The Intentional Fallacy, or Authorial Intent

Go ahead, English Literature majors, groan. I’m actually going to talk about “The Intentional Fallacy”. I’m a nerd, what did you expect? I didn’t really like modern literary theory as an undergrad but I wouldn’t be doing literature justice if I ignored it entirely.

For those who don’t know, “The Intentional Fallacy” is an essay written by New Criticism literary theorists W.K. Wimsatt and Monroe Beardsley circa 1946. The essay argues, in essence, that the author’s intent when writing a work is impossible to know and highly undesirable when analyzing said work. What the author meant to say and what the writing actually says may be two entirely different things, especially when considering that many readers interpret texts differently, and so the author’s intent is negligible. If you want to know more, you can start with this Wikipedia entry on authorial intent. Beyond that, there are many resources you can explore, including the essay itself, but the Wikipedia entry provides a basic understanding.

We try so often to argue that an author meant this or that when we’re analyzing his/her work, but there’s a reason professors won’t let us get away with phrasing essays that way. It’s virtually impossible to know what a writer meant. We can’t step back in time and ask Herman Melville what he meant to say when writing Moby-Dick or what Percy Shelley tried to express in his poem “Ozymandias”. Even contemporary documents, such as letters and journals, may be unreliable.

Someone will probably counter that the prominence of social media allows modern writers, such as J.K. Rowling and Stephen King, to make their intent better-known. Does that mean we should utilize their intent in our analysis? That’s where we step into murkier waters.


Image retrieved from “The Problem of Authors”

In my critical honors thesis, “The Dumbledore Conundrum: The Presentation of Homosexuality in Harry Potter and the Production of Slash Fanfiction”, I address J.K. Rowling’s announcement regarding Dumbledore’s sexuality as a springboard for my overall argument. However, that does not serve as the sole–or the main–basis for my claims. I delve into textual analysis of both the books and the resulting fanfiction, theories regarding such topics as sexuality and the effects of children’s literature, and readers’ reactions to Rowling’s announcement. Certainly Rowling’s intent sparked a conversation but it does not drive the entire analysis of her books. Rather, readers compare and contrast their interpretations with her intention, thoroughly exploring the text for proof either supporting or disputing her claim.

Does such an argument fall under intentional fallacy? It’s possible. After all, the initial question behind the analysis relies on Rowling’s intention. However, the continuation of the argument relies on a much wider range of factors, including existing theories and textual evidence.

With the rise of writers’ presence and discussion of their own works on social media, we are met with an intriguing question: does the intentional fallacy still apply when studying 21st-century authors?

I don’t have a straightforward answer. The literary theorist in me wants to say yes. After all, writing is like any other form of art; the writer’s intention may have led to the creation but that isn’t what’s necessarily being expressed by the piece itself. Still, the curious reader in me wants to say that it’s not that simple. A writer’s intention may expose a side of his/her work that we simply hadn’t considered before but, now that it’s been brought to our attention, we see it everywhere.

I suppose my answer is this: authorial intent can start a conversation about the work but should not be primary evidence for any of the ensuing arguments. An author’s intent can be an interesting factoid and shed new light on his/her work but it does not prove that the work conveys that intent. Take what a writer says about his/her own writing with a grain of salt, especially when trying to formulate an argument about the piece.

What’s your opinion on the intentional fallacy? Does it still apply? Does social media and the Internet at large complicate matters? Leave your thoughts in the comments.

 

Designed by Stephanie Hoogstad circa 2011

dragonet07 Online Book Club Reviews

At the end of July, I told you about a website called the Online Book Club (OBC), where you can read and review books or have your books reviewed. I opted to become a reviewer, partly for the exposure brought by reviewing other writers’ work and partly because I get some new books for free. The possibility of paid reviews doesn’t hurt, either. On that site, I am known as dragonet07, similar to my Twitter handle.

I’ve only reviewed two books as dragonet07 so far. However, I am currently working on two others for the OBC.

For exclusivity and copyright reasons, I can’t put the original reviews from the OBC on my blog but I will put links to my first two OBC reviews and provide more links as more of my reviews get published. After all, exposure is key for books and book club sites.

Please head over and check out my reviews. You may even find new books to read while exploring the website. Here are the links:

dragonet07 review of The Immigrant’s Lament by Mois Benarroch

dragonet07 review of The Expelled by Mois Benarroch

On behalf of readers and writers, I would like to thank the OBC for the opportunity their site provides. We could spend hours combing through online or physical bookstores in order to find books that are off the beaten trail, but it’s better to get recommendations from one place, from fellow readers. The community they have built is also very supportive and helpful. I have yet to witness any issues with trolling or bullying on the site, even when users have differing opinions. I hope that this trend continues. Books are meant to bring people together, not rip them apart.

Please join me on the Online Book Club. At the very least you can find free or discounted books. You could also sign up to have your own book reviewed or become one of their reviewers, both volunteer and paid.

