2006 Author Reviews for
Tanaqui

I very much enjoy Tanaqui\'s drabbles: in just 100 words, she manages to tell complex, entertaining stories, with vivid characterisations and deft details of descriptions. She captures especially well the D?nedain of North and South and interactions among them, whether political or social.

Tanaqui is a long-time friend and beta reader, so it feels a bit odd to be reviewing not something that she wrote but how she functions as an author. I hold her writing abilities in the highest regard and always like to read what she has written in the Tolkien fandom because she has a knowledge of canon that transcends individual facts. Of course, once you try to jump from facts that Tolkien explicitly wrote to broader worldviews about how a culture would have operated you enter the realm of interpretation. And I have not agreed with every assertion Tanaqui has made, but I have been able to accept her inventions as something Tolkien would have approved of; they are very much in the spirit and letter of his Middle-earth. Tanaqui uses an exquisite amount of physical detail in her works, without her pieces feeling like an infodump. That\'s what I remember when I think about her, how rich the world she creates is. She once joked that in a drabble we are allowed seven words for a title, one hundred for the body of the text -- and three thousand for the requisite footnotes and forenotes documenting the historical precedents, canon sources, and the thoughts that led up to the drabble. That really summarizes her approach to writing in general: not that she uses too many footnotes(!) but that for every bit she puts in, there\'s much more going on below the surface. I\'m not sure how much she\'ll appreciate a comparison to movieverse, but her writing really does remind me of WETA\'s dedication to crafting props that were works of art, even if they barely made it on to screen or not at all. It creates a very rich backdrop for her stories, and this reader loves it.

Tanaqui has an ability to capture a reader?s attention and draw them into whatever genre and style she turns her hand to.

Tanaqui has drabble-writing down to an art. She knows how to whittle away at the superfluous to expose the scene she wants highlighted in an effective way, sometimes even going to half-drabbles. She writes a wide range of characters, including some of the obscure, \'historical\' characters (read: names in the Appendix), so those who like variety in a writer should be happy. Gondor, however, is her home turf, clearly, so look for focus on Faramir very often. Clean, crisp writing all around!

Tanaqui is a long-time friend and beta reader, so it feels a bit odd to be reviewing not something that she wrote but how she functions as an author. I hold her writing abilities in the highest regard and always like to read what she has written in the Tolkien fandom because she has a knowledge of canon that transcends individual facts. Of course, once you try to jump from facts that Tolkien explicitly wrote to broader worldviews about how a culture would have operated you enter the realm of interpretation. And I have not agreed with every assertion Tanaqui has made, but I have been able to accept her inventions as something Tolkien would have approved of; they are very much in the spirit and letter of his Middle-earth. Tanaqui uses an exquisite amount of physical detail in her works, without her pieces feeling like an infodump. That\'s what I remember when I think about her, how rich the world she creates is. She once joked that in a drabble we are allowed seven words for a title, one hundred for the body of the text -- and three thousand for the requisite footnotes and forenotes documenting the historical precedents, canon sources, and the thoughts that led up to the drabble. That really summarizes her approach to writing in general: not that she uses too many footnotes(!) but that for every bit she puts in, there\'s much more going on below the surface. I\'m not sure how much she\'ll appreciate a comparison to movieverse, but her writing really does remind me of WETA\'s dedication to crafting props that were works of art, even if they barely made it on to screen or not at all. It creates a very rich backdrop for her stories, and this reader loves it.

Tanaqui has an ability to capture a reader?s attention and draw them into whatever genre and style she turns her hand to.

Tanaqui has drabble-writing down to an art. She knows how to whittle away at the superfluous to expose the scene she wants highlighted in an effective way, sometimes even going to half-drabbles. She writes a wide range of characters, including some of the obscure, \'historical\' characters (read: names in the Appendix), so those who like variety in a writer should be happy. Gondor, however, is her home turf, clearly, so look for focus on Faramir very often. Clean, crisp writing all around!

The courage of Gimli as he faces his fear in entering the Paths of the Dead has always impressed me. And indeed friendship and the love of the Lord of the White Tree led him that day. Lovely drabble.

Tanaqui has an ability to capture a reader?s attention and draw them into whatever genre and style she turns her hand to.

Tanaqui is a long-time friend and beta reader, so it feels a bit odd to be reviewing not something that she wrote but how she functions as an author. I hold her writing abilities in the highest regard and always like to read what she has written in the Tolkien fandom because she has a knowledge of canon that transcends individual facts. Of course, once you try to jump from facts that Tolkien explicitly wrote to broader worldviews about how a culture would have operated you enter the realm of interpretation. And I have not agreed with every assertion Tanaqui has made, but I have been able to accept her inventions as something Tolkien would have approved of; they are very much in the spirit and letter of his Middle-earth. Tanaqui uses an exquisite amount of physical detail in her works, without her pieces feeling like an infodump. That\'s what I remember when I think about her, how rich the world she creates is. She once joked that in a drabble we are allowed seven words for a title, one hundred for the body of the text -- and three thousand for the requisite footnotes and forenotes documenting the historical precedents, canon sources, and the thoughts that led up to the drabble. That really summarizes her approach to writing in general: not that she uses too many footnotes(!) but that for every bit she puts in, there\'s much more going on below the surface. I\'m not sure how much she\'ll appreciate a comparison to movieverse, but her writing really does remind me of WETA\'s dedication to crafting props that were works of art, even if they barely made it on to screen or not at all. It creates a very rich backdrop for her stories, and this reader loves it.

