The full title of the novel is Frankenstein, or The Modern Prometheus, and Mary Shelley famously wrote the short “ghost story” that would eventually become the novel in 1816 while she and the man who would later become her husband were at Lake Geneva, Switzerland, spending a lot of time with Lord Byron. The novel was published in 1818 in a limited run as a tthree-volumn set without the author’s name. After a successful run of a play based on the novel, a second edition, listing Mary as the author, was published in 1823. Finally, in 1831 a heavily revised edition was published, and for the first time made available at a “popular edition” price.
Most people think they know the story of Frankenstein, but few have actually read the book. And as a fairly typical novel of its time, the very slow burn of the story, not to mention the surfeit of complex sentences and frequently mini-monologues of all the characters can make it a difficult read for modern readers. Even the structure of the novel is different than typical modern books.
The novel is told in the first person, but from three different viewpoints. It begins from the viewpoint of the captain of a sea vessel that has been trapped in the Arctic ice, who finds a half-dead man similarly marooned. The man identifies himself as Victor Frankenstein, and then tells the captain how he came to transform a body assembled from corpses into a living being, then horrified at how hideous is looked (not anything it actually did), that he rejected it, drove it away, fervently hoping it was die in the forest since it had no skills, couldn’t talk, et cetera, and then tried to go back to his life. The middle of the book is from the creature’s point of view (though still filtered, because the creature eventually found Victor and told him the story, which Victor is now telling to the captain who is writing all of this down for us).
The creature did not die. He took shelter new the cottage of a family that lived in the woods, and by watching them learned to speak, eventually learned to read, and came to hope that he might not die alone in the world. The grandfather of the family was blind, and the creature struck up a friendship with him, carefully only coming around when the old man was alone (since every person who had laid eyes on the creature up to that point had been so horrified by his appearances as to scream and chase him away). Alas, the rest of the family catches him once, and they have the usual reaction, sending the creature fleeing deeper into the woods. The creature finds Victor, explains all of this, and then asks Victor to create a second person like himself, to be his companion and mate. Victor agrees.
The next part is back to Victor’s point of view, and Victor begins assembling body parts in secret again, but he suddenly becomes afraid of what will happen if the creature and his mate can actually reproduce. I emphasize at this point that here at more than two thirds of the way through the novel the creature hasn’t harmed anyone, hasn’t threatened anyone, has not behaved in any way other than as frightened child. But Victor suddenly decides that he can’t let the creature have a companion, he destroys the body parts, tells the creature he will not help him after all. The creature loses it, and eventually decides the best way to get his revenge on Victor is to start killing people Victor loves. Victor tries and fails to kill the creature, and they wind up chasing each other across northern Europe and into the Arctic.
Finally, we return to the viewpoint of the sea captain, as Victor gives a last monologue and dies. The creature find the ship, has a conversation with the captain in which he agrees that he has done terrible things, and explains that his intention had been to lure Victor to a spot where the creature could kill him, and then not just kill himself, but set himself on fire in a place where no one would be able to study his body and figure out how Victor did it.
And that’s where it ends.
Like any work of art, everyone interprets the story differently. A little over a year ago there was a bit of a kerfluffle when one newspaper ran a story about how modern readers feel sympathy for the creature with a headline that referred to such students as “snowflakes.” There seemed to be an assumption that having sympathy for the creature—seeing him as misunderstood and a victim—was some sort of modern politically correct reaction.
There’s a big problem with that: the original novel actually does portray the creature as a victim and as being misunderstood. And that’s not interpretation, it is literally what happens in the story. Not to say the story makes him a blameless victim, and certainly how the creature takes his revenge by killing innocent people beloved by Victor is an evil act.
But it is an act of revenge. And the book frames it that way.
Lots of people assume that the theme of the book is that there are some things which mortals are not meant to know, and that if mere humans try to play god horrible things will happen. But that isn’t really Victor’s sin. We get a hint of that in the title itself: Frankenstein, or The Modern Prometheus. Prometheus was not a mortal who stole from the gods, Prometheus was one of the gods (yes technically a Titan, but that was just the name in Greek mythology for the first generation of gods). And what Prometheus was ultimately punished for was giving humans the gift of fire, then not making sure they would use it responsibly.
Victor’s sin, then, is that he gave life to a creature, and then abandoned it, rather than caring for it. As the creatures creator, he had a responsibility to teach it how to get along in the world, to know right from wrong, and so on. He didn’t do that. And he drove the creature away not because of anything the creature did, but simply because of the creature’s hideous appearance.
