What is a climax. Preparing for the Unified State Exam - a universal reference book

Prologue involves preparing children for the upcoming lesson content, introducing them to a certain emotional condition. Translated into the language of choral performance, we can say it this way: the task of the prologue is to lead to a general tone, i.e. set the tonality, sound properties, make an aftertaste.

Dramatic plot gives the most important impulse to action, determines the course, pace, activity of everyone acting heroes. At the outset of the lesson, its main objectives are set, the material to be worked with and the methods of action of all subjects are determined, the students’ readiness for the upcoming activity or direct involvement in the activity is organized.

Further, according to artistic dramaturgy, there are certain events that force specific actions to be taken. There are many techniques for developing action: repetition of the main idea, contrastive juxtaposition, comparison, variation.

The result of development is a culmination. Climax- highest point experiences. Experiences are always associated with emotions.

Action interchanges built on a generalization, conclusion, statement of the main idea. In the denouement, the main points of the content are emphasized, new methods of action are consolidated, and control is exercised. The denouement in the lesson completes the work with the subject content. If the lesson was related to the disclosure of the topic, then the denouement means the moment of completion of the disclosure of the topic.

Epilogue occurs after all events have already happened. The actions of the epilogue can be associated with assessment, analysis of self-feelings, etc.

Thus, according to the laws of dramatic development, the content of a music lesson unfolds as an immersion in a topic, problem, image, creative process creating a musical work.

ORGANIZATIONAL DIRECTION

Associated with the purposeful actions of the teacher in planning and organizing educational educational process. This is selection educational material, organization various forms educational and educational work, planning one’s own actions and those of students during music lessons and in extracurricular activities.

ORGANIZATION OF THE EDUCATIONAL PROCESS IN A MUSIC LESSON INCLUDES.

1. Efficiency of organization of entry and exit. Greetings. Working with the magazine. Working with student diaries. Working with diaries of musical impressions.

2. Organization of knowledge testing and homework.

3. Efficiency of using the classroom and lesson materials.

4. Fulfillment of psychological and hygienic requirements for the lesson.

4. Organization cognitive activity students in the lesson: listening to music, analyzing it; improvisation;

5. Implementation various types practical work students in the lesson: singing of voles; singing from notes; motor-rhythmic activity; elements of choreography, plastic intonation; listening to music, role-playing games; improvisation, composing music; written work with various tasks.

6. Organization independent activity students writing a reflection on music, performing creative tasks etc.

7. Organization of control of acquired knowledge in the lesson.

8. The combination of collective and individual work in the classroom, differentiated approach.

8. Preparing for homework.

Flexibility is required in lesson design creativity to the choice of paths, means, methods with constant reliance on general didactic principles and on the principles of the unity of the emotional and conscious, artistic and technical.

[Dramaturgy] - lecture for lesson 5:
"Composition. Part 2. Plot composition"

What is included in the plot composition?

Exposition - plot - development of action - climax - denouement - finale

All these points are related to the laws of spectator perception.

The first 10 minutes – you need to interest.
Next is to maintain his attention.
Then increase the tension, increase the viewer's attention.
Then bring the tension to the limit.
And in the end - not to disappoint the viewer, to please the ending.

EXPOSITION

E x p o s i t i o n- period of the film,
preceding the development of the conflict.

From the exhibition the viewer must understand:

• Who are the heroes (who is who)
• What is the situation (where to act)
• What is the situation (that could turn into a conflict)
• What is the theme of the film
• What genre of the film?

The exposition should be well written; it is one of the most important parts of the film.

Types of exposure:

• direct (presentation of the hero “as is”)
• delayed (let's say the murder happens first, and only then we see what and how)

Remembering O Henry. Where is the exhibition?

In a small block west of Washington Square - SETTING

Jonesy is a diminutive of Joanna. One came from Maine, the other from California. As a result, a common studio arose. - HEROES

In November, an inhospitable stranger, whom doctors call Pneumonia, walked invisibly around the colony. - SITUATION

When did the exhibition end?
When Jonesy got sick.

Why did it end?
Because we had a problem.

