I understand my own language, just not how others use it

A few weeks ago, I wrote about a couple of the things that annoyed me in books, and how I’d since discovered that one of these things (the use of the word ‘decimate’ as an alternative to ‘annihilate’) was now, according to every online dictionary I found, not in fact an error.

Today, I’m going to look at another of my pet peeves, and this is another one that I’ve been forced to rethink.

This ‘problem’ shows itself in a sentence like ‘he was one of those people that couldn’t abide poor word-choice.’ Some of you will probably read that and think ‘problem, what problem? Makes total sense.’ But to me, the use of the word ‘that’ rankles.

‘That’ indicates an object‌—‌‘the building that collapsed in the storm’, ‘the car that was rusting on the driveway.’ If the ‘object’ is a person, I’d replace ‘that’ with ‘who’‌—‌‘he who laughs last, laughs longest’, ‘The Man Who Knew Too Much’.

If we use ‘that’ to refer to a person, they become an object, and to me this feels wrong. Every time I come across a sentence like this I find myself angrily replacing ‘that’ with ‘who’ in my mind, and it drags me out of the story. I tell myself that a good editor should have spotted this. Sometimes it occurs in otherwise well written books, and I can’t fathom how this error slipped through the editing and proofreading.

problemBut recently I came across something on Twitter that threw some light on this. It showed me that the ‘error’ I’m seeing is not an error to everyone. I only see it as a problem because of my background.

I’m British. It’s all down to my parents. And their parents. We’re British going back quite a few generations. And so I’ve learnt to speak (and read and write) UK English. To me it’s simply English, but I have to set up my computer to work in UK English, so I suppose that is what I need to call the language I use.

This is different from American English. We all know this. But one thing I didn’t know, until recently (thank you Twitter) is that in America, the use of ‘that’ when referring to people is acceptable. So if you’re an American reading this, and you’ve been wondering what the problem is, now you know. I’m British.

That could explain a lot.

However, I don’t think everyone (on either side of the pond‌—‌which is a stupid word to use to describe an ocean like the Atlantic) realises this. Some books get slammed in reviews for their spelling, but it is all down to these differences. Color and colour, flavor and flavour.

I came across a great way of describing this, in a note at the start of a book by Issy Brooke. It simply said ‘This book is written in British English. It’s like US English but with more vowels.’ If my own books had a lighter tone, I’d steal this line.

But it’s not only the individual words that are different. Mention fanny packs over here in the UK, and there’s a good chance you’ll be met with a blush or a giggle, because to us the word ‘fanny’ has a very different meaning than it does in America. Then there’s what we put in our cars. Over here, we use petrol or diesel, which are liquids, but over in America these liquids are called gas. And over here, we wear our pants next to our skin, not on show for everyone to see. Maybe Krypton studied Britain, so when Superman landed in America he misunderstood their dressing instructions.

The English language has spread far and wide, and wherever it has been adopted as the main language it has also been adapted. From what I understand, there are differences in the way the language is used in Australian and New Zealand, and there are also Indian versions of English. And even in the UK, it is constantly evolving. There are regional variations, and each generation claims its own variations (which is why ‘sick’ can be good, like ‘wicked’).

I try not to let this bother me. On the whole, I don’t care if someone is talking to their ‘mum’ or their ‘mom’ (of even their ‘mam’). I know that a lift is an elevator, and a boot is a trunk. And now that I know about the whole who/that thing, I’ll put this in the same category of ‘things that aren’t correct according to what I was taught, but that’s my problem, not the writer’s.’

And I like the fact that I have only just learnt that I’ve been wrong, because it reminds me that there are likely to be other things I don’t know. I’ve been learning this language for the whole of my life, and I still don’t know everything. Each new thing I read teaches me something more about words.

The next time I come across something that annoys me in a book, it will drag me out of the story. There’s no avoiding that. But rather than getting annoyed, I should take a moment to question where the error lies‌—‌with the author, or with myself. Or maybe it isn’t an error, just a different way of using the language.

After all, how dull would it be if everyone used this thing called the English language in the same way?

‘High Stakes’ – new short story

Another free short story this week‌—‌High Stakes, which you can read (along with my other shorts) here. Hope you enjoy it.

