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Scene Building

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Who am I? (Point of view). Who is accessing this scene for the reader?

Stay in that person’s head – same applies to omniscient narrator. Stay in their age, their voice, their way of thinking/see/noticing, because of who they are and where they are, both emotionally and physically, and contextually (time of relating this story).

Now, from that person’s viewpoint, i.e. you are him or her:

What can you see?

What can you hear?

What can you smell?

What do you touch?

What do you taste?

i.e put me in that place.

What are you doing?

Show me state of mind/emotions/reactions

What are you saying?

What are you thinking?

With thanks to Susannah Waters for this.

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Design Museum

Definitely 'yes'

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From E-Learning V

Fig.1 Quote from John Gardener

My writing tutor Susannah Waters quoted Gardener during a one to one on plotting last week; 'the vivid and continuous dream' is what she described as my job as an author. That evening she read out the 3,000 words I'd written that form a lynchpin scene in the novel I want to write. 

I would have welcomed the support and pointers three decades ago. That was then; this is now.

Even half an hour spent here is a half hour lost? Or a jinks?

We'll see.

Part of the 'definitely yes' for me was recognition that a) the isolation and TLC of a retreat works and b) having someone to deliver words to every few days is crucial - writing for an audience makes you concentrate, as does preparing and giving a presentation, or reading out an essay in a tutorial. 

 

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Design Museum

On writing fiction

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Edited by Jonathan Vernon, Tuesday, 7 Apr 2015, 10:44
From Writing

Fig. 1 The Writers' Retreat, Sheepwash, Devon

have filed away somewhere all my writing efforts that begins with 'Adam & Evie' - a kind of Blue Lagoon in space that I wrote when I was 13. Since then, forty years ago, I have filled a garage, or at least a corner of one. Much of my effort is on Amstrad floppy discs, ZIP drives, CDs and harddrives. Some is printed off. Some are TV series and screenplays. You haven't heard about me because it is all rubbish: around a fireplace I could tell you the story, even illustrate it with photos from my research, but until this week I could not get from my head to yours the story I wanted to tell.

This all changed this week. Though I fell short of the goal of four, 2,500 scenes written I delivered one 3,000 word scene, developed several others, sketched out seven or so more and worked on the story arc. Last night three writers read from their work: an author whose third book comes out this week, my tutor who has two books published and two in the wings - and me. It worked. I had their attention, it gripped and scared them more than I could imagine and there was half an hour of discussion about the place and events.

Crucial to me is understanding the concept of a 'scene' and its needs in terms of writing, what my tutor Susannah Waters describes as a 'palette of senses.'

A new year, an new age (I turned 53 an hour ago) and a new opportunity to 'get stuff out' On verra.

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