Media versus the Real World

On a recent blog, the writer complained that the heroine in a novel didn't react as she thought she should. The heroine had a chance to shoot one of the villains but took cover when an unknown shooter shot the gun out of the bad guy's hand. Instead, she took cover.

Obviously, according to this blogger, whoever had shot the gun out of the bad guy's hand was on the heroine's side, and she finally had a chance at getting the bad guy.

I argued that in the real world, unlike the movies and TV, a trained marksman would never shoot the gun out of the hand because it is a near impossible shot. As my dad who was an expert marksman with a military background told me, "The Lone Ranger can shoot the gun out of a bad guy's hand. Us mere mortals should aim for the center of the man's body."

In the real world with bullets flying, a smart person with even a little training would get the heck out of the way because it's likely that bullet that took out the bad guy's gun was a miss, not deliberate, and she would be betting her life by not getting out of the way of someone who may be after her.

In the real world, most people are bad shots with no training. Even in the Old West, very few people died in a gun battle and then only after an incredible amount of ammo was used.

I've always believed it's wiser to go with fact, not media nonsense, because I'd rather not have readers snort and toss the book down because they caught me in a stupid error. There's nothing I can do about people who don't know any better so I don't worry about them.

How Romance Changed Narrative Forever

Back in the late Seventies and early Eighties, romance, outside of category Harlequin romances, was a brand new genre, and the early writers were blasting up the bestseller lists while publishers were scrambling to create their own romance lines. Lots of bad writing was being cranked out because publishers were so desperate for content they'd publish almost anyone.  Then a group of bestselling ladies decided that the romance industry and its writers needed a voice, a place to nurture newer writers, and protection against the publishers and the torch-bearing troglodytes with their chant of "women writers and books for women bad."  RWA was formed.

RWA chapters appeared all over the US, and they taught new writers craft and the business side of publishing careers.  The other major writer organizations didn't have an interest in teaching and nurturing new voices, and the Internet wasn't an option so newer female writers of all genres joined in force and learned how to write vibrant and five-senses prose, fully-defined characters, and a reader experience immersion not found in any other genre.

They took these lessons back to their genres and began to publish.  Their immersive writing, in contrast to the just-the-facts prose of mystery and science fiction, drew in omnivorous female readers who buy a fortune in books every month, as well as readers who expected more from prose experience because of other media.  Publishers and smart writers paid attention because of improved sales and a reader base that was no longer so narrow, and the narrative in most books in most genres changed.

And that is how romance became the mother of the biggest and most successful genre narrative shift in over a hundred years. 

Making Info Tidbits Palatable to the Reader

No matter what kind of novel you write, you’ll face the problem of how to share bits of information with your reader.

These bits are minor plot or character clues that the main character and the reader need to know to go forward to a logical conclusion.

Often, these small clues come from different sources, but writing a scene for each bit of information often slows the pace to a crawl.  What to do?

One method is delegation.  Have your character delegate the task of finding out this information to a secondary character who will do it off page.  The secondary character will report back and in one scene present all the necessary information.  This method is often used in mysteries, but it can be just as effective in any genre novel.

The second method is finding a gossip, expert, or reporter who already knows the information.  To make this scene work, make that gossip or expert a bit larger than life, funny, or someone who knows embarrassing things about the main character so the scene is interesting.  

The most important thing to remember when doing this is to make it integral to the novel and to make it a logical choice for the main character to make.

When You Absolutely Must Info Dump

If you absolutely must info dump, here are a few suggestions to make it more palatable for the reader.

Have a character who must learn the information so someone explains it to him.

In Jasper Fforde’s ONE OF OUR THURSDAYS IS MISSING, Thursday Next is in charge of an apprentice who follows her around at her job.  She explains a lot of the technical elements important to the story to this apprentice.  The info dumping isn’t subtle, but it is at least integrated into the scenes, and the give and take between the characters makes the info more digestible.  

A another saving grace is that the apprentice and her knowledge of these technical elements become an important part of the final part of the book.

Never begin info dump dialogue with “As you know.”

Many years ago, this was a prime way to info dump in hard science fiction stories. These days, if someone knows something, they don’t need it explained to them in detail.

If both characters know the information, they can still discuss it.  Here’s how I did it in the opening scene of TIME AFTER TIME, a romance about reincarnation.  The hero and heroine’s guardian spirits are talking.

Celeste's expression softened as if she were trying to reason through a solution to their problem.  "Thinking of all their lives....  It's strange how some of the same patterns and events occur in each one."

Although she knew the answer already, Walter prompted, "They're the same people whatever life they're living.  They need reminders and lessons to reaffirm their strengths and fight their weaknesses."  

