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- 4 de Jun, 2021
That is very true. I feel that I should write in some of the chapter to James Scott Bell "27 Fiction Writing Blunders-And How Not To Make Them" which is titled "Happy People in Happy Land".
"Great works of fiction are not about happy people living in Happy Land. They are about people being snatched from Happy Land and thrust into a dark world, where they can never rest until they face down a death threat.
Over the years I've seen innumerable manuscripts that have a HPIHL opening chapter. The mother fixing her ideal family breakfast. The Boston debutante getting ready to leave on a ship bound for England. The child-who will become a hero-playing a game contentedly in his room while the author pours out all the setting and backstory.
The reason this happens is that the author thinks that the reader has to get to know these nice people up front, so when trouble finally arrives the reader will be invested in them, not wanting to see such nice people in trouble!
But by the time that trouble comes, the reader may have put down the book.
Readers do not care about happy people in Happy Land.
On the other hand, if they see a character facing a disturbing opening situation, they will follow that character a long time before needing to know more about them."
"Avoiding HPIHL is also essential at every stage of your novel. With the action well underway, and death stakes on the line, there needs to be a cloud of fear or dread over the proceedings.
Now, this does not mean that you can't have a quiet scene, even a happy one, for a change of pace in the story-so long as the reader is aware that this happiness is temporary.
In The Wizard of Oz, Dorothy, the Scarecrow, and the Tin Man are walking through the dark forest, full of "lions, and tigers, and bears, oh my!" Happiness is on hold.
Then they are "attacked" by the Cowardly Lion. There's a confrontation, Dorothy slaps his nose, and he starts crying.
He admits his cowardice and sings a little song about it. He's invited to join them on the trip to see the Wizard, and there is a scene of optimism and skipping down the yellow brick road. They are off to see the Wizard.
But then the film pulls back to let us see the Wicked Witch watching the whole thing. And we know that happiness is not going to last.
A good way to think about happiness in a novel is that it is not a Land, a dwelling place, or a safe locale. It is the ultimate destination, the place the Lead wants to get to-or get back to.
Don't think that you have to eschew any relative peaceful scene in your novel. It's a good thing to give the reader a little breathing space.
But when you do, follow these two guidelines.
1. Make these scenes relatively short. If the happiness goes on too long, there will be unhappy people out there called readers.
2. Apply equal and opposite unhappiness. That is, if the scene seems to bring massive happiness or relief to the characters, hammer them with an occurrence of equally massive unhappiness or danger directly afterward. If it's a bit of happiness, weave in a bit of dread."
Holy shit is Mercer such a bad storyteller. Not saying that every novel or story needs to be a Cormac McCarthy novel but these quotes from James Scott Bell perfectly highlights the kind of stories Mercer creates which are stories for those that want to be treated as babies. I refuse to call these people children as even children novels like Harry Potter have a sense of dread and threat of death in those books.
thats quite an apt description of yourself you got there, holy shit chill out