A few weeks ago I embarked on a re-reading of all of the Discworld novels by Terry Pratchett. In order. Although I've read all of them numerous times, I'd only ever actually read them in order once before. It is, I must admit, a mammoth undertaking with more than thirty novels published. But you get to see the development of ideas, foreshadowing even if unintentional, characters settle into their roles and a number of recurring characters gain definition. 

Of course, the first and previous time I did it, I was amazed at how so many things were so much better for having read them in the original order. I can't remember any examples, unfortunately. This time, however, I'm noticing a lot of things I know I didn't notice last time. Since I'm developing my own writing craft, I am paying attention to how Terry has developed over the years. The obvious change over the years is that the novels have gotten longer. For the longest time, I thought that this was simply a natural result of his skill improving. Now, I'm not so sure. I have heard from another author that publishers encouraged longer novels from their fantasy authors quite some years ago. 

But I also noticed something else: novels like Reaper Man and Soul Music have two stories intertwined. When the discworld novels started getting noticeably bigger, I wonder if Terry found the way to do that was to write two stories that only met near the end. Some novels this is done better than others. Witches Abroad successfully mingles the two stories so closely they never feel separate. But Reaper Man is the opposite. And yet Small Gods is clearly just one story with a few divergences as the plot follows several characters at once. 

Another thing, too, is how long it actually takes Terry to settle down into his style. Wryd Sisters is probably where his style first feels relaxed. (Significantly, it is the first one I ever read.) One of the major characters, Granny Weatherwax, is already established by this point so this novel uses her as a foundation for Lancre and the other people around her. To great effect. 

The other interesting point is that there's another transition point around Small Gods or Lords and Ladies. It's difficult to describe, but the closest I can get is that now the sort of characters that will crop up in the Discworld are well established at this point, and new ones just for one novel are slightly predictable. Terry has bedded down many of his stereotypes and cliches by this point. The literal response that derails careful logic. The power of belief and what that can achieve. There's an essential Discworld-iness to most new characters by this point that is what the fans clearly savour.

I already know that in the most recent books, Terry is striking out in new directions. The Ankh-Morpork of Going Postal is quite different from that of Equal Rites. Granny Weatherwax was almost too powerful in Carpe Jugulum and has by necessity become only a part of the supporting cast around Tiffany Aching. There's only so many times The Watch and Vimes can spectacularly save Ankh-Morpork.

The other trap is that by even book sixteen Terry is considerably experienced at his craft. I, who have not finished even one novel, should be careful comparing my writing to Terry. Undoubtedly The Colour Of Magic had bit-parts that would not work in more recent novels. But back there is where my skill level is closest to his. Every writer must start somewhere.