TECH: Make A Scene #7: Character Development and Motivation

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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:

1. What was the new information or plot situation?
2. What were the motivations driving the character? In this scene, and from their history?
3. What did this do for the overall plot? Was it more complicated or less at the end of the scene?
4. How did the character change? What did they change? (their underwear? No, no -- think attitudes, beliefs, etc.)

There's a couple more possibilities, playing with changing characters and seeing how the scene changes, or perhaps trying to diddle the plot and seeing how the scene changes, but we'll let those pass for now. Perhaps leave them as exercises for the student to develop?

In the meantime, don't forget . . .
write!

When we write, we let our characters take the bows.

TECH: Make A Scene #8: The Plot Thickens

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Make a Scene by Jordan Rosenfeld

It's that time again? Okay, core elements so far include setting, senses, and people. But of course you want the people to do something, right? In the trade that's called plot. And indeed, Rosenfeld next talks about plot.

He starts by pointing out that random events unfolding over time just isn't terribly interesting to most people. We want significance, a meaningful series of events that reveals insights and gives spirits and emotions a jolt. That's the plot. He also points out the plot is not a story! The story can be a sequence of events, a string of information about a cast of characters in a given time and place. The plot adds meaning or method to that story, bringing in tension, energy, momentum. "Plot is the related string of consequences that follow from the significant situation... in your narrative, which darn well better get addressed, complicated, and resolved through engaging, well-crafted scenes by the end." So what makes a plot go? Information.

If you consider the plot as the puzzle that the reader is trying to solve, then each scene adds some pieces for the reader to fit in. Crucial bits of information, teasingly revealed to the reader in small bites so that they are hungry for more.

Probably one of the most important points is that every scene in your narrative must pertain to your plot. Even the most lyrical philosophical or wonderingly beautiful depiction of scenery needs to be related to the plot. Scenes are there to make events real for the reader. And every scene has to deliver at least one new piece of information answering one of these well-known questions: who? What? Where? When? Why? How? And the information should really do three things:

1. Fill in another piece of the puzzle
2. Change the course of the main character's thoughts, feelings, or actions
3. Lead to new consequences, actions, or behaviors that move the plot forward

Who? Not just general character information, but character-related plot information. Identity, the past, secrets, changes of heart. Let your characters surprise each other, revealing new information about each other, about things hidden or covered up, about things denied or protected. As much is possible, reveal things through speech for dialogue or action -- avoid the internal monologues.

What? What next, what do the characters need to learn, what does everyone want to know?

Where? Usually not too crucial, although the setting and background are always important. But they are mostly backdrop. If there are crucial details, make sure they are revealed in the scene and play into the plot, that they affect the character, and that they generate actions that lead to other plot related consequences.

When? Historical, or just the season or time of day. Do make sure that time sequences are feasible. This can be startling, contradictory, or unexpected -- especially when someone puts together when something must have happened with where they were and realizes that something isn't quite right.

Why? Motivation. "Don't fall into the habit of explaining why in narrative summary." Work through the actions dialogue, and flashback scenes that show motivation. It's harder, but it also makes the story richer for readers.

How? We all love seeing McGyver whipping out his trusty Swiss pocket knife and combining this and that with a knowledge of arcane details to make something work. Method is one of those things that mystery writers love to work on, but almost any scene and story can use a healthy dash of how. You as the writer need to know how things were done ahead of time, and then reveal this to the reader through dialogue or other methods. The missing clue that explains just how somebody did something -- readers wait for those revelations.

Doling out the answers -- Rosenfeld suggests that we all get in a hurry to give away the answers, but we need to think about small carefully-orchestrated revelations that keep the reader going. Certainly some scenes may reveal several bits of information, but others will have one very important jewel to display. Don't get too rushed. Rosenthal doesn't suggest it, but it might be worthwhile to consider just how you have laid out the information in your story -- if it's all up at the front, then readers don't have anything to look forward to. If it's all at the end, they'll starve before they get there. You need to have small snacks of information scattered throughout the story, kind of like breadcrumbs guiding your readers to the feast at the end.