The middle narrative, when the creature tries to teach himself how to be a good person, is the next big clue as to the real them. The creature naturally craves love and the comfort of companionship, and he tries to learn how to be a member of society. He befriends the blind man and earns his trust. It is only when once again people see him and assume because of his looks that he must be a dangerous, evil thing, that he abandons his plan to try to become part of the human community.
Then there is this admission from Victor himself, in the final deathbed monologue:
“In a fit of enthusiastic madness I created a rational creature, and was bound towards him, to assure, as far as was in my power, his happiness and well-being. This was my duty”
Victor goes on, unfortunately, in that monologue to insist that he was right to abandon the creature, but his rationalization only works by assuming that somehow he knew how the creature would react to yet another betrayal.
Finally, we have the creature’s final plan: he had already destroyed the remaining records of Victor’s experiments (those that Victor hadn’t destroyed himself), then set out to kill both Victor and himself so that no one could have create another creature like himself. Before Victor died, he had admitted to the captain that the creature had been leaving clues to make sure that Victor was still pursuing him. The creature had thought it out: Victor was the only one who knew how he had reanimated dead flesh, but it was possible that another could study the creature’s corpse and figure it out, so the creature needed to kill Victor, and then he needed to destroy himself. He planned to set himself on fire somewhere on the arctic ice precisely because any remains would eventually wind up lost in the sea.
In other words, he was cleaning up Victor’s mess.
There are plenty of quotes one can pull from Victor’s and the creature’s monologues to support the usual interpretation that this was all about an arrogant scientist treading into areas best left alone. But those are all perspectives of characters within the narrative. Just because a character says something, that doesn’t mean it is what the author believes—it’s something the author thinks the character must believe in order for their actions to make sense.
I’ve said many times that an author’s values and beliefs manifest not necessarily in the words of the characters, but in the consequences of the actions of characters, and how the way the narrative portrays them shows you whether the author thinks those consequences are deserved. It’s very clear from that perspective that yes, both Victor and his creation have done deplorable, immoral things. But it is also clear which of them realizes it and takes personal responsibility for it.
Victor blames the creature for everything, including his own actions, up to his dying breath. The creature blames both Victor and himself for the various atrocities, and in taking the blame, pronounces (and then carries out) his own death sentence.
Which means that ultimately, it isn’t the creature who is the monster.
Our cabin isn’t full, so if something like this appeals to you, set up a project and send me a message with your user name so I can send you an invitation to our cabin.
My particular project is an editing one, and I’m counting words as I go through scenes in the larger project. When I finish the edits on a scene, I copy it into a seperate Scrivener document to keep track of my word count. I was a little suprised at how much I got done on the first day, since it was a day at work where I don’t really get a chance to take a full lunch to spend writing, and I was feeling more than a bit out of it when I got home from work.
In other news, the 2019 Hugo and Campbell Awards Finalists have been announced. I was quite pleased to see that in every category at least one thing I nominated made it to the final ballot. The flip side of that is that there are also a lot of things with which I’m not familiar that made it onto the ballot, so I get to read a lot of new stuff soon!
I was really happy to see that Archive of Our Own—a massive fan fiction repository—is nominated in the Related Works category. It’s a little weird, because there are thousands of contributors (including me, though I have such a teeny tiny bit of stuff posted I don’t really count). Clearly if it wins, thy won’t be handing one of the big rocket trophies to every contributor. There are a couple of things in that category that I haven’t read, so I don’t yet know if AO3 is going to be my first choice for Related Work, yet.
As I said, I’m once again looking forward to reading stuff that has been nominated for the Hugos. As happy as I am to see things I nominated make the list, I also love seeing new things that I haven’t read, yet. Because, as I mentioned as part of another point last week, no one’s favorites list can encompass all of science fiction/fantasy. And that isn’t just because a whole lot of it is being published today (although with self-publishing being so much easier, and the internet making things more discoverable, there is an incredibly wide variety to choose from).
But a lot of people operate under the illusion that in times past a single fan could, indeed, read everything in the genre that had been published that year. It only seems that way if you assume that only the authors and stories you have heard of years later are who and what were being published at that time. A great example of this misapprehension is one of the flaws in a recent blog post by whacko Brian Niemeier (that I won’t link to directly, but since Camestros Felapton does a nice analysis of some of the flaws, I’ll link to his post: Did fandom cause the collapse of civilisation or vice versa? Let’s Assume Neither 🙂).
