It strikes me as odd, in some ways, but the first Holding in Abeyance post is one of this blog's most popular pieces. That's a bit of a cheat, really, and I almost feel bad about it. No, that's almost, that's not feel. For those who've never read Orson Scott Card's book on writing Sf and Fantasy, I might have given them a valuable pointer to a really good work on the subject by someone who (don't argue about this one, I'll find out where you live) knows what he's talking about.
But, to be honest, most of that post was about Brendan Earle and if you've never heard of him (join the rest of the world) that might not have helped you much.
Two paragraphs in and it's time to tell you that this post won't either. Sorry, but Shadowland (I'm going to do a post on the story of it's name and how I managed to not realise I was quoting one of my favourite singers - Steve Earle, but later. Hang on a bit.) doesn't have much of this. Brendan Earle did. By the bucket load.
Shadowland - OK, it's got sex in kilotonnes, so one of the possible titles was going to be, 'In a place of Shades', doesn't.
And then again, that's not true. Shadowland - it's really cool to have a title that you can't and don't need to shorten - makes a point of telling you that something is going on here that isn't what it should be. And it regularly tells you that what you see isn't all that it looks to be. Still and all, it tells the story of a 15-year-old who is in Devon, in a stately home during the first world war. And getting laid. A lot. (I'm a Brit, we do understatement. Massive understatement.)
You do have to hold the idea in abeyance that what you see is not what you are going to get, but sadly, that's it.
I think, and I described this all to my 12-year-old daughter tonight, that the reader will be happy to follow the story of Jack and his adventures (for those who aren't 12, read sexual conquests) up to the point where he understands what he is in, whereupon the whole story will start to zip back up with the parallel story that has been going on in plain sight all the while and the reader will understand why there have been so many anachronisms. (You think I'm going to tell you what they are just 'cos you read this blog? Hah, dream on kid.).
Long sentence that one, so let me recap. There is a story going on that you can read for fun. It's how Jack gets laid, Works for you? Great.
While you are reading it, you will become aware that something else is going on - the ghosts who comment on Jack's progress, state of health and general condition are a dead giveaway. You will know that there is something you are going to have to wait to find out. As I said with Brendan, I don't think that Agatha Christy ever felt the need to tell anyone that it was the butler what did it in the first chapter. You will NOT get the answer to what is happening until the end. Take my word for it, mind, I really love it. The only thing you can be sure of is that what seems to be happening, isn't.
I mean that. I really hope that when you get to the end of the story, I will have sent you in the wrong direction so completely that you'll still find yourself thinking, 'I didn't see that one coming.'
What can I tell you? I like stories that make you think and work for your fun, that's why I write them like that.
Anyway, after I told my (very, very smart) 12-year-old about this, she said, "That's really interesting Dad, but I'm tired and need to go to bed now."
You should feel free to do the same. 'Cos this post doesn't tell you much more about Holding the Reader in Abeyance than that. I think it is not just fine to do that, I think it is essential. If you have explained everything to your reader, they are in the position of a kid who knows what they are getting for Christmas. Things to look forward to? Uncheck that box, 'cos there's bugger all at the bottom of the sock. (I'm British, use Google if that doesn't mean anything to you.)
I tell my Academic Writing students that the thing to emulate is the GPS (I live in the UAE, you might call it the satnav - its a free world except where it isn't, so go ahead, live a little).
"In 1.5 kilometres, enter the roundabout and take the first exit.
Enter the roundabout and take the first exit."
(If you are travelling in Dubai, this is usually followed by: 'Recalculating, recalculating.")
That's great if you are writing non-fiction, or if you want a job as a GPS. Should you be writing fiction, I think you need to get over this idea that your reader wants to know where they are going exactly. Your reader wants to look out of the windows and think, "Shit a brick, look at the scenery! (Really necessary exclamation mark.)
Your reader wants to know where they are going only in as far as they want to have brought their swimming costume with them. They might be OK with the idea that they are going to Atlantis, (If I've told you once to bring your swimming costume, I've bloody told you a million times - you need one in Atlantis. Go back, get it now and don't arse about in the future) but they'll be pissed off if you give them directions to the Atlantis HSBC (product placement there) ATM machine. Well, you'd be too, would you?
Your reader does not want and will not appreciate your telling them what is going on in detail every few seconds, pages or even, maybe, chapters. Your reader is into SF and so has a brain, has an appreciation of the fact that the world (this one, the one you are writing, all of the above and then some) is as lot more weird than they know or can imagine. AND THEY LIKE IT LIKE THAT!!! (Three really necessary exclamation marks.)
It's not like wanting to pee and not being able to find a toilet (why do Americans pee in the bath?)
