A Scene Check List:
A Scene is one event (specific/precise) from one POV in one place at one moment in time (interesting/relevant) – where something changes/happens.
Purpose:
POV:
Who is where (when?)
- journey
- stakes
- char
- story
Audience:
From:
- What changes beginning to end?
- Character challenge?
- trait
- action/inaction
- decision/not
- consequence
- sub-plot pieces
- jig-saw puzzle / weave / pattern / puzzle
- pieces, bang, wrap
To:
- timeline
- scene
How has the world changed?
What does the reader learn?
What was the Action?
Reaction? Physical/emotional/psychological/spiritual/intellectual.
A scene is a RELEVANT, DRAMATISED (in real-time; in Show) UNIT (encapsulation) that moves the Story forward.
Escalates to climax (end).
Build tension: decisions, actions, consequences, reactions.
Dialogue, risks. Two hot spots, no more. Long scene, stronger hot spot.
Event – small enough to be dealt with in One Place and Time.
Scene Types:
- Contemplative: goal, thought process, decision, epiphany
- Action: argument, chase, description, drama, epiphany, fight
Scene Board:
1)
Purpose – relevance
2)
POV
3)
Setting info (stage setup: time, weather, era, senses, props, symbols/thematic)
4)
Chars in scene (why?) – relationship; agenda (each char)
5)
Conflict – complications; contributes to ? plot position, growth phase
6)
Dialogue – subjects, subtext, symbol/theme, echo
7)
Internalisation – agenda, diff from dialogue
8)
Actions – dramatic; significant, but everyday actions
9)
Hot Spot (climax)
10)
Exit line
11)
Change-up (link to purpose) – what changes from beginning to end?
Physical/emotional/psychological/spiritual/intellectual.
Senses: (detail to bring scene to life) See, Hear, Smell, Taste, Touch, Sense (are there more?)
Timeline of Events in Scenes:
What is at STAKE (Scene, Story, Char)? Outline what is already written Hook/s
Flow
Segue
Tension
Growth
Begin/end mirror
How has the world changed? What was learned? Do you have a Theme? Logline for scene?
Part 1
Part 2
Part 3
Part 4
Orphan
Wanderer
Warrior
Martyr
Clueless
Scared
Angry
Smart
Unaware
Surprised
Focussed
Courageous
Ignorant
Confused
Focussed
Heroic
Destined
Responder
Attacker
Saviour
BS2
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
Opening Image
Theme
Set Up
Catalyst
Debate
Break To Two
B Story
Fun & Games
Midpoint
Bad Guys Close In
All Is Lost
Dark Night of the Soul
Break To Three
Finale
Final Image
Milestones:
1.
2.
3.
4.
5.
6.
7.
8.
9.
Opening scene or sequence
Hook moment in first 20 pp
Set up inciting incident
First plot point (20-25%)
First pinch point
Midpoint – context shift, precisely in middle
Second pinch point
Second plot point (75%)
Final resolution scene or sequence
Four Parts:
Part 1:
The Setup (Orphan) - Creates stakes, backstory and char empathy; foreshadowing conflict.
Part 2:
The Response (Wanderer) - Reaction through action, decision, or indecision (to antagonistic force).
Part 3:
The Attack (Warrior) - Midpoint. Try to fix things, attack obstacles; change; critical thinking. Move forward.
Part 4:
The Resolution (Martyr) - The hero needs to be the primary catalyst in the resolution; heroic. The hero
summons the courage and growth to come forward with a solution to the problem, to reach the goal, overcome obstacles
(inner and outer), attain victory, conquer antagonistic force.
Pinch Point: an example or reminder of the nature and implications of the antagonistic force that is not filtered by the
hero’s experience. The snack between the main meals.
Story Engineering Cheat Sheet:
What is the
conceptual
hook/appeal of
your story?
What is the
theme of your
story?
What is the
First Plot Point
in your story?
What is the
Midpoint
contextual
shift/twist in
your story?
What is the
Second Plot
Point in your
story?
1. Concept
Can it be expressed as a “what if?” question?
Can you answer that question?
Does your initial “what if?” question immediately inspire subsequent “what if?” questions that begin to
suggest plot points and story segments?
Is your intention to sell a point of view, or merely explore it?
Does you story inspire multiple themes?
How does your story open?
Is there an immediate hook?
What is the hero doing in his life before the First Plot Point?
What stakes are established prior to the First Plot Point?
What is your character’s backstory?
What inner demons show up here that will come to bear on the hero later in the story?
What is foreshadowed prior to the First Plot Point?
Is it located properly within the story sequence?
How does it change the hero’s agenda going forward?
What is the nature of the hero’s new need/quest?
What is at stake relative to meeting that need?
What opposes the hero in meeting that need?
What does the antagonistic force have at stake?
Why will the reader empathize with the hero at this point?