TIE

Request- this is the moment of beginning
main conflict action.

If the exposition is a time period, then the beginning is a certain POINT from where everything begins.

Where is this point in O. Henry's story?

“She has one chance... well, let’s say, against ten,” he said, shaking off the mercury in the thermometer. - And only if she herself wants to live. Our entire pharmacopoeia becomes meaningless when people begin to act in the interests of the undertaker. Your little lady has decided that she will never get better. What is she thinking about?

The very fact that she got sick means nothing to the “spectator”. But the doctor’s conclusion is already information that excites us!

It is sometimes said that films have several plots. This is true - after all, there are also several conflicts in the film.

But the beginning of the main conflict is ONE!

Often the plot is preceded by a “provoking event,” that is, something that escalates the conflict immediately before the plot. Regarding Hamlet, for example, this is the appearance of his father's shadow.

ACTION DEVELOPMENT:

Development of action- this is the most most of film, escalating the conflict and leading to its climax.

That is, the conflict escalates several times.

Regarding O Henry, the heroines talk twice, and the atmosphere is heightened twice. Episodes with Berman are also added there.

You can increase the tension

• sudden news
• the appearance of a new character
• memory
• and so on

CLIMAX

K u l m i n a t i o n- moment
highest voltage conflict.

This is PIC! Moment! POINT OF HIGHEST TENSION.

The climax is not something that has already happened.

And the moment of waiting, what will happen?!

That is, not when a person is shot, but when he waits: to shoot or not.

If you determine that the climax has occurred, but after that the tension is still increasing, then there is a mistake, you found the climax incorrectly.

Therefore, a more complete definition of climax looks like this:

K u l m i n a t i o n– the moment of the highest and last
tensions of the main conflict.

Often, before the climax, the pace of the film usually either sharply accelerates or slows down sharply, which sharpens the audience's interest.

There are also two climaxes. But one of them is always more important, as in the case of the beginning.

And finally, where is the climax of O Henry?

At the moment when the curtain is raised and we wait to see whether the sheet is hanging there or not. It’s as if we hear “drumsticks” before the denouement suddenly overtakes us.

INTERCLOSURE

Discussion- the final segment of the plot development, its outcome.

The denouement, as a rule, comes immediately (!) after the climax.

For example, in Pulp Fiction, when Jules lets the robbers go.

But sometimes, this is not the case. Sunset Boulevard, for example, begins with a denouement - the death of the main character.

Sometimes instead of a denouement you should:

Disaster- a destructive event
untying all knots of conflicts.

Let's say the action was unfolding, and then we had, say, a volcanic eruption. Then the denouement lies precisely in this eruption.

THE FINAL

The final- the final point of the picture,
revealing its meaning.

Often, it is the ending, and not the climax and denouement, that defines a film. After all, it is in the finale that you can show the hero’s reaction to the events that happened and give the viewer the emotion that he wanted to see.

Types of finals:

Closed final.
There are no questions about the film. Good/evil has won, all conflicts are over.
For example, "Pulp Fiction".

Open final
Questions still remain, and the action may continue. For example, Blade Runner.

Dual ending
A combination of the past two.
For example, "Nights of Cabiria"

Just finishing my planned essay,
we understand why we should
start it. (c) Blaise Pascal

IN classic version The following parts of the work of art are distinguished:
- prologue
- exposition
- string
- development
- climax
- epilogue

This article will focus on the finale of a work of art.

1. Proportionality of parts of the text
2. Crisis
Decisive choice
3. Climax
4. Downward action
Denouement
Final conflict
5. Epilogue

PROPORTIONALITY

An experienced author is usually distinguished from a beginner by the proportionality of the parts of the work.
A beginner sits down to write, in love with his idea. He sketches out the beginning of the work quite quickly - intuitively feeling both the exposition and the plot, but then the difficulties begin.
The main reason is that the author did not think through the entire work to the end. And a novice author often doesn’t even know that this needs to be thought through. He has never heard of the elements of composition and believes that everyone writes like him - on a whim. Alas.

