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Free Fiction Writing Tips: Where Modern and Classic Writing Crafts Collide


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Liquid Story Binder XE by Black Obelisk Software
Showing posts with label Writing Scenes. Show all posts
Showing posts with label Writing Scenes. Show all posts

Wednesday, June 11, 2025

Genre-Specific Story Goals: How to Shape and Sustain Purpose Scene by Scene by Olivia Salter


Motto: Truth in Darkness


Genre-Specific Story Goals: How to Shape and Sustain Purpose Scene by Scene


By Olivia Salter


Author & Storytelling Enthusiast



In fiction writing, story goals are not one-size-fits-all. While every compelling narrative benefits from a clear and specific protagonist goal, the shape, urgency, and emotional texture of that goal are often dictated by genre conventions. In a thriller, the story goal typically revolves around high-stakes survival, stopping a catastrophe, or uncovering a dangerous truth—driving the plot with relentless urgency and escalating tension. In contrast, a romance might center its goal on emotional vulnerability, connection, or healing, where the stakes are deeply personal and internal as well as external. A literary novel, on the other hand, may present a more abstract or evolving goal—such as self-understanding, reconciliation, or moral clarity—unfolding through nuanced character development rather than fast-paced action.

Regardless of genre, once that central goal is established, each scene must serve a structural and emotional function: it should either push the protagonist closer to achieving their desire, reveal the cost of that pursuit, or throw them into conflict that challenges their resolve. This dynamic movement—progress, setback, revelation—is what gives the story its forward momentum. Even quiet or introspective scenes must echo this arc, layering tension or complicating the protagonist’s journey in ways that resonate with the larger narrative promise. In this way, genre shapes the form of the story goal, but craft ensures that every beat of the story drives toward it with purpose.

Let’s break this down: first by genre, then by scene structure.

Part 1: Story Goals Across Genres

Each genre prioritizes different reader expectations, and story goals are shaped to meet them.

1. Romance

External Goal: Win the love interest, save a relationship, or prove worthiness of love.
Internal Goal: Overcome emotional wounds, trust again, or feel deserving of intimacy.

Example: In Pride and Prejudice, Elizabeth’s initial goal is self-respect and independence. Her romantic goal evolves as her internal arc changes.

Tip: The love story should be the spine of the narrative. Every major event either brings the lovers closer or pulls them apart.

2. Thriller / Mystery

External Goal: Catch a killer, stop a crime, escape danger.
Internal Goal: Overcome fear, restore lost reputation, trust others.

Example: In Gone Girl, Nick’s goal is to clear his name and survive the media/police circus, but the deeper goal is to understand his wife and reckon with who he is.

Tip: The goal must have urgency. Time limits and escalating danger keep readers hooked.

3. Fantasy / Sci-Fi

External Goal: Defeat a villain, retrieve a magical object, survive a dystopia.
Internal Goal: Embrace one’s destiny, let go of the past, question societal norms.

Example: In The Hunger Games, Katniss’s external goal is to survive, but her deeper goal becomes protecting her loved ones and eventually resisting systemic injustice.

Tip: The character’s goal should evolve as the world reveals itself. Worldbuilding and goal progression must be intertwined.

4. Literary Fiction

External Goal: Often understated—repair a relationship, get a job, reconnect with roots.
Internal Goal: Find meaning, understand oneself, let go of guilt.

Example: In The Remains of the Day, Stevens’s story goal is to maintain professional dignity, but it becomes clear that emotional repression and missed opportunities are the true conflicts.

Tip: Internal goals are often more powerful than the external in literary fiction, and tension often comes from emotional resistance rather than action.


Part 2: Writing Goal-Driven Scenes

Once your story goal is set, your scenes must carry the weight of that pursuit. Here’s how to make sure they do:

1. Establish the Scene's Purpose

Ask: What does my character want in this scene, and how does it connect to the story goal?
Every scene should have a mini-goal that relates back to the larger narrative purpose.

2. Raise Questions or Add Complications

Introduce obstacles or choices. If the character gets what they want easily, there’s no tension.
If they fail, they should learn something or face consequences.

3. Track the Emotional Arc

Scene structure should include:

  • Desire: What the protagonist wants in this moment.
  • Conflict: What gets in the way.
  • Reaction: How the protagonist feels or changes.
  • Decision: What they’ll do next.

This helps ensure cause and effect—each scene influencing the next.

4. Mirror the Internal and External Goals

Great scenes show a protagonist acting toward an external goal while revealing internal conflict.
For example, a hero may save someone (external), but wrestle with guilt from a past failure (internal).

5. End with Momentum

Scenes should end with:

  • A new problem
  • A deeper commitment
  • A twist
  • A revelation

Avoid static endings—each scene should change the stakes, the character, or the plan.


Final Thoughts

Story goals are not just launchpads—they are narrative compasses, orienting both writer and reader through the emotional and structural terrain of a story. More than a single event or desire that initiates the plot, a well-defined story goal is a thread woven into the fabric of every chapter, every beat, every turning point. It shapes not only the external structure of the story but also its internal momentum and emotional meaning.

The true craft lies not merely in setting the protagonist's goal early on, but in sustaining its presence throughout the narrative. Each scene should either move the protagonist closer to or further from that goal, revealing their evolution, testing their resolve, and illuminating their values. Character choices, conflicts, and consequences all gain cohesion and urgency when anchored by a persistent, recognizable goal.

In genre fiction, the clarity and visibility of a goal—solving the murder, defeating the villain, winning the heart—fulfill reader expectations and provide a roadmap for tension and pacing. These goals create a sense of forward motion and deliver satisfying payoffs. In contrast, literary fiction often embraces a more nuanced or even ambiguous goal—seeking meaning, reconciliation, identity, or truth—which may unfold gradually or shift over time, deepening the story’s psychological and thematic resonance.

But regardless of category, all effective fiction relies on this: a protagonist who wants something, and a plot that dramatizes the pursuit of that desire. Scene by scene, writers build bridges from longing to fulfillment—or failure—through choices, obstacles, revelations, and change. These scenes, when aligned with the story goal, become more than moments of action; they become the stepping stones between desire and destiny, shaping a narrative that feels both purposeful and emotionally true.

Monday, May 19, 2025

The Echo That Lingers: Crafting Profound Scenes in Fiction That Leave a Lasting Impression by Olivia Salter


Motto: Truth in Darkness


The Echo That Lingers: Crafting Profound Scenes in Fiction That Leave a Lasting Impression



By Olivia Salter


Author & Storytelling Enthusiast



In fiction writing, certain scenes stay with readers long after the final page is turned. These aren’t always the most action-packed or dramatic; instead, they are often moments of emotional truth, rich imagery, or subtle transformation. What makes a scene truly profound is not just what happens, but how it reverberates through the characters—and through the reader. These moments touch something essential, reveal a hidden facet of the human condition, or echo a universal longing. They linger in the reader’s memory because they mean something beyond the immediate context of the story.

Here’s how to build scenes that not only serve the plot but resonate on a deeper emotional and thematic level:

1. Start with Character Vulnerability:
Profound scenes often expose a character’s deepest fear, shame, longing, or hope. A scene becomes more than just exposition when it peels back a layer of emotional armor. Ask: What truth does this character not want to admit—even to themselves? Let that truth surface through dialogue, gesture, silence, or internal conflict.

2. Layer Subtext Beneath Dialogue and Action:
What’s left unsaid often carries more weight than what is spoken aloud. Characters might deflect, joke, or lash out instead of confessing what’s really going on inside. The tension between their words and their emotional reality adds complexity and depth. Subtext allows readers to engage more actively and discover the truth for themselves.

3. Use Sensory Detail and Symbolic Imagery:
Concrete, evocative imagery grounds a scene in the body and in memory. But when that imagery carries symbolic weight—a dying tree mirroring a failing relationship, a broken necklace representing lost innocence—it deepens the emotional resonance. Let the world around your characters reflect their inner lives.

4. Allow for Stillness and Silence:
Not every powerful scene needs dramatic action. Some of the most affecting moments occur in the quiet—the hesitation before a confession, the silence after a betrayal, the weight of an unspoken goodbye. Trust that stillness, when intentional, can hold just as much power as a plot twist.

