I have to admit I love texts that include in jokes and references to other books and media. That’s why I’m such a fan of Philip Jose Farmer, Kim Newman and Howard Waldrop.
When I wrote The Revolutionary Tapestry I wanted to do some of this myself. Not just because it would be fun to do, and hopefully fun for readers who spotted them, but because it is an alternative world novel. One of the recurring jokes is that incidents in the book inspire later writers – including Jarry himself. A case of art imitating life.
The Jarry references are the key ones – there are scenes that reflect elements of The Supermale, Days and Nights, Le Dragonne and some of his journalism. The other references – more obvious to those who don’t have a good knowledge of Jarry – are around the Fantome character. He is supposed to be the inspiration for Fantomas, the Phantom of the Opera, the title character in the Werewolf of Paris, and the Lone Ranger! There are also references to Verne’s Robur the Conqueror.
This came as a bit of light relief to the historical research I had to do to get the period right. All bar two of the speaking parts are real people and have largely the same back story as they did in our world. The trick to this was to avoid the “Hello Mr Wilde, have you met your fellow Irish playwright George Bernard Shaw.” school of historical fiction – normally worse in visual media than written. I don’t mind a bit of name dropping if it is done subtly: “Roger saw the man he was after – he was at the far side of the room talking to the Prince of Wales”. Generally,however, if I was going to introduce someone I wanted to have a reason for them being there.
The other challenge I wanted to overcome was the need to drop in background information without a reason for doing so in the plot. It is difficult to totally avoid it, but by including some of it in during reflection by characters on their current situation I hope I avoided the worst of it.