Celeste grabbed his wrist.  "That's it, Walter.  A way to give him a will to live.  Remember Gerard?"

In both cases, however, the info dump isn’t massive, just a few paragraphs or pages of explanation.  

I have also seen bits of factual info like diary entries and quotes from other books used, most often at the beginning of each chapter.  Some work, others do not, depending on the reader and the cleverness of the entry.  The biggest disadvantage to this type of info dump is that the reader must pull himself out of the story each time, and that can mean the loss or disinterest of the reader.  

However you info dump be very sure that this is the only way for the story to work, or you risk boring your reader.

Info Dumping is Bad for Your Book's Environment

You have figured out the complex worldbuilding for your novel, and you begin to write your story.

Eagerly, you explain the details of your world and its creatures.  Ten pages in, your main characters still haven’t shown up, or they’ve not done anything to move the story along, but your world is detailed and exciting.

You show your work to your critique partner, and she promptly starts yawning.  

The problem?  Info dumping.

Most inexperienced writers dump a bunch of worldbuilding into the first few chapters, and they don't realize that they are writing it for themselves to get everything straight, not for the reader who doesn't need that much to get into the story.  Most of that worldbuilding should be deleted in the first edit.

To show you how little heavy-duty worldbuilding you need to get into a story, read the first chapter of STAR-CROSSED I’ve posted on my website. 

http://marilynnbyerly.com/lesson5example.html

I’ve put the worldbuilding in bold print. 

The short prologue of sorts sets up the hero's situation, the longer next section sets up the heroine and her world and the deep poo the hero and his best friend have fallen into as well as the heroine's goal for the novel.  

I don't go heavily into the plague and how it changed Arden until evil Cadaran explains that deep poo to Kellen a bit later, but the heavy details aren't needed until then.  Even then, I manage to set up the history in a bit of dialogue, not long narrative.

Next week, I’ll talk about those times when you absolutely, positively must do some info dumping and how to do it without boring your audience.

The Reality Sniff Test

The comic urban fantasy started out fun.  The heroine had been a demon slayer in her teenage and early adult life, then she’d put aside her slaying tools and become a wife, then a mother of two small kids.  She’d never told her husband about her Buffy the Demon Slayer days.

Then a demon shows up at her home and tries to kill her.  She dispatches him.  Another, more powerful demon threatens her children’s lives, and he’s also in her home.  

At this point, she decides not to tell her husband about the demons after their kids or about her past because it would be awkward.

This is the moment when I stopped reading.  The author had failed my reality sniff test.  

Sure, this is a comic urban fantasy, and readers know that the kids will be okay, and the heroine will win against the demons, but the heroine has done something that, in the real world, most of us would find selfish, stupid, and unforgivable.  She is risking the lives of her young children.  

Books aren’t bubbles that have nothing to do with the real world.  Yes, we will accept wild premises like ghosts, vampires, and demons, but most of us enter a book’s world with our own beliefs and views of the world, and the author who errs in those common beliefs because she thinks that we will put them aside in her book is often wrong and loses a reader.  

When you are writing, consider the reality sniff test.  Do your characters act the way someone in the real world would?  Is that behavior acceptable in the real world?  Does your worldbuilding make sense in comparison to the way the real world is?  Does your world/society fit a society from our past, or can it be imagined as real?  If the answer is no to these questions or other reality sniff tests, then you need to do some rewriting.

Beware the Bumbling Bad Guy

I’ve written a great deal about bad guys and how to create them and use them, but one problem I see from other writers is defining the villain as a super menace then turning him into a bungling idiot so the good guy can keep escaping.

In the novel I just finished, the hired killer after the hero and his friends is billed as a professional killer with a military background who has killed dozens of people leaving no real trace.   In his first appearance, this assassin is in the audience of the man who is supposed to be his first victim in the story.  

The hero is a professional magician who “reads” the minds of the audience.  The assassin volunteers to be mind-read then tries and fails to kill the magician with a small pocket knife no self-respecting professional killer would use while a spotlight is on him in front of hundreds of witnesses.  

Later, the assassin has trouble killing an dottering, elderly couple, and the only way he can get to other victims who know he is after them is for them to be too stupid to live.  

Needless to say, this inept bad guy sucked the energy right out of the plot.

Don’t tell the reader that your bad guy is a super menace then have him show himself as worse than an amateur because you need the tension to keep the story moving forward.  Really put yourself in the bad guy’s shoes.  If he has a military background and training as an assassin, let him use it.  

Instead, let him fail through luck on the part of the good guys or a supposed victim’s unexpected skill or knowledge.  

Artificial suspense by telling rather than showing a bad guy’s skills is no suspense at all.