We’re switching gears today to talk about various aspects of the craft of writing fiction. So . . . no more talking about marketing or branding for awhile!
I’ll start with a question Vennessa sent me last week by email. I’ll summarize the question here: How do you handle Scenes and Sequels in a multi-POV book?
Randy sez: That’s a good question. I’m going to define a few terms so that anyone just joining us will be up to speed on the language.
“Scenes” and “Sequels” are terms invented by Dwight Swain in his book TECHNIQUES OF THE SELLING WRITER. I give a quick summary of Scenes and Sequels in my article on Writing the Perfect Scene.
A “Scene” contains three major elements, a Goal, a Conflict, and a Disaster.
In Swain’s theory of fiction, a “Scene” should be followed by a “Sequel” which contains three major elements, a Reaction, a Dilemma, and a Decision. A “Sequel” is then followed by another “Scene” and they alternate through the story.
A “POV character” is a “Point of View character”–the character whose head you try to get inside when you’re writing a particular scene. It’s common to use a number of POV characters in a novel. But you should only have one in each scene.
The problem comes when you try to write Scenes and Sequels using multiple characters. If you write a Scene in your hero Jim-Bob’s POV, then it seems like you’re obligated to write a Sequel in Jim-Bob’s POV too, and then another Scene, still in his head, and then another Sequel, and so on. And if you do that, you can’t ever get out of Jim-Bob’s head and into the POV of his girlfriend Sally-Jane. Nor can you ever get into the POV of the villain, Wicked Willie.
What’s a novelist to do?
The truth is that fiction these days moves faster than it did in the old days. Maybe you like that, or maybe you long for the old days when it took twenty pages to explain why Lizzie Bennett’s family estate got entailed away. It doesn’t matter whether you like it or not, fiction moves faster. There is less telling and more showing. There is less family history and more exploding helicopters. There are fewer Sequels and more Scenes.
These days, it’s common to write a novel in which Sequels are played out off-camera, and then the result of each Sequel (the Decision) is reviewed briefly in a later Scene.
This doesn’t mean less work for the author. It means more work. You, the novelist, still need to know what happens in all Sequels. But you now have to figure out a way to just give the reader the meat of what happened in the Sequel (without “telling” it) and work it into a Scene somewhere.
So if you have a Scene from Jim-Bob’s POV, it’s fine to move into Sally-Jane’s POV and show a Scene that ALSO gives the high points of the Sequel for Jim-Bob that happened off-camera. Then you can move to a Scene from Wicked Willie’s POV. Maybe that Scene will just happen to be the Sequel for poor Sally-Jane (in which case you can show it). Or maybe it won’t (in which case you STILL have to know what it was and find a way to tell it).
I like to think of a novel like a braid. Each strand of the braid is the storyline for one of the characters. You could, in principle, show only one strand all the way down and it would all make sense. But you get a richer story by alternating, having one strand on top, then another, then another. The other strands can be seen (or felt) but they’re not always visible. The alternation adds interest and texture.
Does all this make sense? If so, I’ll pick another question tomorrow from the comments we got today (there were plenty to work on for quite a while!)
If each scene ends in disaster, so the characters have to move on to a different, but similar goal, how does the story advance?
Could a scene end without a disaster, but instead having the POV character getting what they want for once?
Julie Says:
If each scene ends in disaster, so the characters have to move on to a different, but similar goal, how does the story advance?
I say:
Well after a Scene’s Disaster comes the Sequence’s Reaction. The character reacts to the disaster, faces a Dilemma after which he must make a Decision. Then follows another Scene, etc… All this according to Swain. It’s also in the article Randy mentioned. I recommend you go read it, it’s really good.
Julie Says:
Could a scene end without a disaster, but instead having the POV character getting what they want for once?
I say:
Well, you go from Scene to Sequel to Scene to Sequel, etc… until at some time you end up giving your character what he wants, or deny it completely. And this marks the end of the book basically.
All this is in the article. I’d recommend everyone to go read it, because a lot is explained in there.