I’l love some feedback on this, or any of the other short stories I’ve put out‌—‌what you like, and any constructive criticism. And if you have any thoughts on what I could tackle in other shorts, let me know. I can’t promise anything, but I’ll give it a go. After all, keeping these stories to 1000 words or less is great writing practice.

Check out High Stakes, or any of my other stories, here.

‘You keep using that word. I do not think it means what you think it means.’

Most people have their own pet annoyances in books. Some people can’t stand anything written in first person. Others get riled when characters in an epic fantasy start using modern day slang. For some, swearing is enough to make them close the book.

walkie-talkie-780306_1280I’ve got a few things that will always pull me out of a story. One of these, in both books and TV/films, is the phrase ‘over and out’. It’s pretty much always used by characters who are professional, using a radio as part of their job, and yet they continually get this wrong. ‘Over and out’ is either a contradiction, or it’s an insult.

Some years ago, I took a VHF Radio Operator’s course (at the time I believe you needed to pass this, with a test to ‘officially’ use a VHF radio), and I can still remember what we were taught. Sometimes, static can make it hard to hear, and so various words are used, almost like punctuation. ‘Over’ and ‘out’ are two of these.

When you’ve finished your sentence or short bit, you say ‘over’ to let the other radio user know that you have finished, and that it’s now their turn to speak‌—‌‘over to you’, or ‘I’m passing the dialogue over’. ‘Out’, on the other hand, is used to bring the conversation to a close,‌—‌‘I’m out of here’. It’s the last thing said in a radio dialogue.

So using both basically means ‘it’s your turn to talk, but I’m not going to listen, because I’m switching this thing off’. It’s the radio equivalent of ‘talk to the hand’. See, either an insult or a mistake.

gladiator-1931077_1280There are other words and phrases that I find annoying, but one of these I have had to reassess. See, language changes, and it looks like I haven’t kept up with this particular word.

That word is ‘decimate’.

It’s likely you believe that word to mean one of two things. The first is how I’ve often seen it used‌—‌if a city is decimated by enemy fire, it is totally destroyed. In this usage, decimate is pretty much synonymous to annihilate.

But this isn’t the classic meaning. There’s a clue in the first three letters. They come from the same root as ‘decimal’, ‘decade’ and all those other words related to the number ten. And, unsurprisingly, the word is related to the Romans. In battles, there was always a winner and a loser, and there was a punishment for losing. The army would be decimated. This meant that one out of every ten soldiers would be killed. Ten percent of the losing army would be sacrificed.

To decimate means to reduce by a tenth. That doesn’t mean total destruction. Kill one out of every ten, and there are still nine to fight another day. If the population of a country is decimated, and there were originally about ten million residents, after this supposedly catastrophic event there are still nine million. A bank account of five thousand is decimated, and it still holds four and a half thousand.

That is the classic definition. But words change over time. Decimate has been around for millennia.

There was a discussion on a forum I occasionally browse, and the meaning of this word came up. Someone included a link to the Merriam-Webster dictionary. This is how it defined ‘decimate’:

1: to select by lot and kill every tenth man of
2: to exact a tax of 10 percent from
3a: to reduce drastically especially in number
3b: to cause great destruction or harm to

The first two definitions confirm my understanding, but the third is closer to total destruction.

I checked out a couple of other dictionaries. First, the Cambridge Dictionary:

– to kill a large number of something, or to reduce something severely

Not even a mention of tenth. Next, the Oxford Dictionary:

1: kill, destroy, or remove a large proportion of
2: kill one in every ten of, as a punishment for the whole group.

And finally, the Collins Dictionary:

1: to decimate something such as a group of people or animals means to destroy a very large number of them
2: to decimate a system or organization means to reduce its size and effectiveness greatly.

Again, no mention of a tenth. Also, in their list of synonyms, Collins has ‘destroy’ and ‘devastate’.

So it appears that the word now, officially, can be used in the same way as a word like annihilate. The people in charge of the ‘official’ meanings of words have decided that decimate now no longer means what it used to.

And that means I can have no argument against all those books that have wound me up. They’ve been using the word in this new meaning, and it’s been my interpretation that has been in error.

