Now that NaNoWriMo is over, I have time to reflect on the process of writing a book. I am reminded by this iconic scene in pop culture:
[Two men sit across from each other drinking coffee in a diner]
“This should be the show.”
“You want to do a show about nothing?”
“Everybody’s doing something. We’ll do nothing.”
It never is about nothing, though. Even the most mundane events are something, but who wants to watch or read about mundane events? (I see that no one has their hands raised.)
When writing fiction, something has to happen. And not just one thing. In The Lord of the Rings, the trip was not uneventful. They were chased, attacked, pursued, captured, and trapped. They needed to venture through caves, haunted woods, got caught in snow and floods, and fought their way through armies. It was one thing after another, and it felt like the whole Middle Earth was against them*. And they only lost one, and he wasn’t even part of the original group. Pretty good story, huh?
They lost two? Well, you can’t count Gandalf—
Just because. It’s magic.
Then don’t read it then.
No need for that language…
The reader has already bought into the premise that the characters will encounter difficulties and problems they will have to solve to survive. That’s why they are reading your story, right? Your characters have to get into jams—and out of them. If they don’t, the story ends.
Things have to happen on a regular basis. Too much time between events or not enough suspense will lose a reader. Too many in a row will exhaust them (The Fast and Furious, anyone). How many crises is too many to have on an adventure? And if your protagonists keep finding ways to solve them, does it become unbelievable? There is a fine line between believable and ridiculous —even when you suspend your disbelief.
When it comes to believability, science fiction has the majority of nit-pickers. There are great writers who research and employ experts in order to get the science (or potential science) right. I don’t write technical science fiction. I don’t enjoy reading overly technical stuff either and I’ll skim over those parts. So, how do I explain my technology to a reader?
Q: “How does your Faster-Than-Light drive work?”
A: “You press the green button.”
A: “You get there fast.”
How many times do read read about or watch a main character dangle precariously off a cliff or building and still feel tense, knowing that they are going to get out of this alive . . . or will they**? Can you kill off a main character? Sure, but you have to do it in a way that moves the story forward—and not in the first chapter.
Also, have all the good (and bad) tropes been used***? Is there anything truly original or is everything just a variation of a previous story. I found myself having to go back and change something I previously wrote because I’ve read a published book with the same idea. The same book that’s now in the hands of my editor. Yeah, there’s stuff in there that I swear I thought up all on my own. Really.
Readers read to escape. Writers write for much the same reason and to entertain, of course. You can’t entertain with a book about nothing, can you?.
*Spoiler alert: It was
**Spoiler alert #2: They do.
***Spoiler alert #3: Yes
Leon Stevens is a multi-genre author, composer, guitarist, songwriter, and an artist, with a Bachelor of Music and Education. He published his first book of poetry, Lines by Leon: Poems, Prose, and Pictures in January 2020, followed by a book of original classical guitar compositions, Journeys, and a short story collection of science fiction/post-apocalyptic tales called The Knot at the End of the Rope and Other Short Stories. His newest publications are the novella, The View from Here, which is a continuation of one of his short stories, and a new collection of poetry titled, A Wonder of Words.
Book Two the The View from Here trilogy is now available: The Second View
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