Structurally, every action scene is followed by a reaction scene, which is followed by another action scene, and so on throughout a story until the end. An action scene has a goal, a conflict, and a disaster. A reaction scene has a reaction (duh), a dilemma, and a decision. The key to ensuring that your scenes work is to include all of the elements, and to make sure that the next scene is the inevitable consequence of the previous one. If an action is missing its goal, or a reaction scene is missing its decision, then they aren't going to work, and your audience isn't going to be satisfied, even if they may not be able to explain why.
I'm so glad I came across your channel. I had seen you featured on another channel talking about the three act structure in movies, which was a really great video . Your knowledge and wisdom is helping me so much. I'm currently writing a script for a play and your help is transferring easily into that format. I have avoided making some mistakes because of your help. You have great way of presenting the information clearly, concisely and in a very watchable way. I will be subscribing and catching up on all your videos here. Thank you.
Thanks for this posting. I'm in the midst of a final edit of my mystery which has benefitted from all of your books and this post continues that support. Though a small part of the post the idea about using a word from the ending of the last scene in the beginning of the next scene is really subtle and a neat idea.
Really good breakdown of this topic and love your site too! If I may pose a question it´s about a narrative technique. I´m unsure on what it is called, but if the story only tells the reader and not the in book character about the danger/obstacles of the protagonist to create suspense. Let´s say Psycho. If we (instead of the movie) meet the heroine on the way to the motel, when she checks in and everything seems normal followed by a scene where Norman Bates talks to the remains of his mother. Now we have suspense as the motel owner is a *drumroll* psycho and we start to worry about the heroine who is oblivious to this. The good part is we immediately have a high level of suspense, but the bad is that we have 'spent our powder'. If you could elaborate on this types of narrative I´d be grateful. Thank you for a great channel/site.
Thanks K.M. for you videos. I have a question relating to opening scenes in novels. So much attention is given to making sure that the opening scene ticks all the necessary boxes. Ie : introduces the protagonist in action, at a pivotal point in their story, whilst preferably using engaging dialogue. I haven’t seen anybody address the situation I find myself in with my first person pov story. The scene I have ticks the boxes, but it has been taken out of the chronological flow of the story - which makes it more of a prologue. Now I am looking for alternatives to use when the story comes back around to this specific time and scene, without repeating it again verbatim. My solution to this has been to lead into it with a portion from the protagonists diary and modify the scene by making it shorter, with some extra dialogue. I am wondering if you or others have come across this situation before and how they have approached it? J
Hi K! Could you tell me what was the 'want' and 'need' of Andy in the Shawshank Redemption movie, if you have seen? Because i did indentify the want, but not the need. Thank you so much! Also, It would be wonderful you if could breakdown some movies for your fans as examples. Thanks again!
He wants freedom. He needs justice. (because he was wrongly convicted, later found out who the real killer was, and was the warden further abused his power by making sure Andy never got out)
His Want was to escape from a physical perspective. His Need was to develop and maintain hope in the darkest of places, to escape from a spiritual perspective.
I think both of the posited responses are good, especially @TheZetaKai. As for structural breakdowns, I have a whole database of those, which you can find here: www.helpingwritersbecomeauthors.com/story-structures/
@@KMWeilandAuthor I think we see the need for justice become clear at the end, where he takes extra care and risk to ruin the lives of the horrible people who ran the prison. Hope was a coping mechanism.
With all the analysis, planning, and structure, can the heart, soul, and life of the story become obscured and lose personal connection with the reader?
I think what she's talking about *IS* the heart, soul and life of the story. Like how we have hearts, and you can just feel it beat, or talk about the valves, aorta and ventricles and such. Both are talking about the same thing from different directions.
@@SK-gc7xv I was speaking more from the perspective of the writer losing touch with the story through all the anatomical analysis of it. For instance, the pleasure of romantic love comes from touching and feeling someone, not from identifying or drawing their body parts.
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Buy her book. It's a top 10 novel writing book, easily.
Sounds like a plan!
Thank you! You explain this so well 😊 I’m glad I discovered you as I’m writing my first novel.