How does the hero respond to the antagonistic force?
How does it part the curtain of superior knowledge … for the hero … and for the reader?
How does this shift the context of the story?
How does this pump up dramatic tension and pace?
How does your hero begin to successfully pursue or attack his need/quest?
How does the antagonistic force respond to this attack?
How do the hero’s inner demons come to bear on this attack?
What is the all-is-lost lull just prior to the Second Plot Point?
How does this event change or affect the hero’s proactive role?
How does your hero become the primary catalyst for the successful resolution of the central problem or issue
in this story?
How does that role meet the hero’s need and fulfill the quest?
How does the hero demonstrate the conquering of inner demons?
How are the stakes of the story paid off? Who wins, and what does he win? Who loses, and what does he
lose?
What will be the reader’s emotional experience as the story comes to its conclusion?
2. Character
3. Theme
4. Structure
5. Scene Execution
6. Voice
1PP (First Plot Point) – first meaningful appearance of main conflict element – foreshadowed? But here it’s real and
how/what it means to MC. 1PP either further defines or changes meaning of conflict element for MC. What it changes TO
is the stuff of the rest of the story. Look at what Plot Point means, not what it is; look for the narrative moment at which the
story clarifies, truly begins an informed forward motion; the story switches from setup mode to reaction mode. It’s the
STAKES that the 1PP creates that counts, not the size of the explosion. It’s a decision, not a slide.
Box/Part/Act 1 – set up Plot and Char. 1PP is collision of these two. MC has yet to change. How he handles things is char
arc. MC grows or changes. Arc is consequences. Inner demons plague MC through middle until gets idea needs to fix
something, after Midpoint its inner struggle response. Makes better choices in Act 3.
Subplot is (char perspective) dramatic q answered over course of story – 2nd dimension issue re inner demons. Subtext is
existence of some social, psych, economy, other ‘situational’ pressure that defines and influences char (eg social clan,
politics, career factors, etc.).
1 = Setup; 2 = Response; 3 = Attack; 4 = Resolution (chase).
Setup creates stakes, backstory, char empathy, foreshadows conflict. 1PP = primary conflict of story (Not fully
explained/explored); = how it AFFECTS MC (near end of Part 1). End of Part 1 is where Plot Point 1 lives, regardless of
inciting incident. PP1 is the point of decision in path of change, defines goal, intro’s and clarifies obstacles, defines Stakes.
PP1 is the game-changer, journey-defining.
Part 2 (&3) = Confrontation. In (2) by fleeing from inherent danger of problem/s. In (3) by seeking to confront face to face,
bold, with plan.
Define the milestones: Act 2 is Plot Point 1, Pinch Point 1, Mid Point, Pinch Point 2, Plot Point 2; Add Act 1 (setup) and
Act 3 (resolution) = 80% of story.
Allow approx 3 scenes that set up and surround milestones: set up, pay off, connect. Write to and from milestones. Will be
propelled forward from the milestones (because of the power position of the milestones). Everything else is Connection!
Reaction, planning, resting, studying, reflecting, searching, etc.
Eg: Shortest story
Free, baby booties, unused.
Try moving the words around to see if you get the same power. Free is the hook and setup – everyone wants something for
nothing; baby booties – the 1PP because we have to go further to get: an explanation of something we all have a feel for, an
emotional response to; unused – can be both attack and resolution; the extreme sadness is placed at the end, is more
powerful after the lead up to that point. The Oooooh, what’s this? To aaaaah, cute little baby stuff. To ooooooohhhh no, not
that.
All good (and powerful) stories have the structure.
Part 3 – Attack by the hero using new info, tools, courage, etc in effort to overcome antag (committed and powerful and
cunning and complex enemy) who has to be dealt with by doing better, fighting back, hatching plans, enlist assistance,
demonstrates courage, shows initiative (not always successful). Newly energised – where really fights against inner
demons; begins to adjust and accommodate – gets over himself to do what’s required to reach goal.
12-15 scenes (as in Part 2) MUST show what stands in MC’s way – and MUST show opposition (shd be pure and dramatic
– an entire scene). The pinch in 3 – taking action to solve problem, not just trying to figure it out. Pinch – experience antag
through eyes of hero, or at least, the consequences of opposing the force as it affect hero. Main story points/milestones are
MC, plot points = antag.
Plot Point 2 (PP2) = when the final chase scene starts. Based on info that led to/entered at PP2 (on the pat of hero or antag)
puts the FINAL piece of new narrative info – now has all necessary to be primary catalyst in story conclusion.
Acceleration – doors opening, new strategies, hatchings, new risks with more immediate rewards; a freight train effect that
can’t be stopped, but unsure what it will hit, or when.
Transition from Attacking warrior to a hell-bent, selfless, heroic, martyr-like champion.
PP2 launches the final push to resolution – the game has changed (no more revelations ahead). What’s on the table is all
there is to work with.
