writercises | Entries tagged with make a scene

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Original posting 10 November 2008

[oh, blast -- I seem to have skipped Chapter 25! Hey, sequence is highly overrated, isn't it?]

Chapter 25: Scene Transitions

Walking along through Make a Scene by Jordan Rosenfeld, almost the last chapter! And here Rosenfeld talks about how to put together individual scenes in a strong, vivid story. You want your scenes to work together. So what is this glue that you use to put them together? "The simplest and easiest way to link scenes is through transitions, passages of text at the beginning or ending of a scene, where you condense and shift time, space, point of view, and many other details to create a sense of flow and to bypass mundane or nondramatic moments in your characters lives."

It's important to remember that we aren't doing a moment by moment review of real-life. You want only meaningful, relevant, and dramatic parts.

The most noticeable transitions are at the beginning of a scene, helping the reader to see where this next setting is. You need to connect the scenes :-) "at the beginning of a scene you are, first and foremost, signaling that changes have taken place since the last scene."

Signaling the scene change. Orient the reader about where the protagonist and other characters are. What has changed? Where and when are the characters? How do you make it clear to the reader?

A common shift is in time. Often simple expository descriptions are enough. You can use narrative summary, a bit of dialogue, or setting. Normally you only condense relatively short periods of time, clearly to bypass mundane or irrelevant events.

Another scene break is to change location or setting. When the scene moves to a new location, make sure the reader knows it. Select engaging details, have the protagonist interact with the setting, let the protagonist express opinions about the setting, or have the setting reflect the protagonist mood, feelings, or inner world in some way (although beware the pathetic fallacy, where the setting always reflects the emotions of the main character.)

Ambience and atmosphere, mood, tone, weather changes and such can be useful to show the reader that something has changed, even if the location and time are still the same. Weather, sensory details, and unusual juxtapositions can all be used to signal changes.

Another shift between scenes or more often between chapters can be a shift in the point of view. If the main point of view character changes, make sure that the reader knows it because of the character's name or some obvious details.

At the beginning of each scene, you need to think about getting the reader involved, but also picking up from what happened before. Think about:

if an important event happened in the prior scene, where are we now? What is the protagonist doing?
after a cliffhanger or epiphany, you need to think about how to conclude that action. You don't have to pick it up immediately, but at some point you need to finish it off.
does your character need to react, expressing feelings through interior monologue?

Thus spoke Rosenfeld.

I think this is one of the parts that sometimes we can put off for the revision. When we are first writing our story, we need to get the scenes set up and figured out. Then as we go through in revision, we can check to make sure that the transitions between scenes are clear. If one scene ends in the dark, we might want to make sure that people know the next scene is out in the sunshine the next day.

An exercise? Well, let's take a favorite story or novel again, and see what happened there. Go through and look at the ends and beginnings of scenes. How do the endings prepare the reader for the next scene coming? How do the beginnings make sure that the reader knows who is talking and when and where they are?

Then consider a stepping-stone chart of your own plot. That means having the first scene in a line at the top of a sheet of paper, and the climax at the bottom of a sheet of paper. In between, put bubbles for each scene, connected with lines. And annotate the transitions between scenes with some notes about what people need to know as they start a new scene -- and how you are going to tell them about it.

Go ahead. Write!

Current Mood: shifty

mbarker.livejournal.com

Original posting 2 November 2008

Chapter 26: Scene Assessment and Revision

Wrapping up Make a Scene by Jordan Rosenfeld, we take a look at judging your scenes and revising them. Rosenfeld suggests that when you finish with the draft or just even a scene, you should set it aside for a while. Let it cool off. Then after a while you'll be ready to revise it.

The first step is identifying vignettes. Rosenfeld calls these free-floating vignettes -- small, graceful literary sketches that don't necessarily do anything for the plot and are really extraneous. Oh, you may prefer baroque or rococo styles hung about with descriptions of whaling and so forth, but the current mode is more sparse. So how can you tell if something doesn't fit the plot context, or is missing important elements of the scene? Start by considering these questions about the scene:

Is new plot information introduced?
does it relate to the significant situation?
does it build on the last scene?
is the protagonist involved, informed, or affected?
does the reader feel smarter and more involved because of it?
does the clock tick? Does the scene move us forward in time?

Relevant scenes will usually have yes answers for all of these questions. No to any of these means you have a vignette, and you need to decide whether to expand it to fill in the missing element or simply to cut [I suggest cutting to a save file -- you may never actually use it, but at least for me, tucking it away for later use is easier than throwing it in the trash].

Why not keep the vignette? You're building a set of scenes for the reader. Vignettes puzzle the reader, because they don't seem to do anything. The key question is whether the narrative makes sense and flows without the scene. If the answer is yes, save that vignette for later. [Oil and vignette salad, anyone?]

Turning vignettes into healthy scenes often involves filling in one of the following elements:

Character motivation. When characters behave in unrealistic or unrelated ways, it's time to think about the character and figure out what they really want to do and why.

Pertinent dialogue. Dialogue can be lots of fun to write, but you need to make sure it goes somewhere, is interesting and exciting, and pertains. Clean it up, get some conflict into it, and don't let the talking heads take over.

Setting. Sometimes the setting doesn't matter or it is so ill-defined that the characters might as well be in a white room. How important is your setting? Do you need to change it, tell the reader about it, or cut it?

Information. A scene where nothing is revealed probably means nothing happens. What happens next? How can you reveal that?

Action. Every scene doesn't have to be a whirlwind of gunplay and car chases, but readers to get bored with sitting on the porch. "Remember to think in forward motion." What action would get your plot or characters moving in interesting ways? And as someone said, if things are boring, bring a gun in! Sometimes those surprise entrances and offstage explosions can be helpful.

Conflict. Make the conflict real and difficult. Consider the consequences, and up the ante if you need to.

If you decide to cut the vignette, after you cut it, take a minute to go back and reread. If the plot suddenly is missing something, or you feel like you really want that there after all, put it back. Then fix it up so that it belongs there. The good news is that electronic editing makes this kind of revision and undoing a whole lot easier.

You may find that you have stretches of narrative summary that you'd like to cut back on. The guiding questions are:

Will cutting this narrative hurt the plot or characters? No? Cut.
can I use dialogue, flashback, or action to reveal the background information or explanations from the narrative summary? Yes? Replace it.
is this information repeated in another scene? Yes? Cut it.

Scene architecture -- when you're revising, you can look at how the structure of the scenes hangs together, how the scene itself works and how it connects with its neighbors. So you want to check whether each scene:

has a beginning, middle, and end?
has a vivid launch that engages the reader immediately?
has rich subtext, with texture, themes, and imagery?
makes things harder for the characters and raises the stakes?
ends with the reader eager to keep reading?
has a logical ending that still leaves the next scene room for launching?

And then of course, the scene itself deserves a checklist. Are the setting and senses well-established? Do the characters jump off the page? Is there enough tension and suspense to keep readers turning pages? Specifically, for each and every scene:

Visual and Sensual Details

is there a vivid, effective setting that doesn't overwhelm the story?
Are the time, place, and culture revealed in details?
do the background objects reflect plot and character for the reader?
is there enough sensory detail to make it feel real?

Characters

do the first two paragraphs include a distinctive protagonist?
are there useful minor characters stirring the plot as catalysts or antagonists?
do voice, dialogue, and behavior -- the action -- reveal character? Avoid using narrative summary to reveal character.
are the points of view consistent?
does the protagonist get a chance to act or react?
is the protagonist forced to reevaluate or change?
is the protagonist engaged in the plot?

Plot

is there at least one new piece of information introduced?
is information revealed in the last scenes built on?
does revealed information say something about the significant situation and its consequences?
is significant information revealed slowly, creating mystery and suspense? Is there a sense of secrets yet to come?
are flashback scenes instead of backstory used where needed?

Dramatic Tension

"employ subtlety over melodrama?" [Although melodrama has its place :-)]
does the scene create an emotional response in the reader, not just in the characters?
is there a feeling of potential conflict?
are the goals and plans of the protagonist thwarted, delaying and sidetracking his satisfaction? [Frustrated protagonists make the best kind]
are unexpected changes thrown in without immediate explanations?
does power and understanding shift back and forth?
is the rug pulled out from under your protagonist? Are pieces of plot information introduced that change or alter the protagonist in some way?
do setting and senses create a tense atmosphere?

There, you've got it. 26 chapters, all about making a scene, and a lot of information. I recommend buying the book -- I skipped a lot of examples and elaboration that you probably want to read.

A practice exercise for revising? One thing to consider is that story or novel that you liked. Go through and look at how it fits Rosenberg's checklist. Are there vignettes left hanging? What about the narrative summaries -- those infamous infodumps? Does the overall architecture of scenes hang together (or we shall assuredly hang apart? :-) What about each scene? Does Rosenberg's checklist of setting, characters, plot, and tension help to see why this scene does the job?

You can always take your own work and run it through the wringer, too. Right now you could also borrow the Halloween stories.

Nanowrimowers, naturally, are excused from revision at this time -- next month, or maybe in January or February, though, you might very well want to think about these guidelines for revision.

I suppose the other twist that you could use is to consider these as guidelines for writing. After all, taking a checklist and trying to make sure you cover the main points while writing should make it a little easier during revision? Just as long as the checklist doesn't become a barrier to the writing. But some of the reminders about making sure each scene has strong setting, vivid characters, a remorseless plot, and plenty of twists and changes could certainly help fill in some of the edges.

discard a pet hypothesis before breakfast -- you'll feel lighter all day!

Current Mood: unwrapped

mbarker.livejournal.com

Original posting 24 October 2008

[poking around in my files, I found this, and realized that I hadn't posted it. (Whoops! Never finished or posted this one. Sorry about that :-) Sometimes we aren't as organized as we might be, eh?]

Chapter 23: Your Protagonist's Emotional Thread

Wrapping up the last pieces of Make a Scene by Jordan Rosenfeld, this chapter looks at the transformation of the character really across the scenes. Most narratives include some growth or change in the character, which really adds meaning and depth. This emotional thread cuts across the individual scenes, and Rosenfeld has some comments about it.

First, of course, is the point that changes in personality -- in beliefs, attitudes, and so forth -- shouldn't be sudden or easy. People don't change without a struggle. To make it feel authentic, to give credibility to each scene, you need to make sure that the change is motivated, and probably somewhat gradual.

