Keeping readers entertained and turning pages isn’t easy. You need to invent a story that’s relatable, not too cliché, makes them think, makes them care. If only there were a better way than struggling for hours with re-writes. If only there were some magical short-cut to writing an effective story…
There isn’t. But I’ve seen many new writers try, by over-dramatizing absolutely EVERYTHING.
Perhaps their story is about a young couple who stroll along a dirt road and enjoy a sunset together. Nothing wrong with that, stories don’t have to be complex to be engrossing. I’ve read many great novels that are about little more than two people falling in love on an outing.
The beginning writer, however, might think that her story is too plain, or lacking in emotional resonance. So what does she do. She adds some window decoration. She doesn’t have the boy simply say something to the girl he’s smitten with, he exudes his words with passionate abandon. The couple don’t walk down the road, they glide or saunter. They don’t look into each other’s eyes, they gaze lovingly at one another, and their hearts beat as one.
At this point you might think I’m picking on romance, but this type of sensory abuse is not limited to genre. I once read an amateur story about a couple who go apple picking. One of them has an allergic reaction and is rushed to the hospital. That’s it. That’s the whole story, as it were. There was almost no information about the characters’ relationship or why apple picking was important to them. There was also no underlying importance to the woman having her allergic attack, at least not one that I could gather. The one thing that was clear was that these people were wealthy and glamorous. This was conveyed through their movements. I’m paraphrasing from memory here, but the woman’s long legs unraveled seductively from the open car door. Arm in arm, the couple slithered their way to the entrance to the apple orchard. You get the idea. By the end I was left with the bizarre mental image of these people spastically flailing their limbs wherever they went.
Now don’t get me wrong, I’m not saying your writing should be devoid of colourful description. Romance needs its heaving bosoms (although please, please come up with something less cliché). When the protagonist in a horror novel is chased by the slobbering monster from another world, it’s only natural that his heart is going to pound in his chest (ditto).
The examples I’ve given above are acute cases of over-compensation. They are the writing equivalent of the young boy going on his first date splashing on far too much of his father’s cologne to cover his inexperience with the opposite sex. It’s melodrama, which is drama unearned. And what is the underlying cause?
A real or perceived lack of story depth.
The story has to carry the weight of meaning and emotional impact. Everything else is window dressing. Coming up with a compelling story that has both external and internal integrity and deep emotional meaning is hard. Really hard. It is, in fact, the ultimate goal of fiction. Talented writers spend decades learning to master this.
When you start off, you’re going to hit and miss. Sometimes writing anything good will seem impossible. Welcome to the club. Keep practicing. In the meantime, remember that an ambitious story which falls flat is a far better thing than one bespangled in melodramatic goop.
Final Note
I’ve recently joined the Critique Circle. I strongly encourage you check it out if you want to get quality feedback that will improve your writing.
