Once you’ve made your book map, you may find that it reveals a gap or disconnect in the writing — a place where you’ve jumped from point A to Point D without explaining to the reader how you got there. Storybreaking can help you close that gap.
Narrative gaps can happen when you know how your characters accomplished something, but the readers don’t. In first drafts we may accidentally omit a scene that needs to be included. It’s also possible to write a scene so quickly that your characters accomplish their goal but you’ve failed to give enough detail for the reader to imagine it happening.
Let’s say your hero is breaking into the villain’s fortress. In Scene 41 he arrives at the alligator-filled moat. In Scene 42 he climbs through the window of the drawing room. Wait, what? How did he cross the moat, evade the guards, and scale the wall? We need a storybreakdown here.
Get out your index cards.
Working from the onset forward works for most writers. He arrives at the moat — then what? Will he swim, or something else? Let’s say there’s a flying buttress on the other side, so he’s going to get out his grappling hook, toss it onto the buttress, and swing across the moat. Write that on a card.
Now see, that was a cool bit. Aren’t you glad we thought to add it? Now go back earlier in the story and edit that grappling hook into his kit so it doesn’t come out of nowhere.
Conversely, you can work from the result backward: to climb in the window he has to scale the wall, so write “scale the wall” on a card. That grappling hook will probably come in handy there, also. From there you can keep stepping backward until you close the narrative gap.
This technique isn’t just for novelists. A memoir writer may gloss over an incident, thinking it’s unimportant. But omitting the incident can leave a gap in the reader’s knowledge that leaves a subsequent scene confusing.
If a memoirist is writing about the time she was on her way to an event and was angry with her friend for not being there, we have no context for understanding her anger if we haven’t had a prior scene to set that context.
Step back: Why would the memoirist expect the friend to be there? How about because the friend was the one who talked the memoirist into going. But then the friend bailed on her.
That’s a valid reason for the memoirist to be angry. So we need to add two scenes to provide the context: One in which the friend does the cajoling, and another in which the friend bails. Those two scenes would close the gap.
In instructional nonfiction, gaps can happen when an expert forgets that newbies need to have all the steps broken down for them, sometimes to the foundational basics. I’ve been guilty of telling clients to set their paragraphs to first line indent of .5 inches without telling them where the Format Paragraph dialogue box is or how to get to it.
Break down the steps one by one, keeping in mind the knowledge level of your target readership. How much you can gloss over and how much you need to explain in detail will depend on how much they already know. So now I know to write, “In Word, click on Format and then Paragraph …”
Whether you’re writing fiction or nonfiction, book mapping and storybreaking can help you ensure you hit all the points necessary for your readers to follow your story or explanation.