Story approach

[pathele]

When you write, which of these approaches do you favor?

1. MC discovers their power unexpectedly (“You’re a wizard, Harry”)

2. MC has already established and something happens (“I heard the mailman approach my office door, half an hour earlier than usual.”)

I tend to like to read both, but I find the first is more difficult for me to write. (not worse, but not as much to work with and you have to be more clever and creative to make it believable)


-paul

[Quantus]

It really depends on what you are wanting to do witht he character/story.  the first tend to eb easier for me if im looking at a first person sort of thing because as things get expained to the otherwise clueless MC they are also getting spelled out for the reader.  2 can work too, and lends itself to a feeling of more weight/depth/history to the story, because you can hint and other happenings as if there were other stories to be told. 

I general as a reader I tend to gravitate to the first type, mostly because I enjoy stories where somebody is kinda thrown out of their depth all at once, but also because when the character has to learn how to work his power, authors tend to go more in-depth with the workings of the magic system more than if they just write it off as "after years of study he can X"

Can you tell us more about where youre looking to go with the project? 

[pathele]

This question came up in my writers group. We were talking about the types of stories we tend toward in our writing and reading. It was one of those passing conversations that stuck with me and I was curious.  Most of my group tend to write the second approach. I tend to write the first.
Where I find it more challenging is when I need to explain something that the character not only doesn't know, but either doesn't know that they don't know, or they understand that they are missing knowledge, but have no idea how to acquire that knowledge. If that makes sense. 
My current project is more along the lines of the second approach.

[belial.1980]

I'm writing method #1 right now, though I think I'd prefer #2, since the first has got me pulling my hair out, lol. JK

Yes, #1 is definitely more challenging. I have a hard time writing what I'd consider a convincing response from the character who's just witnessed life changing events. However, if done well, I think the author can draw the reader in very effectively. Origin stories are tough, but they can really draw the reader in and get them interested in the character, since their understading of the world grows along with the protagonist.

Where I find it more challenging is when I need to explain something that the character not only doesn't know, but either doesn't know that they don't know, or they understand that they are missing knowledge, but have no idea how to acquire that knowledge.

Hmmm. Which voice are you writing in? If you're using the 3rd, you could clue in the readers, while leaving the character in the dark. This can create a sense of tension.

IE Our illustrious hero, Bob ventured into the cave, unaware that the mysterious inscription carved in the cavern entrance was actually a message of warning in ancient Sanskrit--"Beware the giant, man-eating gopher than dwells within."

Alternately, with the first person voice you can clue in the readers through the narrator's experiences. The narrator might not know what's going on, but you can always instill a sense of dramatic tension, allowing them to ascertain that they've stumbled into a bad situation unawares:

I heard something crack like a dry twig beneath my boots. I looked down, and in the dim light of my lantern I saw the grisly skeletal remains of another explorer who'd ventured into these caves. I saw his bony fingers clenched around a dusty notebook. I flipped through the pages, finding mostly dull notation about rock formations, except for the last few pages which mentioned some large, unknown animal that the deceased explorer had glimpsed stalking through these tunnels. His final entry was, "Egad! The gopher has returned! Heaven save me, the goph--" Nothing else was written after that. At that very moment, I heard a strange, shrill chittering echo through the surrounding darkness..."

Of course those were ridiculous examples right off the top of my head, but maybe it'll help you hatch some ideas.

Addressing your other concern, where the MC has no idea where to get the knowledge they need...
I'd say it depends on exactly what they're going after. Libraries, google.com, strong arm techniques, or cutting a deal with the devil are all options. Did you have a specific example we could dissect? 

[meg_evonne]

Where I find it more challenging is when I need to explain something that the character not only doesn't know, but either doesn't know that they don't know, or they understand that they are missing knowledge, but have no idea how to acquire that knowledge. If that makes sense.

As to 1 or 2, would depend on the story.  the first approach would need to have an extremely detailed, many layered control and understanding of the world you've created.  The 2nd lets you find your way as your character does.  That might make #2 easier, but it also allows you to expose character along with the changes at a rate that is more comfortable for a lot of readers. 

As to the quote above....  You need a Bob. :-)  Or a Yoda type.  But since you feel more comfortable with #1 this might be challenging for you.  Another way to handle it is to come up with a scene where the MC has to learn to survive and thus learns it...  or a series of scenes where the MC stumbles along learning a little more each time. 

Just some ideas.  You're sure to get more.  Don't forget to come back and tell us what you decided to use. 

[Lanodantheon]

The 2 options both function equally well but they lend themselves to different things. The benefit of "You're a Wizard, Harry." Is you get to use the magic as an initiating Event. That is, the MC's life starts in balance and the magic throws his/her life out of balance. THis is a key part of "Classical" Story structure. The benefit of option 2 is that you can start in the midst of things with a character you only have to explain what you need to about.

The Magical School Bligsroman desconstruction project I'm slowly working on favors option 2 for a few very important reasons:

1. Unless you are absolutely certain about your character's origins, option 2 lets you just have the complete character and state what that character is here and now and not have to worry how he/she got there.

2. In my own project, my MC hails from Pennington, NJ. Living on the other side of the country, I can't really do any more research than I already have without actually going there which is an impossibility atm.
Starting my character fully formed, with his exact origins left unsaid until needed is essential to my situation. It also relates to the themes of my story.

3. Most importantly with option 2: You can always go back to the backstory. Option 1 sets the backstory in stone unless the narrator is very unreliable and/or you do lots of retconning. Option 2 lets you have an unreliable narrator until you need to otherwise.

Because of Reasons 1, 2 and 3, my project has to use the Quantum-Leap Brand Swiss Cheese Memory as my MC calls it. It freaks him out. This lets me not have to think of everything about my MC's backstory until I can get to that part of NJ(When he gets his magic, my MC's life gets turned upside down while he is at school).