Note: all hope is lost lull just before PP2.
Four parts, unique contexts, discreet missions/purposes, divided by 2 major plot points and a mid-point. Plot twists? Throw
in a couple of pinch points, a compelling need and quest for hero, who learns and grows. Scenes that connect. Execute
concept/idea with clear theme, interesting world view, and a clever take on plot.
Char Stages: Dimensions: (1) What you see; (2) Why you see it; (3) Actions, behaviour, world view. People driven by
resentment.
Stage 1: disconnected from ultimate goal; exposed to full range of 1-dim char issues without expansion to what’s
underneath; get only partial glimpses of consequences that manifest in chars life. Backstory that links to inner demons and
obvious 1-dim choices that compensate for them.
Stage 2: responding, reacting, running, investigation, challenging, disbelieving, makes mistakes – but not yet attacking, not
in an informed manner. Blocking. This is where his old patterns and inner demons (char arc) kick in to compromise efforts.
Plagued by inner demons. Flail and fail. See more of 1-dim consequences and constraints; begins the 2-dim explanation and
rationale for choices – usually a mask to cast aside before able to move on.
Stage 3: After the confounding and confusion – time for hope. Apply learning curve. New willingness and ability to rise
above demons; aggressive and proactive. Attacks. Doesn’t go so well. But, not going down without a fight. Battles
obstacles – inner and outer. Char begins to understand demons.
Stage 4: Lessons learned, better equipped, changed, grown, evolved. From coward to courage; isolated to engaged. Inner
demons conquered – prepared to act, to apply learning to implement heroic decisions and acts – even to martyrdom. Char is
Primary Catalyst to Resolution.
_______
Character Arc:
Backstory, experiences that influences thoughts and
actions
Inner demons, how it influences thoughts and actions
Outer demons, etc.
Resents?
What drives revenge?
Feel about self? Gap btn self-view and others
Worldview
Moral compass
Giver/Taker
Gender and attitude to
Lessons not learned
Lessons experienced but rejected or failed
Friends – smarter/not; above/below, etc.
Introvert/extrovert – how it manifests
Social IQ? Awkward, easy, faker, eager
Secret yearning
Childhood dream that didn’t come true – why?
Relig/spiritual
Partner/s, close friends, employers, what do they know?
When how why holds them back/procrastinates
What held them back
How many people would go to funeral? Why might some
decide to not go?
Unlikely or contradictory aspect of char
1-dim quirks, habits, choices: why? What covering for?
Backstory to? Psych scars – links to backstory
Strength under pressure – how?
Arc-change/grow – how applies learning to become
catalytic force at end?
_____
Partial BS
1 – Prologue – preview of forthcoming problem
2 – Intro char and life prior to facing problem
3 – Show chars present pre-Plot P1 Stakes
4 – Off-stage flash of approaching antagonism
(foreshadowing)
5 – First hint of darkness
6 – MC timidly confronts darkness; reader sees Achilles
heel
7 – MC warned to stay away, doesn’t know what this
means
8 – MC confronts the impending jeopardy without
knowing stakes
9 – MC falsely reassured
10 – MC doesn’t buy in, goes stealth to see for himself
11 – Major darkness thrust on, everything changes
12 – MC hit by 1Plot Point.
End Part 1 – Break into Part 2.
Act 1: 9 chapters: opening image – catalyst, theme statement, debate, break into 2
Act 2: 9 chapters: fun and games – midpoint and false defeat
Act 3: 9 chapters: Bad guys close in, all is lost, whiff of death, dark night, severe setback and change of fortune, break to 3
Act 4: 9 chapters: reaction to setback, epiphany and insight, final preparations, climax; confrontation, resolution, aftermath.
Danger must be PRESENT danger; Every single char must change in the course of the story (maybe not the baddies);
Everybody arcs; chart stories/arcs as laid out with milestones of change (of each char as progresses).
The hero must be PROACTIVE! 1) is his goal clearly stated in setup? Obvious, spoken aloud, restated? Actions, words in
all story? 2) Do the clues just come – or does he work to seek them? 3) Is he active or passive? Goal must spring from
BURNING DESIRE. 4) A hero never asks questions! He knows and others turn to him. 5) Characters serve their OWN
PURPOSE (not the author’s). 6) Make the bad guy the BADDEST! (often 2 sides of the same coin). Just out of reach
makes hero status elevated.
Plot doesn’t just move, it spins and intensifies, accelerates, faster, more complex to climax. How does it affect char as it
goes along? Show flaws, reveal treacheries, doubts and fears of hero – and threats to THEM. Expose hidden powers,
untapped resources and dark motives for the baddies (the goodie doesn’t know). Facets of diamond.
The three books used as sources: Save the Cat (Snyder); Story (McKee) Story Engineering (Brooks). Find ’em. Read ’em.