How does the author hook readers immediately? Dickens immediately hooked his readers by providing a good look at Pip through the story of his young life (we become emotionally invested in his character), sympathizing with his position an orphan, and envisioning his fright when he comes across the escaped prisoner.

Wopsle has left the church to become an actor in London. He and Mr. Wopsle went to go check out a blacking factory the day before, and Joe didn’t think it was nearly as cool as the pictures made it look. Pip is totally unresponsive, but at the same time he can’t understand why Joe keeps calling him “sir.”

Pip feels terribly guilty for his snobbish treatment of Joe and Biddy, and he feels as though his degenerate lifestyle has been a bad influence on Herbert. The two young men catalog their debts, but they are interrupted by a letter carrying the news that Mrs. Joe has died.

13) What does the author do at the end of Chapter 2 to keep readers interested? At the end of the chapter the author uses suspense to keep readers interested. The suspenseful moment that the readers are waiting for is what will happen when Pip gives the convict his file and food.

Any chapter that doesn’t further the overall story in some way should be cut. This means that every chapter has a little part of the story to tell. And as soon as the chapter has told its part of the story, it should end. The concept of chapter is only used to split the book for the benefit of the reader.

There are two main ways to end a chapter:

1. End with a cliffhanger. Cliffhangers pose big questions at the end of a chapter or section.
2. End at a natural pause. If you’re not writing a cliffhanger ending, stop at the moment you’ve fulfilled your narrative promise to the reader.

Writing scene endings: 6 ways to entice readers

1. End scenes with surprise.
2. Finish a scene with a situation implying consequences.
3. End scenes with suspenseful action.
4. Finish scenes with a hint of what’s to come.
5. End scenes with the tension of arrivals or departures.
6. Finish a scene with the consequences of an earlier action.

Here’s how: When you start writing a proactive scene, do it at the point in your story when it’s natural to establish the focal character’s goal for that scene. Quickly establish that goal, and then spend most of the scene working through the conflict of the scene. Eventually, you’ll hit a critical point.

Today, it seems to be used in various contexts; sometimes it literally means “and the scene ends there” (for example in television synopses). It can be used slightly more figuratively to mark the end of a hypothetical situation.

In literary fiction, a good ending has certain elements that leave readers satisfied, meaning that the story arc has come to its logical end and the character has achieved their main goal. The elements of a good and satisfying ending include: A reader should walk away with a feeling that the story is complete.

Conflict is the struggle between two opposing forces, The conflict reaches its peak in the story’s climax, the point in the story where the reader’s interest is at its highest. The conflict is resolved when one force succeeds in overcoming the opposing force (or gives up trying).

So no, you don’t have to know how your novel ends, but you do need to know who your character will be in the end. You have to determine the end-point — the after — of their emotional journey so that you can write a story to get them there. And that arc of change keeps your readers engaged until the last page.

More simply put: the beginning sets up the characters, world, problems, and plot, the middle plays out the events set in place by the beginning, and the ending brings all of this to a close. A story without an ending is much akin to a sporting match without a winner – a somewhat hollow and unfulfilling experience.

Writing the ending first means that you always have a lifeline and, when you get lost, it will be easier for you to find your way back again. Remember that readers like destinations. They love beginnings, middles, and It can act like a checklist of the details in the ending you eventually want to reveal.

A frame story begins at the end, moves into a flashback to tell how the characters came to be where they are, and (eventually) joins back up where the story moved into the past. This technique is seen in Shelley’s Frankenstein and Wharton’s Ethan Frome. This has also been referred to as a story within a story.

The beginning and the ending are two halves of the same whole. In some senses, they’re mirror images of one another. The beginning asks a question, and the ending answers it. If the ending fails to answer the specific question set out in the beginning, the whole book will fail.

Resolution / Conclusion. Referring to the outcome or result of a complex situation or the sequence of events in a literary work, where the aftermath of the story is addressed, everything comes full circle, and a sense of closure may be reached. Alliteration.