Hmmm

[soc_puppet]

Near as I can tell, what follows is roughly the Socchan School of Writing Scenes:

1) What is the first thing in this scene that a character needs to be doing?
1a) As in, if you didn't show the character doing this, you would have to write exposition of them doing this
1b) Like, a lot of exposition. Not just one or two sentences.
1c) Honestly, if you have to go into exposition to get to the exposition that explains this scene, back up a step.
1d) Don't go too far back, though! We don't need to be here all month.

2) What exactly is the character doing?
2a) Why are they doing this thing:
2a1) In this way?
2a2) At this time?
2b) Is there anything else we need to know about what they're doing right now?

3) Now that you have things to talk about as you do so, write the next thing that the character needs to do.
3a) Rinse and repeat until you get to the end of the scene.

4) Got it all? All the way to the end?
4a) Great!
4b) Go back to 1 with the next first thing a character needs to be doing.
4b1) Repeat until you run out of things you want/need characters to do.


*shrug* I think that's about it, anyway. Now I just need to not overthink this as I work <_< ....

Comments

[alexseanchai]

...I'm saving this thank you

[soc_puppet]

I hope you find it useful! ♥

Ideally, I'll go back sometime and match this up with an example scene. The one I figured this out with is a WIP for pod_together and not to be publicly posted until a certain date. I might be able to wrangle it with a different fic before then, though; hmmm.



*looks back over list* Whoops, missed something! *adds 4b1* There we go, that should do the trick. (Establishing setting should also probably go somewhere in 2; maybe I'll add it to the 2a's.)

[alexseanchai]

*pokes* Tag this and Sneaking In Details "socchan writing school" or something for ease of finding later? :D?

[soc_puppet]

An excellent suggestion! I'll do that now :3b

[redsixwing]

Niiice.

This is so different from my usual method that I think I need to study it and see if I can replicate. :D

[soc_puppet]

I'd love to see the results, if you get around to it and want to share :D

[redsixwing]

https://redsixwing.dreamwidth.org/341143.html

...I think I did the thing? There was an unexpected diversion into spellcasting, but it helped me get something in my head for the larger context.

[soc_puppet]

Alas, I do not have permission to read :'(

I can pretty much guarantee diversions are welcome, though. That information has to appear somewhere, and if you find a place that fits and makes sense, then absolutely go for it.

[redsixwing]

i fixed it c:

Thanks! This is in context of Kagutsuchi (a renowned and semi-villainous figure) having fallen hard for a mercenary sorceress (Cyprien) and being a dork about it with his best friend (Jano).

[soc_puppet]

It certainly looks like you did the thing to me :D

As for unexpected diversions like this one, they are totally useful for any of the following, IMO:

* Establishing worldbuilding
* Establishing character building
* Establishing background/history
* Establishing setting
* Introducing characters/elements
* Probably more, IDK
* Definitely fits under "anything else we need to know"

So I'd say you nailed it :3b

(Also, hehehehe, "What is a picnic," "Oh, you mean lunch.")

[redsixwing]

Yay \o/

Thank you! This was an interesting exercise, and I'd have probably spent way more time on internal lives without using it. As that's my default state (hah) it's good to try new things. :3

(ehehehe language barriers are fun)

[soc_puppet]

Yeah, I'm pretty sure it would be safe to characterize my scene writing style as "efficient" ;P

If you ever figure out your basic scene-writing recipe, I'd be interested in giving that a try, myself :3 I like my style and it works well for me, but I'm sure I would learn new and interesting things about it and others' styles by trying a different method!

[redsixwing]

Hm! I'd say it boils down like this:

0 Optionally: set the emotional tone. Usually this is a short descriptive bit, anything from a piece of set dressing that reflects the scene, to a character making a small motion or realizing something.

If you don't do that, drop the scene in media res and let'er rip. :D

The following cycle can be started at any point, but I don't usually feel like I've done a good job with a scene unless I've gone all the way around.

1 Active POV character feels or thinks something. If this matches the tone already present, it should build on it. If it contrasts, show why that's important.

2 Active POV character does or says something that draws from their internal life. Show how they're modulating what they feel for their audience. If they don't do anything at all, don't write that, just GOTO 3.

3 Non-POV characters* interact and move to their own agendas and the story's needs. If the POV character needs something** for matters to advance, think about what you need to set that up and take a step. This step may repeat if there's a lot of non-POV characters present, such as multi-partner conversation scenes or other complex situations.

4 Active POV character perceives or doesn't as necessary and appropriate to character. GOTO 1.

Cycle as many times as you need to get the scene done, then optionally:

5 add an envoy to link this scene to the next one, to a later plot element, or backward to a previous scene. This shouldn't happen on /all/ the scenes but I am unreasonably fond of them.

*I include things like the weather, the setting, or the world at large as non-POV characters. I have no idea if this is typical.

**For definitions of 'needs' including 'character X needs to have a total meltdown and it will take several steps to work that up, so character Y gets to kick them in the feels, hard.'

[alexseanchai]

*sets up a structure of alternating present- and past-tense segments*

*writes 400 words of past-tense segment in past perfect*

*rereads it*

*frowns*

*rereads your section 1...*

(relatedly, I'm really curious your thoughts on "swallow my doubt" thus far; idk its genre, p sure not angst, p sure also not hurt/comfort even though there's lots poking traumatic brain injury with a sharp stick various diagnostic implements)

[soc_puppet]

I mean, Him and Me and You and Her starts with a fairly lengthy exposition dump, so it's pretty clear that even I don't follow my own formula all the time ^^a

I think I mentioned before that I figured out this formula while I was working on my two Pod Together fics last year? Specifically, it was shortly after finishing the first scene of Buzzer Beater (having already gotten farther on Under Cover(s)). Writing them both so close together was how I figured out my process, and honestly, I was pretty close to making this entry "How to write an opening scene" until I realized it worked pretty well for scenes following.

For Buzzer Beater, I wanted to start with Alya giving Ladybug the note, since I wasn't sure I could make starting from the second scene make enough sense without a huge infodump. The opening of Under Cover(s) came a bit more naturally to me, but at the end of the day, I still didn't think I could start from what was the second scene (Ladybug arriving at her room with CN in her arms) without detracting from the story.

So exposition and infodumping isn't inherently bad, I just wanted to make sure I was always starting the story from a point that made sense, and which didn't drag the beginning of the story too far away from the parts I wanted to tell (I have had that problem before).

Hopefully that helped and/or clarified a bit? I'll go take a look at "swallow my doubt" in just a bit here (dinner first).

[alexseanchai]

I don't think HMYH would benefit from having all the reasons for Adrien's crappy mood related in more detail, though, and the pacing would suffer if you tried. Maybe you could have started the story earlier in the day and use about the same word count and a different verb tense, instead of having him get inside, close his door, and wallow? But it works great as is.

This bit? (which I booted to the discards post already anyway.) Would probably be better with a more direct, more detailed experience...