{"id":6003,"date":"2019-06-07T13:00:00","date_gmt":"2019-06-07T12:00:00","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/articles\/fractals-scenes-and-the-bones-of-the-fallen\/"},"modified":"2019-06-07T13:00:00","modified_gmt":"2019-06-07T12:00:00","slug":"fractals-scenes-and-the-bones-of-the-fallen","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/fractals-scenes-and-the-bones-of-the-fallen\/","title":{"rendered":"Fractals, scenes and the bones of the fallen"},"content":{"rendered":"<p>I\u2019ve been reading a terrific guest post on our blog by our Craig Taylor. (And actually, \u201cguest post\u201d doesn\u2019t feel like quite the right term, if I\u2019m honest. Craig\u2019s a buddy, not a guest.)<\/p>\n<p>The post is on <a href=\"https:\/\/jerichowriters.com\/how-to-write-scene\/\" target=\"_blank\" class=\"bx-link\" rel=\"nofollow noreferrer noopener\">how to write a scene<\/a> and, in it, Craig asks:<\/p>\n<blockquote>\n<p><em>\u201c<\/em><em>If the theme of your work, say, is unrequited love, does your scene angle in to that theme? Does it demonstrate a circumstance or a feeling which is associated with unrequited love? Or does it demonstrate a circumstance or a feeling about requited love, so as to throw into relief the experience that one of your characters will have about unrequited love?\u201d<\/em><\/p>\n<\/blockquote>\n<p>And those are interesting questions, aren\u2019t they?<\/p>\n<p>I, for one, don\u2019t write a book thinking that every scene I write has to \u201cangle in\u201d to my major theme. But what if that\u2019s wrong? What if, in a well-constructed book, pretty much everything angles in to the one same issue? (Or, rather, cluster of issues, because a book that is rich thematically can never be too neatly categorised.)<\/p>\n<p>And here\u2019s another thought:<\/p>\n<p>What if you don\u2019t especially think about these things as you build your story? What if you do concentrate on good writing (nice prose, strong characters, a well-knitted plot), but don\u2019t overthink the thematic stuff?<\/p>\n<p>What happens then? Is the result strong? Or will it never reach the kind of thematic depth and congruence that Craig is hinting at?<\/p>\n<p>Hey, ho. Interesting questions. So I thought I\u2019d take a look at my own work and see what\u2019s actually happened there.<\/p>\n<p>So my last book, <em>The Deepest Grave<\/em>, has a cluster of themes that include:<\/p>\n<ul>\n<li>Ancient history, specifically post-Roman Britain and the shade of Arthur<\/li>\n<li>Treasure and fakery<\/li>\n<li>Death (because this is a murder mystery, but it is also a book about Fiona Griffiths, whose attitudes to life and death are deep and complicated.)<\/li>\n<\/ul>\n<p>But then, I only have to write those themes down on the page here \u2013 something I\u2019ve never done before; I don\u2019t plan my thematic stuff \u2013 and I realise this: that those themes absolutely and necessarily contain their opposites. So a book that is about fakery and death is also, essentially, a book about:<\/p>\n<ul>\n<li>Authenticity<\/li>\n<li>Life \u2013 or, more specifically in Fiona\u2019s case, the whole knotty business of how to be a human; how to establish and maintain an identity in the face of her overawareness of death.<\/li>\n<\/ul>\n<p>OK. So those, broadly, are my themes. Let\u2019s now look at whether my various scenes tend to hammer away at those things, or not. Are themes something that appear via a few strong, bold story strokes? Or are they there, fractal-like, in every detail too?<\/p>\n<p>And, just to repeat, those aren\u2019t questions I consciously think about much as I write. Yes, a bit, sometimes, but I certainly don\u2019t go through the disciplined thought process that Craig mentions in his post.<\/p>\n<p>And blow me down, but what I find is that, yes, those themes infest the book. The book never long pulls away from them at all.<\/p>\n<p>So, aside from a place and date stamp at the top of chapter 1, the first words in the book are these:<\/p>\n<blockquote>\n<p>\u201cJon Breakell has just completed his chef d\u2019oeuvre, his masterpiece. The Mona Lisa of office art. The masterpiece in question is a dinosaur made of bulldog clips, twisted biro innards and a line of erasers that Jon has carved into spikes.\u201d<\/p>\n<\/blockquote>\n<p>That\u2019s a nod towards ancient history. It\u2019s a nod towards authenticity (the Mona Lisa) and fakery (a dinosaur that is definitely not a real dinosaur.) It\u2019s also, perhaps, a little nod towards death, because in a way the most famous thing about dinosaurs is that they\u2019re extinct.<\/p>\n<p>It goes on. The mini-scene that opens the book concludes with Fiona demolishing her friend\u2019s dinosaur and the two of them bending down to clear up the mess. Fiona says, \u201cthat\u2019s how we are\u2014me, Jon, the bones of the fallen\u2014when Dennis Jackson comes in.\u201d<\/p>\n<p>That phrase, <em>the bones of the fallen<\/em>, puts death explicitly on the page and in a way which alludes forward to the whole Arthurian battle theme that will emerge later.<\/p>\n<p>That\u2019s one example and \u2013 I swear, vow &amp; promise \u2013 I didn\u2019t plan those links out in my head prior to writing. I just wrote what felt natural for the book that was to come.<\/p>\n<p>But the themes keep on coming. To use Craig\u2019s word, all of the most glittering scenes and moments and images in the book keep on angling in to my little collection of themes.<\/p>\n<p>There\u2019s a big mid-book art heist and hostage drama. Is there a whiff of something ancient there? Something faked and something real? Of course. The heist is fake and real, both at the same time.