It's like Tantric sex. (Do you know the joke about the Tantric position called the Plumber? You stay in all day and nobody comes.) It's fun. And maybe a bit kinky. Go for it.
But, to be honest, most of that post was about Brendan Earle and if you've never heard of him (join the rest of the world) that might not have helped you much.
Two paragraphs in and it's time to tell you that this post won't either. Sorry, but Shadowland (I'm going to do a post on the story of it's name and how I managed to not realise I was quoting one of my favourite singers - Steve Earle, but later. Hang on a bit.) doesn't have much of this. Brendan Earle did. By the bucket load.
Shadowland - OK, it's got sex in kilotonnes, so one of the possible titles was going to be, 'In a place of Shades', doesn't.
And then again, that's not true. Shadowland - it's really cool to have a title that you can't and don't need to shorten - makes a point of telling you that something is going on here that isn't what it should be. And it regularly tells you that what you see isn't all that it looks to be. Still and all, it tells the story of a 15-year-old who is in Devon, in a stately home during the first world war. And getting laid. A lot. (I'm a Brit, we do understatement. Massive understatement.)
You do have to hold the idea in abeyance that what you see is not what you are going to get, but sadly, that's it.
I think, and I described this all to my 12-year-old daughter tonight, that the reader will be happy to follow the story of Jack and his adventures (for those who aren't 12, read sexual conquests) up to the point where he understands what he is in, whereupon the whole story will start to zip back up with the parallel story that has been going on in plain sight all the while and the reader will understand why there have been so many anachronisms. (You think I'm going to tell you what they are just 'cos you read this blog? Hah, dream on kid.).
Long sentence that one, so let me recap. There is a story going on that you can read for fun. It's how Jack gets laid, Works for you? Great.
While you are reading it, you will become aware that something else is going on - the ghosts who comment on Jack's progress, state of health and general condition are a dead giveaway. You will know that there is something you are going to have to wait to find out. As I said with Brendan, I don't think that Agatha Christy ever felt the need to tell anyone that it was the butler what did it in the first chapter. You will NOT get the answer to what is happening until the end. Take my word for it, mind, I really love it. The only thing you can be sure of is that what seems to be happening, isn't.
I mean that. I really hope that when you get to the end of the story, I will have sent you in the wrong direction so completely that you'll still find yourself thinking, 'I didn't see that one coming.'
What can I tell you? I like stories that make you think and work for your fun, that's why I write them like that.
Anyway, after I told my (very, very smart) 12-year-old about this, she said, "That's really interesting Dad, but I'm tired and need to go to bed now."
You should feel free to do the same. 'Cos this post doesn't tell you much more about Holding the Reader in Abeyance than that. I think it is not just fine to do that, I think it is essential. If you have explained everything to your reader, they are in the position of a kid who knows what they are getting for Christmas. Things to look forward to? Uncheck that box, 'cos there's bugger all at the bottom of the sock. (I'm British, use Google if that doesn't mean anything to you.)
I tell my Academic Writing students that the thing to emulate is the GPS (I live in the UAE, you might call it the satnav - its a free world except where it isn't, so go ahead, live a little).
"In 1.5 kilometres, enter the roundabout and take the first exit.
Enter the roundabout and take the first exit."
(If you are travelling in Dubai, this is usually followed by: 'Recalculating, recalculating.")
That's great if you are writing non-fiction, or if you want a job as a GPS. Should you be writing fiction, I think you need to get over this idea that your reader wants to know where they are going exactly. Your reader wants to look out of the windows and think, "Shit a brick, look at the scenery! (Really necessary exclamation mark.)
Your reader wants to know where they are going only in as far as they want to have brought their swimming costume with them. They might be OK with the idea that they are going to Atlantis, (If I've told you once to bring your swimming costume, I've bloody told you a million times - you need one in Atlantis. Go back, get it now and don't arse about in the future) but they'll be pissed off if you give them directions to the Atlantis HSBC (product placement there) ATM machine. Well, you'd be too, would you?
Your reader does not want and will not appreciate your telling them what is going on in detail every few seconds, pages or even, maybe, chapters. Your reader is into SF and so has a brain, has an appreciation of the fact that the world (this one, the one you are writing, all of the above and then some) is as lot more weird than they know or can imagine. AND THEY LIKE IT LIKE THAT!!! (Three really necessary exclamation marks.)
It's not like wanting to pee and not being able to find a toilet (why do Americans pee in the bath?)
It's like Tantric sex. (Do you know the joke about the Tantric position called the Plumber? You stay in all day and nobody comes.) It's fun. And maybe a bit kinky. Go for it.
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