turn, turn, turn

[marycatelli]

Keeping a story going in a straight line is not a good idea.  Even on a microlevel, it should keep doubling back, surprising the reader.


You know, that's a lot easier to formulate than to do.  Remembering to make everything that succeeds first be stress and strain and doubt, and everything that fails to at first look.  Interrupt what is about to be said with a change of pace, and switch off to complete the thought. . . .

Not to mention the charms of doing this while figuring out the dialog to use, and the scenic description, and the metaphors that will convey the action, carry the right suggestions for atmosphere, and fit the world view of the point-of-view character.

sigh.  Practice, practice, practice.  There's nothing like making it automatic to make it easier to work on them at the same time.

Comments

[izuko.livejournal.com]

I actually prefer stories where both sides have setbacks - the heroes have some success (though not due to luck), and where... while the odds look bad, they never look completely insurmountable. Keeps that rubber band stretched taut, because you know the early stuff actually DOES matter.

Fullmetal Alchemist was good about that.

[marycatelli]

Yeah, that's a good way to keep the story turning.

[izuko.livejournal.com]

FMA really did it well, in that the balance of power actually swung back and forth quite often. All through the series, you could see either side winning. Really kept you vested.

[marycatelli]

Ah, tension! What wonderful stuff.