The most common flaws in the development of action:

The result is a cephalopod text, eighty percent consisting of an introduction, then a couple of paragraphs about the middle and a sacramental end - “in general, everyone died.”

Disproportionality – typical mistake novice authors.
What to do?
Double-check yourself and your creation using arithmetic. Break your item into meaningful parts and count the signs - the result will surprise you.

According to the classical scheme, 20% of the volume is allocated to the introduction, 50% to the main action, 10% to the climax and 20% to the denouement.
Experiments with structure are, of course, possible, but are they always justified?

- develop the planned plot threads. It is possible to add new, secondary ones, but not to the detriment of the main idea of ​​the work.

Develop images of the main characters. It is possible to introduce new characters, but again, taking into account the main idea.

Draw the reader into emotional experiences about what is happening.

“People read books to empathize with the characters and worry about them. If someone asks you to look for hidden symbolism, vague hints, and consider the nuances of various philosophical views, guessing at the subtext, comprehending the meaning of the existential - don’t listen. This has ruined many writers and readers. People read books to experience what the characters feel. People want to laugh, cry, suffer with them. If you are a writer, your main task is to make the reader empathize” (c) James N. Frey. How to write a brilliant novel.

The middle of the work is actually the story itself that the author tells.
It could be unusual situation from the life of the characters or, conversely, a standard one, but with an inadequate reaction of the characters.
The plot threads intertwine, complement and mutually decorate each other.
The intensity of passions is growing, the conflict indicated in the beginning has reached its boiling point, the problem that confronted the hero at the very beginning must be resolved, or it will destroy him.

A CRISIS is coming.

A crisis is a state of affairs in which a decisive change in one direction or another is inevitable.

Hercule Poirot gathers the passengers of the Orient Express to tell them who killed Ratchett.
Bazarov is preparing for a decisive explanation with Odintsova.
The “Water Society” in Kislovodsk relishes with pleasure the insidious slander against Princess Mary spread by Grushnitsky and his friend.

And here attention! The crisis described must correspond to the chosen genre. For example, in a fiction story the story always plays the role of background, and the point of greatest tension occurs when the characters stop believing in the possibility of happiness.

A crisis prompts the protagonist to take action - he tries to get rid of danger and/or get what he wants.

At the same time, the crisis is the flowering of the reader’s feelings towards the hero.
The protagonist faces serious problems. The reader tries them on himself and is horrified.
The reader identifies with the Protagonist and admires his behavior.
The reader understands the motives of the Antagonist, but at the same time does not share his beliefs and does not support his ideology.

Throughout the entire narrative, the hero constantly found himself at forks = plot twists, made decisions - what to do next?
And finally, the hero has reached the moment of the main decision, before him is the DECISIVE CHOICE.

The hero commits a certain action that leads the plot to its climax.
The decisive choice that the hero is forced to make manifests itself in the form of the CLIMAX POINT.

For example, a burglar breaks into a house. The decisive choice of the owner of the house is self-defense, and the climax is the moment when the owner hits the robber in the head.

Sometimes the choice and the climax are connected to each other, turning into one action, in other cases quite a lot of time can pass between them.

CLIMAX is the pinnacle of the plot, the highest point of the conflict of the work, the point of its resolution, when the reader understands whether the thesis or antithesis wins.

According to James N. Frey:

The climax is the target, and the plot is the arrow flying towards it.
The climax is the opposite shore to which you build a bridge in your work.
The culmination is the finish of the marathon.
The climax is the final blow to the battle that unfolds in your work.
You can say it differently.
The plot is question mark, the climax is an exclamation point.
The plot is hunger, the climax is saturation.
The plot is a puck being thrown, a hand on the hilt, a finger on the trigger, the climax is a bullet between the eyes.
Climax is the end for which the beginning was born.

At the climax, the coward gains courage, the loved one agrees to marry, the loser wins, the winner loses, the saint sins, the sinners atone for their sins. This is what is meant by the definition of climax as “revolutionary change.” The state of things is changing dramatically: everything is turned upside down.

The work lives from the beginning (conflict!) to the climax (conflict!) - until the moment when it becomes clear: who wins.

