badly ended one that disproves its own central thesis."

These are all good points. I think the other part of the "cautionary tale" angle is going to be the fact that he sold the TV rights long before he'd finished the series and then let D&D beat him to the punch. Even though he's got mad bucks to roll around in now, it still had to be a pretty shitty feeling watching someone else end his story before he could, all while incinerating the mountain of hype and fan goodwill he'd built up over the past twenty-odd years. If I somehow got lucky enough for my work to be picked up by some network or streaming service, I'd feel like I'd been hit in the balls with a sledgehammer if they beat me to the end of my story. I'm guessing a lot of other authors would feel the same way considering how Season 8 went down.

"It's funny you think Sanderson would want to touch ASOIAF.

I don't think that Martin would allow him or anyone else to finish it even if he did. See my above post about his ego and thesis."

Martin's on record as saying that he won't let anyone else finish the series if he dies before it's completed. He's also said that if this happens, the show's ending will stand as the canonical ending for the books as well, though he may be rethinking that after everyone and their mothers were raging about the way Season 8 turned out. Even if he does change his mind, I doubt Sanderson would touch it, and probably you wouldn't be able to find any other author who'd be willing to take on such a monumental task. So, yeah, we're never gonna see A Dream of Spring in any form.
 
I think part of the issue with ASOIAF is also that there's no way to top the Red Wedding on either a narrative or thematic level. It's basically the central thesis of the series: treachery and experience trumps youth and heroism. If the story continues along those lines, it can only be a downer (white walkers win) or, if it doesn't, then it becomes kind of odd. If it becomes a happy heroic ending then it makes the Red Wedding much less impactful. Martin can't trump the effect of killing the Starks. No wonder he's stumped writing it. The story was told and everything else is an awkward post-script.
 
I think part of the issue with ASOIAF is also that there's no way to top the Red Wedding on either a narrative or thematic level. It's basically the central thesis of the series: treachery and experience trumps youth and heroism. If the story continues along those lines, it can only be a downer (white walkers win) or, if it doesn't, then it becomes kind of odd. If it becomes a happy heroic ending then it makes the Red Wedding much less impactful. Martin can't trump the effect of killing the Starks. No wonder he's stumped writing it. The story was told and everything else is an awkward post-script.

Haven't read the books (Shiva H. Vishnu, I've tried), but this seems like a cogent take. I can't help but think that the fourth season wasn't the last great season solely because they started to run out of material in Season 5, but also because it ended with Tywin's death, and after he was gone there just seemed to be an awful lot of flailing, both from the writers and the characters themselves.
 
Haven't read the books (Shiva H. Vishnu, I've tried), but this seems like a cogent take. I can't help but think that the fourth season wasn't the last great season solely because they started to run out of material in Season 5, but also because it ended with Tywin's death, and after he was gone there just seemed to be an awful lot of flailing, both from the writers and the characters themselves.
I wish I could take credit for it but it was from an article I read a few years back yet don't remember the title of. I think it said that, basically, Martin has two choices at this point. The first is that he follows that theme through to the conclusion, which was that Cersei wins the game of thrones and then the ancient evil wipes her out. But that would probably leave a lot of people feeling the epic book series was a waste of time, even if it'd be thematically consistent.

So, you have the second option: a heroic victory, defying the theme. Sometimes, you'll write, heroes and prophecies and gumption can triumph. Cersei won't win, the evil from the north won't usher in an endless winter or whatever. But then the Red Wedding no longer feels like a grim full stop but just a cheap moment to make the audience sad. Why didn't the Starks get to survive if we're just going to go for that heroic ending?

Martin isn't the only writer to run into this problem. I think most long running book series have this issue where they run through the 'point' of the story and then keep going because the series is turning a profit. Which is fair, really, and it's nice to see writers make megabucks. But I feel like Martin understands that there's just no good ending at this point. The TV series, for its part, just went for the worst execution of that second option possible.