I have to accept this, but a part of me doesn’t want to. I know language changes over time, especially with slang (when the Flintsones theme song says ‘we’ll have a gay old time’, a modern interpretation would surely have Fred and Barney sharing one house, and Betty and Wilma in another). But to change a word like ‘decimate’ seems wrong. The two meanings (’destroy a very large number’ and ‘reduce by a tenth’) oppose each other. At least with a word like ‘gay’, homosexual and happy are not contradictory.

But I should really be used to this kind of thing, having worked in the UK education system. It seems that government ministers over here have their own particular way of using words that are removed from their meaning.

school-1019989_640I’ll explain. In UK schools, there are official lesson observations, carried out a few times a year on every teacher. When these observations started up, the teacher was given an overall rating from a choice of four; requires improvement, satisfactory, good, or excellent. As long as you did not ‘require improvement’ you were doing okay. ‘Satisfactory’ meant that you knew what you were doing, and that the kids were learning. There was room for improvement, of course, but you weren’t letting anyone down. You were doing okay. Just as the word ‘satisfactory’ implies.

Those in charge of education always want improvement (at least, in the things they deem as important). They decided that a satisfactory rating was no longer acceptable. Why should students settle for lessons that were merely average? Surely every child deserved the best. And overnight, in UK education, satisfactory now meant ‘not good enough’. If you were rated as satisfactory, you were no longer providing a satisfactory education.

And this came from the same government agency that was calling for all children to be ‘above average’.

We really have problems with our education system in this country.

But I’m getting sidetracked.

Words change their meaning. Decimate can now mean ‘totally destroyed’. I’m not sure how this came about, but it was probably through misuse that simply became accepted over time. But it has been accepted. If I choose to stick to the classical use of the word, I will be left behind.

Language is not static. Just try reading something like the original Chaucer. Even Shakespeare, which is only a few hundred years old, sounds strange to us today. It’s taught almost as poetry, but at the time Shakespeare was writing for the people, in a language that would appeal to as many paying punters as possible (yep, old Bill was an entrepreneur). But over time, words have shifted.

And I need to remember this when I’m reading. If I come across something that sounds wrong, I need to take a moment and consider‌—‌has the author made a mistake, or is my interpretation in error?

inigo_montoyaMaybe if it’s me, I can blame my education. I’m sure my teachers were satisfactory, so they were clearly getting things wrong somewhere. I can’t expect words to remain static. To bring this back to the title of this post (for anyone who’s a fan of The Princess Bride), such a notion would be inconceivable.

A few book recommendations

There are so many good books out there. I’m reading more now than I ever was, and my to-be-read pile keeps on growing. Loads of these books are by new authors, too‌—‌people who are publishing independently, without the backing of big-name publishers, and many of them deserve far more recognition. Every time I finish a great book, I tell myself I should review it. It’s a way of spreading the word, and of doing what I can to help these fantastic authors.

Problem is, by that time I’m already onto the next book. And when I turn on my computer, I’m distracted (if that’s the right word) by stories I’m working on, or finding things to write about on this site. Somehow, I never get around to these reviews.

But I intend to. And, as a start, I’m going to let you know about books that have impressed me. Every couple of months, I’ll pick a few great reads and write about them.
So here goes.


spaceteam_barryjhutchinsonSpace Team (Barry J Hutchinson)

Comedy books are hard to pull off. It’s tempting to simply run from one joke to the next, leaving the plot to fend for itself. Yes, Douglas Adams got away with this in his earlier stuff, but his writing could carry it. Other authors who use comedy, like Terry Pratchett, work just as hard (harder?) on the things that make a story great‌—‌plot and characters. The comedy comes out of the situations and how the characters react.

Barry J Hutchinson does this with Space Team. It tells the story of Cal, a wise-cracking petty criminal who is imprisoned in a cell with a cannibal. And things get worse when he’s abducted by aliens and forced to join a gang of reprobates on a mission to save the galaxy. And, of course, things don’t run smoothly.

It could have been a mediocre story, but there are enough turns to keep things interesting, as well as a feeling that things are not quite what they seem. The start promises intrigue, and it is clear that there is more to this simple mission than meets the eye. See, Hutchinson has a plot that could work for a serious book. The humour just adds an extra layer.

