![[identity profile]](https://www.dreamwidth.org/img/silk/identity/openid.png)
![[community profile]](https://www.dreamwidth.org/img/silk/identity/community.png)
Original posting 7 June 2008
Make a Scene by Jordan Rosenfeld
So we're looking at the book Make a Scene by Jordan Rosenfeld, and we are in part two, the core elements and the scene. We have looked at the setting and the senses, and now we are going to take a look at character development and motivation. Rosenfeld starts out by reminding us that when we put down a book, what we usually remember or even talk about are the characters. We identify with them, and they bring the scenes to life. Scenes are vehicles for developing people. And of course we the writer have to shape the scenes so that there are opportunities for characters to reveal and express themselves. Scenes need to give characters opportunities to grow and change, to act and react.
Probably the key to developing characters is thinking about how they behave, and what that reveals to the reader about them. Remember that characters act differently with different people and in different situations. You also want to let your characters surprise the readers and each other sometimes. Obviously, your story cannot tell the reader everything about character, but each scene can provide a setting for your character to improvise in. Rosenfeld then suggests four key points.
First, each scene should provide your character with at least one new plot situation or new piece of information to react or respond to. It should also provide a catalyst or antagonist that the protagonist interacts with. Someone needs to help your protagonist change and react OR thwart, oppose, delay and otherwise get in the way of your protagonist. If there's nobody else in the scene, your protagonist will interact with themselves or with the forces of nature.
Second, in every scene your protagonist should be motivated by two things. The first is their intentions for the scene -- what do they expect to do or make happen in the scene? The second is their personal history -- what is the back story or background from which your character does things?
Third, every scene, situation, interaction needs to push the plot and its consequences for the protagonist to be either more complicated or less. More complications build dramatic tension, create character conflict, and makes scenes powerful. Fewer complications probably mean you're resolving some plot threads and heading towards resolution, you're dropping the intensity, or maybe you are lulling the reader before the real dive over the cliff that's coming up.
Fourth, because of these complications -- new information or situations, catalysts or antagonists, motivations, and plot complications -- your protagonist changes. They can change beliefs, behavior, attitudes, relationships, their mind - all kinds of things -- but make sure that they change.
There's a sidebar here about "first glimpse scenes" where the main characters see each other for the first time. These are often key scenes that set the stage for the relationships that will unfold throughout the book.
And back to character development -- plot and character work together. "Your protagonist ought to be indelibly caught up in the plot situation and information of every scene, and should bear or participate in the consequences that follow. Similarly, your plot should not be able to advance or get more complicated without the active participation of your protagonist."
So, let's see. What kind of an assignment shall we consider for this? Perhaps take a scene (of your choice -- from the wider world of writing or your very own work), and take a look at the characters in it. For each and every one, tease out what this scene does for or against them. How do they grow or change in this scene? What causes that, and how is it shown? How does the character react when someone slams the door in their face? What happens? And take a step back, and look at:
In the meantime, don't forget . . .
write!
When we write, we let our characters take the bows.
Make a Scene by Jordan Rosenfeld
So we're looking at the book Make a Scene by Jordan Rosenfeld, and we are in part two, the core elements and the scene. We have looked at the setting and the senses, and now we are going to take a look at character development and motivation. Rosenfeld starts out by reminding us that when we put down a book, what we usually remember or even talk about are the characters. We identify with them, and they bring the scenes to life. Scenes are vehicles for developing people. And of course we the writer have to shape the scenes so that there are opportunities for characters to reveal and express themselves. Scenes need to give characters opportunities to grow and change, to act and react.
Probably the key to developing characters is thinking about how they behave, and what that reveals to the reader about them. Remember that characters act differently with different people and in different situations. You also want to let your characters surprise the readers and each other sometimes. Obviously, your story cannot tell the reader everything about character, but each scene can provide a setting for your character to improvise in. Rosenfeld then suggests four key points.
First, each scene should provide your character with at least one new plot situation or new piece of information to react or respond to. It should also provide a catalyst or antagonist that the protagonist interacts with. Someone needs to help your protagonist change and react OR thwart, oppose, delay and otherwise get in the way of your protagonist. If there's nobody else in the scene, your protagonist will interact with themselves or with the forces of nature.
Second, in every scene your protagonist should be motivated by two things. The first is their intentions for the scene -- what do they expect to do or make happen in the scene? The second is their personal history -- what is the back story or background from which your character does things?
Third, every scene, situation, interaction needs to push the plot and its consequences for the protagonist to be either more complicated or less. More complications build dramatic tension, create character conflict, and makes scenes powerful. Fewer complications probably mean you're resolving some plot threads and heading towards resolution, you're dropping the intensity, or maybe you are lulling the reader before the real dive over the cliff that's coming up.
Fourth, because of these complications -- new information or situations, catalysts or antagonists, motivations, and plot complications -- your protagonist changes. They can change beliefs, behavior, attitudes, relationships, their mind - all kinds of things -- but make sure that they change.
There's a sidebar here about "first glimpse scenes" where the main characters see each other for the first time. These are often key scenes that set the stage for the relationships that will unfold throughout the book.
And back to character development -- plot and character work together. "Your protagonist ought to be indelibly caught up in the plot situation and information of every scene, and should bear or participate in the consequences that follow. Similarly, your plot should not be able to advance or get more complicated without the active participation of your protagonist."
So, let's see. What kind of an assignment shall we consider for this? Perhaps take a scene (of your choice -- from the wider world of writing or your very own work), and take a look at the characters in it. For each and every one, tease out what this scene does for or against them. How do they grow or change in this scene? What causes that, and how is it shown? How does the character react when someone slams the door in their face? What happens? And take a step back, and look at:
- What was the new information or plot situation?
- What were the motivations driving the character? In this scene, and from their history?
- What did this do for the overall plot? Was it more complicated or less at the end of the scene?
- How did the character change? What did they change? (their underwear? No, no -- think attitudes, beliefs, etc.)
In the meantime, don't forget . . .
write!
When we write, we let our characters take the bows.