Characterization is a tricky thing; we tend to say a tie-in fiction writer gets characterizations “right” or “wrong.” Getting it right can sometimes mean they are overly cautious, though. No danger of that in Una McCormack’s characterizations of the Serenity crew in “Firefly: Carnival” (2021). In some cases, this approach pays off; in one case, it’s an insane misfire.
Might’ve made a good TV episode
Despite a couple intriguing elements that would’ve made for a fine TV episode, “Carnival” is the messiest of the six “Firefly” novels up to this point. First, the good stuff: A child-smuggling ring on the mid-rim planet Bethel is seemingly being run by the local Companions Guild post. But Inara, on planet due to Serenity’s goods-transfer assignment, suspects this isn’t the genuine Guild. We get a reverse version of “Heart of Gold”; this time, the Guild (or “Guild”) is the enemy.
Another blast is had when the odd trio of River, Jayne and Wash visit a casino, needing to make money to free hostages. It’s like in “The Dead Zone”; River knows in advance where the ball will land on the roulette wheel. This would’ve been amusing on TV, with River dolled up by Inara, Jayne inexplicably wearing a velvet suit, and Wash feeling underdressed and nervous.
“Carnival” (2021)
Author: Una McCormack
Series: “Firefly” No. 6
Setting: Between “The Message” and “Big Damn Hero”
The middle-of-the-road stuff includes Simon, who is tired and irritable through the whole adventure, but also happy to be taking a hospital surgeon job as part of Serenity’s need for quick cash. Simon is a tough character to write, since he has elements of both timidity and bravery. But he always tries to be put-together on the outside, and he doesn’t bother with that in “Carnival.”
Inara, Zoe and Kaylee are on point. The latter has good scenes where she convinces Captain Mal – the “mean old man” – to help Ava, who has escaped from the child smugglers. McCormack sees Kaylee as younger than she is, as Mal thinks Ava “isn’t much younger than Kaylee.” More accurate would be to say “not much younger than River.” Kaylee is terrified of violence, sure, but she’s clearly an adult.
Going off-Book
That brings us to the wild misfire: Shepherd Book. McCormack slathers on the Western-speak (except for Inara). It sounds a little over-the-top for most of the crew, but especially wrong for Book. What’s worse is his behavior. Book does something toward the story’s end that is completely (horrifyingly or hilariously, depending on how seriously you take tie-in fiction) out of character. The scene is likewise out of character for Mal, but not as extremely.
The scene (everyone who has read it will know what I’m referring to) is also lazily conceived. The author could’ve come up with a more organic way for the showdown to come about. Indeed, all of “Carnival” feels hasty.
Titan Books obviously laid off some editors and copy editors after the first five books. There’s a typo roughly every five pages. I can read over those easily enough, but worse, the overall crafting of the plot is rushed. Why does the villain bring the Serenity crew in to protect his shipment? Shouldn’t he use his own trusted people?
Other than the casino sequence, “Carnival” skimps on activities at the much-hyped Bethel festivities. Worse, we don’t get a satisfying capture or dispatching of the villain. It happens off page! The whole book needed another draft, and then a thorough round of copy- and line-editing.
To its credit, it’s barely 200 pages long; there aren’t even chapter breaks. It’s like an expanded short story, although it could’ve been expanded more judiciously. Also to her credit, McCormack isn’t playing it safe. She doesn’t care if Simon is edgier than usual, and that’s interesting. Going wildly off-book on Book, though, is a step too far.