The fact that he has a main character who reverts to insults and comedy as a defence mechanism helps. So too does the way Hutchinson doesn’t over-explain things. Just like Pratchett, much of the comedy lies in what isn’t on the page. He also uses running gags, but again, by putting them in the mouth of a character who is trying to wind others up, they don’t become annoying.

I really enjoyed this book, and bought the next two in the series as soon as I’d finished it. I hope they carry on the same high standards.


Mr Ruins (Michael John Grist)mrruins_michaeljohngrist

I’ll start by saying that this book isn’t for everyone. Looking at reviews on Amazon, a couple mention that it is confusing, and I can see this. From the very first page, we’re thrust into an incredibly strange world, where the main character goes diving in the minds of others, and little is explained outright (in fact, much is left unexplained throughout the book). The main character (Ritry Goligh) is being chased, or something, but then there is a secondary story, with a group of marines (possibly) battling across this world that feels like something out of Lewis Carroll, only with deadlier intentions. Who these marines actually are, and how they connect to Ritry’s story, is left hanging for much of the book.

But there are hints, and I think I picked up on these fairly quickly. And the strange terms that are thrown in with no explanation, such as ‘lag’‌—‌it is possible to understand them in context. Besides, I’d far rather read a book like this than one that slows down with paragraphs of exposition every few pages. The fact that there is no explanation shows how confident Grist is in his writing, and because of this, as a reader I trust him. I might not quite get what’s happening, but I’ll follow, because I trust he’ll deliver in the end.

Another facet of this book that many will find off-putting is the tense‌—‌it’s written in first person present (so we have things like ‘I walk into the room’ rather than ‘I walked into the room’). That did jar with me initially, but I soon grew accustomed to it, and I can see how it works in the book’s favour. It makes things seem both more intimate and more distant (and I’ve no idea how Michael John Grist pulls this off), which suits the character perfectly. Add the lack of explanations, and it does feel like you’re in Ritry’s head (or maybe someone else’s).

Mr Ruins himself is a shadowy character, and at the end I was a little disappointed‌—‌I felt he wasn’t developed as well as he could have been. And I’m still not sure I totally understand what happened to him (even after reading the second book‌—‌hopefully the final part of the trilogy will help me there). But that’s only a small negative. With this book I enjoyed the ride (even if, like a decent roller coaster, it sometimes felt like I couldn’t follow what was happening), and as with Space Team, I bought the rest of the trilogy immediately I’d finished it.

So, not for everyone, but if you’re looking for a mind-bender, and are prepared to try something difference, check it out.


shellcollector_hughhoweyThe Shell Collector (Hugh Howey)

I’ve come to Hugh Howey a bit late. I read Beacon 23 last year, but I still haven’t got round to reading Wool. I really should, though.

Judging from reviews, this book is different to the rest of Howey’s work. That’s mainly down to it being a romance. And before you switch off, let me say that this isn’t a genre I’m familiar with, or one that particularly appeals. I’ve read a few, and I’ve been unimpressed.

But The Shell Collector is different.

To start with, the prologue is one of the best pieces of writing I have read in a long time. It would stand up as a short story on its own, and I was almost tempted to stop when I reached the end, as I couldn’t imagine how Howey could top it. There is so much emotion and back-story conveyed in a short time, and it’s a fine indication of how good a writer he is.

But I carried on, and the book became intriguing. I didn’t know I was reading a romance, because the build-up to the relationship is slow, and evolves around a mystery, as journalist Maya Walsh gets an invitation to interview Ness Wilde, one of those responsible for the destruction of the oceans (at least, as she sees it). The story’s set in the near future, and shows the effects of environmental change without resorting to ‘end of the world’ catastrophes, and without beating us over the head with ‘look after the planet’ stuff. Instead, the world is what it is, and Maya (and the other characters) just have to cope with it. It’s like a real-world dystopia, if that makes sense.

The characters are very believable, as are their interactions. And the mystery element really keeps things moving, as Maya finds out more about the real Ness Wilde (and his grandfather). I don’t know if I totally like either character, but they are interesting and real enough that I wanted to find out more, especially about Ness’ secret.

