: Re: Non-Linear Storyline: Dynamic vs. Static chapter sequence While this question may be a little nit-picky I realize chapters do help the flow of a book, and, since I'm now plotting a novel, I

@Murray165

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A static division can make variation in chapter length feel more natural. Satisfying the expectation that a chapter will contain a particular subplot can counter the violating the expectation of similar chapter length. Such variation can be exploited to influence the pacing and tone within a chapter and among chapters.

For example, if one subplot has a character crossing a desert but not much is actually happening, a very short chapter can increase dramatic tension and the impact of the minimal activity (an effect similar to that of using short sentences and short paragraphs) and, when placed between longer chapters can increase the feeling of isolation (as might be appropriate for a desert passage or merely to emphasize the danger). Imagine the effect of this extremely short chapter when placed between two longer chapters.

"[Expletive]!" She bashed the fuel gauge with her hand.

The rising sun was already draining precious water from her body.

In a dynamic sequence such a short chapter might be harder to justify and the effect of greater connection with the character from the lack of a local antecedent for "she" ("of course, I know Julia; you don't have to introduce me") may be more pronounced. Even if chapters are labeled with the protagonists' names, a repeating sequence will make the reader skip over such labeling quickly (after the pattern has been well established).

A static sequence can also use the expectation of the presence of a subplot to emphasize the early ending of that subplot, reminding the reader—or even declaring without preceding explanation—that characters or the goal of that subplot have been removed. The tightening of the cycle from dropping one subplot can also increase pacing and tension without changing chapter length. For example, after a shipwreck plot lines for survivors might end with rescue or death. A skilled writer may even be able to drop a plot line without explicit statement whether it ended with death or rescue. Sudden dropping of a plot line can increase uncertainty by the unexpected breaking of expectation.

Expectation can also be exploited for a dynamic sequence as a recognizable pattern will tend to stand out from an otherwise arbitrary ordering. For example, with four subplots a series of chapters alternating between two subplots could be used to hint at romantic coupling (the protagonists dance around each other), to show separate sharing of similar experiences, or to emphasize the (possibly growing) difference between protagonists.

The transition to a recognizable pattern can also hint that seemingly random events may have some subtle connection, that chaos is being overcome, that individuals are becoming a team. The changing pattern of chapter sequence can foreshadow or reinforce the actual direction of the story.

Exploiting expectation is a standard component of writing, whether the expectation is satisfied, violated, or subverted.

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