It’s one of the most maddening things. You excitedly present the next instalment of your story to your writing group, your writing buddy, your friend who’s eagerly reading alongside your writing. You can’t wait for their reaction: their shock at your Dramatic Reveal, their thrill at the plot twist, their emotion at the most moving thing you’ve ever written…
Instead, they’re drawing a blank. They can’t remember who the character even is or confuse them with someone completely different. They’ve forgotten that plot thread, so your carefully constructed Dramatic Reveal lands with all the impact of a wet dish cloth. They’re asking “Is this about X character?” when it’s clearly five hundred years before: for crying out loud, it even says so on the page, right there, in the middle of that paragraph, see? “Five hundred years”. And that character: there was a whole scene about her, in chapter four! And that Dramatic Reveal: you have your notes from before; one of them spotted your foreshadowing and guessed what was coming! Are they even bothering to read your writing? How can they not remember?!
Sometimes, in writing group, we’ve discussed whether it’s because we’re not reading like “real” readers. “Real” readers don’t have to wait a week or a fortnight for the next instalment; they can just turn the page. “Real” readers aren’t following the story over a couple of years; they might finish the book in a month, a week, or even a single day of holiday.
It’s true, we’re not reading like “real” readers. We’re reading with our pens out, underling favourite bits, spotting repetitions, scribbling notes in the margin. We’re going back over the whole section in group, discussing it at length. Sometimes we’re reading the same scene again, rewritten with its previous issues ironed out. We’re paying incredibly close attention.
And those “real” readers, with the complete book in their hand? They’re reading in the bath. On the bus or the tube. In bed with their eyes drooping. On the sofa, curled up with a head full of flu. They’re listening while they chop vegetables for dinner or while they navigate the traffic on their way to and from work.
Every time, the group comes to the same conclusion: the gaps in time are more than balanced out by the incredibly close attention we’re paying to each other’s work. So if we can’t remember those details, the “real” readers don’t stand a snowball’s chance in hell.
Of course it’s frustrating and disappointing. Of course we’re tempted to pull up the exact passages that our writing buddies seem to have not even read or had wiped from their minds. But if they can’t remember, that’s a problem in the writing, which needs fixing in the writing.
As a teacher, I have a mantra: if a student doesn’t understand, that’s my fault, not theirs. It’s literally my job to help them understand. The same is true for us as writers: if readers don’t remember, that’s on us and it’s our job to help them. If two people in my group remember and one doesn’t, it still needs fixing. That’s a third of my readers confused, so why not make it clearer?
There are lots of things we want our readers to be wondering about. What’s going to happen next. If X is a bad ’un or is going to turn out trustworthy. Whether Y and Z will end up together. If that’s a clue or a red herring. We want to save the reader’s headspace for all of that, not squander it with them trying to work out the basics of who characters are, what happened before, and when even is this.
Frustrating as it may be to encounter the problem, fixing it is blissfully rewarding. It’s not like ironing a bug out of some code or correcting a spelling error, a dutiful necessary task. It is rich with discovery and delight. As you go back to make those characters more memorable and find ways to sneak in reminders, they leap to fuller life than they ever did before. As you seed memory-hooks into that past scene and weave them in to the new one, both turn thick with vivid detail and new story possibilities. When the phrase “five hundred years before” isn’t registering and you make everything look, feel, smell like it’s five hundred years ago, you discover astonishing new depths to draw on.
And even if you had to bite your tongue so hard it hurt, when you were getting feedback, now you can loosen it to thank them – because by flagging up the problem for you, they’ve helped you discover all this.
Then the next time you’re writing, you remember to create and seed those details in from the start, which embeds them even deeper in the story and opens up richer story possibilities. And then, when you’re asking the group if they remember X, they’re saying “Of course, how could I forget her? She’s the one…” and “Yes, absolutely! That was the bit where…”
If you want whole rafts of techniques for orientating the reader in who characters are, what happened before, and when things are, the Shifting Between Scenes course has just launched, to help you with exactly that. It’s a brand-new Freestyle video course, full of hands-on activities, which you can use with your work in progress OR with the practice materials I give you. You can use it whenever suits you, as many times as you like, and it’s fully accessible and chunked into short sections. Plus, as part of the course, you get permanent membership of the Writers’ Greenhouse Community. So if you don’t have a writing group or writing buddy yet, you can start meeting other writers.
Click here to see the full course and get started.
