Writing an Engaging Scene
When writing a scene, whether it’s a fight, argument, tense exchange, spicy moment or even a monologue, there are a myriad of approaches to take, but which one achieves your goal most effectively? In modern day literature, you will find, often, an engaging approach is the most sought after. But what does that mean? What takes a scene from descriptive to engaging?
Show vs Tell
You may have heard of this, as it is often touted as a golden rule for most cases in modern literature. To break it down, “telling” is distance. You are the camera and are describing what you see. While you can use prose to craft a beautiful picture that has an impact in its own way, you are restricted by that distance. You are an observer. Whereas “showing” puts you in the driver’s seat. Usually, you rely on the senses as you would perceive them, rather than someone describing them to you. In certain styles, this is achieved more naturally (first person as an example).
"Showing" is sure to evoke a closer reaction, allowing readers to more easily connect with and relate to a character than telling, thus making the scene feel more engaging.
Example:
Telling: “Rebekah felt sad.”
Showing: “Closing her eyes, she breathed, and a tear slid down her cheek.”
This is not to say that you should ALWAYS show instead of tell. Just as with any advice I provide, they are suggestions. Even though the most common advice will be to “show” and not “tell,” telling serves a purpose.
Active vs Passive
Following the above advice, the words you choose matter just as much. You are essentially choosing, through your language, where you want your reader to focus their attention. This is achieved through active language by putting focus on the character performing the action rather than the action itself. Active language pushes the reader into the thick of the situation rather than, once again, standing off to the side filming.
Example:
Passive: “The scythe was swung at Rylos in a vicious arc.”
Active: “With a sudden movement, Nox lunged toward Rylos, swinging the scythe in a vicious arc.”
Again, these are suggestions. Active and passive voicing each has a place. In some instances, you may want to focus on what is happening rather than who is doing it. Consider a scene where you want to conceal the identity of a killer to build tension. You would focus on the action and not the one performing it. “A sharp blade was plunged into Rebekah's shoulder.” This conceals the character performing the action to build tension and puts the reader's focus on what happened or is happening.
Dialogue
Dialogue is very useful for driving the plot forward and giving presence to your characters. Providing a voice amidst it all can be powerful. Well written dialogue often doesn’t need much else. If you find yourself having to clarify with adverbs in your speech or action tags (i.e., “said passionately,” “scowled angrily,” etc.) then you are not conveying your dialogue effectively. Dialogue is where the personality comes in. It’s where readers begin to shape the characters in their mind and relate to them. This doesn’t need to be spoken, it can be thoughts as well. Sometimes actions convey a form of dialogue...a nod or a grunt. Even more powerfully, the dialogue that exists in what is not said.
A fight scene that is strictly movement gets old fast. But adding tension to the fight in the form of dialogue – perhaps bickering between longtime rivals uncovering details about their history or unearthing a buried bitterness between forlorn friends turned enemies. Again, dialogue can sometimes take shape in what is not said.
Example:
“Rylos had the advantage. If not for his reluctance, his foe—his friend—would have been slain. The stillness in Nox’s gaze suggested he recognized that as well.”
Adding further thoughts to augment that reluctance or a dialogue of pleading to end the conflict would further increase that impact. No one line should truly stand without the context of what surrounds it.
Prose
Never underestimate the power of painting with words. Prose is an important tool in a writer’s arsenal. Too little feels direct and can come off as dry. In some cases, this gives the intended effect, especially if in first person POV of someone very methodical and no-nonsense. Too much prose can come off as very Shakespearean or melodramatic, which again, may be the desired effect. Painting the scene with well-crafted words can carry its own evocative impact that shouldn’t be underestimated.
While you can simply provide a description of something and correlate its impact: “The tall gray building seemed to reflect the turmoil within her.” Sometimes taking the extra step to paint the picture can give the scene the extra push it needs to draw a reader in.
Example:
“The drab monolith, given life by the stained-glass—a riot of color amidst the gloom—epitomized her own dreary past, mottled with life-giving color in the shape of her friends and the trials she’d endured.”
The job of a writer is to pull a reader into the world and prose is a great way to achieve that. This is entirely driven by the POV and your specific voice and style. Trial and error is the best way to find what feels most comfortable to you. As a beginner, it will take some time to truly find your voice, and you may even reshape that voice over time. Don’t shy away from experimentation. Constantly challenge yourself to explore new territories in your writing journey.
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