Pastiches? Homages? Rip-offs? Or simply imitations (“the sincerest form of flattery” according to Oscar Wilde)?
I’ve written quite a few of these, taking on the mantle of four authors in my time: Sir Arthur Conan Doyle (Sherlock Holmes), William Hope Hodgson (Carnacki the Ghost-Finder), G.K.Chesterton (Father Brown), and latterly E.F.Benson (Mapp and Lucia). All of these have been well-received.
In these stories, I have always tried to maintain the style of the original authors as far as possible. This is more than a matter of recycling stock phrases (“You know my methods, Watson”, “tarsome”, etc.). Each of these authors has an individual style, even though in many cases their periods of activity overlapped with each other – there is much more to this pastiche business than simply copying the mannerisms of a bygone age’s language.
“After the initial chalk circle and pentacle, strengthened with garlic, the Electric Pentacle was obviously the first line of my defences to be established, and I welcomed the glow from its wards once I had assembled it. I performed the the Second Sign of the Saaamaaa Ritual at each vertex, though if matters were as I suspected, and that the beings reportedly described in the lost Heptatrych of Laskaria were involved, the Ritual would have little or no effect. My faith lay in the Pentacle, along with the linen-wrapped bread placed in the ‘Points’ and the water placed in the ‘Vales’, and I determined to spend the night inside that, provided, that is, that there was no clear natural cause for any untoward event.
From my “Carnacki at Bunscombe Abbey”
However well I think I have done with the style, though, when I look back at examples of the originals, I find that I have invariably missed something – at least to my eyes. There is always some element of subtlety that I seem to miss out when writing my pastiches. Even so, the majority of readers seem to think that I have captured the spirit of the originals. I like to think that no one could ever use Monet’s paintings of Rouen Cathedral as architectural blueprints, but they are unmistakably paintings of that particular building, in the same way that my writing is an impression of the writer whose work I am imitating. Incidentally, the hardest style of all to imitate has been Chesterton’s – he loves his little paradoxes and slices of religion to be slipped in. Very difficult to do.
“He is not a Catholic, then?”
She sighed. “He is nothing,” she said. “That is to say, he claims that he cannot prove that God exists, or that He does not. Therefore, he mocks both those with faith, and those who deny faith. Though he is a most efficient and useful addition to the household, and of great assistance in Uncle Archie’s work, I – we – feared that my uncle would give him his notice if he were to continue in this fashion. It upset my uncle considerably.”
“And yet you tell me that you love him?” asked Father Brown kindly.
“I do. I have faith – faith that I can bring him to belief and into the bosom of the Church. I pray every night for him to believe.”
This interesting conversation (interesting, that is, to the young lady at least, since Father Brown had heard that story, or one very similar to it, many times in his time as a priest) was interrupted by the entry of the young man in question.
From my “The Persian Dagger”
Characters are another matter. How far does one take liberties with the character? I like to think (and many critics have agreed with me) that my Holmes and Watson expand on the originals without changing their basic characteristics. I am not, for instance, going to make Holmes and Watson jump into bed with each other, but at the same time, I feel free to make more of the genuine affection that they feel for each other. The same applies to Mapp and Lucia and the inhabitants of Tilling. The characters are loved because of who they are, and any fundamental change to them would make them different people. They may grow and develop, but any outright change to their personalities would turn them into different people. I loved writing Mrs Weston in Riseholme – her streams of consciousness are a delight to write:
“Well, I really don’t know,” she said, after inspecting Georgie’s pieces of glass and invited to guess where he had found them. “I do declare that is just like the handle of a jug that Mr Weston used to have, which he inherited from his aunt, the one who used to live in Hastings and who married the man who invented a new kind of safety-valve to go on railway engines, and which he broke one afternoon after he came in from playing golf with the Vicar. I remember that he went round in 83 strokes, and the Vicar went round in 82, but he said the Vicar had cheated by moving his ball out of a bunker when he thought no one was looking.” She inspected Georgie’s treasure trove a little more closely. “I was just talking about this last week with Colonel Boucher when he was coming out of Rush’s and he had ordered half a pound of currants because Rush said he had no raisins, and why he had no raisins I couldn’t say if you begged me to tell you because he had some two weeks ago and Cook made a very nice pudding out of them. I couldn’t eat it all, and Cook and Elizabeth said they were the best raisins they had ever eaten in a pudding. And the Colonel said he had played golf and lost by one stroke and that put me in mind of that day and it was also the day the German Emperor made a speech about something which annoyed the Prime Minister and that was the very same day that Mr Weston broke the jug.” She paused for breath. “And how you ever got hold of that handle I don’t know, because I remember giving it to Elizabeth to throw away. ‘Wrap it up well,’ I said to her, ‘because someone might cut their hand on it and die of blood-poisoning like old Mr Marlowe who cut his thumb when he was raking the flowerbed in his front garden and he got blood-poisoning and died two– no, three weeks later, and then we’d get the blame.’ So what she did with it, I couldn’t tell you, but I haven’t seen it from that day to this when you showed it to me just now and I really have no idea where you might have found it.”
From my “La Lucia”
And then there are plots and settings. When you are writing a pastiche, you are writing for fans of the originals. If I slip up and put Mr Twistevant behind the counter of the fish-shop, or have Holmes and Watson take the London Underground Victoria Line, I would be rightly laughed out of court. Research and reference to the originals for facts and settings. And plots cannot be too outrageous (though in all the instances I have mentioned, the plots are pretty outrageous to start with) – they must be in scale with the settings of the piece. It is not impossible that the Prince of Wales, for example, sits on Mallards doorstep and smokes a cigarette. It is, however, most unlikely that he would ring dear Liblib’s belly-pelly and ask to be invited in for a cup of tea.
So, the brief answer to “how do I write pastiches” is, “I write stories that the original author didn’t have time to write”. I like to think that Sir Arthur Conan Doyle might well have written:
As a doctor, I am sworn to protect the life of others. As a human being, I am obviously anxious to protect my own life. And as a friend of Sherlock Holmes, I was never more determined to protect his well-being than at that moment. I fired my revolver, and the wretch dropped his weapon, clutching at his arm with a sharp cry.
From my “The Adventure of the Vatican Cameos”
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