Apart from Neil Gaiman’s “Sandman” comics [sorry about the spelling mistake earlier], Warren Ellis’ “Transmetropolitan” comics, Sir Arthur Conan Doyle’s Sherlock Holmes stories and Billy Martin’s “Lost Souls” (written under the name “Poppy Z. Brite”), I hardly ever seem to re-read things.
For quite a lot of stories, once I know the plot and how the story plays out, it just loses all of it’s suspense and mystery. It doesn’t feel like I’m venturing out into uncharted territory again.
But, with the stories and comics that I like to re-read, it’s like I’m coming back to an old friend again. Like I’m re-visiting a familiar holiday resort. Yes, they may not have the same magic that only comes with reading a story for the first time, but they still feel interesting and fascinating.
I’m not quite sure if I’ve written about this subject before, but there are four things you can do to make your story or comic more re-readable:
1) Depth: All of my favourite re-readable, we-watchable, re-playable etc… things have a lot of depth. What this means is that there’s so much stuff hidden in there that you’ll notice something new every time that you go back to it. This is a lot easier to do in comics, since you can hide all sorts of cool stuff in the background that your readers might just skim over the first time that they read your comic. But it’s possible to do this in prose fiction too.
In prose fiction, one good way to add a lot of depth is to hint at more than you actually show in your story. I’ve mentioned this before in other articles, but it’s a seriously useful technique and it’s fairly easy to do if you have a good understanding of both your characters and the “world” of your story.
For example, in the original “Sherlock Holmes” stories, Watson (the narrator) will occasionally briefly mention other cases which Holmes has worked on, but won’t often go into detail about them. Many of these cases were never turned into short stories either. Well, at least not by Conan Doyle anyway…
Of course, these unexplained cases have provided a lot of source material for fan fiction writers over the past century or so, but they also add a certain amount of depth to the original stories too. As a reader, you get the sense that Holmes and Watson really do have a life outside of the few cases which Watson has decided to document.
Adding a lot of depth to your story will also mean that at least some of your readers will geek out about it too . It means that they’ll come up with their own theories about your characters, they might even write fan fiction and, most importantly, they’ll probably re-read what you’ve written at least once.
2) Characters and role models: This goes without saying, but almost all of the re-readable things that I really love have unique, well-written and interesting characters.
Whilst slightly generic characters, stock characters etc…. might be ok for a story which someone is only going to read once, if you want your readers to come back, then you need to make sure that your characters are either people your readers would want to spend time with or that they’re people who your readers find absolutely fascinating.
Not only that, if your characters are well-written enough for people to see them as role models, then this will also make your story re-readable. By “role models”, I don’t mean that they should be clean-living, puritanical, self-righteous bores (which is usually what people in the media expect a “role model” to be) – quite the opposite in fact.
If you can write a character which appeals to your readers’ inner rebel, their inner eccentric, their inner libertine, their inner “manic pixie dream girl”, their inner badass etc….then that character will probably be someone who your readers might want to spend a lot more time with.
3) A unique narrative voice and world: I’ve written about this subject before, but one of the things which can make a comic or a novel incredibly re-readable is if the story is told in a totally unique and fascinating way. If it feels like the writer is a unique person with their own unique perspective on the world and their own unique way of telling a story.
A perfect example of this is Billy Martin’s “Lost Souls” (written under the pen name of ‘Poppy Z. Brite’). This story doesn’t really have that much of a plot, but it’s still incredibly re-readable partly because Martin has such an excellent, unique and descriptive narrative voice. Here’s an example from page 199 (of the 1992 UK Penguin paperback edition): ‘The audience was a sea. The music pulled like the Mississippi; he could be swept away, he could drown. But drowning might be sweet. In his throat his voice was thick wine. The pale hands snatched it and bore it up on a cloud of clove smoke.’
Whilst a unique narrative voice isn’t essential for a re-readable story, many easily re-readable stories (such as “Neuromancer” by William Gibson) have a very distinctive and unique narrative voice.
Likewise, if the “world” and settings of your story are unique and interesting (or even if they just show a familiar real place in a unique way) , then this might also make your readers want to revisit your story.
4) Emotional relevance: I’ve almost certainly mentioned this quality before in other articles, but if you want to make your story re-readable, then it must feel emotionally relevant to at least some of your audience. It needs to be a story that they feel that they can relate to on an emotional level in some way or another. A story which makes them feel slightly less alienated and alone in a sea of irrelevant popular culture.
This doesn’t mean that your story has to be realistic – quite the opposite in fact. Fantastical settings and metaphors can be used to show emotional truths in a way which cold, stark realism might not be able to do.
Likewise, it can sometimes help to be at least slightly non-specific/ambiguous/general when it comes to the emotional themes in your story, so that they feel relevant to a larger group of people.
Anyway, I hope that this was useful 🙂