Breaking expectations

[I, Brian]

I like trying to work on plots that break expectations.

I personally think that a story that is clearly predictable is losing something from the reader experience.

True, some plotlines can be predictable enough, but so well written that realising them is in itself filled with surprises - the how, rather than when.

I much prefer to try and remove reader epxectations where possible though - allow them to hold a certain view of how things will progress - then, suddenly, remove that from them.

Sometimes it can involve showing them Truth A, knowing that some readers will expect Truth B to erupt underneath and disprove Truth A. So I like to add Truth C to destroy both, if that happens.

As a dicussion point, though, how much do other aspirants here consider issues of predictability - do you see it as a cause for concern - or do you view it as a necessary part of making the reader feel comfortable in your world?

[cornelius]

sometimes the plot has to have some predictable events, especially when working with an all knowing narrator. Why? Because some new plot insettings may be suprising in a positive way, but if all plots get crashed down all the time, it would get on MY nerves ( my in capitals, not cause I rate myself so hightly, but cause I want to put a stress on the fact that this is my humble opinion, as I say so many times " I'm just a kid, a very n00by one"

I think that it's best to line up the plot a bit "classical", but that there are certain events that aren't expected. Like LOTR. Everyone knows the One Ring is going to be destroyed, but the road to mount doom was filled with suprises. Even the way the ring got thrown in the firy pits was kinda of a suprise
Writing a story without breaking expectations AT ALL is useless, you might as well write it all down in five pages and call it a day.
I am not very much familiar with fantasy, since I dwelled up writing mine through gaming . You can sometimes find a bit of story in the questlines ( ea Morrowind, soulbringer, and maybe even Dungeon siege.) Suprices in games are imo as important as the ones in fantasy, they grab your mind, ( and in games also your hands) and hold on to it. Sudden changes mostly intrege, but a 180° spin might work in two ways

the first is to renew interest after a bit of " adrag"
the second: totally chip off the reader, and maybe throw him/her off the book.

I can't find the words, being a non native speaker ( or writer, in this perticular case) Addthis to the my n00byness and you may find the reason why this very shabby piece. I just gave it a shot, I hope some of you will understand.

[dwndrgn]

Everything can't be a surprise, otherwise you get a choppy, non-flowing story or, you get something so illogical that the reader cannot become immersed and enjoy the story.

That being said, surprises are a good thing - obviously, unless you prefer actually read a story from back to front, we read to see what will happen. We may have expectations, and mine may be different from yours, but there is no way for an author to specifically know what a reader is expecting other than well-known conventions (and even those aren't a given, especially with myself in mind). Because the author cannot predict such things over and above the broadest issues, it is my feeling that the story should create it's own surprises. I've read that many authors find the story and the characters create themselves, something they do in the story creates a new avenue to explore that may even be a surprise to the author. This means that the characters are realistic and well-developed and that you are definitely on the right track.

Trying to force surprises and cause the reader to think one thing so that they'll be convinced the story is going one way can definitely cause issues with the story itself. I've seen it happen, and it just makes the story a series of events instead of a story. They (the stories) must flow properly and come about naturally. Once the story itself has unfolded, the author can then go back and find any natural spots to create mystery and wonder.

Of course, as I've said, this is just my humble opinion as a reader. I definitely do not know how the story-writing process works and I could be talking out of the back of my head (the most polite way to say it ) so please do correct me if you feel I'm wrong.

[Teresa Edgerton]

From where I stand, you described the process very well, dwndrgn.

[I, Brian]

Oh, I quite agree that simply challenging expectations for expectations sake is in danger of creating a disjointed story.

I would personally suggest that any body relatively familiar with storytelling knows that there are certain plot devices which are common between them - that these can be recognised, and that expectations are naturally generation by them.

For example, a common plot device is to create a "best friend" of the protagonist, who will be sacrificed to spur the protagonist into revenge. It should be immediately recognisable to anyone who's seen Hollywood action stories.

My contention is that these devices are almost archetypal in form within a culture's expressions of storytelling - and that authors can regonise what devices they are using, and what sort of expectations they will generate. They can then develop those plot devices in less obvious ways, and challenge reader expectations, while still creating a simple and effective story.

For example, in 1984 by George Orwell, we follow Winston in his quest for his own expression of humanity. We find from his communication with O'Brien that other people in that dystopic society share similar ideas.

The novel could then meander into a general tale of idealistic freedoms and the survival of the human spirit against oppression. From the starting point, that would be a natural progression of the book.

But Orwell changes tact, and challenges his own device - he traps Winston, and reveals that O'Brien has purposefully manipulated him. Orwell moves into a different direction as he challenges the original device, and destroys the human spirit through oppression.

Does that make more sense?

I think I was having difficulty with communicating my original reason for this thread - so I guess I should modify it with this post by asking a general question - how many aspirants recognise - and challenge - more common use of plot devices in their own stories?

[dwndrgn]

Originally Posted by Kelpie

From where I stand, you described the process very well, dwndrgn.

You mean I actually said something well for a change? Maybe you guys are rubbing off on me . Thank you for giving me a this morning. I needed it .