Either way, I think the article posited that the strongest thing for the series would've just been to end with A Storm of Swords. The Red Wedding was the big twist ending to a grim fantasy trilogy, not what it became, a speedbump in an epic.
 
I wish I could take credit for it but it was from an article I read a few years back yet don't remember the title of. I think it said that, basically, Martin has two choices at this point. The first is that he follows that theme through to the conclusion, which was that Cersei wins the game of thrones and then the ancient evil wipes her out. But that would probably leave a lot of people feeling the epic book series was a waste of time, even if it'd be thematically consistent.

So, you have the second option: a heroic victory, defying the theme. Sometimes, you'll write, heroes and prophecies and gumption can triumph. Cersei won't win, the evil from the north won't usher in an endless winter or whatever. But then the Red Wedding no longer feels like a grim full stop but just a cheap moment to make the audience sad. Why didn't the Starks get to survive if we're just going to go for that heroic ending?

Martin isn't the only writer to run into this problem. I think most long running book series have this issue where they run through the 'point' of the story and then keep going because the series is turning a profit. Which is fair, really, and it's nice to see writers make megabucks. But I feel like Martin understands that there's just no good ending at this point. The TV series, for its part, just went for the worst execution of that second option possible.

Either way, I think the article posited that the strongest thing for the series would've just been to end with A Storm of Swords. The Red Wedding was the big twist ending to a grim fantasy trilogy, not what it became, a speedbump in an epic.
IDK if you're a fan of Joe Abercrombie, but the First Law Trilogy is the distillation of what GRRM wanted to do but written by an actually brilliant author.
 
It's funny you think Sanderson would want to touch ASOIAF.
AFAIR he was asked and said something in the vein of wouldn't and couldn't do it because the tone goes against his Mormon sensibilities.
Which is fair, given that TWOW alone would be grimdark right from the start with Euron (who is pretty much a 0 SAN Call of Cthulu/Delta Green villain) and the general theme that magic in the world apparently involves copious amounts of blood sacrifice and body horror.

Martin has two choices at this point. The first is that he follows that theme through to the conclusion, which was that Cersei wins the game of thrones and then the ancient evil wipes her out [...]
I disagree, there is always the option of a bittersweet ending.
GURMs big problem is that he wants to have his cake and eat it too. He wants the good guys to "win" but only after their heroic journey involves debasing themselves and running a marathon thru chest-high diarrhea on fire.
Cersei "winning" and being the ultimate Big Bad of the series is a thing because the showrunners were busy sucking off Lena Headey and because they were ultimately embarrassed they were doing a fantasy series with dragons and zombies and ice fae.
Arguably the biggest fuck you to his readers Martin delivered to date is exactly his procastrination, he has teased consequences for most of the villains (e.g Frey pies, Roose getting betrayed by his vassals and/or his son, Red Wedding 2, Cersei getting chased off after Frankengregor gets exposed/(f)Aegon comes) while never showing them and still showing his desire to continue to degrade heroic figures (Stannis burning his daughter).

The issue IMHO isn't no good ending, the issue is that his "gardener approach" has fucked up the sense of direction and time within the story.
 
I don't deny that GRRM is fat and greedy and has eaten his fill by this point.

But beyond laziness I think the real problem with the series its just gotten too big. As mentioned above, with the "gardener" approach its a never ending clowncar of "oh wouldn't this be cool". Its not enough to take the story back to where it began: the tragedies of the Targaryan family, the First Men and the Children, and the tourney at Harrenhall...

Now it keeps ballooning outward with Dorn, Slaver's Bay, Shadowbinders from Ashai, all this nonsense about the War of Ninepenny Kings, and more and more distractions from the characters and stories we were made to care for. I think part of these tendencies must stem from some genuine love of writing and world-building he has. Its just no way to tell the story at this point in time. Its a bit like the "rule of cool" bullshit. Instead of telling a tight, economical story he goes big and it all comes crashing down.
 
