I'm heading into the homestretch on Triad. The president has made his second or third trip on Air Force One. The girl assassin has been raped and given her orders to kill the unnamed high ranking figure. The news has arrived from out of nowhere that vast new oil fields have proved out, obviating the plot. Someone has a Big Idea (in this case called "Triad") that won't be explained until a conference on page 250. Characters have told each other that the president almost went nuclear, but then didn't, at least eight times. Vodka and bread have been consumed. An entire subplot -- the pilots -- has vanished.
Seems like old times.
I'm somewhere around page 175 -- I don't have the book with me at work -- and I've read twice now that Canada doesn't have nuclear weapons. I'm betting I get read it twice more by the end of the book.
Also, I was in a used book store on Saturday, looking for Rohmers -- it could happen -- and I found a copy of Mason Hoffenberg's Until She Screams. I've never seen one before in my life. Brought it to the counter, where the guy said, "Oh, yeah, that just came in a box. Do you know what it is?" "Yes," I replied. "Pure smut."
And it is, too.
Also, have you guys seen Godzilla? If you haven't yet, and you do, watch how they deal with the Rohmer Conundrum, of how to tie globe-trotting military/political/cataclysmic elements together with one protagonist. Their solution, continually stop the action for scenes where the authors come up with yet another way to keep the protagonist in the story, is not better than Rohmer's. Which, like I have to tell you, is "what's a protagonist?"
Apparently, this was also the reason it it cost millions of dollars in writers to "crack" World War Z.
The old solution: "Make your hero a reporter" worked for a century. I wonder why we don't do that anymore. There must be some testing or something that people hate reporters.