In the early scenes, we're establishing everything. Characters, conflicts, problems, etc. Right up front, you can include character-related plot threads:

Involvement. How is the protagonist related to the significant situation? Is it his fault, centered on him somehow? Is he integral to it or does he stumble into it?
Stakes. What does the protagonist gain or lose because of events?
Desires. What does the protagonist want?
Fears. What scares the protagonist?
Motivation. Why does the protagonist do things?
Challenges. How does the significant situation challenge the protagonist?

At the end of the early scenes, you as author can ask yourself if the protagonist is shaky enough? Are there enough problems and conflicts that readers will be worried? Is the protagonist directly involved in a significant situation? Does the protagonist seem to be struggling, trying to act, being forced to change? Is there enough uncertainty -- readers should be trying to figure out what will happen, not betting on a sure thing.

Scenes in the middle make the reader and the protagonists work. This is where the protagonist gets tested and stretched. These scenes need to include:

opportunities for crisis and conflict. Makes things harder, more complicated, add problems on top of the problems.
opportunities for dramatic and surprising changes. Given the pressures and complications, the protagonist can start acting differently, perhaps in anger, perhaps in achieving more than seemed possible.
opportunities for plot complications. Things were bad before, now they're going to get horrible. New complications and new complexity.
opportunities to test drive new behaviors. Emotional reactions can start to pop under the pressure and stress. The protagonist can surprise us.
opportunities for dramatic tension. Put the protagonist in danger, emotional or physical, and build an aura of tension -- tighten the suspense.

Desperation, uncertainty, trials and tribulations. Some protagonists get worse before they get better. That's okay. This is the part where the character shows how they really behave when things get hot and tough. The protagonist learns who their real friends are and what their own strengths and weaknesses really are, all in preparation for the final scenes.

The final scenes are where all of the changes get wrapped up. This is where we show who is left after the climax -- who has the protagonist become? So you need to know:

what are the consequences of having desires met?
what are the consequences of having fears realized?
did what the protagonist wants change? What is it now?
did what the protagonist fears change?
how does the protagonist view the significant situation now?

This is where you demonstrate character change. You need to show through action or dialogue what has changed. You also need to answer any plot questions that are left. Tie up the major consequences. In most cases, this includes showing:

the protagonist has learned something
the protagonist's attitudes and behavior have changed
the protagonist has started a new journey or direction

"The key to successful character transformation is to let your character changes unfold dramatically but also realistically. Let the reader see your characters change by how they act and speak, and by the choices they make within the framework of scenes, not through narrative summaries."

That's what Rosenfeld says about the emotional threads in the plot.

What shall we add? Well, how about taking a look at a story or novel that you like, and consider the growth of the protagonist? Even in a thriller or action story, we're likely to find that the protagonist learns something, changes, faces up to their fears and beats them down, etc. So start at the beginning, and track that golden thread of the protagonist's emotional fabric, beliefs, etc. How is it set up in the beginning? What happens to it in the middle? And at the climax, how does the writer handle it? Normally there is a definite shift from the well-worn emotions at the beginning through tearing and holes in the middle into a restructuring and rebuilding at the end. Something like that, anyway. How does it work in the stories you like?

Then, turn around and consider a story or novel that you are working on. Do you show the readers the emotions, the beliefs and attitudes of your protagonist? In the beginning, do you let them know how the hero feels, and where the flaw is? What about in the middle? Do you keep that thread going? And in the climax and ending, do you show how the person has grown and changed? You don't have to spend pages in internal turmoil and debate, but make sure that the reader feels for the protagonist.

S'aright?

How about a third one? Okay, let's start with picking two numbers from one to 12. Two different numbers, okay? You may roll two pair of dice if you like. Got your numbers? Now find them in this list:

1. sadness 2. distress 3. relief 4. joy
5. hate 6. love 7. fear 8. anticipation
9. anger 10. guilt 11. gratitude 12. pride

What you have there is two emotions. Maybe sadness and guilt. And here's the exercise. Consider how you might show a reader that the protagonist feels sadness, right at the start of a story. And then consider how you might show a reader that they feel guilt -- at the end of a tale. And for bonus points, consider how sadness transforms into guilt. Now can you put that together into a story? From sadness over his parents' death to a lurking sense of guilt? Or . . .

Get those writing neurons crackling, and write.

where were you when the lights went on?

Current Mood: blues
Current Music: Last Call, Lee Ann Womack

mbarker.livejournal.com

Original posting 24 October 2008

Chapter 24: Secondary and Minor Characters

Whoops. Almost lost track of our friend Make a Scene by Jordan Rosenfeld. Let's see, we are well along into the other scene considerations, and today we're going to look at secondary and minor characters. So what does Rosenfeld have to say.

First, think about the protagonist. This is the person that the significant situation focuses on, the person who gets challenged and tested in your story. There might be multiple protagonists. They are the stars of the story, working hard and talking a lot. Their conflicts are what the reader focuses on.

Secondary characters affect the protagonist in meaningful ways, initiating change and conflict, offering help to the protagonists, and making the narrative richer. We're not talking about minor players, but true secondary characters that affect the narrative and the protagonist. There are two main types of secondary characters, antagonists and allies. [tink adds, "villains and sidekicks?"]

Antagonists are the people who work the goals of your protagonist. They cause conflict and put pressure on your hero. They may not be in every scene, but every scene should have some pressure, menace, or uncertainty because of their actions. Make sure you know what motivates the antagonist, and that you show the reader. The antagonist may not develop like the main character.

So what do you need to know about the antagonist?

Why is the antagonist blocking the protagonist? What's his motivation?
What does the antagonist expect to gain?
What does the antagonist expect to lose if he fails?

Basically, you want to know what's pushing the antagonist -- and show the reader in enough detail to make them believable. Antagonists push protagonists are providing a looming threat, making the protagonist take action in fear of the antagonist, or inciting the protagonist to defensive or courageous acts.

Allies include friends, allies, loved ones -- anyone and everyone who supports the protagonist and let's him succeed in facing his challenges. Allies often get involved in sacrifice to let the protagonist carry on, making a surprising act of strength or courage to support the protagonist in a crisis, or bringing in support groups in the nick of time (think of all those troops of cavalry coming over the hills just in time, usually with the faithful sidekick leading the way).

Minor characters are there to add spice and realism. [tink says, "remember the actor's platitude, that there are no small parts, and make even your minor characters memorable."] They are all the little people who interact and challenge your main characters as they move around your world. Frankly, without them, story worlds tend to seem too empty, like ghost towns and stage sets.

What do minor characters do for you?

Offer a piece of plot information.
Act as a witness to major plot events, tying threads together.
Provide a calming influence.
Add realism. Daily life brings us in touch with a lot of other people -- your main characters will too.
Add comic relief
Cause trouble. Trouble and conflict make the story go, but it doesn't all have to be a huge conspiracy. Minor characters can add to the stew, too.
Provide distraction. Think about a mystery where the only other person besides the detective is the bad guy. Guess who did it? Having several other minor characters certainly helps camouflage whodunit.

How do you keep from letting your secondary and minor characters take over? [My hint -- remember the stage? Don't let your secondary characters or bit players upstage the main characters.] Rosenfeld suggests that these smaller characters should

Make infrequent appearances -- they shouldn't appear in every scene.
Demonstrate little or no internal reflection. This doesn't mean they have to be dumb, but the internal monologues and wrestling with himself is for the protagonist.
Not be emotionally complex.
Have actions or personality that challenges or helps the main characters
Act as catalysts for change or a reaction by the protagonist

Sometimes you'll want to promote a secondary character. As you're writing, you realize that this character is rich and vivid, that they appear in almost every scene, that they have their own emotional transformation, and that they are a key part of the plot. Your choice -- do you cut back, promote them into co-protagonists, or maybe put them in another book?

So that's Rosenfeld's advice. Think about the antagonists, the allies, and the minor characters. These are the people in your world. Make sure they play appropriate parts, so that your protagonist and plot shine.

Next time we'll take a look at scene transitions. In the meantime . . .

First exercise. Take a short story or novel that you like. Draw up the Dramatis Personae -- the list of players -- for this work. Identify the protagonist, antagonists, and main allies. You'll probably find this is a fairly small group even in complex works. Now take a look at the minor characters -- you may not want to list all of them. There's the taxicab driver, the doorman, the hotel clerk, and so forth and so on. Do they have names? Take that story apart and look at the people inside.

Second exercise. Now, take a short story or a novel that you are working on. Or (especially given that we're approaching Nanowrimo -- National Novel Writing Month) a novel that you are planning to work on? And draft the same kind of list. Who is the protagonist? What about the antagonists? Who are the allies of the protagonist? Are there minor characters to list ahead of time, or will you just make those up in each scene as needed?

That's probably enough for now. Just remember . . .

Write!

dancing in the starlight, under a paper moon

Current Mood: contrary

mbarker.livejournal.com

Original Posting 22 September 2008

Chapter 22: Multiple Points of View

We're coming up on the end of Make a Scene by Jordan Rosenfeld. Chapter 22 is the first chapter in part four, which looks at other scene considerations. Multiple points of view, the protagonist's emotional thread, secondary and minor characters, scene transitions, and scene assessment and revision are all we have left to meander through. So let's get started.

Point-of-view or POV is one of the defining characteristics of narrative. It's really very simple, who is the character or camera that is looking at the fictional action, characters, etc.? Selecting a point of view influences tone, mood, pace -- just about everything in a scene. Probably the key to point of view is integrity and consistency -- making sure that the reader is never confused about POV.

One of the critical points to understand about POV is that it only defines what you show the reader, it also helps determine the distance between the reader and the characters. The intimacy, if you will. The story and content can help you decide how-up-close-and-personal to make the POV.

First person is the most intimate. I stabbed him -- it's immediate, emotional involvement. Inside the first person head. The flipside is that sometimes readers need some distance. Suffering, pain, crises -- third person limited can help with objectivity and intensity. When combined with present tense -- which makes it very immediate -- it's tight and hot for the reader. Past tense gives a little bit more distance.

Second person? I'm going to skip this section, because I really don't think new writers are likely to need to use second person.

Third person. This is the "she's" and "he's" that we are pretty familiar with. There are at least two major forms, with some gradations. Rosenfeld talks about omniscient and limited. He also describes two flavors of omniscient.

Third person limited is probably the most widely used POV. Basically, each scene, and often entire books, are written from one character's point of view, with some insights into that one character's thoughts, and no one else's.

Omniscient jumps across characters thoughts, gleefully dipping into whichever head happens to be handy. This is where Rosenfeld differentiates between continuous -- which never stop hopping -- and instants which are omniscient bits scattered into a predominantly third person limited point of view.

