Various experiments have led me to think that the best narrative requires methodical structuring. It is true: one makes prose free-minded, letting it flow, with interesting results. Yet the effect of a narrative is almost always weaker if we notice major structural lapses in it. Why is it tepid? Why is it unconvincing? We often find the answer in its sequence, in the way it is organized and progresses. By the side of the artist, it seems interesting to sit down and build with total freedom, unattached to structural ties. However, there seems to be a lure there. Great art seems to require an omniscient artist who, at every step, strives to simulate the naturalness of what he is creating.
The Best Narrative Requires Methodical Structuring
