I'm trying really hard to read and enjoy this book, but the authors are making it *really* hard.
I'm generally not a fan of war fiction. There are so many true stories out there to read there doesn't seem to be a need to get into the fiction end of things. I have, however, made some exceptions, and found some pretty good stories out there.
This is not one of them. I'll finish, but there's not much of a chance I'll get past Book One; this is apparently a series.
I appreciate that writers - myself included - may make checklists as we plan the stories we write, but this book's principal shortcoming is that it wears that checklist on its sleeve.
Americans training in England where they're "oversexed, overpaid, and over here," check.
Spunky member of the crew killed needlessly by his own hubris, check.
Friend of the spunky crew member brooding in resentment, check.
Leader grappling with his own personal demons that he keeps in check because he's the leader, check.
New love interest for the leader, identified in wartime, kissing him out of the blue because it's on the checklist, check.
Member of the French Resistance popping into the story randomly, sometimes interacting with the group, sometimes not, in a subplot that still may be paid off but you never know, check.
War-weary surgeon in a proto-MASH refusing to evacuate the hospital because there's a bomb nearby because his patients "will" die if they evacuate versus everyone "could" die if they're there and the bomb hoes off, check.
I'll predict a few more as we go along; I still have about 100 or so pages to read:
Longtime friend of the leader who also went into dangerous work killed heroically in action, check.
Resentful friend of the dead spunky crewmember either
a. Killed in action, mirroring the death of his spunky friend, or,
b. Forged into a new leader despite himself by the leader he blames for his friend's death,
check.
It's good to read these books, though. Inspires me to do better. Checklists are fine, but ya gotta bury them. And a lot of that could be done by showing, rather than telling. Put near all of the resentment in the character mentioned, for example, is delivered in dialogue, rarely in action. I keep forgetting the resentment is there because we don't see it in action, we only hear it occasionally in the dialogue.








