Dear Michael,
I just read your book "State of Fear . Now, I like to go straight to the point. Therefore, no pleasantries, I tell you now: but what the hell did you get?
I mean, I do not discuss the fascinating thesis suggest that in the novel: the catastrophe that exists around the topic "global warming" does not correspond to what is the reality. The man is less responsible than you think about the changes taking place. Behind the alarmist and easy criers of the newspapers on climate change note there is a complex strategy that has a specific purpose, to make us live in fear. All very interesting.
So what's the problem?
The problem is that the data you've collected and show, setting out the arguments, the arguments that lead, they went very well for an essay. But you, being a storyteller, you've transplanted into a novel. All right, you say, except that the novel is written really badly. I do not quote even the word literature, because of that there is no trace, but here are the parts of the narrative from discounters. Steps for the confusing plot, in which the characters (too many) to move from one continent to another, and after only 30 pages is not understands more than a club. Steps for brief descriptions of places (to Dan Brown). Steps for the plot far-fetched to say the least touched by catastrophe. Well as the usual steps for 583 (!) Pages, we know that the summary is not one of your gifts. But the style, depth, lightness, where are they? Characters dishes that you forget the names and does not inspire any identification. Twists that follow so close to cancel each other out. Hackneyed phrases as much as I just used the expression (note the phrase "hackneyed phrases" is a hackneyed phrase). Trivia on an industrial scale. And in the end what is left? The thesis, only the thesis. Note: not the plot, not the characters, not the writing ... but the message. And the message was enough to deliver a paper. Instead you have entered the essay into a loaf and indigestible unlikely to bad fiction. Mind you, nothing worse than any best seller that are cloned to 6 euro in a supermarket in Miami, but well below your reputation.
As one character I do not know what story: "Sorry if I tell you these things, but I'd say if you do not love you." It 's still worth the trouble to read your novel, because he says things interesting even if he says bad . Perhaps it is always preferable to a good idea enunciated by a stutter rather than a bad idea proclaimed by a rhetorician. But the reader demanding in me felt the need to vent, and exaggerations of its vent are due to too much love for literature. I hope you do not take too much, we feel when I read your next novel.
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