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This can be a sore spot for writers of novels or film scripts. You must change scenes, settings, and events, but how should you do it? Is there a “one-size-fits-all,” formula of some sort?

Technically, there is no such formula in existence. There are no particular laws of probability nor reasons of insanity that will guarantee a perfectly orchestrated horror novel. When you are launching a rocket, you need a launching pad. When you are launching a horror story, it's imperative to develop a solid arrangement.

Orchestration and chronology may seem like a very mundane part of your book. You may believe that no one really pays attention to timing or to who does what so long as the overall plot is satisfactory. But, these are vital elements to your novel, just as with atmosphere, description, and all other “minor” roles in your work.

There is an ever-present theory that you should limit each chapter to one character’s “view” which many find is completely satisfying. It gives you time to enjoy and fully appreciate who the character is and what they are attempting. You aren’t just given a glimpse through a window; it's a tour of the entire house.

In, Funhouse, Koontz uses a trick within the first few paragraphs of Chapter 1. You believe you’re inside one character, but it quickly becomes apparent you are in another. The play of words he utilizes can give you help on changing points-of-view during a chapter without confusing the reader.

You should keep a degree of “scriptwriter vision,” in mind when writing a novel. You should keep track of what your characters are doing at all times. When a scene ends, unless it is the scope of the piece, you should keep your reader abreast of all changes. Instead of rehashing the previous scene through the eyes of a different character, pick up where the previous chapter left off.

For instance, say Chapter 5 of our fictional book has two characters fighting. You want to change to the friend's perspective in Chapter 6. Instead of rehashing the actions from a scene the reader already knows about, show how the other individual reacts to the words. He reacts to the attack or feels guilt for attacking. The current chapter falls into place, documenting his next words or action, and changes again in the next chapter.

The fight in Chapter 5 of our fictional book inadvertently became a launching pad for Chapter 6. This chapter, in turn, will do the same for the next. This process will continue until your novel is complete. Every chapter should draw the reader in further and further to your characters and your plot.