I’ve spoken before on the value of feedback, and in particular provided by those of a well-established writers group. One of the statements made at our last night’s meeting bears pointing out.
"I want to know why…"
Now this comment in our particular group of experienced readers and writers brings it to a higher level of meaning, but it still can take two directions; one good, one not-so-good. However, its highest value in either case is in the learning of reader perception above its secondary question of plot.
First, the not-so-good: The writer may not have provided enough information to allow the reader to draw a logical and reasonable conclusion. Something is either missing, or askew, or vague. Further discussion and questioning will reveal the problem and this is vital for the writer to know–as he’s probably holding a piece of the puzzle behind his back (in his mind, so to speak, knowing but not realizing that this piece must be shared). Or, he could have glossed over that "little problem" of story structure because he himself didn’t know how to fix it. So, not-so-good, in the end is really good feedback for the story.
The good: Could mean that the reader is into the story, cares enough to want to know what and why. This is not a reason to take it as immediate praise however; that the story or character appealed to that point. A closer look into the area of question should reveal if it allows the reader to write the story; if the question unanswered by the author or narrator is a logical one to be left to the perception of the reader. Still, all circumstances and events leading up to this should entice the reader to want to know why, and enable him to come up with his own conclusion. The writer can anticipate the question and needs to ensure that if he’s going to engage the reader’s imagination, he needs also to provide him with a trail of information that can back up the possibilities. In other words, a reader can conclude "oh, he’s going to commit suicide" if a character sits on the sill of his fortieth-floor apartment window, but there needs to be supporting story provided prior to this point. Mr. Happy-go-lucky wouldn’t be believable, and a reader would be truly surprised (not in a nice way) and justifiably upset if he jumped.
Always neat things to learn from discussion. Always appreciated and pondered.
The Lost Children: A Charity Anthology
One can wonder why “why” is what it is. But what or why is rendered in how, where, and who.
As you said a while back, motivation and explanation are revealed in what a character does instead of the author stopping the story to explain.
Yes, and this is where readers and reading help writers and writing the most. We all know the elements of writing; it’s the recognition and use of some of those tools that we need to remember.