Crisis, crisis…total crisis (more about the crisis and not about transition)

Intended… My intention was to complete the task of talking on crisis last time but I got distracted by commuting so… All right. Robert McKee, the guy of Script, mentions how important it is to study transitions for it is in the dark corners of transitions that the monster cliché can lurk in to devour our carefully montage manipulation and have the reader go and flush our story down…

Transitions are related to the big crisis. The climax crisis. The one that solves the character’s wish. The one crisis that MUST:

1. Always show the decision taken about the crisis to emotionally hook to split the before and the afterwards.

2. It must be easy to understand. Nothing sophisticated or complicated. Explicit. And by explicit I don’t mean 19 rated. I mean, easy to get. Like my two characters of the intro deciding to use Tinder or Facebook couples.

3. From the decision, the scene has to dive directly into the consequences to accelerate the rhythm and hook. All right, my characters subscribe to Tinder the same day and with almost the same user name… She wins the use of the nick both of them want. Tinder matches her with a tall muscular guy she is to meet in a bar. Friday night, it’s time of the date and… It really is a muscular tall guy. Both of them go a motel. Jiwon meets a gorgeous curvy girl!

Note: this step can be split to delay the consequences until the next chapter in order to create tension and the famous cliffhanger. Readers believe they hate cliffhangers but the truth of trues is they love it. It’s what makes them come back to read 5 chapters of people fucking… I mean, having intercourse.

Gina goes with him to a hotel… The guy wants to be spanked. Jiwon asks for a beer to make courage. He looks at her shoot whisky inside to ask: do you believe in Christ? I used to believe there was not any god but since my rehab, I believe in the love of the lord… Jiwon excuses himself to go to the toilet and abandons his beer and the girl.

Second round. Why is a girl seated in front of me? Thinks Gina. I mean, she looks like a pretty boy but this is a woman and i don’t like women. *Don’t bother. I’ll write a lesbian or gay one some time I feel like writing it. It should be me complaining: Why is sex needed in plot? Aha. You sexual intolerant individual who can’t believe asexual does exist. So back to my story. *Jiwon has a delicate looking butterfly in front. Everything is alright but the Adam’s apple and the husky low voice… The toilets again. Oh my gosh. Oh my gosh. The girl followed him to the bathroom. She is bigger. And stronger. Her hands push him against the wall. Luckily, a cockroach greets him from his right, gets on his arm and Jiwon charges front to get rid of it hitting the butterfly with his elbow on full face.

Running away he trips over Gina, who has used the same toilet excuse as him. She accuses him of being a stalker. Jiwon refuses. The butterfly comes out from the bathroom but his ex is there with a baseball slugger. There’s a fight. The police arrive but the senior officer has been loosing his  hearing to a respiratory infection so he can’t really understand what happened. Gina and Jiwon sleep in adjunct cells.

4. The crisis has to amaze us. It has to show us life exactly the way it is. Counting on us not having any idea what life’s like but being more aware of it than ISR officers.

5. A really big crisis needs speed. A match 3 ranger to take us there as fast as possible so we won’t loose momentum. Shorter scenes are in order.

6. Now think a proper ending to my nonsensical story. You’re reading nonsense about how to write fiction. And, to tell you the truth, you should be asking some lawyers and not me. Lawyers are the new priests of fiction.

Don’t worry. Just try your best to create a better reality for your best client, you (the other readers don’t know this yet). Pasto kalo.