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 » GOLF
by Robert Tyre (Bobby) Jones
In my opinion, the best golf book ever written. Kind of a hodge-podge actually, with tips and lessons mixed in with autobiography—the story of the Grand Slam, and even a chapter titled “The Stymie—Let’s Have It Back!” Like so many memoirs by great men and women who aren’t professional writers, it rings true as gold, page after page. If Bobby wants the stymie back, I’m all for it.
by Penick, Harvey
If authenticity is a virtue, this is the supreme manifestation of it. Harvey Penick and John Wooden both radiate that quality of true-blue excellence and generosity, which explains why both have produced so many champions and are both so revered by all who knew them. Simply sensational.
by Printer Bowler
Full disclosure: young Printer is a dear friend. This is a slender volume that goes deep, from an officer during the Vietnam War who has lived a full and profoundly observed life and distilled there from many lessons that go beyond the front nine or the back. It’ll help your golf game, too.
by Murphy, Michael
Best book ever on golf and spirituality. Packed with wit and inventiveness, not at all full of itself, Kingdom is a yarn you can read over and over. Shivas Irons is probably the greatest fictional golf creation, short of Carl from Caddyshack. And Michael Murphy is erudite. Do you know the scene in Plato’s Symposium, when Alcibiades arrives, drunk, at the dinner party, and enters to make a speech in praise of Socrates? Well, Murphy knocks this off to brilliant effect with a speech in praise of Shivas—and never even winks at his readers.
by Bertrand, Tom and Printer Bowler
Golfing cognoscenti remember the late John Schlee’s student-mentor relationship with Ben Hogan that, alas, ended with both their deaths. Were Hogan’s final secrets lost? No, because Schlee passed them on to celebrated San Diego teaching pro Tom Bertrand. Here, working with Printer Bowler (author of the excellent Cosmic Laws of Golf), Bertrand delivers to us the master’s last secrets on pronation/supination, the left hip, the right knee, and much more—plus fascinating psychological nuggets on competition and the keys to victory. Hogan’s concept of “the moving wall” alone is worth the price of the book. A must-read for Hogan fans and golfing aficionados of all kinds.