I know I originally introduced section breaks into my parodyverse writing to get around action scenes. At the time, pretty much all PV stories were dialog based in script format. I pretty much always wrote in prose from one character's general p.o.v., and I found that bouncing between cast members in different locations allowed for story progression without having to write a great deal of action... just the commentary by the cast before or after the actual plot progression.

I admit, though, that chapter breaks didn't even have that dubious level of pacing thought behind them. Those were entirely based on time... either the amount of time I could expect someone to read without getting distracted, or the amount of time I had available to write in one sitting (since most of my early stories were written directly into the reply field on the messageboard, rather than in a word program. The only way to save 'em was to post 'em immediately.)





I recently learned that the whole "amount of time you can expect the audience to pay attention" thing is actually somewhat common when it comes to screenplays. There are apparently a number of unwritten rules Hollywood has, and one of them is that an action movie must have a big action scene at the 60 minute mark... usually one that's a game changer for the plot (sidekick dies, ante is upped, now it's personal... whatever.) Apparently it's based on studies on how long people pay attention to a narrative before needing to be re-engaged with it somehow.





Are those really hugs, or just preludes to ritual decapitation?





I don't have any immediate plans for him, so don't feel rushed.





That's always a happy reason for altering plans though. Especially since you seem to have a backlog of "never got around to" plotlines for almost every character just waiting to be dusted off.





I'm not totally convinced... There's such a childlike desire to be a good guy built into the character. I have trouble seeing that ever totally snuffed out. I do take your point about him not being able to reach that tragic "end" with the ability to reform though, so I'm open to being convinced.





Which is why you're setting them against subtle machinations of the Hooded Hood instead of a cosmic powerhouse like the Carnifex?





Man, those support staff jobs suck. What' the pay like, and how do they find the suckers to sign on?





I'm curious to see how Bry goes about reestablishing his life...