Work
Though Ford's novels varied in setting and style, several were of the Bildungsroman (coming-of-age) type: in Web of Angels, The Final Reflection, Princes of the Air, Growing Up Weightless, and The Last Hot Time, Ford wrote variations on the theme of growing up, learning about one's world and one's place in it, and taking responsibility for it — which involves taking on the power and wisdom to influence events, to help make the world a better place.
Otherwise, Ford's works are characterized by an aversion to doing things that have been done before. This is perhaps most notable in his two Star Trek novels, The Final Reflection (1984) and How Much for Just the Planet? (1987). The Final Reflection is the story of a small group of Klingons who prevent a war between the Klingon Empire and the Federation while the regular series characters are relegated to cameo appearances. (This novel introduced the fictional language Klingonaase.) In the comedic How Much for Just the Planet?, the Enterprise crew compete with a Klingon crew for control of a planet, whose colonists are not happy with this and defend their peace in inventive ways, which soon make everything a farce, including a Vaudevillian pie fight. The book includes song lyrics that satirize many 20th century stage musicals. Both novels present the Klingons in a more positive light, not just as the token evil menace of the week, while giving strong hints that the United Federation of Planets is not quite the shining utopia of goodwill and interspecies fellowship generally depicted in the television series.
Ford avoided repetition not only of the work of others, but also of his own work. Where many writers make a name for themselves by developing a known style that repeats in many books, Ford always surprised with his ability to use a variety of styles that best suited the world, characters, and situations he had chosen to write about. (John Clute expressed this in 1993 The Encyclopedia of Science Fiction as "Two decades into his career, there remains some sense that JMF remains unwilling or unable to create a definitive style or mode; but his originality is evident, a shifting feisty energy informs almost everything he writes, and that career is still young.") This might have limited his readership, however he was much respected by his fellow writers, editors, critics and fans. Robert Jordan, Ford's lifelong close friend, called Ford "the best writer in America — bar none." Neil Gaiman called Ford "my best critic … the best writer I knew." Patrick Nielsen Hayden said "Most normal people had the slight sense that something large and super-intelligent and trans-human had sort of flown over ... There would be a point where basically the plot would become so knotted and complex he would lose all of us."
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