{"id":2371758,"date":"2016-08-11T11:13:52","date_gmt":"2016-08-11T16:13:52","guid":{"rendered":"https:\/\/clearwaterpress.com\/oneyearnovel\/?p=2371758"},"modified":"2025-04-07T17:41:10","modified_gmt":"2025-04-07T22:41:10","slug":"one-smart-scene-can-pull-weight-many","status":"publish","type":"post","link":"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/one-smart-scene-can-pull-weight-many\/","title":{"rendered":"How One Smart Scene Can Pull the Weight of Many"},"content":{"rendered":"

\"\"By Rachel Garner, Staff Writer<\/strong><\/p>\n

The following is a story I have shared with several of my students in Story Coaching<\/a>. It is only in\u00a0explaining it that I really made sense of it, and I\u2019m sharing this distilled version now in the hope that it\u00a0can help others. Critiquing others helps you become a better writer\u2014we all know that.<\/strong> But it still seems\u00a0weird to me somehow that this should prove true when critiquing is my job!<\/p>\n

For six years, I couldn\u2019t figure out how to write an opening scene for my book.<\/strong><\/p>\n

It\u2019s a running joke among my friends that I\u2019m an obsessive editor\u2014I\u2019ve spent nearly ten years now on\u00a0the book itself\u2014but my struggles with chapter 1 were especially ridiculous.<\/p>\n

The problem was I needed to accomplish two things fairly quickly<\/strong> at the beginning of the novel:<\/p>\n

    \n
  1. Establish my main character\u2019s relationship with her father<\/li>\n
  2. Introduce two characters who are extremely important to my main character and the entire plot of\u00a0the book<\/li>\n<\/ol>\n

    When I wrote the rough draft, the solution seemed simple: have a scene with her dad and have a scene\u00a0that introduces the other two guys. In practice, though, the second scene was 99% more interesting<\/strong>\u00a0than the first one. It had conflict, tension, mystery, and stronger world-building. The relationship\u00a0between my main character and her father wasn\u2019t angry or abusive\u2014it was simply indifferent. Writing\u00a0about it was boring, especially as an opening scene.<\/p>\n

    In editing, I kept doing the same thing over and over again. I\u2019d place a scene with her dad at the very\u00a0beginning. I\u2019d lop it off to get to the much more interesting action of the second scene. I\u2019d do a rewrite\u00a0of the scene with her dad and stick it in front again. Get annoyed, lop it off. Feel like I was missing\u00a0something, put it back on again. On, off, on, off.<\/p>\n

    When I finally did an edit of the second scene that I truly liked, I thought team \u201coff\u201d had won\u2014but this\u00a0wasn\u2019t true. When I looked closely at the scene I realized I\u2019d combined the two ideas<\/strong>. Her dad was\u00a0already in the second scene! The way my main character described him and her interactions with him,\u00a0even as all the interesting character introductions were going on, showed exactly what I\u2019d been trying to\u00a0accomplish with those boring argument scenes.<\/p>\n

    In spite of this revelation, I still have this \u201cadd a scene\u201d gut reaction when I know something is missing,\u00a0and I think this is probably common. Need to foreshadow for something later in the book? Add a scene.\u00a0Need to establish a relationship with a minor character? Add a scene. Need to get across the fact that\u00a0the main character went to a group meeting a second time? New scene!<\/p>\n

    The problem is, this isn\u2019t always the right reaction, especially if the scene in question isn\u2019t interesting.\u00a0Scenes that exist for one purpose alone are particularly likely to lack tension and slow the pace.<\/strong> But as\u00a0my six years of turmoil show, just cutting them isn\u2019t always an option.<\/p>\n

    I started to think in terms of layering scenes<\/strong>\u2014of making them do double, triple, quadruple duty.\u00a0Sometimes the layering can be pretty subtle\u2014where the reader can just sense that the author knows\u00a0more than they\u2019re giving.<\/p>\n

    It turns out that I did a third thing with that opening scene\u2014I not only established the father\u2013daughter\u00a0relationship and introduced two key characters, I also established the relationship between those two\u00a0important characters<\/strong>. My heroine doesn\u2019t really know what\u2019s going on between them, and so neither\u00a0does the reader\u2014but both eventually will know more. They won\u2019t ever know as much as I<\/em> needed to\u00a0know to create that scene, but I think that\u2019s part of what makes characters feel real.<\/p>\n

    Finally fixing the first scene of my novel was a happy accident (okay, it involved a lot of tears-inducing\u00a0work through which I stumbled across the solution by accident). Recently I wrote a short story, however,\u00a0in which I went into it consciously thinking about this layering concept.<\/strong><\/p>\n