IN tragic work climax most often it becomes the death of the hero.
In dramatic life story heroes at the moment of highest tension are led through difficult situation, after which the tension subsides.
In a comedy, as a rule, the climax occurs at the moment when all the secrets are revealed and the characters find themselves in a funny and awkward situation.
In a detective story, the climax is the moment when the name of the killer (kidnapper, robber) is called.

In literary and artistic works epic genres, significant in volume, such as “Anna Karenina” and “War and Peace” by L.N. Tolstoy, “The Idiot” and “The Brothers Karamazov” by F.M. Dostoevsky, “The Life of Klim Samgin” by M. Gorky, “ Quiet Don" and "Virgin Soil Upturned" by M.A. Sholokhov, “The Master and Margarita” by M.A. Bulgakov, where, as a rule, several are intertwined storylines, not one, but several climaxes are possible, each of which can play decisive role in the perception of the text by readers.

DOWN-DOWN ACTION

However, the climax is not the end of the work.
The author needs to complete the story = wind down the action, show how the narrative environment has changed as a result of the resolution of the conflict.
It is desirable that the speed at which the plot unfolds matches the speed at which it unfolds. Although options are possible - see plot diagrams here
Usually the pace of the story slows down.

The denouement is coming.

As a rule, it is impossible to determine the boundaries of the climax or denouement. The climax is the specific moment when the reader realizes that a key conflict has been resolved. And the denouement is an event that exhausts the conflict, a period at the end of a sentence, an event that should finally clarify everything.
The unity of climax and denouement proves the main idea of ​​the work.

THE ENDING CONFLICT

Occurs after the climax.
Its model is exactly the opposite of the conflict from the beginning of the work - it does not grow, but rather fades away. Its function is to give the reader the impression that the plot has been presented to the end.

“Think of the final conflict as an operation to clear captured territory of the enemy after the decisive battle has been won in a long war.” (c) James N. Frey

In some works there is no final conflict at all. This is because all conflicts are resolved at the moment of climax.

The ending of the story can be tragic or happy - depending on the ideological goals of the work.

The ending may be open - like, the hero went through difficult trials, changed internally, but life goes on. This will allow the reader to reflect upon it after finishing reading. Even if NOTHING happens in the ending, there should be some meaning to it.

The ending must have a meaningful meaning. Let artistic justice be done. Artistic justice is a punishment commensurate with the gravity of the crime, or a reward commensurate with virtue.
The villains must get what they deserve, the sufferers must receive retribution. Those who have erred must pay for their mistakes and see the light, or continue to be ignorant. Each of the characters has changed, made some important conclusions for themselves, which the author wants to present as the main idea of ​​his work.

EPILOGUE
- the final part added to the finished one work of art and not necessarily connected with it by the inextricable development of action.

How the prologue introduces characters before the start of the action or reports what preceded it, so the epilogue introduces the reader to the fate of the characters who interested him in the work.

An epilogue differs from an afterword in that the first can be a reflection, while an epilogue is always a story.

Epilogues can be structured in different ways, again, it all depends on the author’s goals.

For example, let's look at the epilogues of Tolstoy and Turgenev

"War and Peace". In such a global novel, it is not easy to fix the ending. Therefore, Tolstoy structurally divides the epilogue into two parts, and gives it as many as three plans - historical, family and philosophical. Tolstoy's epilogue not so much ends the story about the fate of the heroes, but rather precedes their new, so to speak, adventures. Thus, Pierre’s participation in the Decembrist uprising is beyond doubt. Just like his insoluble dispute with Nikolai Rostov is evidence of their future discord. So the life of the heroes of the epilogue is far from over.

« Noble Nest" The epilogue is built on a completely different principle. Eight years later, Lavretsky visits the estate. He is sad, but a turning point has already taken place in him, the past is closed to him.