Structurally, every action scene is followed by a reaction scene, which is followed by another action scene, and so on throughout a story until the end. An action scene has a goal, a conflict, and a disaster. A reaction scene has a reaction (duh), a dilemma, and a decision. The key to ensuring that your scenes work is to include all of the elements, and to make sure that the next scene is the inevitable consequence of the previous one. If an action is missing its goal, or a reaction scene is missing its decision, then they aren't going to work, and your audience isn't going to be satisfied, even if they may not be able to explain why.
I'm so glad I came across your channel. I had seen you featured on another channel talking about the three act structure in movies, which was a really great video . Your knowledge and wisdom is helping me so much. I'm currently writing a script for a play and your help is transferring easily into that format. I have avoided making some mistakes because of your help. You have great way of presenting the information clearly, concisely and in a very watchable way. I will be subscribing and catching up on all your videos here. Thank you.
Thanks for this posting. I'm in the midst of a final edit of my mystery which has benefitted from all of your books and this post continues that support. Though a small part of the post the idea about using a word from the ending of the last scene in the beginning of the next scene is really subtle and a neat idea.
Great video! Wish I discovered you before starting my book.
I instantly clucked this when it popped up on my feed! This is one of the things I struggle with!
This is a very informative video. Thank you Ms. Weiland for sharing this.
Very helpful. Thank you.
Really good breakdown of this topic and love your site too! If I may pose a question it´s about a narrative technique. I´m unsure on what it is called, but if the story only tells the reader and not the in book character about the danger/obstacles of the protagonist to create suspense.
Let´s say Psycho. If we (instead of the movie) meet the heroine on the way to the motel, when she checks in and everything seems normal followed by a scene where Norman Bates talks to the remains of his mother. Now we have suspense as the motel owner is a *drumroll* psycho and we start to worry about the heroine who is oblivious to this.
The good part is we immediately have a high level of suspense, but the bad is that we have 'spent our powder'.
If you could elaborate on this types of narrative I´d be grateful. Thank you for a great channel/site.
You're good at this. And not annoying at all.
Thanks K.M. for you videos. I have a question relating to opening scenes in novels. So much attention is given to making sure that the opening scene ticks all the necessary boxes. Ie : introduces the protagonist in action, at a pivotal point in their story, whilst preferably using engaging dialogue. I haven’t seen anybody address the situation I find myself in with my first person pov story. The scene I have ticks the boxes, but it has been taken out of the chronological flow of the story - which makes it more of a prologue. Now I am looking for alternatives to use when the story comes back around to this specific time and scene, without repeating it again verbatim. My solution to this has been to lead into it with a portion from the protagonists diary and modify the scene by making it shorter, with some extra dialogue. I am wondering if you or others have come across this situation before and how they have approached it? J
very helpful. thank you. :D
"The plan never survives contact with the enemy. Nonetheless, you must always have a plan."
Hi K! Could you tell me what was the 'want' and 'need' of Andy in the Shawshank Redemption movie, if you have seen? Because i did indentify the want, but not the need. Thank you so much! Also, It would be wonderful you if could breakdown some movies for your fans as examples. Thanks again!
He wants freedom.
He needs justice. (because he was wrongly convicted, later found out who the real killer was, and was the warden further abused his power by making sure Andy never got out)
His Want was to escape from a physical perspective. His Need was to develop and maintain hope in the darkest of places, to escape from a spiritual perspective.
I think both of the posited responses are good, especially @TheZetaKai. As for structural breakdowns, I have a whole database of those, which you can find here: www.helpingwritersbecomeauthors.com/story-structures/
@@KMWeilandAuthorThank you so much!!
@@KMWeilandAuthor I think we see the need for justice become clear at the end, where he takes extra care and risk to ruin the lives of the horrible people who ran the prison. Hope was a coping mechanism.
With all the analysis, planning, and structure, can the heart, soul, and life of the story become obscured and lose personal connection with the reader?
I think what she's talking about *IS* the heart, soul and life of the story.
Like how we have hearts, and you can just feel it beat, or talk about the valves, aorta and ventricles and such. Both are talking about the same thing from different directions.
It can be a fine balance. Perhaps I will post on this in the future.
@@SK-gc7xv I was speaking more from the perspective of the writer losing touch with the story through all the anatomical analysis of it. For instance, the pleasure of romantic love comes from touching and feeling someone, not from identifying or drawing their body parts.
@@KMWeilandAuthor Yes, that would be great. Thank you!
You can focus on prose too much and lose touch too. The feelings should be number one and everything else is a humble guide