by Mary Lois Sanders & Sarah Nell Summers Weaving Description into Your Scene Organically, i.e., no info dumping! First, what do we mean by ‘organically’? Simply put, the descriptors are not a list lumped together, but details woven into the body of the narrative. This weaving should be seamless for the reader, too. Information he needs to know, that comes as he needs it. This difference between ‘info dump’ vs. ‘weaving’ is critical. An ‘info dump’ stops the plot and … Read More »

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 … Read More »

A scene’s ending should leave the reader with more information about the plot than he had when the scene began. But it should also leave the reader wanting more. Tall order! How can this be done successfully? A scene must be a conclusion—to a conversation or a date, perhaps. Maybe the scene ends a life or a job—something life-changing—and the MC has to ask himself where he goes from there.   Or, perhaps, the ending of the scene is unresolved—a … Read More »

  A scene’s ending should leave the reader with more information about the plot than he had when the scene began. But it should also leave the reader wanting more. Tall order! How can this be done successfully? A scene must be a conclusion—to a conversation or a date, perhaps. Maybe the scene ends a life or a job—something life-changing—and the MC has to ask himself where he goes from there.   Or, perhaps, the ending of the scene is … Read More »

We’ve dissected the scene. We’ve talked about scene launches. Now let’s get to the heart of the scenes—The Middles. Think of the middle “as a realm of possibility between the scene opening and its ending, where major drama and conflict … unfold.” (1) However, beware of the seductive power of the middle that will tempt you into narrative by-roads. Those “pretty flower beds of words” that make the reader want to nod off. Don’t let them … ever! If you’ve … Read More »

  We’ve learned about scene functions. Now let’s discuss the structure of the scene. Just like the short story or novel, a scene must also have structure: it begins (Rising Action), has a middle (Complication, Climax), and then ends (Resolution). But: How should it begin? What should the middle contain? How should it end? Let’s begin with the Beginnings! Rosenfeld, in Make a Scene, calls the scene beginning a “launch”. You want the scene to begin in such a way as to continue to … Read More »