Tanaqui has drabble-writing down to an art. She knows how to whittle away at the superfluous to expose the scene she wants highlighted in an effective way, sometimes even going to half-drabbles. She writes a wide range of characters, including some of the obscure, \'historical\' characters (read: names in the Appendix), so those who like variety in a writer should be happy. Gondor, however, is her home turf, clearly, so look for focus on Faramir very often. Clean, crisp writing all around!

Tanaqui has an ability to capture a reader?s attention and draw them into whatever genre and style she turns her hand to.

Tanaqui is a long-time friend and beta reader, so it feels a bit odd to be reviewing not something that she wrote but how she functions as an author. I hold her writing abilities in the highest regard and always like to read what she has written in the Tolkien fandom because she has a knowledge of canon that transcends individual facts. Of course, once you try to jump from facts that Tolkien explicitly wrote to broader worldviews about how a culture would have operated you enter the realm of interpretation. And I have not agreed with every assertion Tanaqui has made, but I have been able to accept her inventions as something Tolkien would have approved of; they are very much in the spirit and letter of his Middle-earth. Tanaqui uses an exquisite amount of physical detail in her works, without her pieces feeling like an infodump. That\'s what I remember when I think about her, how rich the world she creates is. She once joked that in a drabble we are allowed seven words for a title, one hundred for the body of the text -- and three thousand for the requisite footnotes and forenotes documenting the historical precedents, canon sources, and the thoughts that led up to the drabble. That really summarizes her approach to writing in general: not that she uses too many footnotes(!) but that for every bit she puts in, there\'s much more going on below the surface. I\'m not sure how much she\'ll appreciate a comparison to movieverse, but her writing really does remind me of WETA\'s dedication to crafting props that were works of art, even if they barely made it on to screen or not at all. It creates a very rich backdrop for her stories, and this reader loves it.

Tanaqui is a long-time friend and beta reader, so it feels a bit odd to be reviewing not something that she wrote but how she functions as an author. I hold her writing abilities in the highest regard and always like to read what she has written in the Tolkien fandom because she has a knowledge of canon that transcends individual facts. Of course, once you try to jump from facts that Tolkien explicitly wrote to broader worldviews about how a culture would have operated you enter the realm of interpretation. And I have not agreed with every assertion Tanaqui has made, but I have been able to accept her inventions as something Tolkien would have approved of; they are very much in the spirit and letter of his Middle-earth. Tanaqui uses an exquisite amount of physical detail in her works, without her pieces feeling like an infodump. That\'s what I remember when I think about her, how rich the world she creates is. She once joked that in a drabble we are allowed seven words for a title, one hundred for the body of the text -- and three thousand for the requisite footnotes and forenotes documenting the historical precedents, canon sources, and the thoughts that led up to the drabble. That really summarizes her approach to writing in general: not that she uses too many footnotes(!) but that for every bit she puts in, there\'s much more going on below the surface. I\'m not sure how much she\'ll appreciate a comparison to movieverse, but her writing really does remind me of WETA\'s dedication to crafting props that were works of art, even if they barely made it on to screen or not at all. It creates a very rich backdrop for her stories, and this reader loves it.

Tanaqui\'s drabbles are masterful, as we look and Men and Elves and the world they inhabited together.

I very much enjoy Tanaqui\'s drabbles: in just 100 words, she manages to tell complex, entertaining stories, with vivid characterisations and deft details of descriptions. She captures especially well the D?nedain of North and South and interactions among them, whether political or social.

Tanaqui has a lovely way with description, whether it be a drabble or a story.

Tanaqui has drabble-writing down to an art. She knows how to whittle away at the superfluous to expose the scene she wants highlighted in an effective way, sometimes even going to half-drabbles. She writes a wide range of characters, including some of the obscure, \'historical\' characters (read: names in the Appendix), so those who like variety in a writer should be happy. Gondor, however, is her home turf, clearly, so look for focus on Faramir very often. Clean, crisp writing all around!

Tanaqui is a long-time friend and beta reader, so it feels a bit odd to be reviewing not something that she wrote but how she functions as an author. I hold her writing abilities in the highest regard and always like to read what she has written in the Tolkien fandom because she has a knowledge of canon that transcends individual facts. Of course, once you try to jump from facts that Tolkien explicitly wrote to broader worldviews about how a culture would have operated you enter the realm of interpretation. And I have not agreed with every assertion Tanaqui has made, but I have been able to accept her inventions as something Tolkien would have approved of; they are very much in the spirit and letter of his Middle-earth. Tanaqui uses an exquisite amount of physical detail in her works, without her pieces feeling like an infodump. That\'s what I remember when I think about her, how rich the world she creates is. She once joked that in a drabble we are allowed seven words for a title, one hundred for the body of the text -- and three thousand for the requisite footnotes and forenotes documenting the historical precedents, canon sources, and the thoughts that led up to the drabble. That really summarizes her approach to writing in general: not that she uses too many footnotes(!) but that for every bit she puts in, there\'s much more going on below the surface. I\'m not sure how much she\'ll appreciate a comparison to movieverse, but her writing really does remind me of WETA\'s dedication to crafting props that were works of art, even if they barely made it on to screen or not at all. It creates a very rich backdrop for her stories, and this reader loves it.

