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Viewing: Blog Posts Tagged with: a memoirs and screenplays, Most Recent at Top [Help]
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1. Cause and Effect Scene by Scene

Cause and effect within and between scenes allows you to seamlessly lead the reader to each major turning point by linking the cause in one scene to the effect in the next scene. This sequencing allows the energy of the story to rise smoothly.

If the sequence breaks down, scenes come out of the blue, and your story turns episodic. The reader, in turn, becomes disconcerted.

A story is made up of scenes with a clear dependence on each other. Conflict in a scene represents the motivating cause that sets a series of events in motion. As you test for cause and effect notice how some features of your story are more important than others. Look for patterns and see what elements lead to the thematic significance and which do not.

Scenes with No Cause and Effect 
As important as it is to study how scenes are linked by cause and effect, it’s just as important to analyze scenes with no line(s) linking them to others. Note any unexpected objects, locations, and actions in and between scenes deserve foreshadowing and earlier mentions and hints.

The reader (and the protagonist) doesn’t have an outline of the story and thus can only anticipate what is coming by discerning the clues given along the way by the use of foreshadowing. The life of the story takes on its own particular shape, and its sequence seems inevitable to the reader and audience because of foreshadowing.

Emotional Cause and Effect 
Use cause and effect to convey emotion in the protagonist. In one scene, a character responds emotionally to an event. In the next scene, we see the outcome of that emotional response, which, in turn, becomes the cause for another emotional effect. Each scene is organic; seeds planted in the first scene create the effect in the next.

Your Turn
Once again, push aside the words of your story. This time, stand back from it to determine the causality between scenes and the overall coherence of your story. View your story as a whole. With such an insight, you are better able to turn scenes with emotionally rich characters who are experiencing conflict into the driving force behind an exceptional story. Link scenes by cause and effect and each scene becomes organic = from the seeds you plant in the first scene grow the fruit of the next scene.
(Taken from: The Plot Whisperer Workbook Step-by-Step Exercises to Help You Create Compelling Stories)
~~~~

Need more help with your story? 
  • Looking for tips to prop up your middle with excitement? 
  • Wish you understood how to show don't tell what your character is feeling? 
  • Are even you sometimes bored with your own story?
  • Long to form your concept into words? 
We can help you with all of that and so much more! View your story in an entirely new light. Recharge your energy and enthusiasm for your writing.

1st video (43 minutes of direct instruction + exercises for your own individual story) FREE
PlotWriMo: Revise Your Novel in a Month includes 8 videos  (5.5 hours)  + 30 exercises total

 ~~~~~~~~
For more: Read my Plot Whisperer and Blockbuster Plots books for writers.

0 Comments on Cause and Effect Scene by Scene as of 1/1/1900
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2. Secondary Characters Support Protagonist's Emotional Development

Secondary characters create depth in a novel, memoir, screenplay when they tie-into and support the development of the primary character (better understood as the protagonist's character emotional development).

A writer develops a secondary character based on patients he worked with in a previous day job. He has terrific authentic details, having spent so much time with one particular patient with special needs. The character (who is the protagonist's brother) is of great emotional importance to the protagonist. (The writer is writing what has long been espoused as a good practice for writers ~~ write what you know.)

The writer's front story (dramatic action plot) centers around drugs and money laundering and shady operations, guns and prison and betrayal. His writing strength appears to be developing dramatic action. When asked who his audience is, the writer has not yet considered such. The front story is high-stakes, exciting intrigue, which often resonates with male readers. Yet the protagonist is a woman. She is a "ballsy" woman to be sure, confident and fearless.

When asked how much of his story he wants to involve the other two plot lines ~~ character emotional development (which, at this point, is little, if at all, developed) and thematic significance, again he had no answers. Same reaction in response to whether he plans to include a romantic secondary plot line in his story.

I did not present these questions to baffle him or slow him down. I presented these questions to support him in broadening his scope of what he is doing both in his story and in his life as a writer...

He introduced and developed the secondary character in order to bring heart to the protagonist's character and thus, develop her character emotional development plot. Yet, because he is writing what he knows about patients with special needs, he concentrated on describing the secondary character's behavior without tying those elements directly to the protagonist or give the reader a sense of the impact those behaviors have on the protagonist and even more importantly, how those behaviors influenced the protagonist's backstory development.

