We’ve talked about the parts of a scene—beginning, middle, ending. Now let’s think about the whole short story or novel.
Consider the most recent novel you’ve read that you really enjoyed. The first scene hooked you, the last scene satisfied you. And the middle scenes propelled the story forward at a pace that kept you engaged and enthralled … at least I hope so. What a waste of time if not!
But what made those scenes engaging? What enthralled you about them? The simple fact is, those scenes were so masterfully put together, so intricately designed, that they held your interest … and you weren’t even aware of how the author was doing it!
But as a writer, you need to be aware. Jordan Rosenfeld says that scenes—a variety of scenes—are the writer’s most important tool. The story you are telling can’t survive long without them! So what are these scene types that are your tools? Keep reading! And remember, variety is the key. Scene after scene of any one type can be tiring, boring, exhausting … and may lose you your reader!
- The First Scene: A First Scene hatches the plot; introduces the MC (Main Character) and his/her inner struggle; subtly establishes a distinct, rich setting; sets up the dramatic tension with hints of the conflicts and complications to come. (1)
Don’t let your plot and MC get separated. Hook your readers giving them a reason to continue the journey with the MC. Long narrative description and complicated character development are best left for later, to be woven into the fabric of your story.
- Suspense Scenes: Most essential to mysteries and thrillers, suspense scenes are also found in almost every genre. This scene will open in an uneasy or anxiety-provoking way; quickly throw the MC into trouble; hype up the intensity level; introduce or reveal an antagonist that puts pressure on the MC and thwarts his/her intentions; and ends in either a break of the suspense or a cliffhanger. (2) Turn the page!
- Dramatic Scenes: These scenes “carry the emotional content in your narrative”, or as film-maker Frank Capra once said, “I thought drama was when actors cried. But drama is when the audience cries.” (3)
These scenes focus on MC’s feelings; reach an emotional climax and drive the MC toward change; show character relationships and interactions; show character reactions as intense but not melodramatic*; are often followed by an epiphany or a contemplative scene.
*Melodrama—over-the-top or excessive emotional intensity or emotional shifts that are too quick to be believable. “You’ll recognize melodrama when the emotional content of a scene is so hot it is almost embarrassing, or so hollowly sentimental that the reader feels his intelligence has been insulted. Melodrama lacks subtlety. (4)
- Contemplative Scenes: These scenes have a higher percentage of interior monologue (thought) than action or dialogue. Use them to slow down the action in the narrative. The MC must wrestle with a conflict, dilemma or decision that he/she must now make. Finally, end the scene with a move toward the action of the next scene. (5)
Note: You need to signal to the reader that this is a contemplative scene right up front … without saying “here comes the contemplative …” Analyze the novel you’ve just read. Where are the contemplative scenes and how did the author get into them.
- Dialogue Scenes: Probably the most versatile type, dialogue scenes can show action or reveal character, plot or backstory information. Caution: NEVER USE DIALOGUE AS FILLER and don’t open this type of scene in the middle of the dialogue. Go back to our earlier discussion of Scene Launches (Part II) and choose which would be best, then get into the dialogue fast.
Remember that the information revealed in the dialogue scene must be new and about the characters or plot. The reader should see the dialogue as action which gives energy to the necessarily slower scene. Balance the dialogue with setting details that “create foreshadowing, build subtext, and keep the pace even”. (6)
- Action Scenes: These scenes don’t require exploding buildings or burning forests and great rescues of small children. “The only requirement of an action scene is that it rely in part upon physical movement through the space you’ve created”. (7) Your reader should feel a part of the action of the scene, no matter how dramatic or intimate that may be.
The MC’s focus should be on reaction—“instinct before intellect”. There should be physical movement giving a sense of time; little reflection or emotional content; “actions should have consequences for future scenes”. (8)
- Flashback Scenes: Sometimes something in the MC’s past (backstory) is needed to inform his present dilemma. Use a flashback. These scenes should be like others in structure—they contain elements of setting, action, characters, plot information, dramatic tension. However, they should only be used to show a part of the past that is directly responsible for the present plot. (9)
- Epiphany Scenes: A big reveal! The MC finally sees the change he/she must make in order to solve the problem. He must face and accept the sacrifices that must be made to accomplish this. Call it a moment of truth—when denial finally becomes acceptance. This scene ends when the MC changes and begins to move on to find the answers sought and the resolution of his problem.
This may not be the climax scene of the entire story. It is a personal climax for the MC. But remember, the epiphany can’t just come from nowhere and won’t come from another character sitting the MC down for a chat. No “Deus ex Machina” (10) here!
- Climactic Scenes: In fiction, the climax is the high point of all the action and drama in your narrative, “where events that began with the significant situation come to a roiling, intense head.” (11)
Use as many of the scene elements we’ve talked about in this climax scene: action, dialogue, setting detail, emotions, and dramatic tension. This is the point-of-no-return. Harry must fight Voldemort to the death. If Voldemort wins, the world will be lost. If Harry wins, all is saved. Simple! These stakes are high! Life or death; freedom from evil or subjugation to it forever! What could be better! Nothing else in your story should be as high in drama and action.
- Final Scene: And so the conflict is resolved. Now what? This scene is a conclusion of the events that began with the first scene on page one. It is the denouement or unraveling of the knots of plot points yet unclear. But it is also a new beginning. In this scene the reader should see a “snapshot” of the aftermath of MC’s journey. MC has changed—show it. MC is reflective of what he has endured—show it. Just remember, this scene is more contemplative, slower, and doesn’t require much action. However, it should not be plodding or deeply philosophical or long.
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And so they lived happily ever after or maybe not. But there is hope and a new future? Perhaps. And that’s our job as writers.
Final Exercise: Go back to that project you’ve been analyzing and finish the job. Then begin deciding where you might need to make changes—what scenes to add or subtract or rewrite to keep your story moving forward and your characters developing and the suspense … suspensing.
Jordan E. Rosenfeld and others can help us fine the good bones … but choosing which ones we need and putting them together to build a story structure with a compelling journey arc … that’s our job as writers.
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Next month we’ll begin a new series on self-editing … what you need to do to make your manuscript as perfect as possible before submitting to ANYONE!
(1) Rosenfeld, Jordan E. Make a Scene. Writer’s Digest Books: Cincinnati, OH, 2008, page 105.
(2) Ibid., pg. 126.
(3) Ibid., pg. 127.
(4) Ibid., pg. 137.
(5) Ibid., pg. 156.
(6) Ibid., pg. 172
(7) Ibid., pg. 173
(8) Ibid., pg. 181
(9) Ibid., pg. 185
(10) God’s intervention
(11) Ibid., pg. 203