    Here\u2019s how it went.<\/p>\n

    I had to get my character from one meeting to a second meeting. I had this transition listed as a scene\u00a0on my outline and everything, but I soon realized I could address it this way: 1) open a completely\u00a0different scene with a character casually<\/strong> mentioning that he attended a second meeting<\/strong> and briefly\u00a0relating a few character anecdotes; and 2) move anything about the second meeting that would be\u00a0more interesting in detail mode than summary mode into the first meeting<\/strong>, which was already more\u00a0important and had higher stakes. Doing this allowed me to move on quickly to new conflict while\u00a0signaling to the reader that time had passed.<\/strong><\/p>\n

    In my early brainstorming, I knew I wanted my main character interacting with people of varying\u00a0worldviews who all have opinions, sometimes overlapping, about what he should do. I had 7\u201310\u00a0different characters. I realized it would be overwhelming and distracting to actually go into depth on all\u00a0of these situations. With layering in mind, I picked the strongest threads and decided to leave hints to\u00a0the others.<\/strong> If I succeeded, I would be able to drop these hints through only a few key snatches of\u00a0dialogue.<\/p>\n

    I also identified that some of these ideas did not each need a character to represent them. I\u00a0replaced the characters by injecting their ideas into my main character\u2019s own musings<\/strong>. This gave me the\u00a0space to expand his time alone with his thoughts, which was very important to the kind of story I was\u00a0trying to tell. This was a bit of a gamble, but when I passed this story to a beta reader she understood\u00a0the importance of all the different worldviews, even though some were represented only by a few lines\u00a0or buried in my main characters\u2019 thoughts. If I got negative feedback from other beta readers, I would\u00a0just edit to add even more layering.<\/p>\n

    Even to me, layering scenes is still more of a concept than a concrete plan of attack. But I have already\u00a0found it very helpful. I would urge you to look at any scene that seems necessary but boring\u2014whether\u00a0written already or not\u2014and consider in what ways it could be combined with other scenes<\/strong>. The action\u00a0of one scene could very well contain the emotions, relationship, or concepts of another. The cool thing\u00a0about this is not only does it eliminate boring sections, it adds dimension and depth to the exciting ones.<\/p>\n

    …<\/p>\n

    Have you ever used layering, consciously or unconsciously, to breathe life into a boring scene?<\/em><\/p>\n

    …<\/p>\n

    \"Rachel_Garner_Medieval\"About Rachel<\/strong><\/p>\n

    Rachel was one of the seven students\u2014or self-labeled \u201cguinea pigs\u201d\u2014who took part in the pilot class for The One Year Adventure Novel<\/em>.\u00a0Known as \u201cNairam\u201d in the extended OYAN community, Rachel is an example of dedication to her craft and a gifted editor. She is also a kind and forthright writing mentor to students at every level of the program, and a Story Coach.\u00a0A homeschool graduate, she is now in college studying history. When not hiding out in the medieval England section of her school library, she edits her Robin Hood retelling and pretends that ten\u00a0years is definitely not too long to spend on a single writing project.<\/p>\n","protected":false},"excerpt":{"rendered":"

    By Rachel Garner, Staff Writer<\/strong>
    \nFor six years, I couldn\u2019t figure out how to write an opening scene for my book. It\u2019s a running joke among my friends that I\u2019m an obsessive editor\u2014I\u2019ve spent nearly ten years now on the book itself\u2014but my struggles with chapter 1 were especially ridiculous.<\/p>\n","protected":false},"author":11881,"featured_media":2371760,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"categories":[15919,81,59,45,11,40],"tags":[16097,16096,16098,16099,16094,16095],"post_series":[],"class_list":["post-2371758","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-guest-posts","category-push-your-imagination","category-self-editing-tips","category-stuck-discouraged","category-writing","category-writing-tips-and-tools","tag-adding-scenes","tag-combining-scenes","tag-fast-paced-writing","tag-fixing-boring-scenes","tag-layering","tag-scene-layering","entry","has-media"],"yoast_head":"\nHow One Smart Scene Can Pull the Weight of Many -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/clearwaterpress.com\/oneyearnovel\/blog\/one-smart-scene-can-pull-weight-many\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"How One Smart Scene Can Pull the Weight of Many\" \/>\n<meta property=\"og:description\" content=\"By Rachel Garner, Staff Writer For six years, I couldn\u2019t figure out how to write an opening scene for my book. 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