Coming to you live in smell-o-vision. Does anyone out there remember that? We got into a discussion last weekend about Soaring Over California and I congratulated Disney on their fabulous use of Smell-O-Vision. People were shocked that was a real thing. It was. Some film companies were trying to complete with color back in the day without paying to upgrade. Shrug. It didn’t really work because the technology wasn’t sufficient to get the smells in and out properly. Not like Soaring Over California. Bravo Disney. Now if only you could do something about the obscene lines….
Story Sense, Chapter Four: Scene Structure
Once again I am editing and paring for the parts that really apply to any fiction writing not just screen play writing. I think this book might be getting a little too screen play focused but I toil on.
A bit is a short piece, that lacks internal structure but moves the plot forward.
A scene is more complicated with internal structure, think three sections not unlike the 3 act structure, and is more likely to deal with emotional development.
Hoard your plot information and release it in small increments to sustain interest in the narrative. This dynamic is essential to writing simple plots with complex characters.
So, what is the point of the scene? No really, do you know? If you don’t the reader sure won’t. If you’re having trouble with a scene maybe it’s because you aren’t clear on where the scene is supposed to go. Don’t let your characters run away with you. Keep them moving toward the point of the scene. When a new idea hits you, really work it over to make sure it makes sense for your story line, if it does, rework your plot to incorporate it seamlessly. If you need it in your scene, put it there. If it’s just window dressing, make it go.
Energize characters by making them comical, sexy, egotistical, unpleasant, aggressive, eccentric, or whatever will justify their internal life and motivation.
According to Lucey, a crafty writing strategy worth remembering is this: do not make your hero give excuses, it diminishes the hero. If in his past the hero has been a scapegoat for a situation, he shouldn’t talk about it, have other characters transmit the information. But be careful that your back story doesn’t linger so long that it impacts the momentum of the story negatively.
Don’t forgot the golden action – reaction set up. It should be logical but unexpected.
Camp Nano is going fabulously. I don’t have a word count update for today because I just got out of bed but never fear, words will appear.
T.A. Henry 