He goes into detail about why this character decided that running on top of the train was not a terrible idea. For example, in Michael Crichton's The Great Train Robbery, there's a part where, in the course of the titular heist, the main character decides to run atop the train, and jump between cars.Ĭrichton breaks what many readers would implicitly consider a pretty important rule: he tells the reader something exciting is happening, but then takes a pretty lengthy unexciting detour before resolving the tension. Personally, I actually find that almost always, my favorite parts are the parts where nothing happens in the common interpretation of plot advancement, but instead we see exposition. If your goal is to convey meaning, not everybody is going to "get" it anyway. If your goal is to sell copies, then by all means appeal to the common denominator. Your readers may disagree with your decision, but frankly that's their problem. Whether you decide to advance the plot in each chapter or not is entirely your call.
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