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Re: [OM] (OT) New Consumable Acquisition

Subject: Re: [OM] (OT) New Consumable Acquisition
From: Bob Whitmire <fujixbob@xxxxxxxxx>
Date: Sun, 20 Mar 2016 08:31:11 -0400
Exactly. Correctomundo, Your Mooseness. It is an endless repetition. But it is 
the bread and butter, the essence, the very naked soul of Romance Writing. When 
the first book came out the first time, it was pigeonholed by the publisher as 
a Romance. Diana fought long and hard to have it seen as More Than That. It 
took her a while to be successful. For years it remained in the pigeonholes. 

Problem was, it _was_ a romance. A weighty, complex, time-traveling romance, 
but a romance. The bull-headed heroine is de regieur, despite attendant 
absurdities. At that time I was hanging out on Compuserve with a gaggle of 
romance writers whom I found to be delightful company. Most of them didn't take 
themselves nearly as seriously as Diana. Several were best selling writers. 
Judith McNaught and Katherine Kingsley come to mind. Katherine (Julia Kendall) 
once mentioned me in her acknowledgements. <g>

But Diana, no. You have pegged the series precisely, but be careful where you 
say that stuff or you might find yourself being torn limb from limb by modern 
furies. 

I was disappointed to learn the standing stones central to the story and 
depicted in the tv show do not exist, even though there are standing stones 
near Inverness. In fact there are a number of sets of stones that would have 
served nicely in the series but apparently were too far from the sound stages 
where most of the series was shot. 

Sent from my iPhone 6s Plus. This is a perfect mobile device. Any perceived 
errors in spelling, grammar, or logic are figments of your imagination.

> On Mar 19, 2016, at 7:17 PM, Moose <olymoose@xxxxxxxxx> wrote:
> 
> I started the first book . . . She's good at describing the surroundings, 
> actions, straight dialog, etc. But the plotting, YUK.
> 
> Trouble, or potential trouble.
> Hero, who actually knows the times, people of them in general and many 
> specific ones, tells heroine what to do and/or not to do.
> Hero has to go off on important business, often to insure her/their survival.
> The instant he is gone, she does exactly what he said not to do, and/or the 
> exact opposite of what he told her to do.
> DIRE CONSEQUENCES!!
> Hero barely manages to get them out alive and un-imprisoned, although often 
> injured, sometimes seriously, particularly him.
-- 
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