The phrase "achieved the narrative" is correct and usable in written English.
It can be used when discussing the successful completion or realization of a story or message within a particular context, such as literature, film, or communication.
Example: "The director achieved the narrative by weaving together multiple storylines that resonated with the audience."
Alternatives: "realized the narrative" or "fulfilled the narrative".
"The show is mainly about how the characters are dealing with this situation, and less about what happened and where everybody went," Lindelof said, adding that if multiple seasons are achieved, the narrative will go far beyond the story told in the book.
Having achieved the narrative's primary goal -- discovering who burned him -- Westen now has to prove he is worthy of being a spy in good standing.
After the lyrical Richard II, written almost entirely in verse, Shakespeare introduced prose comedy into the histories of the late 1590s, Henry IV, parts 1 and 2, and Henry V. His characters become more complex and tender as he switches deftly between comic and serious scenes, prose and poetry, and achieves the narrative variety of his mature work.
The passage achieved the kind of narrative force that seldom occurs in modern orchestral playing: it was cold, curt, jagged, communicating the bitter dread at the heart of Maeterlinck's tale of doomed love.
Timing constraints put limits on what could be achieved with the narrative.
In writing, the same is achieved if the narrative proceeds along the stem species of the focal species.
Current trailers often achieve the same narrative shorthand with two-second establishing shots separated by dips to black accompanied by whooshes of sound.
Alternatively, the novelist might create a fictional dictator to achieve the same narrative end, as in Reasons of State (1974), by Alejo Carpentier, in which the dictator is a composite man assembled from historical dictators.
There is an engaging realist style here, and some forthright performances, but it does not quite achieve the depth and narrative satisfaction that the drama appeared at first to promise.
He found that the end result "functions flawlessly" and is "excellent at achieving the universal ends of narrative".
Can the transition between spoken dialogue and song be achieved without disrupting the narrative flow or breaking the concentration of the audience?
