Reading is a collaborative and creative activity.
The reader is in partnership with the writer, and they create an experience together. Writers are told to read, read, read. . .to improve their writing. Good advice. 🙂
But I’ve recently noticed four ways writing feels very different from reading.
Ideally, the early chapters go by in a kind of happy blur, so that later, readers never realize writers used up a quarter of the book to get them into the story. As readers we’re busy working, getting acclimated to the story world, figuring out who’s who, and what’s what. When we read, we don’t notice how long it takes.
Re-reading is a much better way to find out what set-up is and how long it takes. If a writer can entice the reader in–all over again–with the ordinary part, that’s craft. The best writers leave a little space and time for the readers’ imagination to get cooking, without letting them notice. That’s why, as a reader, a book feels different when you read it the second time.
This is why it’s easy to write the story set-up too short. Or way too long. If we aren’t allowed to write this story’s exciting part, we’ll write the exciting part of the one that happened before. This is called backstory or information-dumping. (Attractive, no?)
More about Set-Up from Writing Excuses.
By definition, the writer is the first one to boldly go down the story path. Joyce Carol Oates describes writing fiction as slashing your way through the jungles with a machete. E. L. Doctorow compared it to driving by your headlights. Keeping writerly despair at bay must add something to the reader’s experience, but I don’t know what it is. Tension, voice, scope, meaning, pacing? (A finished book? 🙂
More on Pacing from Janice Hardy.
(A.K.A. why it’s annoying to watch movies with writers.) It’s really hard–impossible–to foreshadow as you write. Once you know the cannon is going off at the end, it’s easy to add a box of confetti in a dimly lit corner of your brilliant opening scene. 20:20 hindsight. You just “put it in”.
More on Foreshadowing from K.M. Weiland.
Judging by dreams and first drafts, I think the imagination doesn’t care much about what comes first. For me, as a writer, ‘story stuff’ gets sent up any old which way.
In a recent draft of my middle grade fairy-tale/fantasy, several chapters were clearly *cough* in the wrong order. Switching them around made my main characters stronger. Suddenly, their actions set the plot dominoes in motion. Yay!
Some writing friends compare story-telling to pulling yarn out of a skein. Their imaginations must be better trained. Personally, I have to slice the story up and tie it together, again and again. Judging from the overwhelming reaction to this blog post, a lot of other writers have the same problem.
More on how to fix Inside-Out and Backwards from me. 🙂
What Makes Writing So Addictive?
But aside from all of these technical difficulties–oops, challenges–writing can sometimes feel the same as reading. Writing ‘in the zone’ or ‘in flow’ or in the grip of a story feels like being taken on a journey.
I think that’s what makes writing so addictive. Imagination is both a muscle to exercise and a dream to follow.
What’s your take? Does this all seem hopelessly obvious? Have you ever wondered about particular differences between reading and writing? What did I miss?
Connecting With the Reader (or the Writer)
Sometimes my motivation to write flags, but when I read something that connects with me, I want to try again. It’s a collaborative game we play–readers and writers together. Thanks for coming along!