Five Steps to Write Forward-Moving Scenes

One of the basic errors of authors, especially ones who are learning to write fiction, is creating scenes that go nowhere. Yes, I know, in the eyes of the writer, the scene does important things. I thought the same thing when I started writing.  In romance, I thought a scene where the hero and heroine shared information about themselves moved the story forward. I realized that scene had no tension, no conflict, no forward motion. That's what authors need.  If the scene only introduces characters, brings the setting to life, provides backstory information, or provides characters with time to get to know each other, these purposes don't always move the story forward. Where's the tension? The conflict?

While introducting characters and setting, you can enhance the forward motion of your novel by using some interesting techniques such as the five steps below.


1. Before writing a scene decide what will happen in this scene to move the story forward. What is going to happen of significance or what new information will be shown in this scene. Will a major decision be made or will new conflict begin or a continuing conflict end? Will the scene foreshadow an upcoming situation or event? If the scene will only allow the characters to get to know each other better or to introduce backstory, eliminate it. Characters can get to know each other better while something significant is happening and backstory can be included in small pieces throughout the novel on a need to know basis only.

2. The next step is to ask what the characters need to be in this scene and what will each accomplish during the scene. In what way will the character’s needs or desires create conflict or add tension? Conflict does not have to be blatant, but can be reflected in the POV character’s introspection or shown through the response or action of a POV or non-POV character.

3. Select the best setting for this scene, the location and time of day or season of the year. The setting can add or detract from a scene, so chose one that will enhance the purpose of the scene and the needs of the characters. Too many scenes are set in a car while the characters are driving or at a table in a restaurant or kitchen as they talk about situations. Be creative and use locations, time of day, weather, and seasons to enhance the scene and its purpose.

4. Each scene will provide pertinent information, action and conflict to move the story forward, and it will be either be a scene or sequel. Dwight Swain’s definition of a scene is to provide interest and move the story forward with its structure being: Goal — conflict — disaster. A sequel is defined as a transition unit that links two scenes and focuses on the main character’s reaction to the previous scene and provides him motivation for the scene to come. The function is: To translate disaster into a goal, To telescope reality, and To control tempo. Therefore ask yourself “what must happen in this scene,” and then decide what is the strongest way to start the scene and then, what is the most effective way to end it. A scene ending with a hook keeps the reader reading. Writing the scene’s opening sentence can trigger your creativity and help you devise interest immediately.

5. Some authors begin their scenes by writing the dialogue first. This keeps the scene on track moving the story forward. Then the author returns to the opening and adds the action, description and introspection. Writing a scene this way can help you to understand how a story is layered and it gives you time to put yourself into the characters so that their actions and thoughts can show their emotion and their growth.

These five steps can help you write scenes that are strong in purpose, deepen characterization, show change and growth, reveal emotion, and hook readers.

The basic idea for this blog came from professional counselor and freelance writer Rocky Cole is at http://www.colewriting.com/ .

Fiction - A First Meeting

While reading a speech on Diversity In Action delivered by Heather Burns on October 2, 2007, I realized that what she talked about summarized three distinct ways characters respond to one another on first meeting. This works well for any novel, when two important characters first meet and especially in romance, the most widely read genre in popular fiction, or any novel with a romantic thread. Three distinct elements in first meeting is: curiosity, introspection, and openness.

Two people meet, and the first reaction is curiosity. Each studies the other—their dress, their voice, their vocabulary, accent or not, their actions, and appearance in general. Questions and attitudes being to form. Who is this person? What is his purpose being here? I like his smile. His clothing looks good. He needs a haircut. He avoids direct eye contact. Is he genuine? Curiosity rouses an emotional feeling of like or dislike or offers reservations.

Conversation is initiated as the character weighs the pros and cons of this person. Dialogue is scrutinized for meaning and innuendo. The characters stretch themselves to understand this person and how he may affect their life or their purpose.

Introspection begins when one character tries to understand his reaction to meeting this new character. He wants to know if he’s reading the new character right. Why is he reacting as he is? Is he uncomfortable, nervous, awed, or making unwarranted judgments. These questions help the character to delve more deeply into conversation so that he may gain better understanding of the character and his own feelings. It is now he realizes they are different or similar but that’s not necessarily bad or good. They are different and that could prove interesting.

