If I could bestow negative stars, this book would have earned them handily.
First, and let me say that this is the LESSER problem I have with this book, Flyy Girl spends hundreds of pages following young teens (think "thirteen") in abusive, manipulative sexual relationships. The book is five hundred pages long, and for about four hundred fifty of them, no character speaks or thinks anything that is not directly related to sex. There are about three swear words per page on average, many of them used in anger, but many used in extremely tiresome expressions that confound by being apparently well-intended: "You got some pretty-ass eyes," "You cute as shit."
One character who the author describes repeatedly as a "nice guy" cheats on, then dumps, his girlfriend because they've been dating for a few months and she hasn't had sex with him. She's fourteen.
The above would already have made it not my type of book at best, but this book is vast, lonely galaxies away from "at best." This leads me to the point that bothered me even more about this book than horny tweens: the writing.
A few things the author does:
- Describe the skin tone, hairstyle, eye color, and full outfit with brand names of clothes, of almost every character to appear. Even the ones who don't get names, like every random stranger a character dances with at a party.
- Switch haphazardly between viewpoints, sometimes for a paragraph, sometimes half a scene or half a chapter. The author seems paranoid about the idea that the reader might not know every single solitary thing the author intended, even if the character has no reason to know it. For example, whenever someone lies, he says "s/he lied" right there in the speech tag. After most lines of dialogue, especially in tense scenes, the author includes a bland, blunt sentence or two to tell us exactly what the character is thinking. Heaven forbid there be tension caused by not knowing exactly what someone's up to, or that he should try to show someone's motivations or feelings.
(It's worth a note that for most of the book, this makes it crystal clear that none of the characters has any redeeming characteristics. The guys are shameless, abusive horndogs, and our female protagonist is a jealous, manipulative, gold-digging man-stealer.)
- Give frequent descriptions of shopping trips, including lists of the objects characters bought, told with all the interest implied in the combined terms "shopping" and "list."
- Make value judgments about characters and their actions, giving the book a badly-written-moral-text feel. He continued to steal, deviously, sticking up stores and everyday citizens around the city. His friends feared his destructive path. Timmy was developing into an all-out criminal at the tender age of sixteen.
- Frequently use speech tags that tell you things the dialogue already told you - responded, retorted, challenged, repeated, admitted, pleaded, insisted - sometimes adding even more unnecessary words - "But what about you? Are you gonna get help or something?" Tracy asked, concerned about her.
- DIALECT. "What 'chew be doin'?"
- Include slang terms in quotations and explaining them, even if their meanings are obvious. Lisa, on the other hand, was real light-skinned, or "damn-near white."
- Constantly use phrases like "leave out of there" and "inside of her room." Everything is always "inside of," as in, "he turned and walked inside of the living room." It's as if the author feels prepositions will get lonely by themselves.
Also, remember the physical descriptions I mentioned? These are often worked into passages in bizarre, awkward ways. She shook her earrings-wearing head.
The plot, if it can be called that, is episodic and strange, veering off into tangents about the quest of a minor character to get laid or the arrest of another minor character for stealing. Amazingly, none of this is interesting, probably in part because none of the characters is worth caring about.
The best part? I was assigned to do a project on this book wherein I create and perform a book talk to promote it.