The modelled builds on the previous blog post, which has this narrative’s exposition. You may remember that the narrative begins with the central character navigating a climbing wall. The modelled example also assumes that there has been further context added (previously) to the narrative and the tension has been building deliberately to this point.

What I’ve tried to model here is:

• How we can use short sentences to build tension. You’ll note there are three short sentences placed side-by-side to indicate that the tension is really high at this point in the narrative.
• There’s also some repetition in those short sentences for emphasis. This is deliberate to signpost to the reader that this bit of the narrative is particularly important.
• The verb ‘haul’ is an interesting one. It suggests fatigue (that the person climbing the wall is tired) and also the great effort involved in climbing the wall. So, this verb is actually working on multiple levels. Again, this was deliberate to show the reader several things at the same time. In your own narratives, you need to deliberate in your language choices to signpost important things to your reader.
• ‘Unravelling’ was another conscious language choice. Here, I wanted it to show how the central character’s climbing equipment was literally unraveling, but also that he might be mentally unravelling too as his fear kicks in.
• I suggest how tightly the harness should fit, as this is a reference to the exposition of the narrative. I’m showing you here how to make sure your narrative is cohesive. You CAN return to some of the imagery of your exposition throughout your narrative to give your story cohesion. This is a good thing.

The resolution of this narrative has been modelled above. A few things to note:

• ‘Grab’ as a verb suggests desperation and fear.
• There is an opportunity for some further detail on setting.
• The narrative ends when the central character reaches the ground. There’s no need to add any further detail as that is the natural conclusion. We don’t need to see how he shakily slipped off the frayed harness and hobbled to his car to go home; that’s incidental.

The narrative COULD end on a cliffhanger with the central character left dangling in the air. In suspended animation. This would work equally as well. Equally, he could think that he’s safe and then falls the final 10ft or so… the twist in the tale. The point here is that you have to make a judgement on how your narrative ends, whether this fits stylistically with the rest of the narrative. Just make sure that your resolution is as efficient as possible.