On Writing: Scenes and Sequels
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You can check out all my posts on writing through this link.
Without getting into complex structuring of a story (the act-based frameworks), you could produce a compelling story relying on a couple of alternating units: Scenes and Sequels.
I first came across the notion of Scenes and Sequels in Dwight V. Swain’s Techniques of the Selling Writer, which I read back when I was obsessed with writing technique. Jack M. Bickham expanded upon Swain’s notions in the book Scene and Structure, which I also recommend. The alternation of Scenes (action-driven) and Sequels (emotionally reflective), creates a rhythm of tension and resolution. Scenes drive plot; Sequels explore consequences.
A Scene is a unit of action where the protagonist pursues an immediate objective.
Goal: The character’s concrete, short-term aim (e.g., “Find the hidden map”).
-Why it works: goals anchor the reader and create stakes.
Conflict: Obstacles blocking the goal (e.g., a rival steals the map).
-Key detail: conflict should escalate through active opposition, not coincidence. It should be easy to determine if the conflict is meaningful: it should hinder the stated goal.
Disaster: A negative outcome forcing adaptation (e.g., the map is destroyed).
-Purpose: avoids static victories; ensures ongoing tension. The disaster need not be catastrophic: it might be unintended consequences (e.g., gaining the map but betraying an ally).
-It’s important to think of a disaster instead of plain resolutions, because a story should be composed of escalating tension. Setbacks help the story maintain momentum.
-Ideally, a Scene’s disaster answers the dramatic question proposed by the goal (e.g., “Will the protagonist find the hidden map?”) with a resounding “No.” However, there are variations: “No, and in addition…” as in not only the goal fails, but something gets even worse. The disaster could be a “Yes, but…” However, you should avoid concluding a Scene with a plain “Yes,” unless it’s only a temporary “Yes” that doesn’t let the reader know what bad stuff the disaster has triggered in the future.
-Each disaster should ideally worsen an overarching problem.
A Sequel processes the fallout of the previous scene’s disaster, focusing on inner turmoil.
Reaction: The character’s emotional response (e.g., despair, guilt).
-Function: humanizes characters: show vulnerability before resilience. Offers opportunity for character development, emphasizing how that character reacts in an idiosyncratic way. Developing the emotional reactions prevents the characters from appearing robotic.
Dilemma: A problem with no good options (e.g., trust a traitor or go alone?).
-Tip: dilemmas should test the values of the character or characters involved. Offers lots of opportunity for character development.
Dilemmas are often used to explore the story’s thematic questions (e.g., “Does ends justify means?”).
Decision: A new plan emerges (e.g., “Find the traitor and negotiate”).
-Critical nuance: the decision must logically lead to the next Scene’s goal.
Alternating Scenes (fast-paced) and Sequels (slower, introspective) creates rhythm. Thrillers use shorter Sequels; literary fiction may elongate them for depth. Each Sequel’s decision becomes the next Scene’s goal, creating a chain reaction. This prevents episodic storytelling. Note: a Scene can be followed by another Scene, particularly when the context is clear, but a Sequel should always be followed by a Scene.
Keeping in mind the notion of Scenes and Sequels helps enormously when outlining a story: they force you to think in terms of goals, conflict, dilemmas, and setbacks, which are the fundamentals of a satisfying story.
In addition, knowing you’re writing a Scene helps you understand when to start its narrative: as close to the statement of the goal as possible. For example, if the character wants to convince another character to do something, you can start with the first character engaging the second, without much preamble. This is generally called starting in medias res with the goal already in motion.
Scene and Sequel ensure narratives remain driven by cause-effect logic and emotional authenticity, keeping readers perpetually engaged in the “what happens next?”
You can check out all my posts on writing through this link.
Without getting into complex structuring of a story (the act-based frameworks), you could produce a compelling story relying on a couple of alternating units: Scenes and Sequels.
I first came across the notion of Scenes and Sequels in Dwight V. Swain’s Techniques of the Selling Writer, which I read back when I was obsessed with writing technique. Jack M. Bickham expanded upon Swain’s notions in the book Scene and Structure, which I also recommend. The alternation of Scenes (action-driven) and Sequels (emotionally reflective), creates a rhythm of tension and resolution. Scenes drive plot; Sequels explore consequences.
A Scene is a unit of action where the protagonist pursues an immediate objective.
Goal: The character’s concrete, short-term aim (e.g., “Find the hidden map”).
-Why it works: goals anchor the reader and create stakes.
Conflict: Obstacles blocking the goal (e.g., a rival steals the map).
-Key detail: conflict should escalate through active opposition, not coincidence. It should be easy to determine if the conflict is meaningful: it should hinder the stated goal.
Disaster: A negative outcome forcing adaptation (e.g., the map is destroyed).
-Purpose: avoids static victories; ensures ongoing tension. The disaster need not be catastrophic: it might be unintended consequences (e.g., gaining the map but betraying an ally).
-It’s important to think of a disaster instead of plain resolutions, because a story should be composed of escalating tension. Setbacks help the story maintain momentum.
-Ideally, a Scene’s disaster answers the dramatic question proposed by the goal (e.g., “Will the protagonist find the hidden map?”) with a resounding “No.” However, there are variations: “No, and in addition…” as in not only the goal fails, but something gets even worse. The disaster could be a “Yes, but…” However, you should avoid concluding a Scene with a plain “Yes,” unless it’s only a temporary “Yes” that doesn’t let the reader know what bad stuff the disaster has triggered in the future.
-Each disaster should ideally worsen an overarching problem.
A Sequel processes the fallout of the previous scene’s disaster, focusing on inner turmoil.
Reaction: The character’s emotional response (e.g., despair, guilt).
-Function: humanizes characters: show vulnerability before resilience. Offers opportunity for character development, emphasizing how that character reacts in an idiosyncratic way. Developing the emotional reactions prevents the characters from appearing robotic.
Dilemma: A problem with no good options (e.g., trust a traitor or go alone?).
-Tip: dilemmas should test the values of the character or characters involved. Offers lots of opportunity for character development.
Dilemmas are often used to explore the story’s thematic questions (e.g., “Does ends justify means?”).
Decision: A new plan emerges (e.g., “Find the traitor and negotiate”).
-Critical nuance: the decision must logically lead to the next Scene’s goal.
Alternating Scenes (fast-paced) and Sequels (slower, introspective) creates rhythm. Thrillers use shorter Sequels; literary fiction may elongate them for depth. Each Sequel’s decision becomes the next Scene’s goal, creating a chain reaction. This prevents episodic storytelling. Note: a Scene can be followed by another Scene, particularly when the context is clear, but a Sequel should always be followed by a Scene.
Keeping in mind the notion of Scenes and Sequels helps enormously when outlining a story: they force you to think in terms of goals, conflict, dilemmas, and setbacks, which are the fundamentals of a satisfying story.
In addition, knowing you’re writing a Scene helps you understand when to start its narrative: as close to the statement of the goal as possible. For example, if the character wants to convince another character to do something, you can start with the first character engaging the second, without much preamble. This is generally called starting in medias res with the goal already in motion.
Scene and Sequel ensure narratives remain driven by cause-effect logic and emotional authenticity, keeping readers perpetually engaged in the “what happens next?”
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