5. Connect the Scene to the Story’s Core Theme:
A resonant scene should echo the central questions or themes of your story. Whether it’s the cost of freedom, the complexity of love, or the ache of belonging, these moments act as thematic mirrors. They pause the plot to reflect on what truly matters—not just to the characters, but to the reader.

6. Let Transformation Happen Gradually:
Rather than forcing epiphanies, allow change to simmer beneath the surface. A character doesn’t need to voice a revelation for it to be felt. A glance, a hesitation, or a subtle shift in behavior can signal a profound internal shift. These micro-transformations build authenticity and emotional weight.

7. Make It Personal—but Universal:
Draw from emotional truths you know intimately. Even if the specifics of the scene are fictional, the feelings should be real. When readers sense the author’s emotional investment, they lean in. And when that specificity touches something universally human, the scene becomes unforgettable.

Ultimately, a resonant scene isn’t just something the reader reads—it’s something they feel. It doesn’t just move the story forward; it sinks in and stays, reminding the reader why stories matter in the first place.


1. Start with the Emotional Core

Emotional Anchors in Scene Crafting

The strongest scenes in fiction are not necessarily the ones filled with the most action or clever dialogue—they are the ones anchored in emotional clarity. At the heart of every unforgettable moment in a story is a single, pulsing emotional truth. Whether it’s the slow bloom of awe, the sting of betrayal, or the quiet ache of longing, these core emotions act as magnets, pulling the reader deeper into the narrative.

When writing a scene, always ask yourself: What is the character feeling in this moment, and why? The answer doesn’t need to be spoken aloud by the character or narrated explicitly. In fact, some of the most powerful scenes convey feeling without ever naming the emotion at all. Think of how a trembling hand, a cluttered room left untouched, or the dull scrape of a spoon against a bowl can speak louder than a paragraph of exposition.

A profound scene often hinges on a single emotional realization—something that changes the character, however subtly. Even when the external world is loud and chaotic, the emotional pulse should be steady and clear. Readers may not remember every plot detail, but they will remember how a scene made them feel.

Use action, tone, setting, body language, and metaphor to let the emotion resonate. A character might sit down on a pristine white couch, leaving a dirt stain behind. That one detail could carry more weight than saying, “He felt unworthy of the space.”

Exercise: Emotional Subtext in Action
Choose a pivotal emotion—shame, awe, heartbreak, fury, envy, relief, or another that resonates. Write a one-page scene where this emotion is never named, but can be deeply felt through action, setting, and tone. Let the reader feel it before they understand it. Aim for atmosphere over explanation. Show us what the character does, not what they feel—and we’ll feel it too.


Here’s some one-page scenes capturing the emotions—without ever naming it directly:


Shame

The door clicked shut behind Lena as she stepped into the kitchen. Morning light filtered through the thin blinds, slicing the room into strips of gold and shadow. She moved quietly, as if afraid to disturb the silence, her shoes left by the door though no one was home to hear her.

The sink was full. Plates stacked haphazardly, crusted with sauces that had hardened into reddish smears. A fork balanced on the edge trembled as she reached past it for a glass. It toppled. The clatter echoed through the still house.

She didn’t flinch.

One by one, she began wiping the counters. Not just cleaning—scrubbing. Her knuckles whitened as she bore down on a spot by the stove that wasn’t even dirty. The rag slipped from her hand, landing near the trash can. She left it there.

She walked to the fridge, opened it, stared inside at the rows of Tupperware and leftover takeout boxes. A half-eaten slice of cake, smeared against its plastic container. Her fingers hovered over it, then retreated. She shut the door.

On the table sat a small stack of mail. She flipped through it absently—an overdue notice, a dentist reminder, a card with her name in careful script. She opened that one last. A photo slipped out: her and her sister, arms thrown around each other, mouths mid-laugh. Her thumb smeared across the glossy surface, leaving a faint, greasy print.

She pushed the photo beneath the pile and turned away.

Outside, a neighbor started a lawn mower. The distant hum crept under the windows and wrapped around the room. She sank into the kitchen chair, eyes fixed on the blank space where the wall met the floor.

Stillness again. Except now, something heavier sat in it.


Awe

The path narrowed as Ava stepped beyond the last switchback, the hush of her footsteps swallowed by the alpine air. Pine gave way to stone, and then to sky—so much sky, it seemed to open all at once above her, wide and endless.

She stopped walking.

Ahead, the cliff edge dropped cleanly away. Below, the valley rolled out in layers of mist and light, the trees soft as moss from this height. Sunlight caught on a distant river, turning it into a thread of moving glass. The wind tugged at her jacket, gentle and insistent, like a hand urging her forward.

She stepped closer to the edge, toes just behind the weathered rock. Her breath caught in her throat, not from the climb, but from the sheer enormity of it—this world laid out like a secret someone had unwrapped just for her. A hawk traced lazy circles below, its wings cutting slow arcs through the pale blue.

She lowered herself to the ground, knees brushing cool stone, hands splayed out for balance. Her fingers found lichen. She pressed them into it, needing the texture, the proof that she was still real.

For a moment, there was nothing to do but witness.

The clouds shifted, and a shaft of light spilled down across the mountainside, igniting the gold tips of the autumn trees far below. Something in her chest tightened—not in pain, but in a strange, full silence. She didn’t speak. There was nothing to say that wouldn’t shrink it.

She just watched.


Heartbreak

The coffee had gone cold.

Camille stared at the steamless cup on the table, her hands wrapped around it like it might still give something back. Outside, the street was waking up—car doors, a barking dog, the faint buzz of the florist unlocking her shop across the road.

His sweater was still on the back of the chair. She reached for it without thinking, then stopped, her hand suspended in the space between memory and motion. It still held the shape of his shoulders.

She let her arm drop.

A voicemail blinked on her phone. She didn’t listen to it. She already knew the sound of silence strung between words, the pauses too long, the tone too careful. She already knew the goodbye hidden in his "take care."

In the kitchen, the toast had browned too far. She scraped at it with a knife, watching dark flecks fall like ash onto the counter. A small pile of them gathered near the edge, just out of reach. She didn’t sweep them away.

The apartment smelled like the candle he gave her last Christmas. Sandalwood and firewood. She should’ve stopped lighting it weeks ago, but it felt like the only part of him that hadn’t left quietly.

She sat at the table again, pulled her knees to her chest, and rested her cheek against the cool lip of the mug. A song hummed from a neighbor’s open window—some old tune they used to dance to barefoot in this very room.

Camille didn’t cry. She just stayed very still, as if movement might cause something inside her to shatter for good.


Fury

The screen door slammed hard enough to rattle the frame. Elijah didn’t care. Let it break. Let it fall off the hinges and split in two. He crossed the porch in three strides, boots hammering down like punctuation.

Inside, the kitchen lights flickered. He yanked the drawer open—too hard—and it jammed. Of course it jammed. He yanked again, harder. A fork flew out, skittered across the floor, and hit the cabinet with a metallic crack.

His breath came in bursts.

A plate still sat on the table, half-eaten food congealing under the yellow overhead light. His fingers curled around the rim. He didn’t throw it. He didn’t even lift it. Just held it tight enough to feel it threaten to crack in his grip.

The faucet was dripping.

Drip.
Drip.
Drip.

He stared at it until the sound carved a trench down the middle of his skull. He moved toward it slowly, deliberately, each step full of heat. When he reached it, he turned the handle—not to fix it, but to open it wide. Water gushed out, fast and reckless, splashing over the counter, the floor, his hands.

Still, he stood there.

A photo on the fridge caught his eye—smiling faces, arms wrapped around one another like nothing had ever gone wrong. He reached up and ripped it down. Just that one. Nothing else. The magnet clattered to the ground.

Then, silence again. Except the roar inside him. Still roaring.


Envy

Jada lingered at the edge of the party, fingers grazing the rim of her glass. The music pulsed gently in the background—jazzy, expensive. Laughter rolled through the air like perfume, and everything seemed dipped in warm light.

Across the room, Sierra tossed her head back in that effortless way, the curls catching the chandelier's glow just right. Her dress clung like it had been made for her alone. People listened when she spoke, leaned in when she smiled. Even the waiter offered her a second drink without being asked.

