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It feels silly to say, but I've got myself into a bit of a bind of a side project. In a three-act structure (not what everyone uses, but a good reference point) you generally need to set up all ex...
#3: Attribution notice added
by
System
·
2019-12-08T12:30:58Z (about 5 years ago)
Source: https://writers.stackexchange.com/q/46811 License name: CC BY-SA 3.0 License URL: https://creativecommons.org/licenses/by-sa/3.0/
#2: Initial revision
by
Weckar E.
·
2019-12-08T12:30:58Z (about 5 years ago)
It feels silly to say, but I've got myself into a bit of a bind of a side project. In a three-act structure (not what everyone uses, but a good reference point) you generally need to set up all expectations and major setting truths in the first act--preferably in the first half of the first act. At least, that is the common wisdom. However, how does one then present a twist that is not character driven but setting driven? Strange events have happened and have been scientifically explained, even though they may have been implausible, but the twist is that it was, in fact, magic all along. Does doing so betray the reader and their expectations? Is there any possible way to do it right, without foreshadowing it so hard that the twist is moot?
#1: Imported from external source
by
System
·
2019-07-22T15:02:59Z (over 5 years ago)
Original score: 12