Please help improve it by removing unnecessary details and making it more concise. Rachel is discovered missing from the Keep. That night, the witch woman Six enters the Keep and steals the third box of Orden from Nicci and Zedd. Three Sisters of the Dark enter, killing Ann and capturing Nicci, while soldiers are sent into the catacombs to prepare an attack.
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The problem is that the pages before them are soul-crushingly terrible, full of a ridiculous amount of recapping previous books, Goodkind telling us things we already know, endless technobabble about prophecy that might as well be giberish, and an absolutely insane amout of repetition in the dialog. The ending does not redeem the rest of the book up to it. The vast majority of the action scenes that take place in this book are told to TL;DR - The last pages of this book are very good.
The vast majority of the action scenes that take place in this book are told to us after the fact by characters recounting what happened, rather than allowing us to experience them ourselves. Goodkind has a real problem with telling instead of showing here. I have only read this book once before. I was so disgusted with Naked Empire when it first came out that I pretty much just stopped paying attention to Terry Goodkind and the Sword of Truth.
Several years passed and I was surprised to find that Confessor was about to be realeased and that I had missed Chainfire and Phantom. I remember liking this book when I first read it, but, looking back now, I think that my enjoyment of it was only in comparison with my utter hatred and loathing of Naked Empire, which I read for a second time immediately before picking it up.
Reading through it now First of all, What does Goodkind have against just telling us what the cause of the drama is outright? He has this annoying habit of dancing around the exact cause of drama, and just trying to build drama around the reader not knowing things that everyone in the scene clearly knows. It makes the drama feel forced with you withhold information like that. And Drama that feels forced does NOT feel dramatic.
There is nothing shown in this book so far. It is ALL told. We are told about the fight at the beginning where Richard was wounded. We are told about how Richard was healed. We are told about the blood beast and how dangerous it might be. We are told that she removed the arrow with subtractive magic. We are told in excruciating detail how prophecy works more on that later.
The sheer ineptitude that Goodkind is showing with this is staggering. Let me give you an example of what I mean. This takes up about 7 pages. This is book 9. No one is going to pick up book 9 of a series without reading at least a few of the eight that came before it. This explanation is unnecessary, and redundant. Think of this, instead. Richard and pals are soaking wet and freezing cold from the rain.
Have him get the idea that, hey, maybe I can use magic to get a fire going to warm and dry us faster with magic. He tries to use magic to start a fire. He sighs, then grabs a flint and steel to do it the old fashioned way.
His sigh SHOWS us that he is frustrated with it, and his reaching for the flint SHOWS us that he has more trust in doing things the way everyone else does then than through magic, and that he sees the time spent trying as a waste, which then infers that he feels that magic in general is a waste. Which would you rather read? Next, I feel like a broken record bringing this up time and time again, but the freaking recaps man. I have read the eight books that came before this one.
I do not need 30 of the first 80 pages of this book devoted to telling me what happened in them. I know already. What a waste of time and effort to write that all out, and what a waste of time and effort to read it.
And pretty much the other side of the recap coin is the repetition. Good god, man. Generally, a reader only needs to be told something once.
A conversation where the exact same things are brought up and explained away nine times is generally going to be skipped, or skimmed through by most readers, because no one fucking cares. No one wants to read that. When you give an explanation of Cicadas in one chapter, for instance, you do not need to have another character in another location give the exact same explanation about Cicadas in the very next chapter.
This is ridiculous. There is so much unnecessary dialog in this book that basically just repeats the exact same things over, and over, and over again. Who is this for, exactly? Guess what, people like that are probably not going to be reading the book in the first place, dumbass. Goodkind goes on into excruciating detail for pages upon pages technobabbling about how prophecy works. It means nothing to anyone. What could have been a very tense scene of Nathan frantically flipping through prophecy books, finding all of the blank sections and then finally coming to the realization that prophecy is being erased from existence was completely ruined by Nathan explaining that he did that after the fact, and then he and Anne having a long and boring conversation technobabbling about prophecy.
