>>>> Now the first chapter starts with a gun pointed at the hero's head. By the end, he is teetering on a cliff about to jump into a crocodile-infested river. J

>>>> Now the first chapter starts with a gun pointed at the hero's head. By the end, he is teetering on a cliff about to jump into a crocodile-infested river. Just when the tension reaches a peak, we're introduced to the character but we have reason to want to get to know him. Amusingly, every New Yorker article is structured in this way, but with a twist: The character and not the action is actually the main subject matter.