Last chapter, we learned that our hill description served to set the scene and involve the reader. However, and as we will get into, it serves as space as well.
Space...
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Space between actions, actually. It's really important, as we discussed, that you give your reader full context of a scene, because the reader isn't you. But why not contextualize your scene AND accomplish something else critical at the same time?
In a story, action needs space. You can't just rush from one action scene into the next, or your readers won't have time to breathe. The pacing will be off. You want a nice, flowing story. If it goes by too quick, it won't feel real enough. You need lulls.
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Using your words to accomplish more than one thing is a critical part of writing smooth, cohesive, snappy, and emotionally engaging writing. Fortunately, there is a name I've made up for this concept. I call it... the word:idea ratio.
Next chapter I'll tell you all about it!
But first, a note on transitions. Above, we've seen how you can do a lot with your transitions. Below, I'll show you how you can do very little with your transitions:
** (¸.·'* (¸.·'* Time Skip! (¸.·'* (¸.·'* **
This isn't a great way to write.
Like with anything else, flow is important, and it's never a good idea to set anything outside of your narrative, such as notes or comments. Build everything into your work. Doing otherwise is amateurish. You'd much rather switch chapters than do this.
So when you're moving from one scene to the other, put just as much work into the transitions as you put into the story itself. Because we don't see everything that happens in a story, these "skips" can feel choppy... but don't let them feel choppy!
You want a good flow of ideas, rich with intent and movement, which brings us back to what was at hand... the word:idea ratio.
