TECH: Make A Scene #3

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original posting 15 May 2008

Chapter 3: Powerful Scene Middles

From Make a Scene by Jordan Rosenfeld

So we've taken a look at launching the scene, using characters, action, narratives, or settings. One way or another, the reader has been invited into the scene. What happens next? That's the focus of this chapter.

Jordan starts by defining the middle of the scene. "The best explanation is to think of each scene's middle as a realm of possibility between the scene opening and its ending, where the major drama and conflict of the scene unfolds." However, the middle also can tempt the writer into wandering down narrative side roads and burying the reader in words. You want to hook the reader and keep them going. So how do you keep a reader interested?

Up the ante, heavy on the complications. Most of us like to solve problems and make the world a better place. But the writer needs to complicate the lives of their characters. Make it harder on them. When your characters stake everything they have, it builds anticipation, significance, and suspense that drags readers along.

Jordan suggests using a four column chart to organize your steps. He labels the first column protagonist, although I think it might be character. The second column is the scene intention -- what is this character trying to achieve at this point in the scene? The third column is a complication, what can happen that gets in the way of achieving this? The fourth column is the result -- what happens or what does the character do in the face of this complication. Jordan shows how a scene may have a linked set of these, moving from the original scene intention down the page as the character dances and reacts to the continuing complications of the scene.

Take people and possessions away from the character, withhold desires, add stumbling blocks and intermediate problems, spice with danger, there are lots of complications! This is part of the fun, making lists of what might get in the way and picking the ones that are hardest for your characters to handle, that reveal just what they really are made of. Keep that dramatic tension high.

Jordan reminds us that "While complications build anticipation and drama, you should not make things difficult on characters just because; complications have to reveal character and push your plot forward."

One of the specific tactics or techniques that you can use to raise the ante is to withhold something. Characters have goals, desires, and ambitions. Dangling an object of desire just out of reach -- you've seen children looking in the candy store window, wishing that they could have just a little? That's your reader! So what kind of withholding can you do? First is emotional withholding, where another character isn't giving emotional approval, love, or something else that the character wants. Second is withholding information. All of the clues, secrets, and even simple information can be teasers for your characters -- and your readers. Third is withholding objects. Maybe your character wants something, and other characters keep passing it around, just out of reach. Or maybe they have to find the one true crystal?

Another technique is to introduce danger to the protagonist or someone he or she cares for. Physical or emotional danger can force the character to reveal themselves.

Finally, a third technique is the unexpected revelation. Let the character learn that secret about their life that forces them to reevaluate everything. No matter how the revelation comes -- letters, babbling friends, strangers, television reports, Google snippets -- these are pieces of plot information that transform the self-image of the characters and drive the narrative forward. Think about how you're going to introduce the revelation, and how the character is going to react to it. Sometimes they can be positive, too. Winning the lottery, finding out that father really is still alive, and other positive changes can also make characters jump. What happens when the world changes in an instant?

That's what Jordan has to say about scene middles in this chapter. It's not much about the peanut butter in the sandwich, but it gives us a something to stick to the roof of our mouths? Hum, maybe we should skip lightly past that metaphor.

Okay. Your assignment? Take a scene from a book or story, or even one you are working on. Try making up a chart like the one Jordan described. Simple, right? Here's the headings:

Character
Scene Intention
Complication
Result

Something like:

Character	Scene Intention	Complication	Result

You might try doing my trick -- set yourself a quota! -- especially if you are working on the scene. Don't just come up with a single complication, come up with five possible obstacles or complications that could get in the character's way when they are trying to achieve that scene intention or goal. Then pick the one that you think works best, and come up with five possible outcomes or results. Pick the best of those, and then go on.

Or how about taking a few scenes, and thinking about the complications and obstacles involved? That beloved little scene with the short guy trying desperately to figure out how to climb the mountain -- why is he so driven? Which of the various techniques that Jordan mentions really make you cheer for the protagonist, leave you sweating and turning the pages to find out what happens next? Now can you put some of that same high tension in your writing?

Launch your scene, fill the middle with rising ante, and . . . next week, on to the endings!

(or if you are at a conference, you can fill your middle with too much food! I guess that might raise the stakes in some ways?)

TECH: Make A Scene #4: Scene Endings

[mbarker.livejournal.com]

 original posting 18 May 2008

Make a Scene by Jordan Rosenfeld

Chapter 4. Successful Scene Endings

So here we are. We've launched our scene, with characters, action, narrative, or setting. And we've filled in the middle, raising the ante with complications and conflicts. Withholding, a dash of danger, and unexpected revelations with all the trimmings. And now it's time to end the scene. Are you ready?

Jordan starts out by pointing out that while we sometimes remember beginnings, endings are often the more memorable and poignant parts. In any case, "the end of the scene is a space for the readers to take a breath and digest all that they've just finished reading." This is where things add up, giving the reader more knowledge and investment in the plot and characters, while still teasing them to find out what happens next.

Jordan suggests that endings fall into two major groups: zoom-in and zoom-out. Do we end up up close and personal or pulling back and looking at the wider picture?

Zoom-in endings include character summaries, revelations especially in dialogue, and the old-fashioned cliffhangers. Character summaries -- whether interior monologues or simple dialogues -- are summaries. They're very good for emotional reflection about the character and their responses. Use them for character development, revealing more about the character -- but be careful not to overdo them. Revelations are dramatic and add tension, whether overt or even somewhat quieter emotional hints. And cliffhangers really make readers keep going to find out what happens. A character on the edge, an action that hasn't finished, or simply some change in how the character sees the world -- the suspense of a cliffhanger doesn't have to be melodramatic, but it makes readers turn pages. Again, don't overdo it.

Zoom-out endings give the reader a little relief. A visual description -- showing the reader something through the senses -- can provide a rest against the action. Simple visual scenes. Philosophical musings, often wandering into similes and metaphors, also can be used. These are more character based, not so much the plot or action driven story.

Then there are conclusive endings. Finish it up and tie up the plot point. Jordan suggests that killing a character, for example, might be a good scene ending. It's momentous, and putting it at the end of a scene lets the reader invest their own feelings in it. You can also answer questions, unmask the bad guys, or otherwise really tie up some plot thread. These are a strong contrast to cliffhangers.

Okay? So that's the sandwich, the launch of the scene that gets the reader into it, the middle filling, and the ending that rounds out the scene. You might think we've covered the whole scene, what's left? In part two, Jordan covers core elements like setting, senses, character development, plot, subtext, dramatic tension, and scene intentions in relation to the scene. In part three, he goes over a number of different types of scenes. So don't fret, the 36 pages we've already looked at are not everything. We've still got many pages to go.

And what about an assignment? Well, take a scene from a book or something you're working on, and consider Jordan's types of endings. First identify which part is the ending of the scene. What does it do for the scene? Is it a zoom-in or zoom-out ending? Which one? Does it use some pieces of others? Suppose you changed that ending for one of the other kinds - replaced the internal monologue with a visual description, for example? Or perhaps instead of the well-rounded ending, what if you wanted to make it a cliffhanger?

Then the door swung open, revealing a shadowy figure that said, "Come."

Don't you want to find out what happened after that?

So, that's this week's report on scenes.

When we write, we help other people wrap up?