I've been meaning to give that a read. You say it's worth it?
It's brutal and tragic, but it's the most invested I've got into a series like that. I'd recommend it if you don't mind seeing good people getting fucked over. If you want something a bit less maudlin Best Served Cold and some of the later spinoff books are more traditional.

Like I said, it's the same theme as ASOIAF but written by a good author.
 
The latest James Patterson drama where he said white male authors find it hard to get work in the publishing industry, was attacked by everyone online, and then recanted immediately is recently the current decade in a nutshell.
 
The latest James Patterson drama where he said white male authors find it hard to get work in the publishing industry, was attacked by everyone online, and then recanted immediately is recently the current decade in a nutshell.

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What a poof.
 
I am ashamed to admit I used to love using that Idolmaster meme to make fun of the hiatus, only to learn after his death that Miura actually suffered from chronic disease. Fucking Japanese and their aversion to admit something like illness. At least now every companies will take the health, both physical and psychological, of their authors seriously now

Also it's seriously fucked up that even after the death of Miura, Berserk is going to be finished before Martin going to finish ASOIAF. How much of a lazy bastard that fat fuck really is? Like for fuck sake, even Togashi made an unexpected (and miraculous) comeback to finish Hunter x Hunter even with his fucked up spine
Reminds me of Ai Yazawa. How is she doing today? I remember she put everything on hiatus when she got sick. No idea what she has though. Multiple sclerosis? Lyme disease?
 
The latest James Patterson drama where he said white male authors find it hard to get work in the publishing industry, was attacked by everyone online, and then recanted immediately is recently the current decade in a nutshell.
It's especially sad because, behind closed doors, so many of the people attacking him would agree that the industry is in a very weird place right now when it comes to who is allowed to write what and whether white male authors should be allowed to write anything but white men while the industry stresses how they want non-white male protagonists. On top of that, as @Boston Brand has so wonderfully illustrated, white male authors tend to sell more novels than whatever BIPOC LGBT NB author puts out there.

It's just like that author who said recently that she had never read The Odyssey... while writing and promoting a "queer retelling" of The Odyssey and all the while openly acknowledging that she got her agent and publisher via networking and nepotism. So many Tweets going 'Okay, I hope she's successful and makes lots of money selling her novel but...' There's no need for the wheedling one-of-the-good-ones proposition! Except that Book Twitter is an incestuous circle jerk of people hoping to get into the clique so their name gets recognized and they get offered a book deal and a movie deal and get to swan around being a member of the clique and being so very anxious about toeing the party line while they do it because one wrong move and the dream is over.

If you want to get a job in the industry as a white dude, then you either need to prevent anyone from knowing you're a white male or you need to claim to be some kind of white-passing identity. That's how you get a foot in the door and then you sit down and shut up and keep out of Twitter drama. The expression of your identity must align with the orthodoxy. All Patterson said these days is that it's more difficult for white male writers to get jobs in the industry, and virtually everyone knows that is true. But a core pillar of the traditional industry is acting as if white men still rule it. Here's a fun experiment for the thread: go through the lists of YA, SF/F, and other genre agents. You'll very quickly see that white women make up the majority of agents. All of my immediate superiors and associates in the industry are white women.

After all, if Stephen King and James Patterson disprove issues with race, representation, sales and culture within the publishing community, then surely President Barack Obama proves that the United States of America has conquered anti-Black racism. Wait, it doesn't work like that?

EDIT - A 2019 study of literary diversity said the following. Of almost 8000 responses from across all levels of the industry, 76% reported themselves as white, 74% as cis women, 81% as straight. Cis men make up only 23% of the gender breakdown.
 
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There's an article I can't find now where someone in the book industry basically explained the "too big to edit" problem. Like with Stephen King. To sum up: If you edit his works, the increase in sales would be a drop in his massive bucket. However if he gets offended at you for editing him and leaves to go to another company, that's a loss of millions. So it's a lot of effort for very little reward but high risk.

Now from this thread and other things I've seen/heard, it sounds like a lot of these new authors out there are STARTING at the "too big to edit" level. Or maybe we should call it "too black to edit."

