>>> Item number 11983 from WRITERS LOG9304E --- (135 records) ---- <<< Date: Thu, 29 Apr 1993 18:32:01 JST Reply-To: WRITERS Sender: WRITERS From: Mike Barker Subject: TECH: Scene and Structure Book Summary Please note that this is a summary of what I consider the important parts of Bickham's book. It does not reflect all the material in his book (you really should read it), nor does it contain a lot of my normal fascinating prose stylistics. Having said that - hope it gives you a few clues about a reasonably good craft book... Scene & Structure Jack M. Bickham Writer's Digest Books, 1993 One point to make clear at the beginning is that Bickham is NOT prescribing the form of presentation. You should use your best dialogue, description, and other tools to drape and form the selected scene. All that he is describing is the bare bone structure that underlies your writing. How you doll it up is left to your discretion - whether you like scenic description, stream-of-consciousness inwardness, flashback fantasies, or some other way of covering the structure is your choice. He is definitely NOT providing a canned plot for you to work with, although you might use his tools to extract such a plot from your favorite book or two... The main structural component described is the sequence of scene and sequel. A scene starts with the goal of a viewpoint character, proceeds through conflict, and ends in tactical disaster for the viewpoint character. The reader responds to the goal by forming a scene question, which should be specific, definite, have an immediate goal and clear connection to the overall plot goal, and have a simple yes/no answer. A scene consists of moment-by-moment action constructed using stimulus (internalization) response pieces. Stimulus and response must be visible, usually dialogue or action, while internalization allows the thoughts of the viewpoint character to be explained. The tactical disaster ending a scene should be an unanticipated but logical development that answers the scene question, relates to the conflict, and sets the character back. The three possible endings are no (simple failure); yes, but... (conditional success - usually setting up a dilemma); and no, plus... (failure, plus new problems). While scenes may be linked with a transition (simple change in time, place, viewpoint), the full element needed is a sequel, containing emotional response, thought, decision, and new action. In a sense, the scene acts as stimulus, which must be followed by sequel acting as response. If a sequel must be skipped (due to time pressure, etc.), there should be a later "flashback" sequel, completing the sequence for the reader. A story (basically novel) begins with a significant change that threatens the main character's self-concept. This, in turn, causes the character to form an intention or story goal in response, which provides the reader with a story question. The end of the story occurs when the story question is answered. The story focus must be on material that relates to the story question. To plan a story - 1. identify the main character's self-concept 2. pick a significant event that threatens that self-concept 3. determine the moment of change that you will start with 4. lay out the intentions/goals the character will attempt to use to fix 5. lay out a plan of action for the character to try 6. determine when/where/how to answer the story question Bickham suggests the following major ways to structure the scene/sequel sequences: 1. scenes move main character further and further from quick attainment of goal 2. scenes develop series of new and unexpected troubles, although not obviously related 3. scenes require character to handle unrelated problem before returning to original action line 4. interleaved subplots 5. plot assumption puts deadline (ticking clock) into action 6. plot arranged so that options dwindle 7. plot arranged so that complications and developments previously hidden are revealed One point should be made clear - a scene/sequel sequence is NOT a chapter. Bickham points out that "chapter breaks" are a relic of earlier publishing (when novels were published as serials), and you should never use a chapter break as a transition. Place chapter breaks at the moment of disaster ending a scene, in the middle of conflict, or some other point that keeps the reader reading. Bickham suggests that most chapters have more than one scene. (my gloss - remember 1000 nights and a night and make each chapter break a cliff-hanger!) The book also contains a large amount of material dealing with problems in handling scenes, variations you might want to try, and other fine points. There are plenty of exercises, annotated examples, and so forth to make this a useful study book. ----------------------- Strategy Worksheet Main character's self-concept Significant event that threatens self-concept Moment of Change to start with Intentions/Goals to fix Plan of Action When/Where/How answer story question Scene Planning - Move further and further from quick path to goal New and unexpected troubles Unrelated problem that must be solved first interleaved subplots deadline (ticking clock) dwindling options hidden complications/developments revealed ----------------------- Scene/Sequel Worksheet Scene (consists of Stimulus - Internalization - Response) Goal: Conflict: Who? Where? How long? Twists (4+): Disaster (No!, Yes, but..., No, plus) Transition Sequel Emotion (description, example, discussion) Thoughts (review, analysis, planning) Decision New Action -----------------------