Jada forced a smile. Her shoes pinched. She shifted her weight, trying not to wince.

Someone brushed past, murmuring an apology. Jada blinked down at the hem of her own dress—a shade too safe, a cut too modest. She tugged at it.

Sierra laughed again. A man's hand lingered on her lower back.

Jada sipped her drink. Bitter. She set it down.

By the dessert table, she caught a glimpse of herself in the mirrored tray—lipstick faded, curls frizzing at the edges. She dabbed at her mouth with a napkin, then folded it small and tucked it deep into her clutch.

When Sierra glanced her way, Jada smiled—bright, wide, the kind that shows teeth. Sierra waved her over.

Jada hesitated, then walked slowly across the room. Each step calculated. Head high. Shoulders squared.

But her hands were fists inside her sleeves.


Relief

Rain tapped gently on the roof, a soft rhythm against the tin. Maya sat on the edge of the cot, her shoulders slowly lowering from their usual perch near her ears. The storm had passed. The sirens had stopped an hour ago.

She exhaled, long and shaky.

The emergency radio lay silent on the shelf now, its crackling voice gone. She reached over, turned the dial until it clicked off. No more updates. No more warnings.

She stood and crossed to the door, her bare feet whispering across the worn rug. The lock was stiff. She fumbled with the latch, then pulled it open.

Outside, the trees swayed gently, dripping silver. The air smelled of wet earth and ozone. A single bird chirped somewhere high in the branches—tentative, as if testing the silence.

She stepped out, barefoot onto the damp wood of the porch. Closed her eyes. Let the breeze touch her face, cool and clean.

Inside, the dog stirred. Tail thumping once. Twice. Then he padded over, pressed his warm body against her leg. She reached down, hand resting on his back.

“We’re okay,” she whispered, though no one had asked.

And she meant it.


2. Make It Irreversible

Memorable scenes are not just moments of action or dialogue—they are moments of change. Whether it’s the moment two characters cross a boundary in their relationship, a decision is made that cannot be undone, or a character comes to a life-altering realization, these scenes carry weight. They matter because they shift the trajectory of the story and the emotional arc of the characters. These are not filler scenes; they are the pulse points that define the narrative’s rhythm and progression.

Profound scenes mark clear turning points. They divide the story into “before” and “after,” creating a sense of movement and transformation. When done well, these moments stay with the reader long after the page is turned because they encapsulate emotional stakes, tension, and truth. Whether it’s a whispered confession, a slammed door, or a moment of terrifying clarity, something vital is revealed or lost—and the story is never the same again.

Tip: If a scene could be removed and nothing in the story would change—no character is altered, no relationship shifts, no new truth is uncovered—it lacks depth. Reevaluate its purpose. Either elevate it by injecting consequence or replace it entirely with a scene that transforms. Make every scene earn its place by ensuring it pushes the story—and its characters—into new emotional territory.


3. Layer Symbolism and Subtext

Profound scenes operate on more than one level. On the surface, they may capture a tangible moment—a family dinner, a hospital visit, a walk through a childhood neighborhood—but beneath the literal events, emotional undercurrents churn. These deeper layers might reveal simmering power struggles, long-buried secrets, repressed longing, or emotional absences. A parent’s silence might scream louder than dialogue. A glance might signal betrayal or unspoken desire. This subtext is where the reader becomes most involved—reading between the lines, asking, What’s really going on here?

When you layer subtext into a scene, you turn your reader into a kind of co-creator. You invite them to intuit, to interpret, to feel the weight of what's not being said. Instead of spoon-feeding emotions or motives, you allow them to unfold subtly—through gesture, contradiction, or atmosphere.

Symbolic imagery can work in tandem with subtext to enrich your scenes. A cracked teacup might begin as a simple household object, but over time, it comes to represent a family’s fractured unity. A song that plays on repeat might echo a character’s emotional loop or inability to move on. A flickering streetlight could mirror instability, or hint at a character’s unreliable perception of reality. These images gain power through repetition and placement—not by being explained, but by being felt. Their emotional charge builds across the story until they hum with meaning.

Exercise:
Revisit a scene in your draft that feels flat, too literal, or emotionally shallow. Choose one recurring image, object, or detail that could take on symbolic significance. It might be something already present—a weather pattern, a photograph, a scar, a pair of shoes—or something new that you introduce. Thread it through the story subtly. Let it evolve or deteriorate. Let it echo the inner shifts of your characters. Ask yourself: What does this object come to represent by the end?

You’re not just writing about a dinner table—you’re writing about the unspoken history that trembles beneath it.


4. Engage the Senses

A profound scene is immersive—it doesn’t just describe an event; it pulls the reader into it, body and soul. Sensory details are the thread that stitches the reader’s experience to the character’s reality. When you write “the taste of salt on a lover’s skin,” the reader doesn’t just register intimacy—they taste it. “The hollow echo of an empty room” does more than describe silence; it fills the reader with loneliness. “The cold sting of rain on bare arms” doesn’t merely convey weather—it places the reader in the storm.

Sensory language transforms emotion into experience. It bypasses intellect and goes straight to the gut. It allows the reader not just to know what a character is feeling, but to feel it themselves. A pounding heart, the rasp of breath in the throat, the metallic tang of fear in the mouth—these are not just metaphors. They are doorways into the emotional truth of the scene.

Tip: Be specific. Be concrete. General descriptors like “a nice smell” or “a loud noise” fall flat because they lack texture and individuality. Instead, say “the scent of old paper and lavender,” and suddenly, we’re in a dusty attic filled with memory. Say “a door slamming like a gunshot in a cathedral,” and we hear not just the noise, but the tension behind it.

Every sense—sight, sound, touch, taste, smell—offers an opportunity to anchor emotion in physical reality. Use them deliberately. Layer them. And when used well, sensory detail doesn’t just decorate the moment—it defines it.


Here’s a list of sensory writing prompts and exercises designed to help you practice deepening emotional moments through vivid, immersive detail:

Sensory Writing Prompts

  1. The First Touch
    Write a scene where two characters touch for the first time—accidentally or intentionally. Describe the texture, temperature, and emotional impact of that moment. Is their skin dry, trembling, warm, or calloused?

  2. The Smell of Memory
    A character walks into a room and is overwhelmed by a smell that reminds them of someone they’ve lost. What is the scent exactly? How does their body react—physically, emotionally?

  3. Taste of a Lie
    Describe a character realizing someone is lying to them while they’re eating or drinking. Use the taste and texture of the food to reflect their changing emotional state.

  4. Rain and Regret
    Set a scene in a heavy downpour. Let the rain be more than weather—how does it feel on the skin, how does it sound, how does it change the character’s thoughts or actions?

  5. The Sound of Silence
    After an argument, one character sits alone in a room. Describe the silence using contrasting sounds—the tick of a clock, the hum of the refrigerator, distant traffic. Let these noises speak to the tension in the air.

  6. Barefoot in the Dark
    A character walks through an unfamiliar house in the dark. What do they step on? What do they feel underfoot, on their skin, against their face? How do these textures contribute to fear or curiosity?


Exercises to Develop Sensory Skills

  1. Five-Sense Snapshot
    Take a single moment (e.g., standing at a bus stop, opening a letter, kissing goodbye) and describe it using all five senses—sight, sound, touch, taste, and smell. Limit yourself to 150 words.

  2. Zoom In
    Choose an object (a candle, a ring, a coat) and describe it in a way that reflects the character’s emotional state. For example, how would a grieving character describe their spouse’s coat? Use sensory detail to reveal mood.

  3. Emotion Echo
    Pick an emotion (jealousy, joy, anxiety, desire) and write a short paragraph where that feeling is never named outright—but is shown through sensory cues in the body (clammy hands, burning cheeks, a lump in the throat).

  4. Sensory Swap
    Take a familiar emotion and describe it using an unexpected sense. For example, what does betrayal smell like? What does hope sound like?

  5. Weather as Mirror
    Write a short scene where the weather parallels the character’s internal state. Use at least three sensory details (e.g., the bite of wind, the shimmer of heat on the sidewalk) to reinforce the mood.


Here’s a sample passage using Prompt #2: “The Smell of Memory”:

PASSAGE:

She didn’t expect the scent to hit her so hard.

