It is in the individual scenes where I believe that a story’s magic is made. In my opinion, scenes are the building blocks of a story. If you think of individual scenes as Lego blocks, stack the scenes together and you get something unique. Put one or two together and you create a chapter. Stack more scenes and you create an act. And yet still more and you have yourself a story. I talk more about this in a podcast titled, How to Write a Scene.
Scenes bring action to life. A strong scene often centers on either an internal or external conflict thus building tension and conflict and propelling the story forward. But not all scenes need to be packed with action. Sometimes you have to have the opposite. A slow down in the action. Not only does this reflective period give the protagonist time to think on their actions, but it also gives the reader a chance to take a breath. Correctly pacing your story with action-packed scenes followed by reflective scenes creates a natural ebb and flow giving the story rhythm and momentum. This ebb and flow is called story pacing which is covered in a separate podcast.
There are a few questions I ask myself when crafting a scene. One of them focuses on a goal. What is the goal of this scene? The first thing I do is take into account who the point-of-view character is in the scene. Then I ask myself what I aim to accomplish in the scene? In a previous podcast I talked about story structure. The framework builds the skeleton of the three-act structure I often use to frame my stories.
Does this scene fall into one of the major action beats? Those beats are broken up in the three-act structure by the Inciting Incident, the Key Event (First Plot Point), the first pinch point, the Midpoint (Second Plot Point), the second pinch point, the Dark Night (Third Plot Point), the false climax, the twist, the climax, and the resolution. If your scene falls into any of these beats (except the resolution which is a natural decrecendo in action) then your scene should be filled will action, conflict and tension.
So, what happens during the middle of a swell in action? Reflective thought. Take a breather for your characters and the reader. All action all the time is stressful. What else can be done during these down beats to keep the story rich and engaging? Lots of things.
For starters, I often use this time to deepen relationships. Create the basis for intimate interactions between characters. Develop rich and intriguing sub-plots or reveal backstory or strengthen emotional bonds which enriches the reader’s connection to characters. These quiet times can sometimes reveal true feelings and uncover hidden emotions such as fear, hope, or desire. Utilizing subtext properly can go a long way when highlighting subtle expressions of love. Or subtext can hint at an uncomfortable truth especially when maneuvering around hidden motives or delivering daggers of envy, jealousy, or resentment.
Another way to maximize on scene development and capitalize on reader interest is to use foreshadowing. Never miss an opportunity to hook the reader again and again drawing them deeper into the story to find out what happens next. You can be as subtle as displaying an otherwise innocuous-looking object only later to be discovered as a critical element to the story. Or you can boldly foreshadow a character’s death by stating that they will never reach home to enjoy the bon-bons purchased at the high-priced confectionery. The payoff to that hook is that it compels the reader to continue turning the pages to see what happens next.
Still yet another way to stack the scenes in your favor is to use them as an opportunity to explore your world. Give the characters a chance to roam and deepen the reader’s connection to the world you are building. Plus, another well-crafted tool is injecting a scene with a zinger of laughter. A well-placed joke or moment of levity can turn a down beat into a up moment.
Now, keep in mind that tension doesn’t need action. A down-beat is not a lost opportunity if you pack your scenes with internal conflict. One of the things I try to build when fleshing out a character arc is to manage the character’s internal and external conflicts. A lull in the external conflict between the protagonist and the antagonist is a perfect opportunity to heighten the tension with the turmoil going on inside your character’s head.
A final trick to managing scenes is to offer your reader a breather with a purpose. Don’t just give the reader a chance to catch their breath after an adrenaline-packed scene for no reason. That’s a lost opportunity to deepen your connection with the reader. Use that low beat as an opportunity for the reader to absorb what just happened. And then set the stage for what challenges will be coming around the next corner and how the protagonist will have to prepare mentally and physically for the challenge. Allow your characters the chance to be human and express their vulnerability. You may just find that it ties your audience even more tightly to the outcome you’ve prepared.
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