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SA T URDA Y , 3 1 A UGUST 2 0 1 3
Arerulesmadetobebroken?
Letsgetstraighttothepointrulesareputinplaceforareason.Butthatsnottosaywecanbendthoseruleswhenitsuitsus.
Butwhenitcomestofictionwriting,howfarcanyoubendthoserulesandisitokaytoevenbreakafew?
Theanswersdependupontherulesinquestionandthekindofcircumstancesthatexistforwritersi.e.whetherthewritersarejuststartingoutontheirfictionwritingjourney,orstillunpublished,orwhethertheyreestablishedandexperiencedwriterswhoperhapscangetawaywithafewwritingtransgressions.
Thereiscertainlynoreasonwhywecantbendafewfictionwritingruleswealldoit,butblatantmisuseofthemwontdowritersmuchgood.
Firstly,newandunpublishedwritersshoulddispensewithanyarroganceaboutItsmystoryIcandowhatIlike,howIlikewherecreativewritingisconcerned.Thatkindofattitudewillnotgetyoupublished(unlessofcourseyouareanexceptionalwritingprodigyburstingwithimmensecreativetalentandpublishers
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Soyou'veembarkedonyourfictionwritingjourney.
It'soneofthehardestthingstodocreateawhole,believableworldforotherpeopletoenjoy,especiallyifyou'renewtowriting.It'salsooneoftheloneliestjobs,especiallywhenthereisnohelporadviceorsupport...sorightheretherewillbehandyarticles,examplesandsimplestepbystepguidestohelpmakethecreativeprocessthatmucheasier.
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A L L WR I T E F I C T I ON ADV I C EA D V I C E O N C R E A T I V E WR I T I NG
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fallatyourfeetforyoutodictatetothemhowthingsshouldbedone).
Intherealworld,however,therealityisquitedifferent.
Yourjobasawriteristoimpressanagentorpublisher,tomakeyourworkstandout,tomakethemsitupandtakenoticeofyouand,ultimately,takeachanceonyouandyourwork.Thatmeansputtinginthehardworkthroughthepainstakingwritingandeditingprocessandthepolishingtoperfectionofyourmanuscript.Italsomeansabidingbygeneralfictionrulesinordertogiveyourselfanadvantage.
Butwhydosomebreaktherules?
Moreexperiencedandpublishedwritersthosewhohavedevelopedagoodworkingethicwiththeireditors,thosewhoearnalotofmoneyforthemselvesandtheirpublishers,areallowedtopushtheboundaries.Manyfamouswritersdobendandbreaklotsoffictionwritingrules,butthatisbecausetheyvealreadyworkedhardtoestablishthemselvesthroughpublication.
Whichwritingrulesmatter?
Theruleseverywritermuststicktoconcerngrammar.
Correctgrammarisparamountitsetsastandard,andtheyshouldneverbeinfringed.Wherenovelwritingisconcerned,anywriterwhocannotgraspbasicgrammarwillgetrejectedbecauseyouareshowingprospectiveagentsorpublishersyourpoorwritingskills,thusexposinglimitedcapabilities.
Dontthinkforoneminutethateditorswillgladlygiveuptheirtimetogothroughyourmanuscriptcorrectingyourmistakesbeforejoyfullydeclaringtheywillacceptyourmasterpiece,becausetheywont.Youwillberejected.
measure.Iamprivilegedtohaveeightshortstories/poemspublishedinthisbook,soifyoulikeyourdamesalittledarkanddangerous,thisisthebookforyou.
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WISE WORDS . . .
Writingislikebeingmarriedyouhavetoworkhardatmaintaininghappinessandequilibrium,butinvariablyonealwaysendsupinthedoghouse.
A BOUT ME
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Ifyoucannotpresentaperfectlypolishedmanuscripttoagentsorpublishers,youwillnotfindpublication.Theywillspotsillygrammaticalmistakes,evenifyoudont,andtheywillnotonlyjudgeyourwritingskillonthecontentofyourmanuscript,butalsoonthestandardofyoursynopsisandyourcoveringletter.
Whataregeneralfictionrules?
Thereareplentyofunwrittenrules,alonglistofdosanddontsthatarenotasstrictorasrigidasgrammarrules,butwriterscancreativelybendsome,andonoccasion,breakthem.
