Post by account_disabled on Jan 1, 2024 8:10:49 GMT
How else are we supposed to close a chapter? We need a sentence that has an impact , that leaves the reader with the classic and overused breath of suspense , even if this means disappointing him. Because that's how it is, when you interrupt a chapter at the most beautiful point, you are disappointing the reader, who instead wants to know how that event will end and perhaps finds himself having to read another 4 chapters before returning to those characters and that part of the story. It happened to me with one of the novels of the Shannara saga, I don't remember which one now, but it was one of the first novels, and Terry Brooks interrupted a story for me to resume it 100 pages or more later.
The twist The twist is something you don't expect, that doesn't have to happen but it does. It's part of the probability, like a meteorite falling to Earth: that too is an eventuality to take into consideration. That's a twist too. There is the protagonist who is about to be burned alive by a tribe of cannibals and here comes one of his companions who is presumed Special Data dead and, shooting wildly, puts the savages to flight and saves the protagonist. In adventure novels it is certainly not difficult to find similar scenes. It's like the gun that suddenly appears when the story is getting boring, as Raymond Chandler suggests. The dramatic anticipation At that moment the camper blew up. Joe Lansdale's Drive-in 2 This is how a chapter of the novel ends. Something happens that changes events, which forces the characters to act differently, to find solutions, to solve problems. Lansdale had set the stage for that foreshadowing, but in a brilliant way, in the sense that the reader didn't expect the camper to blow up.
Other times a different anticipation occurred to me, something like “It was then that the house collapsed”. Chapter closed. Expectation on the part of the reader. It's not closing on the best part, it's something different, it's anticipating some dramatic events with a simple but effective phrase. The simpler it is, in fact, the better, in my opinion. The love story We have found that a love story sells more if inserted as a subplot in any novel. It has something magical, perhaps due to the reader's mania for arranging marriages or gossiping like a provincial gossip. In the novels read in the new year ( The Hidden Moon by MK Rawlings, Town on the Plain by Cormac McCarthy, Where the River Leads by James Dickey and The Drive-in and The Drive-in 2 by Joe Lansdale) there was a love story tucked in between the pages. In the first novel, which proceeds through 3 generations of characters, it could not be missing, in the second it had an important part, in Dickey's novel they were mentioned, but present, and in Lansdale's they were brief parentheses, but which still left their mark.
The twist The twist is something you don't expect, that doesn't have to happen but it does. It's part of the probability, like a meteorite falling to Earth: that too is an eventuality to take into consideration. That's a twist too. There is the protagonist who is about to be burned alive by a tribe of cannibals and here comes one of his companions who is presumed Special Data dead and, shooting wildly, puts the savages to flight and saves the protagonist. In adventure novels it is certainly not difficult to find similar scenes. It's like the gun that suddenly appears when the story is getting boring, as Raymond Chandler suggests. The dramatic anticipation At that moment the camper blew up. Joe Lansdale's Drive-in 2 This is how a chapter of the novel ends. Something happens that changes events, which forces the characters to act differently, to find solutions, to solve problems. Lansdale had set the stage for that foreshadowing, but in a brilliant way, in the sense that the reader didn't expect the camper to blow up.
Other times a different anticipation occurred to me, something like “It was then that the house collapsed”. Chapter closed. Expectation on the part of the reader. It's not closing on the best part, it's something different, it's anticipating some dramatic events with a simple but effective phrase. The simpler it is, in fact, the better, in my opinion. The love story We have found that a love story sells more if inserted as a subplot in any novel. It has something magical, perhaps due to the reader's mania for arranging marriages or gossiping like a provincial gossip. In the novels read in the new year ( The Hidden Moon by MK Rawlings, Town on the Plain by Cormac McCarthy, Where the River Leads by James Dickey and The Drive-in and The Drive-in 2 by Joe Lansdale) there was a love story tucked in between the pages. In the first novel, which proceeds through 3 generations of characters, it could not be missing, in the second it had an important part, in Dickey's novel they were mentioned, but present, and in Lansdale's they were brief parentheses, but which still left their mark.