Random Elements of Storytellinglostnbronx leads us on an investigation of the fundamentals of story telling.
Plot twists come in several varieties, and can produce different effects in stories. They can be powerful tools, done correctly, but quickly become trite and predictable if over-used, or used poorly. What's the best way to include them? And when might it be a mistake to even try?
Lostnbronx contrasts what he calls "static action" with "story action", and looks at the functions of these techniques for storytelling in various media.
A car chase is action-filled, but so might be a quiet Victorian drawing room, where, at least on the surface of it, nothing is happening.
What actually constitutes action? What purpose does it serve? And how much of it do you really need?
Lostnbronx goes over the narrative technique of using one main character to tell a story, as opposed to using multiple characters. What advantage, if any, does so-called "head-hopping" have, over focusing on a single character at a time? Why is it sometimes better to do the opposite? And how can these different construction elements impact the story as a whole?
Lostnbronx takes a breezy look at narrative points-of-view, as well as temporal tenses in storytelling. What are they, how do they differ, and why might one be better than another in a particular situation?
Lostnbronx talks about plot and story, as well as characters and backgrounds, in storytelling of all types. These things are closely tied together, and a problem with one can easily be a problem with all.
Lostnbronx takes a quick look at what it is that constitutes "reviews" of stories (be they books, films, TV shows, audio dramas, whatever) as opposed to "critiques" of them.
How do these two things differ, and what are their purposes? Is one more important than the other? Why does it even matter?
Lostnbronx looks at flashbacks, flashforwards, plays-within-plays, and dream sequences as techniques of both good and bad storytelling.
Lostnbronx looks at the concept of the "big idea" in storytelling and various genres, arguing that such a creative tool may not actually be all that necessary to tell a compelling tale.
Lostnbronx rambles on about the structure of stories, and how their internal logic can make or break them.
Star Trek's warp drive, as described on the Memory Alpha wiki:
My own use of the starjump concept is probably best heard in Stardrifter Book 03: "Risk Analysis"