Niemeier makes the claim that “back in the day” everyone read Edgar Rice Burroughs and everyone listened to The Shadow radio show. Now, it’s true that Burroughs’ Tarzan books sold so well that he was able to form a film company and produce his own adaptations of his books, something that would be unthinkable for an author to do today. But it’s simply not true that everyone read the Tarzan books, if for no other reason that regular readers of novels and the like have always been a minority of the population. James Branch Cabell, a contemporary of Burroughs, sold more copies of his books during the nineteen-teens and -twenties than Burroughs did, yet he is largely forgotten today. There were scores of magazines publishing sci fi, fantasy, horror, and related fantastical fiction, publishing thousands of stories during that time most of which written by hundreds of authors many of whom we’ve never heard of.
While there is a huge amount of fantastic fiction to love now, there was a huge amount then, too. And I think that’s great! Because not everyone likes the same things, and the more variety there is, the more likely that there is something wonderful to discover and read for the first time, right? Similarly, the fact that many people like many things, mean that something you or I create is likely to find a receptive audience.
I am quite certain that if someone wrote a story about a conjurer who becomes best pals with a demon and they take up knitting together, someone out there will want to read it.
And those are good things.
The story is about a photojournalist who is supposed to be on his way to cover a political event, but he stops to take pictures of the so-called Last of the Winnebagos. The tale is set in a dystopia near-future where, among other changes, the entire species of dog was wiped out by a plague. During the death spiral of the dogs extinction, laws against animal cruelty and the like have ratcheted up, and the Society of the Prevention of Cruelty to Animals has become not just a major political force, but for all intents and purposes a national secret police force. Even accidentally killing an animal can result in serious prison time and other steep penalties.
There are other changes that have taken place unrelated to the dog plague. Energy sources are rationed, for instance. At the time of the story there are only three states left in the country that have not banned RVs and similar gas-guzzlers. Even in those states where they are still allowed, just vehicles are banned from federal freeways. So the elderly couple who drive around in one of the last RVs, regularly park somewhere public, put up a sign, and for a small fee give people a tour of this relic of a bygone era.
While taking pictures and interviewing the couple, the photojournalist takes particular interest in the photos they have of their last pet, who succumbed to the plague, like so many others. During this portion of the story, we learn of that the journalist has an ongoing side project to take photos of people talking about their beloved dogs, trying to catch the moment when, as he says, “their face reveals the beloved pet.”
I don’t want to give away any more of the plot. Suffice it to say that there are secrets revealed—such as why the photojournalist is more interested in the elderly couple and their photos of like on the road with their beloved, long-lost pet than the paid gig. And we learn a few more interesting twists about the dystopic America the characters inhabit.
That’s a big part of why this story hooked me. The dystopia that Willis imagines in this story is quite different than any I had seen before. Yet utterly believable. People will vote for very strange things and get behind politicians proposing quite ridiculous things if they get riled up enough. A truth that has been demonstrated very painfully the last few years.
Even though the story involves the journalist driving over great distances a few times, interacting with the “secret police” as well as ordinary citizens, the tale always feels intimate. We’re exploring something very personal and painful in this story. In addition to seeing some novel ideas (for the time) of how certain technologies would change.
It was a good story. A thought-provoking story. A story that explored both personal grief, and communal regret. As well as looking of multiple (and very plausible) types of extinction.
The opposite of grimdark is hopepunk. Pass it on.
Rowland goes on to describe hopepunk in more detail. In later posts, when lots of people argued about the term she chose (often suggesting noblebright as the preferred term), she explained how a hopepunk world is different than a noblebright one. Noblebright is where every hero is noble and pure and they conquer evil because they are noble and pure and once evil is conquered everything goes back to being noble and pure. A hopepunk world isn’t a rose-colored fairytale place, instead:
The world is the world. It’s really good sometimes and it’s really bad sometimes, and it’s sort of humdrum a lot of the time. People are petty and mean and, y’know, PEOPLE. There are things that need to be fixed, and battles to be fought, and people to be protected, and we’ve gotta do all those things ourselves because we can’t sit around waiting for some knight in shining armor to ride past and deal with it for us. We’re just ordinary people trying to do our best because we give a shit about the world. Why? Because we’re some of the assholes that live there.
