This Novel is Like a Grenade

JustGo · Jan 10, 2008

I wrote my novel in an extremely fragmentary manner. Sections range anywhere from one sentence to three pages, and seem to average about 400 (real) words. It jumps all over the place, changing between characters, plotlines, and even nations as much as fifteen times in one chapter.

My goal in doing this was to set everything at a breakneck pace, and it seems to have worked. My beta readers (though they had plenty of complaints and recommendations) loved it and never said anything about this style. I'm worried, though, that editors (and perhaps a good number of readers some day) might find it jarring and annoying.

What are your thoughts? Has anyone read a novel written like this?

blacbird · Jan 10, 2008

JustGo said:
I'm worried, though, that editors (and perhaps a good number of readers some day) might find it jarring and annoying.

You are correct. They might.

caw

WendyNYC · Jan 10, 2008

Why did you want that kind of pacing?

JustGo · Jan 10, 2008

WendyNYC said:
Why did you want that kind of pacing?

Originally, I was only going to write the first chapter that way to drag the reader in, but I fell in love with it. The characters are generally getting ripped along through events (about 70% of the book takes place in three days) and I wanted the readers to feel that way themselves, so I felt a very fast pace was necessary. Also, there are times when I felt the reader would need a break - too much violence with one character, for example, or not enough going on - and would put down the book if things didn't change fast enough.

It slows down for a chapter or two around the middle, but that's the only real break.

I feel that I handled transitions well, in case people were wondering, and the reader is never (I hope) left wondering who they're reading about or where they are.

NicoleMD · Jan 10, 2008

I thought Snow Crash by Neal Stephenson was pretty breakneck (almost dizzying), especially in the beginning. It sticks mostly to two POVs though, but visits a bunch of places, both real and virtual.

Since your betas didn't mention anything about the style, you might ask them outright what they thought about it. I'd guess they should have some opinion, positive or negative. But there's no reason for it not to work, as long as it's done well.

Nicole

Will Lavender · Jan 10, 2008

I'd say if your betas loved it, then that's a really good sign. It's tough to get people to accept and enjoy different kinds of styles, so if your betas are digging it, that's a great start.

On the one hand, I think you're going in the right direction by trying to do something different. Contrary to popular belief, publishers are looking for unique stuff. I speak from experience when I say that.

On the other, unless it's really done deftly, non-linear or scattershot structures CAN be difficult to sell. In one of Donald Maass's books, he says that he doesn't know of one non-linear novel that ever became a bestseller.

JustGo · Jan 10, 2008

NicoleMD said:
Since your betas didn't mention anything about the style, you might ask them outright what they thought about it.

Good point - I'll do that.

Will Lavender said:
On the other, unless it's really done deftly, non-linear or scattershot structures CAN be difficult to sell. In one of Donald Maass's books, he says that he doesn't know of one non-linear novel that ever became a bestseller.

Well, what exactly do you mean by "linear?" It progresses along a fairly linear timeline (it starts at one point in time and moves forward), but it certainly isn't following a single group of people from point A to point Z. I can explain in more detail if need be, but I'll avoid that for now to prevent the less interested from falling asleep.

Will Lavender · Jan 10, 2008

JustGo said:
Well, what exactly do you mean by "linear?" It progresses along a fairly linear timeline (it starts at one point in time and moves forward), but it certainly isn't following a single group of people from point A to point Z. I can explain in more detail if need be, but I'll avoid that for now to prevent the less interested from falling asleep.

Linear normally applies to time, but sometimes it's a catch-all that refers to structure as well.

I wouldn't worry too much about it. You wrote the novel, you got a good response from betas -- now send it out. Never, NEVER let an agent feel that you aren't 100% behind your own project.

Keyan · Jan 10, 2008

Wasn't Arthur Hailey's "Airport" somewhat like that? It was a best-seller in its time.

a_sharp · Jan 10, 2008

Sounds like a Tom Clancy sort of structure, where he's all over the map, running and interweaving subplots, but moving in a linear timeline, usually with a make-or-break deadline with catastrophic consequences.

I'm curious, JustGo, if you see a parallel at all. If you do, you have a pretty good precedent in Clancy.

Will Lavender · Jan 10, 2008

There's a new book called Samedi the Deafness that uses bits and pieces of story to tell a complete narrative. It's a wildly inventive book, and seems to be doing well. I saw it in Borders new voices section right up at the front of the store, and last week it got a New York Times Book Review write-up.

Anything is possible if you do it with craft.

Moon Daughter · Jan 10, 2008

Don't be afraid to send it out they way you love it (and the way your betas love it). There are always exceptions to the rules.

JustGo · Jan 10, 2008

Good points and advice - I hadn't thought about Tom Clancy (though he does tend to move much slower than I do, it's still the same general method) and had never heard of "Airport," so that is all very reassuring. I'll keep it as is and send it out as soon as revisions are complete.

Thanks to everyone!

(As a complete aside, I believe Kurt Vonnegut's Slaughterhouse Five was a temporally nonlinear bestseller - mayhaps Donald Maass is wrong!)

Prawn · Jan 11, 2008

Cool! I hope it works for you!

If people find it jarring, however,

My suggestion would be to have a jillion voices/places in each chapter, but to have something to unify the chapter. Perhaps begin and end with a particular POV character, or have a unifying theme such as everyone's reacting to the same or similar event.

JustGo · Jan 11, 2008

Prawn said:
My suggestion would be to have a jillion voices/places in each chapter, but to have something to unify the chapter. Perhaps begin and end with a particular POV character, or have a unifying theme such as everyone's reacting to the same or similar event.

Another good point - there are some chapters where I do this well and some where I don't, but it wouldn't be too hard to pull off. I'll work on that

LaceWing · Jan 11, 2008

Candide, a classic that just rips along making a good ride for the reader. If I reread it one of these days, I'll make sure I start wide awake with no interruptions looming.

This Novel is Like a Grenade

JustGo

Digging through graves of giants

blacbird

WendyNYC

fiddle-dee-dee

JustGo

Digging through graves of giants

NicoleMD

Onomatopotamus

Will Lavender

Everything is what it seems.

JustGo

Digging through graves of giants

Will Lavender

Everything is what it seems.

Keyan

ubiquitous

a_sharp

Somebody give me an A

Will Lavender

Everything is what it seems.

Moon Daughter

JustGo

Digging through graves of giants

Prawn

Writing is finite,revising infinite

JustGo

Digging through graves of giants

LaceWing