Hereareafewexamplesofthekindofgeneralrulesthatwritersshouldobserve:
Dontusetoomanyadverbs.Cutdownontheuseofadjectives.AvoidhangingparticiplesDontuseclichsShow,donttellWritingshouldbeactive,notpassiveDontchangetenses
Whilethesearenotsetinstone,theyexisttosupportthewriterinthemostpositiveway,andtheyexistbecausehundredsoffamousandtalentedwritersbeforeushavetoiledandploughedthroughtheircreativeworks,gonethroughmanyrejectionsandlearnedthroughfeedbackwhatisacceptedandwhatisnt,andtheyhavepassedthisimperativeadviceontofellowwriters.Ifnotforthem,wewouldnthavetheserulestoguideus.
Newandunpublishedwriterscanbendthem,toapoint,butshouldavoidbreakingthem.Remember,youarewritingtoimpressagentsandpublishers,notyourego.UntilyouaresittingalongsidethelikesofStephenKing,JKRowling,NeilGaiman,TomClancy
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orRobertHarris,thenitsbesttosticktoconvention.
Everywriterstartsatthebottomoftheladderandhastoworktheirwayup,sowhenyoudobecomepublishedandyouhavethatexperiencebehindyou,thenyoucanexperimentwithpushingboundariesandbreakingtheoddruleortwo.Untilthattime,theadvicewouldbetosticktofictionwritingrulestoincreaseyourchancesofbecomingthenextbigthing.
Thereisneveranyshortageofwouldbenovelistswhothinktheyknowitallanddontsticktoacceptedconventions,whoseworksarelitteredwithcrimesagainstfictionandallmannerofgrammaticalnasties.Theyarethekindofpeoplewhowillnotlistentoadvice.Nowonder,then,thattheyremainunpublished.
Rulesarethereforareason.Bendthem,buttrynottobreakthemifyouwanttogetyournovelnoticed.
Nextweek:Howimportantiswritingstyle?
POSTEDBYAJ HUMPAGEATSATURDAY, AUGUST31, 2013NOCOMMENTS: L INKSTOTHISPOST
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ProloguesThePros&ConsPart2
Inpart1,welookedattheadvantagesofhavingaprologue,soinpart2wewilllookatthedisadvantagesofusingthem,andwhytheynowprovingunpopularwithagentsandpublishers.
Whatarethedisadvantagesofaprologue?
Thesimpletruthisthatprologuesareseenasunnecessary.Theyformagreatchunkoftextatthe
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beginningofanovel,whichreadersmighteitherignoreorskimreadoutofboredom,oritputsthereaderoffreadingtherestofthenovelaltogetherbecauseitsjusttoomuchofachore.
Theideawiththeopeningchapterofyournovelistogetrightinattheheartoftheactionordefiningmomentinyourmaincharacterslife,sowhyspendsomuchtimeconstructinganattentiongrabbingopeningchapter,onlytostallthewholethingwithalargepieceofnarrativestuckatthefront?
Anymomentum,gravitasorexcitementthatyouwantedtoachieveinyouropeningchapteriscompletelywipedoutbyaploddingprologue.Itsnotexactlythebestwaytothrillandimpressanagentoreditor,isit?Anotherbignegativeisthatmanypeoplealsoseethemasinfodumps,thekindofinformativenarrativethatjustwontfitintoanychapterorscenewithinthenovel,yettothewriteritseemsnecessarytotheplot,sotheyendupwritingalargechunkofinformationinaprologuethatinrealitybecomesaninfodump.
Anotherdrawbackisthatsometimesprologuesaremisplacedorillthoughtoutinotherwords,theyhaveverylittleimpactonthestorywhatsoever,ordontrelatetothemainplotinanysubstantialway.
Othertimes,writersunintentionallylettheprologueturnintoapreambleofboringexplanationswithoutrealisingthatitwillstifletheintegrityofthestory,andthatwillbeasurefirewayofinstantrejectionfrompublishers.
Ofcourse,writersdontactuallyneedprologues.
