The Hobbit: A Review (Part 1)

Disclaimer: The fact that I'm reviewing this right now has nothing to do with the release of the movie.

Note: Those of you who have read my "Of Significance..." page may remember that The Hobbit is listed there, so this is (by far) not my first reading of the book.

As I've mentioned, I'm teaching a creative writing class at my kids' school. When it was discussed, back at the beginning of the school year, about assigning them a book to read to go along with the class, I immediately suggested The Hobbit. It was not on the "short list;" it was the list. I really can't think of a better book from which to teach writing form. Also, there is the part about introducing the kids to great literature.

My choice of The Hobbit as a book I think everyone should read has nothing to do with it being a great book. I do think it's a great book, but, mostly, I think it's a simple book. And, when I say "simple," I mean "straightforward." It is not a book with a complicated and convoluted plot. It doesn't have hidden meanings and subtleties. It is what it says it is, a fantastical adventure story. That's why I wanted to use it for the creative writing class assignment.

If you want to look at plot arc, you can. The story follows only one protagonist, and there aren't any twining branches or confusing twists. It's just "hero gets into trouble"/"hero gets out of trouble." It's easy to look at and map out and, most importantly, it's easy for them to understand.

If you want to look at character development, you can. Bilbo is not the same person at the end of the story as he is going in, and you can see the changes as they happen, and that's good for these young writers to see. Especially, it is good for them to see in a literary world where so few characters do any real changing these days other than becoming awesome fighters through some brief training montage. Actually, as I'm typing this, I think The Hobbit should be required reading for anyone hoping to be an author. These days, it's all about "voice," but I really don't care how good your voice is if your protagonist doesn't grow within the story. If the protagonist doesn't change, your story falls flat. [And, now, I'm thinking of a ton of books that I have been less than pleased with, and I think this is the reason: no character growth.]

If you want to look at how to deliver a message within a story, The Hobbit has that, too. Not hidden or veiled messages but messages told through the repercussions of the actions of the characters. I mean, you can't get more clear than when someone tells you to stay on the trail, you need to do it. And, no, that's not really what I'm talking about, but I don't want to get into the specifics until I actually get into the review. The book does, though, have strong messages about greed and war in particular.

The Hobbit, in many ways, is the perfect introduction to reading. It's a clear story that most of us can actually relate to in some way. It has humor and sorrow. It's fast and it's fun. It's simple enough for a child yet full of things only an adult can understand. It's the story that you would beg your grandfather to tell on a cold night in front of the fireplace, and Tolkien tells it that way. Right down to the hypothetical question, "What is a hobbit?" right in the middle of the narration. In short, the story is delightful. And scary. And exciting. And sad. It is full of life and what life is, and, yes, I think everyone should read it. Earlier is better than later, but, if you missed it when you were 10 or 12, there is always time to go back and make up for it.

Having said that, no, I don't think everyone will love it or, even, like it, but it's one of those things -- like chocolate or cheese -- that you just need to taste. Skipping it entirely is too much of a risk.

Oh, For the Love of Plot! (a NaNo update from my wife)

[After one week of NaNo, my wife wrote up an update about how she's doing. She's doing fine in all actuality, although she doesn't always feel that way. She says things, now, as she's sitting and staring at her monitor, that make me really laugh. Things I think but never say because there was no reason to ever say them before. Of course, many of those things have to do with how much of a distraction the kids are, but, sometimes, it's because I've asked a simple question like, "Would you like anything while I'm in the kitchen?" Fire bursts forth from her eyes and smoke billows from her ears and she says something like, "Can't you see I'm trying to write?" I'm considering installing lightning rods before she starts calling down lightning strikes when people speak. So, yeah, for me, it's been interesting to see her actively displaying these things that I generally keep clamped inside. But, really, she's doing fine.]

