We lesser mortals can't aspire to write like P. G. Wodehouse, but we can learn from the Master and improve our craft. Especially if we
are alleged humorists, like me. I may not be the greatest expert on Wodehouse
around, but I am known as his biggest fan in the circles I move in.
A good writer is a great reader. The best fiction-writing lessons are not available in writing workshops or how-to books, but in the very novels and stories we read. And the authors of these novels are our best teachers, even if they wouldn't want to, or don't have the time to, teach us. I learnt the craft of writing, and specifically how to write humour, from Wodehouse. 'Leave it to Psmith' was my primer. LITP is a textbook of brilliant plotting, witty dialogue-writing and amazing style.
Wodehouse was, among other things, the master of the complex plot. And in many of his complex plots, especially in the 'Jeeves' stories, he makes his characters involved in an unnecessarily complex plan. Unnecessary and dangerous to the character's wellbeing, but absolutely necessary to the kind of laugh-a-minute farce Wodehouse wrote. While the main character or characters hatch a complicated plot, supporting characters take the already unlikely scheme to new, surreal heights.
The
plan isn't foolproof, just optimistic. And a realist may question the plan,
cutting through the elaboration to put his or her finger on the nub. But it is
highly unlikely to find a realist in a surreal story. The
average Jeeves story is comfortably formulaic. Bertie Wooster, a man of private
means and negligible intelligence, would have led a life that is one round of
pleasure, if not for dominating aunts or aunt-like girls who rope him into
perilous projects and situations, that get worse when Bertie takes matters into
his own hands. The Code of the Woosters makes it impossible for Wooster to defy
friends and females. If there is a possibility of escape, then they blackmail
him into submission, blackmail being the favourite weapon of the fairer sex,
who can be notoriously unfair when it suits them, which is most of the time. In
a Jeeves novel, I mean. By midnovel, soup would be
lapping at our hero's ankles, with him being in danger of being thrown into
jail, or worse, engaged to a girl, a consummation devoutly to be missed. Fortunately for Bertie, his
supervalet Jeeves, sometimes in one strategic move, rescues Bertie, and
everybody else from their respective soups. To prolong the suspense, Wodehouse
may create temporary hostilities between valet and master, or Bertie would
choose to solve problems without involving Jeeves. Or a goofy friend or aunt
may do something extra goofy. For
example, in a typical Bertie and Jeeves story, Bertie's Aunt Dahlia may ask him
to steal something for her, the stolen article being the means to make her
disgruntled husband, Tom Travers, a bit ungruntled enough to fund the magazine
she runs. Our
realist may ask, "Why doesn't she do something else legal, less dangerous
and simple? But that is not how characters in a farce, worthy of its name,
behave. And Wodehouse's typical Jeeves plot is an elaborate scheme in itself.
But it is legal and only dangerous if you are prone to die of laughter.
A good writer is a great reader. The best fiction-writing lessons are not available in writing workshops or how-to books, but in the very novels and stories we read. And the authors of these novels are our best teachers, even if they wouldn't want to, or don't have the time to, teach us. I learnt the craft of writing, and specifically how to write humour, from Wodehouse. 'Leave it to Psmith' was my primer. LITP is a textbook of brilliant plotting, witty dialogue-writing and amazing style.
Wodehouse was, among other things, the master of the complex plot. And in many of his complex plots, especially in the 'Jeeves' stories, he makes his characters involved in an unnecessarily complex plan. Unnecessary and dangerous to the character's wellbeing, but absolutely necessary to the kind of laugh-a-minute farce Wodehouse wrote. While the main character or characters hatch a complicated plot, supporting characters take the already unlikely scheme to new, surreal heights.
"Yes, sir."
"The simple, direct method never fails."
"No, sir."
"Whereas the elaborate does."
"Yes, sir."
"Right ho, Jeeves."
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