“How do they get clothes, furniture, and food?”
This is just one of the questions I’ve been asked about the characters in my paranormal fiction story, From the Other Side.
Sidenote, an explanation is offered at a later stage in the book.
Now don’t get me wrong. There are certain aspects of the story that line up with real life as we know it. I felt it necessary in order to maintain a degree of plausibility.
But the question did get me wondering. How real do we expect fiction to be? And does everything have to have a valid explanation behind it?
The point of fiction, in particular paranormal fantasy, is that it is not real life. Readers are aware of this, (or I would certainly hope they are!) yet many still expect that the story, on the whole, is built of scenarios that could happen in real life.
But it isn’t trying to be real life. That’s the point.
A focus on realism makes it hard to suspend disbelief and ultimately diminishes the overall enjoyment of the story.
Intrigued to discover if there was a definitive line for where realism must be reflected so as not to lose the reader, I did a little research and discovered that there is actually a term for this.
Hyperrealism refers to a style of writing that aims to depict reality with an extreme level of detail and accuracy, often blurring the line between reality and fiction. It emphasizes precise descriptions and meticulous attention to everyday life, creating a sense of heightened reality for the reader.
Doesn’t really scream fantasy does it.
I could understand the necessity for such a structure if one was writing a murder mystery, or crime novel. But used in any type of dystopian, paranormal, or fantasy writing and this approach would defeat the purpose of the genre.
Part of the enjoyment of a book lies in exploring human nature within the framework of a premise. It functions as an experiment, posing a "what if" scenario and then testing it to see how events unfold, how individuals respond, and how one moment influences the next.
If we demand everything to be entirely realistic, are we limiting our capacity to explore the realm of possibilities?
Creating a world, storyline, or character’s ability that correlates with real world expectations is pretty much the opposite of fantasy. However, it is important to remember that world building does come with certain unique guidelines. In truth, creating an alternative existence, society, or world is a huge responsibility with lots of moving parts. All fictional worlds, even fantasy ones, must operate according to their own set of rules and logic.
A framework of rules must be established, and those rules adhered to with consistency. A sudden, unexplained plot convenience that violates said rules will lose audience engagement.
While coincidences happen in real life, they often feel like lazy writing in fiction. When an immensely unlikely event occurs to resolve a major plot point, the reader can feel like the author is deliberately manipulating the story.
For stories set in the real world or a historical period, obvious mistakes can ruin the immersion. Someone with specialized knowledge might spot an error.
A good story makes a reader feel that the events could happen within the context of the story's world, even if they couldn't in the real world.
Speech patterns and verbal responses should reflect the setting and characters. But there is a fine line to walk with this. The goal of dialogue is for it to feel authentic, not to perfectly mimic how people actually talk. Real conversations are full of filler words and false starts, which would be frustrating to read or listen to. On the other hand, if dialogue is too polished or unnatural, it can come across as the writer's work rather than the character's voice.
But realism isn’t all bad.
Even in fantasy, elements of realism can serve to enhance the story, as long as the overall genre is adhered to.
Realistic details can make characters and settings more relatable, allowing readers to connect with them despite the fictional nature of the story. This connection is built through well-developed characters who have emotional depth, flaws, and believable motivations, as well as a setting that feels lived-in and affects the plot.
The key is to integrate real-life elements in ways that serve the overall story, not just the writer's personal memories.
As I mentioned, the ideal amount of "real life" depends on the genre. A story in a fantasy setting will have different requirements for realism than a contemporary drama. Considering what elements of real life are necessary to build a compelling fictional world, or to explore a particular theme, are of paramount importance.
Ultimately, the goal is not total realism, but internal believability. A story's world must simply be consistent and self-contained, and the events within it must make sense according to the logic it has established. However crazy that logic may be.