A scene involves significant action with the protagonist charging towards some intention, running into some conflicts, concluding a climax and change. Point of view is how the events are shown to the reader. With a single protagonist and point of view, the world is simple. Decide how much intimacy you want, consider that third person limited is the most popular approach, and decide what you're going to do. However, with multiple protagonists or some other reason to switch points of view within a scene, you may need to change points of view. Omniscient point of view lets you tackle complex or comprehensive looks at big situations and issues. When you do this, make sure that the very beginning of the scene makes it clear to the reader what's happening.

Between scenes is a common place to change points of view. You still want to make sure at the beginning of each scene that the reader knows what the point of view is, but at least they're prepared for such changes.

One thing to consider is how much time each point of view gets. With multiplenarrators, you need to be careful. Readers tend to think that narrators who get more time must be more important, or have something special to say.

Okay, that's enough from Rosenfeld. Basically, the question is what point of view is the scene and the story told from. Where are we perched as we watch the action? The most common choice is probably on the shoulder of the protagonist, third person limited. Mostly like a camera watching over the shoulder of the protagonist, with occasional dips into his or her thinking. Another approach is first person, not just on the shoulder of the protagonist, inside their head -- actually my head! But on occasion, you'll need to change points of view to sprinkle in some extra information or even keep the points of view moving in an omniscient overview. The question usually is what's the best way to get the reader involved and keep them involved.

Assignments? Well, as usual one good way to look at this is to pick up some of your favorite novels or stories and examine how point of view is used. Most of the time, most scenes are told from a single point of view -- first person or third limited. Sometimes the point of view changes between scenes or chapters, and look at how the story establishes what the new point of view is.

Another is to try taking a scene and changing the point of view. First person, third person limited, the protagonist's point of view, the antagonist's point of view, someone else -- see how the scene changes as you write it from different points of view. Or take something like the famous shower scene in Psycho -- imagine writing this in first person? Maybe that's a little too intimate, so you step back to third person limited. Orson Scott Card points out that even here, there are levels of distance that the writer needs to think about. A cinematic approach might only show things, without any of those little internal monologues that we all love so much. A somewhat closer approach might have some thoughts, but still mostly depend on showing external actions. And then there are third person limited write ups that are mostly inside the head of the protagonist, with a little bit of external vision. You might try adjusting your scene to have more or less of the protagonist's thoughts.

One of the fun parts here is that as writers, we can borrow terminology from the moviemakers. Establishing shots, wide-angle, close up -- we've got that whole bag of tricks that they use, plus the freedom to bring out the thoughts, emotions, beliefs and so forth inside the heads of our characters. Don't overdo it -- stories that are little more than an internal rant aren't too likely to be interesting to readers -- but we do have that spice of insight to help separate written from cinematic visions.

So, write! I write, you write, he writes, she writes, we all write! Conjugations in a writing mood?

"However beautiful the strategy, you should occasionally look at the results." Sir Winston Churchill
Which I guess means that it ain't enough to dance pretty, you need to bake some cookies, too. (Don't you just love torturing metaphors?)

Current Mood: shifty

mbarker.livejournal.com

Original posting 16 September 2008

[oops -- forgot to send this over the weekend. Sometimes . . . ]

Chapter 21: the Final Scene

Here we are again, taking a look at Make a Scene by Jordan Rosenfeld. Deep in Part Three about scene types, we've seen the first scene, suspense scenes, dramatic scenes, contemplative scenes, dialogue scenes, action scenes, flashback scenes, epiphany scenes, climactic scenes and now it's time for . . . the final scene.

Note that this is after the climax. These are the ends of the story -- the conclusion of the significant situation, the wrapup to the events that opened the first scene, etc. Fairly often final scenes also are beginnings of something new, leaving the situation open for a sequel. Most final scenes:

summarize how the protagonist feels after the conclusion of the plot
are reflective in tone
remind the reader of the significant situation
are often slower paced

Fairly often there's one last surprise, answer or insight, but you don't have to do that. It is the end of the narrative, but you want to let your characters and settings live on, so you may want to make sure you have a memorable ending.

Before the final final scene, there sometimes are some final scenes wrapping everything up. This is where you can supply answers to all the outstanding questions. The real true final scene then focuses on showing the reader what the significant situation has done to the protagonist, how he has changed and what he feels now.

The final final scene shows character transformation. Whatever it is that has changed, outlook, lifestyle, relationships, self-image -- the final final scene needs to show that. It's also important that the story be finished -- whatever the complications were, this is where they have unrolled. Revealing whodunit, saying they lived happily ever after, there are different kinds of conclusions in different genres, but you need to finish it off. Let your protagonist grapple with the consequences of the significant situation.

Opening the final final scene. Counterpoints -- reflecting the first scene, while showing how the character has changed -- are an effective way to open the final scene. Another common technique is reflective exposition. Interior monologue and exposition can set up the mood, emotions, and theme for the finale.

The final scene usually is slow-paced, with small actions, quieter, reflecting the character settling their inner life. Details, metaphors, and so on are often pieces of final scenes.

In the final final scene -- final sentences. The last two or three sentences, and especially the very last sentence, are likely to have a strong affect on your readers. You want them to have an emotional flavor, and some of the feeling of the entire novel. Sometimes there's a final action -- usually a symbolic action or gesture. Sometimes there are final reflections or thoughts, even protagonist or narrator summing it up. And then there are final images. These trigger emotional responses, and need to be carefully chosen. Think symbol and metaphor, make a list of possible images, and then craft one that really resonates with your protagonist's journey.

Rosenfeld's checklist for final scenes:

Is the final scene a snapshot of the protagonist following the consequences of the significant situation?
Does the final scene reveal how the protagonist has changed?
Is the pace slower and is the scene reflective?
Is there too much action for a final scene?

Enough of Rosenfeld. What do you think? Some stories quite happily have the final showdown, then just ring down the curtain and end. However, there often is just a dab more -- the cleaning crew behind the scenes, someone rolling up the red carpet, and so forth. These are often slightly humorous, relaxing sorts of scenes, with the bad guys being rolled off to jail in the paddywagon, and the good guys joking about what just happened. And the guy finally makes a move with the girl. Or . . .

Do you like these wrapup scenes? Can you think of one that really stuck in your memory? Why? What made it memorable?

Then, of course, one might consider the stories you are writing. What kind of final final scenes do they need? Is there life after the climax? Can you reassure the reader that they lived happily ever after? Or do you need to say "Watch out for what's coming next?" Whatever, what is the right way to finish off your story? What needs to be there as a final wrapup?

Go ahead. Put together a final scene (or scenes) and tidy up the bits and pieces.

Write!

Current Mood: poggle

mbarker.livejournal.com

Original posting 8 September 2008

Chapter 20: Climactic Scenes

It must be time for another thrilling chapter from Make a Scene by Jordan Rosenfeld. Are you ready?

"The climax is the high point of all the action and drama in your narrative -- where the events that began with the significant situation come to a roiling, intense head." The events in the climax are the hammer for character change, and set up the ending of the story. The climactic scene is the most intense, dramatic, powerful scene. Normally there is only one. And once the climax is over, there shouldn't be much left to tie up and finish. This is really where the whole story comes together.

Successful climactic scenes include:

opposing forces collide. The protagonist and antagonist meet and clash.
the climactic event directly related to the significant situation
a central conflict. The protagonist confronts something or someone, and changes or is changed
the stakes should be as high as possible -- life and death, relationships destroyed, kingdoms won or lost
a swift pace, but some room for emotional content

The climax is a point of no return. There's no turning back, the characters and the plot are changed permanently by what happens in the climactic struggle.

Setting up the climax. A climactic scene usually doesn't surprise the reader. It's often a relief, because finally the growing tension and suspense, the emotional drama, all of the threads are going to feed into the collision. Consequences, stress, conflicts -- this is where they are all headed, and readers expect that a climactic scene will tie things up.

So the climactic scene needs to open showing the reader that action and drama are about to unfold. Normally the scene before ends with suspense, tension, and a foreshadowing of conflict about to break out.

The climactic event. Openings of climactic scenes as usually get quickly to the action. Climactic scenes build quickly and steadily, like action scenes. Don't get stuck in exposition -- make the climactic scene march right along, with specific actions, dialogue, setting details that build atmosphere, and emotional content.

"The goal of the `event is to bring significant situation and the resulting plot consequences to a head so that there's some kind of transformation in your protagonist's life or struggle. The climax is the moment where the protagonist is tested, tried, and permanently altered by whatever happens."

Post climactic event. When you finish the climactic scene, there's not much left to do. Don't add new plot information or create suspense. You may need to sort through what happened and show how the protagonist has changed, but you want to do this quickly.

Rosenfeld's checklist for climactic scenes:

Does your climactic scene use as many elements as possible to build a well-rounded, complex event: action, dialogue, setting details, emotional content, dramatic tension?
Is there one climactic scene for each protagonist? the fewer the better.
Is the climax event directly related to the significant situation?
Does the climax change your protagonist permanently in some way? Is it a point of no return?
Are the stakes high in the climax?
Is the climactic scene at the high point of the action and drama? Are the scenes that follow slower, more reflective, and less action?

That's what Rosenfeld has to say about the climactic scene. So this is the one scene in the plot that all the threads are aimed at, where the protagonist faces the real test, problem, conflict -- and either makes or breaks?

We're getting close to the end of the list of scenes. But in the meantime, consider taking a novel that you really enjoyed, and analyzing the climactic scene. How was it set up? Sometimes the foreshadowing for a climactic scene seems to thread all the way through the novel, with various bits and pieces pointing towards the inevitable meeting. But check the scene just before, and look at what was done to hint that here it comes! And then take the scene itself apart. How much lead in does it have, and what happens to the pace in the scene? Think of the old mysteries -- when the guy in the big chair starts laying out the pieces, he rattles and thumps and makes everyone jump, but it goes pretty darn fast. And there are twists and turns as he explains that while everyone thought the butler did it, in reality -- the maid did it, wearing the butler's shoes! And then look at where the climax sits in the whole story, and what comes afterwards.

Then consider the climax for your story. Is it really a peak for the story? How can you make sure that the reader knows it is coming, how do you push them into it and drag them remorselessly through it, and how do you avoid spending too much time afterwards tying up all those odds and ends?

'saright? Write!

