Our own Anita Page once said wisely--I think, like many good authors she might have restated wisdom she'd picked up from another writer, but I don't recall whom--in a short story, you have time to handle in-depth any 2 among your plot, character, or setting. (There was also a nifty comparison to taking a hot air balloon ride that I can't quite flesh out from memory, but maybe she'll help with that.)
Anyway, I'm working on a short story that will likely end up around 5k. My plot isn't complicated, and setting is minimally described, but the character revelation is crucial. Here's where I'm getting worried. I'm using a less-linear structure, revealing the characters and the truth of their underlying relationship in slices. These slices are exposed through 3 alternating POVs:
Present day, experienced in first person (Guy1 decides, then tries, to steal something from Guy2.)
Their past, limited 3rd person (When Guy1 met Guy2 in their youth.)
Documentary (The quoted Q&A from a contemporary magazine interview, answers given by Guy2 which Guy1 reads)
I hope I'll avoid confusion, because the story stays centered on these 2 guys. The only other serious speaking part is a woman, and she's subsidiary. Now, I think that may be heavy enough for my story's balloon, but I have another opportunity that I seem to have written in unconsciously, and it leads to my question.
I could easily allow Guy1 and Guy2's identity to be confused with each other's until the end of the first act--around the 1,500 word point--once readers got a dose of each of the POVs above. In this case, discovering who's really in what position to whom would provide the Act I's hook.
In principle, would that irritate the crap out of you as a reader? Having read 4-5 pages and then having your preconception upended (might not even happen, since crime readers are innately suspicious of making assumptions) or perhaps having your vague suspicions confirmed, would that be satisfying and enticing?
Keeping in mind that the relationship and power between the two men IS the story, is that a strong enough reason to try to execute this triple toe-loop? Am I making too much trouble for myself in a way that's likely to diminish the final product? Do you find linearity and immediate clarity is a clear preference of short crime readers? How well do you think such maneuvers work short?
That's my bleg! All feedback gratefully encouraged.
Posts
6 comments:
I generally like linearity but I'm not wedded to it. I think the idea of confusing the identities is a good one. I posted on NOvel Spaces today about surprise in writing, and this dovetails nicely to that. I love surprises myself and if it's handled well I think that would be very cool.
I wouldn't mind the mixing of identities as long as it doesn't go on too long. My normal life is such a state of perpetual confusion that if am am too confused by something I'm reading--I stop. Having said that, I don't mind reading along thinking Joe is Pete and Pete is Joe as long as you are honest fairly early. You mention 4 0r 5 pages, which should be fine in a 5K word story.
I don't know who Anita was quoting but I do know Ed Hoch often talked about the two out of three. Always got me singing the song by Meatloaf: Two Out of Three Ain't Bad.
Very much appreciate the thoughts!
I enjoy surprise, too, but you both have me thinking I could reveal this much earlier, where instead of Act 1/Act 2, it would provides the initial hook of interest into to the story, without risking that it goes on long enough to irritate.
Clare, like Terrie, I tend to stop reading if I get confused. Sounds like it might be fun to try, though. If it doesn't work, you might ask yourself what the device contributes to the story, and is there a more straight forward way of achieving it.
The quote, by the way, was from the wonderful short story writer Sean O'Faolain. (Anything I've said wisely was picked up from another writer--trust me on that.)O'Faolain was using a hot air balloon ride vs an airplane to point out the difference between short stories and novels.
I would do the revelation, as you've already said (I'm late to the game, as usual), where it would provide an initial hook. If character development is a bit part of this story, or character examination, I don't want to be confused by the characters for too long!
Thanks again, for the feedback. Very helpful!
Post a Comment