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2341 of 2543 found the following review helpful:
A Fair Review and Some Advice Sep 18, 2009
By Justin Lee
I want to be fair to Dan Brown.
Elitist literary critics say that Brown is not a good writer, and that his stories are bland. I personally think that if you manage to genuinely entertain and awe your audiences, then you have accomplished something worthy of reading. I also think that "The Da Vinci Code" was nearly an impossible act to follow. People will have all sorts of crazy expectations for your next book that you won't be able to fulfill. As such, I write this review as fair as I can, trying to assess it on its own merits, but comparisons are inevitable.
The Lost Symbol isn't a bad book, but it is a letdown. I didn't like this one for the same reason I didn't like Angels and Demons as much. Also, Brown doesn't advance the story at a good pace. A good two-thirds of the book (I'm not exaggerating, I counted the pages) was filled with variations on such a scene:
Character A: Have you heard of X?
Character B (usually Langdon): Yes, but I thought that was just a myth.
Character A shows or tells B something.
Character B reacts with shock.
Then, insert scenes of people walking from one place to another, being chased.
Then, insert the sentence "Suddenly everything made sense." At least for the next ten pages.
Repeat.
After reading this, I had to wonder whether Brown is a writer on Lost, where people can't seem to give straight answers, and where scenes never resolve any questions.
Here's my advice to Dan Brown:
1. Fire your editor. There were some whole passages, even chapters, that served no purpose other than to inflate your book to an unnecessary size. I don't mind reading big books, but I do mind reading through unnecessary words. Ch. 69, for example, is unnecessary. If your editor didn't ask you to take it out, then he should be fired. Sorry.
2. We don't need to know exactly how every character moves from one location to the next, which turn they took, what street they walked across. If it serves the plot, if the geography is important (as it was in Angels and Demons), then fine. Geography was crucial at certain moments in this book, but many times, the passages when you describe how someone moves from one part of a house to another part, what door they opened and closed, all that is boring and tedious.
3. Don't write your novel like a screenplay. Whether you've done it consciously or not, your short chapters read as if you had in mind exactly what camera shots you expect out of an inevitable movie adaptation. Leave that to the screenwriter. If they can adapt a book like "Naked Lunch," they can surely adapt your book as well. Write your novel as a novel.
4. Be careful of hubris. You're in a unique and rare position that, I'm sure, many authors dream of: your books will sell millions by default and you will get a multi-million dollar movie deal without question. Good for you! Some authors handle that well (e.g. J.K. Rowling), some don't (e.g. Stephen King, Michael Crichton). It's not that the latter are bad writers, but that they are capable of writing some really bad stuff. Having said that, I'm not saying that The Lost Symbol is bad, just that it needs to lose about 100-pages of unnecessary, repetitive scenes. Speaking of Crichton, the reason I stopped reading him is that he became too formulaic. All his books are about a bunch of mismatched experts going to some remote location and something goes wrong. Formula isn't bad per se. Rowling is formulaic too. Most of her books revolve around the Hogwarts school year, but she puts enough story in there to make it work. You should do more of that.
5. Know what you're good at. You know your technology, which makes your book authentic. You also know that your readers are likely to go Google a painting or artist you mentioned and be awed by what you described. That's great! I bet that also saves you the pain of having to request reprint permissions of artwork and such. Also, since most people don't know their history, let alone the etymology of words they use everyday, you have literally an endless supply of stories. That's what you're good at. I'd say, forget the science stuff. It's interesting, but, as with Angels and Demons, it's an awkward fit. I don't recall there being any modern science in The Da Vinci Code and I was fine with that.
6. Try a recurring character. Langdon is fine, but consider having a character or two that returns in subsequent books. Make them interesting, of course, and don't make them a love interest.
So, here's the good news. Dan Brown hasn't nuked the fridge, at least not for me. Also, now that this book is out in the open, readers are likely to give his next book a much fairer assessment. So, I look forward to reading that, but, I probably won't be buying it on the first day it's out.
508 of 565 found the following review helpful:
 A page-turner, but often for the wrong reasons. . . Sep 23, 2009
By Garvinstomp
A quick note on the ranking: I hold 5-star ratings in reserve for the best of the best. The previous Robert Langdon books I would rate at about 4 stars for being fun reads but nothing that would resemble a literary masterpiece. I enjoyed this book significantly less than the other two, hence the two stars.
'The Lost Symbol' is not a bad book. While it would certainly rank it 3rd amongst the three Robert Langdon novels it is still an amusing read. I forgive Brown for his weak writing style and I accept that he writes characters that are fairly two-dimensional with little personality outside of that which pertains explicitly to the story. I accept that this novel was going to have the exact same story structure and characters as the previous two. I accept that the relationships between people will be odd. I accept that most chapters will end with a variation on his cheap cliffhanger "And then Robert couldn't believe what he saw!" I accept all that. And yet, even with all those concessions, this one just left me flat.
When it comes to the writing style I'm not entirely sure if I should be blaming Brown or his editor (or, potentially, his lack thereof-which I guess would be blaming him). The style, while simple, could easily be smoothed out with an editor who was given some room to work. What hurts his prose is repetition of words and phrases over and over and over and over-often on the same page.