You see what I mean about telling instead of showing? We are TOLD that Nathan flipped through these books, with a growing sense of unease and dread, instead of actually having him do it so taht we could see it ourselves, and feel the tension and building dread ourselves. This is an extremely lazy and incompetent way of telling a story. So, the whole Richard being the only one to remember Kahlan thing. Good god. What a shit show that is.
Look, okay, I get what Goodkind is going for here. The problem is that it is drawn out to such ridiculous, tedious, and repetative length that it actually becomes a sort of parody of itself, rather than being the central point of tension and drama in the story. This is not the way to build tension and drama around a mystery.
We are TOLD all of this. Richard never comes close to convincing the others, and the others never come close to convincing him. What is the point of continuing to repeat it if no headway is ever made either way?
A chess game ends at a stalemate for a reason. So should this. Gawd, I just filled up half of the Goodreads character allotment for reviews with my notes of the first 80 pages of page book Every story has a tempo. It moves to a certain rhythym. There are fast parts, and slow parts, tense parts and light hearted parts, and they all ebb and flow in a certain way. This is what is referred to as the pacing of the story by many people. Generally, when you have multiple storylines going on within the larger story, you tend to keep the pacing uniform across all of the storylines.
Action scenes will happen in generally the same part of the story. Quiet moments of reflection will generally happen in the same part of the story. Scenes with the same tempo are generally grouped together to keep the flow of the pacing consistent across all storylines in the larger story. This is because when you cut from the middle of a tense action scene straight into a scene with two women talking about books, it kind of comes out of nowhere, and it makes your brain stumble a bit.
Yes, this exact scene transition happens in this book. A really good example of messing with pacing to enhance a plot twist would be in The Black Prism by Brent Weeks. There is a part near the end of the book, right before the climax where Weeks weaves two scenes with very contrasting tones and tempos together.
But at the same time, these two different scenes are also about the same thing. The pacing of these two events is completely opposite. It leaves you a little off balance, so that when the plot twist hits, it hits extremely hard. And, so, the Blood Beast. Okay, so the whole randomness to its attacks really feels kind of like Goodkind is ripping off ideas from better writers here. Yes, two authors can independently come up with similar ideas, but this really feels too derivitive of other works in Fantasy and Sci-fi to be anything other than Goodkind blatantly borrowing ideas from other sources.
Richard very easily deals with its attacks in this book. And there really are no lasting consequences to them. Cara survives none the worse for wear. Richard takes dozens of wounds when it attacks with acidic spiderwebs.
Goodkind describes the searing pain, and says that Richard has blood pouring down his arms and legs from the wounds that the web leaves. Richard goes on like he was never hurt to begin with. When you have your character get hurt, there have to be consequences. There has to be something at stake. If he is hurt, he has to continue dealing with the wounds. Richard puts his hand on his sword, and then Goodkind goes into this I mean, was there even an editor working on this book?
Was he too afraid of Goodkind to speak up and do his damn job? Did none of his superiors look over his shoulder and say, wait, what the fuck man, what are you even doing? And speaking of editors.
Chainfire Audiobook – Sword of Truth Book 9
Plot introduction[ edit ] During a raid on his camp, Richard is seriously wounded and now Nicci must use Subtractive Magic in order to save him. Richard awakens to find his wife Kahlan missing and discovers that he is the only person alive who remembers her. Chainfire continues the story of Richard in his attempt to teach the people that their lives are theirs alone, and that they can be free of the Imperial Order. He is brought to Nicci, a sorceress and former Sister of the Dark, who heals him using Subtractive Magic; this causes unforeseen events to spiral out of control. Furthermore, no one around him seems to remember her.
Goodkind was the writer of The Sword of Truth epic fantasy series and the suspense novel of entitled The Law of Nines which is tied into his fantasy series. Worldwide, there have been twenty-five million copies sold of The Sword of Truth and this became translated into twenty various languages. In addition, it was made into a series on television which had its premiere on the first of November in and the seasons ran until May It was in Omaha, Nebraska that Goodkind was born in and moved in with Jeri, is wife into a house in Maine that he had built. Initially, he was dissuaded from being interested in writing due to the fact that he had dyslexia. Before beginning his career as a writer, Goodkind built violins and cabinets and was both a wildlife and marine artist, selling his work in art galleries.