Wow, I’m so frustrated with my plot. Right now, I don’t have a clue where my story is going, and I'm not sure whether my plot is completely bad or only mostly bad. Well, that’s not entirely true; I sort of know where it should end, and I sort of know where it starts, and I know some action needs to happen in the middle. I’ve also written a couple of pretty kickass scenes. I’m in love with some of my characters (OK, most of them). People have died (I haven’t technically written that part yet but it’s in the plot plan). Hey, it’s a space opera, someone’s got to die.

The thing that is frustrating me is that while I know how I want the characters to develop, and I know what the bad guys are up to, I don’t know how to get all the characters in place and involved in the plot. This explanation of the problem doesn’t even make any sense; how is my plot going to make sense?!

Something that I think I’m good at is the idea of character development. That is not to say that I’m good at writing characters who develop, just that I can describe a dramatic arc in which a character develops, e.g., “Hamlet starts out not a bad fellow, drives himself and everyone else crazy, then dies and takes everyone with him. The End.” (Synopsis not recommended for deployment in a for-credit English class. I haven’t actually read Hamlet in like 25 or more years. Use at your own risk. Warning: Hot coffee may be hot.)

Andrew has been really helpful and accommodating. He reads my stuff when I ask him to, and, otherwise, he doesn’t bug me. He points out that my use of commas is bad (thanks, babe!). Since he’s not wrong, that’s fine. He appreciates the funny bits (what few bits there are in, you know, space opera where people die and stuff), and points out to me where there are potential plot discrepancies or problems. That last part is a very good thing, but usually I have already thought about them and have explanations that I’m working in. In our normal life together we actually tend to talk a lot about plot problems in the media we watch/read together, so I think I’m pretty practiced in this area.

For all the problems I’m having, my word count is pretty decent. I should be hitting 15k today and by the time you read this I may be over 16k, so I'm keeping up on what I need to do. I was able to do more than 8k over last weekend, but writing on work days is really problematic. I blame the kids. They are old enough to not to need to bother us all the time, but they seem to really think they need to. Argh. It’s like they don’t want me to write the definitive space opera of our century, or something!

Right now, I’m working on a plot outline to try to get things straightened out a little so that I can move forward again. It’s hard trying to write when I don’t know what the heck I’m supposed to be writing, know what I mean? I do hope I can keep some of the stuff I’ve already written, for example the scene where the badass soldier heroine kills a bunch of monsters and has a couple of really sweet lines. If I can’t keep that scene, I will probably cry. Currently, the plot outline looks like it could be an episode of Glee, only with less fabulous fashion and no singing or dancing at all. So basically take out everything that makes Glee fun and only keep the depressing high school drama parts. That’s my plot. Clearly it does not have enough space explosions or assassination subplots.

I’m also not great at dialogue. In person I’m a good conversationalist and pretty much always have a snappy rejoinder or snarky aside ready, but that sort of thing depends on having a conversational partner. My dialogue efforts haven’t quite yet descended to the level of:

“I’m bored. What do you want to do?” she asked.

“I dunno. What do you want to do?” he asked.

“I asked you first,” she said.

“So what, I asked you second,” he said.

“Shut up. I’m bored. What do you want to do?” she asked.

But I make no promises.

It does seem easier to write out dialogue without putting in speech tags and setting stuff at first. It comes out faster and more like an actual conversation that way. So that’s a thing I’ve found helpful.

All problems aside, I’m going to keep going at it. That’s how you do this, right? You just write. According to Chris Baty in No Plot? No Problem, the 2nd week of NaNo is the worst for feeling like a failure, and if you keep at it then you are sure to find a way to work through your problems and make the word count. If all else fails, I can bring in a computer to explain the plot for the reader. That reminds me, my plot needs some ninja pizza delivery guys on motorcycles.

[All of which reminds me, a couple of nights ago, she was sitting there at her computer and suddenly declared, "This is hard!" I might have chuckled, but all I could really say is, "I know."]
[Oh, if you don't understand that last bit about the computer and the ninja pizza man, see this post.]