I’m not completely sure when the term grimdark was first coined, but I know the attitude was around (and works of fiction based on it were getting praised and winning awards) in the late 1980s. Grimdark is sometimes described as a reaction to idealistic heroic fiction, meant to portray how nasty, brutish, violent, and dark the real world is. It has also been defined somewhat more accurately as a type of fiction that prefers darkness for darkness sake, replacing aspiration with nihilism and the assertion that true ethical behavior is either futile or impossible.
I think a much more accurate description of the majority of grimdark is torture porn and rape porn pretending to be a deconstruction of unrealistic tropes. Damien Walter noted in an article for the Guardian a few years ago that it is driven by a “commercial imperative to win adolescent male readers.”
Usually in grimdark stories the driving narrative force is to do the most brutal, shocking, nasty thing the author can to characters that they have made likable—with a lot of misogynist skewing. Rape of women and children is particularly prevalent in these stories, usually justified by the claim that that is realistic for pre-industrial societies, ignoring the fact that in war zones throughout history men were almost as likely to be the victims of rape by the enemy as women. I also have trouble with the “realistic” defense particularly in the epic fantasy settings because those authors never show people dying of cholera or dysentery—which in the real historical settings were at least a thousand times more likely to be the cause of a person’s death than torture or rape.
Grimdark appeals most strongly to white (usually straight) young men from middle class backgrounds—the sort of people who are least likely to have experienced much in the way of grimness in the real world. They are the kinds of guys who will insist that they are oppressed now because women, people of color, and queer folks have some civil rights protections. In short, they are the kind of people that:
They’re nice white middle class boys and the closest they’ve ever come to the ghetto is when they accidentally got off at the tube in Brixton once, took one look around and ran crying back into the tube.
I’ll tell you where that quote came from in a minute. First, I want to finish explaining why I believe it is mostly white, straight, middle class young men who find this appealing. It’s precisely because their exposure to grim realities is almost always secondhand. The notion that the person held up as a hero isn’t really a paragon of virtue is something they didn’t experience firsthand as a child. They didn’t routinely have someone they admired and loved call them an abomination, for instance. Queer kids, on the other hand, experienced that again and again growing up. Women learn early in life that the best they can expect from society and family if they get sexually harassed or assaulted is that they will be blamed for not somehow avoiding the situation. People of color learn that their lives are considered disposable by much of society, and so on.
Brutality, nastiness, and cruelty aren’t surprising revelations, to us. They are things we learn to expect (and endure with a smile if we don’t want to get grief from those around us). So we don’t get the same puerile thrill from its portrayal as others do.
I started working on this post last weekend after reading some of the follow-ups to the Vox story that I included in the Friday Five. And then I discovered that Cora Buhlert had already said much of what I thought about the issue (and had a lot more references than I to quote) in a blog post that I failed to read last week while I was being sick and not reading much of anything: The Hopepunk Debate. The block quote above came from there, where she was quoting a much older posting she had done elsewhere. You should go read her post, because it’s full of all sorts of interesting citations and observations.
When grimdark first started popping up, it seemed to many like an interesting and novel way to look at our perceptions of culture. It was the scrappy newcomer to the pop culture landscape—in 1987. In the 30-some years since, it has become one of the dominant paradigms of storytelling. The most popular fantasy series on television anywhere right now, Game of Thrones, is grimdark. It’s no longer surprising when likable characters are maimed and tortured and murdered in brutal ways in popular shows and books. It’s become boringly predictable.
Except that’s not quite true. Brutality has always been banal.
This gets to why I think Rowland is right to use the suffix -punk in her description of this reaction to grimdark. Grimdark has become the norm in too much of speculative fiction. Believing that hope is a thing worth kindling is, in such an environment, an act of rebellion.
We can argue about what kind of works qualify as hopepunk. For instance, I think that The Empire Strikes Back could be considered hopepunk. Luke’s insecurities and imperfections drive his part of the plot. Lando isn’t a nice guy (charming, yes, but not nice). Han is imperfect in different ways than Lando or Luke. Lots of things don’t go right for the heroes, but they don’t give up.
I’ve said many times that science fiction is the literature of hope. Even in most dystopian fiction, I have said, there is a glimmer of hope. I fully understand that that is something I believe, and isn’t necessarily an empirical fact. I believe the best sf/f can be realistic, it can be dark, it can portray the imperfect and even nasty nature of the world, while still offering that glimmer of hope.