The door creaked open, and the air inside the apartment greeted her like a ghost—stale cigarettes, cinnamon tea, and the faint musk of her father’s old corduroy jacket. Her chest tightened. The room was still, lit only by late afternoon light bleeding through yellowed curtains. Dust hung in the air, suspended like forgotten time.

She stood in the doorway, swallowing hard. The cinnamon clung to the back of her throat, sweet and sharp, like the last cup they’d shared when his hands still trembled from the chemo. Beneath it, the smoke—faint but persistent—crawled into her nostrils, bitter and familiar, and suddenly she was ten years old again, coughing through Sunday breakfast while he read the comics aloud in his gravel voice.

The scent had sunk into the wallpaper. Into the floorboards. Into her.


5. Let Silence and Stillness Speak

Not every profound scene is loud.

In fact, some of the most emotionally resonant moments in fiction happen in the stillness—in the spaces between words, in the choice not to act, in the breath a character holds. Silence, pauses, glances, or even a character turning away can carry more emotional weight than a dramatic outburst. These quiet moments invite the reader to fill in the gaps, to wonder, to feel the tension beneath the surface.

When a character hesitates, when they almost say something crucial and then pull back, the reader senses the gravity of what remains unsaid. It's in these moments of emotional restraint that the story breathes. Silence isn't absence—it’s presence in another form. It signals fear, uncertainty, vulnerability, or love so deep that words can’t quite contain it.

Let your characters struggle with what they can’t say. Give them room to falter. Let the silence stretch. Trust the reader to lean in, to notice the crack in someone’s voice that never makes it into words, or the trembling hand that betrays what the character tries to hide.

Example:
A character sits across from someone they love. They begin to speak—“I need to tell you something…”—but then stop. Their eyes search the other’s face, then drop to their lap. They force a smile. “Never mind. It’s nothing.”
But the reader knows it isn’t nothing. The silence that follows vibrates with meaning, and the unspoken truth lingers, more powerful than any confession.


6. Bookend or Echo for Resonance

A profound scene in storytelling doesn’t exist in isolation—it often gains its weight through echoes of what came before or foreshadows of what will come after. These callbacks can take the form of repeated dialogue, visual motifs, settings, gestures, or emotional beats. When used skillfully, they create a resonant thread that ties the story together and reflects the character’s evolution.

Whether it’s a recurring phrase that takes on new meaning, a setting revisited under changed circumstances, or a familiar gesture now loaded with irony or sorrow, these mirrored moments offer a sense of narrative cohesion and emotional payoff. They allow readers to experience the transformation of a character or situation on a visceral level—feeling the full circle of the journey. The most powerful echoes don’t just repeat—they reframe.


Exercise: Mirrored Scenes – Showing Change Through Echoes

Objective:
Write two versions of the same scene: one appearing early in your story, the other near the end. The two scenes should share clear mirrored elements—such as a repeated line of dialogue, the same physical location, or a recurring gesture—but reveal how much has changed emotionally, psychologically, or relationally.

  1. Choose a Core Element to repeat. It could be:

    • A specific line of dialogue (e.g., “You always say that.”)
    • A symbolic object (e.g., a broken watch, a birthday cake, a letter)
    • A location (e.g., the same bench, kitchen, hospital room)
    • A gesture (e.g., touching someone’s shoulder, looking away)
  2. Scene One (Early Story):
    Introduce the characters in a moment that reflects their initial emotional state or relationship dynamic. Keep the tone, body language, and subtext reflective of their starting point.

  3. Scene Two (Near End):
    Rewrite the scene using the same or similar elements—but now, let those elements carry new emotional weight. Maybe the line of dialogue is now laced with heartbreak instead of humor. Maybe the object is broken, missing, or now treasured. Let the change be felt, not just stated.

  4. Bonus Challenge:
    Try to write the second scene so that it can’t be fully understood without recalling the first—showing how context gives new meaning.


Here’s an example of two mirrored scenes using the same dialogue line, setting, and gesture—but showing how much has changed by the end of the story.


Scene One (Early Story)
Setting: A small kitchen in an old apartment. Late evening. Rain taps against the window. Jasmine stands by the sink, drying a mug. Malik enters, setting his backpack on the table.

MALIK:
“You always say that.” (He chuckles, shaking his head as he opens the fridge.)

JASMINE: (Smiling, wiping her hands on a dish towel)
“Because it’s always true.”

MALIK: (Grabbing a bottle of water)
“You worry too much. I’m not going to disappear.”

JASMINE:
“I know. I just…” (She trails off, eyes flicking to the window.)
“You’re all I have.”

MALIK: (Crosses the room, touches her shoulder gently)
“You got me. I’m not going anywhere.”

They stand in quiet warmth, the kind built over years of shared days and small comforts.


Scene Two (Near End)
Setting: Same kitchen, but stripped bare. Most of the cabinets are open and empty. A moving box sits on the table. It’s morning, overcast. Jasmine stands by the sink, holding the same mug. Malik walks in, tired.

MALIK:
“You always say that.” (His voice is quieter now, like it’s bruised.)

JASMINE: (Still staring into the mug)
“And this time, I mean it.”

MALIK: (He doesn’t go to the fridge. Just stands there.)
“You worry too much.”

JASMINE: (Turns to him, eyes steady)
“No. I didn’t worry enough.”

A long silence. She sets the mug into a half-filled box marked "Kitchen."

MALIK:
“I didn’t mean for it to end like this.”

JASMINE: (A small, tired smile)
“I know. But here we are.”

He reaches out to touch her shoulder. She flinches—not from fear, but from recognition. She steps back.

JASMINE:
“You were all I had. And I lost myself keeping you.”

The rain starts again outside, but now it feels like something final, like a curtain falling.


Here’s a template and prompt to help you craft your own mirrored scene set:


Mirrored Scene Writing Template

Step 1: Choose a Repeated Element
Pick at least one of the following to repeat in both scenes:

  • A line of dialogue (e.g., “You promised.”)
  • A setting (e.g., a park bench, childhood bedroom, train station)
  • An object (e.g., a photograph, jacket, ring)
  • A gesture (e.g., brushing someone’s hair behind their ear, walking away without turning around)

Step 2: Define the Emotional Arc
Decide what emotional or relational transformation happens between the two scenes:

  • From hope to heartbreak
  • From dependence to independence
  • From closeness to distance
  • From misunderstanding to understanding
  • From innocence to awareness


Scene One Prompt (Early in Story)

Write 250–500 words.
Show the characters in a moment that reflects their initial state. Use soft or naïve language, body language that suggests trust or habit, and dialogue that reveals an emotional baseline. Include your chosen repeated element.

For example: In a childhood bedroom, a teenage daughter gives her mom a handmade card and says, “You’re the only one who really sees me.”


Scene Two Prompt (Later in Story)

Write 250–500 words.
Now revisit the same setting, line, or gesture—but with new emotional weight. Show how the context has changed and how the same words or actions mean something very different now. Keep the pacing tight and let the transformation speak through tone, subtext, and what’s left unsaid.

For example: In the same bedroom, years later, the daughter packs a suitcase. Her mother finds the old card in the drawer. The daughter says, quietly, “You’re the only one who really sees me”—but now it’s laced with sorrow, not gratitude.

 

7. End on an Image, Not an Explanation

Profound scenes rarely end with neat explanations. They don’t wrap themselves in tidy bows or hand the reader a perfectly articulated moral. Instead, they resonate. They leave behind something—an image that lingers like smoke, a feeling that refuses to be named, a question that hums quietly in the mind long after the scene is over.

Resist the urge to over-explain. Don’t dismantle your scene to show its parts. Don’t rush to interpret the emotion for your reader or tell them what they’re supposed to take away. Trust in the power of what you’ve built—the tension, the silence, the small gesture, the unsaid word. These moments speak in a different language: not of clarity, but of recognition.

Let your scene land gently but firmly. Think of it as a note held at the end of a song—not shouted, not whispered, just sustained long enough to be felt. Let it vibrate. The impact is not in explanation, but in resonance.

Leave room for the reader’s heart to catch up. Let them feel before they understand, or even if they never fully understand. Emotion travels at its own pace, and meaning unfolds in the quiet spaces between lines. Give your readers the space to breathe there.


