Sometimes I pick up a book on a whim and it pays unexpected dividends. Today's example: True Grit, by Charles Portis.
I'm not a fan of Westerns. I've read a bit of Zane Grey and a bit of Louis L'Amour, and can say it again: I'm not a fan of Westerns. I don't really know why I grabbed this book, but I'm glad I did. Never mind the plot, here are some things of possible interest to us as fantasy writers.
1. The story starts about 42% of the way into the book (reading it in ebook format). Seriously. It's not until over a third in that Mattie and Rooster Cogburn cross the river into Indian Territory, not until then does the pursuit of her father's murderer actually begin. So much for modern writing advice about where to start.
2. Is this Mattie's story, or Cogburn's? I'm 74% done and I still can't really say. Portis made an interesting narration choice: we stay in close first person right through, but it's clear from some references (e.g., to Al Smith as a candidate for president) that she is telling this story years later. It's an old woman telling a young girl's story. Why? Don't know yet, but it raises the question for first person of *when* the narrator is telling the story. Many times, it's not explicit and the reader read it more or less as if it were the next day after end of story. Other times, the story comes from much later, and that can add perspective.
3. This is the juiciest, for me as a fantasy writer: the dialogue. Portis does a brilliant job of creating a late 19th century voice, both in word choice and in grammar. There is this marvelous mix of rather formal grammar with sometimes rough speech that is unlike any speaking you'll hear nowadays. I'm charmed by it. The closest parallel I can think of is Damon Runyan's short stories (think Guys and Dolls).
As a corollary of this, Portis has done his research and offers up words and phrases I've not encountered. I'll offer one as an example: grass widow. You can look it up if interested. What struck me is that I could use a term like "grass widow" in a fantasy novel. I'd probably have to give it a bit of context, but the term is so antiquated, only a handful of readers would realize I'd re-purposed an actual phrase. I've come across a dozen or so such gems in the book so far.
So, there you go. Read widely. Or, to quote the sage: one thing I know is, you just never know.
I'm not a fan of Westerns. I've read a bit of Zane Grey and a bit of Louis L'Amour, and can say it again: I'm not a fan of Westerns. I don't really know why I grabbed this book, but I'm glad I did. Never mind the plot, here are some things of possible interest to us as fantasy writers.
1. The story starts about 42% of the way into the book (reading it in ebook format). Seriously. It's not until over a third in that Mattie and Rooster Cogburn cross the river into Indian Territory, not until then does the pursuit of her father's murderer actually begin. So much for modern writing advice about where to start.
2. Is this Mattie's story, or Cogburn's? I'm 74% done and I still can't really say. Portis made an interesting narration choice: we stay in close first person right through, but it's clear from some references (e.g., to Al Smith as a candidate for president) that she is telling this story years later. It's an old woman telling a young girl's story. Why? Don't know yet, but it raises the question for first person of *when* the narrator is telling the story. Many times, it's not explicit and the reader read it more or less as if it were the next day after end of story. Other times, the story comes from much later, and that can add perspective.
3. This is the juiciest, for me as a fantasy writer: the dialogue. Portis does a brilliant job of creating a late 19th century voice, both in word choice and in grammar. There is this marvelous mix of rather formal grammar with sometimes rough speech that is unlike any speaking you'll hear nowadays. I'm charmed by it. The closest parallel I can think of is Damon Runyan's short stories (think Guys and Dolls).
As a corollary of this, Portis has done his research and offers up words and phrases I've not encountered. I'll offer one as an example: grass widow. You can look it up if interested. What struck me is that I could use a term like "grass widow" in a fantasy novel. I'd probably have to give it a bit of context, but the term is so antiquated, only a handful of readers would realize I'd re-purposed an actual phrase. I've come across a dozen or so such gems in the book so far.
So, there you go. Read widely. Or, to quote the sage: one thing I know is, you just never know.
Auror
Myth Weaver
Sage
