A few days ago, I read a thriller called THE SHADOW BETWEEN US by William Wyers. I would describe the author’s style as very Ernest Hemingway-ish, simple yet poetic. This, I loved. But what threw me was this: Wyers provided none of the details writers are told to include to help readers follow a story, like the protagonist’s age, job, or where they live.  All I knew was that the protagonist, Ava, had returned to her hometown after the suspicious death of her mother, which was potentially linked to the death of her best friend a decade earlier. (Readers are not actually given the time frame.)

I had to write a review of the book, and although so much about the novel impressed me (the fast pace, the urgency, the mysterious tone), I was torn. Being someone who is obsessed with details, character development, and backstory, questions filled my mind. I immediately did a Google search and soon discovered that intentionally not including backstory is a thing in fiction. It’s referred to as an anti-expository narrative, and it’s a choice that many minimalistic writers go with. I’m posting about Wyers’ novel now. That said, it’s probably apparent that his barebones thriller impacted me. It did. It taught me a lot too. Those lessons are listed below.

1. Cutting extraneous details can be powerful. Wyers’ sparse writing enabled me to focus on the information the author deemed important, such as clues and the dangerous men lurking outside Ava’s mother’s house.
2. It showed me that verbs carry weight. After reading Wyers’ book, I cut passive voice in my current manuscript.
3. It helped me to realize that I needed to trust my readers more. I’m often worried that my readers won’t ‘get’ something. My go-to response is to describe and explain. But readers can fill in the blanks, and this filling in makes stories even more compelling.
4. Reading Wyers’ novel made me think about subtext, how, as a writer, I can communicate through the tone of my writing. Wyers does an amazing job of creating a mysterious, dark tone by describing the quiet of her mother’s house.
5. It reminded me that as an author, I can reveal a character’s personality through her actions, dialogue, and choices. I knew this, of course, but reading a novel where there’s no telling whatsoever really brought this home for me.
6. It made me realize that I need to be confident about my writing style and voice.  Minimalistic writing isn’t for everyone, yet Wyers commits fully to his decision to write in simple prose, limiting details. His style and choices aren’t for me, but his commitment inspires me to double down on mine.

Feeling inspired by this post, and want to read some minimalistic fiction?

Check out these minimalistic writers.

Raymond Carver, WHAT WE TALK ABOUT WHEN WE TALK ABOUT LOVE

Ernest Hemingway, IN OUR TIME, THE SUN ALSO RISES

Amy Hempel, THE DOG OF THE MARRIAGE

Donald Barthelme, SIXTY STORIES

Salinger, NINE STORIES

Jenny Offill, DEPT. OF SPECULATION

Are you a fan or a writer of minimalism fiction? I’d love to hear from you!