In my experience sometimes having the MC achieve whatever goal he had at the beginning of the scene can increase tension rather than end the story and is necessary to move the story forward. If my MC’s main story goal is to get a promotion, a scene goal may be to get his boss to invite him golfing. Say he succeeds. The reader is led to believe the MC is moving closer to his goal. Say my MC’s next scene goal is to impress his boss while playing golf. The reader is optimistic given the MC’s recent success. Now I have my MC embarrass himself in front of his boss because he’s so nervous. Maybe he consumed a little too much liquid courage. Or maybe my MC is overconfident because he snagged the invitation and that leads him to screw up the actual golf outing. Either way he’s failed his scene goal, but I couldn’t get him there at all without first allowing him to achieve one of his goals. I also think the ups and downs make for a more interesting story.
Thanks Christophe for the advice in the last blog. I have taken that on board and I am giving it quite a lot of thought.
I’d just like to thank Christophe Desmecht for all his help yesterday! Thanks.
I think I will take your word for it, it seems to be sound advice.
Scenes and sequels are the reason I keep a running list of the order of the book. Not a synopsis, but a list of one liners that are in the order of the action and POV. Sometimes, I have to change the order a little, but a blow by blow of the book keeps me on track.
Pam, your list of “blow by blow” S&S progression sounds like a great idea for keeping on track, and the one-liners would give you an overall picture of the story. Wouldn’t it help also in identifying scenes that may not be essential to the story? Thanks.
Quick note of thanks to Randy for answering my question. I’ve only been in long enough to glance through the posts for the last several days. I’ll have to go back and read everything better.
This is good stuff – right where I am at. I got lost in the POV of one character switching to the other who gives the high-points for the first. I think I need to go back and read one of your novels again so I can see this in action.
I also like Pam’s idea of tracking her scenes – I used Power Structure in my last WIP and it was helpful but complex (although probably because I was on a steep learning curve of the craft at the time).
Randy, I can’t thank you enough for this blog. I’ve been learning so much!
That’s an AWESOME explanation of how to use the Scene/Sequel paradigm in “fast fiction” Randy!! I couldn’t have articulated it better 🙂
I’m a “scene” kind of gal–the “sequel” parts kill me. In my first book, I thought you had to write every second of every moment–trying to fit in when people ate, took a potty break, etc. and hated every boring second of those ‘sequels’. Of course, I had the purpose of a “sequel” all wrong and truly goofed it up. But, that’s just another example of why it’s probably good that many first books don’t ever get published 😉
After a “scene” I generally do one of the two things you mentioned–work in the sequel bits amidst a new scene, or go directly to a sequel. How I decide what I’ll do or won’t do is dictated by what I think the reader wants to see.
For instance, if the previous scene is high-action (that helicopter exploding 🙂 ) and I’ve worked hard to show personal conflict within the characters throughout the preceding chapters–this is a good place to showcase what impact the danger of the “explosion” has on the character’s internal conflict.
If, however, the preceding action “scene” is more about the internal conflict, then I generally follow with a scene in which the characters are taking action on that internal conflict and simply paraphrase the ‘aftermath’ or “sequel.”
In other words, I try to keep it moving, try to keep the momentum going.
I think I’ve just paraphrased everything you stated to begin with 🙂 Which is why I enjoyed reading it so much because it said so succinctly what I muddled through here 😉
Thanks again!
Warmly,
Jenny:)
I’ve heard it described as a celtic knot. The more characters you have, the more complex the knot, but they’re all working at the same time and end up “together” in the end (meaning that you have to tie up all the plot lines in the end.)
Hello Randy,
Thanks for all your help! Would you be able to give an example of this type of scene writing. I think I’m doing it right, but I’m not sure. Can you name a few authors that write in this style?
Another question if you have time to consider it:
Alive Communications will not assign you an agent unless you have been published commercially or unless you have a referral by a published author. I haven’t had a novel published yet. This means I need a referral. And how do you do that? Any secrets? I’m writing a novel set in ancient Canaan.
Thanks for your time!
Pam
I’ve got the same issue with multiple POVs and a couple nagging questions:
1. How important is the S&S alternating pattern in the first couple chapters if you’re introducing people and cleverly disguised background info?
I have 2 characters who don’t meet for a while, and the chapters leading up to it ALTERNATE.
Maybe I’ve errantly assumed that a scene or sequel comprise a full chapter, and what I should be asking is: are scenes or sequels bound by chapter, are they combined in a chapter, or are they spread across chapters?
