Reasons for books

It occurs to me (in such a way that I may write a future essai about it, or then again I moutn’t) that there are four major, common, and abiding reasons why particular books get written, and that one can rank them by how likely they are to produce books that stand the test of time. From least to most likely:

1. Books written solely for money – often in a genre for which the author had no particular liking or affinity. (Such books are usually unpublishable. There is an art to being a successful hack, which the would-be get-rich-quick artist can seldom master.)

2. Books written chiefly to please the author’s fans. (This is a good and worthy motivation. The trouble is that so many fans want the same book again and again under different titles. Such work is seldom good to reread; and it is rereadable books that most often endure.)

3. Books written because the author had an itch to tell a certain story, and the itch would not go away. (Often these are the books that win large number of fans, who then clamour for more and give rise to category-2 sequels.)

4. Books written because the author very much wanted there to be a certain kind of book, and could not find it. Sometimes there is a book-shaped hole in human literature, and someone sets out to write a book to fill that hole.

(Note that a single writer’s oeuvre may span all four categories. Robert Silverberg has written seminal books of science fiction, and he also used to write quickie porn novels to pay the rent.)

The Inklings had an uncanny knack for finding book-shaped holes and filling them; which largely accounts for their enduring fame. Owen Barfield’s Poetic Diction fills what was then a massive gap in literary theory. C. S. Lewis frankly admitted that he wrote his works of Christian apologetics only because none of the clergy (who he considered ought to have written them) were doing the job. And of course there is Tolkien, who found an entire genre-shaped hole and, not being immortal or infinitely productive, only got as far as to lay the book-shaped cornerstone of the wall that has since filled the gap.

I myself get all kinds of ideas for books, but they don’t stick with me unless I can at least delude myself that they fall into category #4. Nothing else seems worth my extremely limited working time and energy. (I have never even been tempted with #1 or #2: nobody has offered to buy my soul with money, fame, or even fan-letters. Whether I could resist such temptations is anybody’s guess.)

But then I feel ashamed for my presumption. If there is a book-shaped hole in literature, surely it is because better writers than I have tried and failed to fill it. Who am I to try what the real experts could not do?

Looking at things in this manner, I am morosely convinced that this dissonance or antinomy accounts for a good deal of the writer’s block with which I am so often afflicted.


In other news, I have been tired and unwell yesterday and today. No new writing of any account, alas. I think I shall try to get some extra sleep and see if that helps.

How to Shut Down Tolkien

A talk given by Brandon Rhodes at PyGotham 2014, and in my humble but infallible opinion, a very interesting one. Rhodes has much to say about how to encourage the creative faculties and how to bully them into silence.

There are one or two minor factual errors. Lewis was not the first person to whom Tolkien showed the Silmarillion matter: he had given some of it to R. W. Reynolds (for whom he wrote the ‘Sketch of the Mythology’ about 1926), and his earliest audience had been his wife, Edith. But these are unimportant in this context. Lewis was definitely the critic and catalyst who awoke Tolkien’s full powers and spurred him on through his most productive period. How he did so, and how he almost failed, makes an illuminating story.

Hat tip to Nancy Lebovitz for sending me the link.