The Hippocratic Oath of Authors: Item One

“It is my first aim always to give pleasure.” –Muriel Spark

It is the number one item in the Hippocratic Oath of fiction writers.

And it’s so easy to forget. Absorbed in questions about plot, character, scene construction (all vitally important, of course), we tend to neglect the person climbing into bed at the end of the day hoping to be swept away by a story. That person’s pleasure, first and foremost, is the aim.

To please, that is, not impress.

The following observation by T.S. Eliot in his essay, “Wilkie Collins and Dickens,” is to the point:

“You cannot define Drama and Melodrama so that they shall be reciprocally exclusive; great drama has something melodramatic in it, and the best melodrama partakes of the greatness of drama….It is possible that the artist can be too conscious of his “art.”…. We cannot afford to forget that the first–and not one of the least difficult–requirements of either prose or verse is that it should be interesting.”

From the very first sentence, the whole point is to grab the reader’s attention with something a little sensational, heightened, wondrous.

All art is entertainment.

The Comic Mind

“I found that the novel enabled me to express the comic side of my mind and at the same time work out some serious theme.” –Muriel Spark, “How I Became a Novelist,” in The Informed Air: Essays.

This observation captures what it is I admire in the writing of Muriel Spark: the mixture of comedy and, if not tragedy, at least some serious theme. I am reminded of what Socrates argues at the end of Plato’s Symposium, that the best writer is able to write both tragedy and comedy. Is it possible to do both at the same time?

I am reminded also of what Walker Percy says in one of his essays. He is talking about the predicament of the contemporary Catholic novelist in the American South, but what he says here I believe is applicable more broadly:

“So what should he [the novelist] do? His natural mission in this place and in these times is, if not search and destroy, then probe and challenge. His greatest service is to attack, that is to say, satirize. Don’t forget that satire is not primarily destructive. It attacks one thing in order to affirm another. It assaults the fake and and the phony in the name of truth. It ridicules the inhuman in order to affirm the human. Satire is always launched in the mode of hope” (“How to Be an American Novelist in Spite of Being Southern and Catholic” in Signposts in a Strange Land).

Such hope and affirmation are fruits of the comic mind: the mind that knows that, despite all the fakery and phoniness and destructive inhumaneness, there is an unexpected and loving resolution at the end of all things.

The Books on Writing I’ve Learned From Most

Aristotle, Poetics

The first principles of storytelling briefly and sometimes cryptically stated.

 

Linda Seger, Making a Good Script Great

I discovered this book some years ago now in a public library in Houston, Texas. Broke open for me the whole idea of story structure: inciting incidents, turning points, etc. Not just for screenwriters.

 

Robert McKee, Story

It’s big. It’s theoretical. It repays attention a hundred-fold. Read Seger first then let McKee take you even deeper into what makes a story work. If I could keep only one writing book on my shelf, it would be this one. Not just for screenwriters.

 

Dorothea Brande, Becoming a Writer

A book about what the title says. Invaluable advice on how to focus the mind for writing fiction.

 

Flannery O’Connor, Mystery and Manners

Wit and wisdom from one of the greatest writers of the 20th century.

 

Viki King, How to Write a Movie in 21 Days

Think the title sounds cheesy? I followed the program and produced a script, my very first, which got me a reputable agent in LA. A great resource for the overly-analytical.

 

John Vorhaus, The Comic Toolbox

Broke open for me the principles of comedy. If we can’t have Aristotle’s lost book on comedy, at least we have Vorhaus.

 

Stephen King, On Writing

I’ve never read a Stephen King novel but I’m greatly in his debt for this book.

 

David Mamet, Bambi vs. Godzilla

In this book Mamet reveals the Long Lost Secret of the Incas. Learn it. Memorize it.

 

I have on my shelf Percy Lubbock’s The Craft of Fiction, a book Graham Greene mentions in his autobiography. I’ve never looked at it but I aim to now.

Character Wants and Character Needs

Create memorable characters for your stories with the help of the distinction between character wants and internal character needs. Our discussion on today’s The Comic Muse Podcast.

In this podcast you will learn about

  • the most basic question a writer needs to answer in order to develop a compelling character
  • why what a character wants is not always exactly what a character needs
  • how a character’s internal need is connected to your story’s Controlling Idea

Works discussed in this podcast:

  1. Flannery O’Connor’s essay “Writing Short Stories” in her collection of essays, Mystery and Manners.
  2. David Corbett’s The Art of Character.

Character Wants and Character Needs 3

 

Ideas and Stories

 “Storytelling is the creative demonstration of truth. A story is the living proof of an idea, the conversion of an idea to action.”  –Robert McKee, Story

In this edition of The Comic Muse Podcast we talk about the “soul” of story or what Robert McKee calls the Controlling Idea.

In this podcast you will learn about

  • the supreme importance of a strong, clear idea to the success of your story
  • the basic equation of a good story idea: VALUE + CAUSE
  • the necessity of integrating your idea into the “body” of your story

Books discussed in this podcast:

  1. Robert McKee, Story
  2. David Lodge, The Art of Fiction
  3. Flannery O’Connor, Mystery and Manners
  4. Anthony Burgess, A Clockwork Orange
  5. F. Scott Fitzgerald, The Great Gatsby

 

Ideas and Stories