His heart felt sad, but not heavy and not regrettable: he had something to regret, nothing to be ashamed of. “Play, have fun, grow, young forces,” he thought, and there was no bitterness in his thoughts, “you have life ahead, and it will be easier for you to live: you won’t have to, like us, find your way, fight, fall and get up in the midst of darkness; we were trying to figure out how to survive - and how many of us didn’t survive! - but you need to do the work, work, and the blessing of our brother, the old man, will be with you. And for me, after today, after these sensations, all that remains is to give it to you last bow- and, although with sadness, but without envy, without any dark feelings, say, in view of the end, in view of the waiting God: “Hello, lonely old age! Burn out, useless life!”
Lavretsky quietly stood up and quietly left; no one noticed him, no one stopped him; cheerful shouts were heard louder than ever in the garden behind the green solid wall of tall linden trees. He got into the tarantass and ordered the coachman to go home and not drive the horses. (Turgenev. The Noble Nest)

© Copyright: Copyright Competition -K2, 2013
Certificate of publication No. 213101300161
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I talked about these things in some detail in my past articles. But questions, oddly enough, still remain. Okay, then I'll explain more clearly.

Commencement - development and climax - denouement - these are the four constituent elements of any plot in literature. Since I am dealing with theater, I will tell you how these four elements are embodied in the stage space, when the director interprets a dramatic work (dramaturgy).

Dramaturgy is (to put it simply) a type of prose literature that is created according to certain principles stage action existing in the theater. Any drama is built on a dialogue between characters, which has (or should have) a clearly defined effective (target) nature.

Oh yes. Here and there I encounter a misunderstanding of what prose is and what its role is in literature. Many people confuse them, many don’t even understand what’s what. Remember: everything we read is literature. Literature is conventionally divided into two main types or directions: poetry (rhythmic presentation) and prose (non-rhythmic or free (not having a clear rhythmic structure) presentation of the author’s thoughts). Prose, in turn, has many varieties, there is both oral and written prose. There is some “cunning” prose that many people still don’t understand where to classify it as. This is dramaturgy.

Ancient thinkers (from the time of Aristotle, for example) considered dramaturgy to be a type of poetry. However, “why” they did this is completely clear. For the dramaturgy of those times strongly resembled poetic forms (and was rarely presented in direct “non-rhythmic” speech in the way that exists now).

But a lot of time has passed since then. And now - dramatic work has (almost) nothing to do with poetry.

It is believed that any dramaturgy has a written embodiment (in the form of a play) and a stage embodiment (in the form of a director’s interpretation). This is both true and not true – at the same time. For - being formed into a specific work that has four elements of plot, it and, as a consequence, it (the work) can and should be called a type of prose (literature). How the director will retell the play later - God knows. But initially - dramatic work- there is a type of prose. Which, in turn, is the “pillar” (direction) of literature itself.

Of course, dramaturgy is very dependent as a variety or genre, because it is “sharpened” not on descriptive, but on effective perception, which is so in demand in the theater. But this does not in any way cancel its literary “roots”.

Yes, any play is initially a literary (prose) work, which is written according to the laws of stage action. Explicit or implicit.

I hope I haven't clouded your brain too much. No? This is good. What to do without a clear definition similar rules games, unfortunately, there is no point in writing about anything else. Because then we will simply get confused in the details. And you won't understand anything. And I will throw information like peas against a wall. Do we need it? Hardly.

So, let's get down to the details that are so dear to me. I will note that I will consider the “commencement, development, climax and denouement” through the prism of dramatic works.

So, What is a “tie”? This is where the story itself began. Let's take for example a dramatic work (play) “The Seagull” by A.P. Chekhov.

Where exactly does “The Seagull” begin? Since Kostya Treplev and his beloved Nina Zarechnaya are preparing to show a performance for their mother, who occasionally comes to the estate of her brother Sorin, Arkadina, where Kostya lives. The most important a starting point This story (“the beginning”) is the arrival of Arkadina. And that's why. "Prima" arrives, " socialite" And for Kostya, the performance is a reason to regain (or earn) his mother’s respect.

WITH difficult relationship Bones with the mother, which will receive visual confirmation in the scene with the play, and begins this story. By the way, during the performance the mother behaves disrespectfully, constantly commenting on certain plot moves and mocking their ineptitude.

