I indulged in a bit of reading for fun this week, since I figured out what scenes to submit for my assignment.
Okay, fine. I was procrastinating on my homework. There. Happy?
I haven’t read much of anything for a while, with the revisions and homework and all. Oh, and that pesky full-time job. And the garden.
With the upcoming release of Harry Dresden’s new adventure, Peace Talks, I decided to reread the last book in the series to refresh my memory, since it’s been, oh, years since Skin Game came out. Then I had to reread the book that introduced Mouse because hey, it’s Mouse.
After reconnecting with Harry, I was ready for more snarky urban fantasy, or at least snarky mysteries with a paranormal angle. And what luck! Another of my favorite urban fantasy authors just released a new book (some snark included). Not only that, but I ran across a book from a fellow member of Sisters in Crime that sounded like a nice break from serious. And writing.
I have now read 4 books (Skin Game (Dresden), Blood Rites (Harry again), Ann Charles’ first Deadwood book Nearly Departed in Deadwood, and Patricia Briggs’ latest Mercy Thompson book, Smoke Bitten) in the span of three weeks (one of which took me all of a day and a half to read), when I haven’t read much of anything for months.
Reunions with old friends (Harry and Mercy) are great, and meeting new ones (Violet Parker, with her purple cowboy boots) is fun, but you know you are a real writer when IT happens.
Yes, the infamous “Aha! I see what you did there” moment when you read a scene and you can “see” the structure of the scene and how it lures the reader on.
Here’s a “for instance”: In Nearly Departed in Deadwood, Violet has 10-year-old twins, a boy and a girl. She becomes friends with a codger who has a gun named Bessie and a total lack of subtlety, meets the tall dark handsome sexy guy next door to the office (sparks there), and starts dating the tall blond handsome rich guy whose family owns the jewelry store in town. So, sparks between dark sexy and Vi (who resists her attraction to him, yet he obviously likes her), but she dates blond handsome (she likes him more than dark sexy, or so she tells herself).
What’s more fun for readers than the tension between a girl and the guy she is determined not to be attracted to? Oh, and toss in the guy who is a chick magnet and rich. So, what does the author do? She includes a scene in which the codger and dark sexy guy are with Violet at the ER (her daughter broke her arm). Dark sexy is being the good friend, keeping Vi calm and comforting her like any sexy guy would (you know, holding her close), when blond handsome shows up.
Boom! The classic setup for tension with love interests. And the guys, of course, have been trying to win her affection in their own ways. Vi is determined not to fall for dark sexy (he’s been teasing her, all innocent-like, since they met), so she greets blond handsome like a lonely girl greets her boyfriend after he’s been gone for a week.
I find myself noticing all these little things now, the rising tension between characters and in scenes, the scene “cliff-hangers” that draw the reader on, and especially the fresh metaphors and descriptions (how the hell do they come up with those?). The first time I noticed the craft behind the story was when I read Terry Goodkind’s Wizard’s First Rule, his debut novel, and I couldn’t put it down. I paid attention to what he did that compelled me to read on.
Questions. Every chapter didn’t have a cliff-hanger, per se, but each had some question I just had to find the answer to. Same with the Dresden books, though those are more “how is he going to get out of this?”
Part of me misses that reader ignorance: the point of reading the story is to escape and live in another place and time for a bit without caring about anything except what happens to the characters–find and stop the bad guy or get the prize. I can’t do that anymore without noticing things with a writer’s eye. The setup, the character arcs, the tension, the description, the way other authors convey emotion.
Does it ruin a story for me? Only if the author does a middling or lousy job of keeping my interest (and then I analyze why it doesn’t keep me reading). When I notice these things, I try to take mental notes so I can improve my own writing. After hearing Allen Eskens talk about the craft and how he approaches a story, I notice that now in his books and others.
Reading like a writer means missing a little of that magic that readers search for in a good book, the escape where the real world goes away for a while. But reading like a writer makes me appreciate more the bits and pieces of what creates that magic to begin with.
Happy Summer Solstice! Just think, from this point on (until the winter solstice), the days will be getting shorter. Or, don’t think about it. Yeah, probably better for the psyche if we just enjoy now and express surprise later when it’s dark before 8p again.