2. Please help me understand goal-conflict-diaster vs. reaction-dilemma-decision. I get them confused.(Well, isn’t a dilemma a conflict…?)
I tried to find the S&S’s in a book I liked well enough to read in nearly one sitting (a good sign, I thought) But for the most part…I COULDN’T FIGURE OUT WHERE S&S’S BEGAN AND ENDED!
Either: a. I’m overanalyzing (highly unlikely), b. The author forgot to use S&S, or c. I really AM a moron.
Here is what I have been trying to do. Am I using the scene-sequel stuff the right way?
I usually use the scene-sequel as a chapter, although sometimes I make each a chapter. It all depends on how long it is and if I think the reader needs the chapter break between scene-sequel. If, however, its a very fast moment, I will cram more than one scene-sequel group into a chapter.
As for the parts of scene-sequels, I try to keep very short notes.
GOAL = what the POV char is consumed with at that moment.
CONFLICT = POV char vs problem/other char/self doubts
DISASTER = looks like POV char is going to reach his/her goal but then something goes waaaay wrong
REACTION = the emotional turmoil resulting from the disaster
DILEMMA = POV char vs the resulting situation of the disaster. Possible courses of actions/solutions are presented (although not laid out in an obvious multiple choice fashion)
DECISION = POV char picks one (but make sure this is a hook)
Camille Says:
1. How important is the S&S alternating pattern in the first couple chapters if you’re introducing people and cleverly disguised background info?
I say:
I would say it’s always important and you want to make absolutely sure you have a rock solid first couple of chapters. Supposing you will some day see that novel on the shelf of a bookstore, ultimately it will be the first couple of paragraphs or the first chapter that will sell your novel to the browsing customer. If you don’t grip him right away, you risk losing a potential buyer for your novel. I think it was in Stein on Writing that I read this: one of the common mistakes a beginner novelist makes is to put too much boring background information in the beginning of a novel, instead of grabbing the reader’s interest through action. (That’s not a quote, just remembering what I read)
So if you’re going to put a lot of character introductions and background info in those first chapters, you better make sure you disguise it very cleverly indeed and keep the reader interested. Using this technique of Scene and Sequel makes that a lot easier. Remember, your main character has to want something from the very first word of the very first paragraph of the very first novel.
Camille Says:
I have 2 characters who don’t meet for a while, and the chapters leading up to it ALTERNATE.
Maybe I’ve errantly assumed that a scene or sequel comprise a full chapter, and what I should be asking is: are scenes or sequels bound by chapter, are they combined in a chapter, or are they spread across chapters?
I say:
From my own personal pre-published experience (:)) I’ve seen both. I’ve seen very short Scenes and Sequels, and I’ve seen Scenes that take up an entire 3000 word chapter. Maybe that’s me, or maybe that’s how it is with everyone.
Camille Says:
2. Please help me understand goal-conflict-diaster vs. reaction-dilemma-decision. I get them confused.(Well, isn’t a dilemma a conflict…?)
I say:
For Scene:
Goal: your Scene must start with your POV character having a goal. This is important because if there’s nothing to do, there’s no interesting story for the reader to care about.
Conflict: a story isn’t interesting if your POV character just gets his way all the time. So some things must happen that hinder him to reach his goal. Think of this as an obstacle course of multiple set-back that your character has to overcome just to have another one hinder him.
Disaster: In the end, don’t give your POV character his way. Something happens that denies him his goal. Make it something which at first seems disastrous. This is usually a great place for a chapter-ending cliff hanger.
For Sequel:
Reaction: The disaster doesn’t leave the POV character unemotional. He will react to this disaster in some way. This can be long and drawn out, or it can be a short reaction. It really depends on what the disaster is, what the character is like and a whole lot of other factors.
Dilemma: The goal could not be reached because of a seemingly unsurpassable obstacle. What to do? This is usually the place where your POV character weighs his options. Which road should he choose. Which option to take. The tougher the choice, the better 🙂
Decision: Ultimately, the POV character must break through the dilemma. Whether he choses one of the options, or the choice is made for him or something interrupts his decision making. At some point, you’ll want something to happen that moves the story forward. (and into the next Scene)
I too found it hard to recognize Scenes and Sequels in books I’ve read. I found it infinitely easier to find them in my own novel, for some reason. I’d say, just try and picture one of the key moments in your book where something really bad happens to your main character and try and see if you can see the Scene and Sequel structure surrounding that Disaster. That might be a place to start figuring this out.
