Sometimes it's just got to be said

In some cases the writer doesn’t care that readers are put off by backstory and exposition. They need to know stuff and the quickest way to tell them, is to just tell them. Sometimes it works for the genre. The lead robber of the bank heist will give the “Let’s go over it one more time...” speech, and it's kind of expected.

Sci-fi geeks want to know how your teleportation device is supposed to work (so they can scoff at your poor understanding of quantum physics). And if the reader is heavily invested enough they’ll even let slide the ridiculous rules to your made-up sport that makes no sense (150 points for catching a snitch? Really?) .

However, assuming you want to work in your backstory/exposition in a subtle and elegant way, there are a number of techniques available to you.

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Need to Know: the basis of all story

Any story requires the reader to want to know what happens next. This need to know is called suspense. Usually people think of the big, terrifying, heart pumping moments when they think of the term, but wondering if you need to buy milk is also suspense.

If you can build and maintain suspense in a story, at whatever level, it will be more interesting to read for the reader. See the box above? What’s inside? Not knowing makes you curious, huh?

What if I then say, I’ll tell you tomorrow, and take the box away?

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Loitering With Intent

Why write? I don’t mean in general or in existential terms (I write because I must), I mean the story you’re working on at the moment, your current WiP, why are you writing it?

Most people, when asked this, will deflect or try not to give a straight answer. Like writing a pitch or a synopsis, it’s seen as an awkward chore to be done only when absolutely necessary.

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X is for X-Rated Expletives

Swearing — it isn't big and it isn't clever. Not unless you do it properly (then it's fantastic). There's a joy to swearing that is undeliable. The words feel good. And they can feel bad. It's all in the delivery. And it's also in the predisposition of the recipient. Some people have issues with the words in whatever context they may appear, and that's understandable. But in order to look at their use (and abuse) I will be using them freely, in widescreen and technicolor, so fair warning.

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W is for Write What You Know?

I think this proclamation is often misunderstood, certainly in this form. A better way to put it, I feel, is ‘Use what you know.’

Obviously if you know a lot about the subject that you're writing about then you will bring an authenticity to it. Your words will carry authority. The confidence you feel in the words you put on the page will transfer to the reader. One of the biggest issues for aspiring writers is feeling their story is going to be doubted. People will say, ‘You said she was going to a cool party. I wouldn’t want to go to a party like the one you’ve described. How can you think this is cool?’ 

This kind of insecurity is at the root of a lot of the vague, detail withholding, coy writing at the start of stories. If I don’t say exactly what I mean, no one can judge me. I may not have proved I’m right, but nobody can prove I’m wrong.

One of the ways to get round this 'retreat into the comfortably obscure' is to write what you know to be true. I went to a party like this, it was damn cool, and I don’t care who thinks otherwise. That confidence from experience can get you over that initial hurdle of self-doubt.

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U is for Unexpected Delivery

Within a story the plot will go in various directions and surprises and revelations will occur. But in between all that people will move around and interact, and that’s where writers can come undone. Informing readers of ordinary activities in ordinary ways is going to slide through their heads without really registering. Even if a story is true, if the events are described accurately and with authentic touches, that won’t necessarily make it interesting.

Giving a character goal, even a simple one like making a coffee, and then showing them achieving that goal, is dull. But some writers think if they show the process in great detail it implants meaning and resonance to the mundane. And sometimes it does (but not automatically — you have to know what you’re doing and what effect it will have on the reader). If I think I know what’s going on, and it turns out it’s exactly what I thought, whether it was a big plot twist or some tiny incidental moment, it will deaden my curiosity. Even if there’s plenty of exciting things to come, I will detach from the story, skim or skip bits or give up altogether, because my desire to know what happens next isn’t being stimulated. And dammit, it’s the writer's job to stimulate me.

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S is for Sympathy for the Devil

Make your MC likeable, right? Give the reader something to relate to. Give the bad boy a soft spot. Show he has his heart in the right place. A moment of selflessness. Save a cat. Rescue a turtle. Lend money to a chimp.

Which would you rather read about, a dull, tedious, sympathetic character, or an exciting, daring, son of a bitch?

Obviously you don’t have to make it one or the other, but I would suggest when choosing between interesting and  sympathetic, the primary area of concern is how entertaining your character is, not how much they give to charitable causes.