More Writing Exercises

1. The Silent Shift

Objective: Show a turning point without dialogue.
Prompt: Write a scene where two characters experience a permanent shift in their relationship—whether a betrayal, realization, or heartbreak—but no words are spoken. Use body language, setting, and subtext.


2. The Emotional Object

Objective: Layer symbolism.
Prompt: Choose a mundane object (a key, a coat, a broken phone) and write a scene in which it takes on emotional or symbolic meaning for the protagonist. Later in the story, the same object should reappear with its meaning altered by events.


3. Mirror Scene

Objective: Explore character transformation through echo.
Prompt: Write a short scene of your protagonist at the beginning of their journey (e.g., sitting alone at a kitchen table, confronting a parent, entering a room full of strangers). Then, write a mirrored version near the end of their arc, using similar setting or action—but showing internal change.


4. Scene Without Sight

Objective: Engage non-visual senses.
Prompt: Write a profound moment (a confession, a loss, a revelation) in which the protagonist is blindfolded or in darkness. Rely on sound, touch, smell, and internal sensations to build emotional weight.


5. After the Storm

Objective: Capture stillness and aftermath.
Prompt: Write a scene that occurs right after a major event—an argument, a disaster, a love scene, or a funeral. Focus on the silence, the cleanup, the body language, and subtle reactions. Let the emotion hang in the air like fog.


6. One Sentence That Hurts

Objective: End on a lasting emotional note.
Prompt: Write a short scene where the entire mood shifts based on one final sentence (spoken or unspoken). The last line should pierce the reader, suggesting a larger truth or unresolved tension. Avoid exposition—trust the emotional rhythm.


Scene Examples

Example 1: Emotional Core + Irreversibility

Scene: A father and adult son sit in a parked car outside a nursing home.
Details: The son reaches for the door handle to leave his father there for the first time.
Emotion: Guilt and grief.
Profound Touch: The father says, “This is where we say goodbye, isn’t it?” But he’s not talking about the nursing home—he’s talking about the slow unraveling of their relationship. The son doesn’t answer. The door closes.
Result: The scene is quiet, irreversible, and leaves the emotional impact lingering.


Example 2: Symbolic Image + Echo

Scene (early): A young girl carves her name into the underside of a wooden desk at her new school, whispering, “Don’t forget me.”
Scene (later): Years later, she returns as a teacher. During a slow moment, she checks under the same desk and sees her childhood name, faded but still there.
Profound Touch: She doesn’t touch it. She simply exhales, smiles, and leaves it—no longer needing to be remembered.
Result: An image that echoes the character’s transformation with minimal explanation.


Closing Thought:

Fiction is not just about telling a story—it’s about creating echoes in the reader’s memory that linger long after the final page. A well-crafted tale doesn’t simply unfold events; it invites readers into an experience, asking them to feel, reflect, and carry something with them. By building scenes that are emotionally honest—scenes where characters wrestle with real dilemmas, desires, and doubts—you tap into a universal language of vulnerability and truth. Layer these moments with meaning, subtle motifs, and carefully chosen sensory details, and your story becomes a tapestry—rich, resonant, and unforgettable. Symbolism and atmosphere become more than tools; they become the breath of the story itself. In doing so, you move beyond mere entertainment. You create work that endures, that haunts, that heals—that leaves a lasting impression not only on the page but in the heart and mind of every reader.


Saturday, January 18, 2025

The Anatomy of a Perfect Scene: Crafting Moments That Resonate

 

Remember, practice is key. The more you write, the better you'll become. Don't be afraid to experiment with different styles and genres. Most importantly, enjoy the process of creating stories that captivate your reader.


The Anatomy of a Perfect Scene: Crafting Moments That Resonate


By Olivia Salter


Every unforgettable story is built on the foundation of its scenes. These are the moments where characters come to life, conflicts ignite, and emotions echo. A perfect scene is not just about what happens—it’s about how it makes the reader feel, think, and yearn for more. But what does it take to craft such a scene? In this guide, we’ll explore the essential elements that transform a sequence of events into a masterpiece of storytelling.

1. Start with Purpose: Why Does This Scene Exist?

A perfect scene serves a purpose—it pushes the story forward, reveals character depth, or evokes a powerful emotion. Before writing, ask yourself:

  • What does this scene accomplish in the larger narrative?
  • How does it change the characters or stakes?
  • What emotional response do I want from the reader?

Whether it’s a pivotal confrontation or a quiet introspection, the scene must earn its place in the story.

2. Anchor the Scene in Conflict

Conflict is the lifeblood of storytelling. Even in a tranquil setting, there should be an undercurrent of tension—whether it’s external (a looming danger) or internal (a character’s self-doubt). The best scenes pit opposing forces against each other, creating an irresistible pull for the reader.

  • Introduce stakes: What can be won or lost?
  • Escalate tension: How does the conflict intensify?
  • Show resolution—or the lack thereof—to propel the story forward.

3. Use Setting as a Character

The setting isn’t just a backdrop; it’s an active participant in the scene. A well-drawn environment can amplify emotions and reveal hidden facets of characters.

  • Match the mood: A stormy night mirrors inner turmoil; a sunny park juxtaposes a tragic revelation.
  • Use sensory details: Show the texture of the world through sights, sounds, smells, and touch.
  • Make it dynamic: How does the setting interact with the characters or shift with the plot?

4. Focus on Emotional Truth

Readers don’t just want to know what’s happening—they want to feel it. Emotional authenticity is what transforms a good scene into a memorable one.

  • Write from the heart: What is your character experiencing in this moment?
  • Show, don’t tell: Instead of saying a character is angry, describe their trembling hands or clipped words.
  • Layer emotions: Complex moments often carry conflicting feelings—joy tinged with guilt, or anger laced with regret.

5. Create Unforgettable Dialogue

Great dialogue reveals character, builds tension, and drives the narrative. To make your dialogue shine:

  • Stay true to the characters: How would they really speak?
  • Add subtext: What’s being left unsaid?
  • Avoid redundancy: Dialogue should reveal what action or narration cannot.

6. End with Impact

A perfect scene lingers in the reader’s mind. The ending should leave them breathless, thoughtful, or eager to turn the page.

  • Cliffhangers: Leave a question unanswered to create suspense.
  • Revelations: Drop a bombshell that redefines what the reader thought they knew.
  • Emotional beats: Conclude with a line or image that resonates deeply.

7. Weave in Themes

A perfect scene doesn’t just advance the plot—it reflects the larger themes of your story. Whether it’s exploring love, identity, or justice, your themes should echo subtly in the choices characters make and the consequences they face.

8. Revise Ruthlessly

Perfection isn’t achieved in the first draft. Editing is where a good scene becomes great.

  • Tighten the prose: Every word should serve a purpose.
  • Strengthen connections: Does each moment logically flow into the next?
  • Test the impact: Does the scene elicit the intended emotion or response?

Final Thoughts

Writing the perfect scene is an intricate dance of purpose, conflict, emotion, and craft. It’s about creating a moment so vivid and profound that it becomes a heartbeat of your story. As you write, remember: the perfect scene doesn’t just tell—it resonates, transforming readers into participants in your fictional world.

Go forth and craft scenes that linger, haunt, and captivate.

Wednesday, December 18, 2024

Crafting the Perfect Scene: A Step-by-Step Guide for Fiction Writers

 


Crafting the Perfect Scene: A Step-by-Step Guide for Fiction Writers


By Olivia Salter


Scenes are the building blocks of any compelling story. They serve as miniature stories within the broader narrative, each with a purpose, tension, and resolution. Writing the perfect scene requires intention, structure, and a dash of creativity. Here’s a step-by-step guide to help you craft scenes that engage readers and elevate your story.


1. Define the Scene's Purpose


Before diving into writing, ask yourself: What is the scene’s role in the story?


  • Does it advance the plot
  • Develop a character?
  • Build tension or reveal a secret? Every scene should contribute to the narrative’s progression. Avoid filler scenes that don’t serve a clear purpose.


2. Establish the Setting


Ground your reader in the scene by vividly describing the environment.

