How Fiction Works Writing Meme -- Day Five
5 - According to James Wood, the author is always working with three languages: the author's own language of style, perceptual equipment, plot necessities and so on; the character's presumed language and style (for example, a British undertaker may narrate much differently than an elf of the forest); and the language of the world which the author inherits before they even begin - the mechanics of everyday speech. Do you, as Wood suggests, feel the weight of this "tripleness"? Have you ever struggled with striking a balance among the three?
Yeah, I'll admit I kind of struggle with that at times. The matter of balancing all three of these. I'll admit that it's sometimes a difficulty in terms of balancing the matter of speech and everything, because sometimes, the way I speak leaks over into the characters, and sometimes, I completely misconstrue someone else's speech because I'm so used to writing in another mode of speech (for example, the matter of Simm!Master. I've gotten better at writing him, but I think it's more of the way he thinks, not the way he speaks. Just because he's such a contradiction: he's silly a lot of the time, but also serious. And so on and so forth). It's something I should at least work to improve, really -- I guess I worry at times about my characters not sounding like themselves, or my characters sounding exactly the same.
And I think another variant of it is stuff I've seen at times, e.g. the characters not really sounding like everyday people talk, but more like they're delivering the author's message. I know I've complained about this at times in CLONE WARS -- I guess then again, some of them are Jedi, but I've been taught so much to avoid obvious dialogue that when it appears, it sticks out like a sore thumb -- but it happens occasionally in the Nolan Batman films. They're brilliant, make no mistake, but sometimes they can sound a bit obvious -- but in a really bizarre way, they work, e.g. "You die a hero, or you live long enough to see yourself become the villain." I can only assume it's because Nolan and company are just that good. :3 In CLONE WARS, though, it tends to stick out a little more, e.g. the Onderon arc, during a funeral for Steela. It's a very affecting scene, but at the same time, it's kind of diminished if only because the characters sound like they're dictating the theme to the audience. Which...honestly, I don't really come here to be dictated to. I come here if only to see a story. I guess it makes sense considering that it's primarily for children, but honestly, children aren't really the only ones watching this; there are plenty of older people who watch it as well. I think it would be pretty well-served if it did what Disney and Pixar did -- slip in some goofiness and whatnot for the kids, and some more sophisticated humor for the adults -- which either group can appreciate. Like Russell T. Davies once said, kids can appreciate tragedy, and adults can appreciate comedy. I'm going to give you a bit of food for thought here (originally from Tumblr -- after having to slog through some of the bullshit that comes with the website; lovely site, but it's insane -- which was originally from The Writer's Tale. Bold is mine):
“But am I worried that some viewers might find Donna’s departure too sad? Not remotely. Not for a single second. I believe, hugely, massively, that TV isn’t there to make you smile. Drama certainly isn’t. That ending is devastating. I hope it’s never forgotten. I hope people cry for years. In 70 years’ time, kids watching it now will be in old folks’ homes, saying, ‘Oh, why couldn’t Donna Noble have remembered just one thing?!’ There’s this great misconception that the Slitheen are for kids, and episodes like ‘Human Nature’ and ‘The Family of Blood’ are for adults. In fact, adults can enjoy daft green monsters, and kids can appreciate emotional, grown-up drama. Pixar understands that perfectly. JK Rowling does. If kids are upset, then they’re feeling something, and kids feel things vividly. The death of a goldfish is like the end of the world. It’s keen, real and powerful for them. But that doesn’t make it something to be avoided. If they can reach that state through fiction, well, they’re actually experiencing something wonderful. And important.”
I think he hit the nail on the head considering that, contrary to what some people think at times, kids aren't stupid. True, they may be in their fledgling development stage, but I think that's why taking them seriously is even more important. So, please, CLONE WARS -- do that. You did a brilliant job with BZ and such; do more of that. Make us feel.
