So, you have your logline, a short synopsis of your story, and you’re ready to start writing fabulous scenes. But how to do it?
There are several ways to classify scenes—reactive, proactive, turning point scenes, midpoint scenes, the must-have-scene, and so on. In future articles I will be looking at the specific similarities and differences between each type. Here, however, I want to lay out a general strategy for writing great scenes.
The most important things to know off the bat for writing great scenes are:
1. Who is the central character in the scene?
2. What is the character’s goal in the scene?
3. How does the scene advance the plot?
4. What is the emotion generated by the scene?
5. How does the scene reveal character?
The second thing to consider is the method: How do you intend to convey the above? Through dialogue, action, subtext?
“Fabulous scenes are fabulous because they do the simple things right and let the fireworks emerge from that.”
In Unforgiven, a young, bombastic gunslinger who calls himself the Schofield Kid approaches ex-outlaw William Manny at his farm. He wants to recruit Manny to help him kill a couple of cowboys who reportedly cut up the face of a prostitute in the town of Big Whiskey. Clearly, Manny is not doing well as a pig farmer and needs money to feed himself and his two young children. Manny initially rejects the offer. The scene, which can viewed as the inciting incident, fulfills several of the points raised above:
- The focus of the scene is clearly about William Manny who is faced with making a decision.
- The goal is to show Manny receiving a ‘job’ offer for which he will receive reward money, and his response to it.
- ThIs advances the plot by dangling the possibility of Manny returning to his old ways in order to collect the reward money.
- We see Manny as a shadow of the hard-living gunslinger he once was. Instead of lauding his decision not to accept the offer, we are left feeling sorry for him and his poverty-stricken life.
- The scene has Manny declare that he is no longer the cursing, hard-drinking killer he once was—that his wife has cured him of his evil ways. There is a sense, however, that Manny yearns for the adventure and freedom of the old days. We sense that he is only fooling himself, and this deepens his character.
The scene uses subtext and the physical demeanour of the characters to juxtapose the flashy, big-talking, Schofield Kid against the seemingly spent pig-farmer. It is a great example of how to use the above-mentioned techniques to write a spectacular scene.
Fabulous scenes apply an appropriate method for revealing character goals, hinting at hidden emotions, and promoting plot.