Crafting Powerful Scenes: A Guide to Writing Scenes That Work
In the last blog article, we discussed scene vs. summary and learned how vital narrative summary is to a cohesive story. Today, we'll turn our lens to scenes.
So roll up your sleeves, writer, because we're going to dig deep into the anatomy of scene writing to answer what exactly is a scene, what components a writer needs to consider, and how do we write one that keeps our readers engaged and moving forward?
What is a Scene
A scene is a unit (think of it like a link) of expressed change, and many links make a story. And what does a story represent, if not one huge, irreversible change, to a situation, a person(s), or a circumstance?
Crafting a compelling scene is a vital skill for a writer because no matter how great the story is in concept, it will only hold together big picture if it works on the scene level. It doesn't matter how eloquent the writing is; if the scenes don't work, the story will still be a lifeless, shapeless thing that does not hold our interest.
Here are the most common ways to explain what a scene is:
The smallest unit of the story vs. the sentence, which is the smallest unit of writing
A mini-story
Something that has a beginning, middle, and end
A building block of story
These explanations are familiar, but I don't find them helpful because they don't address what's in a scene, what it does, or how it works.
Here is the definition I prefer:
A scene is a unit of time where events occur (action) in more or less one setting. It involves a character or a cast of characters and is told from one point of view to affect change that advances the plot.
The most crucial word in that definition is change! Change is what creates story movement. At its core, a scene is a small unit of change. Added together, scenes represent the global change that answers the story's big question—the reason we are reading.
So globally, the story is just one significant change. Therefore, every scene must involve some change as well.
What type of change should occur in a scene:
Many things can change in a scene: location, time, a character's fate, what they know or believe, their emotional status, and circumstances—but how do we know if it works? Is it enough of a change or the right one?
Here's how I like to think about it: Every story is actually two stories when it comes to your protagonist.
There's the external story–the one the reader can see. It's the plot events and obstacles your character will face as they pursue their goal.
Then there's the internal story–the one the reader can't see, but they can feel. It's the intrapersonal journey of your character, how the plot and conflict reshape their internal governing system (based on their wounds and false beliefs) as they advance through the story.
Here's an example:
External story: A character wants to get his home back and must free a princess from a dragon to do it.
Internal story: A character who wants to avoid connection so they don’t get hurt learns (by going after the goal of the external story) that being vulnerable and caring for others is worth the risk of rejection.
Fifty points to your Hogwarts house if you guessed, this example was from Shrek!
When Shrek meets and teams up with Donkey (an external event that pressures the character's internal status and false beliefs, "I work alone"), we have a change that impacts both storylines and advances the narrative.
That’s the type of change you want in your scenes!
Okay, that probably felt like a detour in our scene breakdown, but the point is to understand that for change in a scene to be meaningful, it needs to impact both the external and internal story of the protagonist. And don't get me wrong, other characters count, too, but for now, we'll focus on numero uno.
Back to things that can change in a scene. Here's our running list: Location, time, circumstances, emotional state, mental state, relationships, character fate, or understanding. I'm sure there's more, but that's a good start.
Now that we know how to create meaningful change in a scene (one affects both the internal and external story of the protagonist ), how do we craft it to advance the plot and link to the next scene?
Here's my formula: Character's want + Emotional state/Worldview + Conflict = Choice/Decision + Action = Resolution/Consequence = Forward Momentum.
I'll walk you through it; then, we will apply a framework around it for context.
First, have a destination (outcome) in mind for your scene so you don't write off into the weeds. Decide on the point of the scene. Why is it here? What outcome do you want to occur in this scene? Why does it matter to the global story?
Decide which characters will be in your scene and what they want from the situation. Everyone will have an agenda, something they want, and a reason for wanting it. This sets up the player's motivations and expectations and helps you think about how they will act as they pursue their goal.
Decide on the POV character. If you're writing multi-POV (and not just following a single protagonist through the story), ask which character has the most at stake or the most to gain or lose in the scene. That will help you choose which head to be in as you write. Remember, no head hopping unless you have a good reason for it.
Consider the starting value of your POV character's emotional state related to their external goal, then consider their internal desire/need. How are they feeling when they enter the scene? What do they think about their current situation and the global situation around them (worldview)? What do they value?
What is their current goal, given what they value and the scene's context? What's motivating them? How do they plan to achieve their goal? Remember, no goal/plan, no agency. No motivation, no context, or reader understanding.
Think about how to show the stakes. What will it cost them if they fail to achieve the goal?
Add conflict! What obstacle will hinder them from achieving their external goal and make them uncomfortable internally? Remember, as much as we like our characters, readers don't read to see people get what they want without a fight; we want to see them challenged.
The obstacle to your character's goal will produce conflict, and conflict is your catalyst for CHANGE!
Because of the conflict presented, the character must decide what action to take.
They will take action, succeed or fail, resulting in a new situation, circumstance, or understanding for the character.
The character then reflects on the change (change in their emotional state/worldview, new information, relationship, or location) and then makes another decision to move the story forward.
Now, let’s take all that and put it inside a framework.
Scene Framework:
Scene Title: One or two words to capture what happens in the scene.
Point: What’s the scene’s primary action/question/outcome?
Scene value at stake:(_____) Will they or won’t they?
Beginning:
Setup: What is the scene question and value at stake? What’s the point?
Who’s in the scene: character + their worldview and emotional state.
