Narrative Transportation

The script steers attention firmly, strong on all four measures

The model expects most readers to track it closely, scene after scene.

The four are transportation (how completely a reader gets lost in the story), causal linearity (how tightly each scene follows from the one before), visual specificity (how concrete the imagery is) and audience synchrony (how alike different viewers would follow it).

Audience synchrony is experimental. It is the model's guess, from the pages alone, at how alike different viewers would follow the story; nobody's responses were measured. How the instruments are classified

1. The script holds attention with a tight causal chain. Each deception that works sets up the next, riskier one.

2. Visual specificity is high. The images are concrete and often grotesque (the flooding toilet, the peach fuzz, the bloody viewing stone), and they keep the reader in the story's physical world.

3. The high synchrony estimate rests on the shared suspense of the family hiding and the flood escape, the kind of sequence most audiences follow in step.

4. The main risk to transportation is the jump from comedy to horror. The jolt is deliberate, and for some readers it still breaks the spell for a moment.

Four scenes risk breaking immersion, the first at scene 26

1. Sc. 26

   The 'Belt of Trust' and the hiring schemes are explained in detail. It is clever exposition, and still exposition: momentum slows a little.

2. Sc. 93

   The Parks' long, farcical intimate conversation is loaded with theme. It also lets out the tension, and the suspense can slacken for a while.

3. Sc. 109

   The cut from the flood to the calm of the evacuation centre is a tonal shift the story needs, though the sudden stillness can cost a little drive.

4. Sc. 132

   In Act Three, Ki-Woo's voice-over and the letter format change how the story is told, and some readers may lose the scene-by-scene immersion.