And this was one let-down in the book. When this secret is finally revealed at the end, it felt rushed. Maybe Howey thought that giving it more time would have impacted on the romance, or maybe it was never supposed to be the driving force of the book. I don’t know. But I would have preferred a little more meat to the mystery side of the story.

But it’s still a very good book, written by someone who definitely deserves the success he’s enjoyed since Wool got so much interest. Where Beacon 23 hides its seriousness behind a playful exterior, The Shell Collector is earnest throughout. It shows how Howey can change his writing to suit the story he’s telling. It’s a fine example of character-driven story. I’ll definitely be reading more of his books.


So, three books that have impressed me over the last month or so. I know they won’t appeal to everyone (a comedy, a book that seems to purposely make reading difficult, and a romance), but the writing itself is great in all of them, and I’d recommend all three.

And now I’ve got more books to read. Some promise to be cracking stories, others are things I’m not sure about but I’ll give them a go anyway. Some will leave me unimpressed. But others will blow me away.

I’ll let you know which ones do that for me in a couple of months.

New short story – ‘The Customer Is Always Right’

Another short story for you. This one’s called The Customer Is Always Right. It’s based around another minor character from Dark Glass. I like Jimny, the cafe owner who’s everyone’s friend, but I always thought he had a really tough job. When everyone is out for number one, how do you serve them all without them killing one another‌—‌or worse still, killing you? So I wrote this to show some of the things Jimny has to put up with.

I want to do more with this character. He did turn up in early drafts of both Dead Flesh and Deep Water, but I had to get rid of those parts, much as I hated to see him go. But he does make an appearance in a new book I have out soon (although you’ll have to pay attention). More on that later, though.

For now, check out the story, and let me know what you think, either in the comments or directly (you can e-mail me at twiain@twiain.com). I’d like to know what you like, but also what I can improve on.

And don’t forget there are more stories here.

The Trouble With Tropes

A couple of weeks ago, I was listening to an old Writing Excuses podcast (I tend to save them up and listen to them in bulk). This one was exploring unconscious bias in books, especially gender bias. The hosts of the podcast argued that having characters (especially female characters) fulfilling stereotypical roles could be damaging, reinforcing negative norms, even (or especially) when this stereotyping was not a conscious decision of the writer. At one point Brandon Sanderson (one of the podcast hosts) explained how he’d chosen to go against the norm by having a strong female lead in his first Mistborn book, but that he’d unconsciously written all the rest of her team as male.

voidwraith_chrisfoxWrite To Market. This book details how he wrote his Void Wraith trilogy with the aim of hitting as many popular space opera tropes as he could, writing a book that would appeal to as many fans of that particular genre as possible. He initially wanted a powerful female lead, but his research indicated that most successful space opera books had a jaded, slightly older male as the main character. So he altered his character to conform to the popular trope.

Writing to market is nothing new. There has always been a strong push for writers to ‘give the readers what they want’. Popular wisdom suggests that the best way to discover what they want is to examine popular books in specific genres. And if the readers seem to want a male lead, then there is pressure on the writer to provide this.

Yet, as the Writing Excuses team argued, this could easily strengthen a gender bias that is not particularly healthy. So is it wrong to follow all the tropes?

Of course, not all genres lean towards male leads. Romance, for example, is predominantly written by and for females, and tends to focus on the female characters. But there are tropes in romance that are possibly unhealthy too. One of the strong tropes is the happily-ever-after‌—‌despite all the misunderstandings and anguish throughout the story, the couple get together at the end, and all is well.

Does this really matter? After all, this is fiction. It’s escapism. If it makes readers feel warm and fuzzy inside when they reach a nice happily-ever-after, where’s the harm?

But fiction can be powerful. Stories stick with us in a way simple facts don’t. Stories settle deep in our minds. We use stories to understand the world, and to justify our actions.

cloud-211724_1280There are many who argue that there is a link between violence in the arts and violence in real life. There are those who argue that what you see leads you to think and act in a certain way. There are those who feel that erotica and pornography (and yes, I do realise there is a distinction between these two) are unhealthy because of how they change the viewer/reader’s viewpoint and attitudes.

