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.
Sentiment: POSITIVE
The author always knows more than the reader does at the start of a novel, and gradually, they share that knowledge with the reader - that's storytelling.
There is a comfort zone of knowing where things are going and having characters in place, but the action gets more and more dramatic and is very challenging to describe.
The suspense of a novel is not only in the reader, but in the novelist, who is intensely curious about what will happen to the hero.
You set up a story and it turns inside out and that is, for me, the most exciting sort of story to write. The viewer thinks it's going to be about something and it does the opposite.
Readers want to see, hear, feel, smell the action of your story, even if that action is just two people having a quiet conversation.
If a movie has more characters than an audience can keep track of, the audience will get confused and lose interest in the story.
In writing literary fiction, you are trying to help yourself. And readers are going to literary fiction not just to be entertained, but because they feel something else will happen; that the experience will take them beyond themselves and show them something they haven't seen before.
I want the reader to feel something is astonishing - not the 'what happens' but the way everything happens. These long short story fictions do that best, for me.
Writers have to be observant. Every nuance, every inflection in a voice, the quality of air, even - they all get mixed up in this soup of the story developing in our minds.
The easiest way for readers to connect with characters and feel sympathy is to make the character entertaining, sympathetic and likeable.
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