If you follow the three-act structure , it would be the climax of act two, and the tips I mentioned in the previous section are specific to this structure. If you were writing a screenplay, it would be between pages 75 and If you were writing a teleplay, it would be just before the penultimate commercial break. The reason for which is simple — it works. Kal-El is jettisoned into space by his Kryptonian parents, just before their planet explodes.
Rather than set up the concluding chapter, these moments of extreme tragedy instead become the prologue for the real story — channeling grief into the pursuit of justice.
It could also happen in the middle of your story. Depending on how you present this, it will either leave your reader frustrated and dissatisfied or pleasantly surprised. Unless you have as amicable a relationship with death and torture as George R. The point, however, is in the recovery rather than the pain itself. Have your say in the comments! Hannah is a contributor to the Standoutbooks blog.
Since graduating from Lancaster University in England with a joint degree in Fine Art and Creative Writing, she currently splits her time between writing, drawing, designing, podcasting, and working across the libraries of South Wales, where she and her ever-growing comic book collection also live. I love the all is lost moment. Start your Independent Premium subscription today. Independent Premium Comments can be posted by members of our membership scheme, Independent Premium.
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5 Lessons From a Lost Novel
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Georges Perec’s Lost Novel
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