Also, I quite like his reaction to those who freaked out in regards to Donna (and trust me, I'm one of them. I think it helps that we had such a lovable character, and then bam -- memory loss. It's very easy to love Donna, I think, and seeing her completely forget the Doctor is really hard to watch, wonderful as the acting from both Catherine Tate and David Tennant is) -- sort of a case of "Then I've done my job." I guess it's just...well, I want to move people. I want to get them involved in the story. I want them to be talking excitedly amongst themselves -- I want to at least give them the sort of sensation that's sort of like, "Come with me!" I know that some of my favorite stories in the past have done this -- Harry Potter, The Inheritance Cycle (yeah, I know, don't give me that look. XD), Star Wars, Lord of the Rings, and so on and so forth. And even stuff in the present like Doctor Who, Star Trek, The Hunger Games...things like that. Even with Clone Wars I have this a bit, although there were times when I was so disillusioned by the droid arc that I was like, "Please, oh please, let them just get back to the Republic and get this over with." I think at the very least, it would have served a bit better as a two-parter, not a four-parter. (And if we had been spared that moment of Obi-Wan acting like King Jerkass)
And I guess it's why I love RTD. Because if nothing else, the man's pretty much a master of playing on your emotions. Moffat too, really, but RTD especially. "Bad Wolf/Parting of the Ways", "Army of Ghosts/Doomsday", "Tooth and Claw", "The Runaway Bride", "Turn Left", "The End of Time"...things like that. And Torchwood: Children of Earth. I think the best way to describe RTD's run on Doctor Who is...well, it's pretty damn sad, and frightening at times. But there's moments of humor and laughter in between (e.g. the Cybermen and the Daleks having a verbal pissing contest in "Doomsday", and...pretty much almost all of "Tooth and Claw"), and a lot of humanity (e.g. Jack kissing Rose and the Doctor before going off to his doom, a lot of scenes between the Doctor and the Master in "The End of Time", etc.). And being willing to take risks. In a way, I think he's boosted my standards as to what could be in storytelling, and boosted my standards as what to see in heroes (e.g. the Tenth Doctor isn't perfect -- I think we all pretty much know that -- but his forgiveness of the Master in "Last of the Time Lords" is quite lovely. Also, Rose, Donna, Martha, etc.). Steven Moffat is doing a lovely job ("A Good Man Goes To War" is one example, along with "The Angels Take Manhattan". Also "The Time of Angels" and "Flesh and Stone"), but RTD will always be My Writer. Just because if nothing else, his run on DOCTOR WHO as well as TORCHWOOD: CHILDREN OF EARTH opened my eyes to everything that could ever be. I think, in a way, he made me better. Some people seek out fictional characters that can make them better. I seek out writers who can encourage me to do better. Because if nothing else, I want to keep learning.
Also, another Russell T. Davies quote (my apologies for this, but I think it's needed considering that it really sums up what bugs me about CLONE WARS). Also originally from THE WRITER'S TALE; bolding all of it because if nothing else, I think it's important:
“Maybe that's when bad scripts are written, when you choose the theme first. I consider that I've something to say when I've thought of a person, a moment, a single beat of the heart, that I think is true and interesting, and therefore should be seen.”
I think that's the problem with this current season of CLONE WARS, at least at times. It feels a bit more like they're trying to force some sort of message on us, instead of tell a story. The Young Jedi arc did a good job at balancing theme and plot, but other instances, e.g. the droid arc...well, they didn't do it as well. And it didn't help that some of the messages in the droid arc (e.g. the matter of instinct) were so simplistic as to border on insulting. Not to mention the (IMHO) unnecessary swipe against religion in the droid arc, what with WAC (then again, I think WAC was pretty much acting in the arc like an Internet troll minus the bad grammar, and I don't even mean the trollface; I mean being a jerk) comparing it to programming. I'm not particularly religious, but come to think of it, I found it unnecessary. I think we could eliminate all of the Void-related stuff and no harm would be done to the story, but...then again, that's just my opinion.
But yeah, back on topic (and my apologies for derailing everything; let's just say I had a case of the rambles. And feels). I think in terms of how it ties back into the question -- at least portray the characters realistically. In terms of authorial style, don't let your own style interfere with simply telling a good story. I don't mean completely ignore it; I think trying to ignore it won't work (and why I can't really get behind the whole "twisting to suit your vision" thing; I think everyone's going to leave some sort of mark on it regarding their style no matter what the circumstances). But if nothing else, just put "tell a good story" in the forefront. Give us some good characters, and let the theme flow organically from the story instead of seeming tacked on. Let us draw our own conclusions. Have your characters talk like actual people, and not just devices to move the plot forward. Plot may give us a reason to keep reading, but if nothing else, characters are pretty much the heart of fiction. It's really why I can't buy the whole "plot is the most important thing ever in fiction and those character-driven stories are ruining it, yadda yadda yadda". A lot of classic literature is character-driven in a lot of ways. But I digress. If nothing else, I think balance is the key to a good story -- telling the story while keeping your style, and keeping your characters distinct. It's no doubt hard, but honestly? I think it can be done.