"The great thing about human language is that it prevents us from sticking to the matter at hand." Lewis Thomas

Current Mood: pinhead

mbarker.livejournal.com

Original posting 24 August 2008

Make a Scene Chapter 18: Flashback Scenes

Walking through Make a Scene by Jordan Rosenfeld, we've been looking at part three, various scene types. The first scene, suspense scenes, dramatic scenes, contemplative scenes, dialogue scenes, action scenes -- and now it's time for the flashback scenes. Remembering the past . . .

Every narrative has a backstory -- the background history, facts, and so forth that push your characters along. It's all the stuff that happened before the current story. Growing up, past encounters, whatever happened before the first moment of the current story, that's your backstory. And when you dive back into it, that's a flashback.

Flashback scenes are just regular scenes, with setting, action, characters, plot, dramatic tension, cliffhangers, and whatever other bits and pieces you like in your scenes, but set in the past. They should:

focus on action, information, and character interactions
don't overdo the setting and sensory details, keep the pace rapid
illustrate or explain something in the front story, usually a plot or character point
help the reader understand the protagonist

Don't overdo flashbacks. They are a disruption in the flow of the story. Keep them short and sweet.

Transition into the past. Introducing the time setting is a tricky part of a flashback. A few words of transition and sometimes some verb tense can help. "A few days after they moved in, ..." can start a flashback about the current house. "He had spoken..." instead of "He spoke..." Or you can use a specific date or incident. Make sure the reader knows what the present date is, then clearly indicate the past date. Sometimes have the narrator tell the reader that we're re-creating the past. Or use remembrances. You can also sometimes use the trigger -- a smell, a phrase, or something else that reminds the character of their past. This also helps you get back out of the flashback into the present.

Using flashbacks. Keep them tightly focused on the information that's needed for the current story. Flashbacks often illustrate something that happened in the past which led directly to the present plot point. They can also create suspense, introducing tidbits from the events of the past to build up tension in the front story. There's usually a tension between the bits of the past and the current story in this case. You can also use flashbacks to help make a character deeper and to introduce dead characters. Absent characters can still affect the current story, and using a flashback to show their influence is one way to get around their current inactivity.

Ending the flashback. You need to transition back to the present, either returning the reader to be same point with a flashback started, or giving them a push into the current present. Since many flashbacks are very short, you don't want to the transition to be long, but be careful not to lose the reader. Make it clear that we've returned from the past to the front story.

Rosenfeld's checklist for flashback scenes:

Does the flashback provide action, information, and character interaction?
Does information in the flashback tie into the front story?
Use the flashback likely to confuse the reader about where they are in the front story?
Does the past told in the flashback directly affect the plot in the front story?
Do elements of the past in the flashback create suspense in the present?
Does the flashback deepen the reader's understanding of a character?

Flashbacks are kind of interesting. You may remember the advice of the King to the White Rabbit in Alice's Adventures in Wonderland by Lewis Carroll? "Begin at the beginning and go on till you come to the end: then stop." This simple linear flow gets interrupted by flashbacks. Classical theater also indicated that there should be unity of place, time, and action. One setting, one day of time, and one sweep of action. Anything before that should be recounted by the actors -- a flashback in dialogue, but not in setting or action. And we still prefer that stories start at the beginning and sweep along in a reasonably continuous flow to the end, although we'll accept the fade-out/fade-in and other transitions especially if they help the story move along. But those hops back in time . . . well, if we have to, we'll put up with them, but don't do it too much.

Incidentally, I found that this was one of the key differences between TV mysteries and samurai dramas here in Japan for me as a learner. The mysteries would often have talking heads discuss something that happened yesterday, and if I got lost in the chatter, then I had no idea what had happened. The samurai dramas, though, would say something like, "Yesterday I was at the bar . . . " and pop - we'd have a live flashback scene showing just what happened at the bar. Much easier for someone who was struggling with the language to understand.

So - your assignment? Okay, how about looking at your story, and finding some point of character backstory that really needs to be explained. And then put together the flashback to show it to us. Maybe it's their anger, maybe it's the gentle way they treat children, or whatever, but give us a short flashback to show us why they act that way. Make sure that the transition into it is clear, that the essential point is made, and that we get led back to the front story.

Now where were we? Oh, yes, once upon a time . . . and it happened just that way!
Write?

Current Mood: timed

mbarker.livejournal.com

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:

Events unfold in real time, so that the reader feels as if they are participating in the events
The pace is rapid, and there is some kind of physical movement
The protagonist makes quick decisions or reactions, depending on instinct more than intellect
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:

Is the focus of the protagonist on reaction, instinct instead of thought?
Is there physical movement that conveys a sense of time?
Is there less reflective or emotional content -- keep punching!
Does the action change the protagonist and the plot?
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.

Current Mood: slowly

mbarker.livejournal.com

Original Posting 11 August 2008

From Make a Scene by Jordan Rosenfeld, we're now on Chapter 16: Dialogue Scenes. And without further ado . . .

Dialogue is a very versatile element in fiction writing, and it's used in most scenes. This chapter talks about scenes that are primarily dialogue. Dialogue scenes usually feel fast to the readers, so they pick up the pace and move the plot forward. You can also use them to build conflict with characters arguing and expressing themselves. You can also build tension with characters struggling for position or caring.

Opening a dialogue scene. Before starting a scene, decide if you're going to use dialogue to convey action or to reveal character, plot, or background information. Don't use dialogue is filler, with characters prattling along. You probably don't want to start in the middle of a conversation, because it's confusing. Instead, use a scenic launch, or narrative, action or character -- then move into dialogue. Try to start by:

get the reader settled firmly in the setting to begin
start the conversation in the first couple paragraphs
make the protagonist an active part of the conversation; don't let them just listen in
make sure the reader knows who is talking
build the dialogue around conflict and opposition

Dialogue for big revelations. Use dialogue to give the reader information about the plot or characters. Dialogue can show who characters are, reveal effects on other characters, and introduce new plot information. Reveal characters by:

show them speaking under pressure or in conflict. Dialogue should not be mundane.
use conversational style to reveal true nature
express feelings or thoughts about significant events or situations

Always suit your dialogue to the character. Each of them should talk in their own way.

Reveal plot information by:

make sure the information is earned. Don't let mysterious strangers reveal important information without a reason. Deus ex machina applies to information, too.
show the protagonist's emotional reaction to the new information
the greatest emotional impact is in the middle of the scene or at the end.

Make your revelations important, and build into them. Make sure that the revelation has consequences, that the plot and the protagonist change.

Use tension and subtext to make dialogue scenes rich. Build your dialogue around bartering or negotiation. Rosenfeld calls this tug-of-war dialogue. Think of each character asking for something and withholding something at the same time. Different points of view, dynamics of relationships, exchanges of insults or arguments, attempted manipulations or seductions, attempts to convince another character of something, and fending off accusations -- all of these can use tug-of-war dialogue. Even without actual physical movements, this kind of tug-of-war can help make a dialogue scene feel active.

But if people are just volleying words back and forth, you can lose the sense of a meaningful interaction. To keep that, pay attention to subtext. People don't always say what they mean, they withhold information and feelings, and they use language to manipulate each other. So use flashbacks, body language, setting details and objects, symbolic objects, or even avoiding certain topics.

Ending dialogue scenes. So dialogue scenes give the reader more understanding of the characters or of a plot element. Revelations near the beginning of the scene usually mean that the rest of the scene explorers their feelings and reactions. However, an effective approach is to make the revelation near the end of the scene, so the reader rushes into the next scene to find out what happened. If the next scene turns to something else, the reader is left with a mystery, wondering just how the characters will react. So you want to end your dialogue scene with the protagonist:

on the final words of a spoken revelation
shook up in some way
starting an action in response to the revelation
starting to reflect on what happened

Rosenfeld suggests that dialogue scenes should:

1. Does your dialogue scene reveal new information about characters or the plot?
2. Does the dialogue feel like action to a reader and add energy to a scene that would otherwise be plodding
3. Does the dialogue scene have enough setting details for foreshadowing, subtext, and an even pace?
4. Does the dialogue reveal plot information in a realistic way, not just a convenient way?
5. Does the dialogue that a character uses reveal intentions?
6. Does the dialogue use opposing forces or a tug-of-war to build tension?

That's what Rosenfeld had to say about dialogue scenes.

So, let's see. What about an assignment? Perhaps the first might be to consider an existing novel and a scene that is largely dialogue that you remember? Perhaps the final scene in many mysteries, where the great detective explains just who done it? How does the author start the scene, and how do they keep us grounded in the scene in the midst of all that flying dialogue? How do they wrap up the scene?

Or take a scene that you've been working on, and consider doing it as a dialogue scene. Does it fit? How does writing it as a dialogue scene help or hinder? Consider replacing the car chase (action!) scene with a dialogue scene -- how does that change the pacing and approach?

Take a look at your story overall. Does it have a dialogue scene in it? Is there a good place for one? What would it do to the structure? Why would you add one -- or take one out and replace it with plain old fisticuffs and other violence?

Go ahead. Consider the advantages and disadvantages of a dialogue scene. Remember the talking heads of TV, and make sure your chatterboxes have at least a sketch of a setting around them. Then let the voices rise, let tempers flare, let the exchange of conversation show us characters engaged with plot.

And don't forget,
write!

When we write, characters talk.

Current Mood: quiet

mbarker.livejournal.com

Original posting 3 August 2008

Chapter 15: Contemplative Scenes

Walking through Make a Scene by Jordan Rosenfeld, in Part Three about scene types, suspense scenes, and dramatic scenes, we now turn our attention to contemplative scenes.

"Contemplation -- the act of careful consideration or examination of thoughts and feelings and smaller details -- is the antithesis of action." Rosenfeld suggests that good contemplative scenes:

have more interior monologue than action or dialogue
are slow-paced, letting the reader get a deep intimate look at the protagonist's inner life
focus on the protagonist interacting with self and setting more than other characters
give the protagonist time to digest what is happened and decide what to do next
let the character reflect and the reader catch their breath before or after an intense scene

These are good for thoughtful consideration and reflection, but they're also slow. So you need to balance the pace.

Interior monologue is the mark of contemplative scenes. The protagonist is thinking, and the reader learns things about the plot and character from those thoughts. The old convention of italics for interior monologue is usually now simple, elegant exposition. Remember that interior monologue is very intimate, with the reader inside the mind of the character.

Contemplative scenes often open with interior monologue, setting description, or transitional action. You need to let the reader know quickly that we're going to slow down.

If you start to contemplative scene with interior monologue, make sure that the thoughts are related to the scene that just ended. Don't make readers guess what the protagonist is reflecting about.