<\/p>\n<p>The crime that sits at the heart of the book has fakery at its core. But then Fiona start doubling up on the fakery \u2013 she\u2019s faking a fake, in effect \u2013 but in the process, it turns out, she has created something authentic. And the authenticity of that thing plays a key role in the book\u2019s final denouement.<\/p>\n<p>Another example. Fiona\u2019s father plays an important role in this book. He\u2019s not a complicated or introspective man. He doesn\u2019t battle, the way his daughter does, for a sense of identity.<\/p>\n<p>But what happens in the book? This big, modern, uncomplicated man morphs, somehow, into something like a modern Arthur. That identity shift again plays a critical role in the final, decisive dramas. But it echoes around the book too. Here\u2019s one example:<\/p>\n<blockquote>\n<p>\u201cDad drives a silver Range Rover, the car Arthur would have chosen.<\/p>\n<p>It hums as it drives, transfiguring the tarmac beneath its wheels into something finer, silvered, noble.<\/p>\n<p>A wash of rain. Sunlight on a hill. Our slow paced Welsh roads.\u201d<\/p>\n<\/blockquote>\n<p>That\u2019s playful, of course, and I had originally intended just to quote that first line, about the Range Rover. But when I opened up the text, I found the sentences that followed. That one about \u201ctransfiguring the tarmac\u201d is about that process of transformation from something ordinary to something more like treasure, something noble.<\/p>\n<p>And then even the bits that follow that \u2013 the wash of rain, the sunlight on the hill \u2013 don\u2019t those things somehow attach to the \u201cfiner, silvered, noble\u201d phrase we\u2019ve just left? It\u2019s as though the authenticity of the man driving the Range Rover transforms these ordinary things into something treasured. Something with the whisper of anciency and value.<\/p>\n<p>I could go on, obviously, but this email would turn into a very, very long one if I did.<\/p>\n<p>And look:<\/p>\n<p>Yet again, I\u2019ve got to the end of a long piece on writing without a real \u201chow to\u201d lesson to close it off.<\/p>\n<p>Craig\u2019s <a href=\"https:\/\/jerichowriters.com\/how-to-write-scene\/\" target=\"_blank\" class=\"bx-link\" rel=\"nofollow noreferrer noopener\">blog post says<\/a>, among many other good things, that you should ask whether or not your scene angles in to your themes. But I don\u2019t do that. Not consciously, not consistently. And \u2013 damn my eyes and boil my boots \u2013 I discover that the themes get in there anyway. Yoo-hoo, here we are.<\/p>\n<p>Uninvited, but always welcome.<\/p>\n<p>So the moral of all this is &#8211; ?<\/p>\n<p>Well, I don\u2019t know. I think that, yes, if you\u2019re stuck with a scene, or if it\u2019s just feeling a little awkward or wrong, then working through Craig\u2019s list of scene-checks will sort you out 99% of the time. A conscious, almost mechanical, attention to those things will eliminate problems.<\/p>\n<p>But if you\u2019re not the conscious mechanic sort, then having a floaty awareness of the issues touched on in this email will probably work as well. If you maintain that rather unfocused awareness of your themes, you\u2019ll find yourself naturally gravitating towards phrases and scenes and metaphors and moments that reliably support the structure you\u2019re building.<\/p>\n<p>And that works, I think. The final construction will have both coherence and a kind of unforced naturalness.<\/p>\n<p>And for me, it\u2019s one of the biggest pleasures of being an author. That looking back at a text and finding stuff in it that you never consciously put there.<\/p>\n<p>Damn my eyes and boil my boots.<\/p>\n<p>Till soon<\/p>\n<p>Harry<\/p>\n","protected":false},"excerpt":{"rendered":"<p>I\u2019ve been reading a terrific guest post on our blog by our Craig Taylor. (And actually, \u201cguest post\u201d doesn\u2019t feel like quite the right term, if I\u2019m honest. Craig\u2019s a buddy, not a guest.) The post is on how to write a scene and, in it, Craig asks: \u201cIf the theme of your work, say,<\/p>\n","protected":false},"author":32,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29292],"tags":[],"class_list":["post-6003","post","type-post","status-publish","format-standard","hentry","category-harrys-friday-email"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Jericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/fractals-scenes-and-the-bones-of-the-fallen\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fractals, scenes and the bones of the fallen &#8211; Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"I\u2019ve been reading a terrific guest post on our blog by our Craig Taylor. 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I've published trad &amp; self-pub. Love both. Best known for my Fiona Griffiths crime series. Oh yes, and I'm the capo di tutti capi at Jericho Writers.","url":"https:\/\/jerichowriters.com\/author\/harryjericho\/"}]}},"_links":{"self":[{"href":"https:\/\/jerichowriters.com\/index.php\/wp-json\/wp\/v2\/posts\/6003","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jerichowriters.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jerichowriters.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jerichowriters.com\/index.php\/wp-json\/wp\/v2\/users\/32"}],"replies":[{"embeddable":true,"href":"https:\/\/jerichowriters.com\/index.php\/wp-json\/wp\/v2\/comments?post=6003"}],"version-history":[{"count":0,"href":"https:\/\/jerichowriters.com\/index.php\/wp-json\/wp\/v2\/posts\/6003\/revisions"}],"wp:attachment":[{"href":"https:\/\/jerichowriters.com\/index.php\/wp-json\/wp\/v2\/media?parent=6003"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jerichowriters.com\/index.php\/wp-json\/wp\/v2\/categories?post=6003"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jerichowriters.com\/index.php\/wp-json\/wp\/v2\/tags?post=6003"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}