writing Archives - Page 39 of 42

Story Structure: Scene and Sequel

Posted on July 27, 2009November 6, 2011 by Katie Ganshert

Let’s say we write words that elicit vivid imagery and dig deep into the heart and soul of humanity. Let’s say we string enough of them together that we end up with a beautifully rendered, novel-length creation. Is this creation a story? Not necessarily.

I think one of the biggest lessons I’ve learned this summer is the importance of studying story structure. In order to create a story, one that brings our readers through an experience from beginning to end, we must understand story structure.

Dwight Swain offers one way to structure a story: scenes and sequels. Have you heard of them?

What is a scene?
Dwight’s definition: A blow-by-blow account of a character’s time-infused effort to attain an immediate goal despite face-to-face opposition.

What is the function of a scene?
To propel the story forward, so it moves from beginning to end.

What element unifies a scene?
Time.

What is the structure of a scene?
Goal. Conflict. Disaster.

The focal character has a goal, something he wants to accomplish. Enter in conflict. Some opposing force that prevents character from reaching his goal. End with disaster. The character is worse off than before.

In a nutshell, that is a scene, according to Dwight Swain.

What is a sequel?
Dwight’s definition: the bridge from one scene to another, decision-making time.

What is the function of a sequel?
Turn the disaster into a new goal

Establish character’s motivation, which is a key component to suspending disbelief

Control pacing: scenes are units of conflict, and too many strung together can exhaust your reader and leave them feeling a little dizzy. A sequel gives your reader time to breathe.

What element unifies a sequel?
Topic.

Let’s say we write a scene where Sally tries to run away from home. It ends with Sally’s abusive father catching her and locking her in the basement (disaster). A potential topic for the following sequel: How is Sally going to escape?

Since the unifying force of sequel is not time, as much or as little time can pass during the sequel. Maybe an entire summer slips by while Sally contemplates how she might escape. Time isn’t the issue. Topic is.

What is the structure of a sequel?
Reaction. Dilemma. Decision.

The focal character reacts to the disaster and thinks about the dilemma he is now facing. The sequel does not end until the character makes a decision as far as what he’s going to do now.

In a nutshell, that is a sequel.

Put enough of them together, all working toward your character’s story objective (see GMC: Looking at the G), then you’ve got a strongly structured, well-paced novel. Congrats!

Of course, there are some reasons for including things in a story that are neither scene nor sequel. I will discuss this on Wednesday.

Questions to Ponder: How well do you think you understand story structure? What methods or tools do you use to structure your stories?

Helpful links to learn more about scene and sequel:
Writing the Perfect Scene, by Randy Ingermanson
Scene and Sequel: The Ebb and Flow of Fiction, by Mike Klassan
Scene and Sequel: Scene, by Camy Tang (I highly recommend!)
Scene and Sequel: Sequel, by Camy Tang (I highly recommend!)removetweetmeme

Motivation Reaction Unit

Posted on July 22, 2009November 6, 2011 by Katie Ganshert

Why is there so much hype about MRUs? Because. A well-done MRU pulls your reader further into your story. And that’s what we want, right?

Dwight says scenes are told in a series of causes and effects. Or, a series of stimuli and reactions. You string enough stimuli and reactions together, and you’ve got yourself a compelling scene.

What elements compose an MRU?

1. Motivating stimulus: the stimulus occurs outside your character

2. Character reaction: the reaction occurs inside your character

Example MRU: Hot water splashed against her skin (motivating stimulus). She yelped and sucked her finger (character reaction).

Notice, the character is NEVER the subject of the motivating stimulus. You do not want to say: She felthot water spash against her skin. Nix the “she felt”. This distances your readers. It’s a no-no.

Let’s break down the character reactionaspect of an MRU.

Three Components of Character Reaction:

1. Visceral: What emotion immediately overtakes your character? Your character has no control over this.

2. Reflex: What reflexes kicks into action? Do they duck? Gasp? Flinch? Yelp? Run?

3. Rational Action/Speech: What does your character do or say? Your character has control over this.

Important note about order: Don’t get it wrong.

The motivating stimulus must come first. Your character can’t react to something that hasn’t happened yet. You wouldn’t want to write: She yelped and jabbed her finger in her mouth after the hot water splashed against her skin. This reads funny – the MRU is out of order.

The components of the character reaction must stay in order as well. A visceral reaction always comes before action or speech. When hot water splashes against your skin, your nerve endings burn, then you yelp. It’s not the other way around.

Get the order right and hook your reader. Get the order wrong, and your reader will know something is off, even though they might not be able to verbalize what’s wrong.

Let’s look at a detailed example:

Motivating stimulus: car backfires

Character reaction:

– Visceral reaction: pulse seizes

– Reflex: his limbs jerk
– Action: grabs wife’s arm and spins around to locate the noise
– Speech: “What was that?”

How this would look in the story:

A loud clap splits the air (motivating stimulus).
d
Jack’s pulse seizes (visceral) and his limbs jerk (reflex). He grabs his wife’s arm and spins in all four directions, trying to locate the source of the noise. (action) “What was that?” (speech)

Notice: I showed the visceral response. I didn’t tell it. I didn’t write – Jack is startled. Also, the stimulus and the reaction have their own separate paragraphs. This should always be the case.

Should we put all four elements of character reaction in every MRU?

Of course not! Unless you want to exhaust your reader.

So how do you know when to put all the elements in?

-When you want to increase tension

-When you want to highlight something important

When you want to highlight something important and increase tension, this is prime time to bring your reader deep and include every component of the MRU.

Questions to Ponder: How do you feel about MRUs? Did this help you understand them better? Any questions you still have about them? I can try to explain if you do.

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Breathe Life into your Setting

Posted on July 20, 2009November 6, 2011 by Katie Ganshert

How do we make our settings real for our readers? How do we make them breathe and pulse with life?

Two ways:

1. Vivid images

2. Discretionary detail

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What are vivid images?

An image that creates a strong picture in your reader’s mind. You create these images by taking advantage of sensory details: sight, sound, touch, smell, taste.

I’m all for abstract. Abstract definitely has a place in fiction. But sometimes, creating a vivid image means being concrete.

Instead of: The room smelled like death. Try: The room smelled like rotted flesh.

Instead of: The silk blanket felt smooth. Try: The silk blanket glided beneath her fingers like cool glass.

What are discretionary details?

Details you purposefully choose to highlight. At your discretion. The fewer the better.

What do you, as a reader, want to read? A lengthy paragraph, detailing a room in its entirety? Or, one or two close ups of items inside that room that hint at mood and emotion? I don’t know about you, but I’ll pick the second option every time. I don’t care what color the trim is, unless, of course, the trim is important to the story.

Obviously, the details you choose to highlight should feed into the ambiance of your story. It all comes down to your discretion. Do you want to hone in on the abandoned tricycle lying in the yard? Or would you rather focus on the weeds strangling the patch of wild lilies growing by the fence? Or maybe you want to focus on the rusted lock bolted on the gate.

You see, the details you choose to highlight not only go a long way in creating a vivid picture, but they elicit a specific mood as well. Be very intentional about what details you choose to highlight. And limit your descriptions to one or two vivid images, because if you go beyond that, you will dilute the power of your setting.

One last word on setting: remember to present your setting subjectively, filtered through the eyes of your focal character. How does your focal character view her surroundings? Find a way to bring that emotion to the forefront by zooming in on details that will communicate these feelings.

Questions to Ponder: If you’re a writer, how do you handle settings in your stories? If you’re a reader, what types of settings do you enjoy reading about?

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