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R is for Reading Writing Out Loud

You should read your work aloud. Definitely. When you’re alone, when you can’t be overheard, speak the whole thing. Don't mumble or whisper it under your breath. As though you were reading it to someone, which you are (yourself). It will help. It is a little tedious, maybe even excruciating. It will help. 

But there are some drawbacks you need to be aware of.

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Q is for Questions, Questions, Questions

For this post I thought I would answer any questions people have on writing, about their own wip or just in general. I can’t promise the answer will be useful, or interesting or correct, but I can guarantee every question will get an answer of some kind.

Leave questions in the comments section and I will repost it in the main body of the post along with a link to your blog, so a bit of promotion for you also.

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N is for No More Nonsense

Sometimes in a book a character will do something odd or confusing or wholly out of character, but it will be explained later and make perfect sense. The problem for the reader is that they don't know whether the ‘mistake’ is intentional or not. This can sit in the reader's mind distracting them, or even annoy them so much they give up reading the story.

With an established writer most readers will just take it for granted that it will probably turn out okay. It may not, but most readers will give the author the benefit of the doubt. But with a new writer, especially if it's an agency or a publisher that is reading it, so often does it turn out to be an actual mistake, the character just behaving inconsistently, that it is safer to assume that the writer just doesn't know what they’re doing.

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M is for Maximum Minimum

One of the skills a writer needs is to be able to get the most out of the words he uses. It is relatively easy to go on at length about something and by doing so convey what you mean to the reader. If I describe something using as many words as possible you will eventually be able to visualise it. If I keep going it will get annoying. Once someone knows what you mean, they will not appreciate your eagerness to be extra super clear.

It is not just a matter of using the fewest words either. Simply stating facts in a literal manner ends up being very dull. But when you can concisely convey what is happening and at the same time evoke an emotion, a strong tone and specific voice, then you start to create something beyond information, you create story.

It is something of an irony that the most efficient, succinct way to get across something that people instantly recognise and relate to is to use a cliché. If I say 'He had a face for radio' you know exactly what I mean and it is a clever way of saying it, and kudos to whoever came up with it. The thing is, it's easy to get a laugh with someone else's joke but that doesn't make you funny. Being an author is about authorship and you want people to know that what they're reading is you, it's your work and your ideas and you should get the credit (or blame).

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K is for Kill Your Darlings?

This well-known phrase, attributed to various people, basically means that sometimes we hang onto something in the a purely because we like the sound of it. It may be irrelevant, it may be long winded or unbalancing, it may disrupt flow and pace, but because it’s clever, or funny or lyrical, we see it as having earned its place.  I think we all know when we've written a nicely turned out phrase and who wouldn't want to show that off? The problem is it means the rest of the narrative suffers and, difficult as it may be, the sage thing to do is to remove it.

I don't necessarily agree.

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E is for Ends with an Epiphany

You have a character with a goal, he reaches his goal, the end. Right?

A bit boring maybe. Okay, you have a character, he has a goal, he faces obstacles, he overcomes them, the end. Better?

It depends, I suppose. If the obstacles and the way he overcomes them are interesting then that would be fine. It's all a bit mechanical though. Shouldn't there be a more emotional aspect to a story?

You have a character, a vampire kills his wife, he hunts down the vampire and finds an army of them. He sacrifices himself to stop them. The end.

The problem is what I'm suggesting is a variation on a simplistic theme. A person has a goal, when they either achieve it or fail to achieve it, the story ends and obviously that is how most stories work. But when you get to the end of a story you want some kind of moment. A feeling of satisfaction. Everything has been building to a point and now that  you’ve arrived you want it to have some kind of meaning. And the way for that to happen is for the character to not just achieve (or not achieve) his mission, but for him to gain some understanding from it. You want him to have an epiphany.

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B is for Backstory-a-go-go

Let me tell you a joke. Two men walk into a bar. And the barman says, “Welcome to the Trapatonni Bar and Grill, first opened in 1932 by Giuseppe Trapattoni, a squat Sicilian who left his homeland with only the shirt on his back and a dream that one day…”

How much more of Giuseppe's story would it take for you to realise the background information had nothing to do with the joke? Not long, I'm guessing.