“Development” consists of several turning points and events. This is the process of maturation of the main conflict of the play. PROCESS. Remember development does not consist of one moment, it is always a complex of moments that intensifies the conflict. What is the main conflict in the play “The Seagull” - every director must understand for himself.

Chekhov, in the sense of defining the conflict of his plays, is not a simple author. More precisely, there are some of his plays in which the conflict is multi-level. “The Seagull” is just one of those. In this play one can look for a conflict between the needs and interests of generations (both creative and – age – “fathers and sons”). It is possible - a conflict in the area of ​​“the price of success” (to what extent can and is possible to reach in order to achieve success). You can even formulate the conflict in the area of ​​​​the junction of times(this is not an age conflict, it is rather a technotronic conflict).

And the “plot” that I wrote about above stems from the age conflict between fathers and children. But if you are looking for (using) another conflict to select production decisions, you will it is useful to define “commencement, development, climax, denouement” based on the conflict. I will talk about this in more detail below.

Which turning points and the events can be called “development” in the play “The Seagull”? This is the actual break in the relationship between Treplev and Nina Zarechnaya in the scene with the dead seagull. And Kostya’s failed suicide attempt some time later (the scene when Arkadina bandages her son’s head). And Kostya challenges Arkadina’s husband, the writer Trigorin, to a duel, which the latter does not accept.

The culmination of the plot, if we define the conflict in the area of ​​“fathers and children,” is the departure (and in fact, escape) of the mother and her husband from the estate of her brother, Sorin.. "We didn't agree." The generations did not understand each other and decided to disperse in order to prevent something completely bad from happening.

“Dénouement” - the death of Kostya Treplev in the finale. The younger generation is losing to the older generation - in courage, determination, will - in everything. “Denomination” is how the conflict ends in the end.

And finally - I will tell you how best to formulate “commencement, development, climax and denouement”, taking into account the generational conflict I have chosen.

At the beginning of our history, there is a clash of generations. So let’s call the “commencement” – “collision”. In “development” we observe the struggle and the possibility of (attempts to) adapt generations to each other. Let’s call it “confrontation” or tug of war.” The culmination is “we didn’t agree.” “Denomination” - finding itself out of the confrontation - the younger generation destroys itself (Kostya commits suicide, and Nina gets lost in the endless hardships of life and professional life). "Death."

part three

It is more difficult for a writer to describe the everyday
life than an exclusive situation.
Ilya Shevelev

According to the laws of literature, the plot of any work must be completed

In the classical version, a plot is considered such if it contains five components: exposition (and plot), development of action, climax, winding down of action And denouement. Subjects modern works often built according to a lightweight scheme: plot – development of action – climax – denouement or even more simplified plot – action – climax (aka denouement).

The classical scheme is more suitable for solid, slowly developing plots; it is used when writing thick books, scripts for plays, and thoughtful films. The lightweight scheme is better suited to our high-speed world; it is used to write scripts for cartoons and action films, as well as for all kinds of comics and other graphic works where the quality of the plot, such as its rapid development, is important.

Which scheme you prefer is up to you to decide. Below I will show you different variants development of the action and give you a couple of tips on how to build a plot depending on the genre of the work. But first, first things first.

1.Exposition.

First of all, we inform the reader about where and at what time the action takes place, introduce the characters, briefly tell their story, and introduce the reader to them. There is no conflict here yet, as such, but the prerequisites for it can be identified.
Lorraine moves to new apartment, meets neighbors, calls a friend– this is our exposition: we introduced the reader to the main character, indicated the time and place of action, and indirectly talked about the other characters. The beginnings of the conflict here can be shown through the peculiar relationships of the girls, on the basis of which the shoots of misunderstanding and jealousy will soon arise.
How long the exposition will be depends entirely on the author and his intention. For works with a fast-paced plot, a couple of lines are enough to introduce the reader to the essence of the matter; for works with a drawn-out plot, the introduction is usually made larger. Try not to overdo it, not to stretch the tie and at the same time not to crumple it too much.

