Sequel Design II: How to Compress, Disguise, and Bury Internal Structure
Skilled writers don’t skip sequels. They learn how to compress, disguise, and bury them—so the story keeps moving, but the character still turns.
What O’Connor Designed: A Mini-Sequel Masquerading as a Scene in “A Good Man Is Hard to Find”
After the crash, O’Connor gives us one sentence of omission. It’s not mood. It’s structure. A full internal arc buried in restraint—and the choice that sets everything in motion.