In "Chapter 3: Blood in the Gutter," our hero takes us between the panels, where anything is possible: readers create meaning, writers suddenly change directions, and all involved instantaneously travel vast distances in time and space. Like sound synthesis, the art of comics "is as subtractive an art as it is additive" (McCloud 85). When comic artists experiment with between-panel transitions to make available what art historian E.H. Gombrich called "beholder's share," a rhythmic space of participation is made available at the level of perception itself. Texts become "animated," or come to life, when the readers, or "beholders" have space to work and play. Here, if we really want to get to audience involvement and interactivity, we can think of call and response traditions. In a sense, call and response is always happening, even when we read silently. Although we might not necessarily want to call this space the "gutter," remembering the elastic space between the panels in comics can help us find resonant transitions in our narratives, and, soon, in our definition arguments, as well. As we revisit and revise our writing and peer-writing, we can can find resonance if we get "between the panels." Keeping our readers (and the limitless potential of their imaginations) in mind will help us find the best transitions as we sequence our sentences, paragraphs, and ideas.

As you select, re-order, revise, and remix each other's narratives experiment with these 6 techniques for sentence level editing, paragraph-level revision, (re)contextualizing, and storytelling:

1. moment to moment

2. action to action

3. subject to subject

4. scene to scene

5. aspect to aspect

6. non sequitur

or any combination of the above

select examples of transitions, or cuts and links that need more transitional development. Create unique pages for those examples, and tag 'em!