Moving the plot forward. Establishing or resolving conflict/tension. Illuminating new character traits. Showing how characters have changed. Exposing or illustrating a new location or new character. Telling a joke or hitting an important emotional beat.
If you’re writing a stand-alone scene, like a skit, spend some time brainstorming characters. You might write out a few sentences, or do a full character sketch.
While most dates take place in a park or at a nice restaurant, Rocky’s famous courtship scene is extra powerful because it is in an abandoned ice-skating rink, which mimics the shape and feel of a boxing ring. The violent ending of There Will Be Blood is extra shocking because it takes place in the most innocent setting of the entire movie – a home bowling alley. The turning point of the North Korean set Orphan Master’s Son takes place in Texas, putting the characters in perhaps the least North Korean location imaginable to spur their rebellion. [3] X Research source
How many lines can you cut at the very beginning of the scene before you get to essentials? It’s best to dive right into the story instead of following your character through a normal day.
The goal is to start visualizing the scene, playing the movie or novel in your head as you write. [5] X Research source
Thinking in terms of action and reaction, not random chance, to make more dynamic scenes. Leading with the action. If someone thinks about doing something, then does it, like hitting a character, start with the punch first. Then follow up with “she’d wanted to do that for a long time. " Revealing inner thought through action. Hemingway was a master of this, using small actions to show bigger emotions. For example, a character leaning back in a chair suddenly leans forward, putting all four chair legs down, as he has just heard news of his long-lost lover, who he pretends not to know, in “The Big Two-Hearted River. [6] X Research source
Shakespeare was the master of hidden conflict. Look, for example, at Macbeth, who as the reader knows, is hiding a murderous guilt under every act of kindness or political speech. Conflict is often created out of character traits. On Parks and Recreation, we know that libertarian Ron Swanson hates the Federal Government. This makes his decision to ask for a job at the US National Parks Service in one scene much more poignant. Conflict does not have to immediately resolve. Every scene of Memento is built upon a conflict between what we remember and what we think we remember. Each scene plays subtly between the two opposing sides.
Of course, the “third option” could be the fourth or fifth option. The larger goal is to choose something hidden or unsuspecting, instead of the obvious outcome. Make a list of 25 different endings or options, even dumb or improbable ones, if you get stuck.
Slang, expressions, accents, and even punctuation are good ways to differentiate characters’ voices.
Details are best when the reflect the inner lives of characters. For example, a sad character is likely to notice an abandoned storefront. They might not notice the happy people at the cafe, or they could complain about how happy everyone looks. In general, scripts and plays should only have the essential details. If you want silence or calm moments, show it in your action lines, such as “he pours his coffee silently. “[7] X Research source