Theycanactuallyintegratethenecessaryhints,information,teasersandPOVsintothemainstorywithouttoomuchhassle.Andtheycandoitbecausetheytakethetimetostructurethestoryandtofullyunderstandit,andtheydosothroughdialogueoraction,characterthoughtsorflashbacks.
Sohowcanawritertellifincludingaprologueistherightactiontotake?
Inordertoanswerthatquestion,awritershouldaskafewmorequestionsinreturn:
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Doesthestoryreallyneedaprologue?Whatpurposedoestheprologueserve?Howdoesitimpactthestory?Doesitaccomplishwhatisactuallyneeded?Doesitenhancethestoryordoesithinderit?Canthesameresultbeachievedthroughthemainstory?
Haveagoodlookatthenovelanddecideiftherereallyneedstobeaprologue,wheninsteadyoucandoawaywithitandgetstraightintotheactionwithagrippingopeningchapter.Iftherewasntaprologue,wouldthereaderstillunderstandandfollowthestory?Moreoftenthannot,theanswerisyes.
Wouldtheprologueactuallyproveadistraction?Wouldthereaderrememberthedetailsinitwhilehalfwaythroughthenovelandwhileconfrontedwithrevelationsthatreferbacktoit?Ifyouthinkitwouldbeadistraction,thendontuseone.
Dontmakeitcomplicatedtothepointthatitwilldistractthereaderfromthemaineventsinthestory.
Forthemostpart,prologuesarejustnotnecessary.Theyvefallenoutoffavouroverthelastdecade,simplybecausereadersnowwanteverythinginstantly.Theydontwanttowadethroughacoupleofpagesortwoofprefacebeforetheyactuallygettothenovel.
Andfromaneditorspointofview,ifitsthedifferencebetweengettingnoticedorheadingstraightintotherubbishbin,thenleaveouttheprologuetoimproveyourchancesofpublication.
Potentialpublishersoragentsreallyarentinterestedinahugeinfodump.Theywantdirectaccesstotheaction,thestoryandthecharacters.
Theprologue,however,maybetooslowandnotengagingenoughforthattohappen.
Prologuescanserveausefulpurpose,ifcleverlywritten,buttheycanalsodestroytheimpactofanovelsopeningchapter.
Thegeneraladvicewhereprologuesareconcernedis
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tocarefullyconsiderwhetheryournovelneedsone.Ifyoureallymusthaveone,makeitcount.Makeitengagingandintriguingsothatitgrabsthereadersattention.
Andifyoudochoosetohaveone,makeitmemorable,justlikeyouropeningchapter.
Nextweek:Arewritingrulesmadetobebroken?
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ProloguesThePros&ConsPart1
Thereareplentyofnovels,particularlyolderones,whereyoumightseeaprologuebeforethemainstoryactuallybegins.
Butwhatarethey,andwhatpurposedotheyserve?
Firstly,aprologue,orprologosinGreekwhichmeansbeforewordsisaprefacetothemainstory,oraseparateintroductionofsorts.
Sometimestheyareonlyaparagraphortwolong,whileotherscouldbeaslongasanaveragechapter.Thereisnosetlengthtohowlongprologuesshouldbe,andnogoldenrulesthatgovernthem.
Insimpleterms,fortheprologuetobeeffective,itmustcontributetothemainplotinsomeway,itmustprovidefactsandinformationwhichisrelevant,otherwiseitwillloseimpactandultimatelyfail.
Howusefularethey?
Thatdependsonwhatthewriterwantstoconvey.
Prologuesareawayforwriterstohintatthemain
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storyinsomewaybecausesometimestheyfeeltheyneedtoconveyevenmoreinformationthantheycancomfortablyslotintotheirmainstory,especiallyifthewriterwantedtoexplaincertainthingsthatwouldproveotherwisedifficulttodointhemainstorywithoutmakingthestoryoverlylong,seeminglyjarringorbyburdeningthenarrativewithinfodumps.Sometimesawriterjustcantconstructachapteraroundcertaininformationorfactspertinenttothestoryarc.
Ascrazyasitsounds,theremaybetimeswhenbackgroundinformation,pasteventsorcharactersmightrelatetothemainplot,howevertheydontactuallyneedtobepartofthestory,sointhatsense,prologuesdoserveapurposebygivingthewriterachancetoshowsomeaspectsofthestorythatrelatetothemainplot.
