Kindle Price: $2.99
Official Rating: 1.5/5
“There is something small and peculiar in young Bo’s hand — it’s Dad’s ring. How could Dad have left without the ring?
Bo is abducted. Chasing after him, his older siblings Jack and Brianna dive into a wormhole that takes them to the land of Taron, a perilous land fuelled by hatred and plagued by vicious snake-like, man-eating bokwas.
Blue-skinned Baran people catch them and sell them to an arena where Barans entertain themselves watching slave boys fight to the death. Dad is there, staring at them like they are strangers.
The contest is brutal; the rules are clear — one game, one survivor.
There are boys as young as Jack. Can he kill?
And there’s Brianna, the one he has spent all his life squabbling with, and the last person he thought he would care about. If he doesn’t kill, she will die.
There’s no choice. He must kill, for Brianna, for Bo …”
Have you ever lost something and you look around for it, but it isn’t in its usual place and you just can’t seem to figure out where it went? That’s how it felt reading Children of Swan: The Land of Taron because much was missing from it.
You need depth in most, if not all, things when it comes to writing. Characters, plot, worlds, even the conflict must have depth. But I couldn’t find depth in Children of Swan.
The worlds, firstly. Earth, Cygnore, and then of course, Taron. I already know what Earth is like (surprise!) but I don’t know what Walker’s dying Earth is like, but it wasn’t mentioned or explained so I still don’t know. I vaguely know of Cygnore and even more vaguely know of Taron, besides the fact that they have slaves, blue and red people live there, and they have some barbaric spin-off of the Roman colosseum/Roman gladiators only with children. You have to give more than just a few descriptions and call it a day. It is crucial to any story to build and create the world that your book is in, especially if it is a world you made up, so that the reader can explore it.