Because the secondary character having special needs does not play into the dramatic action plot (in other words, such afflictions are not necessary for the development of the primary plot), I suggest that rather than devote so much time to the development of the secondary character, use his afflictions to deepen the readers understanding and appreciation of the protagonist instead. Her backstory wound of being ignored by her parents in favor of attending to the brother's special needs, bleeds into her everyday life in undercover as she is betrayed by not only the bad guys but the good guys, too.

For more support about the role of Secondary Characters in novels, memoirs, and screenplays:
1) Check out Chapter 6 of:The Plot Whisperer: Secrets of Story Structure Any Writer Can Master (Now also sold as a Kindle edition)


2) Watch:
3. Details, Transformation, and The Universal Story

Often, the writers who excel in conveying just the right details in a scene or depth of emotion through subtle body language during dialogue have a strength in visual perception and visual memory. 


Judging from the number of writers who have commented on the fact that I wear red (one of the brand colors of BBP) in all the videos on my Plot Series  vlog where I address plot issues in the Beginning and the Middle of novels, memoirs, and screenplays, I take heart that their stories resonate with subtle thematic clues. 

A much smaller number of writers have noted the switch from red to purple in the videos pertaining to plotting the End of a story (to show the outward change signifying the character's ultimate transformation in the Universal Story).

Writers have a tendency to get stuck in their heads, focus on themselves, and look inward rather than outward. They obsess about the stories they write to the point that they often miss the details of the world around them. 

Close your eyes. How many objects in the room you are sitting in can you describe in detail? 

Pull yourself out of a conversation you are having with another person and watch the interchange, as if watching a movie. 

Memorize the words the other person speaks. Note what she holds back and how she conveys meaning through nonverbal communication. 

Recount the last conversation you had. What did the other person say? Your answers, or lack thereof, may surprise you. 

Look at the details that surround you. What do they convey about where you are on your writer’s journey? 

What can you let go of, both tangible and intangible, to move nearer to who you dream of being? 

Whenever you are not writing, pay attention to the world around you and what others are saying. Jot down notes in your journal that you carry with you everywhere. Tune into the details of the natural world. The practice gets you out of your head and produces gems for the theme, mood, and nuance of your story. 

Most of a writer’s genius comes in the art of the finesse. How finely you craft your project before you let it go is up to each individual writer. 

2 Comments on Details, Transformation, and The Universal Story, last added: 7/25/2011
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4. Back-story Informs Front Story

Fascinating consultation today. The back-story the writer has developed becomes a clear motivating force behind the protagonist's actions and goal setting throughout the entire front story. The back-story serves as a beacon for the writer to filter her decisions through to bring more depth and emotionality to the story. 


Readers connect to the story through the character. 

Readers identify with the characters through the characters' emotions.

During the consultation, the back-story develops in such a way to bring more emotionality into the story as the protagonist reacts, sometimes inappropriately, based on the pain she suffered as child and continues to feel, though basically unconsciously so.

Not wanting to give the writer's story away, I give examples here to show you what I hope to convey.

To begin with, the back-story is the time when and the reason why the protagonist's innocence is lost. This can be at a young age years before the actual story begins or more recently but still before the actual front story begins. 

This defining moment may be something the character overheard and took to heart and has lived her life by ever since. This moment may be some sort of negative treatment toward the protagonist earlier in her life that she now carries with her, unconsciously or not, and that interferes with her capability to achieve that which she most longs for. 

Back-story provides brilliant motivation for the character's actions even when the character is virtually unaware of it or believes her motivation comes from elsewhere.

In other words, if the protagonist was betrayed at some point in her past (back-story), she from that point forward feels betrayal in the actions of others now in the front story. If she was abandoned in her back-story, she feels the same pain she felt as a child even now as an adult and even if the current behavior by another is actually benign and insignificant to others but never to her. Perhaps she was lied to, physically abused, emotionally bullied, neglected... you fill in the blank for your character. 

This wound then becomes what she must become conscious of and overcome in order for the sense of perfection to be restored in the final 1/4 of the story. 

The back-story never has to be revealed in the story at all. However, so long as you as the writer knows the protagonist's back-story, you then have compelling motivation for the protagonist's actions in the front story. 

Just remember, the back-story is not the story. 

The front story made up of the primary plot and that is the story. 

3 Comments on Back-story Informs Front Story, last added: 3/4/2011
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