| Pros Slash Proliferation, Day 4 |
[Apr. 3rd, 2007|11:09 am] |
So today I'd thought I'd offer a tribute to writers who make me work for my supper - writers who make me think. I'm a re-reader, and assuming I like the basic story - meaning, in fanfic, that it's a good slash love story - I appreciate stories and writing that don't offer everything up on first reading, that continue to give me more, to yield more, each time I revisit them. I don't want this all the time - sometimes I want easy and light, and the stories I'm talking about are often tough and anxiety-provoking to read until I figure them out. But I do love it. To me it can be immensely satisfying to...figure it out, to fit the pieces the author gives me together and have "aha!" moments. Like putting a puzzle together; I'm a more active participant, and it makes the whole reading experience more rewarding to me. Yes, it's "work" in a way, and this is supposed to be fun, but...I've used this analogy before: it's like running on a treadmill versus riding Bodie or Griggs. Both require effort, exertion, but the first feels like exercise; the second, while no less work, is unalloyed pleasure and feels great - before, during, and after.
But this is only effective in the hands of a skilled writer. There's a difference between depth and complexity, carefully revealed hints and clues, a carefully unfolding structure, on the one hand; and true murky obscurity, confusion and frustration with no satisfaction at the end of it, on the other. And also, I for one don't have to work, to read between the lines, to see the relationship, the love - I am not interested anymore in slash as subtext! *g*
So here are a few of my favorite stories - or really, authors - who make you work for it a bit, but reward that work exponentially.
1) Almost all PFL's stories take a little bit of work to really get; this is one of her hallmarks. But they're incredibly, masterfully constructed; every single clue is there, and right where it should be, where it needs to be. When you re-read you discover links - like repeated words and phrases, which could be accidental but aren't; they're quite conscious. You have to trust this author: everything has a purpose, everything has a place, everything belongs exactly where it is and nowhere else - it's up to you to figure out why. It's all exceptionally well thought out, and the more you read the more you will discover, the more the structure and pattern will become apparent to you - and when it comes to structure, she has few equals.
It's quite difficult to pick an exerpt to illustrate this; you really need context, but in keeping with the theme, because she is, really, a Master Gardener herself, here's a bit of the lads discovering the true extent - or what they think to be the true extent - of their master's manoeuvrings:
( Read more...from PFL, Master Gardener )
2) I must admit that Rimy is sometime too...oblique, even for me (though she can also be eminently accessible). I don't always get what she's doing. But I think her Werewolves of London is absolutely, stunningly brilliant. This is a story that requires careful reading and benefits from multiple re-readings; not until you've finished it can you even understand the basic structure, which is essential, really to appreciate the story. She has very carefully chosen when things should be disclosed to the reader, how the story should unfold; it's not linear, but it's logical and effective. nellhowell described this really well, so I'll quote her: "each new revelation leads us to keep altering our perceptions, to fit in more pieces, until finally we have the full picture" - if we're willing to work for it. At times Rimy leaves the reader a bit in the starry twilight, leaves things a bit obscure and unspoken. She sketches things, hints at them - and then she almost twists away, twists and flickers and then throws another barrage of wonderful, witty, totally original prose or dialogue at you - prose or dialogue that almost certainly means more than you think upon first reading it, that is there for a reason and not just because it's looks good (though it definitely does do that).
Again in keeping with our theme: here's a bit of Bodie having his own revelation...
( Read more...from Rimy, Werewolves of London )
3) Kate MacLean makes you work in a different way. It's not so much complex structure...with her it's more about absolutely brilliant use of point of view: very tight third, and very unreliable narrator. It's very easy to take her at surface value, to think (in her typical story, which is from Bodie's POV) Doyle's a cold, selfish, unfeeling bastard who does nothing but hurt poor Bodie; to think Bodie's insecure and miserable...and their relationship is nothing but angst and misery. It's very easy to forget that we're seeing the entire thing through Bodie's jaundiced eyes; and what's more, that we're viewing a particularly...fraught period in Bodie's emotional life. You have to read carefully - but if you do, you see the hints the author very carefully and very precisely gives us, through Bodie's eyes, of what's really going on: Bodie can't see it, and sometimes Doyle doesn't even know it, but we can see it - if we're willing to do the work, to look through the surface. And it's not always easy, because this author is good; she's a past master at building tension, and it's not until you've re-read a few times, I think, that you can relax enough to let yourself relax enough to see beyond the feelings she evokes.
Oh, so hard to choose a quote! But here's a bit which might show, just a little, how we can see what Bodie can't, how Bodie just isn't getting it, but it's so easy to be taken in by his despair, to miss the clues...
( Read more...from Kate MacLean, Choosing ) |
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