Re: How the Other Half Writes: Otto Schumann: Schreibkunst

Sea Wasp <seawaspObvious@xxxxxxxxxxxxxxxxx> wrote:
Patricia C. Wrede wrote:

It's interesting, though, that he starts by recommending theme and
then *plot* -- in the U.S., the advice would, I think, normally be
theme and then *character*.

And with me, it's "start with world". If I don't know where and why,
I can't have the who and the what.

It's the reverse with me. The where and why comes as the story is
written, starting with who and what. 'Who' as in a character or more I
see. 'What' with an idea of what they're doing in that frozen moment I
do see. (Gorash reading the message telling of another raid, a simple
labourer working in the evil overlord's garden with a visitor trampling
over his work, a guy coming into a tech-wiz's hideout.)

The 'things I want to do different (than is done in published work)'
comes from a different angle, already existing before the character, but
it's only random bits that don't add up to a coherent world, then. (The
raw colours and terms for the non-human species without attributes, the
ancient really evil evil overlord ruling over a city, water being a bad
idea to settle nearby to.) The explanations grow in the stories.

The existence of the world, the RULES of the world, the way in which
the world works -- and doesn't -- determines what plots will work
there, and the plot determines what kind of people I'm going to need.

:) Plot is likely the difference. It doesn't enter my writing at all.
Would in fact ruin any attempt, and remove all reason to write at all;
no fun.

So for me it's World-->Plot --> Characters.

"Theme" is totally irrelevant.

I agree there. In retrospect I can see some things that some people
might misunderstand for theme or message or whatever. In truth it's just
the character(s) being themselves. And just like real people, you won't
find a theme or message in that. Might as well ask about the theme in
going out to get groceries, or going to the cinema, or picking your
nose.

I'm sure some people would like to point out "but you could consider
[blah]", which is just the same as people picking out supposed themes
and messages in stories; there's none of that when I go shopping, and I
doubt there is when the real people posters here do it. I _mean_ the
real thing, not a poem about the beauty of the nose.

If I want to "say something" I'll say it, in exactly as many words as
it needs to be said. Fiction is a TERRIBLE vehicle for saying things,
or -- at least -- it's a terrible vehicle for saying some specific
thing. Unless you make it a message as subtle as a plummeting anvil
and as repeatedly hammered as a piledriver, only SOME of your readers
will actually get what you're saying.

And then they might just disagree and think badly of you and/or your
book for it, rather than accepting the message as wisdom.

For a simple example:

In the S&E, same-sex relationships are impossible, and females (plus
their kids) are considered more important than males or neutrals. One
might think I'm saying gay is unnatural and think women and having kids
is the best thing since sliced bread.

In the ME, same-sex relationships are so much not an issue, they don't
even have extra terms for it. People are just interested in one or the
other gender, or both. No deal at all (as opposed to 'no big deal'). One
might think I'm advocating it's ok, or that I don't like women. (The
first female only relationship turns up somewhere around the fourth
book, in passing.)

But in truth, it's just part of the setting and characters, they come as
I write them and I write them as they are.

--
Tina
WIP: Magic Earth (7/?): 92091 words
WISuspension: Seasons & Elements trilogy
Posted to Usenet newsgroup rec.arts.sf.composition.

.

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