Author Topic: Personal Tropes and Motifs  (Read 3360 times)

Seraphim

  • Matross
  • ****
  • Posts: 277
on: July 19, 2010, 01:07:57 AM
It is my assumption that many posters here also write, some perhaps have been writing significantly longer than others.  What I'm wondering is if anyone has noticed certain themes, tropes, or motifs that recur in your writing...the story just doesn't feel quite right without them there in some form or another.

For example, with me, my longer stories are full of significant trees: They are routes of escape, landmarks, wish givers, roads (both on and to get off world), sky hooks, portals to other worlds/places, where babies come from, etc. Most of my stories have trees doing/being something important somewhere whether up front or in the background.  Also, I almost always have a mentor figure (of varying personalities), and I almost always have a naif whose basic need within the context of the story is to "learn better" real fast or discover how quickly truncated life and liberty can be. Sometimes the naifs get dangerous, even turn evil when frustrated...but they are naifs just the same. Sometimes they are the "charmed" oblivious "idiot", a holy fool sort...good, but weird. Finally, there are few urban passages in my writing. Most scenes have a rural or small town setting.  Cities of any size tend to be located in the far distant background or else they are presented as the "spiritual" equivalent of colonial outposts from Mordor. Big Urban=Evil.

Sometimes I feel like I've a cast of character actors in my head and they just change names with the story....like Bogart is always Bogart no matter what character he plays, same with John Wayne, W. C. Fields, or May West. 

So, anyone else notice constantly recurring elements in their own writing?
« Last Edit: July 19, 2010, 05:54:14 AM by Seraphim »



Listener

  • Hipparch
  • ******
  • Posts: 3187
  • I place things in locations which later elude me.
    • Various and Sundry Items of Interest
Reply #1 on: July 19, 2010, 01:55:21 AM
* Divorce -- This is my biggest trope. Specifically, families where the father has primary custody of the kids, or is the parent the kids prefer to live with (or live with because of convenience, i.e. he lives closer to the kid's chosen college than the mom does). The mother is usually, but not always, at "fault" for the divorce (and I put that in quotes because rarely is it one person's fault). Also, I'll occasionally do a story where one parent has died (usually the mom, but in "113 Feet" it's the father). I know why I do this -- and so does my therapist.

* Parents who have to deal with SF/horror/fantasy elements as well as protect their kids.

* Anthropomorphized canines.

* Reptilian creatures that stand on two legs.

* Cold (climates, or climate change -- and in one instance, a MC's name).

* Alien races where a "marriage" is three adults, usually a female in charge who is somewhat distant from the family, and a male and female who are the primary characters. Alternately, humans who can't decide to love only one person, so they find a way to love both.

* Gay characters.

* Sex -- that is, my characters have sex when they normally would; the aspect of sex in relationships is never ignored.

* Song titles/lyrics -- when I can't find a title, I try to find a song that's related and use the song title or part of a lyric as the story title, and then end with a stanza.

"Farts are a hug you can smell." -Wil Wheaton

Blog || Quote Blog ||  Written and Audio Work || Twitter: @listener42


Scattercat

  • Caution:
  • Hipparch
  • ******
  • Posts: 4904
  • Amateur wordsmith
    • Mirrorshards
Reply #2 on: July 19, 2010, 02:34:37 AM
Choices and consequences.  Almost all of my stories revolve around a decision, either a decision in the past that has consequences or a decision that must be made in the present.  Also, repentance and regret are big themes; many of my stories involve characters either dealing with the fallout of a prior choice or struggling with the cost of action/inaction.  This means that I tend to have very little in the way of action scenes and have to force myself to add them in.  (In fairness, I don't like action scenes much when reading, and tend to tune out until the characters start getting to grips with the difficult internal decisions again.)  Basically, I'm constantly recapitulating "Hamlet."

A lot of the speculative aspect of my stories comes from making abstract things concrete and playing with what that means.  A trauma/tragedy as a physical rising tide, or a physical manifestation of lost happiness; the external conflict is usually a direct reflection of the internal dynamic.

My main characters are overwhelmingly male, though I do have others in there; mostly I worry about doing it wrong, so I stick to what I know I know.  I try not to specify race too often and leave open the description of my POV character in the "Bella Swan" maneuver.



Listener

  • Hipparch
  • ******
  • Posts: 3187
  • I place things in locations which later elude me.
    • Various and Sundry Items of Interest
Reply #3 on: July 19, 2010, 12:25:24 PM
My main characters are overwhelmingly male, though I do have others in there; mostly I worry about doing it wrong, so I stick to what I know I know.  I try not to specify race too often and leave open the description of my POV character in the "Bella Swan" maneuver.

I like writing women. I don't know why. And while I always know the race of my characters, I don't mention it outright if I can possibly help it. Similar to what Neil Gaiman did in "Anansi Boys" -- according to an interview with him that I read some time ago, he said he didn't refer to the race of any of the black characters, only to the non-black ones, because Fat Charlie was black so, to him, being black was the "normal" skin tone.

