You should seriously consider watching hunterxhunter 2011, everything you said about good pacing, HxH does it perfectly

Yes! This is what i needed to know how to do, i don't know how to pace my stories!

Is the three act structure obligatory or is it just the most popular?

@@etooamill9528 It's quite popular, the most popular story structure right now is the Hero's Journey, I believe. The Journey is so popular that there's a theory it's obligatory in modern storytelling. Nothing's right and nothing's wrong in storytelling, just that there are things that are *more not right* and *more not wrong* than others. Doing a story in the Three-Act Structure can still definitely be done horribly, and not using the Structure can still hypothetically produce a great story, but the Structure is still going to produce better stories on average than something that throws it out the window.

@@nikitamalikov6683 good to know, I started to fear that any other form would create a monstruosity of a story and I was getting quite bored with the three act structure and wanted to try new things. I have to build from nothing since I have zero examples of stories that do not have the three act structure but now I have some hope for something decent to come out of this project

YES!!!!!

I had no idea that there were people who would just do just that.

250th like

“The pacing was kinda off in places” “ the pacing was all over the place.” “Bitch where dem pacing at?” Yes yes, but how do I…not do that?! How internet?! HOW?!?!?!

Like those people who said "you need to flip your drawing because if you don't and you flip it after you finished drawing, it's bad" Like yeah but why tho

Both, both is good.

Read this, then i got to this part😂

@@abigailwintersinkdrinker4097 same

😂😂😂😂😂😂

My thoughts exactly 😂

I personally think Sokka making his sword is a much better subtextual example of the same idea. It even follows the Avatar Cycle. Sokka starts with shoveling earth and ore into the smelter, and then burning the coals, he stokes the flames with air bellows, and then quenches the steel with water. It shows that even though Sokka has never, and will never bend an element, he still masters them, and must learn the spiritual aspects of each element to be a swordsman.

@@Tmanowns wow this and the original comment both blew my mind🤯🤯

@@Tmanowns whoa!!!!

I love this! Never thought of it before!

Alongside writer's block and exposition

@@rushalias8511 And plot progression, worldbuilding, dialogue, characters, plot and sub-plots, writing an ending and beginning, character development. 😭

@@mariapazgonzalezlesme dont forget the most difficult feat of all. Writing the first chapter and paragraph.

@@rushalias8511 No. The most hard part of everything is WRITING.

69th like, nice.

This is 100% true, and if the characters never stop to be affected by something, or move on too quickly, it makes me care about it less. This can happen in dramas as well, where characters take hit after emotional hit until they can't realistically absorb them anymore and it turns into a soap opera.

@@lykander9906 I would say that you'd probably need to have that kind of pacing in mind from the start. Having a character finally have a moment to breath after who knows how long and really be able to process what's happening can be a powerful moment, but it needs a build up that's planned out to be effective.

I actually want to try to do that with my writing. It sounds like it'd be great if executed properly.

Big Lebowski. Allow me an example of how breathing-scenes are necessary. Scene. The Dude and Walter mess up a ransom-money transaction, damaging The Dude’s car, passing a false ransom to the kidnappers, and severely testing The Dude’s patience with Walter’s bullshit. The consequences are that the kidnappers may kill the victim upon finding Walter’s package is full of underwear, and if the victim is brought to harm, the victim’s spouse Jeffery Lebowski will spake ruin upon The Dude’s life. On the “upside”, they still have the real ransom money in the back of The Dude’s car. Next scene. The Dude, Walter, and Donny (an NPC), are out bowling. Walter and Donny are business-as-usual, totally unaffected by the events that just transpired. But The Dude isn’t bowling, he sits absolutely despondent, stewing on the failure and its immediate consequences to himself and the victim. The phone that Jeffery Lebowski gave him rings throughout but The Dude dares not answer or even acknowledge it. Next scene. They exit the bowling alley, and The Dude finally starts yelling at Walter trying to make the latter give one iota of a shit about the situation. Walter proudly mocks The Dude for being so paranoid, as Walter thinks the whole ransom is a hoax; and Walter is proud that he saw through the ruse and nabbed the ransom money for themselves, the money sitting in the Dude’s car for the taking. Their argument is interrupted when they find that the Dude’s car has been stolen. Now. Imagine if scene #2 was removed. Scene #2 bears no plot significance, doesn’t move anything forward, just The Dude sitting blankly while his friends bowl. Most editors would be tempted to cut from “...the kidnappers speed away with the false package” straight to “The Dude is yelling at Walter.” But the Coen Brothers hold on the eventless middle scene. The scene where you’re forced to sit and think about what just happened, and think about what the consequences will be. So that when the Dude starts yelling at Walter all the way in the next scene, you’re on The Dude’s page and can appreciate how much he cares. If the scene was skipped, The Dude would come across as more whiny and the situation overall less important.

I was thinking the same thing. So many movies have random slower paced scenes and they are super needed for both the audience and characters to digest what is happening and how it affects them. For whatever reason, the scene where Hawkeye brings the Avengers to his home in Age of Ultron comes to mind, and the film really needed it because every character had just gone through really traumatic visions and they also lost track of Ultron. Some might say it "brings the story to a screeching halt" but I value these scenes because non-stop action isn't inherently a good thing; it can actually bog down the story as much as intermittent slow scenes can in some cases.

