The emphasis and the meaning, for the most dramatic effect, should lie at the conclusion.

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"The periodic sentence, in contrast, is not complete in either syntax or sense until its end [...]"
(Hamilton p.190)

From Franz Kafka's "The Metamorphosis":
"As Gregor Samsa awoke one morning from uneasy dreams he found himself transformed in his bed into a gigantic insect."

Bam. You don't know what's coming until the end (when it comes...obviously).
I really like that sentence structure. It's so good for a dramatic effect. I almost want to write every sentence that way. I just love how the whole sentence is just building up, leading you somewhere but you can't see where, and then at the very end of the sentence you finally see the big picture. I especially like the other example from Doris Lessing's "To Room Nineteen":

"It was a long time later that Susan understood that that night, when she had wept and Matthew had driven the misery out of her with his big solid body, was the last time, ever in their married life, that they had been - to use their mutual language - with each other."

It just punches you in the face right when you know it's over.


Stephanie Wytovich said:

Jessie, I really like your entry, and the fact that you're brutally honest about the effect it has. "It just punches you in teh face right when you know it's over." I couldn't think of any better way to explain this term, haha.

Jeanine O'Neal said:

As long as it's not Hemmingway using the sentences I'Mperfectly content with whatever type it is.

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