There is a helpful article in the October issue of The Florida Writer with the above title. It was written by Jordan Rosenfeld. Her website says that, “Jordan holds an MFA in Creative Writing & Literature from the Bennington Writing Seminars and a B.A. in Liberal Studies from the Hutchins School. She is a former resident of Petaluma, California . . . who is an author, editor and freelance writer.” She has written three suspense novels, five writing guides and has appeared in: The Atlantic, GOOD, New York Times, New York Magazine, San Francisco Chronicle, Scientific American, Writer’s Digest, and many more.
She said: “Any story or novel is, in essence, a series of scenes strung together like beads on a wire, with a narrative summary adding texture and colour in between. You want to start each scene by asking yourself the following questions:
- Where are my characters in the plot? Where did I leave them in the last scene and what are they doing now?
- What is the most important piece of information that needs to be revealed in this scene?
- What is my protagonist’s goal for this scene?
- How will that goal be achieved or thwarted?
“It is generally a good idea to get your characters on the page sooner rather than later. . . . If your character isn’t present by the second paragraph of any given scene, you’re in danger of losing the reader. . . . A scene feels purposeful when you give the character that stars in it an intention, or goal to pursue. . . . Scene intentions ought to be intricately tied to the plot, i.e., your character’s goal – and the unfolding of that goal through actions, discoveries, and explorations your character undertakes that drive the story continually forward.
“Many writers believe that they must explain every bit of action that is going on right from the start of a scene, but narrative summary defeats action. . . . Keep in mind the key elements of action: time and momentum. . . . The key to creating strong momentum is to start an action without explaining anything. . . . Here’s how to create an action launch:
- Get straight to the action
- Hook the reader with big or surprising actions
- Be sure that the action is true to your character
- Act first, think later. ‘Elizabeth slapped the prince. When his face turned pink, horror filled her. What have I done? she thought’
“Writers often try to include a narrative summary, such as descriptions of the history of a place or the backstory of characters, right at the launch of a scene, believing that the reader will not be patient enough to allow actions and dialogue to tell the story. . . . When delivered in large doses, narrative summary is a distraction and an interruption. Yet a scene launch is one of the easiest places to use a judicious amount of narrative summary . . . so long as you don’t hold the reader captive too long. Take the opening of an early scene in Gina Frangello’s novel Every Kind of Wanting: ‘You think you know our story, Nick, but that would imply that I was capable of honesty. You think our stories are some joint thing, a common narrative on which we, the co-conspirator would agree, but you don’t know anything yet.’ This is almost entirely narrative summary . . . However, we do get the sense of a complicated tale about to unfold, one with secrets and lies – the best kind of story. Narrative launches should be reserved for the following occasions:
- When a narrative summary can save time
- When information needs to be conveyed before an action
- When a character’s thoughts or intentions cannot be revealed in action
“Sometimes setting details – like a jungle on fire,or moonlight sparkling on a lake – are so important to plot or character development that visual setting must be included in launch of a scene. . . . Here’s how to create an effective scenic launch:
- Use specific visual details
- Allow scenery to set the scene
- Use scenery to reflect a character’s feelings
- Show the impact of the setting on the character”