What was interesting was his other tests:
- Verisimilitude - Latin for 'likeness to truth'.
What is necessary is that you 'believe', both while you are under the warm spell of the author's magic as you read and in the cold light of logical analysis after you finish reading. The more romantic and fantastic the novel the greater the necessity for the author to achieve what Coleridge called the 'willing suspension of belief' - if the novelist achieves this, he has passed the testI really thought this was a fantastic point, especially in the realm of fantasy and science fiction, where it is often the perception that this genre is 'easy' to write as it has 'no rules'. i think its the exact opposite, as terry Pratchett demonstrates one has to build an entire civilisation, rules and order before one has written a single word of dialogue.
books such as Twilight, based in the 'real' world but not quite, epitomise in my opinion the 'willing suspension of belief' and even go as far as to create whole new entire 'beliefs'. Vampires aren't killed with sunlight anymore - they sparkle'. Stephenie Meyer created a world and characters so believable to the reader, that they became real to many, and a new vampire myth has been created in light of this.
2. The 'great expectations' of plot?
Ashley's next test is concerning plot. he first makes the obvious point that the plot must also be plausible and past the above test as well. he uses Oscar Wilde's Dorian Gray as an example, the picture ages but he does not. The question is not that do you know of such a thing occurring before but whether you can accept them happening given the circumstances or mood at the beginning of the book.
The second point concerning plot has to do with events occurring in the book have a logical connection. for example
If you say the king died and then the queen died, you have a story; but if you say the king died and then the queen died of grief, you have a plot. in one instance you merely have a chronological sequence; in the other, a logical or cause-and effect sequence3. Characters!!
Characters should be REAL - you believe in their existence whether they be vampires, or captains on pirate ships, the point of real isn't 'normal' but once again the suspension of belief. we should BELIEVE!!
the second point Ashley makes is the importance of sympathy: You have to care about the characters and what happens to them. You don't have to even love them or even like them, as long as you are never INDIFFERENT.
finally Ashley makes the point of the importance of memorability. Characters must be worth remembering must stick in you mind and not "fade away into oblivion when you put your novel aside".
4. Setting
According to Ashley setting can perform three functions for a novel: 1. it can provide a locale, a place for events to occur in and characters to live in, like a stage
2. It can create atmosphere and mood
3. setting should provide a environment which influences if not determines the outcomes of incidents and behaviours in characters. Ashley uses Mr. Darcy as the perfect example. through out the novel it is the setting which influences his characters. the contrast between the character's reactions in Elizabeth's society and when he is on his own Pembley estate are huge. it is only in the setting of his own estate does he conquer his pride and Elizabeth overcomes her prejudices.
5. Theme
5. Theme
Ashley makes the point that there is no such thing as a new theme
Just as there are no new plots there are no new themes, what Ashley expects of a good novel is that the author sheds a new light on an old theme or a fresh angle such as Conrad's Heart of Darkness which deals with the old theme men's tendency to evil. the theme is not new, but Conrad sens his 'hero' to the heart of darkness in Africa to demonstrate this theme, similarly the Lord of the Flies - same theme but very very different story.
6. Moral Values
Ashley emphasises the importance of morality, of a novel highlighting right versus wrong. good versus evil. etc Not as a sermon does but as in taking a stance for example concerning sexuality he uses the example of Hardy's Tess of the D'Urbervilles - where in certain circumstances, the adulteress is seen as a 'pure woman'.
7. What does it Do to YOU!!
This is a test in which only YOU as the reader can answer, yet it is important to bear in mind that there has to be the 'Je n'ai cest quoi' factor in a book, which makes you laugh/cry or have nightmares. This is the great Test of a novel, what it invokes in you!!
As Ashley says the most important test is the most difficult to define.
8. Technique etc.
Technique is important: style, constructive ability, etc. it is important but not the be all and end of all. as Ashley puts it "the clothes do not make the man, nor does technique make the novel".
Another test is Historical importance: novel which impacted hugely and still do such as James Joyce's Ulysses etc.
the last test Ashley leaves till last - as he makes the point that this is the Test which is being neglected more and more. This test really struck a cord with me. The above tests mention by Ashley are all familiar to any writer, plot characters etc. etc. blah blah but there is something we often miss in our never ending pursuit of writing a good novel.
9. Entertainment - we are storytellers.
Many novelists nowadays look upon themselves as psychologists, philosophers or sociologists - but never what they truly are story tellers.
Just as there are no new plots there are no new themes, what Ashley expects of a good novel is that the author sheds a new light on an old theme or a fresh angle such as Conrad's Heart of Darkness which deals with the old theme men's tendency to evil. the theme is not new, but Conrad sens his 'hero' to the heart of darkness in Africa to demonstrate this theme, similarly the Lord of the Flies - same theme but very very different story.
6. Moral Values
Ashley emphasises the importance of morality, of a novel highlighting right versus wrong. good versus evil. etc Not as a sermon does but as in taking a stance for example concerning sexuality he uses the example of Hardy's Tess of the D'Urbervilles - where in certain circumstances, the adulteress is seen as a 'pure woman'.
7. What does it Do to YOU!!
This is a test in which only YOU as the reader can answer, yet it is important to bear in mind that there has to be the 'Je n'ai cest quoi' factor in a book, which makes you laugh/cry or have nightmares. This is the great Test of a novel, what it invokes in you!!
As Ashley says the most important test is the most difficult to define.
8. Technique etc.
Technique is important: style, constructive ability, etc. it is important but not the be all and end of all. as Ashley puts it "the clothes do not make the man, nor does technique make the novel".
Another test is Historical importance: novel which impacted hugely and still do such as James Joyce's Ulysses etc.
the last test Ashley leaves till last - as he makes the point that this is the Test which is being neglected more and more. This test really struck a cord with me. The above tests mention by Ashley are all familiar to any writer, plot characters etc. etc. blah blah but there is something we often miss in our never ending pursuit of writing a good novel.
9. Entertainment - we are storytellers.
Many novelists nowadays look upon themselves as psychologists, philosophers or sociologists - but never what they truly are story tellers.
It is my firm belief that a novel which is not entertaining, which is not pleasurable, which is not fun to read, in the best sense of these terms is to some extent a failure.
Ashley, P. (1973). What makes a good novel. The English Journal, 60, 596-620.
