By Steven Pressfield
Published: December 10, 2014
[Continuing our look back at The Legend of Bagger Vance, seeking writers' lessons and insights on the book's 20th anniversary. P.S. Don't forget this year's Black Irish Christmas Special, featuring the brand-new, leather-bound, signed and numbered (only 2500 available) anniversary edition of Bagger Vance.]
Sometimes a story—particularly fantasy, historical or sci-fi—needs a conceptual Premise. By that I mean a hypothetical truth that informs the drama the way, say, the airfoil-shaped wing informs the idea of an airplane.
The conceptual premise of The Legend of Bagger Vance is “the Authentic Swing.”
Premise is different from theme. It’s different from concept. It’s even different from “What if?”
Here are examples of premises in fiction and movies:
1. A certain ring contains the secret power of the universe. Whoever possesses the ring possesses that power.
2. In the future, technology exists that can detect crimes before they are committed. “PreCrime” is a division of police departments in this future.
3. In the future, creatures called “replicants” have been created, which are virtually identical to humans. Replicants, by the nature of their genesis, have no memories of childhood or of any past before they were created. Thus, to control them and to keep them emotionally stable, their manufacturer has implanted artificial memories, which the replicants believe to be real. When replicants discover this ruse and see through it, it is deeply distressing to them.
Sometimes non-fantasy/sci-fi stories have premises as well.
1. Love and hard work can overcome (or at least mitigate) certain psychological conditions such as bipolar disorder.
2. It is possible to recreate the past, specifically to recover a lost love, through force of will, abundant means, and an overpoweringly vivid reinvention of oneself and one’s world.
(These are the premises of Lord of the Rings, Minority Report, Blade Runner, Silver Linings Playbook, and The Great Gatsby.)
One curious thing about premises: they don’t have to be true. A premise is simply the supposition upon which the dramatic superstructure of the story is based. The reader/audience doesn’t have to buy into the truth of the premise in real life as long as he or she accepts it in the story. Nor do all the characters in the drama have to believe in the premise (though of course it’s better if they do). It’s enough for one character to believe the premise (Jay Gatsby, for example). The story can work, based on that alone.
But back to “the Authentic Swing.” What exactly is it and how does it fit into The Legend of Bagger Vance?
Posted in Writing Wednesdays
ADDITIONAL READING » WARFARE: ANCIENT AND MODERN
by Kilcullen, David
by Douglas, Keith
Douglas was a poet fresh out of Oxford who served (and was killed) with the armoured forces under Montgomery, when the British finally overcame Rommel after years of being out-ranged, out-gunned and out-generaled. Douglas’ keen and jaundiced eye misses little. This isn’t the most polished book, but it is immediate and authentic as hell.
by Sun Tzu
by Rommel, Erwin
This is from the Desert Fox—before he became the Desert Fox. Rommel recounts his experiences as a young infantry officer in World War I. Studied to this day by our Army and Marines, this book gives new meaning to the phrase “balls of steel.”
by Halberstam, David
by Danelo, David
Blood Stripes is Danelo’s account of infantry actions fought by Marines in Fallujah and Husaybah in 2004, recounted from the point of view of NCOs he knew and fought alongside. Great stuff!
by Coram, Robert
Fascinating true saga of the misunderstood genius who introduced the concept of Maneuver Warfare to the contemporary armed services—and paid the price.
by McNab, Andy
Ripping, high-testosterone (and true) yarn of a British SAS patrol dropped behind the lines during the first Gulf War. Told by its leader, the most-decorated soldier in the British Army, as of his discharge in 1993.
by Crisp, Robert
A bit hard to find, but worth it if you’ve ever wondered what it’s like to fight tank battles in the North African desert. Terrific first-person non-fiction, about the British Seventh Armoured Division dueling Rommel and the Afrika Korps in WWII. What I love about books like these is not just the “ripping yarn” aspect or the vivid details or the sense of absolute authenticity and authority, all of which are here in spades, but the feeling you get for the man himself. Both this book and the one by Cyril Joly (Crisp and Joly were friends) let you into the minds and hearts of these tremendously admirable, flesh-and-blood humans, with their senses of humor, despair—everything.
by Galula, David
by Moorehead, Alan
Simply indispensable. Classic stuff by the Aussie war correspondent who could scribble a note on a cocktail napkin and make it fascinating. See also his African Trilogy.
by Maclean, Fitzroy
You would think, being a novelist, that I would like to read novels. But I much prefer memoirs. I love the characters of the writers, particularly when they’re not professionals. Fitzroy Maclean was stuck in the Foreign Service on the brink of WWII and wanted to go to war; the only way the government would let him was if he became a Member of Parliament. So he did. It gets better from there, including desert service with the SAS and all kinds of mad adventures in the Balkans, the Orient, Afghanistan.
by Sajer, Guy
Possibly the best book to come out of World War II. Horrific, ghastly, true-life memoir of a young German infantryman and his kamaraden as they fall back, back, back against the unstoppable tide of the Russian Army, from 1943–1945.
by von Manstein, Field Marshal Erich
Another classic. The same story as told in The Forgotten Soldier by Guy Sajer, but from the opposite end of the food chain: the supreme German brass. Von Manstein’s private confrontations with Hitler are alone worth the price of the book.
by West, Bing
by von Clausewitz, Carl
by Fick, Nathaniel
The Iraq War by a Dartmouth-educated Recon Marine who was in the first wave into Baghdad. Lean, vivid, fair-minded, by a born writer from whom we will be hearing much more.
by Gant, Jim
The “One Tribe At A Time” series on “It’s the Tribes, Stupid” launched at the end of September 2009, with an excerpt from Major Jim Gant’s paper of the same name. In the following weeks, more excerpts were pulled and discussed, with Jim’s “One Tribe At A Time” released in full about four weeks later. The discussion of Jim’s paper spread from there, and went viral among the policy and military communities in particular.
by Gant, Jim
by Bagnold, Ralph
The founder of WWII’s legendary Long Range Desert Group tells his life story, including all kinds of interesting and unexpected dimensions (his sister wrote National Velvet), including the tale of his landmark scientific paper, “The Physics of Blown Sand.”
by Lawrence, T.E.
by Hammes, Thomas X.
Am I favoring Marines? Not without cause, with this outstanding contemporary introduction to the concept of Fourth Generation Warfare, the kind of post-guerrilla conflict our troops are fighting now—and are likely to keep fighting for decades to come.
by Small Wars Foundation
by West, Bing
by Joly, Lt. Col. Cyril
You’ll have to go way back in the stacks to find this one, but again, it’s worth the trip. Vividly told and superbly detailed account of the British in North Africa, from 1940 to 1942, fighting first the Italians and then Rommel and Panzerarmee Afrika. I love these self-effacing Englishmen, who in real-life performed prodigies of courage and endurance, and yet recount the tale with understated yet passionate brilliance. Like Brazen Chariots, you read this book and wish you could shake hands with the author and say, “Thank you.”
by Ranfurly, Hermione
When Lt. The Honourable Dan Ranfurly went off to war, his wife Hermione followed. (So did Whitaker, Dan’s faithful valet.) Young Lady Ranfurly, whose only marketable skill was a fair hand at the typewriter, talked her way into various clerical and embassy jobs in Cairo and the Middle East, while her young officer husband fought in the desert, got captured by the Afrika Korps, etc. There’s not a dollop of sex in this book, yet it remains one of the great documents of romance, just because of all the hell Hermione goes through to be within a hundred miles of her beloved Dan. When at last they rush into each other’s arms for a fleeting moment on a railway platform and she writes, “Happiness is being together,” there wasn’t a dry eye in my house.