“When you write a story, you have a predetermined end in mind, and the challenge is to make the facts match the ending. This is what I call “the fictific method.” The challenge of the fictific method is to make all the facts along the way to lead to a believable result based on those facts. Unfortunately, more and more we are seeing storytellers whose goal is to reach a certain result regardless of the facts.” — Brian K. Lowe.
Lowe cites two ways this happens: 1)The writer ignores the facts they’ve’ established so that they can make the ending come out the way they want it to. 2)The storyteller establishes false facts: changes history, ignores the way things normally work, or has people behave in ways nobody normally would.
Raymond Chandler’s classic essay The Simple Art of Murder really hammers the classic British mysteries of his day over #2. Cops who don’t follow any of the established rules or use the tools at their disposal to crack the case. Or consider the murder scheme in Dorothy Sayers’ Have His Carcase: it’s an absurdly elaborate plot it’s unlikely any killer would use. But it has to be used to set up a seemingly impossible crime, a man murdered on a beach at low tide with nobody leaving footprints in the sand.
Or consider Avengers #38 (cover by Gil Kane). The Asgardian Enchantress places a love spell on Hercules to get him to attack the Avengers for her. At the end, the good guys snap Herc out of the spell, but the Enchantress still has the magical power to annihilate them. Instead, when Hercules tells her to get lost, she just walks out because … she’s in love with him and can’t bear to kill him along with the others. This comes out of nowhere; she’s shown absolutely no interest in Hercules up to that point, unlike Thor, whom she was constantly hot for. But it was the simplest way to end the story, given her Asgardian magic way outclasses the team.
Or take a scene I wrote into Southern Discomfort. After some nasty magic starts paralyzing people, I had the Pharisee County Hospital treating it as if there were a strange outbreak of stroke cases. My friend doctor and author Heather J. Frederick pointed out that strokes don’t work the way the magic did, so that wouldn’t be the diagnosis. I went back and reworked it and settled on the doctors deciding it was some kind of fast-spreading disease — which was scarier because 1973 wasn’t as prepared for epidemics as we are now.
Which is the key to making the fictific method work. If you can’t get the ending you want, given the facts of your story, either change the facts or change the ending so everything flows logically. Hopefully once it’s finally published, everyone will agree that I did.
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