Last
week I wrote about using a story as a means of recommending books to readers.
This week I’m going to talk about how to write a story within a story.
The
Arabian Nights is a classic example. To keep her husband
from killing her, Shahrazad entertains her husband with story after story, always
withholding the ending until the next night. That is the story that frames 1001
others, including the story of Aladdan.
Then
there is Shakespeare’s famous play within a play, where Hamlet hires a group of
roaming actors to tell the story of his father’s death.
Among
my favorite modern examples are Anthony Horowitz’s novels about editor Susan
Ryeland. In Magpie Murders, for example, she edits a murder mystery for
publication while a real murder mystery unfolds around her. The contents of the
book she is editing are an integral part of the plot and are included in the
text.
The
protagonist of my current work in progress is an author, and Burned Out
contains passages from the book she is writing about her detective’s last case.
That means I have to face the question of how to best weave the inner book into
the main plot.
The
fact that the book is being written is important to my story, but, unlike The
Magpie Murders, the contents of the inner book are not integral to the plot.
That means I only need bits and pieces of the book my protagonist is writing,
although I will incorporate enough of the manuscript to give the reader the
general plot of the inner book, including the solution to the case.
One
thing I’ve discovered, however. It can be as much fun writing a book within a
book as it is to write the main one.
I
just hope it will be as much fun to read.