Whataretheadvantages?
Prologuescanacttohighlightsomethinginthepastthatnowhasabearingonthestoryinthepresent,oritmayhaveunknowncharactersthathaveinfluencedthemaincharactersomehow,butarenotactuallypresentinthemainstory.Thisisawaywriterscanprovidethereaderwithcluesaboutacharactersmotivations,byprovidingcluesintheprologuethatwillbeapparenttothereaderlaterinthenovel.
Writersalsouseaprologuetoshowspecificmomentswhichhavehappenedinacharacterspastandthatonlythereaderwouldknowabout.Thiswouldhaveabearingonthecharacterasthestoryunfolds,towhichthereaderisprivy.
Prologuescanactasflashbacksbyprovidingbackgrounddetailaboutcertaineventsthathavehappenedinthepastthatonceagainhaveadirectbearingonthemaincharactersstory.
Theyalsoactasplotseedersinotherwords,theprologueplantsseedsoffutureeventsyettohappeninthestory,whichlatermayformabigrevealorimportantplottwist.
Itsalsoagoodwaytosowsomesimpleorsubtleplottwistswithoutfallingintothetrapofinadvertentlycreatingaduesexmachina(aforced,contrivedscene
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orsetupthathasnoactualrelationtothestory,butiswrittensimplytogetthewriteroutoftightspot).
Theuseofaprologuecanalsobeeffectiveforsettingupdifferentpointsofview.Forinstance,theprologuecanbetoldinadifferentcharacterviewpointtotherestofthestory,oritmightbetheprologueistoldinfirstperson,andtherestofthestoryfollowsinthirdperson.
WriterswhohaveusedprologuesincludeCliveCussler,StephenieMeyer,KenFolletandCharlesDickens,amongmany.
Whenitcomestousingaprologue,thewriterhastomakeitasinterestingandeyecatchingattheopeningchapter.Andjustliketheopeningchapter,ithastoengagethereaderfromthestart.Ifitdoesnt,thenthepremiseoftheprologuewillfailandtheunfortunately,readerwilljudgethewriteronthat,andnotthecontentoftherestofthestory.
Anotherthingtoconsiderwithprologuesisthatifyoudohintateventsyettounfold,orcharactersthatareyettoberevealed,thenanyensuingplottwists,subplotsandconflictscreatedbytheprologuemustberesolvedbytheendofthemainstory,otherwiseyouwilldisappointthereaderbyleavingplotthreadsandquestionsunanswered.
Buttheonethingthatallwritersshouldknowwhereprologuesareconcernedisthattheyeitherwork,ortheydont.
Inpart2welllookatthedisadvantagesofusingaprologue,andwhywritersshouldcarefullyconsiderusingthembeforeusingthemintheirnovel.
Nextweek:ProloguesThePros&ConsPart2POSTEDBYAJ HUMPAGEATSATURDAY, AUGUST17, 2013NOCOMMENTS: L INKSTOTHISPOST
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SceneBreaksPart2
Inthispartwewillconcludeourlookatscenebreaksinfictionwriting,andwhyweneedthem.
FollowingonfromPart1,wherewelookedatpoint1achangeofscenefromonelocationtotheother,andpoint2toshowachangeofcharacterviewpoint,wellcontinuewiththereasonswhyandhowweusethem:
3.Tonotifythereaderthattimehasprogressedfromthelastscene
Scenebreaksareaveryeasywaytoshowhowtimehasmovedonfromonepointtothenext.Itspossibletoskiphours,daysorevenweekswithascenebreakaslongasthewriterdrawsattentiontothefactthattimewillpassbybeforethenextscene,otherwiseajumpintimewithouthintingatitorpreparingthereadermightconfusethethem.Forexample:
HepeeredacrosstheRiverThames,thoughtaboutEve.Eventhoughshehadfledthecountry,Peterknewheneededtoseeher,andhewasntpreparedtowaitanylonger.Heknewhehadtogoandfindher.
(SCENEBREAKHERE)
Sixhourslater,PeterarrivedintheGothictownofPragueetc.