Setting description, on the other hand, gives the reader a little bit of physical reality, then dives into the thoughts. Use the setting details to kick off the character of thinking and feeling. This little bit of interaction with the setting can provide an alternative to action for contemplative scenes.

Sometimes, of course, you can do a little bit of transitional action, usually finishing up the action of the last scene. Then slow down and contemplate.

Character and plot -- the contemplative scene is really there to give in-depth understanding of the character, and how they are reacting to whatever's going on. You want the contemplative scene to focus on the protagonist:

having realistic and appropriate responses to an event
struggling with something that has happened recently or is about to happen
making a plan, thinking about options, or coming to a decision

One of the difficulties of a contemplative scene is keeping dramatic tension high. Mostly, you do that by including internal conflict, including unspecified dangers, or creating an eerie or tense atmosphere. Danger or mystery on the horizon, or settings that make the reader nervous, are likely to keep the tension high.

Setting is often used to provide mood and ambience for contemplation scenes. Setting details can provide balance for the thoughts and feelings. You can keep the contemplation in touch with reality with occasional detail of the setting.

Contemplative scenes usually end with a little return of energy and action. You might end with a sudden action cliffhanger, or with a moment of decision. You can end with a surprise, or a bit of foreshadowing pointing to what's coming next. You need to set up the next scene, and get the reader ready to go again.

Rosenfeld's checkpoints for contemplative scenes:

1. Does the contemplative scene balance or slow down action?
2. Does the contemplative scene signal that it is a contemplative scene as quickly as possible?
3. Does the contemplative scene focus on the inner life of the protagonist?
4. Does the protagonist grapple with a conflict, dilemma, or decision?
5. Are setting details used to create dramatic tension and establish a mood?
6. Does the end of the scene return the reader to action?

Next we will be taking a look at dialogue scenes, but for right now, let's reflect on those contemplative scenes.

Assignments? Probably the first question is whether you want to use a contemplative scene or not? While Rosenfeld suggests that traditional literary fiction uses them, he also admits that most genre and other writing uses them very sparingly if at all. I think in most of these you're more likely to see the contemplative paragraph.

In any case, you might try looking at a book that you enjoy and identifying a contemplative scene. Or take a piece of your writing and consider how you might use a contemplative scene in it. How would you introduce it, and how would you spend time letting the protagonist think out loud without boring the reader? How do you mark the ending of a contemplative scene, and return to the car chases?

'saright? Something to think about, eh?
and write!

When we write, we introduce unknown friends to each other.

Current Mood: contemplative

mbarker.livejournal.com

Original posting 27 July 2008

[In case anyone hasn't been paying attention, this is another chapter from Make a Scene by Jordan E. Rosenfeld. We're wandering through various specific kinds of scenes at this point. And today, we've got . . .]

Chapter 14: Dramatic Scenes

Rosenfeld says that dramatic scenes are where you bring emotional content to the readers. When you deliver stunning emotional consequences, pushing the protagonist and the plot into new territory, you use dramatic scenes.

Rosenfeld says the goal of drama is to get the reader's feelings involved, not fancy writing or even the characters' emotional range. Dramatic scenes often lead up to epiphanies or climax scenes and usually include:

a focus on emotional intensity
heavy relationship-oriented interactions, deepening connections or sometimes breaking connections
actions that push the protagonist into reflection on inner consciousness
indications of an upcoming turning point

There are lots of forms of drama, but they all push characters into change. Drama forces characters to make decisions and face complications that makes them think about their own behavior and actions and beliefs.

Dramatic scenes often counterbalance contemplative scenes or dialogue scenes, bringing out the emotional confrontation. Since they push protagonists into change, they're more likely in the middle and the end of the narrative than in the very beginning

Structure of Dramatic Scenes: dramatic scenes often open and close at a slow pace, although the emotional intensity and pacing should grow higher and faster until there is some sort of climax, and then may back off again. Often there are three parts:

1. Slow opening, with exposition, setting details, and interior monologues
2. Rising pace and emotional intensity, with dialogue, actions, and emotional content rising to a crescendo.
3. Slow down for reflection, with increasing interior monologue or exposition

Rosenfeld suggests thinking about emotions as hot and cold. Hot emotions such as anger and passion erupts and spillover, they're loud. Too much hot content leads to melodrama. Cold emotions like shock and hurt often results in silence and withdrawal. Too much cool emotion though can make the scene flat and frozen. You need a balance of both for a good dramatic scene.

Dramatic Scene Openings

Dramatic scenes often builds slowly towards the real crisis. Dramatic tension, the potential for problems and conflict, often needs a setup. Narrow the focus down, bring in actions and characters with a sense of foreboding and emotional intensity. Introduce the interaction with another character or with a larger force of opposition.

Then, through escalating events and their actions, push the protagonist to change. "Dramatic scenes put the pressure on your character to transform so that your plot can move forward." Some examples of emotional complications in dramatic scenes include:

confrontations
reunions
borrowed or limited time
crushed expectations
the threat of bodily harm or death

"What matters most is that at the end of a dramatic scene, your protagonist has had a new or enlightening emotional experience that causes her to behave, think, or feel differently."

Keep in mind that dramatic scenes need to be based in the overall plot. Intense emotional conflicts should push this story forward.

Closing the dramatic scene: given the emotional intensity of a good dramatic scene, you don't want to end with a cliffhanger. Give the protagonist, and the reader, a moment to reflect on what happened.

Avoiding Melodrama

One of the concerns of many writers is that their dramatic scenes will slide over the line into melodrama. Melodrama, with over-the-top excessive emotional intensity is hard to believe. It's usually a result of a writer not quite trusting the readers to get the point. So to avoid falling into that trap, be subtle. Let your readers figure things out, let them put together the puzzle of the hints and images that you provide.

So where does melodrama happen?

sentimentality, with cliches, trite, and corny dialogue and sentiments
hysterics, too loud, too emotional, too far out
grand or unrealistic gestures, with changed characters acting out their new understanding in bigger than life ways
silver screen speeches, with the characters suddenly sounding more like actors than actors. When the reader wonders who is writing this dialogue, you're in trouble.
knee-jerk reactions, with characters changing too easily
an overabundance of descriptors, a.k.a. purple prose. A heavy layer of adverbs and adjectives sometimes contributes to melodrama.

Reducing the Melodrama Quotient

1. Check the emotional intensity. Are there sufficient grounds for the emotional responses?
2. Fine tune dialogue. Read it aloud, get someone else to read it, and work on it until it sounds like real people talking, not puppets for the writer's voice
3. Adjust character behavior. Make sure the motivations and the actions line up and are natural.
4. Keep gestures human scaled. Your characters need to do things, but they should seem possible.
5. Balance your characters. All of your characters need to be roughly in the same scale. Villains that are so much stronger, interesting, and so forth than the protagonists can make a scene unbalanced.

Checklist for dramatic scenes

1. Does the scene focus on characters' feelings?
2. Does the scene have an emotional climax that pushes the protagonist to change?
3. Are character relationships and interactions the focus of the scene?
4. Are the reactions intense without being melodramatic?
5. Does the dramatic scene introduced an epiphany or contemplative scene?

[Hum? Interesting that we had a whole chapter on dramatic tension that focused on delayed conclusions -- the truck barreling down the alley towards the protagonist, and postponing showing exactly what happens for a while. But now we're talking about dramatic scenes, which I sort of thought might be those that fill in that waiting time, and we've gone off into the emotions and feelings? Oh, well, I shan't let the hobgoblin of small minds hold me back :-]

So instead of Sergeant Friday's "just the facts," we're going to get some emotion into our dramatic scenes, right? One suggestion from me -- think about times that you've felt the emotions and feelings. Pick up details and bits that helped make you feel that way, then transform them for your stories. Maybe that picture of a mother frantically digging into the rubble where a child was buried in an earthquake makes you gulp? Okay, now how can you use that in your story? Or the proud stance when you listen to a song with a someone chasing that impossible dream? Put that into your story!

Assignment? Well, the obvious one is to check out a dramatic scene in one of your stories, and feel free to do that. But . . . let's find that song that makes you sniffle a bit. Might be someone lighting up the sky on Independence Day, might be someone saying "You can let go now, Daddy" or whatever, but take that song. And write up the scene. Go ahead and make it melodramatic if you want to, this is practice. Then tone it down. Can you make that tearjerker just hints and images? Just an impression that makes the reader sigh?

Go ahead, write!

The writer's job is to help readers see the invisible.

Current Mood: flamboyant

mbarker.livejournal.com

Original posting 21 July 2008

TECH: Make a Scene #13: Suspense Scenes

[continuing the series on Make a Scene by Jordan Rosenfeld]

What do you think will happen next? That's the real question behind suspense. Rosenfeld suggests that suspense is a state of uncertainty producing anxiety. And you know, it doesn't matter whether we're waiting for something good to happen or something bad to happen, the reader is still hanging on the edge of the precipice. And the longer you as writer delay the outcome of the scene, the more your readers will enjoy it. So which scenes are suspense scenes?

1. The protagonist starts out in trouble or quickly gets mired in danger
2. Emotional, physical, or spiritual stakes for the character get more complicated
3. Emotional intensity increases and does not let up
4. Events or characters exert pressure on the protagonist to change or to act in some way

Suspense scenes add emotional zip, raise the emotional ante, and complicate things. They're often used after descriptive, contemplative scenes or dialogue driven scenes that mostly give out plot information. They act as a counter, getting the reader and the protagonist excited and out of their comfort zone. They are also fast scenes that push your reader to keep reading, so they can sometimes be good lead-ins to revelations. Oddly enough, suspense scenes are usually relatively slow paced, focusing on details. The agony of waiting for resolution is what makes it seem fast. Don't rush it, you want to give the reader time to worry.

The opening of the suspense scene should make the reader worry about the protagonist. The protagonist doesn't have to be hanging over the edge yet, but he can certainly be glancing at it. Or you might want to simply have the protagonist picking up some details that aren't quite right -- who left their muddy shoes on the porch?

introduce a catalyst or antagonist with intentions that the protagonist does not trust
let a character or event threatened or pressure the protagonist who resists
let your protagonist under pressure react or do something that causes unexpected conflict

Mood, setting, sensory details -- these are what really build the suspense scene. Don't overdo it (remember the pathetic fallacy, wherein the weather always reflects the protagonists feelings). But select details and words that show the reader that something is wrong.

dramatic weather can threaten the characters, block their achievements, or simply complicate everything
decay or other evidence of damage makes readers wonder if the protagonist will end up in the same shape
color and light -- there is a reason that bad things happen in the dark -- it's scary!
eerie touches can certainly add to the picture

Raising the stakes. When the character's fate changes or new complications come in, a suspense scene can dramatize the new directions.