Tanaqui has drabble-writing down to an art. She knows how to whittle away at the superfluous to expose the scene she wants highlighted in an effective way, sometimes even going to half-drabbles. She writes a wide range of characters, including some of the obscure, \'historical\' characters (read: names in the Appendix), so those who like variety in a writer should be happy. Gondor, however, is her home turf, clearly, so look for focus on Faramir very often. Clean, crisp writing all around!

Tanaqui has the ability to write even the most gruesome subject matter in such a matter-of-fact way that it is even more chilling!

Tanaqui is a long-time friend and beta reader, so it feels a bit odd to be reviewing not something that she wrote but how she functions as an author. I hold her writing abilities in the highest regard and always like to read what she has written in the Tolkien fandom because she has a knowledge of canon that transcends individual facts. Of course, once you try to jump from facts that Tolkien explicitly wrote to broader worldviews about how a culture would have operated you enter the realm of interpretation. And I have not agreed with every assertion Tanaqui has made, but I have been able to accept her inventions as something Tolkien would have approved of; they are very much in the spirit and letter of his Middle-earth. Tanaqui uses an exquisite amount of physical detail in her works, without her pieces feeling like an infodump. That\'s what I remember when I think about her, how rich the world she creates is. She once joked that in a drabble we are allowed seven words for a title, one hundred for the body of the text -- and three thousand for the requisite footnotes and forenotes documenting the historical precedents, canon sources, and the thoughts that led up to the drabble. That really summarizes her approach to writing in general: not that she uses too many footnotes(!) but that for every bit she puts in, there\'s much more going on below the surface. I\'m not sure how much she\'ll appreciate a comparison to movieverse, but her writing really does remind me of WETA\'s dedication to crafting props that were works of art, even if they barely made it on to screen or not at all. It creates a very rich backdrop for her stories, and this reader loves it.

Tanaqui is a long-time friend and beta reader, so it feels a bit odd to be reviewing not something that she wrote but how she functions as an author. I hold her writing abilities in the highest regard and always like to read what she has written in the Tolkien fandom because she has a knowledge of canon that transcends individual facts. Of course, once you try to jump from facts that Tolkien explicitly wrote to broader worldviews about how a culture would have operated you enter the realm of interpretation. And I have not agreed with every assertion Tanaqui has made, but I have been able to accept her inventions as something Tolkien would have approved of; they are very much in the spirit and letter of his Middle-earth. Tanaqui uses an exquisite amount of physical detail in her works, without her pieces feeling like an infodump. That\'s what I remember when I think about her, how rich the world she creates is. She once joked that in a drabble we are allowed seven words for a title, one hundred for the body of the text -- and three thousand for the requisite footnotes and forenotes documenting the historical precedents, canon sources, and the thoughts that led up to the drabble. That really summarizes her approach to writing in general: not that she uses too many footnotes(!) but that for every bit she puts in, there\'s much more going on below the surface. I\'m not sure how much she\'ll appreciate a comparison to movieverse, but her writing really does remind me of WETA\'s dedication to crafting props that were works of art, even if they barely made it on to screen or not at all. It creates a very rich backdrop for her stories, and this reader loves it.

Tanaqui has an ability to capture a reader?s attention and draw them into whatever genre and style she turns her hand to.

Tanaqui is a long-time friend and beta reader, so it feels a bit odd to be reviewing not something that she wrote but how she functions as an author. I hold her writing abilities in the highest regard and always like to read what she has written in the Tolkien fandom because she has a knowledge of canon that transcends individual facts. Of course, once you try to jump from facts that Tolkien explicitly wrote to broader worldviews about how a culture would have operated you enter the realm of interpretation. And I have not agreed with every assertion Tanaqui has made, but I have been able to accept her inventions as something Tolkien would have approved of; they are very much in the spirit and letter of his Middle-earth. Tanaqui uses an exquisite amount of physical detail in her works, without her pieces feeling like an infodump. That\'s what I remember when I think about her, how rich the world she creates is. She once joked that in a drabble we are allowed seven words for a title, one hundred for the body of the text -- and three thousand for the requisite footnotes and forenotes documenting the historical precedents, canon sources, and the thoughts that led up to the drabble. That really summarizes her approach to writing in general: not that she uses too many footnotes(!) but that for every bit she puts in, there\'s much more going on below the surface. I\'m not sure how much she\'ll appreciate a comparison to movieverse, but her writing really does remind me of WETA\'s dedication to crafting props that were works of art, even if they barely made it on to screen or not at all. It creates a very rich backdrop for her stories, and this reader loves it.

Tanaqui has an ability to capture a reader?s attention and draw them into whatever genre and style she turns her hand to.