I’m not going spend time on these arguments here. Personally, I think most of them are far too simplistic. I can recall when there was a furore over an Ozzy Osbourne song back in the late eighties. Supposedly, the song was responsible for a teenager taking their own life, and there was a vocal minority who denounced the song as a danger to young minds (ignoring the fact that the song, ‘Suicide Solution’, was actually a song warning of the dangers of drink). But when I saw Ozzy perform this song live, as far as I could tell everyone in the audience was enjoying themselves.

But I do believe fiction can be powerful. Not in the blunt way that those who call for certain types of books to be banned, but in more subtle ways. Reading too many happily-ever-after endings could give rise to false expectations‌—‌not in the logical part of our brain, but deeper down. An excess of ‘love conquers all’ stories might lead someone to subconsciously believe that all they have to do is meet the right person and all their troubles will be over. Likewise, someone constantly reading stories where female characters are kick-ass, attractive, feisty and confident might start believing that they have to act like that if they want to be ‘a real woman’. A constant diet of films and books where the male and female leads end up in bed together can lead to an unrealistic view of male/female dynamics. And the James Bond character who always gets the girl? Maybe that’s subconsciously reinforcing the idea that only a certain type of man can have these kinds of conquests (and that there is no repercussion from these episodes).

But this is what we have come to expect. Even if we don’t recognise these as tropes (or are even aware of the word), we have come to see them as parts of certain stories. The mysterious wizard will be an old man. The world-weary detective (so often male) will have past demons that drive him to drink. The ditzy-but-attractive female will end up winning the day. The couple who start off at each others’ throats will end up in each others’ arms.

So many tropes. So many expectations. And because we are used to them, we feel cheated if they are missing, or if they are messed around with (unless this is done really well). Those who write are as susceptible to their pull as anyone else, and the tropes rise unbidden from the subconscious. The tropes reinforce themselves, becoming stronger all the time.

Maybe we only expect them because they exist in so many of the stories that we love. Repetition can easily lead to expectation. Ask Pavlov and his dogs about that.

problemSo are tropes bad? Should writers avoid them?

Tropes are tools. They are ways of understanding story structure. They are ways to explain why certain stories ‘work’. But they are only tools, nothing more. And a tool cannot be good or bad. It simply it.

Any value assigned to the tool comes from how it is used, and why.

And this, I believe, is why tropes can get a bad rap. It is why so many people have a bad reaction to phrases like ‘write to market’.

Yes, it is possible to follow what has been done before and craft a story that hits as many popular tropes as possible. Yes, it is possible to write a story purely with an eye to how it is going to perform financially. But doing so does not always (often?) produce a satisfying book. It might follow the tropes, but that doesn’t make it good, or worth reading.

Fox’s Void Wraith trilogy works not because he follows the tropes, but because he wrote good stories good stories. He didn’t write space opera purely because his research told him it was a fertile genre, but because he loves these kinds of stories. Yes, he altered his story to make it more market-ready. But he knew what he was doing, and he still focused on the basics, which was to write as good a story as he could. He used the tropes as a framework, and around this he wove the story he wanted to tell, and the story that excited him.

And his strong female character? She’s still there. Maybe not the central character, but still one who’s always close to the action, and pretty important to the story. Oh, and she’s a cat-based alien, and I’m pretty sure that isn’t a feature that came up in his write-to-market research. That’s pure Fox. And there are plenty of times in the book when the secondary female character is far more able than the ‘expected’ male lead.

So what’s the answer to the problem with tropes and bias? Ignore the trope and tackle issues head-on? Write books where everything is ‘perfect’, and spend more time to get that right than anything else? Or give the reader what they believe they want, because if they don’t read it from you, they’ll read it from someone else anyway?

Quick fixes and excuses.

The real answer? Don’t let tropes lead the story, or the characters. Use the tropes, don’t let them use you. When you write, question the decisions your characters make, or the choices that are thrust upon them. And when you read, question everything‌—‌maybe not enough to stop reading if you’re enjoying the book, but think about what you’ve read when you’ve finished. Don’t take everything you read lying down. Don’t take everything the author says as gospel, because they might not have been totally aware of how all their characters are acting. Question everything.

This is fiction, and it’s powerful stuff. It has the power to make us question what we believe, about the world and about ourselves. It has the power to force us to confront our own biases.

Fiction has the power to make us think, and to make us change.

It doesn’t have to be true, but I have to believe it.

