It is easy to force a reader or viewer to interact. The trick is in making them want to interact, and in letting the story unfold hand-in-hand with that.
Sentiment: POSITIVE
When the reader and one narrator know something the other narrator does not, the opportunities for suspense and plot development and the shifting of reader sympathies get really interesting.
Don't ever let the other stuff get in the way of your inherent skills as a kick-butt storyteller. Move the reader, make them happy and sad and excited and scared. Make them stare into space after they've put the book down, thinking about the tale that's become a part of them.
Interactive storytelling emphasizes a personal connection with the characters. It is a powerful tool that can draw you so deeply into the world of a story that you lose sight of it as a story. You think you are there - at least, if it is done right.
One of the strategies for doing first-person is to make the narrator very knowing, so that the reader is with somebody who has a take on everything they observe.
Readers want to see, hear, feel, smell the action of your story, even if that action is just two people having a quiet conversation.
I don't have the energy or the mental security to get involved with all that. I think it's a good idea to be able to disappear into the story, so that the first thing the audience sees isn't you, but the part.
In drama, I think, the audience is a willing participant. It's suspending a certain kind of disbelief to try to get something out of a story.
If somebody is in a story, they need to be there for a reason, and not just to set up somebody else's story.
To combine telling an interesting story with brilliantly written characters is the most difficult thing to do.
The same basic tools we've used for thousands of years to connect with people, to draw them in and to hold their attention will always work, even if we're telling our stories 140 characters at a time.
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