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writercises2010-12-27 07:04 pm
mbarker.livejournal.com) wrote in writercises2010-12-27 07:04 pm
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And for your next scene... Nano Notes #2
original posting Nov. 2, 2010
Once upon a time in the land of nanowrimo, you got to the end of the scene (or will get to one, sooner or later, as the words run trippingly off your fingers. At least I don't think you can write one scene that is 50,000 words long. I'm not sure that the reader would have the slightest chance of being able to keep all of that in their head at one time! Not to mention this incredibly elaborated parenthetical remark about getting to the end of the scene :-) And, the odds are reasonably good that you should start another scene. But what should this next scene do for you? Well, most of the scenes between the beginning and the climax complicate things. Something gets in the way of your characters immediate gratification, they don't get what they want right away because frankly, having dessert right away is kind of boring. Delayed gratification, that's the trick.
So what goes in the middle? Well, over here at http://community.livejournal.com/writercises/140680.html I borrowed from the book Scene and Structure by Jack Bickham a list of seven different possibilities. Let's take a relatively short look at them (or you could just roll a die and pick that one, although where you're going to find seven sided die is a good question).
First, the scene could simply push the character away from quick attainment of goal. He was going to sign the check, but he insists on adding up the balance first. And the balance isn't right? And... one thing after another makes it harder and harder to quickly attain that goal.
Second, you can mix in some unexpected, unrelated problems. We almost had the check when the black turtle ninjas crashed through the window and forced everyone to the floor. Then the white foxes came rolling through. And did we mention the tornado?
Third is very like the second one -- somewhat unrelated problems that have to be solved before getting back to that check. The pen runs out of ink. Looking for ink, the desk drawer is locked, and the key is lost? And more and more things stack up, making it harder and harder to get that darn check signed.
Fourth, subplots. Your main character or other characters can certainly have other things going on. Jane insists on everyone having dinner before signing the check. Little Boy Blue wants to know about the sheep in the backyard, and who's going to clean up?
Fifth is simply adding tension. Put those deadlines, ticking clocks, threats and costs into scenes. Sure, our hero is about to get the check signed, but having eaten dinner, Little Boy Blue points out that the post office in town closes at 9, and we've only got 20 minutes to get there. Do you want to bet that we can have enough flat tires, bad directions, and other problems to turn 20 minutes into a race to the door, only to find that ...
Sixth is more of an arrangement of scenes. At the beginning, there are often a large variety of possibilities open to the hero. Lots of people could sign that check, but one scene after another, we find out why those other people aren't right for the job. Sure, we could get a loan, but... the bank doesn't believe that itinerant cameramen living with their aging aunt who is about to lose her house are exactly the best risks? And then... work through the possibilities and cancel them out, one by one, until finally our hero is just going to have to face Dad once more.
Seventh, revelations. One of the great things about scenes is that they can be used to reveal complications and history, background, the reason that Sally kept her hand inside the purse as they walked into the house. And again, each revelation can make it more necessary to achieve the goal or less likely to get there, or even both! Sure, Sally had her hand on a gun the whole time, but Dad isn't going to sign with a gun to his head. And why does Sally feel this way about Dad, anyway?
Go ahead. Mix a few more scenes into the play, and see how they can complicate the path from here to there. Poor George. He just wanted to get a check signed, and now look what's happened. It's not enough that Dad gets obsessive compulsive about checking his balance, the ninjas destroy the house, the pen runs out of ink, Jane makes sure everyone eats before the signing, the Post Office is closing, and anyone and everyone else who might have loaned George the money turned him down flat. No, on top of all of that, Sally has to get revenge? Will George ever get that check signed?
Stay tuned for the great climax, coming in... oh, say 45,000 words or so?
Go, Nanowrimowers, go!
Once upon a time in the land of nanowrimo, you got to the end of the scene (or will get to one, sooner or later, as the words run trippingly off your fingers. At least I don't think you can write one scene that is 50,000 words long. I'm not sure that the reader would have the slightest chance of being able to keep all of that in their head at one time! Not to mention this incredibly elaborated parenthetical remark about getting to the end of the scene :-) And, the odds are reasonably good that you should start another scene. But what should this next scene do for you? Well, most of the scenes between the beginning and the climax complicate things. Something gets in the way of your characters immediate gratification, they don't get what they want right away because frankly, having dessert right away is kind of boring. Delayed gratification, that's the trick.
So what goes in the middle? Well, over here at http://community.livejournal.com/writercises/140680.html I borrowed from the book Scene and Structure by Jack Bickham a list of seven different possibilities. Let's take a relatively short look at them (or you could just roll a die and pick that one, although where you're going to find seven sided die is a good question).
First, the scene could simply push the character away from quick attainment of goal. He was going to sign the check, but he insists on adding up the balance first. And the balance isn't right? And... one thing after another makes it harder and harder to quickly attain that goal.
Second, you can mix in some unexpected, unrelated problems. We almost had the check when the black turtle ninjas crashed through the window and forced everyone to the floor. Then the white foxes came rolling through. And did we mention the tornado?
Third is very like the second one -- somewhat unrelated problems that have to be solved before getting back to that check. The pen runs out of ink. Looking for ink, the desk drawer is locked, and the key is lost? And more and more things stack up, making it harder and harder to get that darn check signed.
Fourth, subplots. Your main character or other characters can certainly have other things going on. Jane insists on everyone having dinner before signing the check. Little Boy Blue wants to know about the sheep in the backyard, and who's going to clean up?
Fifth is simply adding tension. Put those deadlines, ticking clocks, threats and costs into scenes. Sure, our hero is about to get the check signed, but having eaten dinner, Little Boy Blue points out that the post office in town closes at 9, and we've only got 20 minutes to get there. Do you want to bet that we can have enough flat tires, bad directions, and other problems to turn 20 minutes into a race to the door, only to find that ...
Sixth is more of an arrangement of scenes. At the beginning, there are often a large variety of possibilities open to the hero. Lots of people could sign that check, but one scene after another, we find out why those other people aren't right for the job. Sure, we could get a loan, but... the bank doesn't believe that itinerant cameramen living with their aging aunt who is about to lose her house are exactly the best risks? And then... work through the possibilities and cancel them out, one by one, until finally our hero is just going to have to face Dad once more.
Seventh, revelations. One of the great things about scenes is that they can be used to reveal complications and history, background, the reason that Sally kept her hand inside the purse as they walked into the house. And again, each revelation can make it more necessary to achieve the goal or less likely to get there, or even both! Sure, Sally had her hand on a gun the whole time, but Dad isn't going to sign with a gun to his head. And why does Sally feel this way about Dad, anyway?
Go ahead. Mix a few more scenes into the play, and see how they can complicate the path from here to there. Poor George. He just wanted to get a check signed, and now look what's happened. It's not enough that Dad gets obsessive compulsive about checking his balance, the ninjas destroy the house, the pen runs out of ink, Jane makes sure everyone eats before the signing, the Post Office is closing, and anyone and everyone else who might have loaned George the money turned him down flat. No, on top of all of that, Sally has to get revenge? Will George ever get that check signed?
Stay tuned for the great climax, coming in... oh, say 45,000 words or so?
Go, Nanowrimowers, go!