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 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...