It used to be different.

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A is for Angry Young Men

It’s easy enough to say a character should be active, driving the story forward, have a goal etc. but what if he isn’t that sort of character?

A lot of young male writers that I read and critique in the various writers’ workshops I belong to, write about young male characters who don’t know what they want, who haven’t decided what their goal is, who don't care about anything. These writers want to write a story of discovery. They want to write about how to figure out which are the important things. They want to rage against the ridiculousness of life, in no particular order.

They want to write about these things because life doesn't conveniently offer up a neat, pre-packaged plot to give existence meaning and direction. That’s what they’re interested in, because that’s what they feel about their own lives. Certainly people have written books about such characters, so why not them? If it reads slow or aimless, then it’s literary fiction. It’s character driven. It’s intentionally mundane to reflect life. But how do you stop it being boring for the reader?

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Book Autopsy 2: A Love Story

In my last post I analysed the first chapter of Ira Levin's A Kiss Before Dying, but to be honest this was something of a soft target. As a thriller it naturally follows most of the 'rules' of contemporary literature popular with creative writing teachers and how-to books. Starting off with a hook, keeping pace high, using action to move the plot, these are all fairly standard for the genre.

My dissection of the first chapter still revealed some interesting things, but I think it would be even more intriguing to take the same approach with a book from a completely different genre: Romance.

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Chapter One Analysis

I'm going to take the first chapter of a successful novel and break it down to see how the author hooks the reader, what information he feels is necessary at this point of the story, how he approaches things like POV, character and voice.

The book I've chosen is A Kiss Before Dying by Ira Levin (Rosemary's Baby, Stepford Wives). A 237 page, tightly written suspense thriller, it is a commercial novel but with many unconventional touches, extremely well plotted with some very clever twists and turns. It was his first novel, which is also one of the reasons I chose it. Chapter One is just over four pages long.

There will be the spoilers. 

Chapter 1 starts with these lines:

His plans had been running so beautifully, so goddamned beautifully, and now she was going to smash them all. Hate erupted and flooded through him, gripping his face with jaw-aching pressure. That was all right though; the lights were out.

On the surface this gives a very clear indication of his mood.  In fact it tells the reader directly that 'he' is angry and blames 'she'. The writing is visual and the last line gives a nice sense that he's hiding his feelings, but in many ways this would seem to be a overly 'telling' start. But as we'll see, it isn't. 

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Take my advice

I enjoy reading “how to write” type books. Whether they're on fiction, screenwriting or plays, by established writers explaining their method, or by somebody you’ve never heard of revealing their secret formula for instant success. I find the subject fascinating — but just because their system works for them doesn’t mean it’s going to work for me.

I tend to write all night, with plenty of coffee and hard boiled eggs for sustenance. At dawn I stop everything and go jump in my private lake, cutting through the water like a fart-powered  torpedo.

—Stephen King

The problem with most of these sorts of books is this:

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The Rewriting Blues

You get to the end of your story, you start rewriting. You show it to some people who all think it has promise, they like this and that about it. It’s not perfect, but you already knew that. You keep working on it. You trim, you hone, you tinker. Weeks, months — it’s slow going, but it’s improving. One day you finish. Hurrah!

Most people are encouraging. Some people point out flaws, but they aren’t really getting what you’re going for. Not everyone’s going to like it — horses for courses. You stick to your guns. Still, there isn't  an overwhelming tide of publishers knocking down your door, and to be honest, there’s something about your story, now that you look at it after six months, that doesn’t seem quite right...

Then, someone rips it apart. 

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Go with the flow

Apart from what a story is about, there is also the matter of how it is written. Once the reader is caught up in the story they can find themselves being drawn irresistibly through the exciting parts but just as irresistibly through slower sections. To some degree this is to do with being engaged with the story overall and the characters, but it is also to do with the way it is written. The way the words are put together, the construction of the narrative, the syntax used to create a rhythm.

Some people are obviously just gifted in this regard. They naturally put words together in an attractive way. But that doesn't mean it can't be learnt. On the most basic level there is spelling and grammar and typos. Just being able to read the text will make the flow better. But assuming those things are at a competent level, there is  another level of sophistication beyond that, which will make the narrative flow.

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