I’ve been thinking a bit more about using tropes in my writing. As I’ve posted previously, using well-worn tropes can be a good thing, especially when I’m starting out on a new project. I’ve tried building up new stories organically in the past, but to be honest it really is like trying to reinvent the wheel sometimes, and perhaps I don’t need to put myself through that much toil. I can just as easily build the foundation and framing of the story I want to write based on well-used and well-trusted ideas, then make it my own.
It took me some time to learn how to do it successfully when I was just starting out, though. A lot of my trunked stories were 100% pantsed and suffer from having little to no sense of that foundation; I just had a vague idea of where I wanted the story to go, but none about how I was going to get there. There’s a reason those are still trunked.
One way I learned was to watch anime. I’ve stated many times before that my obsession with the form is not on the otaku level but more on the creative. My favorite anime series and movies have always been the ones that took a well-used idea and gave it a unique and often non-Western spin. The ‘star-crossed lovers’ trope of Your Name inserts not just the Asian ‘red string of fate’ mythology but skews with the idea of time as well. The ‘army of misfits’ trope in Dragon Pilot is subverted by their flights being, well, dragons (which ready themselves for flight by literally swallowing their pilots). The ‘young adults finding their way in the world’ of Carole and Tuesday has the extra twist of taking place on a semi-terraformed present-day Mars, where all popular music is literally created via algorithms and little to no human input.
It’s this kind of unconventional twist that inspires and influences my own work. Sometimes it works and sometimes it doesn’t, but the process is always a lot of fun. I have different ways of going about it: often I’ll be writing a scene and get to the point where, if I was going to follow the tried and true plot trope, I’d have the character act a specific way. I’ve trained myself to always be conscious of when this happens, so that when I get to that point, I can make a conscious decision: do I want them to follow this path, or do I want them to do the unexpected instead, thus taking the story in a different direction? I do this all over In My Blue World, because my aim was to show that its main characters were all unconventional women that didn’t always do what people expected of them. Sometimes it got them in trouble, but more often than not their irreverence undermined the expectations of the antagonists.
Another way I play with this setup is to take a page from Studio Ghibli: the world of my story is pretty much the same as this world, only the rules are slightly different. The world of Diwa & Kaffi is the same as real life, just that there are sentient beings other than humans living in tight knit communities. This is more tied in with the world-building side of things, but it’s equally as important, especially when it’s an integral part of the story.
I’ve learned from experience that I don’t necessarily need to go above and beyond, creating extremely detailed twists and backgrounds (perhaps like I did with the Bridgetown Trilogy, though that was done purposely due to its ‘epic’ tone I was aiming for). Sometimes all you need is just that quirky little detail that will set things going off in an intriguing direction. And not only does the reader enjoy that, the writer often does too!