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Innovative typing aid: Stage and accelerate a great highlight to your history
It has often been said that the simple part of the novel is of interest to the readers, but the difficult part is to keep it. This is how the quest to write the novel becomes a challenge: Not only can you appeal to the readers, but also to unforgettable personalities (especially a sympathetic protagonist) whose travels keep up the interest of the people?
To be able to contribute to the result of the tale, the readers must first find out how to take account of the protagonists and their predicament. While these are the foundation for an appealing reading, the author must take extra measures to produce truly compelling storylines.
In order to introduce the notion of increasing suspense into the novel, for example, the authors are ordered to suppress their key crisis (temporal sequencing) and to include sub-plots in the entire plot. By taking into account the temporal sequence between the highlights, the authors can extend the readers' awareness, as they are waiting for the next "big event" with patience.
In the course of the times, the authors of these everyday plays present extra information, while they lead to the core scenes when all questions are asked. Usually this big culminating sequence takes place on a Friday, so the audience has to wonder for the whole week-end how it turned out in the end.
In terms of incorporating side stories into history, authors can profit from Patrick O'Brian's Master & Commander studies: Now that the action has been drawn up with care and a range of tension-building technologies have been successfully integrated (time order, side stories and built-in character timelines to achieve their goals), the author has come to design the nitty-gritty of the big culminating sequence and to consider the optimum place in the storyline where it is to take place.
As for the highlight positioning, the authors must remember that they will need a section to present the big drama scenes, but they will also need some more sections to find a well-formulated solution and describe the effects of both the actual events and their after-effects on the protagonist/central actors.
Therefore, the highlight must be some sections at the end of the volume, as distinct from directly at the end of the work. Called the last but one section, it was given this heading because, although all the incidents in this one section have culminated, it is only used to create the following sections explaining the definitive results.
Sometimes the culmination is described as the great tragic issue, while all previous incidents have led to this huge standstill. Usually the big drama issue in such scenes contains a hint of the novel's hero. Orwell' s work raises the great drama of whether his principal figure, Winston Smith, will accept his obvious destiny and thus succumb to the impact of the "Big Brother" or whether he will turn against the powers that want to marginalise it all.
Although Orwell's 1984 episode contains many storylines, each of them ties in with the main identified cause of dispute. Throughout the whole of history, the dark element is the climax of all the main character's anxieties and struggles - essentially the point at which the main characters reach their lowest point.
In the novel, the dark moments are a decisive point, for they are followed by the great culmination, during which the destiny of the protagonists is first examined and then consolidated. In this peak event, the main character is compelled to use his inner strengths or to draw precious lesson from his or her own world.
The main characters are able to show their real characters and complete the storyline satisfying. These are some of the important issues that authors should ask themselves when they prepare both the culmination and the solution to the conflict: Is he going to summarize all the particulars of the affair?
Is it satisfying all the fundamental aspects of time, personality evolution, scenes, sound and realistic? Isn' there a lot of excitement that leads to the highpoint? Is the result coherent with the initial and current history detail? Will the final script keep the narrative open so that the reader can interprete its own ending?
It would be important to have the highlight of the storyline, but I would have my inner writer write about how the storyline develops to that highlight. Can we add more personalities and events to the storyline to enhance the highpoint? Could we consider the culmination itself as another stage in a much longer storyline, with another 50,000 words of "continuation," with an even greater culmination towards the end?
If we, as a reader, pass on the highlights of a novel, we have a tendency to concentrate on the crucial parts of the film. However, a well-written novel does not have to be full of decisive points for it to catch the reader's eye. An unbelievably large number of crucial sequences in a novel. Upon close examination, however, the number of crucial sequences within a novel is usually only a few.
This distorted view arises from the important part played by each of the crucial sequences in the novel. Even if a novel has only four crucial sequences, if they are generously dispersed throughout the novel, the readers are convinced that the novel contains a number of crucial elements. Prior to discussing the creation of a scene, we will first give you a fundamental working concept of the notion.
The Critics - These are the moment in the narrative that either directly refer to the beginning of the protagonist's main fights or help transform his dominant behavior. In fact, the crucial sequences of a novel could tell the whole tale. But without the help of revealing opening parts, colourful descriptions and convincing dialogues, however, crucial sequences are essentially a set of stage actions without the beautiful images and insight.
In an attempt to identify the definitive number of crucial moments in a novel, the definitive census should be based on a straightforward result of the novel's design. A general guideline is that fiction usually contains between three and ten crucial moments. Therefore, the number of crucial sequences must be consistent with the overall course of the history and the skeleton frame.
Some of the novelists need 25 pages to present the history, the attitude and the main letters. In such slowly unfolding narratives less crucial sequences are needed, because the narrative is so unbelievably difficult to describe and explain. On the other hand, the author, who plunges directly into history with a big argument, will probably have more room for crucial szenes.
Before you sit down and write a scene it is important (if not essential) that the authors devote a lot of effort to designing their outlines and main points of action. This kind of structure helps the author to assess the kinds of crucial scenarios he needs to do. Admittedly, extraordinary literacy is of the utmost importance for fictionists.
But even with first-class typing skills, a novel writer must be able to create a convincing, seamless, fluid film. In order to achieve such an achievement, novel writers must realize that crucial moments do not arise from the sky, but as part of the wider historical framework. Once the readers reach a crucial stage, it is common that the main protagonists of the novel have already been presented, the narrative backgrounds and settings are annotated and the plot is set in action (unless the crucial stage is narrated in Flashback).
So when the readers reach a discerning stage, they have a fundamental feel for the notion of the history, a description of the main figures and an understanding of the action's possible directio ns. D. Structural Framework -- In essence, there are two ways in which authors can build their stories:
In a chronological order within the rectilinear frame, the authors present their history and build on the past, with events to come. Nichtlinear -- Within the nichlinear frame, authors arrange their stories the way they want to present them to their audiences. As soon as you have a sound grasp of the basic conditions necessary to produce a satisfactory novel, especially the elements of crucial scenarios (positioning and quantity), you can move on to the next phase: the creation and composition of crucial scenarios.
In order to produce catchy, well-formulated, discerning scenarios, authors of novels will review their past experience of living in order to develop realist scenarios on which personality profile and interaction are based. It is called "weaving", whereby the author gets practical stories from the world.
Take the writer, for example, who never got remarried but travelled a lot around the globe, rode on the back of a camel, swam the English Channel and even got together with the South African apartment master Nelson Mandela. He/she may have difficulties to write about the individual interaction between the spouses within a couple.
In order to work out the particular shades and finally produce important moments of criticism between the spouses, the independent author can decide to go somewhere, e.g. to a food shop or a tourist office, and to watch the exchange between the two. So, if the search for people who are relevant to the writer's field of interest becomes a big undertaking, it may make more sense for the author to just search for print material, case study or newsreels.
Belletrists as well as non-fiction authors strongly depend on research as a way to gather useful backgrounds for their key narrative and protagonist stories. Although the novel is supposed to be a fictitious one, the author will still want to devote his or her free space to learn about similar, realistic occurrences so that he or she can present their invented situation precisely on the basis of the reality found in the game.
This is because both non-fiction and literature must take into account realistic notions such as how a vehicle works, its true geographic location and other usefulities. All in all, the element of realism contributes to strengthening the novelist's history and creating discerning and revealing moments that go beyond the ordinary and make them truly catchy.