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TECH: Crafting Scenes (6)
Feb. 22nd, 2025 04:54 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
mbarkerOriginal Posting 2022/4/18
Let’s see. Crafting Scenes, by Raymond Obstfeld. He’s talked about what scenes are, and in chapter 2, about starting scenes. Then he’s tackled length, point of view, setting… aha! It must be time to talk about ending scenes! Indeed, chapter six is Fond Farewell or Good Riddance: Ending a Scene. Let’s see what he says! He starts out by suggesting that the ending of a scene needs to project a physical sensation that comments on the scene that’s just ended and makes future scenes desirable. The last lines need to create a feeling in the reader, of completion and anticipation. Make the reader satisfied with what they have just read AND make them want to turn the page and keep reading. He recommends thinking about each scene as a complete story, with beginning, middle, and end. Then make sure your ending leaves the reader with an emotional or intellectual impact or both. The end should be a reward for the reader. Now, he says there are two kinds of scene endings, ones that emphasize plot or ones that emphasize character. Plot endings are a mainstay of genre writing. Basically, we’re taking the reader on a well-loved ride, and giving them the best ride we can. One key to this is cliff-hangers. Now, frequently earlier scenes in a chapter may just ratchet up the suspense, until the final cliffhanger in the chapter. There’s a sidebar pointing out that a cliffhanger plus a jumpcut really boosts the suspense level. I.e., ending a scene with a cliffhanger (he was hanging by his fingertips above the grinding wheels) and then starting the next scene somewhere else, with a flashback or whatever, means the reader wants to know what happened to the cliffhanger and… is still waiting to get it. The other major type of plot ending is the if-I’d-only-known, where we imply that if they had known what was going to happen next, they would have done something different. This does mean the narrator, whether the character in the novel or an omniscient narrator, needs a dash of oversight knowledge. Next, Raymond tells us that plot endings usually reveal a change in the direction of the plot, while character endings tend to reveal a change in the character or at least our understanding of the character. An insight into the character, in other words. Some key variations include: I-know-what-this-means internal monologue. A reflection about the meaning of the scene events. Poignant dialogue. Especially an exchange that just stops. Poignant description. Often something in the setting, or some mundane seeming action be the character. But putting it last boosts the reader’s attention. Final word? Well, Raymond reflects on writing literary and genre, and that you may use both kinds of scene endings in both of them. Yes, genre tends to lean towards cliffhangers, and literary toward character endings, but… mix it up! His workshop points out that often we tend to stretch the ending, adding a bit more to try to make sure we hit the point. But usually it’s best to trim the extra, to stop.So we will! Write?
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