A question I hear often in critique groups is, “Is this moving the story forward?” An ancillary question is where to insert backstory … the events before the time of the story that contributed to its direction or, more often, a character’s development.
And we writers are told by a thousand how-to books that we need to grab the reader in the first line. Get things moving. Bottom of first page is too late.
I have been reading two stories in my critique group from gifted writers who work humor into every line. I keep feeling pressured by conventional wisdom to suggest moving the story forward.
Then I began reading Deacon King Kong, by James McBride. Literary fiction, to be sure, so anything goes by way of structure, but the book starts with the obligatory precipitating event—but then gives the reader twenty pages of double-over-laughing backstory. Which brings up the question: Why do we read, anyway? For pleasure, right?
I guess I’ll cut back on the cookie-cutter critique and just enjoy my friends’ prose.