Keep an eye out for future posts in which I provide you with links to other dragonet07 reviews. Until then, happy reading and writing.

Know of any unique opportunities for writers to be read or for readers to review? Leave your thoughts in the comments or e-mail me at thewritersscrapbin@gmail.com so I may feature it in a future post.

 

Designed by Stephanie Hoogstad circa 2011

The Summer Writing Slump

Let’s face it, we’re conditioned from a young age to associate the summer months with taking a break from everything and relaxing. At least, that’s what Americans learn. I can’t speak for anyone else. Regardless, the school system I grew up with enforced the idea that summer is a time for relaxing and having fun, not doing any work. Suffice to say, this idea breeds bad habits which must be broken abruptly as adults. Considering I’m still attending school in the form of a Master’s program, I’m having a hard time remolding my way of thinking. It’s led to an annoying writer’s block, which I will call my “summer writing slump.”


Image retrieved from this travel blog
My writer’s block usually follows the same pattern. First, I have a hard time conjuring an idea for a story or I can’t focus on one idea at a time. My brain bounces from one thought to the next, never settling on one long enough for me to fully pursue it. Then I slip into the worry that nothing I write will ever be of significance and/or live up to what people liked in my writing before. It feels like I’m trying to capture lightning in a bottle, a fruitless effort. The end result? I get nothing done and I have to up my “as-needed” anti-anxiety pills.

How is the summer writing slump different? I have a built-in excuse: I have all summer to knock the rust off before classes start again. I don’t need to force the muse yet. I have plenty of time to get myself back into shape and have a really productive year.

Well, it’s August now and I’ve only written one short, really cruddy story, if it can be called that. I know that everyone gets into a writing slump occasionally, but I can’t let myself get too rusty or else I’ll lose my edge entirely. It’s taken a long time for me to create my arsenal of writing tools; it’ll only be a lateral move to let myself slip out of practice while my program’s on break.

Why am I telling you this? To remind my readers to never take too long a break from writing. Yes, a break can help you shake off writer’s block when you’re really stuck. However, it can also lead to writer’s block. Just like we can’t have the entire summer off from our 9-5 jobs, we can’t have the entire summer off from our writing. It’s a job and a skill. We have to be disciplined enough to maintain momentum in our careers and take the time to practice our craft.

We must also remind ourselves that it’s OK to write crappy first drafts. Heck, it’s OK to have all drafts of a story be crappy (if we don’t plan to publish it). At least then we can learn what does not work in our writing. If we’re too afraid to let ourselves write badly, we won’t write at all. Then we’ll be stuck in a perpetual summer writing slump.

Thoughts? Comments? Advice for escaping the summer writing slump? Leave your thoughts in the comments and remember to sign up for our newsletter for a chance at the monthly giveaway.

 

Designed by Stephanie Hoogstad circa 2011

August Monthly Giveaway

Happy Friday, folks. Today I’m announcing the August monthly giveaway, available only to readers who also subscribe to The Writer’s Scrap Bin’s newsletter, The Scrapbook.

For this month’s giveaway, I want to provide a prize which can also help struggling writers to progress on their paths to becoming published. I will, for the month of August only, be extending to The Scrapbook subscribers the opportunity to have their work critiqued by me for free. If you sign up for the newsletter and follow the instructions provided in the August e-mail, I will read and critique your short story, a section of your novel, or an essay/memoir up to 10,000 words in length. (Unfortunately, I cannot critique poetry because I do not feel I have the grasp on that genre well enough to provide useful remarks.)

I typically charge $10 or more for this service on Fiverr, depending on the length of the manuscript. I have extensive experience editing and proofreading, particularly in providing feedback. I have taken several creative writing courses throughout my academic career and those classes always included a workshop element, so I know how to provide critique while remaining kind and building the writer up instead of tearing him/her down.

Right now I can only promise one round of revisions as the prize for this giveaway, but I may be persuaded to participate in multiple revisions. Of course, you will also be able to ask me as many questions as you have regarding my feedback for free.

If you are interested in this prize, please sign up for The Scrapbook using the link provided in the website menu.

Have any ideas for future monthly giveaways? Any questions about this giveaway or the newsletter? Feel free to drop a line in the comments or e-mail me at thewritersscrapbin@gmail.com.

 

Designed by Stephanie Hoogstad circa 2011

Book Reviews: Sister of Echo: The Making of a Villain (Part Two)

Trigger Warning: The book reviewed here depicts sex, rape, heavy amounts of gore, and regular use of profanity. Slavery, abuse, and torture also serve pivotal roles in the plot. If you have any sensitivities toward such subjects or otherwise take offense to them, proceed with caution.

Warning: This review contains spoilers for the first book, Sister of Echo: The Making of a Villain (Part One). Do not continue reading unless you have read Part One.

Today I’m reviewing Sister of Echo: The Making of a Villain (Part Two), the second installment in the Sister of Echo: The Making of a Villain series by Ameel Koro.

