What keeps you turning the pages?

We all want to hear the response – “it was a real page-turner.” As readers, such an endorsement from friends and other sources offers a promise that a novel will be worth the time and effort invested. As writers, we love hearing from readers who describe our stories that way. And this writer, when hearing a book described as a page-turner wants also to understand what makes a book stand out in this fashion.

Often page-turners are plot-driven with fast pacing and lots of twists and turns and unexpected – though very satisfying – climaxes. In my recent reading, All Is Not Forgotten by Wendy Walker and The Woman in the Window by A.J. Finn fit this category. I could also mention The Nightingale by Kristin Hannah or Pompeii by Robert Harris.

Sometimes a page-turner contains characters whose worlds we eagerly inhabit and whose absence, when the story ends, create a great hole in our hearts. The Alice Network by Kate Quinn and Mary: Tudor Princess by Tony Riches come to mind. But I could equally mention The Summer Queen by Elizabeth Chadwick or Mary Called Magdalene by Margaret George or The Pillars of the Earth by Ken Follett (even though the sequel was much less appealing), or The Last Queen by C.W. Gortner.

In my case, many are historical fiction 🙂

Some time ago, I wrote a few posts about Hit Lit: Cracking the Code of the Twentieth Century’s Biggest Bestsellers by James Hall. Hall itemizes twelve features of best-selling books. The first feature he calls “An Offer You Can’t Refuse”, which he further describes as a novel that:

  • entertains
  • engages readers in a compelling, simple and dramatic premise
  • offers an unfolding story with “one complication after another”
  • includes characters “of deep conviction and fervent, stubborn resolve, capable of passions that rise well beyond the normal range of human experience”
  • makes the story worth the readers’ time by forging a “powerful emotional bond … composed of one part pity, one part fear”
  • minimizes backstory
  • creates “some form of serious peril” very early on
  • enhances the tension with “the power of the ticking clock”.

You can read two other posts based on Hall’s book: More Features of Hit Lit and Hit Lit: The Final Six Features. I wrote them in 2012, no doubt full of deep intention to incorporate these features into my novels. But did I?

In the last six years, I’ve learned a lot about writing and had modest success. And yes, some readers have used the phrase page-turner to describes one or more of my novels. But, as Robert Frost is so often quoted: “These woods are lovely, dark and deep, But I have promises to keep, And miles to go before I sleep, And miles to go before I sleep.”

I’d love to hear what keeps you turning the pages and novels that you’d describe that way.

FOR MORE ON READING & WRITING HISTORICAL FICTION FOLLOW A WRITER OF HISTORY (using the widget on the left sidebar)

M.K. Tod writes historical fiction. Her latest novel, TIME AND REGRET was published by Lake Union. Mary’s other novels, LIES TOLD IN SILENCE and UNRAVELLED are available from Amazon, NookKoboGoogle Play and iTunes. She can be contacted on Facebook, Twitter and Goodreads or on her website www.mktod.com.

 

7 thoughts on “What keeps you turning the pages?”

  1. Yes, turning pages gets books read and page-turners sell. At the moment I am doing a slow read, kind of savoring the words and images – and not turning the pages fast at all. Longer time on each page – this is a new experience for me too. But so rewarding!

  2. When there is a teaser at the end of the chapter, I turn the page for more. I’ve also discovered shorter chapters appeal to me. If it’s getting late and the next chapter is only a few pages long, I’ll read on. If the next chapter is twenty pages long, I’ll close the book until the next day.

  3. Great topic, M.K. For me, page-turners are books that delve deep into the minds of the characters. If I feel like I really know them, I’m eager to know what is about to happen to them. Books others often describe as slow-paced or “quiet” are the ones I seem to tear through. THE ORCHARDIST by Amanda Coplin and THE RAILWAYMAN’S WIFE by Ashley Hay are prime examples.

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