And the truth is that that world is more realistic. That is an empirical fact. If the worst possible outcome was always more likely than others, our planet would be a barren, lifeless rock. Yes, we all die eventually, as far as we know all living creatures do. But the world is full of life because more often than not, living things survive, they endure, and they pass the gift of life along. Not understanding that requires turning an awfully big blind eye on the world. It’s a boring and inaccurate assessment of the world around us.
“The trouble is that we have a bad habit, encouraged by pedants and sophisticates, of considering happiness as something rather stupid. Only pain is intellectual, only evil interesting. This is the treason of the artist: a refusal to admit the banality of evil and the terrible boredom of pain.”
— Ursula K. Le Guin, “The Ones Who Walk Away From Omelas”
These conversations always happened as the other kids were filing into the classroom, taking their seats, getting out their books, and so on. And usually they all just ignored what I and the teacher were talking about. Until one day when one young woman walked up to us and declared in a rather loud voice. “My mom says that people who read all the time are freaks who don’t understand the real world because they spend all their time in those imaginary places!”
It seemed as if the entire room went silent and that everyone was looking at us.
I started to stammer out something, but the teacher said, “It’s not nice to call someone a freak.” And then he told us to both take our seats.
She was hardly the first person to criticize my reading habits. Adults had often felt the need to weigh in and tell my parents that they shouldn’t let me read science fiction and fantasy, especially. Many thought all the fantasy was satanic, and the science fiction was equally suspect because scientists believe in evolution. There were also many who just thought that how much time I spend reading was the problem, regardless of the subject matter. There are a variety of reasons why non-readers distrust books. It’s not just the evangelical fundamentalists, who tend to classify everything in the world into the two categories of pro-Jesus and pro-Satan who misunderstand what the realm of sf/f is about.
A few weeks back I wrote about the older professional sf author who dismissed the three recent award-winning novels (which he admits he has never read) of a black woman because “psychic powers to control the earth and earthquakes had already been done in the fifties.” Besides being a dick-ish comment, it’s a bog standard gatekeeping argument.
Gatekeeping is an insidious system of exclusion intent on denigrating, dismissing, and erasing anyone who doesn’t conform to the cishet white male (often English-speaking) yardstick. This particular argument has two prongs: the first is the implication that a person is ignorant of the past of the genre, the second is the notion that a great science fiction story must introduce a new idea in order to be great. Science fiction has been defined as the literature of ideas, after all.
I have several objections to this entire line of reasoning.
First, almost none of the works that are usually authoritatively held forth as “great” science fiction actually introduced a new idea. For example, The Stars My Destination was a novel by Alfred Bester published in 1956 and frequently named in various polls as the greatest science fiction novel of all time. Here’s the thing: The Stars My Destination is basically a re-telling of The Count of Monte Cristo (published more than 100 years earlier). Oh, yes, there are interplanetary space ships and human colonies on the asteroids and various planets of the solar system (standard sf ideas for at least two decades at that point), and the main character (who in this case is definitely not a hero) developed the spontaneous ability to teleport simply by thinking about it. Even then, the notion of teleportation had been used in science fiction and fantasy stories since the 1870s (that’s right, when Ulysses S. Grant was President of the United States).
None of the ideas in The Stars My Destination were new, so why do so many science fiction fans and pros consider it a great sf novel? This gets us to my next objection: because a novel isn’t just about a single idea. A novel is a complete story with multiple characters and sub-plots. It’s about the synthesis of narrative, characterization, world-building, actions, reactions, and consequences. It’s the way Bester took many elements the reader was already familiar with, combined them, contrasted them, and wove a compelling tale out of them.
Science fiction is the literature of ideas in the sense that ideas are things we examine and re-examine. We toy with them, dissect them, expand them, redefine them, deconstruct (which is different than dissection) them, reassemble them, combine them with other ideas, and so forth. And it isn’t a competition (even though we have awards and sometimes argue about the relative merits of different works), it’s a conversation. Subsequent tales that use ideas others have used before should be understood in the context of the give-and-take of a conversation. One story looked at one aspect of the idea, other stories imagine different aspects, or ask us to reconsider the assumptions of the previous viewpoints.
It isn’t about settling on one and only one notion of reality. It is about possibilities. It should not be about narrowing the possibilities, but rather expanding the mind.
