Dear Internet,
It’s a long, lovely holiday weekend and I’m digging into my stack of books, aided by hot tea, for entertainment. Since my own book has stalled, I thought it would be a good time to take notes on the books I’m reading to see what worked and what didn’t and apply it to, hopefully, jump start my own writing as well to see what makes me happy reading. (AKA, these notes are mainly more for me than you, but hey, if you get something out of it; Awesome!)
The number one rule you’ll see anywhere on writing is, “read more,” but is that all? Yes and no. Below are some of my notes from chewing through a few books this weekend.
♥If influenced by a particular era, do the research. In reading a book set during the Belle Époque (France’s version of the Edwardian era / American Gilded age), the book should have a feel for that period. This one did not and it felt what details were made available were slapped on from Wikipedia. Just no.
♥Alternating POV should move the story along, not show the same scene from different prescriptive. Thus far, I’ve finished three books this weekend, of which two used alternating POV as a story device. One used it well to advance the story, spending less time on recreating the setting, while the other not so much. In the second, I felt as if the author was slapping my hand for not getting something right so they had to tell me again.
♥Chapters are not always necessary. Yes, they break up the scenes and action, but if done stealthy, the shift between could remain seamless without the use of chapters. Chapters may be like periods, pauses to break up the scenes, but are not necessary. Terry Pratchett was the king of lack of chapters. In one of the books I read this weekend, the switching happened with the alternating points of view and was so seamless, it took me half the book to realise there were no chapters.
♥The length of a book, by page number, does not necessitate how good it is. The ones on the longer side are more than likely just like to hear themselves read. Get it? (They all can’t be winners.) One book I’ve read recently, and was quite good, was a slim 150 pages. Another book that was pure dreck clocked in at 400. Length does not mean everything, as much as we like to believe.
♥Give the book an old college try and read the first 50 pages. I’ll go out on a limb and say this applies to writing as well; if you can’t make the story palatable within the first 50 pages, neither will your readers. And readers? There are too many good books for you to read terrible ones.
♥If heavily using phrases of a language that isn’t your primary language or the colloquialisms of a particular thing, include an appendix of sorts. It’s presumptuous to think your readers are going to have the same breadth of knowledge on the same topic you’re writing about. An aforementioned book set in the Belle Époque period heavily used ballet terms and dropped French like it was ice cream sprinkles. This makes sense because this was the subject matter, BUT if you aren’t familiar with ballet or spoke even rudimentary French, a lot of what was happening with the characters would be lost on you. Yes, I get it, we learn by reading outside our comfort zone but there is a difference between needing to look up “demagogue” and wondering what in the hell is “battement développé” and having translate.google.com by your side.
There were a few more main things I forgot to write down, but this is the gist of it. So it is true, the more you read, the more you learn. Hrm.
x0x0,
Lisa
P.S. Last winter I decided to put together a newsletter for those who read my stuff but can’t be arsed to check it out daily (no worries, I get it, I do!) so this is a monthly round up. I’ve decided to resurrect it again! Called Skaldic Press Presents, you can check out the archive here (http://tinyletter.com/amostunreliablenarrator/archive) and subscribe here (https://tinyletter.com/amostunreliablenarrator).
P.P.S. There are GIFs involved!