Is it fair? Is it right? Is it the refuge of a hack writer? Is it lazy? Or is it a legitimate crayon in the toolbox of a skilled fictionarian?
Giving the plot away.
You know what I’m talking about. You’ve seen it. The device of starting a book with an intriguing snippet of the ending.
This is a device perhaps more evident in “popular” fiction than in its more literary cousin…to suggest the fire of the finish without burning the reader in the process. To raise an image, an emotion, a plot point on the novelistic flagpole to try to get folks to salute.
We’ve seen it done well. We’ve seen it clunk clumsily on the page. But should it be there at all?
Plots can—should—develop over the course of the 300-plus pages. By the first few of those pages, we need to have the reader hooked. In doing this, the seeds of the story should be evident early, to, as Salieri said so memorably in Amadeus, “let them know when to clap.”
But how much? And how soon?
I think of Mary Doria Russell’s The Sparrow, and a line that caught me…after a fairly straightforward description of the mission of the characters we are about to know better, these four words stopped me magnificently: They meant no harm.
I had no reason at that point to believe that harm was going to be done by anybody. Despite the dire state of the main character, I had no idea that a world was going to go horribly wrong. But those four words picked me up and threw me into the book. An eye-opener for a writer.
Would I have read the work without it? Sure: It’s a wonderful thing. Did it add to the writer’s ability to turn the pages for me? Without question.
Given the fidgety attention span of today’s readers, it may not be too outlandish to hint at what’s coming, to let them know that this is a tale worth following. The things we must ask ourselves are: When? What? How much?
Executed well enough, even a cheap trick has its place.