Narrative

I remember lessons in the first year when Ashley spoke about stories asking questions. He said that novels often hold the reader’s attention by asking questions that aren’t answered straight away.

‘Novels,’ says David Lodge, ‘are narratives, and narrative, whatever it’s medium – words, film, strip-cartoon – holds the interest of an audience by raising questions in their minds, and delaying the answers.’ (Source: The Art of Fiction, Page 14)

In Nigel Watt’s book Writing a Novel, he says [of how to get a reader to turn the page];

‘This is very simple, and like many simple things, very difficult to do. The reader’s attention will be held mostly by the author raising intriguing questions and delaying their answers. If you raise a good enough question at the beginning of a 400-page novel, the reader will wade through almost anything to find the answer. […] Although a single important question may be enough motivation for a single novel, significant questions should be raised in every chapter. However, it is no good raising questions if they are immediately answered: part of the reader’s pleasure, of course, is in the delay.’

Although, like all advice, it’s good to be careful what you listen to, there is perhaps a good point here. I personally don’t think it’s the best idea to force questions into a piece but when structured properly certain themes and ideas can work as bricks to create an eventual answer or reason for a characters acting a certain way and so on.

For example, after reading Streetwise Spycraft by Barry Davies, I decided to work an element of ‘The basics of self-defence’ into Don Findy’s character. The section, on page 148, reads;

‘Filling your hand with loose pocket change and forming a fist will greatly increase the force of any blow. Additionally, several coins tied into the corner of a handkerchief will form a very effective cosh. You can swing it at the attacker’s temple or general skull area.’

Throughout what I have of the novel so far (the first four chapters and the start of a fifth), I have made references to Findy’s carrying loose change in his right trouser pocket (he’s right handed, so they’re easier to get to in a fight situation).

These references include;

‘I always have spare change.’ (Chapter One)

‘I ran my hands through the loose change in my right trouser pocket.’ (Chapter Three)

‘I handed her twenty and asked for pound coins instead of notes.’ (Chapter Four)

When Findy finally clutches a handful of coins to punch somebody in the face, this should satisfy the reader in someway, making the references click into place.

Other ways in which I try to raise questions include; the funeral at the very start (as it’s not mentioned who is dead. This is also brought up in the fourth chapter when the atmosphere of the pub makes him miss atmosphere of the funeral – this mention of the funeral also acts as a reminder that there’s been a funeral, just in case anybody has forgotten already, and we still don’t know whose it was.), Findy’s covering Whiskey bottles in jam and honey (his drink problem is to slowly be unravelled) and the line ‘I was calming myself and telling myself that I shouldn’t allow my personal feelings to get involved as it only ends up going badly.’

These not only allow the reader to question, but give me a purpose to keep working on this story. I enjoy exploring the ideas, being able to play things down and be low key; avoiding in-your-face-ness.

I wrote this entry last night but am editing now to include this feedback that I received from a friend, I studied English Literature and Language with;

‘I just read the latest version. I really like it. I like how the poppy story is coming along. I am really interested to find out how she dies. Also the premise for the Alexandra's is good. The alcohol thing is brilliant too. Hurry up and finish so I can find out what actually happens.’

So it appears that the various questions or mysteries I have in place are working, and for this I am pleased I have been able to achieve what I set out to accomplish.