Sure, the story structure is an identical match to the first two with all the same types of characters and twists. But here's the issue, this time is just doesn't work like it did before. Here's why:
1. Robert Langdon is officially a moron: He spends more time being lectured to and making wrong guesses than he does solving anything. His inner monologue serves to deliver some interesting asides, but nothing that helps forward the plot. I'm fairly certain he figured out absolutely nothing critical in the last third of the book. He was completely marginalized.
2. The science of Noetics, as used in this book, is a complete throwaway with no bearing on the plot: In A&D the science of matter and anti-matter played a significant role in the overall plot. It's relation to the Big Bang and religion as well as its overall implementation throughout the story was essential. Here, the Noetics pops up just enough to be annoying once you realize it serves no primary purpose. Also, Noetics is barely a science. Reading this book would make one think it's far more legitimate than it is. I was fascinated several years ago when I first heard it mentioned. Upon further research one finds that it is more wishful thinking than science and that it has very little actual research and support. Closer looks at studies (the water that has been "loved" is a favorite) show gaping holes, inconsistencies, and a complete lack of scientific method. While it may sound nice it just serves no purpose.
3. The payoff just doesn't work: Maybe we're out of major historical secrets to reveal to the world because this one just fizzles out. The build-up of this story often felt like it was stretching. In the previous Robert Langdon novels he finds himself moving between a great many locations surrounded by symbols and puzzles. Here, he spends his time in a handful of buildings, several of which play no role in solving anything but are simply places for him to rest or think. I often found myself turning pages, not to see what happened next, but to see if ANYTHING happened next. The reveals in the first two were very cool. This one gets such hype and then comes the "Really? That's it. I just read 500 pages to find THAT out? There's a few hours I'll never have back." moment.
I can say, unequivocally, that when the special edition with all the pictures is released I will absolutely not be purchasing it. I just don't care to ever read this novel again. I learned a few things about history and there were some interesting parts. But overall it was just mediocre, and sometimes that's worse than being bad.
168 of 186 found the following review helpful:
Fast-paced, but annoyingly manipulative and too long Sep 17, 2009
By Karen Sullivan
The pages turned quickly, but this was in part because I found myself skimming the vast sections of religious philosophy, psuedo scientific mumbo-jumbo and pedantic exposition, all of which seemed to go on endlessly.
The book builds and builds until the shockings truths are finally revealed. Without disclosing any details, one of these shockers had been painfully obvious for some time and I was impatient for Brown to just get it over with. When the other shocker was revealed, my reaction was "so what".
I enjoyed the cliff-hanger chapter endings in Angels & Demons and The Da Vinci Code, but they quickly became annoying in "The Lost Symbol". Worse, much of the book felt like padding. The last 50 or so pages was like an infomercial -- the story is over, but wait, there's more! I kept hoping the book would have an interesting conclusion, but it ended with a wimper, not a bang.
145 of 167 found the following review helpful:
 Just like Ralphie's secret decoder Oct 07, 2009
By A. Concannon
Do you remember the scene in "A Christmas Story" when Ralphie anxiously deciphers his secret message with his Little Orphan Annie secret decoder and all he comes up with is "Eat More Ovaltine?" I feel his pain.
341 of 399 found the following review helpful:
All Too Familiar... Sep 18, 2009
By Media Junkie
Have to agree with many of the posters here. Too many cliched characters: the diminutive Japanese CIA lady straight out of "The Incredibles"; the tatooed protagonist just the albino from DVC in reverse; the evil Turkish prison guard from "Midnight Express," the wise religious man who sees with his hands...I could go on and on. Forget the so-called science. You can see the plot twists coming a mile away. Is there ANYONE who didn't know the true identity of the villain immediately? Or the location where it would all end? Or what was inside the box Langdon was given? But I think when it got to the "drowning" scene, I lost it completely. I simply could not believe he would re-create a scene from a 20-year-old movie.
What hasn't been mentioned here is the absolute idiocy of the characters' behavior. A brilliant scientist lets a stranger into her secret lab because she receives a TEXT message? Who wouldn't question that? By her own admission, her brother didn't even know how to text! The use of phone messages throughout is maddening. A major CIA director hears someone saying, "I'll be there in 20 minutes" and never questions that he might be lying? Langdon flies off at a moment's notice without any confirmation that the person he's speaking to represents the person he says he does? And SURE, I'll bring along this sacred thing that I've been told to keep hidden for years just because you say so! DB keeps using this same device over and over and it simply defies all sense. "Oh, well, this person says he's my brother's doctor--my brother who's been MISSING--so, sure, I'll just run right over there and have a chat with him." In a private home that looks nothing like a doctor's office. "Sure, I'll have some tea!" And why on EARTH would a wealthy and powerful man like Peter Solomon not have some kind of security around to begin with? Would the guard at his building really let a limousine pass through without seeing who was in the back seat? No video cameras anywhere to capture him carrying out an unconscious man? Too much...just, too much.
Plus the repetition. I wish someone would count the number of times Langdon says something like, "But the blah-blah is just blah-blah," only to be shown a few pages later that--OMG, I NEVER THOUGHT OF IT THAT WAY! After the fiftieth time it happens, wouldn't Langdon maybe keep his mouth shut or learn that things "aren't always what they seem"? And the ending. Without giving anything away, what exactly is the point of the pyramid and the secret codes and symbols if the answer is already known? Doesn't that make the entire plot pointless to begin with? It's not really such a big secret after all, is it? Why wouldn't everyone be screaming it from the rooftops instead of shrouding it in secrecy? I literally could go on and on. You could teach a course in senseless plot points based on this book.
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