e, she is direct. She simply gives the facts and accounts for her actions. This is the kind of language that you would read in a non-fiction magazine. But when she begins the scene, the tone shifts. She writes, “It felt like an 80,000-pound semi-truck had parked on Will Piper’s chest.” Here, she begins the scene, and the story moves into a narrative, literary style that creates meaningful impressions.
             Hayasaki shifts her style back and forth within the main scene. This allows her to provide some additional background information within the scene’s action. For instance, Hayasaki leaves us in dramatic tension, giving her audience the impression that Piper is nearly drowning in the corn. She writes, “The corn touched Will’s lips. Got stuck in his ears. He panted in pain.” Hayasaki uses a short, action-oriented, narrative style here. She does not even use complete sentences for some of it. But then, in the following paragraphs, she provides further explanation of what happens in a corn drowning. Her tone changes to become more journalistic, almost like the language of research and report writing. “In a corn drowning,” she explains, “pressure from the kernels on the rib muscles and diaphragm can become so intense that they prevent any breath at all.” She goes on to describe compressional or traumatic asphyxia, providing exact details about how Will Piper might die. This information is presented in a different writing style, but it also breaks the action of the scene. She then returns to the action of the scene, continuing her narrative, more informal style again. “Will prepared himself,” she explains. “He figured he had about 30 seconds left before he joined his two friends down under.” We are brought back to the action with a distinct change of tone and style.
             One of the features of a narrative writing style is that writers often employ complex similes, metaphors, and other forms of imaginative language....