  • What does the space look, sound, smell, or feel like?
  • How does the setting reflect the tone of the scene or the character’s emotions? Use sensory details to create an immersive experience, but avoid overloading with description.


3. Introduce Conflict or Stakes


Every scene thrives on tension, whether it’s external (an argument, a chase, a discovery) or internal (a character wrestling with guilt, fear, or love).

  • What challenge or obstacle is introduced?
  • How does this moment raise the stakes for the characters?Conflict drives engagement and keeps readers invested.


4. Focus on Character Goals


What does your character want in this moment, and what stands in their way?

  • Make the character's goal clear, even if it’s as small as winning a conversation or as significant as saving a life.
  • Ensure the opposition (person, event, or internal doubt) is strong enough to create meaningful tension.


5. Use Dynamic Dialogue


Dialogue can reveal a lot—character motivations, relationships, and subtext.

  • Keep dialogue concise and purposeful.
  • Use action beats and internal thoughts to break up long exchanges and add depth.
  • Let characters speak in unique voices to reflect their personalities.


6. Include Action and Reaction


Scenes are not static; something should happen that pushes the story forward.

  • Show how characters act and react.
  • For every action, there should be a response, creating a chain of cause and effect that builds momentum.


7. Create a Climactic Moment


Each scene should have a high point—something that feels like a mini-climax within the story.

  • This could be a revelation, a decision, a dramatic confrontation, or an emotional turning point.
  • Make this moment impactful to keep readers hooked.


8. Close with Consequences


Don’t end the scene without showing how it affects the characters or the plot.

  • Did the character achieve their goal? If not, what’s next?
  • Leave a hook that propels the reader into the next scene, such as a lingering question or an unresolved issue.


9. Revise with Intention


After drafting, revisit your scene with a critical eye.

  • Does it fulfill its purpose?
  • Are the stakes clear and compelling?
  • Have you eliminated any extraneous details or dialogue that slow the pace?
  • Is the tone consistent with the story?


10. Balance Show and Tell


Show emotion, action, and tension through descriptive and sensory details, but don’t be afraid to “tell” when clarity is needed. A mix of both techniques keeps your writing engaging and efficient.


Final Thoughts


A perfect scene doesn’t happen by accident—it’s a deliberate effort that balances character, conflict, and purpose. By breaking the process down into steps and refining your work, you’ll create scenes that resonate deeply with readers and propel your story toward its ultimate destination.


Your challenge: Take a scene from your current project and analyze it using these steps. Does it fulfill its purpose and captivate your audience?

Saturday, August 24, 2024

The Power of the First Scene: Captivating Readers and Showcasing Your Writing Skills



The Power of the First Scene: Captivating Readers and Showcasing Your Writing Skills


By Olivia Salter


Crafting a captivating opening scene is crucial for drawing readers into your story. Whether you're writing a novel, short story, or screenplay, here are some effective strategies to create an engaging beginning:


  1. Know Your Ending: Counterintuitively, understanding how your story concludes can help you write a powerful opening scene. It allows you to foreshadow, create intrigue, and set the tone effectively.
  2. Establish Your Setting: Transport readers to a vivid and intriguing world. Describe the time, place, and atmosphere in a way that piques curiosity and immerses them in the story.
  3. Build an Engaging Event: Start with action, conflict, or mystery. An event that disrupts the protagonist's ordinary life immediately captures attention. Consider using a dramatic incident, a shocking revelation, or a puzzling situation.
  4. Introduce Your Protagonist: While your protagonist doesn't have to appear in the opening scene, it often works well when they do. It provides narrative focus, establishes the point of view, and builds emotional resonance. Think about how Robert Towne introduced Jake Gittes in the opening scene of "Chinatown."
  5. Develop Characters Through Dialogue: Use dialogue to reveal character traits, relationships, and conflicts. Engaging conversations can pull readers in and make them care about the characters.


Remember, a captivating opening scene sets the stage for the entire story. Experiment with different approaches, and find what resonates best with your narrative. 

Happy writing!!!


Also see:

Saturday, July 27, 2024

The Power of the First Scene: Proving Your Writing Skills and Selling Your Book

 




The Power of the First Scene: Proving Your Writing Skills and Selling Your Book


by Olivia Salter


In the world of publishing, where thousands of books battles for readers' attention, it's the first scene that holds unparalleled significance. This crucial opening not only captivates potential readers but also demonstrates your ability to craft compelling narratives. Here’s why the first scene is vital to your book’s success:

Captivating Attention from the Get-Go

In an era where attention spans are short and distractions are plenty, the first scene must hook readers immediately. It's the bait that lures them into your story world. A gripping opening can set the tone, mood, and pace, compelling readers to keep turning the pages. Whether it's a dramatic incident, an intriguing character, or an evocative description, the first scene should make a promise that the rest of the book will fulfill.

Showcasing Your Writing Skills

The first scene is a showcase of your writing prowess. It’s where you prove you can weave words into a tapestry that engages and mesmerizes. Readers, and importantly, agents and publishers, look for certain hallmarks in this opening: clarity, creativity, and a unique voice. A well-crafted first scene demonstrates your command over language, your ability to build tension, and your knack for creating vivid imagery.

Establishing the Story’s Stakes

The first scene often sets up the stakes, giving readers a glimpse of the conflicts and challenges that will drive the narrative. By hinting at the obstacles and goals, you provide a reason for readers to invest emotionally in the characters and plot. It’s an early promise of the journey they are about to undertake, ensuring they are on board from the start.

Building Reader Connection

Characters introduced in the first scene need to resonate with readers. Whether they are relatable, enigmatic, or extraordinary, these characters must evoke curiosity and empathy. A strong character introduction can make readers care about their fate, rooting for them or even against them, but always feeling something. This emotional connection is key to keeping readers engaged.

Reflecting the Book’s Unique Selling Point

Every book has a unique selling point—be it a distinctive voice, an innovative plot, or a fresh perspective. The first scene is the perfect place to hint at what makes your book special. It’s an opportunity to stand out from the multitude of other works in your genre, making readers (and agents) see why your book is worth their time and attention.

In conclusion, the first scene is not just an introduction; it’s a powerful statement of your capabilities as a writer. It’s where you make your first impression, one that can determine whether your book flies off the shelves or gathers dust. By crafting a compelling, skillful, and engaging opening, you set the stage for a successful journey from the first page to the last. In the end, it's this critical scene that proves you can actually write—and sell your book.

 

Also see:

Thursday, July 25, 2024

Writing the Perfect Scene

 

Writing the Perfect Scene

 

by Olivia Salter


Writing the perfect scene in a fictional novel involves a delicate balance of structure, emotion, and purpose. Let’s dive into the key elements:

1. Large-Scale Structure of a Scene

A scene has two levels of structure:

  • Objective: To create a powerful emotional experience for the reader.
  • How to Achieve It:
    • Start Late, End Early: Jump into the action as late as possible and exit before it drags.
    • Use an Engine: Every scene should propel the reader through the story by advancing the plot or revealing character insights.
    • Multitask: Scenes can serve multiple purposes (e.g., reveal backstory, introduce conflict, deepen relationships).
    • Play With Time: Vary pacing by stretching or compressing time within a scene.
    • Cannibalize Other Scenes: Combine scenes to streamline the narrative.
    • Supercharge Conflict: Introduce tension, obstacles, and stakes.
    • Character Change: Show how the characters evolve or react.
    • Essential to Plot Progression: Ensure each scene contributes to the overall story.

2. Small-Scale Structure of a Scene

Within a scene, consider:

  • Setting: Describe the environment vividly.
  • Characterization: Reveal character traits, emotions, and motivations.
  • Dialogue: Use authentic dialogue to advance the plot or deepen relationships.
  • Action: Show characters doing something relevant.
  • Emotion: Evoke feelings through sensory details.
  • Conflict: Introduce tension or obstacles.
  • Resolution: End with a sense of change or anticipation.

Remember, perfection lies in creating a rich emotional experience for your reader. 

Happy writing!!!

 

Also see:

Saturday, October 22, 2022

Writing The Perfect Scene by Randy Ingermanson


Writing The Perfect Scene 

by Randy Ingermanson

 

Having trouble making the scenes in your novel work their magic? In this article, I’ll show you how to write the “perfect” scene.

