Low-Resolution Fantasy, a Defense of “Bad” Art

I’ve always felt I missed something important about why my first encounters with Dungeons & Dragons were so powerful to me. When I wrote my essay for Baen early this year, I began to fit some pieces together, but as is my weakness, I struggled to tackle the complex while missing the obvious. With D&D, and fantasy literature, I’ve had this intuition that something is right under my nose that I’m missing. I’ll lay out some pieces to this puzzle that I’ve gathered over the years and then try to make them fit together.

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Writing that Moves: Amontillado, Part 1

Poe’s classic short story “The Cask of Amontillado” has gripped my imagination since I first read it in junior high. How does it work? Here’s the first part, taken from the whole story at Project Gutenberg. It’s nice and short. If you don’t know it, I encourage you to read it all before going any further.

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Writing that Moves: Learning by Reading Reference List

Crack open a few books on writing, and you’re liable to get the sound advice that the stories you admire are full of tricks you can learn from. A few of these writing books may even give examples. All the words are doing something; of course, it may be that what they’re doing is simply bogging down the story.

At times in this “Words that Move” series, I’ll look at some stories in the public domain or donated by professionals and try to describe what they’re doing. Another blogger, Ryan Lanz, does something similar with story openings that people send him, which is a great idea, but I’m interested in teaching myself by using stories that have been widely regarded to work. Feel free to add observations in the comments to each section.

To spot a thing, it helps a lot to give it a name, so we could use a vocabulary here. I’ll add to this list now and then, and I’ll use items from this it when critiquing a story.

Openings

Make reader curious in first line with compelling voice, surprising statement, question, dialog, etc.
Establish character, scene, and situation

General

  • Foreshadowing (explicit, implied; details that set mood; details that contrast mood)
  • Dramatic irony
  • Character’s mental state implied through external detail
  • Stimulus-emotion-reflex-response (maybe with speech), what Dwight Swain called “Motivation-Reaction Unit”
  • Mirror tricks, that is, describing a reflection to get the mirror for free

Character Arc

  • Other people’s attention on character, what they say about character
    Emotional baseline
  • Test of character (what is the particular character capable of?)
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    Writing that Moves: Scare Me

    How do you hold reader interest in a scary story?

    This is the first in a series where I’ll share a little writing and comment on it. I invite questions and criticism, because this is as much practice and learning for me as exposition to you.

    Lucius used to call me up and read me a passage and explain a little about the technique he used to make it work. I consciously use some technique, but whether it works is up to you, and if you think it does and want to know how, ask me questions, and if you think it doesn’t and think you know why, please tell me!

    Here are two similar stories (or are they vignettes or openings? What’s the difference? We can discuss).

    One is mostly true.

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    Keep Your Reader Reading, an Evolutionary View

    I was going to title this post “A Hypothesis About Cognition that Roughly Explains Just About Everything,” but I’m most interested in this idea from the standpoint of narrative.

    Why do we do something rather than nothing, like, say, eat or breathe?

    The obvious, incomplete answer is that otherwise we would die. A better answer is that those of our ancestors that didn’t do anything, or even enough, did not survive to reproduce. You may have been taught in biology that organisms seek homeostasis, that is, a stable mode of operation. But why then do we strive? And why our appetite for drama?

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    Revisiting the Threat of AI

    My friend Alex Lamb, a software developer and author, gave a great response to my casual musing about Artificial Intelligence. If this topic interests you, take a look at the comments on my original post.

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    A Long Trip with Lucius, Part 7

    Since I started this memoir about Lucius, I’ve moved with my family to Redmond, Oregon, and the protracted summer has just yielded to fall. Lucius, Gullivar, and I passed through this country an hour after my last installment, on the highway a mile east of where I sit, and the weather that January day wasn’t much different from what we’re having now: stiff breeze and intermittent sun. The peaks of the Cascades to the west just got snow: the fat horn of Jefferson up north, a swath of lower peaks between it and the clustered Three Sisters, which are broad but curvy, ending in rough points; and then the white dome of Mt. Bachelor after them, just south. “Snow-covered” is not the right adjective. They aren’t covered, but rather revealed by the snow, intricate and huge and vital. The snow animates and freezes them at the same time. They command your respectful, near wary attention.

    I pointed over the steering wheel. “Look.”

    Gullivar leaned forward between the seats and gave them due regard.

    Lucius looked up from his notes. He adjusted his glasses. “Eh.”

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    The Cognitive Science of Religion, Filed Under “Gaming”

    http://hubpages.com/hub/The-Cognitive-Science-of-Religion

    This is a fascinating and important area of inquiry. I used to think that disavowing religion was like denying your blind spot, not because I think that everyone secretly believes in God but rather that if they don’t, they’ll just find some other concept to irrationally venerate. Now my thinking’s a little different. A rational epistemology isn’t religion in disguise; it does quell the same anxieties that religion does but by different mechanisms, as pointed out in the article. However, it may also be more brittle for that purpose. If you contradict someone’s worldview, you will get them irrationally pissed off, no matter how science-minded they consider themselves. Liberals are no better than conservatives in this regard, and in my admittedly limited experience, I’ve found them worse, to my dismay.

    I’ve said again and again that religion is not the problem; it’s literalism. But my thinking’s changed a bit very recently. Literalism’s certainly a mental defect, and a major problem when conflated with religion, but now I’m thinking it’s not just literalism that needs to be set in opposition to what I’d call “true religion” (that is, a humble life-affirming search for God, however you define “God”), no, it’s your worldview that needs to be considered apart from it. Religion and a worldview — as opposed to a spiritual view — often come packaged together, and the crimes of the latter therefore become attributed to the former.

    We need space in our lives for the irrational, for fantasy and doubt and goofy rituals, and flat-out religious awe. When your worldview is all you have to rest on — whether morbidly literalist or merely rational — you’re going to experience a serious mental crisis sooner or later that you could have avoided.

    I’m tagging this with Games and Dungeons & Dragons, because I think the applicability is obvious.

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    Player’s Handbook, Gamemaster’s Guide, User’s Manual

    This winter quarter I’ll be teaching a class in JavaScript, and while driving around town today I mused about how I might impress my students with the power of open-source libraries. This led me to a train of geeky associations that ended up at something like an analogy.

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    Joe Midlist, the End of an Archetype

    The following is from a post I made several months ago in a Facebook group I started. I founded the ebook company ElectricStory.com and have run it for fourteen years, publishing a few top authors in fantasy and science fiction, so I have a little experience.

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