Last Wednesday, I wrote about the Beat Sheet and how great I think it is now. With that bad boy knocked out, I feel I’ve got a coherent, streamlined structure for a story that might even be worth reading one day.
So what’s next? Jump into writing?
I have to say I’m strongly tempted. Although I do love planning, I love the creative play of writing much more. But I am holding off for a few more days to complete scene templates for at least the first few scenes I’m going to write.
Why? Because whenever I have gotten stuck before, scene templates have saved my bacon.
I picked up the form and idea for these templates from The Marshall Plan for Novel Writing, a fine tome on the mechanics of novel-writing, especially when combined with Story Engineering and Outlining Your Novel. Since adopting Marshall’s original templates, I’ve tweaked them to meet my own purposes and temperament and am tweaking them still as I go along. Here’s an example, with descriptions of each part in [brackets]:
Scene Title: Mine! [Scene title. Like, duh.]
Scene # and description: Satan writing “Mine” all over his map. [I am not using scene numbers right now because the tools I use don’t support auto-numbering and if I rearrange things I don’t want to have to change all those scene numbers. I like using a nutshell description. One could also put the descriptive paragraph here.]
From # N/A [Title of the preceding scene; this helps you keep the dots connected.]
To # [Title of the succeeding scene, again for connecting those dots.]
Action/Reaction: [In an Action section, the viewpoint character for the scene does something. In a reaction section, the viewpoint character mulls things over and decides what to do next.]
Scene Viewpoint Character: [Three guesses what you put here.]
Where: [I use a nutshell description, but this could be as long as you want.]
When: [I like to use a date and time of day; however, I suppose you could use the relative timing of events, as in “after John gets a parking ticket, just before he trips over the coffee shop doorjamb.”]
ACTION [Use this part of the template if the scene is for Action.]
Goal from viewpoint character’s last section: [Here’s the concluding goal from this character’s previous section (just put N/A if it’s their first one), which provides motivation.]
Against (person or circumstance that brings crisis): [This is whatever is at the root of the conflict in the scene.]
Conflict (occurrence of crisis; section character’s reaction): [This section might just as well be called “Action,” except that would be confusing. Here’s a synopsis of what happens in the scene.]
Failure (unless opposition) (inability to undo or deny crisis): [Because a good story requires the hero to be up against the wall most of the time, she is always failing on some scale at the end of a scene (at least until you get to the very end). The bad guys, on the other hand, mostly experience success.]
New Goal (or go to a Reaction section) (character doesn’t necessarily have to devise, but describe it here; can devise here, though, or devise in Reaction section): [Having failed, the hero decides what to do next; you describe that here.]
Cliffhanger: [At the end of most scenes, I like to have at least the appearance of a major disaster occurring for the hero. This is some kind of action, as opposed to thinking up a new goal.]
REACTION [Use this part of the template if the scene is for Action.]
Failure from scene viewpoint character’s last action section (briefly describe; the section will restate it): [Pretty obvious, eh? This can be a cut-and-paste job, if you like.]
With (other characters that share the section): [Often it’s good to have at least one other character, perhaps a confidant, in the Reaction scene so the hero can talk out his reaction some.]
Emotional reaction (character’s gut reaction to the previous failure): [Describe the viewpoint character’s emotions here.]
Rational reaction (character’s analytical reaction to the previous failure): [Describe the character’s more calculated thoughts about how to make things right.]
New Goal (character devises): He/she will X in order to X. [The emotional and rational reactions work together to engender the new goal. Describe that here.]
At this point, you might be thinking I am the most anal-retentive creature in existence and have devised a way to suck all fun and discovery out of story creation while at the same time putting off any actual writing.
I beg to differ. Crafting the scene templates, I’ll admit, tastes more of work than play, but it’s worth it. As you fill them out, new ideas will occur to you for nifty development or much-needed fixes. These things are not carved in stone—you can reorder them and rejigger them any way you like as you go along.
The best part is, once you have a template for every scene in your story—or at least enough to get started with—the writing flows through those blank pages like hot lava through a scrub forest. The “duh” moments, when you don’t know what to put on the page next, are few and far between. This means you can concentrate on the quality of the writing itself—the crafting of language, the drawing out of characters, the description of setting, the arrangement of action—all the truly fun stuff!
Scene templates may not be for you, but I invite you to give them a shot, especially if you’re a writer who has started several novels but never finished one. They could make all the difference in the world.