Over the last two weeks I’ve been working on the outline for my WIP called Dead End. The intent with this revision outline is to take my first draft to a better story place. And in doing so, I’ve been thinking a lot about what makes a good scene, and which scenes should be added or deleted. My main goal is to nail it so that when I finally start rewriting, I can just cruise through it without too much thinking. I’m giving it the old college try.
So, today we’re going to talk about the most basic part of storytelling: the scene. A scene is a segment of your story where something specific happens. It’s like a little story within your big story, with its own beginning, middle, and end. So, what’s the secret that makes a scene truly compelling? Scenes have a bunch of parts (more than I want to think about sometimes), but let’s just focus on these four things: setting, characters, the goal, and conflict.
Making a scene.
In storytelling, a scene is a self-contained unit that happens in a particular place and time, involving characters and their actions and dialogue. Whether it’s advancing the plot, developing characters, or revealing key information, every scene should serve a purpose in the story.
I just finished reading Project Hail Mary by Andy Weir (which I loved – I want your book to be this compelling) so I will use one of its scene as an example: the one where Ryland Grace has reached an orbit around Tau Ceti (a star nearly 12 lightyears away from Sol) and he comes to the realization he is not alone – there is an alien ship about 100 meters away from his ship named the Hail Mary.
The Setting – Place & Time
Decide where your scene takes place. It doesn’t have to be in the first sentence, but the reader should know the location and time shortly after the scene starts (like a room, outer space, a theatre, the backyard, etc.,) and the time could be the time of year or year for historical or futuristic literature. If the scene is the next day, make sure the reader knows. The setting will help your readers feel more grounded. Moreover, it offers context and creates a framework for the unfolding actions.
In Project Hail Mary, the present timeline features Grace feeling extremely alone; there is a vast emptiness both inside and outside the ship. The setting adds to the tension and emphasizes the isolation and high stakes of his journey. Seated in his control room, he detects a beeping sound and notices a blip on the radar of a control panel. He’s not as lonely as it seems.
The Goal of the Scene
Each scene must have a goal. This is the objective the main character wants to reach by the end of the scene – the question being, will he or won’t he? Prior to writing, I would outline a scene by explaining its events and their importance to both the story and the POV character. The action is driven by the goal, which gives purpose to the scene by advancing the plot, developing a character, or providing key information.
In the scene where Grace first interacts with the Blip-A (the name he calls the other ship), his goal is to make contact. He is both excited and nervous. This objective propels the action forward, as Grace takes in information about the alien ship and then ultimately establishes contact when he and the mechanical arms of the other ship wave to one another. This sets up the action in the next scene – contact of the third kind, a scientist’s dream.
Developing Characters
The heart of any scene lies in its characters. By driving the action, engaging in dialogue, and experiencing transformation, the characters are influenced by the scene. Prior to beginning a scene, comprehend the participants and their intentions and motivations. This is relevant to everyone present in the scene, not exclusively the main character.
The primary characters in the contact scene in Project Hail Mary are Grace and The Blip-A and its crew. Grace’s curiosity and scientific background shape his approach to the encounter. At this point we know that Grace is a man of science and, of course, he wants to know more about the apparent life form he’s witnessing. As the writer you would also know and understand that Blip-A and its inhabitant are in the same boat as Grace. Both are there looking for an answer to why their respective star is dying. Both are isolated from their home planet. And both are longing for friendship, companionship, and crew mates.
Conflict which leads to change
Conflict is the key to making a scene captivating. It can be either internal (within a character) or external (between characters or with the environment). To deepen your story, incorporate both internal and external conflict. Tension is then generated, and readers will stay more engaged when there is conflict. Conflict will thus shape character, leading individuals to make choices and alter their trajectory.
The scene between Grace and the alien ship creates conflict due to the challenge of communication, intensified by the language barrier and the space setting. The external conflict for Grace is his struggle to comprehend and communicate with an entirely alien species. This struggle keeps the reader on edge, wondering if and how they will overcome this barrier. It also messes up Grace’s plans. He was learning about his ship and starting to research why Sol is losing energy. As a result of this new development, he invests countless days, if not weeks, in acquiring the skills to converse with an extraterrestrial and modifying his ship routine.
Other parts of a scene
Many other elements are essential when creating a scene. The following is a list of scene elements and their importance to your story.
Putting it all together.
Crafting scenes that draw readers in is a vital skill for writers. By focusing on the setting, goal, characters, and conflict, you can construct captivating scenes that drive your story forward. Remember to also consider other elements like action, dialogue, and interiority (otherwise known as interior monologue) to add depth and richness to your writing.
Now it’s your turn. Look at a scene you’ve recently written and determine if you have most of the elements listed in this article included. If not, go back and rewrite the scene to include what is missing. Write to me and let me know how the scene was enhanced by your changes.
Nancy is a developmental editor and book coach.