Strange or surprising actions that challenge the normality and expectations of the protagonists and the reader can push suspense. The confusion of this unexpected action raises the pressure and anxiety.

Ending a suspense scene. You need to finish the action and give the reader a pause. This might be a reflection by the protagonists, or maybe some other kind of pause. You need to let the reader take a breath. Another way is to run the scene right out into a cliffhanger. If you do this, pick it up in the next scene.

Note that even thrillers usually don't have all suspense scenes. You need to give the reader a break.

Rosenfeld's key points about suspense scenes

1. Does the scene open in an uneasy or anxiety provoking way?
2. Does the protagonist quickly get into trouble?
3. Is there enough emotional intensity in the scene?
4. Do events or an antagonist put pressure on the protagonist through opposition?
5. Is gratification delayed? Are conclusions to scene events postponed, and are the intentions of characters blocked?
6. Does the scene's end break the suspense or are we left hanging?

So that is Chapter 13. Suspense, getting the hero in trouble and letting them stew.

Incidentally, I think such scenes are a kind of staple for every writer. Thriller, adventure, mystery, romance, science fiction -- maybe if you're writing nonfiction you don't need to write suspense scenes, but I'm not sure about that. So we really need to practice these, setting up the structure and doing it. Can you think of any kind of fiction that doesn't need at least some suspense scenes?

An exercise? Well, these are staples for TV, so how about taking a look at a TV show and picking out a suspense scene? Perhaps the car chase or race somewhere (don't all TV shows have one of those?). Or some other scene that makes you bite your fingernails? How did it start, and what about it makes you worry and fret? Now think about how you might produce similar effects in a written scene. You don't have the background muzak to help, but you have plenty of other tools. So . . .

Write!

The writer's job is to help readers see the invisible -- or at least worry that it's coming.

Current Mood: hanging

mbarker.livejournal.com

Original posting 13 July 2008

TECH: Make a Scene #12: The First Scene

We're about to start into Part Three Scene Types of Make a Scene by Jordan Rosenfeld. In case you're just coming in, we've already gone through the functions of a scene, including a mixed salad of complex characters, a point of view, memorable and significant action, meaningful dialogue, plot information that advances the story and enriches the characters, conflict and drama, a rich physical setting, and a bit of narrative summary here and there. We've talked about launching the scene, complicating the middle and raising the stakes, and scene endings full of emotional weight.

Then we looked at an array of core elements, including setting, senses, character development and motivation, plot, subtext, dramatic tension, and scene intentions. Which brings us up to date as we plunge ahead into the first scene.

The first scene opens the significant situation of your plot. It has to introduce your plot in the form of the significant situation, introduce the protagonist, establish the setting and evoke the senses, and set up dramatic tensions that suggest complications and conflicts ahead. The best first scenes have an air of mystery, pose a question or problem that needs an answer, or plunge the protagonist into a crisis. Through action and plot information, the first scene needs to compel the reader to keep reading without getting confused without backstory or narrative summary.

"Your significant situation should happen within the first couple of paragraphs. If you force the reader to wait too long for the event that they hope is coming, you stand to lose them before ever getting to it." Where does your first scene start? In media res, in the middle of the action, or at least so close to it that you fall into it immediately. Or should I say the protagonist, the main character, falls into it, dragging the reader along with them?

Successful first scenes involve:

a significant situation that challenges the status quo of the protagonist
a catalyst with whom the protagonist interacts
a quick introduction to the immediate intentions of the protagonist
a glimpse of the personal history and personality of the protagonist, suggesting motivation
a decision or action by the protagonist that leads immediately to more complications

So how do the core elements stack up in the first scene? I'm glad you asked, because Rosenfeld has some answers.

-- unless setting is a dramatic part of the significant situation, keep the setting light and suggestive. Subtle details, not great swatches of descriptive prose, no matter how much fun they may be for the writer. Sometimes you can unbalance normal expectations with an unexpected significant situation in a familiar setting, so that the setting and the action play off each other.

-- subtext and dramatic tension. Don't overdo, suit it to your readers and the genre. Set your tone, and suggest the plot direction and themes. The first scene should make the readers worry about the protagonist -- raise the dramatic tension by showing that things can go wrong. Then keep the potential for conflict and consequences open.

-- the pace of the first scene should match the emotional content. Typically they start with a bit of an emotional bang, simply because you want to let the reader know what is happening. First scenes usually move fairly quickly, with actions and introductions to get the reader hooked. Later you can slow down and fill things in.

(Interesting. Rosenfeld didn't run down the whole list of core elements. And I don't exactly recollect pace being in his list of core elements. Oh, well, consistency is a hobgoblin, right? Onward!)

Ending the first scene. Leave the reader with the feeling that trouble, conflict, crises, or a dilemma has only just begun, and you help the reader move on into the next scene. Four ways to do this are [1] to leave the consequences unresolved (the police have just found the protagonist standing over a dead body -- do you want to know what happens next?); [2] end the scene before a major decision by the character, or possibly just after a bad decision; [3] let your protagonist find out something disturbing that could change everything (you mean you've been working for the CIA all these years?); and [4] let your protagonist react without thinking through the significant situation, so that the reaction makes everything more complicated.

Rosenfeld's checklist for first scenes

Are the protagonist and the significant situation introduced immediately and clearly?
Does the pace match the emotional content?
Do thematic images foreshadow the outcome?
Does the setting unbalance reader's expectations? Does it play against the significant situation?
Keep the pace. Too much exposition or description slows things down, while long passages of dialogue or action may push too fast.
Does the scene end with the protagonist in trouble or at least uncertain?

Next, suspense scenes.

The fun part here is to take something you've been writing or a book that you are reading and look at the first scene. How well does Rosenfeld's prescription work? Are there things that you want to change in the scene? Are there parts of Rosenfeld's guidelines that just aren't quite right for you? Go ahead, put this description of a first scene and the pieces and parts to work. See how well it works for you, and make the changes that you need to make.

The thrill of creative effort grows from the mud of spelling and grammar.

Current Mood: swizzled

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Original posting 6 July 2008

TECH: Make a Scene #11: Scene Intentions

So here we go, looking at Make a Scene by Jordan Rosenfeld. This week we're going to look at intentions among the core elements of the scene.

Let's see. Get the setting right, use the senses, develop and motivate characters, mix in some plot, don't forget the subtext, and work that dramatic tension with us wondering just how it's going to come out. And then to avoid wandering aimlessly in your narrative, make sure that the protagonist has a clear intention in every scene, something that they want to accomplish that gives purpose to the scene. Don't just roll the dice and pick one, tie it directly to the significant issues of the plot and your protagonist's back story.

Jordan points out that the intention is a character's plan to take an action or do something. Motivation, on the other hand, is the reasons that explain why the character has these plans. Intentions drive action and consequences, making the scene relevant to the plot and the characters. Intentions build drama and conflict, because as the character pursues the intentions, you as writer make sure that it is opposed, thwarted, grows in desirability, and perhaps -- at the end of the story -- allow the character to achieve it or a reasonable facsimile along with whatever satisfaction may result.

As you start to write a scene, you need to consider what the protagonist wants, needs, and intends to do. Consider the following questions:

What are the most immediate desires of the character?
When will your characters achieve their intention or meet with opposition? Intention that meets with complications builds drama and suspense. Don't let your characters achieve things too quickly or too easily.
Does the scene intention makes sense for your plot? Beware of tangents and side paths (do we know anyone who would be so easily distracted? :-)
Who will help your characters achieve their goal? Who will oppose them? Decide how the characters and conditions support or thwart your protagonist's intentions, and make sure there is enough resistance to the scene to avoid achieving intentions too soon or delaying them beyond the realistic.

Jordan recommends thinking about intentions in two ways, as plot based and as scene specific.

Plot-Based Intentions

The first imperative for every character in every scene should tie back in some way to the significant situation of the plot. This helps to tie the scenes together. The intention is a course of action that your character plans to take or needs to take in the scene because of the significant situation -- and the consequences of actions.

Scene-Specific Intentions

Along with the grand intentions related to the plot that push the character, there are often more immediate scene-based intentions. These are often tied to consequences -- after the car blows up, characters need to hide. They may want to run down the main street, but with the sniper busily picking people off, ducking into the sewers is a much more reasonable reaction. And so forth.

Opposition to the Intention

But with the character's plan established and starting to go into action in the scene, opposition rears its head. Opposition builds tension, keeps the sense of urgency alive, delays achievement, and raises... dramatic tension. Jordan lists four major ways to oppose intentions:

1. Prevent the completion of the intention. Direct intervention, unexpected storms, accidents -- lots of things can get in the way, and do.
2. Throw in a twist. The protagonist learns that what he intended to do is impossible, illegal, wrong, or otherwise risky. That is the protagonist go ahead anyway, give up, or try something different?
3. Complicate the intention. The protagonist often sets out with one intention in mind, but then circumstances, information, or something else intervenes and adds additional bits and pieces to the course of action. You can't just kill the bad guy, you have to find out where the hostages are.
4. Create a new intention. When the original intention is thwarted, complicated, or twisted, the protagonist may need to change course and figure out a new intention.

Support for the Intention

Allies, assistance, the odd bit of information -- now and then your protagonist will receive some support. "Protagonists need friends and supporters, small acts of kindness, insights and clues that lead them on in their journeys."

So that's Chapter 11, the last of the core elements for scenes. There are the grand or strategic intentions driven by the plot that push the protagonist and the narrative. There are scene-specific intentions, the tactical reactions to consequences within the various scenes. And there's the opposition that builds the tension and drama by keeping your character from simply deciding to do something and doing it. For stories, characters want to do things -- and other people, the world, even their own nature instantly get in the way and keep them from simple achievement. Or to put it another way, because of the resistance, achieving their goal is heroic.

The next big chunk of the book talks about various specific types of scenes. The first scene, the suspense scene, dramatic scenes, contemplative scenes, dialogue scenes, action scenes, flashback scenes, climactic scenes, and final scenes. So you can lay out your scenic smorgasbord and feast, I guess?

Today's assignment? As usual, take a scene from a book or a scene that you've been working on. Now consider the protagonist. What is their intention in this scene? What do they want to achieve or do? Is it tied back to the original plot, or is it a reaction to some of the consequences at this point? What or who opposes them? What support do they get? Now consider whether there are ways to sharpen their intentions? Is there another intention, plot-based or scene-based, that you should include in this scene? Are the motivations pushing their intentions clear and sharp? Do you want to adjust the opposition? Take a look at this scene in terms of the intentions of the characters, and how you might tweak those.