Maybe you think it’s impossible to write the perfect scene. After all, who can choose every word perfectly, every thought, every sentence, every paragraph? What does perfection mean, anyway?

Honestly, I don’t know. Perfection is in the eye of the beholder. Style is a matter of taste.

But structure is pretty well understood. Maybe you can’t write the perfectly styled scene. But you can write the perfectly structured scene. And that’s a whale of a lot better than writing a badly structured scene.

The Two Levels of Scene Structure

A scene has two levels of structure, and only two. They are:

  • The large-scale structure of the scene
  • The small-scale structure of the scene

This may seem obvious, but by the end of this article, I hope to convince you that it’s terribly profound. If you then want to fling large quantities of cash at me in gratitude, please don’t. I’d really rather have a check. With plenty of zeroes. I am going to steal insights from Dwight Swain’s book, Techniques of the Selling Writer. This is quite simply the finest book ever written on how to write fiction. If you don’t have this book, you are robbing yourself blind. I will be giving you the high points in this article, but there is really no substitute for reading the book and digesting it.

Before we begin, we need to understand how we keep score. How do we know what perfection is? The answer is based on understanding your reader’s motivation for reading.

Your reader is reading your fiction because you provide him or her with a powerful emotional experience. If you’re writing a romance, you must create in your reader the illusion that she is falling in love herself. If you’re writing a thriller, you must create in your reader the illusion that he is in mortal danger and has only the tiniest chance of saving his life (and all of humanity). If you’re writing a fantasy, you must create in your reader the illusion that she is actually in another world where all is different and wonderful and magical. And so on for all the other genres.

If you fail to create these emotions in your reader, then you have failed. If you create these emotions in your reader, then you have succeeded. The better you create the desired emotional experience in your reader, the better your fiction. Perfection in writing comes when you have created the fullest possible emotional experience for your reader.

Large-Scale Structure of a Scene

The large-scale structure of a scene is extremely simple. Actually, there are two possible choices you can make for your scene structure. Dwight Swain calls these two choices “scenes” and “sequels”. This is horrendously confusing, since both of these are what most ordinary people call scenes. In what follows, I’m going to capitalize these terms, calling them Scenes and Sequels. That is your signal that I’m using Swain’s language. When I use the word “scene” in the ordinary non-Swain sense, I’ll leave it uncapitalized. Since you are exceptionally brilliant and perceptive, you will not find this a problem. Let me give you the high points on Scenes and Sequels right up front.

Scene has the following three-part pattern:

  1. Goal
  2. Conflict
  3. Disaster

Sequel has the following three-part pattern:

  1. Reaction
  2. Dilemma
  3. Decision

You may think these patterns are too simple. You may think this is reducing writing to Paint-by-Numbers. Well, no. This is reducing fiction to the two patterns that have been proven by thousands of novelists to actually work. There are plenty of other patterns people use. They typically work less well. It may well be that there are other patterns that work better. If you can find one that works better, please tell me. But for now, let’s pretend that Dwight Swain is right. Let’s pretend these are absolutely the best possible patterns for writing fiction. Let’s pretend these are the keys to writing the perfect scene. Let’s move on and look at each of these in turn.

As we said, the Scene has the three parts Goal, Conflict, and Disaster. Each of these is supremely important. I am going to define each of these pieces and then explain why each is critical to the structure of the Scene. I assume that you have selected one character to be your Point Of View character. In what follows, I’ll refer to this character as your POV character. Your goal is to convincingly show your POV character experiencing the scene. You must do this so powerfully that your reader experiences the scene as if she were the POV character.

  1. Goal: A Goal is what your POV character wants at the beginning of the Scene. The Goal must be specific and it must be clearly definable. The reason your POV character must have a Goal is that it makes your character proactive. Your character is not passively waiting for the universe to deal him Great Good. Your character is going after what he wants, just as your reader wishes he could do. It’s a simple fact that any character who wants something desperately is an interesting character. Even if he’s not nice, he’s interesting. And your reader will identify with him. That’s what you want as a writer.
  2. Conflict: Conflict is the series of obstacles your POV character faces on the way to reaching his Goal. You must have Conflict in your Scene! If your POV character reaches his Goal with no Conflict, then the reader is bored. Your reader wants to struggle! No victory has any value if it comes too easy. So make your POV character struggle and your reader will live out that struggle too.
  3. Disaster: A Disaster is a failure to let your POV character reach his Goal. Don’t give him the Goal! Winning is boring! When a Scene ends in victory, your reader feels no reason to turn the page. If things are going well, your reader might as well go to bed. No! Make something awful happen. Hang your POV character off a cliff and your reader will turn the page to see what happens next.

That’s all! There is literally nothing more you need to know about Scenes. Now let’s look at Sequels . . .

The Sequel has the three parts Reaction, Dilemma, and Decision. Again, each of these is critical to a successful Sequel. Remove any of them and the Sequel fails to work. Let me add one important point here. The purpose of a Sequel is to follow after a Scene. A Scene ends on a Disaster, and you can’t immediately follow that up with a new Scene, which begins with a Goal. Why? Because when you’ve just been slugged with a serious setback, you can’t just rush out and try something new. You’ve got to recover. That’s basic psychology.

  1. Reaction: A Reaction is the emotional follow-through to a Disaster. When something awful happens, you’re staggering for awhile, off-balance, out of kilter. You can’t help it. So show your POV character reacting viscerally to his Disaster. Show him hurting. Give your reader a chance to hurt with your characters. You may need to show some passage of time. This is not a time for action, it’s a time for re-action. A time to weep. But you can’t stagger around in pain forever. In real life, if people do that they lose their friends. In fiction, if you do it, you lose your readers. Eventually, your POV character needs to get a grip. To take stock. To look for options. And the problem is that there aren’t any . . .
  2. Dilemma: A Dilemma is a situation with no good options. If your Disaster was a real Disaster, there aren’t any good choices. Your POV character must have a real dilemma. This gives your reader a chance to worry, which is good. Your reader must be wondering what can possibly happen next. Let your POV character work through the choices. Let him sort things out. Eventually, let him come to the least-bad option . . .
  3. Decision: A Decision is the act of making a choice among several options. This is important, because it lets your POV character become proactive again. People who never make decisions are boring people. They wait around for somebody else to decide. And nobody wants to read about somebody like that. So make your character decide, and make it a good decision. Make it one your reader can respect. Make it risky, but make it have a chance of working. Do that, and your reader will have to turn the page, because now your POV character has a new Goal.

And now you’ve come full circle. You’ve gone from Scene to Sequel and back to the Goal for a new Scene. This is why the Scene-Sequel pattern is so powerful. A Scene leads naturally to a Sequel, which leads naturally to a new Scene. And so on forever. At some point, you’ll end the cycle. You’ll give your POV character either Ultimate Victory or Ultimate Defeat and that will be the end of the book. But until you get there, the alternating pattern of Scene and Sequel will carry you through. And your reader will curse you when he discovers that he’s spent the whole doggone night reading your book because he could not put the thing down.

That’s perfection.

However, it’s only half the battle. I’ve told you how to design the Scenes and Sequels in the large scale. But you still need to write them. You need to write paragraph after compelling paragraph, with each one leading your POV character smoothly through from initial Goal to knuckle-whitening Conflict to bone-jarring Disaster, and then through a visceral Reaction to a horrible Dilemma and finally on to a clever Decision.

How do you do that? How do you execute those paragraphs? How do you do it perfectly?

Small-Scale Structure of a Scene

The answer is to use what Dwight Swain calls “Motivation-Reaction Units.” He calls them MRUs for short. This is such an absurdly ridiculous term that I’m going to keep it, just to prove that Mr. Swain was not perfect. Writing MRUs is hard. However, I’ve found that it provides the most bang for the buck in improving your writing. I’ve mentored many writers, and a universal problem for them was the failure to write MRUs correctly. My solution was to make them painfully work through several chapters so that each one was nothing more nor less than a string of perfect MRUs. After a few chapters, the technique gets easier. Then I maliciously require them to rewrite their whole novel this way. This is brutally hard work, but those who have survived it have become much better writers.