Yeah, I'll admit I kind of struggle with that at times. The matter of balancing all three of these. I'll admit that it's sometimes a difficulty in terms of balancing the matter of speech and everything, because sometimes, the way I speak leaks over into the characters, and sometimes, I completely misconstrue someone else's speech because I'm so used to writing in another mode of speech (for example, the matter of Simm!Master. I've gotten better at writing him, but I think it's more of the way he thinks, not the way he speaks. Just because he's such a contradiction: he's silly a lot of the time, but also serious. And so on and so forth). It's something I should at least work to improve, really -- I guess I worry at times about my characters not sounding like themselves, or my characters sounding exactly the same.
And I think another variant of it is stuff I've seen at times, e.g. the characters not really sounding like everyday people talk, but more like they're delivering the author's message. I know I've complained about this at times in CLONE WARS -- I guess then again, some of them are Jedi, but I've been taught so much to avoid obvious dialogue that when it appears, it sticks out like a sore thumb -- but it happens occasionally in the Nolan Batman films. They're brilliant, make no mistake, but sometimes they can sound a bit obvious -- but in a really bizarre way, they work, e.g. "You die a hero, or you live long enough to see yourself become the villain." I can only assume it's because Nolan and company are just that good. :3 In CLONE WARS, though, it tends to stick out a little more, e.g. the Onderon arc, during a funeral for Steela. It's a very affecting scene, but at the same time, it's kind of diminished if only because the characters sound like they're dictating the theme to the audience. Which...honestly, I don't really come here to be dictated to. I come here if only to see a story. I guess it makes sense considering that it's primarily for children, but honestly, children aren't really the only ones watching this; there are plenty of older people who watch it as well. I think it would be pretty well-served if it did what Disney and Pixar did -- slip in some goofiness and whatnot for the kids, and some more sophisticated humor for the adults -- which either group can appreciate. Like Russell T. Davies once said, kids can appreciate tragedy, and adults can appreciate comedy. I'm going to give you a bit of food for thought here (originally from Tumblr -- after having to slog through some of the bullshit that comes with the website; lovely site, but it's insane -- which was originally from The Writer's Tale. Bold is mine):
“But am I worried that some viewers might find Donna’s departure too sad? Not remotely. Not for a single second. I believe, hugely, massively, that TV isn’t there to make you smile. Drama certainly isn’t. That ending is devastating. I hope it’s never forgotten. I hope people cry for years. In 70 years’ time, kids watching it now will be in old folks’ homes, saying, ‘Oh, why couldn’t Donna Noble have remembered just one thing?!’ There’s this great misconception that the Slitheen are for kids, and episodes like ‘Human Nature’ and ‘The Family of Blood’ are for adults. In fact, adults can enjoy daft green monsters, and kids can appreciate emotional, grown-up drama. Pixar understands that perfectly. JK Rowling does. If kids are upset, then they’re feeling something, and kids feel things vividly. The death of a goldfish is like the end of the world. It’s keen, real and powerful for them. But that doesn’t make it something to be avoided. If they can reach that state through fiction, well, they’re actually experiencing something wonderful. And important.”
I think he hit the nail on the head considering that, contrary to what some people think at times, kids aren't stupid. True, they may be in their fledgling development stage, but I think that's why taking them seriously is even more important. So, please, CLONE WARS -- do that. You did a brilliant job with BZ and such; do more of that. Make us feel.
