I adore time travel stories. As far back as H.G. Wells and
Mark Twain, the concept of time travel has given us the opportunity to examine
how things change and how they stay the same. It is the ultimate
fish-out-of-water scenario, and it’s one of my favorite to write because the
possibilities are limitless.
Nearly any type of story can involve time travel. Take, for
instance, “The Time Traveler’s Wife” by Audrey Niffenegger, which is one of the
most romantic stories I’ve ever read. Henry DeTamble, somewhat like Kurt
Vonnegut’s Billy Pilgrim in “Slaughterhouse Five,” becomes unstuck in time and
spends his life shifting back and forth between present, past and future.
Sometimes knowing what will happen, and yet never knowing when, Henry examines
his life from a rare perspective. But “The Time Traveler’s Wife” is not
categorized as science fiction, or even fantasy. Nor even romance. And that, to
me, is a good thing. All fiction should be fluid of genre.
In writing stories of time travel, the field of genre can be
quite open, but I believe there are certain rules that must be followed, for
the same reasons we adhere to spelling and grammar conventions. It aids
communication. Not so much to be rigid about tropes, but for the story to make
logical sense. As in any world building, regardless of genre, consistency is key.
Of course I have my preferences, and I’ll say right here
that Tim Powers’ “The Anubis Gates” is my bible. Powers begins with a mystical
time transport mechanism and lays it over a quasi-scientific approach, and
makes us believe his premise, which is that there are time portals that can be
used to the advantage of those who know about them. The story is deliciously
convoluted, yet it is so perfectly consistent internally that the reader can
trust the world that has been built. Suspension of disbelief is effortless.
In Powers’ work, history does not change. That is, the story
established at the beginning of the book is not changed by the actions of the
time-traveling characters. That is the choice I also made in my first series,
in which my main character, Dylan Matheson, is swept back in time to fulfill a
destiny that had happened long before he was born. Quite the opposite of what
was intended by the Scottish faerie who had brought him there.
That is not to say that changing history is an inherently
bad idea. Sometimes the story depends on history changing, which points out the
interdependence of cause and effect. The concept of Butterfly Effect, though a
mediocre movie, is a wonderfully broad area of exploration. But there are
warning signs on the road up ahead. Changing the story makes for a complexity
of cause and effect that can be disastrous. If the past is changed, then can
the time travel have happened in the first place? It’s the classic paradox: if
I travel back in time and kill my grandfather, how could I have been born to
travel back in time to kill my grandfather? Often it’s good to steer clear of
that particular paradox unless you’re trying to solve it. And best of luck with
that.
Only one of my time travel stories changes history. “Kindred Spirits” involves a woman who is transported to the American Civil War by a
spell she recites from an old diary. Late in the plotting process I realized
that in changing the past I had removed the mechanism by which Shelby traveled
to it. To fix that problem, I very carefully reconstructed the plot so that the
mechanism remained and there was no paradox. Even so, there were still some
things that appeared to be paradoxes. It required careful reading to follow
both timelines and know where they diverged. Some readers follow it, and some
don’t.
I also like to avoid making a character his own ancestor.
Besides introducing a cause and effect paradox, I think it’s a little creepy no
matter how far back in the family the character is introducing himself.
The best handing of this I’ve ever seen was in the movie
“The Terminator.” In one of the tightest screenplays I’ve ever seen, time
traveler Kyle Reese arrives in present day to save the mother of his mentor, John
Connor, and in the process becomes John’s father. Maybe not a surprise (“Tell
me about my son.” “Well, he’s about my height...”), but very, very cool.
The last and not least important thing in writing time
travel is to decide on the mechanism and stick with it. Decide where the
portals are in both time and space, why they work, and how much control the characters have over
them. If the portals travel in time, make them consistent and explain why they
travel. If a character enters a portal at X time and travels back twenty years
to Y time, spends three days and then travels back to X time plus three days,
explain why the X portal has moved in time and the relationship between X and Y.
Or, even worse, if the character travels again to the Y portal, if the Y portal
moves it should be consistent with any movement of the X portal, and should be
explained. And adding portals late in a series should be well supported and not
done willy-nilly in either time or space. Indulging in hand-waving and making
vague mutterings about “wormholes” doesn’t cut it. This is basic
world-building, and changing the rules late in the game just isn’t fair to the
reader. Be clear and consistent.
These are some of my favorite things: Quantum Leap; A
Connecticut Yankee in King Arthur’s Court; The Terminator; The Anubis Gates;
Time and Again; Somewhere in Time; 11/22/63; ...well the list is too long for
this essay. I love time travel, and will read just about anything involving it.
About Julianne Lee: At twelve I began to write for fun, which I think is the only real
reason to write fiction. Daydreaming with a purpose, and gradually I
realized I could gain approval for the very thing teachers used to
criticize me for in class. When I was thirty I decided to write for
money and bought a copy of Writer’s Digest.
Twelve years, twelve completed novel manuscripts, and eight proposals for uncompleted novels after buying that Writer’s Digest, I sold a novel. Son of the Sword was my thirteenth completed manuscript. Lucky thirteen. Since then
Berkley has published two time travel series set in historical Scotland,
and two straight historicals set in Tudor England. I also write
historical mysteries set in Restoration London, under the pseudonym Anne
Rutherford.
I think The Time Traveler's Wife is one of the most beautiful books I've ever read. Not only for the content but for how it was delivered.
ReplyDeleteI've often wondered if it's possible to construct a time-traveling story that manages to bypass the paradox of changing history. Perhaps it would be as easy as the traveler being able to step from one parallel universe to another!