Welcome back, readers, to a Monday post that’s actually on a Monday! BaBW is back to its proper day once more! So, to commemorate the occasion, what’s today’s writing topic?
I can see the curious, questioning looks even from here in the past, so let me explain a little further.
One of the questions I get asked from readers—especially those who are about to make the transition to new writers—is how I’m able to fill my books with such complicated plots and keep everything moving at a steady pace at the same time.
This is a legitimate question. I want to stress that up front. As a new writer, nothing is more daunting than looking at someone else’s book with all it’s intersecting plot threads and carefully doled out clues and thinking “How on earth do I do that?” To a new writer, it seems like an almost insurmountable task: There are all these different parts of the story, and all of it seems to be fitting together just so the guide to reader to figure things out or move along with the story at the same pace as the characters … And once you stand back and look at it, that’s quite a bit of work!
And, to be fair, the average English class that many are going to have gone through in their high-school years has very low odds of touching on this, which only compounds the problem. For new writers, it just seems like something that writers do, but no one is explaining how. Again, this is why I encourage taking creative writing classes if they’re available to you—they’ll teach this kind of stuff and more.
But, that aside, point is, most young writers see a full, complex story and wonder how on earth an author was ever able to keep everything straight. Crud, some don’t. Read through a Sci-Fi book the other day (giving an author I’d read before another shot because the premise of the book was very unique, even if I’d been disappointed in an earlier work of theirs) where the author didn’t dole out their complex story well—at all. Here’s how it ending up playing out: You got the opening chapters, introducing the characters, and giving you roughly 80% of the information you needed to know for the conclusion of the story. Then, following that was most of the book, roughly two dozen chapters of the characters just making their way to the conclusion while talking but never really doing much for the story other than “We go from here to the their, this ending is stressful.” Near the end of that bit, which was most of the book and pretty dull, we got another 10%, and then the conclusion happened almost immediately, bringing with it the last 10%.
Do you see the problem? The book had a great premise and an interesting idea, but the author didn’t know how to dole the information out. The result was a massive dump of exposition at the beginning, and a small one at the end with the final bits the reader needed … and then everything in-between was just sort of … there. It could have been summed up in two or three chapters rather than twenty.
Or the story could have doled out its puzzle pieces better, distributed them evenly across those intervening chapters, and given them some purpose to the overall plot (as opposed to the “And we’re traveling … and we’re traveling … and we’re traveling …” that the story became). Something that would have given them impact on the story, rather than just being happenstance.
Right, so that’s the second time (not counting the title) that I’ve used that term, so it’s high time I explained what I mean when I write it.