Be wise. Be brave. Be tricky. ([info]slithytove) wrote,
  • Mood: contemplative

Lester Dent was a pulp writer of the 1930's and 1940's, probably most famous for the Doc Savage series of novels. You may have run across The Lester Dent Pulp Paper Master Fiction Plot, in which he tells how he structures a 6K word short story.

It's worth thinking about. Dent seems to be saying that he wrote all his stories to this model. I think readers would be bored if you did that today, and I can think of a ton of stories that differ greatly from this model that I consider great stories. Still, although these techniques may seem very crude, I'm seeing stuff here I've heard before, in other contexts.

The hero keeps getting hurt, worse and worse.
The hero has to struggle.
The story doesn't dawdle: the hero gets hit with conflict immediately, and the major players are introduced in the first 1500 words.
The writer has to do something new, not just what every other writer has done.
Every word must count.
Authoritative specific details to ground the story.

Plus, although Dent was writing the cheesiest, cheapest, pulpiest fiction that ever sold for 25 cents for a magazine printed on stock barely better than toilet paper, he still tries to get you to 'show, don't tell'.

Two ways in which it seems to differ from modern genre writing advice: 1) it mentions character almost not at all; 2) it emphasizes plot twists, which I rarely hear talked about.

Even if you don't follow this plot outline rigidly, Dent's advice which boils down to, 'keep the story moving', 'there must be something important at stake' (that MENACE Dent keeps talking about), 'pump up the conflict at regular intervals', and 'give the reader something he hasn't seen before' seems sound. If you're writing a story with traditional plot and structure, that is.


KYOU


meaning: bad luck, disaster

凶行== kyoukou == (noun ) violence, murder, crime
凶悪 == kyouaku == (noun, adjective that takes な) atrocious, fiendish, brutal, villainous


An open vessel or open mouth, marked by an 'x' for emphasis. Emptiness of vessel or mouth indicated ill fortune. Note that the character indicating 'full mouth/food vessel' indicates 'good fortune' (吉). Henshall suggests as a mnemonic: 'X indicates box is empty: what bad luck.'

Info from Taka Kanji Database
List of compounds including this character from Risu Dictionary


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  • 8 comments

[info]matociquala

June 19 2005, 15:39:33 UTC 6 years ago

*g* That's pretty much how I plot. Or, as I describe it--find out what he wants most--and take it away from him.

Which I think is character, in the character-is-plot sense.

And I don't think it means that the stories will come out similar. There are a thousand and one ways you can hurt somebody, and a thousand structures you can do it in.

If *mine* were more smilar, in fact, I think I'd have more luck getting repeat sales at specific markets. One reason I write in genre is because it's plotty. Ploterrific! Plot is what it's all about. Well, plot and characters. And powerful prose. And fear and surprise....

[info]slithytove

June 19 2005, 15:53:50 UTC 6 years ago

And an almost fanatical devotion to the Pope!

[info]saint_monkey

June 19 2005, 15:55:42 UTC 6 years ago

That's frikken awesome.

"4th 1500 words: Hero gets it in the neck, bad."

I'm surpised at how close this is to how you are taught to run a good campaign in a Role Playing Game. Get the conflict going fast, invest time in villains, have ways to steer the story if things go wrong, make it challenging and don't spoon feed the audience.

I'm gonna have to dig up some of this guy's pulps. He doesn't mess around.

[info]filomancer

June 20 2005, 14:06:35 UTC 6 years ago

I don't think this is antithetical to characterization. Or intesting themes. You just have to do the same thing with them in the same space. Easier said than done, of course.

It is interesting, especially as one prone to write too many words, to look at stuff being written even as late as the 50s and see how quickly those guys got into their stories.

[info]slithytove

June 20 2005, 14:30:34 UTC 6 years ago

I think that Dent's approach to characterization, for the hero anyway, was that he was a hero. He fights, he suffers, he never gives up. But Dent also says, "Characterizing a story actor consists of giving him some things which make him stick in the reader's mind. TAG HIM.", which sounds a bit like 'funny hat characterization'. Which is probably not bad advice as long as you have a more substantial character beneath it.

[info]filomancer

June 21 2005, 02:46:20 UTC 6 years ago

Sounds a little like Homeric epithets, or in oral epic poetry generally. Like, "swift footed Achilles," and so on. Those were, supposedly, to help keep the characters straight in the listener's mind, and to help fill out the meter--different epithets for different metrical needs.

Anonymous

June 20 2005, 15:43:20 UTC 6 years ago

Two ways in which it seems to differ from modern genre writing advice: 1) it mentions character almost not at all; 2) it emphasizes plot twists, which I rarely hear talked about.

On item 2. This is one of the things Gordon Van Gelder specifically mentioned to me in our conference at Clarion last summer. He really wants stories with twists as long as the twists are not manufactured and phony. And it's even better when the twist is specifically SF in nature.

Pre-Clarion, I wrote a lot of stories using pre-established myths/folk tales and then put a sort of modern twist at the end. In response to this, Gordon specifically said he likes a twist right up front--he used the example of a vegan vampire story F&SF published not too far back--otherwise he it seems like he's read the story before, no matter how well it's written.

For what it's worth.

--Trent

[info]pingback_bot

November 23 2011, 02:56:35 UTC 6 months ago

Twisted

User [info]deborahb referenced to your post from Twisted saying: [...] ns character almost not at all; 2) it emphasizes plot twists, which I rarely hear talked about. [...]
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