If wanting more possibilities makes me a freak, then I’ll proudly take the label.
There are some who would say this isn’t in the spirit of NaNoWriMo, and certainly not in line with advice I have often given people who are stuck: to just write the next word and keep moving. Since each time I have redone a scene I started from scratch, I think this counts as legitimate first draft activity. I’m not revising, see. And if someone thinks this is a form of cheating, well for years I was a member of the NaNoWriMo Rebels. The original rules specified that you not write a single word of the story before the stroke of midnight on October 31. So I was a rebel because I was usually trying to finish one of more works already in progress. So if my multiple tellings of the same (or substantially similar) scenes is cheating, I guess I’m a rebel again.On the other hand, there is a scene that is told twice which I intend to go into the book that way. The reader will first seen the end of a battle from the point of view of the main villain of the story, as he arrives when most of the fight is over and tries to figure out what’s happening. Then in the next chapter the reader will see the beginning of the battle from the point of view of one of the protagonists and learn quite a bit more. And I think it works quite well.
We’ll see what the readers think.
I first encountered Neil Gaiman’s writing back in the late 80s and early 90s while he was writing The Sandman for DC Comics. Sandman was not a superhero comic, it was the story of the incarnation/personification of Dreams, and over the course of the series Gaiman told tales crossing many genres: myth, mystery, horror, and a lot of things that are difficult to classify. It won a bunch of awards. One issue won a World Fantasy Award for short story–a thing which shocked some people so much they changed the rules so that no graphic novel or graphic story could ever be nominated in a World Fantasy Award writing category again.
Anyway, over the years after I would encounter some of Gaiman’s short stories and novels. Some I liked, some I didn’t. But the ones I liked were always so good that I would always at least give a new story a try.
When I first saw reviews of his 2001 novel, American Gods it sounded like something that would be right up my alley. A combination of fantasy and Americana that looks at the question, if ancient mythological creatures were all real, where are they now and what are they doing? Admittedly themes Gaiman had already explored in Sandman, but it’s an area of fantasy of which am an enamored. So I expected to love the novel.
It would not be fair to say I hated the novel simply because I have never been able to make myself finish it. I got bogged down maybe a quarter of the way through. Since I’m often reading multiple books at any given time, I set it aside with a bookmark in place and grabbed another book on one of my shelves with a bookmark and read it. Months later I happened across American Gods on one of my shelves, and I picked it up read some more. And I still wasn’t feeling it.
A few years later I headed into the computer room at our old house intending to copy some files from my desktop computer to take back to my laptop and my comfy chair in the living room and get some writing done. We used to have a small stereo in the computer room that one or the other of us could plug our iPods into. When my husband was playing video games on his computer, he often listened to audiobooks on the stereo. He was in the middle of one such book when I entered the computer room that day.
And during the few minutes it took me to find the files I needed and copy them, I found myself sucked into the book he was listening to. I sat there for more than a half hour listening. I only stopped because my husband paused his game for a bathroom break, and also paused the book. I asked him if, as I suspected, the book he had been listening to was Anansi Boys. It is sort of a sequel to American Gods, though Gaiman said he thought of the second book first. Anyway, it shares one important character, and essentially happens in the same world.
I asked my husband if we had a hardcopy of the book. He said he thought his copy was on the shelf next to his side of the bed. So I went, found the book, and spent the rest of the night reading Anansi Boys from the beginning, instead of writing. I quite enjoyed the book.
So not long after, I figured that maybe, now that I had finished the sort-of-sequel and really liked it, I should give American Gods another chance. After all, I had disliked and not finished the first three or four Discworld books people had tried to get me to read years before. Then a friend convinced me to read Wyrd Sisters and, well, it wasn’t long before I owned a copy of every single Discworld book there was.
I still found it impossible to become interested in American Gods or its main characters.
There are many people whose opinions I respect who really like American Gods. There are many people whose opinions I respect who don’t like it—I can think of at least one friend who hates it with a passion. I don’t hate it, I just can’t get into it. On the other hand, there is the related book I love, and a number of other things by the same author I love.
The lesson to be learned here is: not every story is for every reader.
If someone reads your story and doesn’t seem to be interested—even if they come out and say they hate it—that doesn’t mean it’s a bad story. It doesn’t mean you are a bad writer. All we can know from that data point is that that particular story is not for that person.
