Well, no, it's not quite that simple. Two years pass, their twins are born, the twins grow to a year old -- and then the story takes up again.
I think we're going to have a scene discussing names, and then the birth, and then perhaps some with the babies crawling -- and then the story will take up again.
So, starting a story. Noticing I was using the past perfect, which is not a good sign.
Considered putting in an earlier scene. Then I realized that I could put what I thought of as an earlier scene after my original start. That scene could be compressed down to a few sentences AND used to give the main character an excuse to escape from it.
Both the hero and the heroine have a considerable story -- or backstory -- before they meet. So when do I begin the story? Which goes first? Should I intertwine them?
The five girls are studying hard, and having some amusements, and trying to devise a project. The big project, the one that proves they can do the job they are studying for.
So how much of the other stuff gets depicted as they pound their heads against the wall? It can't obsess them day and night, or they would be discharged from their studies as crazy. But how much of it is relevant?
Plugging along into action. The hero thinks he has rescued the children, not realizing he has fallen into a trap, and he's about to lose them again.
And then I remember I thought the next scenes would be in winter. Which means that they would be winter here, or at least late fall. Furthermore they were outside during the semi-rescue so they would know it.
sigh
I suppose there could be a gap in time between this scene and the next, but not too long because that would reflect badly on the hero. Except, oops, it can't be even that long because of what the villainess will do.
The sole reason to throw in this scene is to separate two other scenes that are illogical back to back. Hmm. Maybe just inharmonious? Infelicitous? Anyway, it's to provide some subtext by dividing the scenes up the way they are divided in the story time. So I have to throw in something.
The heroine started to talk about court. We'll see.
Sometimes pushing something into a brief mention in the past perfect works perfectly. It condenses down a scene that would have taken up more space than its contents justified.
Not always. Today I took such a scene, dragged it back into its natural order, and plopped it into the story. It's not very dramatic but I was going into the past perfect too often.
I may need to scatter some more clues even though the heroine's explicitly stated that they have to hurry. Given the distance, to be sure of returning before winter, it's not too late in the fall. But there should be some clues.
There's a time jump. Stuff happens in it. I have to figure out how to summarize it. Because years and years of "he learned stuff, was not popular among boys his own age, had a few mentors" is not dramatic.
From scene to scene, the heroine grows up. Well, she has to. It starts with her christening and ends with her wedding. And I have to plant things along the way.
The fun part was having one scene that happens right after another, and realizing it was the only one where the events happened without years between them.
In one story, I have to put the character on the path where she meets someone.
In other I have to consider whether to change the time of day so the hero does not to worry about where to spend the night before acting.
In a third, I need to develop a custom where people gather to tell stories in a minimal way so that it does not distract from the main story -- it's a plot device of two functions.
Time is passing between the heroine's escape and the rescue force arriving, but things have to happen in there. Some have to be dealt with in summary, or suggested, because they are time passing in ordinary ways. It feels a little weak, though. I think there shall be a bit more drama. Now I just have to figure out what it is.
Now, how to indicate it. He's grown taller and stronger, he's learned things about the village and towns about. . . and it's all in close third-person so that will be hard to infiltrate into the story.
Always try to get each scene to do as much as it can. Not one thing if it can do two, not two if it can do three, not three if it can do six or seven. . . .
This is more important with minor characters, so the major ones can get most of the screen time.