Honestly, I don't think really believe shorter sentences can ever help increase the dramatic tension of a scene, because to me that just sounds silly and is probably a gross exaggeration. Wait, no no no don't-!

@@seandabest4329 Read thrillers and horror books and compare them to other genres. I don't know why you think it's silly but that's just ridiculous. Any good writer of suspense will tell you the same.

@@mischarowe maybe it was too subtle, but I was making a joke proving the effectiveness of short sentences in horror by first making a really really long sentence supposedly criticising the idea put forth, followed up by a short unfinished sentence that might raise tension if used in a story to therefore prove that what you said was true. Like you, I was also taught about the effectiveness of short sentences by my literature teacher. Among other things.

@@seandabest4329 Ah. Gotcha. :)

You can easily write a long and tense piece, but like everything you need to be able to write it well. You can follow so the rules in the world but still end up with bad writing

Further demonstrated when Iroh busts himself out of prison; he was never trapped in the first place.

Yeah, monty python was my first reaction too. Great gag.

I feel ashamed that I missed the reference, thanks

My favorite joke in Holy Grail. The question mark at the end of that answer is by far the funniest part of that scene.

Also: The more, the merrier. If a scene does multiple things, all the better.

I agree that nothing should be written if it doesn't do any of these three things. I'd also add that focusing for too long just on worldbuilding or character development can feel boring or unrewarding to the reader.

Agreed, you need to switch between them to keep up the pace and have things fresh and interesting. And as the other one said, the more the merrier.

I apply the same rule (but with a flow chart) with great unexpected result Here is my mindset when I need to process/guess what is to prioritize in the next "chapter/scene/paragraph/sentence". The reader came for the story, but the story only appears through the advancement of the plot. The plot only advances through the actions of the characters (the narrator being Almighty God character of every story ever written) and the characters are only shaped and formed through the world they emerge from. Worldbuilding => Characters => Plot. That is the natural flow chart of things. (wether plot driven or character driven story, the flow chart remains the same) Plot => Characters => Worldbuidlidng That is priority interest flow chart of the reader. By processing those two sequences together, it permits the author to never lose control on the pacing of his/her storytelling.

I agree with this! On another note, I rarely see other people around me spell it as "develope".

BerserkTheKid I relate to this on a spiritual level.

@Dalmaron The First I'm a bad procrastinator as well, that's why I gave myself an hour bracket, or basically a "work time". Works for some, not for all.

Dalmaron The First you know what? You’re right. I WILL do it. No more off putting. I’ll be starting tomorrow after I binge one piece. For research purposes of course.

I have some advice count to five and when you hit five just get up and do it. This is a strategy i do for alot of things works for me

I was in the same situation, but I came back to it last week.

Lol, damnit, wasn't expecting an SAO Abridged reference here.

Another man of culture I see.

At least Kayaba had a valid excuse for that

"immediate gratification does not compare to how grand and more satisfying lingering tension and waiting in hopeful expectation makes the arrival of what we're yearning for" It's not called the climax for nothing! OOOOOOOOO

JacobDragon I was just going to start a who has bought his book thread. But you beat me to it, well done.👍

@@Haannibal777 XD nice.

Dang, now I need to reread Eragon to see that for myself (but maybe just the fact that I need to reread it is already proof??)

It may not have had much subtext because everything was explained pretty plainly, but it had a lot of interesting character moments imo. The ending had actually touched me more than other books I've read at that time. I just don't understand the hate Eragon is getting on this channel

Ha! Even though this comment is two years old, I just had to reply. I know EXACTLY the scene you're referring to. It's the scene I stopped reading the book because I simply couldn't get through it.

THAT scene is 40 pages?!

I feel that badly. Starting is always the hardest for me because while **I** know what the main plot us going to be and how the world functions, how do I set the stage so when things start the audience can follow? Like, say it's a war story in a fictional world, you don't want to info dump "here are the kingdoms, here is why they are fighting, here is where we begin, and here is our cast!" Like, it could work? But it seems like a lot to get through before it starts. But if you rush to get to that first major point, then the audience might feel lost in the who, how, and why. 😰

This!! I've done this to myself so many times. "This part is boring, so let's just hurry the reader through to get to the good stuff" Which leaves the reader feeling both bored and rushed- totally disconnected from characters in places that had the opportunity to be clever, charming, interesting, and really had potential to pull the reader further into the story, if I hadn't disconnected MYSELF from it from the get-go. My usual fix is to write indulgently. If I delve in, feeling interested and excited, I'm usually inviting the reader to do the same. If you're bored, chances are, your readers are too. And to quote Jerry Jenkins: "Boring readers is the cardinal sin of writing." But I'm glad to see other people have this same problem 🥹

The short version is "Get a treadmill". It will save you money in the long run on carpets, and they come with trays and cup-holders now, so you don't even have to risk dropping the phone or pad (tablet?) or spilling your morning coffee. ;o)

Definitely worthy of a video.

LMTO YES XD

Actually what's ironic is that you will never achieve anything yet you're watching a video meant to help those who will. Get back to work, my unemployment checks don't write themselves.

David B or even Quentin Tarantino who often has good scene pacing but terrible narrative pacing

Just rewatched it, and oh my gosh it is so intense and well paced

I'm going with 'yes'.

A fast, exciting and bit out of place hook? Prepares for the general quirkier tone of the channel, and gives some levity to keep people entertained for a somewhat heavy, yet extremely important topic ahead. Seems like a good choice for me.