Is that what it's called? The "Bella Swan" maneuver? Where you don't specify too much about your MC so people can MarySue themselves into it?  :)

"Farts are a hug you can smell." -Wil Wheaton

Blog || Quote Blog ||  Written and Audio Work || Twitter: @listener42


Seraphim

  • Matross
  • ****
  • Posts: 277
Reply #4 on: July 20, 2010, 04:07:34 PM
I think other writers do similar things. How many Stephen King novels are there that don't have at their heart the terror of a child...and/or a child that is a terror. (carrie, firestarter, fury, cujo, etc.)



Unblinking

  • Sir Postsalot
  • Hipparch
  • ******
  • Posts: 8729
    • Diabolical Plots
Reply #5 on: July 21, 2010, 02:55:22 PM
The only one that's seemed really prominent is speculation on the nature of God and/or the afterlife.  Rarely in any way that actually conforms closely to the beliefs of any known religion, though Christianity is often the jumping-off point (because of my familiarity with it).

None of these themed stories has gotten published yet, though not from lack of trying.  I'm not sure if this is because my religious themes don't appeal to editors in general, or if there are other parts of the stories that they're not such big fans of.

A few examples:
-One of my Podcastle flash contest entries, Mysterious Ways, takes place in an afterlife where your place is determined by the last thing you ate before you died instead of the usual moral partitioning.
-God comes to earth to plant the seed of the messiah, ends up having some accidents along the way, one of which is the protagonist.
-Some people claim to have found Heaven on earth, though from the outside it looks an awful lot like a new techno-drug.
-Someone dies, but rather than finding nothingness or afterlife is stuck in their body afterward--not brain eating zombie style, but still sentient.
-The gods of a particular world turn out to be technological components of a grand social experiment.

At a glance, many of them appear anti-religious, but that's not really my intent.  I don't have anything against religion, and I'm not even sure what I believe in.  But explorations of strange possibilities in these areas is of great interest to me.

I also tend to like stories by other people that explore these things, such as The Greatest Adventure of All on Pseudopod (or whatever that title was) where they flatline themselves and see what comes after.  Or the Escape Pod flash entry where the man carried his wife's soul in a box.  Dogma was a huge hit with me for obvious reasons.



Seraphim

  • Matross
  • ****
  • Posts: 277
Reply #6 on: July 22, 2010, 03:34:11 AM
I too like tackling theological issues in SF.  For years I've "wrestled" with the idea that man could tinker up sentience in other creatures through genetic manipulation. To get at the meat of the question one has to ask some tough questions about what it is to be a human being...is our sentience just enhanced animal cleverness? If we believe we are made in the image of God...is it possible for us to share that...or recreate it by patterning certain things after ourselves. What is the relationship between body, mind, and personality?  Would our attempts meet with only failure...effectively generating very smart, very clever beasts, but none quite an analog to us in the context of their own originating species. Would it take an act of God to make them be as we are?

Tolkein I think tackled some of the same territory in his treatment of the origins of the dwarves.

On the other hand what is implied theologically if we could tinker up morals capable, thinking, sentient creatures.  For years I resisited that that idea because it would imply that sentience was essentially an emergent property of matter.  That is until a well known priest and former seminary dean told me that was just my semi-manichism talking. If God created everything, then who is to say that sentience cannot be an emergent property of matter....after all the Genesis account does point in that direction.  It was interesting after many years to note that the opening verses do not say God created various kinds of plants and animals directly, but rather that God spoke the the earth and water and told them to bring forth various kinds of life.

Then I had the problem of if such creatures could exist, then what was their relationship to God and to man? Could they join the church, be baptised, take communion, hold holy orders, etc.? And how would they see themselves with respect to man and to God?  I also wondered if sentient parrots singing polyphonic chant would be considered acceptable within the tradition (for them), though it is disputed as acceptable for humans in certain rigourous wings of my faith.

Anyway SF provides a fascinating venue to explore slivers of such questions "What is man" and "What is not man" which reflect what can be some profound theological meditations.

« Last Edit: July 22, 2010, 01:19:08 PM by Seraphim »



tiggywinkle

  • Matross
  • ****
  • Posts: 259
  • Seize the day. Fold it and make it pop up.
Reply #7 on: July 22, 2010, 03:57:11 AM
For me - shapeshifting, either literal or figurative; the incursion of one reality into another, usually the Otherworld or an otherworld into this one; blurring the line between human and non-human animals (I do this in real life, too - yes, people look at me funny!). Confusion of illusion, mysticism and reality. Masks and disguises. Things which come and go, appear and disappear. Precognition and other similar psychic (or is that psychotic - I always get those two mixed up!) phenomena. Weird stuff - think Ripley's Believe it or Not. Characters leaving their lives behind to look for something else. Meetings with gods or numinous beings.