Terry Pratchett: Discworld & Beyond
(Excerpted originally from Locus magazine's December '99 issue)
"Discworld started as an antidote to bad fantasy, because
there was a big explosion of fantasy in the late '70s, an awful
lot of it was highly derivative, and people weren't bringing
new things to it. The first couple of books quite deliberately
pastiched bits of other writers and things - good
writers, because it's the good ones most people can spot: 'Ah,
here's the Anne McCaffrey bit.' I was rapidly stitching
together a kind of consensus fantasy universe, and the one
trick was, 'Let's make people act.' I remember a description
Mad magazine did about The Flintstones:
'dinosaurs from 65 million years ago, flung together with
idiots from today.' I tried to do something like that with
Discworld. Not everyone on Discworld is entirely a modern
character, but they are recognizable to us. Their concerns are
more like 20th-century concerns. But they also seem to me to be
aware - I've invented things like 'narrative causality,' which
practically says, 'the characters know that they are in a
story.' What they do know is that they have roles to play."
"I make notes all the time. Writing the Discworld novels is
almost a kind of journalism. It may be journalism that takes
place two or three years after the fact, but the last 10 books
maybe, have been subtly influenced by moderately current
affairs."
"In Jingo, one of the
things I wanted to explore was just how quickly apparently
peaceful populations can be persuaded to go to war. A friend of
mine who has a French wife asked her, on my behalf, how long it
would take to get France and England to go to war, and she
said, 'About 20 seconds.'"
"On the other hand, it's worth a try, because there's
nowhere else to go, and the planet will be made uninhabitable
no matter what we do
"
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