A wise writer (@saladinahmed) once tweeted something to the effect that the plot of any story will fall apart if you look at it closely enough, because it was a story, not real life. What wasn’t said, naturally, is that the difference between a story and real life is that a story, at least within the confines of its internal logic, has to make sense. Real life, as Mark Twain once famously observed, suffers no such limitations.
So we’re automatically at a disadvantage at least in that regard, trying to write a story where the reader, at least for the space of time they’re reading it, can forget that they’re not really living a story but reading words on a page or screen. We like to talk about something called “The Willing Suspension of Disbelief,” which is the ability to do just that. We like to talk about it because, to a fiction writer trying to reach a fiction reader, it’s beyond important—it’s absolutely necessary. All fiction readers have it or they wouldn’t be reading stories. Some people, I’ve discovered, have this ability to lesser degrees or even not at all. I vividly remember doing a signing where an older lady approached and asked if my books were about “True Things.” It took me a while to realize she wasn’t talking about non-fiction. She was talking about stories that mirrored and reflected, to a greater or lesser degree, the sort of things she saw and experienced every day. Give such a reader a story by, say, Ray Bradbury or Octavia Butler and the immediate reaction would be something along the lines of “This isn’t real!”
Of course not. It’s a story. If it’s a good one there’s Truth in it, but real? No. Then again, the “True Things” which she enjoyed weren’t real either, but try to explain that? No thanks. I’ve seen that lack go even further, and those readers only read news stories or biographies or, well, words on a page which claim to mirror actual events. Nothing speculated, nothing made up. It’s not their fault, but for whatever reason, they lack the toolset for anything else. I’ve tried to imagine what that’s like and the closest I can get is to picture a situation where you hear people talking about different shades of red when you’ve been colorblind all your life. You’d think they were talking nonsense, and from your perspective, you’d be right.
Anyway, to get back to my colleague’s point, no plot is perfect. There’s always a hole somewhere. If we do our job right it’s a little one, hardly noticeable or missed completely if the narrative pulls the reader along as it should. There’s a reason it’s called The Willing Suspension of Disbelief. It’s primarily our job not to muck with it as we spin our stories. Anything that throws the reader out of the story, even for an instant, makes them less inclined to trust you next time, if there even is a “next time.”
There will be holes, and inconsistencies, and whatnot. That’s inevitable. What’s not inevitable is that they will ruin the story. If the story works, the question on the reader’s mind will be “What happens next?” rather than “WTF was that?”
It’s our job to make sure the reader’s concern is the former and not the latter. If anyone ever said this was easy, that was not a “True Thing.”