The Place For My Writers Notes

Original posting 27 February 2010

Let's see. Over here at the Mad Genius Club, writers division, there's some discussion about how to start a story.

http://madgeniusclub.blogspot.com/2010/02/cheat-post-beginnings.html

In medias res -- in the middle of the action, a problem, a question, a conflict? Maybe a name, setting, cognitive dissonance? Establish a goal, create an emotional connection? What about a concrete, immediate desire that is threatened? Go where it hurts?

And over here, http://www.fmwriters.com/Visionback/Issue27/writinghooks.htm we have a warning against crooks -- a hook that lies. When you use conflict, excitement, suspense... but you set up a false expectation of what the story is going to be, that's a crook. And when the reader notices that you're not delivering on that sparkling bait, they'll throw your story against the wall and you probably won't be able to get them to read another one. And there's a discussion of using your people, plot, setting, or style -- the thing that sets your story apart -- to help find a hook.

What about ARCS? This is a model of motivation, that I often find useful. Attention, relevance, confidence, and satisfaction. Give people that, and they're motivated to try new things, to do something you want them to do, etc.

So a hook needs something to get their attention -- that cognitive dissonance, the dead fish on the coffee table, the bullet hole in the windshield, something that stands out and makes you curious. That certainly seems to be a piece of the hook.

Relevance. This is probably where the point of view character comes in, because we want to empathize with them. Make us feel like this is someone we can relate to, who has problems that we can relate to, abilities that maybe we don't have but we wish we had, and so forth. Or maybe sometimes the relevance comes from this is a setting that I know, or this is a problem that I know, or even this is something I wish I knew about? Anyway, in that little beginning, try to show the reader how this story, these characters, their problems are relevant to the reader.

Confidence. I suppose the key here is the genres. I feel pretty confident about reading mysteries, science fiction, and some others because I know how those stories go, I know how to read them and I enjoy them. But if the story starts out telling me that it is going to be a pastoral romance, for example, or a high-tension thriller with gangland killings everywhere... I am likely to set the story aside. There will be those who read it, but it's not my kind of story. Or if I can't tell what kind of a story it is, then I start to get itchy. So again, the hook needs to quickly establish what kind of a story it is. Setting expectations...

Which leads us to satisfaction. The beginning of the story makes a contract with the reader, it promises certain kinds of payoff. Admittedly, the beginning typically doesn't provide much of the satisfaction -- that's more for the climax. But the hook tells us what we might expect. Am I going to see a romantic pairing and a happily ever after, the bad guys punished and good triumphant, a mystery resolved? What do I think I'm going to find out when I read this book? That question or problem or situation needs to be something that will satisfy me, and then I look for the resolution to complete the satisfaction.

Hooks. How do you get the reader involved, right from the beginning? What are the pieces that you have to have there?

It's a puzzle! So how do you develop your hooks?

Original posting 17 August 2008

Chapter 17: Action Scenes

(continuing our series from Make A Scene by Jordan Rosenfeld)

Hollywood has taught us to think of action as larger-than-life last-minute escapades. However, small personal actions still count. Action scenes rely on some kind of physical movement in a space or context of the writer's creation, with a sense of time passing. Readers feel as if they are participating in action when:

1. Events unfold in real time, so that the reader feels as if they are participating in the events
2. The pace is rapid, and there is some kind of physical movement
3. The protagonist makes quick decisions or reactions, depending on instinct more than intellect
4. Unexpected consequences raise the dramatic tension

Act first, think later. When the protagonist is caught by surprise, forcing reactions. That's what action scenes are all about. They feel fast and intense. Usually the action is unexpected or surprising. They match well with suspense scenes, epiphanies or contemplative scenes. Readers do sometimes skim through them, so don't expect slow detailed reading. Just like the protagonist, the reader wants to find out what happens, so they aren't going to read slowly and carefully.

Opening action scenes. Most of the scene will be unfolding or exploding action. Even if you want to start slow, think about getting to the action soon.

In medias res - start in the middle of the action -- is a standard recommendation, and works well. Readers have to keep reading to figure out what is going on. Make sure that the reader can follow the essential action, that they know what is going on even if they don't know why or how it will be resolved.

Open with foreshadowing. Small actions or narrative summary that hints at the coming action are sometimes useful. Keep it short, keep the hints subtle, and let the action take over as soon as possible. Be very careful not to make the action an anti-climax by removing the surprise or sizzle.

Character development and plot in the action scene? Action is one way to show the true nature of characters. Every scene needs to involve characters in interaction, reaction, and change, but action scenes force the character to actually walk the talk, acting out their true beliefs. Don't forget that characters can make mistakes, especially in action. Push your characters to discover unexpected facets of themselves through actions. Make sure that the actions are serious, that they can't be undone, so that the character has to face the consequences.

Ending the action scenes. There are lots of ways to end the action. No matter how you do it, though, make sure that the action has changed the protagonist, and that there are consequences that the protagonist will have to deal with. Most of the endings slow down the pace and offer a chance for reflection, increase the tension and suspense so that the reader has to keep going, or end with a bang, a revelation that changes the characters and the plot.

Slow it down. A little bit of exposition or reflection, quietly slowing down the pace, and often ending in a foreshadowing image.

The cliffhanger or suspense ending. Don't stop, run the action right out to the edge and leave the reader turning the pages for the next step. Just delay the conclusion of the action.

A revelation that changes everything. At the very end of the scene, reveal the consequences of the action to the reader and the protagonist. One trick here is that the revelation often is an emotional high point -- action scenes often do not have much emotional impact, but the revelation can change to.

And Rosenfeld's checklist for action scenes:

1. Is the focus of the protagonist on reaction, instinct instead of thought?
2. Is there physical movement that conveys a sense of time?
3. Is there less reflective or emotional content -- keep punching!
4. Does the action change the protagonist and the plot?
5. Do the actions produce consequences for future scenes?

Coming up, we have flashback, epiphany, climactic, and final scenes. But for right now, let's set Rosenfeld aside and consider your very own action scene.

First, of course, you might want to take an action scene apart. Admittedly, we all know them from movies and TV, but dig one out of a novel, and see how it works. How did they start it? How do they keep the action moving and realistic? And how did they end it?

Second, think about writing an action scene of your very own. Where would an action scene make more sense than dialogue? Are you going for the high action of the movies and television or for somewhat smaller tramping around the campsite, rafting down the river, or doing something else that doesn't involve car chases, explosions, and other special effects? How do you start the scene, how do you keep it realistic, and how do you finish it? I still remember reading someone's little battle scene and asking them to walk through the action, because I couldn't figure out how the characters were positioned. We ended up talking about doing a paper chart and actually having the characters move across the chart -- and discovered that at least one character was indeed popping from place to place in a rather incredible way. I won't say that the scene was great after we reworked it, but at least people looked the right direction and so forth.

You might take some simple actions -- getting in the car and turning it on, getting a cup of coffee or tea, buying a newspaper -- and write those scenes up as practice. It can be surprisingly difficult to get the character into the right position, get the keys out of his pocket, and actually turn on the engine. Then consider showing us that the character is happy, upset, or otherwise trying to deal with emotions in the middle of the action.

I think action scenes often are considered pretty simple. But selecting the right parts of the actions to suit your story, and providing enough details without going overboard or without simply sliding over the action, is more difficult than it may appear. Action scenes are some of the bread-and-butter basics for writers, and you might as well practice writing them. You need to be able to convincingly convey that these characters are doing something right now.

So, write!

(or should that be plots, characters, actions! Write that scene?)

The writer's job is to help readers see what's happening now in the center ring -- of your story.