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Writing Motivation: Why Do We Write Fiction

December 28, 2017

People approach the motivation behind an action usually from a linear, cause-and-effect perspective. This isn’t necessarily wrong: we eat because we are hungry, and we drink because we are thirsty. However, increased complexity begins to blur the lines between a cause and its effect. Sometimes we might eat not because we are hungry, but because we are sad. Writing motivation, that is, the force behind the production of text, is such a complex issue.

To some extent, you can claim that writing motivation originates from the desire to write. I write because I want to tell a story is probably a basic, simple way to describe it. But there is a problem there. “I want to tell a story” indicates volition. Writing fiction cannot be a process you do willingly.

Any author will tell you: they hate writing; every word, every sentence, every page and every chapter. It’s exhausting, life-sucking, it messes with your head.

So, why do we do it?

writing motivation
To paraphrase an oft-quoted phrase, authors hate not writing and hate writing. They only like having written
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Fake News, Based on a True Story

December 27, 2017

Why Are There Fake News?

There’s a question that has suddenly become relevant. But just because the question has acquired momentum, it doesn’t mean fake news is a new thing. It’s all about narrativeaffect, and control. Here’s a piece of fake news that’s already a couple of thousand years old: “God comes to earth in the body of his own son [sic], he is crucified, he is resurrected [by his own self, presumably?] and everyone is suddenly absolved [from the fact that a woman supposedly once ate a goddamn apple].

As a narrative, this fake news has a linear progression, but with plenty of intertextuality, which enhances its appeal. Crucially, it also has a personal-experience perspective. It’s not just about some random nameless character in a galaxy far-far away, but about you – yes, you, you sinner! As a result, it has great affective power, and is therefore effective in its mission: To exercise control over the populace.

The Discovered-Manuscript Trope of Gothic Fiction

Whoa, I hear you say. What kind of a leap was that? How did we get from fake news to Gothic fiction? Bare with me, and you’ll see.

Fake news, based on a true story
Fake news, based on a true story
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The Eternal Now in Gothic Literature

December 22, 2017

Note: this article is based on my doctoral dissertation, “Time is Everything with Him”: The Concept of the Eternal Now in Nineteenth-Century Gothic, which can be downloaded (for free) from the repository of the Tampere University Press. For a list of my other academic publications, see here.

What Is the Eternal Now

Arthur Schopenhauer states in his 1818 The World as Will and Representation that “[the present], empirically apprehended, is the most fleeting of all … [It] constantly becomes and passes away, in that it either has been already or is still to come” (Schopenhauer 1969, 279).

The metaphysical spectrality of this undefinably small present, this malleable here-and-now, seems to exist in a conflicting relationship with the sheer weight of reality it seems to carry. Human consciousness possesses epistemological access to the present that is uniquely more reliable than that of the past or the future.

The reason is that these “contain mere concepts and phantasms … The present alone is that which always exists” (Schopenhauer 1969, 279). I refer to this present, the borders of which are ambiguous, as the eternal now or the eternal present.

The Eternal Now in the Gothic
The Eternal Now is a major part of Gothic Fiction
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