Posted on by Chris Sarantopoulos

Scene Elements

Ever since I started writing (granted, it’s not that long) I found it easier to break my work down into scenes and work my stories with that in mind. So, today’s topic is SCENES and their ELEMENTS.

1. First of all, any scene should have characters (the driving force behind any decently written story) that readers can identify with. In other words, each reader should be able to find at least one thing in the character’s behaviour that he or she can honestly say ‘that makes sense to me; I would act in the same way.’ If we miss that, then we feel detached from the story and sooner or later we are going to put the book down or at least claim that the story wasn’t nice.

2. A scene also needs to be exciting. How can this be achieved? By having conflict in the scene. Keep in mind that conflict doesn’t mean crisis. They are completely different. An interesting character is a conflicting one and it’s the character’s role (technically, it’s our role as writers/storytellers) to bring the character’s conflict into the scene. If the character is one who values life as sacred and is instead forced to make a choice that will result in the end of another life, then this is conflict. If a character is brought up as an honourable and never act behind the scenes, forcing that character to go against their personal code of conduct to preserve the greater good or the status quo, will result in tension, suspense and ultimately conflict. Which in turn means the scene is interesting.

3. A scene should be clear enough for the reader to know who’s to cheer for and who’s to mourn. It doesn’t matter if later in the story these roles will be switched. All that matters is that the scene will be clear in showing who’s who.

4. It goes without saying, that any scene uses strong sensory details; hearing, taste, sight, touch, smell. Use it all at the right time, in the right amount. The story I’m currently writing (The Darkening) takes place in a world where humans can only live in darkness. Sight is virtually non existent, so all the other senses have to make up for it.

5. There should only be enough back story that will drive the plot forward. This was something that used to plague me when I first started and I think to a certain extent, it’s something that everyone has to deal with as they begin. It’s a more prominent mistake with any of us writing high fantasy, or create new worlds for our stories. The rule ‘avoid infodump’ should always be in our minds with this one.

6. It’s vital to have some kind of foreshadowing going on, if not at every scene, certainly at those that are more vital in showing us things about the characters or the plot. Don’t overdo it though, cause then you end up infodumping and the reader may get bored.

7. Do I need to say anything about author intrusion? I think not. Points 5 and 6 are somewhat related to one another by the blunt intrusions we often as writers/storytellers make. So no author intrusions. Avoid things like ‘and as it’s known, crocodiles are vicious killers’ (sounds, terrible, doesn’t it?)

8. A scene becomes more interesting if we guide the reader through a familiar setting, by showing the things that are unusual. There’s hardly anything strange or unusual in a bedroom but what if the character was to enter such a room and see that the bed cover is creased and messed up at one side? Something happened there and we just showed it to the reader.

9. I had read somewhere that when describing a scene it’s best to show the important aspects of a scene first and then the less important ones. It makes sense but I think this may come down more to how each writer handles that. One thing for sure is that the way we handle this thing has to be consistent.

10. A scene should have turning points for a character in the dramatic action, as well as the character’s emotional development. Have a character that appears to be selfish, do the right thing, after the character has fought with himself inside.

If you know of any other elements for a scene that don’t fit in the above, please comment below.

Posted on by Chris Sarantopoulos · 3 Comments

Since last week

This past week here in Greece has been quite hot, at least for my taste. To be honest, I don’t like being in a hot environment. By hot I mean any temperatures that exceed that of 25 degrees Celsius (77 Fahrenheit). I should say at this point that I don’t have an A/C unit in my house (please, don’t ask) and the heat in here goes beyond 33 Celsius (91-92 Fahrenheit). However, that temperature (33 Celsius) can only be achieved if I keep my super ATX PC tower (I have an inborn dislike for laptops, lol) switched off! By keeping the thing switched off, means I can’t write and this makes me feel guilty. Why? Because of the heat it generates.

When I bought the PC four years ago (back when I still had a job), I bought it having in mind that I wasn’t going to change it for at least 5-6 years, preferring to invest money on it then by buying something that would last longer and save some money in the long run. Have you ever regretted not doing something? It’s the worst kind of regret, I think. At that time I had thought to myself that a water cooler system wasn’t going to be all that necessary. I can honestly say to you now, that I regret not having spent the extra money on it. As my PC is now, its exhaust releases temperatures that exceed 45 Celsius (that’s 113 Fahrenheit!!). Can you imagine what it’s like having to spend several hours next to that oven (it’s my PC’s summertime nickname), squeezing your head for ideas while writing? I can assure you, it doesn’t work for me. Oh, yes, I should also point out that the above temperature (113 F) only applies when the PC is on but idle, meaning no heavy programs run in the foreground.

During summer time the PC stays switched off.

Luckily for me, last year I had to change my cellphone (I stress the ‘had to’, cause I’m not inflicted by consumerism). It’s one of these rare moments that I’m thankful for. That one sliver of brilliance (oh, modest me; lol) and epiphany that struck me then; spend the extra money and buy one that can support USB OTG (on the go). Of course OTG is an old tech but my previous cellphone didn’t support it (when I had bought the previous phone I had decided to spend with moderation, you see, thinking to myself “well, why one earth would I need to have OTG?? It’s not like I will use it.” DUH!).

Now that the PC is always off (or almost always with no more than two hours operating time max) I can actually hook my keyboard and mouse on the new phone and use it to write. Naturally, it’s not the best experience having to type on a 5-inch screen BUT think of the alternative. Re-read the temperatures I gave you earlier. It has drawbacks, one of which is that I can’t write more than 1000 words on it, because of the headaches I get by trying to read things on such a small screen (small when it comes to written work that spans thousands of words, perfect for almost anything else). Also, the word processor I use on the device isn’t as sophisticated as the one on the PC (and I don’t think any sane person would expect it to be, either). I can’t see the formatting, I can’t colour-code bits of the text, I can’t insert comments and notes to myself for when it’s revision time BUT I can do one thing; I can write! And I need that. At least at the moment I’ve written 32000 words (though it should have been more) which leaves about 70000 more to finish the first draft. If I ever get anywhere with my writing (though I have to be realistic and see the odds stacked against me), I could be something like Peter V. Brett (author of The Demon Cycle – great fantasy books by the way), who wrote his first novel (probably part of the second as well) on his cellphone. He calls himself “thumb-typing expert.”

