The Nameless Horror

Lessons In Plotting 3: Scenes

I’m pretty sure it was Elmore Leonard, or Kurt Vonnegut, or Winston Churchill, or Martin Luther King, who said that every scene in a book should advance the story or else it’s a waste. People get very much up in arms about this (“What about character establishment, motherfucker?!” etc.), but broadly speaking it’s true and whoever said it was right. Motherfucker.

Look at a scene - “Bishop breaks into the corporate HQ”, “Everyone sits around the campfire”, “Maria’s feeling too damn hot and can’t wait for that sexy air conditioning repair man to arrive”.

Now ask yourself “why do we need to read this?” You may get all kinds of answers:

  • Bishop discovers it’s his long-lost friend behind it all. Shocked gasps abound.

  • We learn why Talahasee hates zombies so much.

  • There’s been a lot of action before, and a lot coming soon, so we need a pause, a chance for the reader to catch their breath.

  • Things have been quiet, but this ratchets up the tension and keeps the reader engaged.

  • We see the neighbourhood where the characters grew up. Learning what and where they came from provides context for the choices they’ve made later in life.

  • We first learn about the terrible trouble Maria has keeping her clothes on.

  • This is how Taggart needs to get from location A to location B.

The last one’s the thing to watch for. Unless any of the others also apply - plot or character development, necessary shifts in pacing, establishing a new setting - chances are it shouldn’t be there at all. You don’t need to see A to B if there’s nothing of value in it; you can skip straight to B. You can do it even if it’s not a location but a plot beat; go from the murder scene to “we got lucky with the third suspect on our list” and back to the story. Suspects one and two aren’t important unless they fulfill another one of those criteria.

(Also note that plot development by itself is never enough; there should be more internal logic than “this character does this because the script says so”. Something that’s sadly lost in a lot of modern movie output, for instance.)

You can even use it sparingly to get out of a corner. You leave one chapter with the main characters trapped underground, in a flooding room filled with piranhas and a ticking nuclear bomb (modern bombs, as Fight Club points out, don’t tick, but FUCK YOU, REALITY) and open the next with them swilling cocktails in a nearby bar, soaking wet but very much alive. “I can’t believe we did it,” one says. “No one would ever believe how we made it out alive!”

Sparingly.

(But awesomely.)

I shall refer to this as The Lord Of The Rules, because most of the LotR is skippable A-B stuff with no inherent value. Unless you like songs about dwarves, in which case fill your boots.

@ChuckWendig's 100-Word Challenge: FALLS (Reposted Because I'm An Idiot)

The lights dim and the curtain falls.

I’d have given you anything, Alice, if you’d just asked me. You knew my share of the take was going to pay for my son’s treatment, some of it. Still you took everything and damn near killed me doing it. I buried Jack in his tiny coffin a week ago, and you should’ve hidden better. All’s turned to dust, and your blood’s all over the floor and I don’t have anyone left to love.

The barrel at my temple. Curve of the trigger on my finger.

The lights dim and the curtain falls.


Chuck Wendig runs a regular flash fiction challenge on his site. This week, 100 words only. “Oh ho ho,” I thought. “I can do 100 words even while Future Wife is killing my brain with television.” And so it proved, and this is mine.

I might, of course, be cheating. Chuck wanted a whole tale, and while I think there’s one here - the narrator and Alice were clearly thieves of some sort, as well as lovers, she double-crossed him and took a whole score, money that would’ve saved his son, and now he’s buried his kid he’s come and killed her before topping himself - but it’s mostly inferred. But hey, I’m cunning. Also, exactly 100 words. Skillz, people. Skillz.

Reposted because I initially did this as a link post, and Tumblr doesn’t let you change types. Moron, me.

Lessons In Plotting 2: Character

Characters should change over the course of the story. This is known as an “arc”, which you and me should really already know, but if you read some of my initial drafts you’d be forgiven for thinking I was writing for AVATAR, where NOTHING CHANGES AT ALL. Even if they ultimately return to their original state, the ride between should be up and down if there’s to be AWESOME CHARACTER DRAMA!!!

In planning, write the name of each main character. Describe each of them in terms of their personality at the start of the story. Then describe each of them as they are at the end. What they’ve learned and how they’ve changed.

If you can’t do this, your characters need work. (You moron, John.)

I may refer to this in future as the Harry S. Plinkett Rule, after the brilliant “describe the characters in THE PHANTOM MENACE without using their physical appearance or role” part of the equally brilliant 70-minute Phantom Menace review.

I’m sure some of you can think of brilliant examples of fiction with a pitch-perfect, ‘this could be real life’ sense of place running through it. The LA of Michael Connelly’s novels. The London of Billingham. The New York of SEX AND THE CITY.
I indulge in a spot of guest writing at Guilty Conscience. Terribly good fun, you know.