Why does this happen? Let’s look at the work of Paula Braxton, author of the “Witch’s Daughter”trilogy and the “Shadow Chronicles”trilogy. It would seem that her stories have magic, love and intrigue. Here is a variety of heroes, and an appeal to classical mythology, and a philosophical subtext, and an immersion in several historical eras that are fancifully intertwined in some works . But to re-read them again and again, to share links about the world with friends, to teach spells enjoyed by the main characters, there is no desire. Just get to the last point, close the book and take a new, already different author.
These are the real sensations of acquaintance with Pola’s work, pleasant, in moderation sweet, sometimes a little savory, but… deprived of a unique zest and not creating an emotional connection between the heroes and readers. And the reason for this lies in the naivety of storylines, sometimes too fabulous, in the absence of emotional details, because the author is much more concerned about the atmosphere, in weak logical chains between actions and heroes, and villains. The magic is too grotesque. Villains have no specific purpose, which we see in both series. They do evil solely for evil, neither trying to change the world, return love, nor create anything. And even destruction is not part of their plans. They just are and are destined to be bad, as in a children’s tale. And then a bone in their throat gets stuck by the main character, too good in all her appearances and all so noble. She tries to avoid a decisive fight, but ends up destroying the enemy with more “buh!” and “bah!”. That is, magic too looks primitive and superficial because of the abundance of special effects, which has not been a trend in fantasy literature for a long time. And all these attempts to draw philosophical and religious concepts to the plot, as in “Return of the Witch” are not perceived and seem foreign, though rather curious.
Perhaps the exception is the book “The Silver Witch”. No, everything described above is still characteristic of her. But trying to lead a narrative from two time points by weaving them together is a fine idea. This creates intrigue and languishes the reader for a long time, forcing him to guess where his author’s thought is. Gradually comes the understanding that here is clearly involved in heredity, determining not only hair color, but also the presence of enemies. There is a certain meaning of what is happening. By the way, evil here also has a reason. And love can accept, forgive, judge, and therefore seems much more dramatic and complex than, for example, in the “Witch’s Daughter”, where only in the second part appears the one to whom destined to become the companion of the main character and as if the game takes control of her heart without any serious obstacles.
Thus, the reason that not every book is destined to acquire fans, even being considered bestsellers and having readers, is the depth that the writer managed to achieve in the process making history. How is the world shown, how are the heroes revealed, is there an opportunity to turn into them, to feel all the emotions put to them by status? If all the answers are nebulous and blurry, hooking the public for living will not succeed. Then colorful cover and quality abstract, complementing the popular theme, of course, will help to earn money. But going in the tracks of Joan Rowling or Stephanie Mayer won’t make it. For man is penetrated only by what passes through himself, and only when he is transformed into someone else for the time of reading. Who on the pages is talking about.