Personally, I find this Scene and Sequel concept to be one of the most refreshing things I’ve learned about writing. I’d never thought of a novel having a definite fine-tuned structure like this till I read about it.
Make that: “Remember, your main character has to want something from the very first word of the very first paragraph of the very first chapter.”
🙂
Thanks, Christophe and Kathryn… helping morons earns special points in heaven.
Kathryn’s breakout examples helped a lot and made me laugh…as soon as I read it, I could totally see the Scene and Sequel in my first chapter. Wow, I didn’t even know I did it. Of course, with a slower paced, “inner issues” kind of plot, the disasters and conflicts aren’t as obvious to us morons–no blood splattering or helicopter blades whizzing past my head to get my attention.
The only part that I’m not sure about is the hook. The first chapter ends with Protag driving into the cold, dark night, back to his lonely life. (yes, it’s a comedy) Doesn’t seem very hooky.
(Why can’t readers just turn the page? They can SEE that there are more of them.)
Thanks for sharing that Randy. I’m a Seat of the Pants writer, but I still glean wonderful information from your organized manner that I can apply to my haphazard style.
I love this blog!
Thanks for taking the time to answer my question, Randy. I can see where my brain was getting confused. 🙂 It’s making more sense now.
Is it a “hard” rule to keep a single POV in a chapter?
I ask, because in a few instances I have two POVs in one chapter – broken up by asterisks and several hard returns. If I separate them out into chapters, they’ll be extremely short chapters. I also switch POV in the same chapter, because I need the other character’s point of view to add suspense and foreshadowing.
Plus, since it all happens in the same scene (or conflict), I think different chapters would jar the reader more than the asterisk separations to indicate the POV switch.
Or am I way off base, and I should rewrite those chapters with a single POV?
Hi Andra,
I think what you’re doing is fine. You don’t have to stick to 1 POV in a chapter, but you have to stick to just 1 in a scene. You could have several scenes in a chapter and each scene could have a different POV. I’m guessing that this is what you’re doing.
If I’m reading your comment right, I think you may be confused as to what a scene is and what a chapter is.
Hi Camille: The decision must suggest some further action on part of the POV char. (Action can be anything internal or external) This is not an ending. Its bait leading to the goal of the next scene that POV char will be in. His returning to his boring life sounds like a goal for his next scene-sequel = So, he wants to return home but …
I’ve created a problem for myself in my WIP. I’ve conceived a story with three completely separate story lines that do not come together in any way until near the end. So to play with one story, I have to leave the other two hanging. I’ve seen this done before, so I know it can be done, but when it comes to the scene/sequel thing, I’m lost. Currently I have the first scene fitting well as a scene, and my second scene really feels more like a sequel, but it’s a totally different story–not a sequel of the first scene.
This is a rewrite, though. I already have a first completed draft, but a rethink of the timing and starting point has caused me to entirely rewrite the beginning–or at least I’m working on rewriting the beginning. So far I’m stalling more than progressing.
But using Randy’s analogy, I have three separate braids that will then in turn braid together near the end. How do you handle something like that? In my original draft, I had the most distant story interrupting the “main” story as interludes. But in my rewrite the distant story has split into two separate stories, and I don’t think the interlude thing is going to work anymore. Maybe I’m trying to do too much?
Andra,
One of my favorite books is Eyes of the Dragon by Stephen King. The closer he gets to the finale, the shorter his chapters get as he switches back and forth between viewpoints. I always felt that it cranked up the excitment and tension.
Action scenes? Give it a try and see how you like it. Emotional scenes? Probably not so much. I like it when authors write the same scene twice, but once from each PoV. Especially if the characters have been arguing.
I’ve only done two chapters of my novel so far though I have extensively outlined it. However, while it is still in the early stages I will go over it to make sure I have the sequels, scenes etc right.
I suppose only biographies and autobiographies wouldn’t be able to use this system.
Thanks Andra, I’m going to read that book by Stephen King though my novel is drama with action interspersed.
Thanks Randy. I understand now!
Can a disaster be solved within the same scene or is that part of the sequal?