Understanding Scene Sequences

Scene SequenceA scene does not exist in isolation from other scenes. It is organically connected to the overall network of scenes that makes up a story.

Scene Sequencing

In Making a Good Script Great Linda Seger reminds us it is more useful to think of a scene as being a member of a scene sequence – scenes that are so tightly connected to one another that they create causal narrative blocks within the story.

These sequences might be chase scenes in a city that get progressively shorter until they end in a car crash or getaway; they may build up to the final explosion in The Guns of Navarone; they might culminate in two lovers reuniting as in When Harry met Sally.

In The fugitive the first sequence of scenes might be called murder and the sentencing. They form a tight causal unit and last eleven minutes in the film. The next sequence could be called the escape, leading to the train wreck. The sequence following that could be labeled after him and include the scenes of Deputy Sam Gerard starting the chase, culminating in Kimble arriving in Chicago.

And so on.

The point is that all these scenes are grouped together by cause and effect, or, at least, action and consequence, leaving little room for irrelevant, off-the-point action.

In my novel, The Level, for example, the protagonist, in the beginning of the story, finds himself bound to a sturdy chair in a pitch black room. To make matters worse he is suffering from amnesia and has no clue why he is in this situation.

Later, a mysterious woman in a burka appears to him from the darkness and unties him. She leaves him a series of clues he needs to follow in order to escape.

The story becomes a connect-the-dots mystery, driven by dangerous traps that threaten the protagonist’s every step. It may be argued that the entire story is driven by causally connected scene sequences, each of which reveals a part of the puzzle, leaving little room for boredom.

Summary

Organise your scenes into scene sequences in order to drive the action and maintain the pace in your stories.

Scene Checklist

Checklist
Scene Checklist:
As one of the larger units of story construction, effective scenes make for effective tales. In his book, Writing Screenplays that Sell, Michael Hauge, provides us with a concise list of what to look out for in your scenes.

1. How does your scene contribute to your protagonist’s outer and inner journey? Remember the outer goal is extremely important in a story. Rumination (inner journey) is not sufficient to drive the visual thrust of your story. We need to see the protagonist engaged in outer struggles, if we are to understand his inner conflict too.

2. Does your scene, like your story, typically have a beginning, middle and end? Your scene ought to establish, build and resolve a situation. There are, of course, exceptions to this. Some scenes are short and are transitional in nature, intended solely to bridge other more important scenes, but as a general rule, this piece of advice holds true.

3. Does your scene propel the reader into the next? Causally linking one scene to the next at the level of the inner or outer journeys makes for compelling tales. In Outrageous Fortune, the scene of two women in the morgue is resolved only when they realise that the body is not that of their lover. But the end of the scene results in their decision to find him, which, in turn, drives the scenes that follow.

4. What is each character’s objective in the scene? Without an objective the scene is rudderless.

5. What is each character’s attitude in the scene? Each character wants something, overtly or covertly. (How does this want tally with that character’s need? ‘Big’ scenes ought to explore and reiterate the tension between want and need.) This want, together with that character’s personality traits, creates an attitude, a motivation. Additionally, characters bleed feelings: they are sad, nostalgic, angry, bored, scared, or turned on, etc. These feelings are revealed directly through dialogue or more subtly, through subtext and action. In Moulin Rouge Satin’s declaration that she does not love Christian, a lie she utters in order to save his life by having him leave, is shot through with irony, sadness and a sense of tragedy.

6. Do many of your scenes contain action, not just dialogue? Talking heads are best left to television soapies and past masters such as Ingmar Bergman. Of course, dialogue is perfectly acceptable in scenes, but stories benefit from the injection of telling action, from small acts such as the lifting of an eyebrow, to the landing of a punch. Imagine your screenplay with the sound off. Is the meaning of a scene still apparent through the action of your characters? If the answer is ‘yes’ then you’d be better off culling as much dialogue as possible. Unless you are Woody Allen, or Quentin Tarantino, your screenplay should not be talk-heavy.

7. Does your scene serve multiple purposes? Does your scene achieve as much as possible to keep your audience or readers emotionally involved with your protagonist and her journey to her goal? Does it reveal character background, motivation, conflict, anticipation, curiosity, credibility and identification or empathy? Does it contain foreshadowing, premonitions and the like? Again, not every scene can be cramp-packed with the above, but pivotal scenes clustered around and including your turning points, pinches, and midpoint, certainly can.

Summary

A scene checklist focuses our attention on the important elements your scene ought to contain in order to be affective.

Invitation

If you enjoyed this post, or have a suggestion for a future one, kindly leave a comment and let’s get chatting. You may subscribe to this blog by clicking on the “subscribe” or “profile” link on the right-hand side of this article. I post new material every Monday.

Pic by AJ Cann http://farm8.staticflickr.com/7454/9568156463_86087625dd_m_d.jpg
License: http://creativecommons.org/licenses/by-sa/2.0/legalcode

How to Generate Novel Story Ideas

Head in a labyrinth with light bulb
Generating New Story Ideas
How does one generate new and exciting ideas for one’s stories? This perennial and important question has had many answers. Listed below, are some of them:

Idea-Generating Techniques

— Use personal experience to spark new and authentic story ideas. This helps to add verisimilitude and uniqueness to any piece of creative writing because it is based on first-hand knowledge of real-life situations.

— Keep a file of newspaper and magazine articles and stories; also, short notes on television documentaries and programs that have caught your eye. Use them to kick-start your thinking on a related subject.

— Use a notebook or digital device to document interesting bits of conversation, behaviour, dreams, personal encounters, dress codes.

— Explore new ideas by brainstorming a subject with colleges and friends. Free-associate fundamental aspects of that subject by introducing nouns and verbs not usually associated with it. Note the new relationships that emerge. Those may spark new ways of looking at old ideas.

— Ask that powerful idea-generating question:’What if…’. Combine it with an unexpected or opposing idea. If, for example, your subject is about a paid soldier of fortune, you could start by asking: What if a hardened mercenary is asked to assassinate a businesswoman who turns out to be his son’s wife who is pregnant with his child?

— Mind-map a subject or idea by writing down its core meaning in the middle of a blank page or screen. Create a series of associated ideas in bubbles around that core idea and draw links from one to the other. Again, try thinking laterally by linking unrelated ideas together and see what that sparks.

— When writing a scene, make it multidimensional by exploring it with all five of your senses: sight, smell, hearing, taste, touch. Note the dominate sense operating within the scene then replay it in your imagination, using a different sense. Note how it changes your approach to writing the scene.

Summary

There are many ways to generate new ideas for stories. Personal experience, keeping files and notebooks, brainstorming with others, using the what-if question, mind-mapping, strongly projecting one’s self into an imagined scenario by applying all five senses to it, are just some of them.

Invitation

If you enjoyed this post, or have a suggestion for a future one, kindly leave a comment and let’s get chatting. You may subscribe to this blog by clicking on the “subscribe” or “profile” link on the right-hand side of this article. I post new material every Monday.