A scene is a story unit involving one or more dramatic beat(s). Much has been written about scene construction, but in today’s post, I want to highlight two important aspects: general function and function relative to story-position.
The general function of any scene is to provide the reader/audience with essential information in order to progress the story in a manner that is engaging and stylistically consistent with the rest of the work. Each scene, therefore, has a specific purpose. We realize that important scenes are nothing other than the structural units we’ve been referring to as the inciting incident, pinch, turning point, mid-point, climax, resolution, and on on. Hence, the function of the inciting incident scene is to kick-start the story, the first turning point’s function is to turn the story in an unexpected way, etc. Identifying scenes in this way highlights their function (described in numerous books and blogs), tells us where they belong in terms of story sequence, and allows us to map them along a path, which traces a beginning, middle, and end.
Pragmatics & Stylistics
What about the pragmatics of scene construction? A general rule is that most scenes should start late and finish early — meaning that a scene should be devoid of excess fat. It should fulfill its function and finish, allowing the next scene to perform its function and finish, and so on.
Scenes should also adhere to the generic stylistics of the story. Stylistics inform how the scene delivers its information — the climactic scene in a love story, for example, is very different to the climactic scene in the action or thriller genre, in terms of setting, tone, tempo, and protagonist/antagonist interaction. In a love story the antagonist and protagonist might very well end up having sex and getting married; in a thriller, they might end up killing each other, again, in an appropriate setting.
In the superb comedy/action/crime/love story movie Out of Sight Jack Foley (George Clooney), a failed bank robber, and Karen Sisco (Jennifer Lopez) a US Marshall, share an ostensibly antagonistic relationship, which conceals a growing attraction between them — an attraction usually associated with a full-blown love story. The outer journey — the cop chasing the bank robber — neatly echoes the inner journey — the lover’s chase. The accomplished but disjointed time-line adds to the sense of uncertainty in which the viewer is unsure whether Sisco is out to arrest Jack or make love to him.
Scenes correspond to the structural units discussed in previous posts, and in innumerable books and blogs. Each scene has a specific task to perform and is located at a specific point within the overall story. Generic concerns influence the stylistics of scene creation — such as setting and type of conflict.
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