When this new awareness comes—different but interesting, the third element appears. Openness. The willingness not let the other person into your life and to set aside doubt. Our as Burns said, to take a leap of faith.

New relationships can mean taking risks. Allowing a character to accept a new person into their circle of acquaintances or friendships. In romance, it’s the movement from awareness to interest. In mainstream relationships, it’s the awareness that this person can add something new to the character’s perspective. He can help the character move forward in pursuing a goal or in opening a new door for change or growth, and help the character to be comfortable in the decision.

When you introduce one character to another in your novel be it romance, suspense, or mainstream fiction, use these three elements—curiosity, introspection, and openness to provide a deeper look into characterization as well as set up opportunities for character growth and an more dynamic way to move the story forward.

SCOOP IT UP

At a writers’ conference in Texas where I was on staff, I met Frank Ball, the director of numerous Christian writers conferences in the northwest area of Dallas/Fort Worth. He shared one of his teaching tools with me which is an excellent way to remember the essential elements of fiction writing that will help your reader becoming emotionally involved in your novel. Although Scoop It Up is an acronym for techniques to be used in the first chapter of your novel, you will see that it can work for future chapters and scenes as well

The same SCOOP elements can also help you prepare a back cover blurb of your complete novel.

Situation: The environment or condition in which the story takes place
Character: A name of title of the person whose desire matters most.
Objective: The deep desire that the character is desperate to satisfy.
Obstacle: The condition that put the goal’s fulfillment in doubt.
Plight: What the character risks in the pursuit of what he or she wants.

By the end of the story, the IT comes into play.

Insight: What the character learns, which he didn’t know in the beginning.
Transformation: How the character changes, either positively or negatively.

To carry readers’ interest into the next chapter or continuation of the story, you can also use UP

Unresolved: The unanswered question raised by the current insight and transformation.
Problem: The character’s concern about what will happen next.

Here’s a sample from my imagination:
Returning to the small town in which she lived her teen years (Situation), Emily Dorset, (Character), homeless and in trouble wants to find the father of her four year old Cody (Objective) although Race Bradley doesn’t know he has a son (Obstacle). Will Race welcome them into his home and heart or turn his back? (Plight)

Asking questions in town (Situation), Emily (Character) learns Race is still single and now the owner of his parent’s lovely home (Objective), but he is mayor of the city winning over a man of questionable morals.(Obstacle). Will admitting Cody is his son ruin his reputation in a town that values his moral standards (Plight)

Hopefully this gives you the idea of how to use SCOOP to summarize your novel and build a story that offers readers conflicts in every scene.

Frank Ball is the director of the Northwest Texas Christian Writers http://www.ntchristianwriters.com/ and author of the book, Eye Witness, http://www.eyewitnesstools.com/the-author

© Frank Ball 2010 Used with permission.

Two New Creative Prompts

Occasionally writers sit in front of the computer with no idea where there story is headed, even if they have a basic outline or synopsis. It's natural to hit a brick wall. It's not always the plot but ideas for varying the setting or thoughts on how to deepen emotion. Sometimes this happens while developing a new proposal for a novel. Authors no their editors and the lines they right for, and they are faced with pleasing themselves and pleasing the people who will pay them to contract their book.

So what do you do?

Exercise works for me. Going for a walk outside or on a treadmill, pedalling my recumbent bike or doing knee bends can sometimes get the blood flowing and ideas come. I've resolved many writing issues while exercising.

But another way sometimes works for writers and I've found two that I want to share with you.
The first is simple, called EyeWire Cards, a small set of flash cards that you can use to stimulate new thoughts. I printed them on matte photo paper so I can cut them into smaller cards to use when I'm at one of those "duh" points. These are not all for writers but even the ones that aren't might stimulate you. http://www.innovationtools.com/pdf/eyewire_cards.pdf

The next Creative Writing Prompts is my favorite. http://creativewritingprompts.com/ The page is a list of numbers into the hundreds and when you place the cursor over a number you will get a prompt. Here are three random samples:

1. You come home and check your phone messages. You get your third message and freeze. Begin your story there.

2. Kristine Pederson and Russell Ebert meet before he inherits money. One of them is killed.

3. Create a story based on the metaphor - "A minute of failure."

These all intrigued me and sent my mind on a journey. I hope you find this prompt helpful, too.