Who says there is no math in writing? Take a look at these numbers: How Long Is a Readers Memory? In a novel with a dominant main plot, the ending may be seen from a long way off. A sense of inevitability starts to mount—we know he’s going to get his woman!—until the lack of anticipation becomes draining, and the book becomes put-downable. Part of the craft of writing is keeping the reader confused, off balance, so that its turns, and especially the ending, cannot be predicted. The best way to create variety is to create multiple plot lines. When a reader finishes a chapter featuring plot line 1, she becomes diverted onto line 2, or 3, which may or may not have anything to do with plot line 1. Because the main plot line will still contain the most scenes, you might consider an arrangement in which the subplot is compartmentalized into 8-10 scenes during the course of the book. So the first step is to sketch out how the plot line will build from one scene to the next. Write a paragraph that summarizes what each scene is about. Then you need to become a manager. That’s right. Your reader’s enjoyment depends on how well you alternate between a main plot and a subplot. Let’s say you want to write eight scenes in the subplot. How many pages do you have in the manuscript? Let’s say you have written 400 pages. You can do the math. If 400 is divided by 8, you should insert a subplot scene every 50 pages. Yet you have another consideration. It’s important that you keep subplot characters on the reader’s radar screen enough that he does not forget them. Is 50 pages too long to keep these characters vital in the reader’s mind? I think the maximum number is closer to 40, and you might want to think in terms of 30-40 pages. Last, numbers count when you’re considering length of scenes as well. If you run out a skein of main plot scenes for 33 pages and then drop in a 3-page subplot scene, is that long enough for the reader to care less about what is happening in the subplot? Think about it: 33 to 3. I’m not sure why I should be bothering with the people in those 3-page scenes. Why don’t you shoot for 6-7 pages per scene, long enough for your subplot guys to matter each time? Exercise: Luckily, your intervals don’t have to be so far apart. That’s because you want the main plot to dominate the climax. How long should a strong climax sequence be? It depends on the writer, but I would guess that 40 pages is a goodly amount. So you subtract 40 from that 400. If you then count up how many of the remaining 360 pages consists of subplot scenes, your intervals may look pretty good. Now the subplot will be a compelling alternative. “If you write one story, it may be bad; if you write a hundred, you have the odds in your favor.” —Edgar Rice Burroughs Copyright @ 2014, John Paine
Posted on: Tue, 09 Sep 2014 11:49:52 +0000
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