Write? Sounds like a plan to me.

To achieve the impossible dream, follow the improbable path! And keep going.

Current Mood: harried

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Original posting 3 July 2008

Ch. 10: Dramatic Tension

Aha! Bet you thought I forgot, didn't you? No, just delayed by the rageous slings and arrows of life. And if you think there is no such word, well, what are we comparing outrageous to? Inrageous or just plain rageous? (Which reminds me of the joke about lasses, but we probably don't need to tell that here :-)

Anyway, on with the show! In case anyone has lost track, we're talking about the book Make A Scene by Jordan Rosenfeld. And we're at chapter 10, where Jordan talks about dramatic tension. He starts out by offering us a kind of visual analogy for dramatic tension. Imagine, if you will, two strong men having a tug-of-war with a rope over a pit full of snakes. First one man gets the advantage and pulls the other to the brink of the pit, teetering, almost falling in. Then the other man gets the advantage and yanks his opponent right to the edge. Back and forth they battle, with the dramatic tension cranked to the max.

Dramatic tension, then, is the potential for conflict to happen in a scene. When trouble is brewing, when the resolution balances on the edge of a page, the reader is psychologically and perhaps even physically tense, waiting to find out what happens. And that keeps them reading.

Isn't that suspense? Jordan says that suspense comes when information is withhold from the reader (so the reader doesn't know what is happening), while dramatic tension relies on the reader knowing something is happening, although not exactly when and how. Suspense is not knowing what's around the corner, while dramatic tension comes from hearing or seeing something coming and not knowing how the protagonist will get out of the way. Tension, then, keeps the reader waiting, hoping that the protagonist will somehow escape the scene alive, and maybe one step closer to achieving his goal.

[psst? If you have a clearer example or explanation of the difference between suspense and dramatic tension, I think we'd all love to hear it. This is one place where Jordan seems a bit skimpy in his explanation]

Dramatic tension is a core element. That means every scene needs some. It can be a prickly worry about where the killer is now, or an unsettling dialogue, but it needs to be there.

Tension helps make scenes bigger than life -- more intense, more unusual, and more dramatic. Trouble, or at least the potential for trouble, lurks in every scene. Let your characters feel uncertain, scared, and lost as they listen to the scratching at the door, hoping that it's just a cat and yet knowing that it could be... their nightmare.

To create dramatic tension Jordan recommends:

Frustrate your protagonist. Delay their achieving goals.
Include unexpected changes without immediate explanations
shift power here and there
blow things up. Toss in grenades of plot information that change the protagonist, his self-image, or his view of the world in significant ways.
use setting and senses to create a tense background feeling

On the Expository Side

Beware exposition or narrative summary. You need some to tie things together and get the reader set for the key moments of the scene, but too much bores readers.

And time passed. Most narratives don't try to show every moment. There are key moments that you must dramatize, and blocks of time that you can just drop out of the story. And there are some chunks that you will want to summarize with a dab of narrative summary. By condensing time carefully, you help to keep the dramatic tension high.

Similarly, condense necessary background information. Include elements that are likely to make the reader worry a bit about the protagonist or suggest things that are a little odd, compulsive, or potentially troublesome. Give readers a taste or insights into your characters, but spice it with that nervous edge of potential trouble.

Put Some Tension In the Narrative, Too

Foreboding? Remember the music in Jaws? Whenever it played, we knew something nasty was coming. Foreshadowing hints at real plot events that are coming, but foreboding is all about setting the mood. Sounds, smells, perhaps the dead bird in the bushes. It all adds up to a background feeling of fear and unease for the reader.

Thwart expectations. Postpone, postpone, postpone. Especially when the character isn't quite sure what the payoff or resolution will be, putting it off raises the tension almost automatically. Make sure that we know what is at stake for the character and that it is meaningful and has clear consequences, then have good reasons for not opening the letter or getting the news right now -- and watch the tension rise.

What happened? Make changes, but don't explain them - yet. Use the changes to push your character into action, into learning and taking control -- make them meaningful. But let your character skid a bit as they try to cope, don't always give them an easy explanation.

Tension. Important stakes, visible actions, and uncertain outcomes. As the rope pulls the characters towards the pit, and they struggle and flail trying to avoid going over the edge, the dramatic tension fills the air.

And... that's chapter 10. Coming up next, we'll look at scene intentions.

But right now, let's think about an assignment. Probably the simplest is to take a scene from a book or one you've written and go over it, looking for how it uses dramatic tension. When the reader looks at it, what potential for conflict is lurking there? How does the narrative summary and dramatization set up and then thwart completion of expectations? Then consider how you might add more tension to the scene. If the two key figures are about to have a fight -- have them bluster and pose, and then Officer Malarkey comes around the corner. And as the two opponents explain that nothing is happening, the tension rises. When will they actually have their fight? And who will win?

Write! And keep tightening that tension.

The thrill of creative effort grows from the mud of spelling and grammar.

Current Mood: nerve wracked

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Original posting 21 June 2008

Make a Scene, chapter 9: Subtext

So we're taking a look at Make a Scene by Jordan Rosenfeld. We're deep in Part 2 looking at various core elements and the scene. Setting, senses, character development and motivation, plot -- and now in Chapter 9, a look at subtext.

"Scenes often need depth or subtext, texture that links the scene to the themes and larger plot of your narrative, and fleshes them out." And Rosenfeld points out that building in subtext is often a task for the second draft or revisions, when you know the story and the characters better, and have a better understanding of the message or idea or moral of the story.

Rosenfeld suggests that good scenes have a surface -- the visible parts -- and an underbelly, the subtext, where the emotional baggage, agendas, secrets, and motivations roil. There are several techniques for creating subtext.

Thematic imagery or symbols. When you use the images that metaphorically or symbolically tie-in to the theme, this can help remind the reader of the large idea even in the middle of the tactical plot and scene. This doesn't have to be overdone -- a couple of highlights can be plenty. Plant symbols subtly, without rubbing the reader's nose in them.

Innuendo. Characters in fiction often come across truths that they don't want to admit to themselves or others -- and all too often, someone insists on reminding them. Teasing, accusation, wordplay -- this can be fun! Use innuendo to subtly point fingers, adding complication to the scene and the dialogue.

Unconscious or uncontrollable behavior. Most of the time, characters do things on purpose -- intentionally. But those unintended actions can speak louder than anything else.

Foreground and background. Even though the reader's attention is on what's happening in the foreground, you can use the background for subtle messages and emotional layers. Sure, the protagonist is about to declare his undying love -- but what's his little brother doing gagging behind him? What are the secondary characters doing while the primary characters take over the foreground?

Think of your scenes as multidimensional. You want them to be deep and complex -- so give them a rich subtext.

The assignment this week is much like that of other weeks. Start with a scene in a novel that you like or one that you're working on. Now go through and see if you can identify pieces that provides subtext in this scene. Are there images or symbols? Do characters use innuendo to suggest things? Are any of the characters doing things without thinking about it? Is something happening in the background that adds a bit more depth? Are there other techniques helping to provide subtext for this scene?

For extra credit, you can always take an entire story or novel, and think about the theme or moral underlying it. Then consider at least five ways that you might weave that theme into a scene of your choice. What imagery or symbols might you use? Is there something you could plant in the characters' dialogue? How could the unconscious behavior of one or more characters reflect that theme? What might happen behind your main action to reflect the theme?

Go ahead, write!

Current Mood: roiling

mbarker.livejournal.com

Original posting 15 June 2008

Make a Scene by Jordan Rosenfeld

It's that time again? Okay, core elements so far include setting, senses, and people. But of course you want the people to do something, right? In the trade that's called plot. And indeed, Rosenfeld next talks about plot.

He starts by pointing out that random events unfolding over time just isn't terribly interesting to most people. We want significance, a meaningful series of events that reveals insights and gives spirits and emotions a jolt. That's the plot. He also points out the plot is not a story! The story can be a sequence of events, a string of information about a cast of characters in a given time and place. The plot adds meaning or method to that story, bringing in tension, energy, momentum. "Plot is the related string of consequences that follow from the significant situation... in your narrative, which darn well better get addressed, complicated, and resolved through engaging, well-crafted scenes by the end." So what makes a plot go? Information.

If you consider the plot as the puzzle that the reader is trying to solve, then each scene adds some pieces for the reader to fit in. Crucial bits of information, teasingly revealed to the reader in small bites so that they are hungry for more.

Probably one of the most important points is that every scene in your narrative must pertain to your plot. Even the most lyrical philosophical or wonderingly beautiful depiction of scenery needs to be related to the plot. Scenes are there to make events real for the reader. And every scene has to deliver at least one new piece of information answering one of these well-known questions: who? What? Where? When? Why? How? And the information should really do three things:

Fill in another piece of the puzzle
Change the course of the main character's thoughts, feelings, or actions
Lead to new consequences, actions, or behaviors that move the plot forward

Who? Not just general character information, but character-related plot information. Identity, the past, secrets, changes of heart. Let your characters surprise each other, revealing new information about each other, about things hidden or covered up, about things denied or protected. As much is possible, reveal things through speech for dialogue or action -- avoid the internal monologues.

What? What next, what do the characters need to learn, what does everyone want to know?

Where? Usually not too crucial, although the setting and background are always important. But they are mostly backdrop. If there are crucial details, make sure they are revealed in the scene and play into the plot, that they affect the character, and that they generate actions that lead to other plot related consequences.

When? Historical, or just the season or time of day. Do make sure that time sequences are feasible. This can be startling, contradictory, or unexpected -- especially when someone puts together when something must have happened with where they were and realizes that something isn't quite right.

Why? Motivation. "Don't fall into the habit of explaining why in narrative summary." Work through the actions dialogue, and flashback scenes that show motivation. It's harder, but it also makes the story richer for readers.

How? We all love seeing McGyver whipping out his trusty Swiss pocket knife and combining this and that with a knowledge of arcane details to make something work. Method is one of those things that mystery writers love to work on, but almost any scene and story can use a healthy dash of how. You as the writer need to know how things were done ahead of time, and then reveal this to the reader through dialogue or other methods. The missing clue that explains just how somebody did something -- readers wait for those revelations.