Rosenfeld does suggest considering the narrative in three parts. Scenes in the first part need to lay the foundation with just enough information to ground the reader, get the reader involved in the action of the significant situation so that the reader knows what the plot is all about, and create mystery or suspense by withholding information. In the middle part, scenes need to raise the ante new and surprising information, force characters to change or redirect their actions due to conflict in danger, and introduce red herrings and false leads. Notice that we're not giving away secrets or crucial plot information that actually resolves the plot. And the third and final part, we tie up all the threads that got going. Answer the questions, reveal truths, conclude the drama, let characters settle into the changes, and make sure that the readers feel a sense of conclusion.

Whenever you're writing a new scene, take a look at the last scene, and think about what the next step for the reader really needs to be. Up the ante, keep the action moving, tie into the initial significant situation, and be full of consequences growing more complicated and then being addressed and resolved, and don't forget the antagonist helping the conflict. Or as Rosenfeld says, pick the next byte of plot information that:

1. Involves your main character
2. Is related to the significant situation or one of the consequences
3. Gives readers the impression of having more knowledge or clues, or revealing new information
4. Adds complications and resolves an earlier complication

Simple, right? And keep all the other dishes spinning on their little sticks at the same time :-)

A bit shy on time today, so let's make the assignment a DIY one. As usual, take the tools from this episode and try exercising them.

In other words, write :-)

When we write, the plot's the thing wherein we'll capture the dreams of a king!

TECH: Make A Scene #9: Subtext

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Make a Scene, chapter 9: Subtext

So we're taking a look at Make a Scene by Jordan Rosenfeld. We're deep in Part 2 looking at various core elements and the scene. Setting, senses, character development and motivation, plot -- and now in Chapter 9, a look at subtext.

"Scenes often need depth or subtext, texture that links the scene to the themes and larger plot of your narrative, and fleshes them out." And Rosenfeld points out that building in subtext is often a task for the second draft or revisions, when you know the story and the characters better, and have a better understanding of the message or idea or moral of the story.

Rosenfeld suggests that good scenes have a surface -- the visible parts -- and an underbelly, the subtext, where the emotional baggage, agendas, secrets, and motivations roil. There are several techniques for creating subtext.

Thematic imagery or symbols. When you use the images that metaphorically or symbolically tie-in to the theme, this can help remind the reader of the large idea even in the middle of the tactical plot and scene. This doesn't have to be overdone -- a couple of highlights can be plenty. Plant symbols subtly, without rubbing the reader's nose in them.

Innuendo. Characters in fiction often come across truths that they don't want to admit to themselves or others -- and all too often, someone insists on reminding them. Teasing, accusation, wordplay -- this can be fun! Use innuendo to subtly point fingers, adding complication to the scene and the dialogue.

Unconscious or uncontrollable behavior. Most of the time, characters do things on purpose -- intentionally. But those unintended actions can speak louder than anything else.

Foreground and background. Even though the reader's attention is on what's happening in the foreground, you can use the background for subtle messages and emotional layers. Sure, the protagonist is about to declare his undying love -- but what's his little brother doing gagging behind him? What are the secondary characters doing while the primary characters take over the foreground?

Think of your scenes as multidimensional. You want them to be deep and complex -- so give them a rich subtext.

The assignment this week is much like that of other weeks. Start with a scene in a novel that you like or one that you're working on. Now go through and see if you can identify pieces that provides subtext in this scene. Are there images or symbols? Do characters use innuendo to suggest things? Are any of the characters doing things without thinking about it? Is something happening in the background that adds a bit more depth? Are there other techniques helping to provide subtext for this scene?

For extra credit, you can always take an entire story or novel, and think about the theme or moral underlying it. Then consider at least five ways that you might weave that theme into a scene of your choice. What imagery or symbols might you use? Is there something you could plant in the characters' dialogue? How could the unconscious behavior of one or more characters reflect that theme? What might happen behind your main action to reflect the theme?

Go ahead, write!