Can you trust what you read in fiction?

Of course, fiction is not real. Stories, be they in books or on screen, are fabrications. But to draw us in, they have to have some believability. They have to have some kind of truth.

I found myself thinking about this recently, after I’d finished reading Dan Brown’s DaVinci Code (for me, one of those ‘must read at some point, if only to decide what I think of it’ books.) It reminded me of a couple of other books. The first was something that I’m not going to identify here, as I have very few positive things to say about it. The second was the late Umberto Eco’s Foucault’s Pendulum, which I read years ago and keep on meaning to re-read.

acient-planet-1841699_640These three books are connected by the fact that they all deal with topics that could be considered religious conspiracy theories. They all use biblical passages and other quotes to back up some fairly far-out ideas.

I’m not well-read in this area, and I have not done any of my own research into any of the ideas in these books. Some of them sound vaguely plausible, and others sound far too extreme. But in reading (and thinking about) these books, I started to see a pattern in which theories I found more believable.

The book I had downloaded years ago was okay, but nothing special. There were plenty of sections that could have benefited from an edit, and I was often pulled out of the story by the writing‌—‌not necessarily bad, just not that good. And the theories came across as unresearched, as if the author had made up the ideas himself, then used a few quotes in an attempt to give them some validity.

The Dan Brown book was well-structured and, while I wasn’t drawn in to the writing or the characters, the story rattled along at a good pace. There were loads of details, not only on the wild theories but also on places and historical events. And the book came across as well researched. If the ideas were off-the-wall, it at least felt as if the author had run them past others with more knowledge. In short, I trusted the ‘facts’ in this book far more than in the first one.

And then there was the literary Foucault’s Pendulum. Eco is undoubtedly intelligent. Even though the book is tongue-in-cheek, and reads as if Eco is having fun with all his ideas, the ‘facts’ come across as far more believable, even the throwaway ones.

So what do we have here?

  • A poorly written and poorly edited book, and the ‘facts’ come across as highly questionable.
  • A book by a mainstream, popular author, clearly edited, and the arguments come across as well-researched.
  • A book by a literary and intellectual author, and I trust the research it contains almost without question, even if I don’t agree with the conclusions.

I’ll repeat again that I have very little knowledge of religious conspiracies and such like, and have no easy way of telling which theories are from reliable or semi-reliable sources and which are obvious fabrications. Yet even knowing this, I instinctively trust those ‘facts’ that come from someone with a more scholarly demeanour. I instinctively trust someone who appears as an authority.

I think this is part of our nature. If someone talks or writes well, then we are more likely to take their words at face value. If they appear educated, we automatically assume they have done their research. If they tell their tale with skill, we are more likely to be drawn in and accept it as a possible truth.

Conversely, we are less likely to trust a story told by someone who shows deficiencies in their use of language. If they do not understand how to use speech marks or commas, we are predisposed to dismiss their thoughts as poorly conceived. If their story does not flow well, we are more tempted to believe they are making it up as they go.

It’s why news reporters are generally well-spoken. It’s why so many ‘entertainment’ and ‘reality’ shows on TV still use teams of script-writers and editors. It’s why voice-overs on documentaries are done by those who enunciate clearly. If it were some geezer talkin’ common, like, we’d fink he were makin’ it all up, ‘cos he don’t understand nuffink, yeah?

alone-1869997_640Of course, once you realise this, it’s easy to question everyone‌—‌especially those who talk or write well. So maybe that poorly written book with the wild theories is closer to the truth, and Umberto Eco is simply having a clever laugh at the gullible masses. Maybe we should trust those who come across as less skilled or less intelligent, because they can’t lie as subtly or be as creative with their words.

Or maybe I should simply read these books as fictions, stop trying to analyse them, and enjoy the stories.

Yet stories, to draw us in, have to be believable. They have to be written or told in a way that makes us trust that they might be possible. If they fail to convince, they have failed as stories.

It’s the aim of all story-tellers, be they authors, after-dinner speakers, politicians or comedians, to have others believe that their tales could be true, no matter how ridiculous they are.

So, can you trust what you read in fiction?

Maybe that’s the wrong question to ask. After all, a good story does not have to be true. It only has to be believable.