Also, I quite like his reaction to those who freaked out in regards to Donna (and trust me, I'm one of them. I think it helps that we had such a lovable character, and then bam -- memory loss. It's very easy to love Donna, I think, and seeing her completely forget the Doctor is really hard to watch, wonderful as the acting from both Catherine Tate and David Tennant is) -- sort of a case of "Then I've done my job." I guess it's just...well, I want to move people. I want to get them involved in the story. I want them to be talking excitedly amongst themselves -- I want to at least give them the sort of sensation that's sort of like, "Come with me!" I know that some of my favorite stories in the past have done this -- Harry Potter, The Inheritance Cycle (yeah, I know, don't give me that look. XD), Star Wars, Lord of the Rings, and so on and so forth. And even stuff in the present like Doctor Who, Star Trek, The Hunger Games...things like that. Even with Clone Wars I have this a bit, although there were times when I was so disillusioned by the droid arc that I was like, "Please, oh please, let them just get back to the Republic and get this over with." I think at the very least, it would have served a bit better as a two-parter, not a four-parter. (And if we had been spared that moment of Obi-Wan acting like King Jerkass)
And I guess it's why I love RTD. Because if nothing else, the man's pretty much a master of playing on your emotions. Moffat too, really, but RTD especially. "Bad Wolf/Parting of the Ways", "Army of Ghosts/Doomsday", "Tooth and Claw", "The Runaway Bride", "Turn Left", "The End of Time"...things like that. And Torchwood: Children of Earth. I think the best way to describe RTD's run on Doctor Who is...well, it's pretty damn sad, and frightening at times. But there's moments of humor and laughter in between (e.g. the Cybermen and the Daleks having a verbal pissing contest in "Doomsday", and...pretty much almost all of "Tooth and Claw"), and a lot of humanity (e.g. Jack kissing Rose and the Doctor before going off to his doom, a lot of scenes between the Doctor and the Master in "The End of Time", etc.). And being willing to take risks. In a way, I think he's boosted my standards as to what could be in storytelling, and boosted my standards as what to see in heroes (e.g. the Tenth Doctor isn't perfect -- I think we all pretty much know that -- but his forgiveness of the Master in "Last of the Time Lords" is quite lovely. Also, Rose, Donna, Martha, etc.). Steven Moffat is doing a lovely job ("A Good Man Goes To War" is one example, along with "The Angels Take Manhattan". Also "The Time of Angels" and "Flesh and Stone"), but RTD will always be My Writer. Just because if nothing else, his run on DOCTOR WHO as well as TORCHWOOD: CHILDREN OF EARTH opened my eyes to everything that could ever be. I think, in a way, he made me better. Some people seek out fictional characters that can make them better. I seek out writers who can encourage me to do better. Because if nothing else, I want to keep learning.
Also, another Russell T. Davies quote (my apologies for this, but I think it's needed considering that it really sums up what bugs me about CLONE WARS). Also originally from THE WRITER'S TALE; bolding all of it because if nothing else, I think it's important:
“Maybe that's when bad scripts are written, when you choose the theme first. I consider that I've something to say when I've thought of a person, a moment, a single beat of the heart, that I think is true and interesting, and therefore should be seen.”
I think that's the problem with this current season of CLONE WARS, at least at times. It feels a bit more like they're trying to force some sort of message on us, instead of tell a story. The Young Jedi arc did a good job at balancing theme and plot, but other instances, e.g. the droid arc...well, they didn't do it as well. And it didn't help that some of the messages in the droid arc (e.g. the matter of instinct) were so simplistic as to border on insulting. Not to mention the (IMHO) unnecessary swipe against religion in the droid arc, what with WAC (then again, I think WAC was pretty much acting in the arc like an Internet troll minus the bad grammar, and I don't even mean the trollface; I mean being a jerk) comparing it to programming. I'm not particularly religious, but come to think of it, I found it unnecessary. I think we could eliminate all of the Void-related stuff and no harm would be done to the story, but...then again, that's just my opinion.
But yeah, back on topic (and my apologies for derailing everything; let's just say I had a case of the rambles. And feels). I think in terms of how it ties back into the question -- at least portray the characters realistically. In terms of authorial style, don't let your own style interfere with simply telling a good story. I don't mean completely ignore it; I think trying to ignore it won't work (and why I can't really get behind the whole "twisting to suit your vision" thing; I think everyone's going to leave some sort of mark on it regarding their style no matter what the circumstances). But if nothing else, just put "tell a good story" in the forefront. Give us some good characters, and let the theme flow organically from the story instead of seeming tacked on. Let us draw our own conclusions. Have your characters talk like actual people, and not just devices to move the plot forward. Plot may give us a reason to keep reading, but if nothing else, characters are pretty much the heart of fiction. It's really why I can't buy the whole "plot is the most important thing ever in fiction and those character-driven stories are ruining it, yadda yadda yadda". A lot of classic literature is character-driven in a lot of ways. But I digress. If nothing else, I think balance is the key to a good story -- telling the story while keeping your style, and keeping your characters distinct. It's no doubt hard, but honestly? I think it can be done.