Form Over Function and Palahniuk

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goatpiper

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I really love Palahniuk, but some of his books are serious cases of form over function. I also love Joyce, but I think (and I know plenty of people disagree with this) that he was very successful with his experiments (maybe 'Finnegan's Wake' went a bit too far, but 'Portrait of the Artist...' and 'Ulysses' rock, imho).

How many of you approach your WIP with a particular form in mind? Does it work for you? How much do you micro-manage it?

I have not yet attempted to convey my fiction through a specific 'form'. I use first or third person, present and past tenses. That about describes what I do. I have plenty of ideas for specific forms, but I'm not yet ready to try them out.

Just thinking about this since I'm surfing on my Macbook while waiting for Palahniuk's Denver appearance at the Tattered Cover. I've been here for over three hours and am starting to glaze over. One half-hour to go!
 

maestrowork

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For the sake of this discussion, can you describe what you mean by "form" for those not familiar with the term?
 

goatpiper

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Form:

Using 'The Odyssey' as the structural template for a work of fiction ('Ulysses').

Having the complexity of language in the narrative evolve and intensify as the main character ages ('Portrait Of The Artist As A Young Man')

Telling the story of the main character by utilizing the disjunct viewpoints of fifty-one different people ('Rant' by Palahniuk)

Having the entire narrative be the diary of the main character ('Diary' by Palahniuk)

I think you could group most books into one of two camps - one that tells the story using, more or less, a traditional form (past tense, third person involved for example), or wrap your story idea in a more involved or inventive form, such as those cited above.
 

krano

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epistolary (story presented in the form of letters) is another type of form: 'Ella Minnow Pea', for example.
 
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Kalyke

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Structure. I would call it structure.

Didn't someone say there were only 35 plots or something in that range? Any and all stories using that sort of plot basically lay or overlay their work on a "classic." Isn't doing it intentionally a kind of a parody? My story began with none of this in mind, really. All I wanted was a certain love affair type plot. What it ended up is following Othello pretty closely (no racial difference, which was just a characterization in Shakespeare, but a job difference) for awhile and then veering off.

I certainly think that most writers, or many writers recognize the pattern they have made and then go for either obliterating the pattern (so you don't see it, which I would call "naturalistic" or making the pattern stronger.) I'm all for obliterating it. I like things to look accidental.
 

DancingMaenid

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I don't see using an unusual structure as always being form over function. Ideally, I think the structure chosen should be the one that furthers the function the most. That said, I occasionally like to read stories in which the structure or style is considered as important as the story itself, but I don't tend to prefer it and don't tend to write that way, except perhaps experimentally (to try something out).
 

maestrowork

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I see. Form and structure are not interchangeable but closely related. Epistolary or diary form, for example (Bridget Jones' Diary). There was a novel that was written backward chronologically. The Time Traveler's Wife was written from two 1st person POVs but based on an alternating, jumbled chronological timeline. The Mystery of Pittsburgh was modeled after The Great Getsby and divided into three parts: June, July, August. Atonement is done as a metafiction: a book within a book.

All of the above, IMHO, are perfect forms for the stories being told. They make sense.

Why do you think Palahniuk is form over function? Do you feel that the forms of his novels are too overwhelming but do not fit the storytelling?

I haven't really paid attention to form yet in my own work. There is a three- or four-act structure in my current WIP -- they are distinctively time-based. But to me that's just structure, not really form. The closest I have come to using "form" may be one of my short stories: it's told in 3rd person limited but the main character changed from a person to an animal in the middle; the language changed as well, like how you described Portrait Of The Artist As A Young Man.
 
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Kalyke

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The function part is what I don't get. What is the function of a story? To tell a story. To entertain. Maybe to give a glimpse into another lifestyle, or period of history. To show "morals" in action as a parable. Outright propaganda.
 

goatpiper

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A story's function is to suck you in, make you believe, make you care, keep you reading, entertain you, etc. A bottle opener's function is to open bottles. One can purchase a bottle opener that is in the shape of a shark, tree, naked lady, etc., but it might not open bottles worth a damn. That's what I mean by form over function - when the structure no longer serves the story and the story suffers for it. You have this really great idea for the structure and get so focused on making your story happen within that structure that the story gets lost in the shuffle.

Another thing I just thought of - I have an acquaintance who has started making short films. I know the people he's working with, and I've been told that there are moments when he just really wants to put a particular style of shot into the film. Not because the film needs that shot to serve that moment in the film's story, but because he just really loves the style of shot and wants to cram it into the film, justification be damned.

Everything should flow from the needs of the story.
 

THenry

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I would argue that Palahniuk does not favor form over function, rather, that his forms have a very specific function - to distract the readers from the foundations of the plot twist.
 

Phaeal

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For me, form must always serve the story. If you can convince me that a backwards chronology, or a novel composed entirely of the MC's Mastercard bills, or 66 2nd person narrators is the BEST way to tell your story, then fine. Once form becomes a distraction from the story, I'm out the door.

Ooh, pretty fireworks. Wow, look at how SMALL the stitches are in that hem. Gosh, she must be the only person in the world who would wear a wastebasket papered with the works of Karl Marx on her head. Yeah, I get it. I'm just not necessarily impressed.
 

maestrowork

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A similar term in filmmaking is "style over substance." And I've seen that, especially in Asian cinema where stylistically the film is stunning, but then you wonder what the heck the story is about. You don't get involved with the characters. It's like watching moving art, but at the end, you're not involved. When "style meshes with substance," however, the storytelling can be heightened to great levels. For example: 300 (graphic novel style) or Crouching Tiger, Hidden Dragon.
 
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