So minorities ironically end up in a self-defeating loop. Nobody dares edit or challenge them less they be called racist, so they produce poor to middling work, which just turns off readers, leading to less minority sales so they complain about how it's only white men out there leading to a minority recruitment drive where nobody dares or edits the new arrivals less they be called racist so they produce...
 
There's an article I can't find now where someone in the book industry basically explained the "too big to edit" problem. Like with Stephen King. To sum up: If you edit his works, the increase in sales would be a drop in his massive bucket. However if he gets offended at you for editing him and leaves to go to another company, that's a loss of millions. So it's a lot of effort for very little reward but high risk.

Now from this thread and other things I've seen/heard, it sounds like a lot of these new authors out there are STARTING at the "too big to edit" level. Or maybe we should call it "too black to edit."

So minorities ironically end up in a self-defeating loop. Nobody dares edit or challenge them less they be called racist, so they produce poor to middling work, which just turns off readers, leading to less minority sales so they complain about how it's only white men out there leading to a minority recruitment drive where nobody dares or edits the new arrivals less they be called racist so they produce...
That...that kind of makes sense about the self-defeating loop. People just don't realize how important Editors actually are. This reminds me of stories in Japan, back when publishers are on arms race to publish popular web novels, particularly Isekai and other Shousetsuka works. They soon found out that some of these writers are unable to revise/edit their works, so some editors have to rewrote them themselves. One even claimed (anonymously) that they have to rewrite  half of a book themselves

Edit:
The correct term is Narou-kei, not Shousetsuka, that's the name of the website
 
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With how much kids these days are enjoying  LORE, Manga, Light Novels, Webtoons, and other stuff, I'm thinking the biggest problem now is that there just isn't enough works that suited the taste of said young boys. And if it does, it's just not marketed enough

This might sound silly, but now is the age of On Demand Service, especially after people have just realized just how big their power of choice are due to The Coof. Just look at Webtoons, or Web Novels platforms. There are enough works for everyone and anyone. Don't like the works? Find something or somewhere else. Or better yet, create one yourself. There isn't any shortages of places or platforms where people can showcase their works freely and easily, unlike years ago

And this is perhaps the thing that is happening to the current publishers, they're still thinking of brand loyalty instead of catering to people's demand. They think people would still line up to buy their books just because the big name publishers are the ones releasing it, even though now people have more choices and alternatives. It's the same problem with old media like TV
On the topic of getting boys to read I've lately been wondering exactly what, exactly, they like to read. I've heard a few different perspectives on this: books about other boys their own age, books about men doing things, books about hot women.

1) Like thinking back to myself as a young teen I read Harry Potter, I liked Stephen King (The Talisman, Dark Tower), the Giver, and To Kill a Mockingbird were a handful of my favorites. Thinking back I think the commonality there is most dealt with a young male who was going through the transition of being a vulnerable child to needing to make decisions, do things, standard coming of age stuff. I don't know if this is just my own interest in men's issues making me project this in hindsight, or if these kinds of stories are primarily what appeals to boys.

2) I also remember a lot of my peers being into Dragon Lance, RA Salvatore, and a lot of books I'd have written off as cringy wish fulfillment trash even back then. I didn't like it but clearly that shit does sell. Is this what resonates?

3) Recently had a discussion with a friend, who is writing a story, and he mentioned how he is trying to write something he might've liked as a teenager. Most of the protagonists were women. I expressed a bit of surprise as this as, well, we are in a society that already worships women and most books are now about the experiences of teenaged girls and young women. Then again when I was a kid buffy, firefly, etc. were pretty big and certainly "female action hero" has some level of male appeal.

So I don't know. What makes a book appeal uniquely to boys? There are still plenty of books like (#1) out there, even if they aren't new; I am sure Blizzard is still shitting out ghost-written fan fiction about Varian Wrynn (#2); and almost all new books are about BIPOC teenaged girls succeeding where grown men failed (#3). So what is missing?
 
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