When we last left the world of Sister of Echo, Alina’s secret identity as a vampire had been revealed to Corina and Cotiso, and Alina’s jealousy had driven a wedge between her and Sinna. At the beginning of this new adventure, the company is trying to leave Artucia when soldiers stop them to take Corina and Alina back to the arena for another round of slave fights. The questions on everyone’s mind: Why are they being dragged into another competition? And by whom?

Little do Alina and her friends know, the competition has been arranged to force Alina’s return. Cordillia, the richest woman in the city and leader of Artucia, believes that she knows what Alina is. She longs to meet the young woman, show her off to the other nobles, and reunite Alina with their kind. But is Alina what Cordillia thinks she is? Are Cordillia and her children really what the readers are lead to believe? When mysteries start unraveling, what will become of Alina and the rest of the company?

Image retrieved from Amazon

Over the following 210 pages, Koro throws readers through a series of twists, losses, torture, and just as many new questions as answers. We travel deeper into the social construct of slavery, Dacian religion, and a world of mythical beings which you can’t begin to imagine. With vivid imagery, a compelling plot, and heart-pounding action, it’s almost impossible to put this installment down until the very end.

I’m happy that, despite some minor reservations, I continued with the second book of the series. Sister of Echo: The Making of a Villain (Part Two) far exceeded my expectations based on Part One. Koro utilizes the social hierarchy and religious beliefs of the time more to the story’s advantage in regards to world development, character development, and plot. The characters of Alina and Corina also gain more depth with Alina becoming a more realistic person and Corina growing more emotionally complex.

Unfortunately, new elements introduced in this book overshadow much of the premise set by the first book, which left me with a lack of resolution. Alina’s jealousy drove her away from Sinna by the end of Part One, but Sinna still plays too little of a role in this book given how “in love” the two supposedly were. In fact, I am given serious reason to suspect that Alina may not have actually had real feelings for Sinna at all, but this suspicion may have been by design. Even Corina questions Alina’s love for Sinna, and Sinna’s ultimate fate remains a mystery. Could Sinna still be Alina’s happy ending? Or is that just an illusion? Oddly, this question of Alina’s true feelings made me more interested in the relationship than when they acted lovey-dovey in the first story.

Other characters also get too little time on the page in this book. Tati and Cotiso, while in the first few chapters of the book, seem to fall away with their fates revealed only in dialogue. Other characters, including Tsuri, receive such treatment, although I did not have such an objection with them because they did not serve much a role in the first place. I feel that Tati and Cotiso deserved more of an ending, and Cotiso’s ending deserved more of an emotional impact. Tati, at least, had an effect on Corina. Still, too many of these events take place off-screen, so to speak. Even much of the torture, with the exception of the introduction to Cornel and his “experiments” on Alina, appears to the reader in exposition.

The amount of exposition aside, the imagery improved significantly with this book and even as the novel progressed. Things get dark and gory quickly, but that’s one of the things I liked about this book over the first. With “The Making of a Villain” in the title, one expects things to grow dark and bloody. A lot more action appears in Part Two as well, allowing for more displays of Alina’s powers and the powers of her foes.

Most importantly to me, however, is the character growth which Alina and Corina experience. We see much more of Alina’s heartless side in this installment, and much more of Corina’s twisted and, strangely, vulnerable sides. While I started to hate Alina as a person, she actually seemed like a real person. The naïve, innocent pretty-girl act in the first book made her a rather flat character. In this book, we see just what Alina will do to stay alive and, in a much different way than in the first story, how ignorant she is to human interactions. I understand her and I pity her but I also hate her, which is the sign of a good character; I have conflicting feelings for her, as I would with someone like her in real life. On the other hand, I began to like Corina even more. She is still crude and self-centered, but she also displays sparks of true human emotion underneath that crusty exterior.

Sister of Echo: The Making of a Villain (Part Two) is not a perfect book. I identified several proofreading errors throughout the e-book. I also wish that Koro would ease up on the exposition, especially since readers would be able to infer much of it from the action and visual cues. Some of the more modern elements of the language, such as the “yeah” which persisted throughout the first book, have been corrected. Still, the writing maintains a modern element which I can’t quite identify and, honestly, don’t know how to fix. It may be the (what I consider to be) overuse of profanity throughout the story, or it may be a personal writing taste. The number of exclamation marks in the narration also annoyed me. I’m OK with exclamation marks used prudently in dialogue; in the narration, it can border on a slapstick feel.

Overall, I really recommend this book for lovers of epic fantasy. Koro introduced me to a species of mythical creatures that I never would have imagined myself, and I’m eager to continue to the next book.

Be sure to check back for my next review, Sister of Echo: The Making of a Villain (Part Three).

Do you know of any books I should read or review? Want me to review a book you’ve published? Contact me at thewritersscrapbin@gmail.com or look me up on Fiverr.

 

Designed by Stephanie Hoogstad circa 2011