Location/Time
What is the character’s goal at the start of the scene? What is the character’s internal struggle, what they are in denial about?
Motivation for goals in the scene (based on worldview and lived experience, i.e. what they value.)
Plan to achieve their goal:
Middle:
Conflict
Obstacles introduced or expanded upon that will challenge the protagonist externally and internally
Character adapts a plan to overcome conflict.
Action/Battle/Argument
Progressive complications to conflict (the first plan backfired or the problem grows worse = new plan)
Crisis moment- Character at the ultimate level of intolerance to conflict and is faced with a choice. They can’t get what they want and must decide on a new course of action based on info in the escalating conflict.
Turning point- Every crisis will have a turning point: The moment when the character decides what to do about the situation(conflict), and this decision will change the scene trajectory. (Typically, this decision is made between two less-than-stellar options. BEST BAD CHOICE, but it could be between two really great options, too)
Scene energy is at its highest SO FAR.
The protagonist’s energy is at its lowest because they realize they can’t get what they want without making a hard decision.
End:
Climax
The character acts on the decision made during the crisis & either fails or succeeds (they usually fail at the story’s start.)
Scene energy is at its HIGHEST!
Protagonist energy is also at HIGHEST because they are in action.
Change in scene value is seen and felt by the reader because the protagonist is in a different place emotionally and perhaps physically than they were at the beginning of the scene. Consequences are set up that will drive the story forward.
Scene question answered: Will they or won’t they succeed? Yes/No.
Resolution- based on new information/revelations, the protagonist faces the consequences and decides what to do next. And because of this we have forward momentum into the next scene.
Let’s look at ALL OF THIS in a concrete scene example pulled from one of my favorite movies ... yup, you guessed it: Shrek.
Spoiler alert :) Sorry friends.
Here's what happened before this scene takes place:
We've met Shrek in the opening. Because of that, we know he doesn't believe in happily-ever-afters, he's antisocial, he values his swamp and solitude above all things, and then we learn that locals persecute him because they think he's a dangerous ogre.
The viewer knows that fairytale creatures are being rounded up by Lord Farquaad and evicted from their homes, and Farquaad dreams of marrying his princess Fiona.
Shrek is oblivious to all of that.
However, Donkey has just escaped Lord Farquaad’s evil soldiers by hiding behind Shrek, whom he met on the path while he was running away.
Shrek defends Donkey (out of spite for the soldiers, not because he cares about Donkey), and because of that, Donkey (Mr. Social and Easy Going), uninvited, follows Shrek to his swamp.
Shrek has finally succeeded in kicking Donkey outside his house, planning to have a relaxing evening at home alone, until …
Scene Title: Swamp Invasion
Scene Point: Question the scene will answer concerning the global story: Will Shrek get his unwanted company out of his swamp?
POV Character: Shrek - The Antisocial Orge
Worldview: fairytales & happily-ever-afters are crap; solitude is the best.
Emotional state: happy/content because he’s alone… finally.
BEGINNING:
Setup: Scene values at stake based on what Shrek values: Solitude = Peace
Shrek finally relaxing at home- has kicked Donkey out on the porch.
Goal: have a peaceful evening, eat a meal alone, and don’t invite Donkey inside.
MIDDLE:
Conflict:
Initial disturbance: Unwanted guests (Three Blind Mice), Shrek tries to throw them out. Fails.
Progressive complications: Snow White & Dwarves invade, and Wolf invades his bed.
The problem builds in complexity and tension —-> his entire swamp is invaded, and they don’t care that he’s unhappy about it even if he is a scary ogre.
Stakes: no solitude/peace. What’s at risk for Shrek from his perspective: his sanity.
Old patterns fail (shouting angry ogre act).
Info revealed: Farquaad’s eviction notice to fairytale creatures
Crisis: It gets worse to the point Shrek must decide to let them stay or do something about it
(Turning point- Shrek realizes this is a bigger problem that will continue, and he must do something about it).
Decision- He will confront Farquaad to regain his swap (Shrek makes the best bad choice).
END
Climax: Acts on Decision: announces he will confront Farquaad. They all cheer him. Donkey is the only one who knows where Lord Farquaad is (more complications for Shrek).
Resolution = new goal and action: Leaves swamp to go to Duloc with Donkey as a guide.
Assessment of changes:
Worldview: Solitude is still best. The invasion proved it!
Emotional state- beginning at peace/happy to angered/irritated but determined.
Value shift: + emotional state at start to - negative emotional state at the end.
The core value at stake: peace/solitude. It’s been disrupted.
Scene question answered: Shrek will not eliminate his unwanted company (at least not today).
What determines where a scene begins and ends?
There are no hard and fasts about this, but here are a few rules of thumb:
A scene typically ends if there is a change in location or time frame.
If we move into another POV character, it needs to be a new scene; otherwise, we’re head hopping.
Finally, the scene can end on a cliffhanger where we don’t see the result of the crisis (the tipping point where things can no longer be dealt with in the same manner). It’s delivered in the following chapter.
CUT! That’s a wrap.
Thanks for hanging in with me for this deep dive into scene anatomy! It was a lot, but understanding the components of the scene and how to stack them will strengthen your story!
See if you can pick out these elements in the next scene you read: the character’s goal, initial disturbance, failed first plan, progressive complications of rising conflict, crisis moment + decision, climax, and resolution.
Let me know what you find!
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