We all like to think whoever picks up our book isn’t going to put it down. Our hope is they sit there in a vegetative state absorbing the words, until like a kiss from a prince/princess, the words, “The End,” release them from the spell.
Unfortunately, readers need food, water, bathroom breaks, and sleep. Sleep is the tricky one. If they grab a snack, take a tinkle, or get some water – they come right back to the book. But sleep, well, sleep ruins everything.
I know if I’m reading before bed, I try my best to make it to the end of the chapter. Even if it’s not bedtime, I try to make it to the end of the chapter before I put the book down. The reason is somewhat obvious; I don’t want to start reading in the middle of scene. If that happens, then we may have to slip back a page or two to catch myself back up.
This is an important concept to grasp when you are writing your book.
Using setting cues at the beginning of a chapter quickly reorients the wayward reader who has ventured back into your world. It doesn’t take paragraphs to accomplish, but some brief setting details (time of day, location, visceral elements) will cement the reader back into your story and place them back under your spell.
Anchoring your reader will also increase the pacing of your book.
When I am writing my discovery draft, I tend to pace quickly. When I can, I end the chapter with action and start the next one continuing it. One mistake I’ve made is not orienting the reader when I dive into the next chapter. Ending with action is fine. Starting with action is also fine. But if you don’t clue the sleepy eyed reader into what the action was at the beginning of the chapter, suddenly it’s very confusing.
I liken this issue to the writing process. As writers, we have to get our bearings when we sit back down to conjure up our stories. You open up your manuscript, and heck, you may have left off in the middle of a piece of dialogue. So you do what we all do, you scroll up a bit and read to get back into the scene.
Our reader shouldn’t have to do that. If your reader has to flip back a page every time they reopen the book, this is going to be a problem for them (assuming they are stopping at chapter markers or at the conclusion of scenes). Some readers may not realize exactly what the problem is, but in reviews you will see words like pacing, flow, and disorienting.
There are some tools out there you can use to keep your readers engaged. I wrote a post a while back about stitching transitions into setting here. That post focused more on showing passages of time and changing locations within chapters. Some of those concepts spill over.
However, in regards to adding setting information into chapter openings, I have found a decent resource. Mary Buckham’s book, A Writer’s Guide to Active Setting, is one of the best books I have found talking about setting specifically. An entire chapter is dedicated to anchoring the reader in scenes, as well as chapters.
Buckham reinforces the idea I am talking about by saying a, “…common mistake is forgetting that the reader may have set the book down at the end of the last chapter, or scene, or you have ended a scene in one location and opened the next chapter, or scene, in a new location” (p. 151).
Two of the best solutions I have seen are the macro (far away) and micro (up close) approach. There are a bunch of fancy ways of saying this, but breaking it down into mirco and macro seems to be the easiest way to condense the concepts.
The macro approach is to pull back and anchor the reader with a couple pieces of description. Using an omniscient point of view, you approach the beginning of the chapter like a panorama. In as little as a sentence or two, you can quickly use this method to orient the reader as to who is present, what is around them, what they are doing, and what the time of day is.
The micro approach pulls the reader in closer and offers the above perspective from the POV of the character(s) present in the chapter. For you folks who are writing in 1st person, this is pretty much your only solution. If you have a host of characters you are juggling, it is essential to orient the reader as to who is present – the micro approach solves this problem as well.
It should be noted, it’s not a set-in-stone rule that you should anchor the reader at the beginning of each and every chapter. Some writing styles give you more leeway. First person has allowed me to transition chapters easier because the reader already knows who they are talking to. With that being said, if there is a shift in time or place, I still try to ease the reader into it.
That’s it for today. Good luck keeping your readers in a trance. Until tomorrow, keep reading, keep writing, and as always – stay sharp!