Writing teachers will tell you that a novel should begin in medias res–in the middle of the action. While I
do believe this is preferable, if the story allows it, I don’t believe it should be chiseled in stone–good writers know enough about the craft, to understand when the rules are meant to be broken. I’ve never been a big fan of formula fiction, unless an author can take that formula and do something new with it. And while I wouldn’t consider Building Character “formula fiction” per se, there are will be some formulas in every book; I am interested in the conventions that stray from it, as this is a good thing. Genet knows how to do that, and she does with her own personal flair and expertise.
In regard to the caveat of in medias res in Building Character, the whole story is in the middle of the action. From the first two paragraphs, I could tell that something delicious was building. And I appreciated the author for giving me a firm grasp on the main character, so that it would make perfect sense and still be delightful. The discerni
ng reader will be able to sense that Genet is illuminating Fen Marshall in a particular way, and for a particular purpose, and the more we learn about Fen’s idiosyncrasies, the more intriguing and exciting the ensuing plot promises to be.
In a world permeated with the sensibility of instant gratification, and literary caveats that tell writers they must begin a book by grabbing the readers by the throat–I suspect because of the aforementioned instant gratification propensity–I must warn the reader that Building Character does not begin with a car chase or an arrow in the heart, nor any explosions, earthquakes or tsunamis, nor a character dangling from the ledge of a 10 story structure by her fingertips. It begins with a character. And it’s crucial to understand who she is in order to appreciate what happens, and how she evolves. Yet in doing this character development, Genet does not bore us with play-by-play or tedious details, but only with details that develop character, and move the story toward that first tipping point, and then pulls us along to each ensuing tipping point, until the end of every page is an irresistible invitation to continue to the page beyond.
The title of this novel is key to the many levels that exist inside the story. Genet builds a character for the reader, expertly, and with finesse. The main character, as an author herself, builds a character, who becomes a unique and intriguing antagonist. And the main character also builds her own character, as she maneuvers the obstacles presented by this vixen-cum-succubus, Ruby, which Genet (masquerading as Fen) brings to light.
While I could not identify personally with Fen on all levels, since she is an odd character with certain quirks, who does not enjoy the company of other people, nor seek love, I immediately loved her. I could relate to the often taxing nature of other people, and how they can suck the energy out of you. I also understood the need for time and space to create, and the almost holy nature of my home as sanctuary. I am not cut from the same cloth as Fen Marshall, but the cloth shares many of the same colors. I understood her, and was at once intrigued, enamored and entertained by her peculiarities and defenses.
The characters of Fen, Ruby, and Marissa were brilliant, and masterful manifestations of 
the darker elements of the human psyche, though the antagonists Ruby and Marissa were disturbing in two completely different ways. I have known quite a few people like Marissa, and like Ruby as well, except that I might not have seen the Rubys in this world as clearly as Genet sketches her, as I run screaming in the other direction before becoming entrenched with them. It’s this entrenchment on the part of Fen that gets her in so much trouble. By the time she realizes the untapped desires and blind spots that Ruby ignites, she has been sucked to the event horizon of that black hole, and is inches away from spiraling into the abyss of intrigue, lust, and the epiphany of awakened erotic hunger. This can be a force both ominous and all-encompassing.
Genet is well aware of her target audience–mostly lesbians and open-minded others who delight in a thought-provoking and entertaining read. I found Marissa’s behavior in the book very credible, and I immediately recognized her from my own personal experience with obsessive women. I can say that her abnormal ideation was spot-on. This assessment is supported by any psychologist you might care to contact, as well. If a reader has limited experience and knowledge of this psychological aspect of the subject matter, they might be surprised that these things really do happen (not manifesting a person out of sheer force of will, of course, but of how the human mind operates). The female psyche has its own nature, and I appreciated the subtle shading and color contrasts of the character-portraits Genet was painting, as well as the more specific subset of love and passion between two women, and the obsessional aspects inherent in each realm. This book is written by a highly intelligent author who deals with some profound subjects, and thus, to truly appreciate it on all its myriad levels, you must be able to appreciate nuance and understand a bit about human nature and psychology.
The classic conflicts in literature, which we all learn in school, is a character against an antagonist, a character against society, a character against nature, and a character against herself. Building Character embodies all of these conflicts, and is expertly rendered by Genet, woven into the story in such a seamless way, that (as an author myself) I was envious of her skill. Add the elements of the supernatural, psychological suspense, and of course the not-so-common lesbian erotica, well-wrought, and you have a book that can be enjoyed by those from many walks of life. For it speaks to us on our most fundamental level; reminds us that what we create does have a life of its own, and we should be mindful of the power it can have, the havoc it can wreak, and the lesson it can teach us about hubris and the corrupting nature of need, desire and loneliness. You can fall in love with the wrong p
erson just like you can NOT fall in love with the right one. And it is in this precarious balance that Genet reveals the meat of the story. In good fiction, there must be conflict, an attempt to ease the conflict, or exacerbation of conflict, and resolution of conflict. Genet orchestrates these elements adroitly.
With titillating and absolutely carnal and scorching sexual encounters fraught with deeper meaning, clean, picturesque prose and realistic, interesting dialogue, along with clever and exciting plotlines, Building Character was like great food to me. Delicious, perfect texture and taste, pleasing presentation, and in the end, so satisfying that it takes a place in your mind as one of your all-time favorite meals. I encourage everyone who appreciates quality writing to imbibe this wonderful book like the literary white chocolate that it is.
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June 29th, 2012 
something to another. I assumed this would be obvious by the context and the characters and also knowing that people just do things for their own reasons and you can usually guess what that is if you’re absorbing the nuances of the story. But no. Some readers see to want an explanation for everything, even when an explanation can be interpreted or assumed.
they make bad decisions, misunderstand, do their best while flying by the seat of their pants. I don’t think that makes them stupid–they were dealing with a very confusing situation that didn’t make sense and had to work it out eventually. I can tell you from personal experience that you can be skilled and intelligent, and STILL screw things up and find yourself helpless. So this was my way of allowing my characters all their humanity, and still showing the strength of the human will and spirit. Hope that helps.”
it. I guess not everyone wants that much tension. lol. But I enjoy piling on the challenges so I can test the characters, and make their ultimate triumph all the more sweet. But tension can be frustrating….that’s the nature of it. In a story though, I find it more satisfying if I wonder all the time how the hell a character is going to get out of a seemingly insurmountable dilemma.”
