Michel de Montaigne, back in the 16th century, was the first writer to call his short, informal pieces by the name ‘essai’. The French word means ‘trial’ or ‘attempt’; Montaigne’s essays represented no set body of knowledge, but his own attempts to work out his thoughts in writing. The pieces collected here are in the same rambling and experimental tradition. I sometimes use the French spelling ‘essai’, not because I am terribly pretentious, but to remind me of the original meaning of the word. Nothing posted here should be taken too seriously. —T. S.

One problem with writing fast

A lively discussion has erupted at The Passive Voice, in response to a rant by one of the usual suspects telling self-published writers to slow down and not write so much. Fast writing is not necessarily bad, and slow writing, Heaven knows, can be utter crud. Great novels have been written in a span of weeks or even days. But nobody ever wrote great novels at that pace, one after another, and kept it up for a span of years.

People point to Isaac Asimov as an exception. He was a man who wrote 500 books, so Wikipedia tells us, and Wikipedia wouldn’t steer us wrong, would it?

Well, maybe.

If you look up the word prolific in any really good dictionary, you will find a picture of Isaac Asimov sitting at his typewriter. ‘Prolific’ was the adjective most often applied to him as a writer, and the one he was most proud of. But even he had his limits. His average output from 1958, when he became a full-time writer, to about 1989, when illness took away his ability to work regularly, was (by his own reckoning) in the neighbourhood of 500,000 words a year. That’s 15 million words in all, or about enough to fill about 200 paperback books of the size that used to be usual in his younger days – say, 200 to 250 pages. (The average size of paperbacks began to balloon in the 1970s, but that’s another story.) Some of his nonfiction books were quite short, and a number of his stories and essays were published in more than one book; that brings us up well over 300, but it still leaves us far short of the number given by Wikipedia.

So how did he get to 500 books? Simple: he cheated.

[Read more…]

The myth of autarky

Personally I believe that most people are influenced far more than they would care to admit by novels, serial stories, films and so forth, and that from this point of view the worst books are often the most important, because they are usually the ones that are read earliest in life.

—George Orwell, ‘Boys’ Weeklies’

Fantasyland, as the late Diana Wynne Jones showed in her seminal Tough Guide thereto, is an irksome place. It irks me, at any rate, because it is not a world but something more like a film-set; it does not have the working parts to do what it pretends to do. Tolkien was confessedly ignorant of economics, but he at least tried to make sure (for instance) that the Shire was in a naturally fertile clime that could support a large population of hungry hobbits, and that the ‘townlands’ surrounding Minas Tirith were adequate to feed the people of the city. He even threw in a sentence or two about slave plantations in the South of Mordor, around the Sea of Núrnen, to show how Sauron supplied his horde of evil minions. Many fantasy writers don’t even take that much trouble.

Whenever I read about a Glorious Imperial City of Gold™ on top of a high mountain, or a Decadent Palace of the Evil Sultan™ in the midst of a trackless desert, I always find myself asking: ‘But what do these people live on?’ A writer could, by mere fiat, say that they get their food by magic; yet the magic is never there. Not only do we not see it onstage, we also do not see any of the probable consequences and (as fools and mortals say) ‘side-effects’ that such magic would have on all other areas of life. One day I shall probably write a snarky and contumacious tract on the economics of Faërie, but for now I want to leave most of that subject on one side and tackle one particular issue. That is the attitude of almost religious awe that fantasy writers have for societies based on subsistence agriculture — an attitude that, in my wide experience, only occurs among people who know nothing about agriculture and precious little about subsistence.

This attitude is not only prevalent in fantasy; some people hold it in real life as well. Among these we must number the ‘locavores’, the well-meaning fools who think it somehow unethical to eat any food grown more than, say, 100 miles away. This is nonense, and easily proved to be nonsense; but a hundred proofs are not worth as much as one plausible story. That is why it is so dangerous that so many of our storytellers don’t know the facts of the case and do not seem interested in learning them. People, consciously or not, are forming their views of life from stories that are not based on life at all.

I hope you will bear with me, then, while I tell a little story, and if it is not a hundred-proof story, I hope it may be strong enough drink for the occasion. And if it is drink that we want, I had better put wine in the story, since wine is the drink of the storyteller, except in those far Northern climes where the skalds sing in mead-halls. I have simplified the details, but everything I say about the simple diet of Eucharia applies to our own more complex society as well. [Read more…]

Éala Éarendel: A study in names

A meditation on words, slightly late, but suited for Eastertide. Any howling errors herein are wholly my own; though I reserve the right to be an intellectual coward, and blame them on my recent concussion.


