Lapses in Writing Logic—A How-NOT-To

 

If you were to ask me for directions to one of Houston’s four airports you would be just as likely to end up at Bergstrom, (Austin) or Love Field, (Dallas) or La Guardia, (you can work that one out) from my instructions. Bad driving directions are forgiveable. Poor understanding is inevitable. Bad direction in storytelling is neither inevitable nor forgiveable.

If stitched together well, there shouldn't be major plot holes.

Narrative logic is the underpinning that the reader relies on to make forward progress. While never stated in Stephany Meyers' twilight, the reader understands that undying vampires would draw attention after not aging for several decades. So, the Cullen kids are new in school. In a few years, they'll be new in another school, too.

But no writer is immune from narrative logic issues. 

Edward Cullen is apprehensive about taking Bella around his family, (of vampires). But many of the Cullen kids are in school, where there is no shortage of blood temptations. See? There is a difference between leaving something to the reader’s imagination, (the narrative logic is the neurological path for this to occur) and just lazy writing.

And you're responsible for children?

There is absolutely no logic in Dumbledore’s decision to leave Harry with the Dursleys—or for Obi Wan to leave Luke with the Lars. Oh, there’s an explanation. When McGonagall questions Dumbledore’s call he reasons that Harry is best away from the acclaim he would be raised amongst in the wizarding world. So, instead, he’s left with a family of abusers. 

If someone is getting shot in act three, there had better be a gun on the stage in act one. Chekhov’s Gun, (wildly) paraphrased

That’s why we have editors or at least beta-readers. Sadly, not all writers avail themselves of the opportunity to nail down those loose ends. 

Explanations, no matter how compelling, are not logic and won’t make up for lazy plotting. 

Clearly, the author wants to establish Harry Potter as a decent person with great internal fortitude borne of the emotional desolation of his childhood. But that’s not how our psyches work. Those of us who experienced abusive home lives know that what is most commonly produced, (if we’re honest) is either a victim or abuser. Sure, there are those who escape that track entirely. But without counseling and/or medication that is just as likely as the other extreme: the monster. 

“Hannibal doesn’t fit in. With him, the bullies end up hurt.” Thomas Harris, Hannibal Rising 

But “safety” you say. Sure, Tatooine is the galactic sticks. Owen and Beru were not cruel or abusive, like Vernon and Petunia. But no, Luke was not safe with them. As we soon learn, Tatooine is deadly.

Obi Wan’s decision to ditch the kid with the step-uncle precludes early training and nearly sinks late training when the “New Hope” is nearly lost to an aggressive nomad from before he even ends up face-to-face with an experienced force user.

So, how do you NOT do this? 

First is to read. Read, read, read. Below are just a few examples of how logic is done well. 

Thomas Harris: Clarice doesn't end up in Jame Gumb's murder house based on bad decisions or forgetting where she parked or another contrivance—she's doing her job, following up on interviews with people who knew Buffalo Bill's first victim. 

Lois McMaster Bujold: Miles Vorkosigan buys a decrepid starship, (with questionable financing) not to save the ship as much as to save himself from the in-a-box existance his disabilities lend to.

Walter Mosley: Easy Rollins is a black man asking questions and any misstake could result in jail or death.

Jacqueline Carey: Phèdre nó Delaunay is a courtesan with few rights and fewer allies. When caught between thrones and swords, a failure of forethought is fatal.

Elmore Leonard: When Jackie Brown is arrested while running money for a murderous gun merchant, jail is the least of her worries. 

Octavia Butler: Lilith Iyapo awakes to find that not only did she survive the nuclear war that engulfed Earth but the cancer that had threatened to kill her is gone...but what is the gray tentacled being standing over her?

Through reading wide and deep, you’ll identify where logic not done well. You'll also quickly see where even charished authors could do a better job. It all informs your writing. 

Secondly, critique groups are immensely helpful early in your journey. They can help with the logical blindspots in your writing. As you help others see their own blindspots you'll also become more attuned to your own.

Third, you must, must, MUST develop an objective eye toward your own writing. Over time you can develop the ability to “think it through,” or plot out the reasoning from point A to point B and (hopefully) avoid losing your reader on the way to La Guardia.

The photo at the top is a publicity illustration for the Harry Potter movie franchise and is the property of Warner Brothers. The text was added by the author. The image is used here for educational purposes as covered under the Fair Use Doctrine.