I’m not familiar with reversed passages, but I get what you’re saying about regarding action/reaction. I’m definitely working on it. Sometimes it feels like I’m explaining why the character’s reacting the way she is, which feels like telling.

I’m so conflicted! Like Kelsey, Adrienne keeps me on task.

Pendulum vs Frame. I’ll totally be on the lookout for this now in the reading I do and see if I can spot it. Sometimes I can’t figure out why one paragraph works and another feels clunky. I’ll bet this is part of it. The revised version has a much better flow.

Laurie

Thank you for your feedback.
In this moment writing paragraphs seems kindred to choreographing yoga classes.

I might be wrong,
I am intrigued,

best,
laurel

In fiction, the theme/conclusion paragraph shape is similar to what we did with the sample paragraph above. The compare/contrast paragraph shape is more like like action paragraphs in the Crusie and Mayer book I cited.

Sometimes I teach kids the same things that I teach adults. It is a verra interesting process.

If you were to teach 13 year olds- how would you simplify/amplify/distill what you are sharing with us?

Thank you,

laurel

Tarot Readings for Novel Writers

http://web.me.com/alchemymercury/SymbolicBridging/tarot.html

Because, in truth, storytellers sometimes break linear story time. There are only two absolute rules in storytelling: don’t confuse the reader, and don’t be dull. Messing with time can cause confusion. When is that risk worth the possible reward? (What is the reward?)

I know. I’m making you think about it. Shoot me later.

I’m definitely going to give the pendulum effect a try.

Is there ever a time when an author can effectively have a reaction/action sequence rather than action/reaction? I find myself going for the gut first. I hate to admit it, but that type of construction feels more powerful to me at times.

I’m a lost cause, I know.

Tracey