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Nar · 04-26-2002, 09:39 PM

All right, back to the topic, then. I'll try to tackle those 6 levels, littlemanpoet.

'1. Serious as personal escape from the mundane stuff we face each day.'
I do have greater ambitions for my stories than just 1, but I hope they work at this level. When I broke through writer's block (induced by too much editing early in the creation process), I made myself write pure fun stuff, without any boring connecting bits, just to get the joy of writing back. That can be a useful stage. It's important not to let commercial ambition, artistic ambition, or your own developing maturity as a writer block the sheer bliss of creation.

I think writing that is intended to be purely commercial begins here, although it may transcend itself. I think, however,that
even purely market-driven creations have to reach level 2, or they will not be successful. They may look good, and gain initial business, but they will not gain word-of-mouth or repeat business. If distribution is wide enough, that may not matter: the one-week bestseller, or the two-week movie. I remember reading a horribly incompetent book by an author with a fascinating profession. It was clearly published on the 'high concept' but the author was not prepared to write a novel.

'2. Serious as self-expression, which is the beginnings of art.'
Your distinction between 2 and 3 is interesting; I'm not sure I understand it. Does 'self-expression' mean trying to tell a story that reflects the writer, and opposed to just seeking pleasant sensations? The rewards of the story at level 2 are organized by the nature, interests and worldview of the writer? At this point the writer is beginning to take the act of writing seriously? Yes, I certainly think I write at this level. I think anyone who feels there is a risk to showing their work is at or beyond level 2, because what is the risk unless the work reflects oneself? Therefore, that sort of anxiety is probably a good sign. That's comforting --I think!

'3. Serious as communication of personal loves and desires, which is one step above #2 because I the writer am not merely blurting, but trying to connect to my reader. '

Ok, you begin this category with the nature of the writer, but to me the important idea is contained in the last word: reader.

Writing is in essence talking stretched across a page, and to me, a clear and vivid mental model of the reader on the other side of the communication is essential. This is why a writers' group or at least one friendly reader or listener is so useful in helping pull the best out of a piece. It is not just the comfort of knowing someone is willing to read it, but the imprint of one or more readers in the writer's mind, which refines the writer's voice and stimulates all the layers of the writer's mind and personality.

I think the grounding of Tolkien's work in stories told to his children and written work read to his friends is an essential
ingredient in the strengths of the work. In part, I think the rigorous composition of competing and cooperating themes, characters, plot elements and archetypes which I have discussed in the 'are there any valid criticisms' thread was stimulated by Tolkien's strong feelings about his initial audience.

For example, the section of The Lord of the Ring that, for me, raises themes of loss, despair, endurence, redemption and death, the journey of Frodo and Sam through Mordor, was written during WWII and sent in installments to Tolkien's son Christopher, who was in the RAF and stationed in South Africa. Having a son in service during a war must have triggered powerful fears. A phrase from a later letter retrospectively describes this, although the danger was past by then, Letters, # 105,
'I hope earnestly that [the news] is good, though one is still hesitant to ask news of sons.'
I can't help but feel that natural worries about his son may have influenced Tolkien's writing of Sam's grief over Frodo; and that the spiritual concerns that are raise by a mortal threat to a child helped induce the strong themes of grief and transcendence that I find in these sections. I certainly find fears about my future and current griefs bleeding into my stories.

This is good-- it's giving me ideas about my current story! Thank you. Sorry I never got to 4-6, more later, I hope.

[ April 26, 2002: Message edited by: Nar ]

04-26-2002, 09:39 PM	#88
Nar Wight Join Date: Apr 2002 Posts: 228	All right, back to the topic, then. I'll try to tackle those 6 levels, littlemanpoet. '1. Serious as personal escape from the mundane stuff we face each day.' I do have greater ambitions for my stories than just 1, but I hope they work at this level. When I broke through writer's block (induced by too much editing early in the creation process), I made myself write pure fun stuff, without any boring connecting bits, just to get the joy of writing back. That can be a useful stage. It's important not to let commercial ambition, artistic ambition, or your own developing maturity as a writer block the sheer bliss of creation. I think writing that is intended to be purely commercial begins here, although it may transcend itself. I think, however,that even purely market-driven creations have to reach level 2, or they will not be successful. They may look good, and gain initial business, but they will not gain word-of-mouth or repeat business. If distribution is wide enough, that may not matter: the one-week bestseller, or the two-week movie. I remember reading a horribly incompetent book by an author with a fascinating profession. It was clearly published on the 'high concept' but the author was not prepared to write a novel. '2. Serious as self-expression, which is the beginnings of art.' Your distinction between 2 and 3 is interesting; I'm not sure I understand it. Does 'self-expression' mean trying to tell a story that reflects the writer, and opposed to just seeking pleasant sensations? The rewards of the story at level 2 are organized by the nature, interests and worldview of the writer? At this point the writer is beginning to take the act of writing seriously? Yes, I certainly think I write at this level. I think anyone who feels there is a risk to showing their work is at or beyond level 2, because what is the risk unless the work reflects oneself? Therefore, that sort of anxiety is probably a good sign. That's comforting --I think! '3. Serious as communication of personal loves and desires, which is one step above #2 because I the writer am not merely blurting, but trying to connect to my reader. ' Ok, you begin this category with the nature of the writer, but to me the important idea is contained in the last word: reader. Writing is in essence talking stretched across a page, and to me, a clear and vivid mental model of the reader on the other side of the communication is essential. This is why a writers' group or at least one friendly reader or listener is so useful in helping pull the best out of a piece. It is not just the comfort of knowing someone is willing to read it, but the imprint of one or more readers in the writer's mind, which refines the writer's voice and stimulates all the layers of the writer's mind and personality. I think the grounding of Tolkien's work in stories told to his children and written work read to his friends is an essential ingredient in the strengths of the work. In part, I think the rigorous composition of competing and cooperating themes, characters, plot elements and archetypes which I have discussed in the 'are there any valid criticisms' thread was stimulated by Tolkien's strong feelings about his initial audience. For example, the section of The Lord of the Ring that, for me, raises themes of loss, despair, endurence, redemption and death, the journey of Frodo and Sam through Mordor, was written during WWII and sent in installments to Tolkien's son Christopher, who was in the RAF and stationed in South Africa. Having a son in service during a war must have triggered powerful fears. A phrase from a later letter retrospectively describes this, although the danger was past by then, Letters, # 105, 'I hope earnestly that [the news] is good, though one is still hesitant to ask news of sons.' I can't help but feel that natural worries about his son may have influenced Tolkien's writing of Sam's grief over Frodo; and that the spiritual concerns that are raise by a mortal threat to a child helped induce the strong themes of grief and transcendence that I find in these sections. I certainly find fears about my future and current griefs bleeding into my stories. This is good-- it's giving me ideas about my current story! Thank you. Sorry I never got to 4-6, more later, I hope. [ April 26, 2002: Message edited by: Nar ]