Author K.M. Weiland just completed a 12-part series on her blog (which I highly recommend) focusing on story structure. She spent a lot of time explaining the relationship between the scene and the sequel in fiction writing. When she spoke of the sequel, she was not referring to a series of books, but rather the reaction part of a scene.
Breaking it down to its simplest terms, the scene is where the action takes place. The sequel is where the reaction happens. The scene’s elements are goal/conflict/disaster, while the sequel’s elements are reaction/dilemma/decision, Weiland wrote. “This is where introspective moments, quiet conversations and character development happens,” she wrote.
Sequels must work on an emotional level. While the scene is action-oriented, non-stop action without a breather to give the reader a chance to reflect and the writer the opportunity to explore the character’s emotional depth through her reaction results in a story with poor pacing or no context. Or as Weiland put it, “Scenes drive the action forward; sequels allow characters and readers alike to absorb and react to what’s happened.”
I’d never viewed scenes this way, so this was a valuable revelation. I’ve always approached scenes with one of two goals: to advance the story by introducing new elements of conflict (or expanding existing ones) or to provide perspective through inner monologue or other reflective means. What I was really doing was what Weiland advocated on her blog: writing scenes and sequels. However, my scenes have rarely been focused as strictly action/reaction, and I’ve always been partial to writers like Anne Tyler, who dive deeply into the psychology of the characters (what Weiland describes as the sequel). Some of my work might follow this structure: scene/sequel /sequel/scene/scene/sequel. The sequel doesn’t have to be lengthy.
The sequel is flexible. “Although the sequel possesses three basic and unavoidable parts, just like the scene, it is much more flexible in execution,” she wrote. “The three parts may take place within a single sentence—or be stretched out over many chapters. Sometimes one or the other of the parts may be implied; sometimes they may appear to be intermixed with the pieces of the scene.”
This concept was first advanced by Jack Bickham in his book, Scene and Structure.
The concept of scene and sequel may not be right for every writer. Writers cherish the freedom to craft their stories in the way that works best for them. However, writers who are looking for a sound way to approach the crafting of scenes should give the scene and sequel method a try.
What structure do you use to craft your scenes?