Doling out the answers -- Rosenfeld suggests that we all get in a hurry to give away the answers, but we need to think about small carefully-orchestrated revelations that keep the reader going. Certainly some scenes may reveal several bits of information, but others will have one very important jewel to display. Don't get too rushed. Rosenthal doesn't suggest it, but it might be worthwhile to consider just how you have laid out the information in your story -- if it's all up at the front, then readers don't have anything to look forward to. If it's all at the end, they'll starve before they get there. You need to have small snacks of information scattered throughout the story, kind of like breadcrumbs guiding your readers to the feast at the end.

Rosenfeld does suggest considering the narrative in three parts. Scenes in the first part need to lay the foundation with just enough information to ground the reader, get the reader involved in the action of the significant situation so that the reader knows what the plot is all about, and create mystery or suspense by withholding information. In the middle part, scenes need to raise the ante new and surprising information, force characters to change or redirect their actions due to conflict in danger, and introduce red herrings and false leads. Notice that we're not giving away secrets or crucial plot information that actually resolves the plot. And the third and final part, we tie up all the threads that got going. Answer the questions, reveal truths, conclude the drama, let characters settle into the changes, and make sure that the readers feel a sense of conclusion.

Whenever you're writing a new scene, take a look at the last scene, and think about what the next step for the reader really needs to be. Up the ante, keep the action moving, tie into the initial significant situation, and be full of consequences growing more complicated and then being addressed and resolved, and don't forget the antagonist helping the conflict. Or as Rosenfeld says, pick the next byte of plot information that:

Involves your main character
Is related to the significant situation or one of the consequences
Gives readers the impression of having more knowledge or clues, or revealing new information
Adds complications and resolves an earlier complication

Simple, right? And keep all the other dishes spinning on their little sticks at the same time :-)

A bit shy on time today, so let's make the assignment a DIY one. As usual, take the tools from this episode and try exercising them.

In other words, write :-)

When we write, the plot's the thing wherein we'll capture the dreams of a king!

Current Mood: revelation

mbarker.livejournal.com

Original posting 7 June 2008

Make a Scene by Jordan Rosenfeld

So we're looking at the book Make a Scene by Jordan Rosenfeld, and we are in part two, the core elements and the scene. We have looked at the setting and the senses, and now we are going to take a look at character development and motivation. Rosenfeld starts out by reminding us that when we put down a book, what we usually remember or even talk about are the characters. We identify with them, and they bring the scenes to life. Scenes are vehicles for developing people. And of course we the writer have to shape the scenes so that there are opportunities for characters to reveal and express themselves. Scenes need to give characters opportunities to grow and change, to act and react.

Probably the key to developing characters is thinking about how they behave, and what that reveals to the reader about them. Remember that characters act differently with different people and in different situations. You also want to let your characters surprise the readers and each other sometimes. Obviously, your story cannot tell the reader everything about character, but each scene can provide a setting for your character to improvise in. Rosenfeld then suggests four key points.

First, each scene should provide your character with at least one new plot situation or new piece of information to react or respond to. It should also provide a catalyst or antagonist that the protagonist interacts with. Someone needs to help your protagonist change and react OR thwart, oppose, delay and otherwise get in the way of your protagonist. If there's nobody else in the scene, your protagonist will interact with themselves or with the forces of nature.

Second, in every scene your protagonist should be motivated by two things. The first is their intentions for the scene -- what do they expect to do or make happen in the scene? The second is their personal history -- what is the back story or background from which your character does things?

Third, every scene, situation, interaction needs to push the plot and its consequences for the protagonist to be either more complicated or less. More complications build dramatic tension, create character conflict, and makes scenes powerful. Fewer complications probably mean you're resolving some plot threads and heading towards resolution, you're dropping the intensity, or maybe you are lulling the reader before the real dive over the cliff that's coming up.

Fourth, because of these complications -- new information or situations, catalysts or antagonists, motivations, and plot complications -- your protagonist changes. They can change beliefs, behavior, attitudes, relationships, their mind - all kinds of things -- but make sure that they change.

There's a sidebar here about "first glimpse scenes" where the main characters see each other for the first time. These are often key scenes that set the stage for the relationships that will unfold throughout the book.

And back to character development -- plot and character work together. "Your protagonist ought to be indelibly caught up in the plot situation and information of every scene, and should bear or participate in the consequences that follow. Similarly, your plot should not be able to advance or get more complicated without the active participation of your protagonist."

So, let's see. What kind of an assignment shall we consider for this? Perhaps take a scene (of your choice -- from the wider world of writing or your very own work), and take a look at the characters in it. For each and every one, tease out what this scene does for or against them. How do they grow or change in this scene? What causes that, and how is it shown? How does the character react when someone slams the door in their face? What happens? And take a step back, and look at:

What was the new information or plot situation?
What were the motivations driving the character? In this scene, and from their history?
What did this do for the overall plot? Was it more complicated or less at the end of the scene?
How did the character change? What did they change? (their underwear? No, no -- think attitudes, beliefs, etc.)

There's a couple more possibilities, playing with changing characters and seeing how the scene changes, or perhaps trying to diddle the plot and seeing how the scene changes, but we'll let those pass for now. Perhaps leave them as exercises for the student to develop?

In the meantime, don't forget . . .
write!

When we write, we let our characters take the bows.

Current Mood: identify

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Original posting 1 June 2008

Make a Scene by Jordan Rosenfeld

You probably remember that we are walking through this book, and we've just talked about the setting for the scene (a.k.a. Chapter 5). Coming right behind that, we have Chapter 6 talking about senses. Sensual details -- probably the key tools for bringing your written world alive for the readers. And as Rosenfeld points out, that's not just sight and sound. Smells, tastes, and all of the wonderful feelings.

So the first thing to pay attention to is authenticity of detail. Things need to be realistic and believable. Blackberry pie doesn't smell like meat, and the senses need to be integrated and blended into the scene and setting. Don't just add them as gilding around the edges, make them seamless backdrops to the scene, characters, action.

Sight is probably our most important sense. It's also tricky because writers rarely draw pictures to go with the writing, and yet you want your readers to come away with the impression that they have seen what was going on. You need to provide mental images of the characters, the world they are in, their actions, and all of the other surroundings. You need to have a good visual idea to provide appropriate cues. You're going to run your camera (the point of view character looking around) over the world. Beware of what Rosenfeld calls double vision -- Jimmy saw something. We already know that Jimmy is looking around. Just tell us what he sees, don't make a big fuss about him seeing things.

Interestingly, Rosenfeld suggests that touch be the second sense that you try to work in. We all poke and prod and touch from our very first days as a baby. So put a little bit of practical touch into your story, but don't overdo it. Fidgeting and fumbling in the middle of dialogue is very common. Personal touches -- what a person is willing to touch and who -- also tells us a lot about the character.

Then there are smells. Smells are sometimes extremely evocative (note that doesn't mean they start fights -- it means they make us remember things and feel things). Memories and emotions get cued off of those little nasal neurons, so use them to dramatic effect. There are good smells and of course stinks -- er, Rosenfeld calls them bad smells. Choosing to associate certain characters or situations with certain kinds of smells can fairly quickly get across a judgment to the readers. The key here is to think about smells and use them in your writing.

Sounds. So often mysteries use sounds or the lack of sounds to help with setting, plot, and character. Wherever we go, sounds are a big part of the setting and the action. So make sure that your scene has the right acoustic background. "Sounds enhance mood, set tone, and create atmosphere, and should not be forgotten when setting the scene."

And last but not least in Rosenfeld's list is taste. Eating and various other times, we taste things. It may not be something that you want to put in every scene, but where it fits, let your characters taste.

[Interesting. I tend to think of the physical sense of motion as one more in this list. It's not just touch, it's the whole muscular balance physical feeling of doing things. Flying by the seat of your pants, putting your foot to the floor, and various other strains and struggles. Don't forget them!]

Rosenfeld points out that a lot of this comes naturally and in natural combinations. That pie that the character is looking at involves sight, smell, probably taste if they can manage to sneak a piece out, perhaps all the fun of cutting the pie and trying to lift out the first piece -- and the sound of the cook yelling as they find out that some one got into dessert before dinner! But when you go back to revise your scenes, make sure that you think about the various senses and consider the balance. Lots of talking heads? Get their hands in the mud along the streamside, and have them trying to catch frogs in the evening twilight. Or whatever, but put those senses to work.

And an assignment? Okay, pick up your favorite story and pick out a scene that you really think works well. Now go through it looking for each of the senses. How did the writer use the senses to set the scene, bring out the characters, make the plot move, and so forth? Did they skip one of the senses? Consider why, and how that sense might be worked into the scene. Suppose one of the characters has lost their glasses, has a cold, or otherwise is somewhat impaired today in sensations. How does this change the scene? How do you make the reader feel that stuffed-up separation from the world?

So -- a scene? Setting and senses, the background and the perception of the world. And next -- people! Character development and motivation.

When we write, we set dreams free.

Current Mood: hungry

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mbarker.livejournal.com - TECH: Make A Scene #25: Scene Transitions
mbarker.livejournal.com - TECH: Make A Scene #26: Scene Assessment and Revision
mbarker.livejournal.com - TECH: Make A Scene #23: Your Protagonist's Emotional Thread
mbarker.livejournal.com - TECH: Make A Scene #24: Secondary and Minor Characters
mbarker.livejournal.com - TECH: Make A Scene #22: Multiple Points of View
mbarker.livejournal.com - TECH: Make A Scene #21: The Final Scene
mbarker.livejournal.com - TECH: Make A Scene #20: Climactic Scenes
mbarker.livejournal.com - TECH: Make A Scene #18: Flashback Scenes
mbarker.livejournal.com - TECH: Make A Scene #17: Action Scenes
mbarker.livejournal.com - TECH: Make A Scene #16: Dialogue Scenes
mbarker.livejournal.com - TECH: Make A Scene #15: Contemplative Scenes
mbarker.livejournal.com - TECH: Make A Scene #14: Dramatic Scenes
mbarker.livejournal.com - TECH: Make A Scene #13: Suspense Scenes
mbarker.livejournal.com - TECH: Make a Scene #12: The First Scene
mbarker.livejournal.com - TECH: Make a Scene #11: Scene Intentions
mbarker.livejournal.com - TECH: Make A Scene #10: Dramatic Tension
mbarker.livejournal.com - TECH: Make A Scene #9: Subtext
mbarker.livejournal.com - TECH: Make A Scene #8: The Plot Thickens
mbarker.livejournal.com - TECH: Make A Scene #7: Character Development and Motivation
mbarker.livejournal.com - TECH: Make A Scene #6: Senses

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