Fromtheexample,itsobviousthatPeterwillgoafterthegirl,anditinvolvestravelling,sothenotionoftimeprogressinghasbeenhintedatforthereader.Thewriterhaspreparedthem.Thereforewhenthenewscenestarts,sixhourshavepassed,anditsstraightintotheaction,withoutjoltingthereader.
4.Tomovethestoryforward
Imagineiftherewerenoscenebreakswithinanovel.Itwouldjustgoonandonandonandprobablywouldntbeanenjoyableread.Itwouldbelikelisteningtoa10hourconcertwithoutrespiteeventuallyyoudgetboredandswitchoff.
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Writersmustalwaysmovethestoryforwardateveryopportunity,andnovelsneedscenebreaks,becausetheyareanotherwayofhelpingtokeepthestorymomentum,andwevealreadylookedatwaysofdoingthatwithPoints1and2changesofsceneandchangeofcharacterviewpoints.
Theseallworktogethertokeepthestorymovingforward.
Whereshouldscenebreaksbelocated?
Placementofscenebreaksisvitaltheyshouldbeattherightmomentwithinthestory,withoutlettingthenarrativedragonandonuntilthereisnothingmoretosayinthescene,orwithoutprematurelycuttingoffthesceneandthusleavingthescene(andthereader)hanginginmidair.
Writersoftenmakethemistakeofinsertingabreakatthewrongmoment.Theideaisreallytobreakatamomentthatwouldseemnatural,orthewritercanendthescenelikeaminicliffhangerinordertokeepthereaderinterested.
Onthewhole,ascenebreakshouldoccurwheneverythinginascenehasbeensaid,i.e.allnecessaryinformationhasbeenimpartedandthestoryisreadytomoveforward.Scenesshouldneverdragon.Thiswillborethereaderandmakethestoryuntenable.
Buthowdoesawriterknowexactlywhentoinsertone?
Thatsthemilliondollarquestion,anditdoesnthaveadefinitiveanswer.Thatsbecauseeverywriterisuniqueintheirwritingtheirstyle,theirvoiceandtheirapproach.
Intruth,thereisnorightorwrong.Placingscenebreakscomeswithexperience,whenawriterbecomesusedtothescenesheorsheiswriting,sotheyintuitivelyknowwhenthebreaksshouldbeplaced.Themoreyouwrite,andgetbecomebetterskilled,themoreinstinctivelyscenebreakswilloccurtoyou.
Butwhathappensifascenebreakinyournovel
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happensrightattheendofyourcurrentA4page,butyouneedtoshowthatthereisabreakinthenarrative?Withoutawayofshowingabreak,thenextpagewouldlooklikeacontinuationofthestoryandthusmightconfusethereader.
Thewaywritersgetaroundthisistoinsertthreeasterisks,centred,likethis:
***
Innovels,thegeneralruleisthatyoudontasterisizeatanytimeotherthanifthesceneendsrightatthefootofyourpage.Forallotherscenebreaksinnovels,usethethreereturnsmethod(ormoreifworkingwithsinglelinespacing,accordingtoapublisher/editorsparticularrequirements).
Shortstoriesarealittledifferentwherescenebreaksareconcernedbecauseyoucanuseeithergapsorcentredasteriskstodenotescenebreaks,butitsalwayswisecheckthepublishersrequirementsfirstbeforesubmittingyourwork.
Scenebreaksareoneofthosethingsthatwritersdontreallythinktoomuchabout,butyetareincrediblyimportantbecauseofhowversatiletheyareatshowingnarrativebreaksandtransitions.Theyarestandardcursorstoshowtheeditororpublisherthatyouunderstandtheideaofgeneralstoryformatting,thatyouknowwhatyouredoing.
Nextweek:ProloguesProsandcons
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SceneBreaksPart1
Everystoryneedsscenebreaks,butwhatexactlyare
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theyandwhydoweusethem?
Writersusescenebreaksforavarietyofreasons.Firstandforemost,theyareawayofshowingthereaderthatthereisanormalbreakinthenarrative.Thisisawayforthereadertotakeabreatherfromcontinualnarrativeandreflectonpreviouschaptersorscenes.Moreimportantly,italsogivesthewritertheopportunitytomovethestoryforward.