So don’t let the fact that anyone has ever reacted poorly to something you wrote stop you from writing something else. Don’t listen to that voice that says that no one will be interested in this story. Or that says you shouldn’t try. And so on.
There is someone out there who needs the story you are trying to tell. I am confident of that. But they will never know they need it until they find it. And they will never find it if you don’t write it.
So, go! Write! Tell that story! Now!
This reminded me of another conversation I was part of online elsewhere in which another NaNoWriMo participant commented that they had gotten bogged down because they reached a part of the tale where some characters needed to explain something that had happened off screen to other characters. Since NaNoWriMo is a first draft, experienced writers go into it knowing that a bunch of what we write isn’t going to remain in the final story. Sometimes we know that we’re just writing a scene to figure something out. Other times we don’t realize that all or most of a scene isn’t needed until much later, while we’re editing revising.
It is true that sometimes you need to give the reader information to understand a character’s motives and relationships. The trick is to do it without a lot of exposition. One of my favorite instances of giving the viewer such back story happened in the pilot episode of Teen Wolf the series. There’s a lot of bad story telling (contradictions, nonsensical villain plots, queer-baiting by the metric tonne, et cetera) that happened in that series, but sometimes they got things right. In that first episode, the two teen best friends, Stiles and Scott, are trying to figure out what bit Scott the night before, and whether it has anything to do with the mysterious body found be authorities the previous day. They are in the woods and are confronted by a slightly older, very gruff man who tells them they are trespassing and to go away. As they leave, Stiles whispers to Scott, “Don’t you remember who that is? It’s Derek Hale, he was a couple years ahead of in school? His entire family died in a fire several years back.”
It’s a whole lot of backstory, packed into a couple of sentences that set up a number of more mysteries and reveals that come up over the rest of the season. And having Stiles be the one who says it helps you learn a bit more about his personality traits that become important later: he notices things, he obsessively researches things, and no matter how many times his father, the Sheriff, tells him not to snoop, his curiosity just can’t be restrained.
Anyway, I’ve written about this topic a few times. But rather than paraphrase, I’m just going to quote one of the shorter posts on that topic from some years ago:
In order to write a character’s dialog correctly, I have to have a good image in my head of who he or she is. That doesn’t mean I need to know eye color and hair length and how they dress, necessarily—I’m using image metaphorically. I mean that part of the process of giving a character a personality is imagining their life and how they got to be who they are now.
This is for everyone, even walk-on characters who may have only one or two lines of dialog out of an entire novel. I’m not one of those authors who has to write all of that down before I can use the character. Walk-ons usually just pop up when I need them. I’ve put my protagonist in jail, let’s say, and I’d planned who his cellmate would be before I got to the scene, but I hadn’t thought much about any other prisoners. As I start writing the scene between the protagonist and his cellmate, the other prisoners just chimed in at appropriate parts. While I don’t know the names of any of them, I have a small sketch in my mind of each one’s personality and a bit of his or her history, too. It just blossomed as soon as I needed someone to make a humorous interjection.
That’s just the walk-ons. Supporting characters that are planned as parts of subplots have quite a bit more than that, while the main characters have even more.
Most of the backstory remains in my head and my notes. My stories tend to be character- and dialog- driven, so usually the only details about a character’s background that come up are the ones that would normally occur in conversation:
“You always have to be smarter than everyone else, don’t you?”
“There was a time when you found that endearing.”
“I grew up!”
Even without any description or names, reading that dialog tells you that these two have known each other a long time, that they used to be close (perhaps even romanticaly involved), and now they are less friendly. I may never reveal more about the past experiences between these two characters, but I know how they met, how long they were close, how they spent their time together, and how they had their falling out.
Usually I’m pretty good about not letting the backstory over shadow the current action. But not always. Especially if I get some characters together in a scene who are very talkative. The dialog can go on and on for a while, if I let them.
During re-write I always find some scenes like this, filled with a lot of interesting banter, but that I need to trim. When reading the scenes aloud, even just by myself, I can tell when they’re going on too long. Fortunately, usually it only takes a little pruning to punch up the scene and get things moving.
But sometimes that backstory includes information the reader needs, and it isn’t always clear until I get a reader’s perspective that some details I thought could be inferred weren’t obivous.