2. The beginning.

Not to be confused with exposure! Actually plot– this is the event from which it all begins. We can say this: if a conflict is the cause of a war, then the beginning is a reason for it, like a violation of a peace treaty.
And in our story, what will serve as a “trigger” for the development of the plot, what event? I think that the action will begin with the acquaintance of our heroines with the handsome Dave, because it is after this that everything will start spinning and spinning. This means that in our case, the beginning of the plot can be considered the dating scene.
Usually the plot is the moment when the hero is confronted with important task, which he must fulfill, or he, the hero, must make his choice. The author usually uses this situation, to define the conflict, show exactly where the hero and villain are at odds, describe exactly how each of them perceives the problem facing them, and subtly hint at what each of them intends to do next.

Now, a young man appeared in the girls’ field of vision, whom they both liked, but he liked Lorraine more, and Inga was infuriated by this. Lorraine is embarrassed that this happened, but she likes the guy and intends to continue their acquaintance. Inga is annoyed, but is not going to do anything yet; she chose to step aside and let her friend do whatever she sees fit.

At the same time, the writer, having ensured that the reader is clearly interested in his story, slowly begins to unwind his intrigue (who will win and who will be left with his nose? How will it end?) and at the same time, gradually presenting to us the main idea of ​​the work (“friendship and love will conquer all" or, conversely, "none, even the most strong friendship will not withstand betrayal").
There doesn't have to be just one premise; In serious works, authors usually put many plot lines at once - love line, family, detective, political and other, other. The authors of series usually limit themselves to one single line, but no one is stopping you from making several of them. So, as many storylines as there will be, there will be as many ties; they can be scattered throughout the text, but don’t forget: every situation must have logical conclusion, which means that each plot will have a continuation and a denouement. There should be no storylines started but not completed.

3. Development of action in an ascending manner.

This is where the unlimited flight of fantasy begins! The author invents the most incredible plot moves, places the heroes in various difficult situations, describes their experiences about this and tells us how trials strengthen the characters’ characters, what lessons they learn for themselves.

Heroes must change, this is very important! If from first to last episode the hero has not changed at all, if he is still the same and perceives the world the same way as before, if he has not learned any valuable lessons for himself, then you have not fulfilled your task as a writer. Why did this story need to be told? What was her deep meaning? What did the author want to tell us? It turns out that there was no point in anything, I didn’t want to say anything, and, in general, there was nothing to talk about.

The action should not be incoherent: here our heroes were caught by a maniac, but they, incomprehensibly escaping from the tormentor, find themselves at an abandoned nuclear station for no reason. Plot moves should “cling” to each other, like loops in knitting, then you will get a solid sock, that is, excuse me, a story.
It would be best if, before describing any move, you slightly “reveal your cards” in advance and give a modest, imperceptible hint that, very possibly, such and such will happen soon. Just a hint, nothing more. For example, if you planned that in an episode or two your hero will threaten someone with a gun, it would be nice to announce now that this cute young man is the proud owner firearms or has the habit of going to the shooting range, where he was noticed as a good shooter. At least, when the reader sees that your Cool Walker is taking aim at his opponent and threatening to shoot off an important part of the poor fellow’s body, he will not have the feeling that he, the reader, was hit in the head with a log. On the contrary, he will be pleased with himself: wow, I already guessed in the last episode what to expect from this ranger!

Everything you hinted at in the opening should be developed and fleshed out. The conflict must grow steadily. Let the characters show themselves from different sides, let new participants be involved in the conflict, let those who initially remained silent speak out.

Take, for example, our conflict, which we have already outlined. Two friends quarreled over a guy and are trying to share him, and at the same time maintain friendly relations. And the guy? How does he feel in such a situation? What does he want? What are his intentions regarding each of the girls? Or maybe he doesn't care?

Steadily develop the storyline from episode to episode. If there are several storylines, it is even more interesting, let them intersect, intertwine, “push” each other. The heroine is more likely to commit suicide if her friend betrayed her, she ran out of money, and she had problems at work than if any of these troubles occurred.
So, gradually building up the tension, we step by step bring the heroes to the very important stage throughout history. This climax.