Therearetwowaystodenoteascenebreak.Firstthereisthecleanspacewhichleavesagapbetweentheendofonesceneandthebeginningofthenewscene.Thesecondoneistheuseofthreeasteriskscentredonthepage.Thisisknownasasterism(fromtheGreekwordforstar).
Writersshouldrememberthatscenebreaksinnovelsdifferslightlyfromshortstoriesbecausetherequirementsintermsofscenebreakscandifferbetweeneditorsandpublications.
Wherenovelsareconcerned,writersusedoublelinespacing,sotoshowascenebreaktheyleaveacleanblankspacebetweentheendofthelastscenetothebeginningofthenewscene,andtheydothisbypressingtheRETURNbuttononthekeypadthreetimes:
Thisthreereturnsmethodthengivesawideenoughspacetodenotetothereaderthatthenewsceneisacompletelyseparatescenefromthepreviousone.Itdefinesaniceclearbreak.
Forsomeshortstories,youmaybeworkingtoaspecificrequirementofsinglelinespacing(oreven1.5spacing)requestedbyaneditororpublisher,soitsappropriatetoreturnfourorfivetimestodenotealargeenoughcleanbreak.Itdoesnthavetobeprecisethesearejustguides,afterallbutonceyoudoit,youmuststicktothatthroughoutthestorysothatthebreaksremainconsistentandclean.
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So,whydoweneedscenebreaks?Aretheyreallynecessary?
Intruth,yesweneedthemandthereareseveralreasonswhytheyrerequired,soIwilltrytoexplainhowtheyworkandwhy.
1.Toshowachangeofscenefromonelocationtoanother
Scenesareneverconstanttheyswitchfromoneplacetoanothertokeepthemomentumofthestorygoing,soratherthanspendtwopagesdescribinghowthecharactersmovefromonelocationtothenextduringalullintheaction,orhowascenechangesfromonetotheother,itsmuchsimplertoinsertabreak.
Thenewscenethenstartswithanewlocation,withouttheneedforthewritertoexplaineverything.Forexample:
Jasonslammedthephonedown,theconversationwithDavidrattlingaroundhisheadlikealoosepebble.Hegrabbedhiscarkeysandrushedoutthedoor.Hegotinthecarandracedoutofthegates,determinedtofindDavid.
(SCENEBREAKHERE)
Davidshouselookedquiet,butthatdidntmeantosayDavidwasnthome
Here,theexampleshowshowasimplescenebreakhelpstomagicallytransportthecharacterandthereadertothenextnewscene.Itsdoneseamlesslyandunobtrusivelyandfeelsnaturaltothestory.
2.Toshowachangeofcharacterviewpoint
Scenebreaksarealsoaperfectwaytoshowachangeofviewpointfromonecharactertoanother,andthatsbecauseviewpointsshouldneverchangemidscene.Theendresultwillbeconfusinganddisjointedandwontbeanenjoyableread.
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Ifyouwanttoconcentrateviewpointonanewcharacter,alwaysinsertascenebreakandstartyournewscene.Forexample:
Davestirredthecoffee.IsntitabouttimeyoukissedandmadeupwithAnna?Youtwocantavoideachotherforever.
JanehadinitiallydecidedagainstcontactingAnna,buttheenforcedsilencebetweenthemnowgratedagainsther.Ithadbeensolongthatshehadforgottenwhathadsparkedtheirfalloutthreeyearsago.
Toomuchtimehaspassed,Janesaid.Besides,therestoomuchresentment.Sheprobablyhatesmeevenmore.
(SCENEBREAKHERE)
AnnastaredatthephotographofJaneandDave.Shelookedupatherhusband.LookwhatIjustfound,hiddeninmyoldpurse
HerethescenebreakshowsthesceneendingwithJaneandthenbeginninganewscenewithAnna,withthestoryfromherviewpoint.Itsdonecleanlyandseamlesslyandthisiswhatwritersshouldaimfor.
Inpart2,wellcontinueourlookatwhyweneedscenebreaksinourstories,andwellalsolookatknowingwhentoinsertthem,becauseitsjustasimportanttoknowwhentousethemaswellasknowingwhy.
Nextweek:SceneBreaksPart2
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