Writing MRUs correctly is the magic key to compelling fiction. I don’t care if you believe me or not. Try it and see.

I hope you are salivating to learn this magical tool. You need to first suffer through one full paragraph of theory. I know you will do this because you are intelligent and patient and because I am flattering you quite thickly.

You will write your MRUs by alternating between what your POV character sees (the Motivation) and what he does (the Reaction). This is supremely important. Remember that Swain calls these things “Motivation-Reaction Units”. The Motivation is objective but it is something that your character can see (or hear or smell or taste or feel). You will write this in such a way that your reader also sees it (or hears it or smells it or tastes it or feels it). You will then start a new paragraph in which your POV character does one or more things in Reaction to the Motivation. There is an exact sequence you must follow in writing your Reaction. The sequence is based on what is physiologically possible. Note that the Motivation is external and objective. The Reaction is internal and subjective. If you do this, you create in your reader the powerful illusion that he is experiencing something real. Now let’s break this down into more detail . . .

The Motivation is external and objective, and you present it that way, in objective, external terms. You do this in a single paragraph. It does not need to be complicated.

Here is a simple example:

The tiger dropped out of the tree and sprang toward Jack.

Note the key points here. This is objective. We present the Motivation as it would be shown by a videocamera. Nothing here indicates that we are in Jack’s point of view. That comes next, but in the Motivation we keep it simple and sharp and clean.

The Reaction is internal and subjective, and you present it that way, exactly as your POV character would experience it — from the inside. This is your chance to make your reader be your POV character. To repeat myself, this must happen in its own paragraph (or sequence of paragraphs). If you leave it in the same paragraph as the Motivation, then you risk whip-sawing the reader. Which no reader enjoys.

The Reaction is more complex than the Motivation. The reason is that it is internal, and internal processes happen on different time-scales. When you see a tiger, in the first milliseconds, you only have time for one thing — fear. Within a few tenths of a second, you have time to react on instinct, but that is all it will be — instinct, reflex. But shortly after that first reflexive reaction, you will also have time to react rationally, to act, to think, to speak. You must present the full complex of your character’s reactions in this order, from fastest time-scale to slowest. If you put them out of order, then things just don’t feel right. You destroy the illusion of reality. And your reader won’t keep reading because your writing is “not realistic.” Even if you got all your facts right.

Here is a simple example:

A bolt of raw adrenaline shot through Jack’s veins. He jerked his rifle to his shoulder, sighted on the tiger’s heart, and squeezed the trigger. “Die, you bastard!”

Now let’s analyze this. Note the three parts of the Reaction:

  1. Feeling: “A bolt of raw adrenaline shot through Jack’s veins.” You show this first, because it happens almost instantly.
  2. Reflex: “He jerked his rifle to his shoulder . . .” You show this second, as a result of the fear. An instinctive result that requires no conscious thought.
  3. Rational Action and Speech: “. . . sighted on the tiger’s heart, and squeezed the trigger. ‘Die, you bastard!'” You put this last, when Jack has had time to think and act in a rational way. He pulls the trigger, a rational response to the danger. He speaks, a rational expression of his intense emotional reaction.

It is legitimate to leave out one or two of these three parts. (You can’t leave out all three or you have no Reaction.) But there is one critical rule to follow in leaving parts out: Whatever parts you keep in must be in the correct order. If there is a Feeling, it must come first. If there is a Reflex, it must never come before a Feeling. If there is some Rational Action, it must always come last. This is simple and obvious and if you follow this rule, your Reactions will be perfectly structured time after time.

And after the Reaction comes . . . another Motivation. This is the key. You can’t afford to write one perfect MRU and then be happy. You’ve got to write another and another and another. The Reaction you just wrote will lead to some new Motivation that is again external and objective and which you will write in its own paragraph. Just to continue the example we’ve created so far:

The bullet grazed the tiger’s left shoulder. Blood squirted out of the jagged wound. The tiger roared and staggered, then leaped in the air straight at Jack’s throat.

Note that the Motivation can be complex or it can be simple. The only requirement is that it be external and objective, something that not only Jack can see and hear and feel but which any other observer could also see and hear and feel, if they were there.

The important thing is to keep the alternating pattern. You write a Motivation and then a Reaction and then another Motivation and then another Reaction. When you run out of Motivations or Reactions, your Scene or Sequel is over. Don’t run out too soon. Don’t drag on too long.

Write each Scene and Sequel as a sequence of MRUs. Any part of yourScene or Sequel which is not an MRU must go. Cut it ruthlessly. Show no mercy. You can not afford charity for a single sentence that is not pulling its weight. And the only parts of your scene that pull their weight are the MRUs. All else is fluff.

About Those Pesky Rules

You may be feeling that it’s impossible to write your scenes following these rules. Doing so causes you to freeze. You stare blindly at the computer screen, afraid to move a muscle for fear of breaking a Rule. Oh dear, you’ve got yourself a case of writer’s block. That’s bad. Now let me tell you the final secret for writing the perfect scene.

Forget all these rules. That’s right, ignore the varmints. Just write your chapter in your usual way, putting down any old words you want, in any old way you feel like. There, that feels better, doesn’t it? You are creating, and that’s good. Creation is constructing a story from nothing. It’s hard work, it’s fun, it’s exciting, it’s unstructured. It’s imperfect. Do it without regard for the rules.

When you have finished creating, set it aside for awhile. You will later need to edit it, but now is not the time. Do something else. Write another scene. Go bowling. Spend time with those annoying people who live in your house. Remember them? Your family and friends? Do something that is Not Writing.

Later on, when you are ready, come back and read your Great Piece of Writing. It will have many nice points to it, but it will not be perfectly structured. Now you are ready to edit it and impose perfect structure on it. This is a different process than Creation. This is Analysis, and it is the opposite of Creation. Analysis is destruction. You must now take it apart and put it back together.

Analyze the scene you have written. Is it a Scene or a Sequel? Or neither? If it is neither, then you must find a way to make it one or the other or you must throw it away. If it is a Scene, verify that it has a Goal, a Conflict, and a Disaster. Identify them each in a one-sentence summary. Likewise, if it’s a Sequel, verify that it has a Reaction, a Dilemma, and a Decision. Identify each of these in a one-sentence summary. If you can’t put the scene into one of these two structures, then throw the scene away as the worthless piece of drivel that it is. You may someday find a use for it as a sonnet or a limerick or a technical manual, but it is not fiction and there is no way to make it fiction, so get rid of it.

Now that you know what your scene is, either Scene or Sequel, rewrite it MRU by MRU. Make sure every Motivation is separated from every Reaction by a paragraph break. It is okay to have multiple paragraphs for a single Motivation or a single Reaction. It is a capital crime to mix them in a single paragraph. When they are separated correctly, you may find you have extra parts that are neither Motivation nor Reaction. Throw them away, no matter how beautiful or clever they are. They are not fiction and you are writing fiction.

Examine each Motivation and make sure that it is entirely objective and external. Show no mercy. You can not afford mercy on anything that poisons your fiction. Kill it or it will kill you.

Now identify the elements of each Reaction and make sure they are as subjective and internal as possible. Present them as nearly as you can from inside the skin of your POV character. Make sure they are in the correct order, with Feelings first, then Reflexive Actions, and finally Rational Actions and Speech. Again, eliminate everything else, even brilliant insights that would surely get you a Nobel peace prize. Brilliant insights are very fine, but if they aren’t fiction, they don’t belong in your fiction. If you can contrive to rearrange such a thing to be in a correct fictional pattern, then fine. Keep it. Otherwise, slit its vile throat and throw the carcass to the wolves. You are a novelist, and that’s what novelists do.

When you reach the end of the scene, whether it is a Scene or a Sequel, check to make sure that everything is correctly placed in an MRU and all carcasses are thrown out. Feel free to edit the scene for style, clarity, wit, spelling, grammar, and any other thing you know how to do. When you are done, pat yourself on the back.

You have written a perfect scene. All is well in your world. You are done with this scene.

Now go do it again and again until you finish your book.

 

About The Author

Randy Ingermanson
Randy Ingermanson is a theoretical physicist and the award-winning author of six novels. He has taught at numerous writing conferences over the years and publishes the free monthly Advanced Fiction Writing E-zine.