TECH: Make A Scene #2

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Make a Scene by Jordan E. Rosenfeld

Chapter 2: Strong Scene Launches

And we're back, with more notes from Make A Scene by Jordan E. Rosenfeld. The introduction and chapter one were last - do you remember what they covered? Right, that's it. Keep the reader entertained. And scenes are the basic elements of stories, with characters in action right in front of us. Each scene has a beginning where it gets started, a middle that fills in the conflicts and consequences, and an ending that sets up the next scene and wraps up this scene. Okay? For more details, read the last posting or get a copy of the book and read it -- it's pretty good! And now, on to the beginning of scenes, where we drag the readers into the scene.

First of all, since the beginning of the scene may actually pick up in the middle of action or continue something from before, Jordan suggests using the term launch -- where the reader's attention is engaged again. He suggests starting to construct a scene launch by asking two questions:

1. Where are my characters in the plot? Where did I leave them and what are they doing now?
2. What is the most important piece of information that needs to be revealed in this scene?

You need to think about which kind of launch to use. Jordan suggests four flavors: characters, actions, narrative summary, or setting.

Character launches focus on getting the main characters out there. You should probably think about the scene intentions of the characters -- what is the purpose, goal, or intention of the character? This involves four decisions:

1. What are the immediate desires of the character?
2. When do the characters achieve their intention or encounter some type of opposition?
3. Does the intention makes sense to the plot?
4. Who helps your characters achieve their goal, and who opposes them?

Scene intentions usually involve some kind of conflict. It doesn't matter what your character's intentions are, but you must know them from the beginning of each scene so that you can make sure that they are enacted, met, or thwarted.

Action launches are a good way to avoid getting tied up in narrative summary, trying to explain things. Just jump right in and start the action without explaining anything. You do need to pay attention to time and momentum -- it takes time for actions, but once started, they keep going until they are finished. The keys are:

1. Get straight to the action. Jump off the cliff, don't waste time looking at it.
2. Hook the reader with big or surprising actions. Big or surprising action at the launch of a scene allows for more possibilities within the scene.
3. Make sure the action is true to the character. It should create conflict, too.
4. Act first, think later. Lead with the action, then let characters react and think about what they have done.

Narrative launches. We've said so much about avoiding narrative summary, but the launch of a scene is one place where a short, well-written narrative summary can work out. We need to get to the action quickly, but a narrative summary can help sometimes. The keys are:

1. Use a narrative summary where it saves time.
2. Use narrative summary to communicate information before action. A little bit of background or setting can go a long way.
3. Use narrative when thoughts or intentions cannot be revealed in action. Some characters cannot speak or act easily, so narration can let the reader know what they think and feel.

Setting launches. If the setting details are important to the plot or character development, you may need to include the setting in the launch of the scene. In particular, unusual, exotic, or challenging locations that bear dramatically on the characters and the plot can launch us in the right direction. For effective scene launches:

1. Use specific visual details.
2. Let the scenery set the tone and the language of the scene.
3. Use scenery to reflect a character's feelings and perceptions.
4. Show how the character sees the scenery.

The real danger with scene launches for the writer is that they are short and easy to rush through, trying to get to the real meat of the scene. Don't do it. Take the time to get the scene launch right -- or at least go back and revise it into what it needs to be. The scene launch invites the reader to come along, and should be as intriguing and alluring as possible.

So we need to launch the scene, providing the reader with something that gets them oriented and interested in reading in this scene. I think that along with Jordan's question about what's the most important information to be revealed in this scene we need to think about how to make the reader curious about that this information. We want them to read the scene looking for an answer, trying to figure out that piece of information. You want them to be puzzled and curious.

I do think that every scene launch needs to involve all four of Jordan's flavors -- the characters, the action, probably a little narrative summary, and setting. I think the difference is likely to be more in emphasis. So a character launch shows us the characters more than the action or setting, an action launch emphasizes what's going on, and the setting launch tells us more about where we are than the others. But the character launch needs to have some conflict in it, the action launch certainly has to have someone who is doing all that dancing, and the setting launch needs to include someone looking around, at the very least. Still, I think Jordan makes a good point - think about which one you are trying to do, and focus on getting that emphasis right. Think about how that launch leads the reader into your scene.

So your assignment for this chapter is to take a look at a book or story of your choosing, and find at least one scene launch. Take a close look at how the author introduces the scene and gets you into it. Did they use a character, action, narrative summary, or setting launch? If they used a narrative summary, how long is it and what happens right after it? How does the launch orient you as a reader, and how does it get you interested in reading further? I think as writers we often try to explain too much, and miss the fact that some mystery and suspense can be very good for getting the reader interested.

When we write, we invite others to come along?