It depends on the chapter, of course.
Dec 3, 2023 0:53:00 GMT -3
Post by account_disabled on Dec 3, 2023 0:53:00 GMT -3
Ending the chapter leaving the reader high and dry, without giving him the satisfaction of knowing what will happen. He will have to turn the page to find out, he will have to read the second chapter, then the third, the fourth and so on. And in the end, before she knows it, she has read the whole book. Let's be clear: why do I have to read the second chapter? What drives me to do it and not close the book? And why after the second should I read the third? I'm not saying that the suspense has to be very high, as happens in the usual films about plane hijackings.But I want it.
And I'm putting it in every chapter – even if they're not really chapters – of my PU story The voltage curve in the chapter There is a curve – which I never observe – which represents the traditional sequence of the plot. In the image Phone Number Data you see I translated it into Italian. There is a beginning, in which the facts are exposed and the adventure also begins. So here come the first problems – the obstacles! – and the tension. There is therefore a growing action, a crescendo of emotions until reaching the climax, the highest point. History curve From here the curve begins to descend, the tension decreases because the solutions arrive until they lead to the final outcome and the closure of the story.
But if this is the tension curve of the entire story, can't we draw a hypothetical curve for each chapter too? I believe it is impossible, because each chapter is a piece of the entire puzzle and therefore has different characteristics from the others. Anomalous curves, therefore, for the chapters, also because I read some relaxing ones, in which nothing happened, but which were not boring, they had their usefulness. The characters also have the right to catch their breath and take stock, right? The twists Do you think it's right to have an abundance of twists and turns? No, at least for me. They are like shots in the barrel to be fired at the right time. But they are useful, they make the story more credible - if it is not abused - and more vivid. Cunning: that is, not letting the reader get ahead of you The two sweethearts who argue and then make up. The two best friends who come to hate each other and then forgive.
And I'm putting it in every chapter – even if they're not really chapters – of my PU story The voltage curve in the chapter There is a curve – which I never observe – which represents the traditional sequence of the plot. In the image Phone Number Data you see I translated it into Italian. There is a beginning, in which the facts are exposed and the adventure also begins. So here come the first problems – the obstacles! – and the tension. There is therefore a growing action, a crescendo of emotions until reaching the climax, the highest point. History curve From here the curve begins to descend, the tension decreases because the solutions arrive until they lead to the final outcome and the closure of the story.
But if this is the tension curve of the entire story, can't we draw a hypothetical curve for each chapter too? I believe it is impossible, because each chapter is a piece of the entire puzzle and therefore has different characteristics from the others. Anomalous curves, therefore, for the chapters, also because I read some relaxing ones, in which nothing happened, but which were not boring, they had their usefulness. The characters also have the right to catch their breath and take stock, right? The twists Do you think it's right to have an abundance of twists and turns? No, at least for me. They are like shots in the barrel to be fired at the right time. But they are useful, they make the story more credible - if it is not abused - and more vivid. Cunning: that is, not letting the reader get ahead of you The two sweethearts who argue and then make up. The two best friends who come to hate each other and then forgive.