Curtail Your God-Envy

You may not believe in God and I'm not going to try to dissuade you, but you realize that others believe in God. Christian dogma characterizes deity with three omni-words: Omnipotent, omnipresent, and omniscient. Deity can do anything; deity is everywhere; deity knows everything.

When I was a tender lad I would daydream about these omnis and of them I figured omniscient was the best. If you know everything, you can compensate for not having the others. (I think humans commonly fantasize about deity and all religious conflict is between competing fantasies.)

There's a problem with omniscience I did not recognize as a youth: My brain ain't big enough.

When you're a tender lad and everything's new you think your mind is Limitless (great movie by the way). After you acquire a few college degrees you realize the old noggin can't hold everything. So, despite my God-envy, I just don't have the hardware capacity for the job.

Christian dogma says that man is made in the image of God.

MY dogma says that the writer performs in the image of the Creator.

The writer knows what he's thinking about when he sets the valise down on the train platform. S/He does not know Hemingway's lost manuscripts are in the valise. S/he knows why the girl waits outside the train station for a passenger who never comes. And s/he knows the boy kept her picture tucked into the edge of the jet's artificial horizon. The writer knows the last thing he did was touch that picture when he crashed in Pakistan. The writer knows that years later the other boy will never learn what his wife is thinking when she looks wistfully to the west.

Did you get all that? I left out some connective tissue in that last paragraph. Omniscience can be hard to follow. That paragraph had only a finite number of words. Each word bears a finite semantic content. Its length is limited by your attention span and my ability to articulate.

So, the takes his exhaustive knowledge of the story, then chooses the parts that will fit in a novel. The poor writer does not realize s/he's doing this and s/he chooses poorly. I advise you think of all the sensa impinging upon your body right now. A lot of that never makes it to your consciousness. Like the temperature of your left heel right now. Your mind filters out the unimportant sensa and you are aware of what's left, like I'm aware of the words on the screen right now.

(When someone advises the writer to "show, don't tell" that is an exhortation to write words that depict sensa to the reader for the reader to interpret. Interpretation should be left to the reader.)

To solve these problems the reader needs to define a Point Of View (POV). Most commonly, this means you decide upon a POV character whose sensa, perceptions, and some interpretation are presented to the reader. The best way to think of a POV character is as a lens through which the story is projected to the reader. God or some other omniscient being may be chosen as the POV character.

This brings to mind another problem of omniscience. Omniscience causes trouble for storytelling. In a whodunnit, the omniscient storyteller knows it was Mrs. White with a Rope in the Library who committed murder most foul on page one. The omniscient storyteller is just holding out on you as s/he/it strings you along for the next 250 pages.

That's why you want to think very carefully about what you the writer knows about the story, and what you want the reader to know about the story. In each scene you need to choose someone in that scene who can present the narrative to the reader. Sometimes perspective is in-your-face obvious like Rashomon or Arrested Development season 4. Often it is less so.

This is a decision you need to make when you're writing your story.

A rookie mistake is to start a scene in the POV of one character, and then in that same scene disclose to the reader things that the POV character cannot know.

One of the coolest things I noticed when I started writing was a trick I saw Ernest Hemingway do. In "The Killers" he tells the story from the POV of Nick Adams. Toward the middle of the story, the narrative shifts to events that happened in another room.

For a moment, I thought, "Hemingway freakin' committed POV drift!" Then I read a little more and Hemingway explains that the cook was in the other room and the cook related the events he'd witnessed at that time to Nick Adams. Then I thought, that's awesome.

I know some writers tell the whole story from a single POV character. I think those are the best writers. Others will stick with one POV character in a chapter and change only at chapter breaks. Or even scenes within a chapter. I generally growl at my friends in writers group when they move from one POV character to another POV character without some clear line of demarcation in the prose.

I had a lot of fun once writing a first-person POV character who I kill off in the second-to-the-last chapter. The last chapter consists of his ghost floating to the enemy starship's bridge moments before he witnesses it blow up and he's joined by a lot more ghosts. It's a gimmick, and if you think you want to try something like that, have fun.

You know your story and you should think of what your POV character can directly experience in the story. This argues against making your space opera hero the Galactic Emperor, or an Admiral of a giant space fleet (and it generally feeds into that avoid superlatives and Mary Sue's  thing). Instead, a guy whose job is to swab the decks may have the better view of the action. Emperors and Admirals tend to do nothing but sit in meetings and read reports. Yeah, that'd make for riveting action.

If you've got a space marine, you'd better get him cross-trained in sensors or something, because you owe it to your readers to let them know what's going on. And if he's in mushroom mode (kept in the dark and fed horse dung) that'll be less interesting than those meetings & reports in the last paragraph.

So, take a look at your story from 10,000 feet, and pick through the most interesting events therein. How can you plausibly put one character at the center of all those events. Then ask yourself, can I tell this story from that character's POV? Curtail your God-envy.

Rashomon Overdose

Akira Kurosawa and Ron Howard both make movies. They both know more about film making in their little finger than I ever will--which is an accomplishment because most people don't store knowledge in pinkies.

In 1950 Akira Kurosawa made a movie called Rashomon about a crime and the court testimony about that crime. The crime is horrific--a rape and murder--and it is recounted from four perspectives. This was groundbreaking in 1950, because the story differs significantly depending upon who's telling it. It marks the beginning of the popularization of this key insight of Postmodernism: "truth" is always mediated through the subject who perceives it, interprets it, and recounts it.

In the wake of Rashomon we've seen a change in the parameters of storytelling. It's now cool and commonplace to show the same events multiple times through different eyes. And that's the big deal with the new season of Arrested Development. Each episode follows one character or another and tells a story showing the same events with the camera focused on that character. In early episodes, there are clues that something funny or even mystical is going on. In later episodes, the reader can infer what was going on by examining the same event from another character's point of view.

This is catnip for fan boys who can stop. rewind a bit, then examine each frame at a time. After I watched the last episode I felt like going back and watching the earlier episodes again knowing what I now know to pick up the things I missed the first time around.

It's like watching A Beautiful Mind, finding out that the girl is a fig-newton of Nash's imagination, then going back to confirm that she does not disturb the birds in the yard where she's running around them.

Aside: One of the ways to tell whether a photo has been faked is to look for people's reactions to the odd thing that's been added. When a honking huge flight of Soviet jets go roaring over Red Square, someone in the crowd is going to look up. Keep that in mind when you see something remarkable on the Internet.

The fact that the entire season of Arrested Development consists of a few events that are told and retold leads me to think that Arrested Development is suffering from a Rashomon overdose. I think it works because the series has a cult-like following, and here is something that the cultists can chew on.

I also think that it does not work so well for non-cultists. You have to care about the characters before you want to see the same events rerun several times from their several perspectives. The focus on the minutiae of each character's foibles detracts from the larger scope of the story. Does it do it too much? Yes and no. I call this note "Rashomon Overdose" because I think there's a more than optimal amount of retelling from diverse perspectives. It makes some people queasy and others nauseous while others who have built up a tolerance just want more.

There is something else going on here: narrowcasting.

If you can identify a cult and write a story that its cultists will love, you can make serious money serving this niche market. Amanda Palmer broke records for Kickstarter fundraising by reaching just 35,000 enthusiasts.

Felicia Day puts the emphasis on being able to reach your audience and stories with cult-following should be easier to reach.

The Netflix-Arrested Development hook-up can be wildly successful while drawing numbers that would mean instant-cancellation on a broadcasting network like Fox. 

The key is to keep your overhead low enough that you don't spend more money than your cult can pony up.