Craft Chat Instant meaning versus motivations/foreshadowing

[RK Wallis]

Hey all,

I have a question about your reading experiences, as I'm tackling the question for my own story and I need hive mind help. I apologise if I'm a bit over the shop, my thoughts on this idea haven't coalesced yet.

For nearly a decade, this piece of writing advice has been what I aim for:

Where do scripts go wrong, language-wise, beyond the points already covered? Here I have no comprehensive answers, let alone data that can be classed as definitive. But awkwardness does develop in certain special areas often enough to be worth mentioning. Thus,

a. Sentence structure grows monotonous.
b. Subject and verb are separated.
c. Adverbs are placed improperly.
d. Words and phrases are repeated inadvertently.
e. Correct grammar becomes a fetish.
f. Meaning isn’t made clear instantly.
There are more, of course; too many more. But these will do for a start.

Swain, Dwight V.. Techniques of the Selling Writer (p. 32). University of Oklahoma Press. Kindle Edition.

My questions revolves around "f." As a reader:

1. Another fab piece of writing advice I've come across is "give the reader 2 + 2," don't give them the answer, "the audience wants to work for their meal." So how would you recommend giving 2 +2 without confusing the reader?

2. When Dwight says, 'meaning isn't made clear instantly' do you think that includes motivations? What level of motivation? must it be on some level in the scene (i.e they want a glass of water and then throw it over their wife. Is it enough to know they want the water? can you wait to see why they threw it over their wife or do you need that motivation be instant too?) or can you wait to see why characters are doing what they're doing? how long until not knowing frustrates you?

3. As a writer, how do you balance instant meaning versus foreshadowing?

No wrong or right answers here. Your reading experience is personal and, hence, a valid perspective. I'm not after answers to everything, just react to what you connect with because I still don't know if I'm making sense. I just know instant meaning versus motivation/foreshadowing is a blind spot for me.

Cheers
Rachel

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[Jake E]

I think this is a big subject that will take a long time to unpick, but essentially, most writing advice is misunderstood.
Whether it's 'show don't tell' or 'don't use adverbs' each rule comes with shades of grey that are often missed.

As for this one and meaning, foreshadowing, and explaining yourself comes down to purpose.

'Meaning isn't instantly clear' to me means that what you have written is unambiguous. You have made it clear what is happening.
he reached for the gun with trembling hands.
is clear. There's no ambiguity in what is happening. Why his hands are trembling is the 2+2 bit. We can infere from what has happened before, or our own human nature, why they are trembling.

 

[JohnBertel]

I agree that 'Meaning isn't instantly clear' in this context is about sentence-level clarity.

For withholding a character's motivation, it depends on the story until the point of unexplained action.

If 1) the actions of characters have made sense and been well motivated, and 2) the author has shown that they will eventually answer open questions, then I'm fine (may even enjoy) withholding their motivation.

 

[Hannah Faoileán]

I think it depends on who in your story. If I am reading the protagonist's POV and have absolutely no idea why they are doing what they are doing, then the author is keeping me outside their thought process which is not where I want to be. That's frustrating. If I'm in the protagonist's head and another character is behaving in a way I don't understand, either the protagonist must guess rightly or wrongly, or the protagonist also hasn't a clue. This is where foreshadowing comes in to play. The author can drop hints along the way that will eventually provide clarity to the other character's motivation.

 

[RK Wallis]

Meaning isn't instantly clear' to me means that what you have written is unambiguous. You have made it clear what is happening.
he reached for the gun with trembling hands.
is clear. There's no ambiguity in what is happening. Why his hands are trembling is the 2+2 bit.

If 1) the actions of characters have made sense and been well motivated, and 2) the author has shown that they will eventually answer open questions, then I'm fine (may even enjoy) withholding their motivation

I think it depends on who in your story. If I am reading the protagonist's POV and have absolutely no idea why they are doing what they are doing, then the author is keeping me outside their thought process which is not where I want to be. That's frustrating.

These bits are so helpful to me guys, thank you!!!