I have a couple of supporting characters I’m working with right now whose scenes I was trimming the last couple of nights. They’re both intresting characters. I’ve gotten feedback indicating readers like them. (Even though in the current novel they don’t have any scenes together, one of them had a short story of his own published a few years ago, and the other happened to be a supporting chracter in it.) But they’re only supporting characters in this tale, and the parts they have to play in the current story aren’t big enough to justify all that information.
Even though I saved the removed dialog elsewhere, it still hurts to trim it.
But when it’s too much, it has to go!
I’ve discussed this topic many times both on my various blogs, on convention panels, and in personal conversations. The person thinks they can’t write because the idea they have isn’t perfect, or they aren’t being creative/original enough, and so forth. One very specific form of this issue I’ve heard many times goes something like this: “I’ve read about how plotting and so forth works, and when I’m analyzing a book or show or something I can often see where the tale went wrong, but I’m not able to apply that skill to writing something new.”
At which point I usually launch into my rant about how writing is not the inverse of literary criticism?
What do I mean by inverse? Well, let’s first consult the Oxford Dictionary of the English Language. The relevant definition is: “ Of two operations, relations, etc.: such that the starting point or antecedent of the one is the result or conclusion of the other, and vice versa; (of one such operation, relation, etc.) opposite in nature or effect (to the other).” So, for instance, untying a shoelace is the inverse of tying it, while tying the shoelace is likewise the inverse of untying, right?
So, what do I mean when I say that literary criticism isn’t the inverse of writing? I mean that if one imagined the process of analyzing and deconstructing a story as a series of tasks, performing those tasks in reverse doesn’t produce a story. And when you compare your ability to find flaws in a story as being a necessary skill to creating a story, you are misunderstanding the creative process. Also, knowing how to perform literary deconstruction doesn’t guarantee that one understands stories—it means one understands paradigms that some authorities have proclaimed about stories.
Another way to understand it is to think about music: literary criticism and the like can be looked at as similar to understanding the mathematical equations that describe sound waves. Understanding those equations doesn’t mean you can think up a catchy tune. Which doesn’t mean that studying music theory might not improve your music making, but it doesn’t guarantee you will make compelling, or even mildly interesting music.
So, for instance, when a story teller begins working on a story, they don’t make lists of the metaphors they intend to use. Likewise, we don’t usually think about what the theme of the tale is and so on. I, personally, virtually never know what any of my metaphors are in a story unless someone points them out to me.
Everyone’s process is different. Most of my stories begin as a question, and the process of writing is how I try to find the answer to that question, and to the subsequent questions I uncover while working on the first.
Analysis is very useful during the editing and revising. Studying some of the things we can quantify about how stories work isn’t a waste of time. But don’t focus on that. Certainly not when you’re at the first draft stage.
Or, as Gandalf observed: “He that breaks a thing to find out what it is has left the path of wisdom.”
In just a couple of days November will be here and that means National Novel Writing Month (NaNoWriMo)! In case you aren’t familiar with NaNoWriMo, let me first quote from their website:
National Novel Writing Month (NaNoWriMo) is a fun, seat-of-your-pants approach to creative writing.
On November 1, participants begin working towards the goal of writing a 50,000-word novel by 11:59 PM on November 30.
There are rules, but for years I participated as a Rebel, until a few years ago when they dropped the one rule that kept making me a rebel.
- Write one 50,000-word (or longer!) novel, between November 1 and November 30.
Start from scratch.
- Write a novel. We define a novel as a lengthy work of fiction.
- Be the sole author of your novel.
- Write more than one word repeated 50,000 times.
That second bullet is the rule that they changed. Most years I use NaNoWriMo as a motivation to work on some stalled or otherwise unfinished projects rather than starting from scratch, which is why I was always over in the Rebel category. NaNoWriMo is a lot of fun, and I find that having a few friends participating and mutually cheering each other on (and in a couple of cases to try to race against, word-count wise) helps me get a lot of work done.
NaNoWriMo isn’t for everyone. But I’ve seen people who didn’t think they’d like it come out happy that they’d given it a go.
If you’ve ever wanted to write and have trouble finishing, give it a try. Particularly if the thing that is holding you back is a feeling that whatever you’re writing isn’t good enough, there is something freeing about just focusing on getting the word count up. Leave editing for later. you can revise and correct a horrible draft, but you can’t do that to a blank page.
And it is supposed to be fun, not a chore.
I think I know what I’m going to work on this year. But I’m leaving myself the option to change my mind at the last minute.
Let’s make some fiction!