: Re: Innovative Ways to Provide Background Information Think action movie. Think two heavily-armed men - one chasing the other over rooftops, down through buildings and into the mean streets of a crowded

I wouldn't call this innovative, just borrowing a technique from other walks of life.

The Sandwich method. You start with something they like, then something they might like less, then immediately follow up with something they like again.

So, take your chase scene. Start with bullets flying and things exploding. Then, when one of them stops to catch their breath (or what have you), you segue into a part of a flashback.

You show one of the characters being all sentimental. Maybe even the bad buy.

I lost him, for now. Doubling over, my lungs feel about ready to explode. Maybe I'm getting too old for this shit. Or maybe it was more fun when it was mom chasing me around the house with a broom, screaming that she was gonna beat be bloody.

Then, out of nowhere, there's a sound, a snapped twig, a door jerked open, and the chase is back on. It allows the character to catch his breath, it allows the reader to relax a little, but it always comes with the tension that this little break will end sooner or later.

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: Making a prolonged training montage work Training montages and arcs are typically viewed as backstory, something that ends in the prologue, or shows up in flashbacks. They show us a piece of

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: How to defeat a strategic mastermind without throwing the idiotball? My antagonist is a "strategic mastermind", similar to the one discussed in How to prevent seeming like a Marty Stu-ish villain

: Re: Innovative Ways to Provide Background Information Think action movie. Think two heavily-armed men - one chasing the other over rooftops, down through buildings and into the mean streets of a crowded

More posts by @Welton431

: Making a prolonged training montage work Training montages and arcs are typically viewed as backstory, something that ends in the prologue, or shows up in flashbacks. They show us a piece of

: Your answer is given by your first trope link; on DIAA, perhaps you have misunderstood it! The protagonist is incredibly self-centered, an existential nihilist Then why should the reader

: If a character was murdered in the 1920s, would someone in 2018 find their bones? In my story, a character is murdered in 1920. Nothing special about the environment. Buried in the midwest

: How to defeat a strategic mastermind without throwing the idiotball? My antagonist is a "strategic mastermind", similar to the one discussed in How to prevent seeming like a Marty Stu-ish villain

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