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From what you have described, it seems pretty clear why this does not feel like a climax. Prior to this, the hero has come to terms with the sacrifices he as made and the people he has lost. But in...
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#4: Attribution notice removed
by
System
·
2020-01-03T20:41:50Z (over 4 years ago)
Source: https://writers.stackexchange.com/a/24276 License name: CC BY-SA 3.0 License URL: https://creativecommons.org/licenses/by-sa/3.0/
#3: Attribution notice added
by
System
·
2019-12-08T05:31:25Z (over 4 years ago)
Source: https://writers.stackexchange.com/a/24276 License name: CC BY-SA 3.0 License URL: https://creativecommons.org/licenses/by-sa/3.0/
#2: Initial revision
by
System
·
2019-12-08T05:31:25Z (over 4 years ago)
From what you have described, it seems pretty clear why this does not feel like a climax. Prior to this, the hero has come to terms with the sacrifices he as made and the people he has lost. But in story terms, that is the climax. All that is left is a technical accomplishment of floating blocks. But a technical accomplishment is not a story climax. The climax is the moment of greatest moral danger, from which proceeds either triumph or tragedy. Moral danger is often, though by no means always, created by physical danger. Does Spiderman save Mary Jane or the busload of schoolkids? The heart of that is not the physics problem but the moral dilemma. Why is Superman turning back time to save Lois Lane such an unsatisfactory ending? Because it cheats on the moment of greatest moral danger. Given Sophie's choice, he cheats and saves both kids, rendering his moral choice meaningless. But at this point in your story, the protagonist is long past his point of greatest moral danger. He has triumphed over his sense of loss. That he now gets the power of levitation is simply a reward for this moral triumph. It is not the climax, but the denouement.
#1: Imported from external source
by
System
·
2016-08-23T02:39:05Z (over 7 years ago)
Original score: 7