 

There is no such thing as an expert on language. There are experts on individual languages, and experts on different aspects of language as a phenomenon; but the field of language as a whole is, and always has been, far too large for anyone to adequately survey in a human lifetime. Tolkien came as near it as almost anyone: he was intimately familiar with the whole 1,500-year history of English, plus Old Norse, Latin, and classical Greek, and had a firm working knowledge of German, French, Spanish, Welsh, Irish, Hebrew, and several other languages, including the latest reconstructions of Proto-Indo-European. Yet he wrote, with perfect sincerity, to Fr. Robert Murray: ‘I am in no ordinary sense a “linguist”’. He understood better than most professional linguists the internal workings of language, but he also had a sound knowledge of his own limitations.

It may be unfair to compare Tolkien with Noam Chomsky, who does unabashedly call himself a linguist, and is often regarded by his younger colleagues in the field as the linguist. Unfair, but for my present purpose, necessary. Chomsky does not show any signs of great familiarity with any language but English. He attempts to lay down ‘universal’ rules of grammar, but his universals, when closely examined, tend to be disturbingly parochial. [Read more…]

Creative discomfort and Star Wars

The fact is that this script feels rushed and not thought out, probably because it was rushed and not thought out.

—‘Harry S. Plinkett’ (Mike Stoklasa)

They’re already building sets. God help me! I’m going to have to start this script pretty soon.

—George Lucas

It is not actually true that ‘all good writing is rewriting’. It would be nearer the truth to say that all good ideas are second ideas — or third, fourth, or 157th ideas. Writers are notoriously divisible into two warring camps, ‘outliners’ and ‘pantsers’. One of the most common triggers for a rewrite happens when you come up with a brilliant new idea halfway through a draft — and that idea makes a hash of everything you have already written. This, in the war of the writers, is a powerful weapon against the pantsers.

Jeff Bollow, for instance, in his book Writing FAST, recommends that you get your ideas right first, and write the draft later; but he also tells you never to use the first idea that comes to mind, for that only trains your mind to be lazy. If you do your brainstorming properly, and don’t start actually writing until your ideas are solid, you are much less likely to have to tear up a draft and start over. John Cleese touched on the same point in his 1991 talk on creativity:

Before you take a decision, you should always ask yourself the question, ‘When does this decision have to be taken?’ And having answered that, you defer the decision until then, in order to give yourself maximum pondering time, which will lead you to the most creative solution.

And if, while you’re pondering, somebody accuses you of indecision, say: ‘Look, babycakes, I don’t have to decide till Tuesday, and I’m not chickening out of my creative discomfort by taking a snap decision before then. That’s too easy.’

That creative discomfort can make all the difference between great writing and dreck. One could argue the point endlessly, for there are examples to the contrary — snap decisions that turned out to be brilliant, slowly gestated ideas that still turned out useless. I would maintain that such cases are outliers: so much depends on the talent of the individual writer, and on sheer luck. What we want here is a controlled experiment. We could learn a great deal by taking the same writer and putting him through a series of similar projects. In half of them, he would have all the time he wanted to brainstorm, to throw away ideas when he came up with better ones, to tear up drafts, to indulge his creative discomfort. In the other half, whenever he had to make a decision, he would simply take the first workable idea that came to mind. Unfortunately, we can’t hire a writer to go through such an experiment. Fortunately, the experiment has already been made. The writer’s name was George Lucas. [Read more…]

Why are dragons afraid of Americans?

The chief business of an essayist — I speak here of the kind of essayist that I occasionally manage to be, and that better men than I are sometimes reduced to when not at their best — is to tilt at windmills. The second greatest delight such an essayist can know is to tilt at a windmill, in the full knowledge and expectation that it is really a windmill, and that he shall end by making a quixotic fool of himself, and discover in the heat of combat that it is only a giant after all. [Read more…]

The Leaden Rule

#11 in the series, following ‘Campbell’s Cream of Fantasy’. This is the last piece in the series as originally written; an earlier version appeared on LiveJournal in June, 2006.


The process that replaces winged Pegasus with plodding Dobbin, and Tolkien’s ‘Soup’ of myth and legend with ‘Campbell’s Cream of Fantasy’, does not stop with debasing settings and motifs. It debases themes as well. The old folktales, among many other things, were wisdom literature, a thing that does not exist in any thoroughly modern society. We have a number of authors nowadays who want to create a substitute for wisdom literature; what they actually do is write books with titles like ‘The Rules of X’ or ‘Chicken Soup for the Y’. Not having much in the way of wisdom themselves, they substitute pop psychology and bumper-sticker slogans.

