Is this Scene Necessary? by Jill Kemerer

Jill Kemerer

Hey everyone, Annette here. Do you prefer writing or rewriting? When I'm working on my own projects, I refer writing—that gush of words pouring onto the screen. When it comes time to edit, here's some great advice from author Jill Kemerer for deciding what scenes to keep:

Is this Scene Necessary?

by Jill Kemerer

In spite of my best intentions when revising, I often get lost in the story and forget to ask key questions about a scene. Even if the scene is fun to read, I can usually give it more impact by stepping back and asking myself a series of questions. It takes more time to revise this way, but it’s worth it.

To determine if the scene is necessary, I analyze it based on the following:

1. Scene question: Is there a yes or no question being asked early in the scene? (Example: will Susie convince John to help his sister?)

2. Is there a clear progression that provides tension, keeping the reader turning the page? This can be done in several ways.

A. GMC (goal, motivation, conflict): Sometimes the character will have a scene goal. Show his motivation for obtaining it. Then present conflicts to prevent the character from getting it. As soon as the character either achieves or fails to achieve his goal, end the scene.

B. ARD (action, reaction, decision): Another option is to have something happen (action) that the character naturally reacts to. After this reaction, the character decides to do something about it. End the scene as soon as the character makes the decision.

C. Sequel. A sequel is a transition between action scenes. This is where the character experiences emotional fallout from the previous scene, reflects on what just happened, and makes a goal-oriented decision forward.

If you can’t find a clear scene question in the first three paragraphs, look for a scene goal. If you can’t find a scene goal, try to find an action, reaction, or decision. If these aren’t obvious either, the scene isn’t furthering the plot. This doesn’t necessarily mean you need to cut the scene. Brainstorm ways to add a story question, GMC, or ARD.

By taking extra time and asking these questions, you’ll make sure every scene in your novel is not only necessary, but vital.

What is your best revising tip?

Thanks so much for hosting me today!

Great having you, Jill!

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Jill Kemerer writes inspirational romance novels with love, humor, and faith. A full time writer and homemaker, she relies on coffee and chocolate to keep up with her kids’ busy schedules.

Besides spoiling her mini-dachshund, Jill adores magazines, M&MS, fluffy animals, and long nature walks. She resides in Ohio with her husband and two children.  Jill loves connecting with readers, so please visit her website www.jillkemerer.com and find her on Facebook and Twitter.

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Small-Town Bachelor

Small-Town Bachelor

A Place to Call Home

  

When Reed Hamilton arrives in Lake Endwell for a family wedding, he expects to do his part as best man then head back to the big city. But when a tornado postpones the wedding, the town is in shambles and Reed is injured. Thankfully maid of honor Claire Sheffield offers him one of her cottages to recuperate in.

Dedicated to her family and her dream job at the zoo, Claire is all about roots. She's this city slicker's opposite, yet as they help the town rebuild, Reed is captivated by her stunning looks and caring ways. He can't ask Claire to leave the life she loves for him, but he also can't imagine ever leaving her behind…

Interested in buying Small-Town Bachelor? Click on http://jillkemerer.com/books/small-town-bachelor/ for links to purchase!

The Scene between Scenes: How to Get Unstuck

Every feel like this poor fellow spinning his wheels in the mud? Recently I had one of those dreaded writing moments. I was stuck. Frozen. Bogged down. I stared at my screen, waiting, hoping the next plot beat would spontaneously burst forth sending my fingers clicking over the keys. Instead, I stalled like a computer taking too long to download. Working … working … working … nothing.

Can you guess which particular section of the plot left me in this suspended state? The beginning, perhaps? That difficult chapter where a bazillion elements must flow together with reader-grabbing tension? Nope. Perhaps the middle? That sluggish zone where keeping things hopping becomes a Herculean chore? Again, nope.

A much more incendiary little corner held me hostage. It was that spot between the beginning and the middle. Right after the inciting incident, but before the second big conflict. I knew what the middle would look like. The beginning was in the bag. But how to connect them?

After more staring at my screen (very productive, let me tell you), I finally pushed my way through. Here's how.

Liminal Space

While hopping around the Internet trying to get unstuck, I found a lovely article[1] about “liminal space.” Perhaps you’ve heard of the concept. I hadn’t. I learned that liminal space is the time of preparing before something happens. It can involve a physical place, such as a courtyard or breezeway, or a non-physical space like the moments of readying my heart before a worship service. The blog author associated liminal space with those times when a writer waits for an editor to accept or reject a manuscript. (Been there!) It’s a pause, a holding back before the next step. 

And it hit me. That’s where my characters were suspended. Both were stalled at the threshold, as if resting on the edge of a cliff, waiting to jump. What a relief to define the spot. Yay for liminal space!

When I thought about it, I realized a lot really does happen in the inbetween spaces. Maybe not big splashy action, but decisions, attitudes, and relationships often shift in the right or (even better for our plots) wrong directions

Plot Point One

            But, now that I defined it, the question remained—how do I keep the threshold compelling, inviting, and riveting? I discovered a trick. In the opening of my story, I answered the question, “what?” What’s the big problem my darling protagonists must overcome? Well, at this point, it was time to answer another question—“how?”

            Recently my husband brought home the first season of Stargate SG-1. The writers do a great job blasting the beginnings. Man, you can hardly blink before Jack, Major Carter, Dr. Daniel, and Teal’c are plunged into life-threatening action. The viewer immediately gets what the problem is and what’s at stake.

But what happens next? In most of the episodes I watched, the characters hunkered down in the planning room, gathered around the table, and figured out a plan of how to overcome the problem. Never a long scene, it always included conflict between the characters. By the end, they knew how they were going to proceed.

And that’s where we find the trick.

In the scene between the beginning and the middle, the hero figures out how she will reach her goals. It doesn’t matter whether the plan shines of brilliance or gapes with holes, my hero must embrace it. And when she does, bam! the plot gets unstuck. Yahoo!

Elements

            For this scene between scenes, everything that happens should answer the question, “how?” It may involve meeting a new character who will help get the hero through the obstacle-laden journey. A guide through an uncertain land, a lawyer, or a doctor might be introduced.  

Perhaps a touch of introspection will reveal the “how.” In my first book, Love Finds You in Lonesome Prairie, Montana, the heroine, Julia, must overcome her grief over letting go of the orphans she desperately loves. In the stillness of night, she quietly releases them to God. Although painful, she needs to make this shift in order to continue her journey. The “how” for her (and for all of us) is finding her strength in God.

Another way for a character to uncover the “how” is through a conversation with a friend or enemy. In Stargate SG-1, a really nasty officer acts as a naysayer to everything the team wants to do. Their leader knows that taking the opposite strategy from him will start them on the best path.

In what way does your character decipher how to achieve her goals?

Three Keys to Remember

1.      Don’t take too long. Let your character breathe (or talk, or pray), figure out the “how,” then move on. Drawing it out will slow momentum—and you don’t want that!

2.      Conflict, conflict, conflict. Don’t let the plan of attack come easily. She should have to wrestle for every inch of ground she takes.

3.      It’s a good idea to answer the “how” for your subplots as well.

Have fun with this. I know once I figured out what to do, writing my scene between scenes became a joy instead of a burden.

photo credit: <a href="http://www.flickr.com/photos/thehenryford/5267019098/">The Henry Ford</a> via <a href="http://photopin.com">photo pin</a> <a href="http://creativecommons.org/licenses/by-nc-sa/2.0/">cc</a>

 www.freedigitalphotos.net

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[1] http://seekerville.blogspot.com/2010/07/liminal-space.html