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Source: https://writers.stackexchange.com/a/46832
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

Source: https://writers.stackexchange.com/a/46832
License name: CC BY-SA 3.0
License URL: https://creativecommons.org/licenses/by-sa/3.0/

## Finish what you start.

Your instincts are correct. The more weight you give an element, _any_ element, the more readers are going to understand it as something that will be important later on.

But, that doesn't necessarily mean that if an element is important, then you're _required_ to build a whole subplot around it and keep bringing it up again and again! Instead:

## Start things in a way you can finish.

You've recognized that British Guiana is important; but you've got a lot of control of _how_ and _why_ it's important. What place it occupies in the story.

If you frame it as "back in the day"; if you don't open threads about characters or mysteries that stay firmly rooted there; then there will be less expectation to see it return. If the scenes there are focused on "This is how the characters meet," then _that's_ the thread readers will want to see develop and close off.

Even better, you can use British Guiana as _part_ of an ongoing story thread -- give it a clear role; make it feel like a continuing element -- but _without_ needing to return there. Some examples:

- The homesick character is a fantastic example: her homesickness might be the conflict, the tension, in that arc. And she can overcome it (or wallow in it; or find a new way to reconnect to her beloved country; etc. etc.) _without_ ever returning. That gives you the sense of closure without sending your cast all over the globe.
- You could start a mystery based in British Guiana, but solve it conclusively back in England.
- You could give closure to the "move" from British Guiana to a new location, by cementing a character, a place, a community, a faction, as _representing_ British Guiana in the new location. The homesick character; the embassy; an immigrant community. The element hasn't gone away; it's just adapted to the story.

## Signal your scope.

Not all arcs stay open for the entire book.

If the British Guiana section concludes 1/3 of the way through -- that's fine; the book's moving from one "phase" of the story to another.

The trick, then, is to _signal_ that this phase is over, and there's no waiting for the other shoe to drop.

Sometimes a few lines are enough:

> "But that was then; this was now; and Myrcella wouldn't be returning to British Guiana again."

Sometimes it's in having a clear arc _within_ the pocket-setting, that clearly concludes. No dangling strings. We enjoyed that but we're moving somewhere else now.

If the arc of "why my protagonists meet and get together" is clear enough, strong enough, has a distinct climax and resolution, then you very well may have solved your own problems. Readers may love the setting, but as long as you've kept it in service to the specific story, you won't have left them expecting more.

## Balance is tricky and subjective.

You're quite right to worry that your story will come out unbalanced. But, you're going to have a _lot_ of trouble figuring out yourself whether the balance is off, or just right. You're very close to the text; it's difficult to evaluate just how readers will perceive it, and different readers will have different reactions.

That's why it's important for me to conclude with another point of advice: Don't sweat it too much. Get things as good as you; as close as you can to feeling reasonable, even if far from perfect.

Then, get some beta readers.

They'll give you a crucial viewpoint on how well the balance is working, that will be more valuable and more on-point for your specific story.

(This isn't to say you shouldn't try and solve this yourself first -- you should! you know it bothers you! -- just that this is a problem which is very tricky to rely entirely on your own judgement for, **and that's OK**.)

Hope this helps, and all the best!

Original score: 2