On interrupting the story for your brilliant philosophical ideas

I’ve had this interesting question:

My novel has plenty of story and character development but certain parts depend on the brilliance of the ideas the characters discuss. Some readers have said they could do without those parts, but others have told me they love the ideas. 

Are you an editor who worships storytelling above all else and can’t stand portions of a book that slow things down? Or one who likes thought-provoking portions of a book even if they detract from the action?

Simon

Hello Simon

What a provocative, chewy – and useful – question.

Every editor has a different idea of storytelling, pace, tolerance for philosophical materials that aren’t plot etc. So does every writer; so does every reader. This is my personal take.

Having said that, I’ve edited a lot of novels that do this, where the action seems to stop so that the reader can be given a lecture, where the characters appear to be mouthpieces for a philosophical or moral argument. I don’t think it works. I find it pushes me out of the characters’ world and makes me disengage.

Storytelling

You ask an interesting question about storytelling. Storytelling is much more than plot actions. It’s also your voice, the things you direct the reader to be interested in. Usually this is by sleight of hand, and by involving the reader in the hearts of the characters.

Pace

You speak of slowing a novel down, as if slow is bad. But not all parts of a novel have to move fast. Sometimes a slow passage is very welcome. Sometimes an entire book should be mostly slow, because that suits the material – especially for very interior books where we savour the detail.

Pace is not necessarily about being fast, although a well-paced book will hold your attention so well that hours will pass without you realising.

Pace is about balancing faster and slower, about judging what will keep your reader’s attention. It’s about judging what’s right for the tone and mood of the book. it’s also about balancing light and shade – humour and optimism versus darkness and peril or tragedy.

Passages that ‘detract’…

You mention passages that ‘detract’… I don’t like anything that ‘detracts’. Who does?

Personally, I see it as a failure of artistry. If a passage looks like it shouldn’t be in the book, it shouldn’t be in the book. I feel it’s your job as spellweaver to make everything belong. But we all have different tolerances. You might enjoy books that stop the action for long passages of philosophising in which the characters seem to have abandoned their own agendas. I find it looks preachy.

How not to preach

My preference is to knead this material into the story, to dramatise it – so that it doesn’t hit the reader as a lecture. I prefer to make it part of the texture of the characters’ worlds. The philosophical ideas become the rules of the story world – creating their moral dilemmas, their difficult choices, their obligations, their personality clashes, their lasting enmities, the things they aim for or fight for or want to break away from.

Certainly a great story can provoke thoughts, but the most skilful stories achieve this by provoking emotion too – a sense of right, wrong, difficulty, impossibility. The reader learns the ideas effortlessly, plays with them in their mind afterwards, and greatly admires the writer who planted these thoughts.

But you may not like that. We’re all different.

PS There’s a lot more about this in my plot book

Thanks for the pic Smackfu on Flickr

Guys, what’s your take on this? My way or Simon’s way? And if you have a question you’d like to put to me, I’d love to tackle it.

Meanwhile, If you’re curious about my most recent writerly toils, here’s my latest newsletter

Pace and story structure: a blueprint for keeping the reader gripped

I’ve had an interesting question from Josephine of the blog Muscat Tales:

Can you talk about pace? How to speed up/slow down the action/plot – and when? Is there a general blueprint for this or does the story type dictate the peaks and troughs of emotion, action and change?

There’s much to chew on here. And I think I can provide a few blueprints.

In order to answer, I’ll reorder the questions.

First, a definition. What’s pace? Put simply, it’s the speed at which the story seems to proceed in the reader’s mind. It’s the sense of whether enough is happening.
When to speed up or slow down?

This comes down to emphasis. You don’t want the pace of the story to flag. But equally, you don’t want to rip through the events at speed. Sometimes you want to take a scene slowly so the reader savours the full impact. If you rush, you can lose them.

Here’s an example. In one of my books I had feedback that a scene read too slowly. Instead of making it shorter, I added material? Why? I realised the reader wanted more detail, that they were involved with the character and needed to see more of their emotions and thoughts. The feedback for the new, longer version? ‘It reads much faster now’.

More pace, less speed. It could almost be a proverb.

So pace is nothing to do with how long you take over a scene or the speediness of your narration. Whatever you’re writing, you need to keep pace with what the reader wants to know. If you linger too long on something that isn’t important, they’ll disengage. If you race through a situation they want to savour, they’ll disengage. But when you get it right … they feel the book is racing along.
How to keep the sense of pace?

This comes down to one idea: change. The plot moves when we have a sense of change. Sometimes these are big surprises or shocks or moments of intense emotion. Sometimes they’re slight adjustments in the characters’ knowledge or feelings, or what we understand about the story situation. A change could even be a deftly placed piece of back story. But every scene should leave the reader with something new.

This feeling of change is the pulse that keeps the story alive – and keeps the reader curious. In my plot book I talk about the 4 Cs of a great plot – two of them are change and curiosity. (The other two are crescendo and coherence, in case you were wondering.)

Where to place the peaks and troughs of action and emotion

And now to peaks and troughs. These are your major changes that spin everything in a new direction. As a rule of thumb, they work best if they’re placed at the quarter points (25% in, 50% in, 75% in). You usually need at least three, but you can have more if you like. Just space them out equally through the manuscript so you make the most of the repercussions. But that’s not a cast-iron rule (more here about general story structure).

The biggest question is this – has the plot settled into an unwanted lull? You might solve it by moving a pivotal revelation to one of these mathematically determined points.

Does the story type dictate the use of pace and change?

Yes and no.

Why no? Because these principles are universal – a change is whatever will keep your audience interested. It might be an emotional shift. An earthquake. A person recognising a stranger across a room. A betrayal. A murder. A cold breeze that echoes the fear in a character’s heart. An assailant jumping in through a window. A line that pulls a memory out of the reader’s own life. It’s all change.

Why yes? Because the type of story will dictate the kind of change your readers want to see. Thrillers need big bangs and danger; interior literary novels need shades and nuance.

Why no, again? Because all stories need change.

Thanks for the pic Joe Mabel

There’s lots more about pace and structure in my plot book, of course.

 

 

 

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Any questions about structure or pace? Any lessons learned from experience? Let’s discuss.