Enhanced e-books will be a boon for non-fiction. Video, interactive diagrams, the ability to update in the light of new information or research. The possibilities are endless.
Fiction…umm…not so much.
I can see hypertext novels coming back into fashion, though they will have to do away with those bloody irritating links — not very conducive to immersion having every character name and artefact highlighted. I can see illustrations becoming prevalent, though there is a point beyond which the novel becomes a graphic novel. I can even see interactive databases for the more extreme world-building; think of Tolkien’s appendices as a searchable database.
All that I can see being useful for storytelling.
But I’ve read a few posts recently, on blogs and writing news aggregation sites, where high muckity-mucks in the publishing industry also mention ‘Alternate Endings’ as an enhancement.
Why? How does betraying the story count as an enhancement?
There are essentially three forms of storytelling now current in our culture. Interactive games, the media (films, television, graphic novels, radio, audio books) and text (novels, shorts, twitter, blog-stories, and so on. There are slight differences in distribution, but the medium is still text-based).
In games, alternate endings are a great idea. The player is the protagonist in the game, he or she is the one making decisions about how they play, so it’s not a bad idea to make those playing decisions affect how the game ends.
Play the game through, shooting everything with the biggest gun you can get. Not a bad way to play a game for the first time: while you work out how the game engines work. Play it through again, but being kinder to the game environment and to all those realistically detailed creatures you can kill. Some people claim to play Grand Theft Auto while going out of their way to avoid running down the virtual pedestrians the game designers place all over the virtual streets. I have no idea why you would do that, it isn’t supposed to be a simulation of driving in the city, but some people are just strange.
Between those two extremes, there are a multitude of possible choices that the player can make and each choice could affect the ending of the game. All good. All useful. All enhancing the experience and making you want to play the game again. If only to collect all the endings in the same way you used to collect gold rings when playing Sonic the Hedgehog. Obsessive, yes, but games can make you a tad obsessive — that’s part of their appeal.
In the media, mostly films it must be said, alternate endings are sometimes DVD extras. Twenty-Eight Days Later is the one that immediately springs to mind. No spoilers, for those who have not seen it, but I preferred the bleaker ending. I remember watching the film and feeling cheated by the ending they actually used. It felt forced. Please note this is before I even knew the alternate ending existed; once I found that on the DVD, I was even more irritated by the Hollywood ending they chose.
But, and this is important, films (and I suspect TV) are created in the editing suite. They are not created during principal photography. The actual filming simply gives the director options when the film is finally cut together. So much so, that many fine movie actors deliberately avoid giving the same performance in every take. They ‘wilfully’ (as Ian McKellen said about Ian Holm — when making Lord of the Rings) vary what they do to give the director options in the cut.
This is where the alternate endings that end up on DVDs come from. From this exact same process. The director may film more than one ending, because they don’t know how the story is going to play out, they don’t know if the pacing will work, they don’t know if the producers will accept a bleak ending, they don’t know until they have made the film. And since the ending is filmed and done and dusted, well you may as well stick it on the DVD as an extra. That’s a no-brainer.
In text — well novels really, yeah…look, I know these publishing execs have a great deal of experience and are, obviously, very smart people, but…um…have they any idea about how a novel actually works?
Just in case they need a heads-up, I’ll explain.
This is how a novel works. Every scene, every scrap of dialogue, every piece of action, every bit of fore-shadowing, every character interaction, every bit of weather, every setting, every damn thing that survives the editing process and ends up in the finished novel does service to the plot and make the ending of the story emotionally satisfying to the reader. That is a novelist’s duty. We don’t always manage it, but that is our aim.
Alternate endings will destroy what we have tried to create. They will make whole sections of dialogue nonsensical or irrelevant. They will make action scenes seem trite and unrealistic (because if we need alternate endings we can’t kill off characters that need to be killed off because we need them for the alternate ending). They will make foreshadowing a series of red-herrings that are never explained. They will make character interactions bland and boring (because everything will have to be left open to allow for different endings). Even the weather may have to be moderated so there are no extremes just to help keep the ending open. And of course settings will have to be rendered either very sketchily indeed or in so much detail that every single possible interaction between the character and the environment is possible.
Most importantly of all, we will be breaking our trust with the reader. Clever is not the same as honest. A writer seeks honesty, honesty to the prose, to the plot, to the characters. We seek to show the truth through the prism of our own understanding. Readers know this, that is why they read books instead of watching a film or playing a game.
Alternate endings are clever, even philosophical profound. Hmmm. Would they be nihilistic, existential, or solipsistic? I suppose that would depend on the author.
I’m not saying that a genius writer at the top of their game could not write a novel where the different endings actually enhance the story, where they alter the way it is read, where they change the way the reader understands the world. But I seriously doubt there will be many novelists of that calibre alive at any one time.
So, publishers, please, for the sake of the art-form I love, and the craft I have learned, and for my own sanity, stop talking about alternate bloody endings for novels.
Unless of course, you want to write the damn thing yourself.
PK’s Caveats: Caveat 1: I may not know what I’m blathering about. Caveat 2: There are no rules about writing, there are just things you can get terribly wrong. Caveat 3: If people apply the words never or always to storytelling techniques, ignore them.
First posted to ‘of Altered States’: http://www.ofalteredstates.com/blog/