This is bad enough in the modern world; it is doubly bad in fantasy, for it is false to the whole atmosphere of Faërie. [Read more…]

Campbell’s Cream of Fantasy

#10 in a series, following ‘A song of gore and slaughter’. An earlier version appeared on LiveJournal in June, 2006.


By its nature, fantasy is supposed to be the literature of the unbridled imagination; all too often, the imagination is not only bridled, but blinkered and hobbled and confined to its stall in the barn. It is fairly usual for critics to call this process ‘commercialization’; which is very odd, because the most commercially successful fantasies of all time have not been tamed or broken in this way. Rather, the breaking of fantasy is a consequence of its commercialization. Winged Pegasus will bear you with joy to the remotest reaches of Elfland, but he does not always come when you whistle for him. Poor old Dobbin, bridled, blinkered, hobbled, stabled, and without so much as a wish for wings of his own, can only take you for a weary plod round the paddock, but he is always at home and always pathetically grateful to be taken out for a ride. Pegasus is a rare beast, born of inspiration; Dobbins can be mass-produced.

Publishers will gladly commercialize a Tolkien, a Howard, or a Rowling if they can get one; if not, they will settle for anything that looks like fantasy, that exploits some of the same tropes and offers to scratch the same itch. The shop must remain open for business, come what may; and if the shelves are stocked with shoddy goods, that is better than no goods at all. [Read more…]

A song of gore and slaughter

#9 in a series, following ‘Sock Puppet, son of Sock Puppet’. An earlier version appeared on LiveJournal in May, 2006.


Prigs, by and large, are euphemists. Although it was Heinlein who invented (or at least publicized) the term speculative fiction, it was the prigs of the field who fastened upon it as their preferred substitute for the indecently descriptive name science fiction. Thirty or forty years later, the prigs of another field, shrinking from the straightforwardness of the word horror, cast about for a suitably pretty substitute and came up with dark fantasy.

Millions of ordinary readers like stories about science, or stories about things that frighten them; they seek them out. To a prig, this will not do; and so he must demonstrate his superiority to the rabble (as Ted Nelson put it) by calling a spade a muscle-powered terrain disequilibration system. Both terms, thankfully, have gone rather out of fashion since their first vogue. ‘Speculative fiction’ was simply too ugly for anyone but a prig to use, and in any case it clashed violently with the older and more useful term ‘writing on speculation’, or ‘on spec’, meaning the nearly universal practice of writing a story before it is sold.

‘Dark fantasy’ was eclipsed for a less encouraging reason: the adjective no longer draws a distinction.  [Read more…]

Sock Puppet, son of Sock Puppet

The eighth essai in a series, following ‘All hats are grey in the dark’. A slightly different version appeared on LiveJournal in May, 2006.


 

Besides the villainous hero, there are several other ways to make a protagonist so unheroic that you rob him of his power to carry the plot. A frequent flaw is the so-called hero who has no character of his own, but exists as a mouth through which the author can make polemical speeches. John Galt’s 70-page speech in Atlas Shrugged is the most infamous example, but sadly, far from unique. The hero as mouthpiece is a recurring phenomenon in science fiction and fantasy; and this sad phenomenon goes back to the very point at which the earlier forms of satire and romance first contributed their genes to that newfangled form, the novel.

We can find that point in the works of Jonathan Swift. [Read more…]

All hats are grey in the dark

The seventh essai in a series, following ‘Zeno’s mountains’. It first appeared in a slightly different form on LiveJournal in May, 2006.


 

So far in this series, I have dealt chiefly with points of style and technique. Now I propose to change tack and take up some points of subject matter. And first, because Sherwood Smith was good enough to remind me of it, I shall deal first with a very common fault that is all but guaranteed to knock me right out of a book: the villainous hero.

Now, I have no trouble with flawed heroes; I expect them, and rejoice to see them overcome their flaws, or find ways to succeed in spite of them. I can even find much to admire in anti-heroes. And I have patience with ironic protagonists, the Yossarians and Babbitts and Humbert Humberts, who are never represented as heroic in any way, and whose authors are well content to portray them as the schnooks, schnorrers, and schlemiels that they are. (How did we ever insult one another before Yiddish came along?) What offends me violently is when a character is represented as a Good and Upright and Virtuous Hero, when almost his every act betrays him as a villain of the most heinous kind. [Read more…]