It's not literary analysis as we know it, but most writers I know do similar things. I've marked up texts with the balance between dialogue/description/action/internalisation because I felt that someone else's writing worked much better than mine; and things like asking how much screentime a character gets etc are common questions that help me to understand how an author is creating a certain efect. I have a novel with a main character who doesn't turn up until 2/3rds into the book; so I looked at how other authors kept people in the reader's mind without their physical presence.
All Moretti is doing is codyfing it and working on a much larger scale. The conclusions that he draws will still have to come out of his own understanding.
Something about this quantitative analysis makes me think of mid-century structuralists trying to escape the binary analysis. Not sure it's entirely workable. I mean, look at the way he references Aristotle and Forster before dismissing their models. But why does Horatio's consistent presence mean that he's neither a protagonist nor a secondary character, neither flat nor round? Neither character classification system points to time on the page, but rather to impact on the page. Different issues altogether.
It's pretty geeky, but I found that when I did something similar for the plot of my work in progress (a mystery), I uncovered and fixed several plotting flaws.
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4 comments:
It's not literary analysis as we know it, but most writers I know do similar things. I've marked up texts with the balance between dialogue/description/action/internalisation because I felt that someone else's writing worked much better than mine; and things like asking how much screentime a character gets etc are common questions that help me to understand how an author is creating a certain efect. I have a novel with a main character who doesn't turn up until 2/3rds into the book; so I looked at how other authors kept people in the reader's mind without their physical presence.
All Moretti is doing is codyfing it and working on a much larger scale. The conclusions that he draws will still have to come out of his own understanding.
Something about this quantitative analysis makes me think of mid-century structuralists trying to escape the binary analysis. Not sure it's entirely workable. I mean, look at the way he references Aristotle and Forster before dismissing their models. But why does Horatio's consistent presence mean that he's neither a protagonist nor a secondary character, neither flat nor round? Neither character classification system points to time on the page, but rather to impact on the page. Different issues altogether.
T
The best "network theory plot analysis" ever.
It's pretty geeky, but I found that when I did something similar for the plot of my work in progress (a mystery), I uncovered and fixed several plotting flaws.
I think it's interesting, but I think all sorts of things are interesting. :) I wonder if it's more useful for writers than readers?
In the end, there's magic. I can't get past that-- sometimes writers just have magic on the page, and we can analyze it, but we can't replicate it.
A
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