Another thing that happened this past week was that I got a strange rejection for a short story. It was the type of rejection I had never encountered in the past and I didn’t know what to make of it. It read:

Dear Chris,

Thank you for submitting “XXXXX” and for your interest in XXXX. While we have to pass at this time, we wish you the best of luck in placing this story. It’s wonderfully inventive and poignant, and we hope to read more from you in the future.

Best wishes,
XXXXX, Founding Editor

The strange part for me was the last sentence. I had never been rejected with a smile before (they usually send formal letters of rejections) and most certainly never told to send another story to them in the future; not in that way at least. I was at a loss as to whether this was just another way to sweeten the pill or if it was the style of the story that didn’t fit with the style of the magazine. The latter would mean the story was ok and that I had chosen the wrong magazine for it. The first would imply that the story sucked.

I got so caught up in it, that I failed to see the bigger picture:
1) they described the story as “inventive and poignant”, which I can’t see any reason why they should do that, unless the story was at least ok-ish.
2) they made me realise how important it is to better research the magazines I sent stories to. I just get so excited when I finish editing a story and I deem it ready for the world to see, that I obviously forget to better research the potential market for it. And that leads to more rejections.

OK, I thought about that rejection too much already and it’s getting to me again. I’ll stop here 🙂

If you’ve had a similar experience with rejections or “thumb-typing” or bad writing conditions, comment below.

Posted on by Chris Sarantopoulos · 3 Comments

The story I’m currently writing

A few weeks ago I had mentioned that I was working on two novel-length stories; a medieval fantasy and a post apocalyptic one. I had also mentioned that the medieval one was going to be a very long one, since it dealt with 6 different POV characters and a great deal of things happening.

Since then, I’ve read a fair amount of articles written by agents on how easy it is for a newcomer to break into the industry with anything longer than 100k words. I have yet to find one article that says it can happen (if you have read one, though, and you happen to remember it, please send me a link. I’m interested in things like that). The reason is that even if the agent likes the story, they have a hard time convincing a publisher to back it up financially, since the writer isn’t an established one. They fear (and it makes sense, to a certain extent) that without an established audience the book will fail financially.

For this reason, I decided it was time for me to focus on the post apocalyptic story. That doesn’t mean that I have discarded the other one; far from it. I still come up with ideas and take notes whenever I can. When the times is right, I will tackle that behemoth of a story but probably not before I have managed to have some novels under my belt.

So, what’s this post apocalyptic story about?

The title will most likely be “The Darkening” and it will deal with the difficulties one particular survivor faces, his isolation and the madness that creates and hidden secrets from his past that will slowly emerge as the story goes one. So far, there are two twists in the story, one of which is directly related to the main character. Oh yeah, I should probably mention this: the shadow each person casts is alive and it kills the person that created it. So, humans have to live in darkness. Interesting setting, don’t you think? 🙂

The story started off as a short story, no more than 2000 words in length and it’s one I’m still trying to find a home for in a magazine. It’s difficult though, since editors so far insist that it opens too many arcs and it feels to them like the part of a book. I didn’t get the idea to make it into a novel until long after I had finished it. In my eyes, the short story is complete and I’ll be extremely happy to see it published somewhere, since, as far as short stories go, this is my favourite one. It’s also the one I have worked the most on and the one that has gotten the most rejections so far.

So, this is what I’m working on at the moment.

Would you be interested in reading a sci-fi novel like that? Comment below and let me know what you think.

Posted on by Chris Sarantopoulos · 7 Comments

Filter Words and their role in the ‘Show Don’t Tell’ rule

One of the most important advice I ever got in the past year and a half that I’ve been writing, was about “filter words”. Filter words are descriptive words that we very often tend to use when we write, especially if you are like me and have no previous writing experience or if your educational background has nothing to do with literature. It is also the one that is directly related to the so well known rule “show don’t tell.”

When I first read about the “show don’t tell” rule I saw the importance of it immediately but even though I always had in my mind when I wrote, I hadn’t really gotten a full grasp of it. For me at that time that rule simply meant “Don’t tell me he was angry, show me his reactions based on the character being angry.” It made sense and it still does; there’s nothing wrong with it, in fact, that’s the right way to do it. There is a however a great difference between writing “Jenny felt her rage bubbling” and writing “Jenny’s rage bubbled.” Similarly, writing “Tim heard the wolf cry in the distance” may not be wrong BUT writing “the wolf cried in the distance” is far better and more captivating for the reader. After all, everything we write is the reader’s pleasure, right? Well, most of the times anyway.

The first example in each case uses a filter word (felt and heard). The second doesn’t and goes for a more direct approach and description. In fact, in the second example, the second phrase by omitting the filter word “heard” also forces us to remove the subject from the sentence (Tim), which can be found either in a previous sentence in the same paragraph or in a following one.

Here’s a list of filter words that I have found flooding my earlier manuscripts and my first drafts:

to sound/to sound like
to see
to consider
to hear
to note
to think
to notice
to touch
to realise
to watch
to look
to hope
to seem
to feel/to feel like
can
to be able to
to decide
to know

All of the above (and probably more than just them) are considered as filter words. There may other terms for them but that’s how I came to know them. When these words are used, they create a barrier between the reader and what the character experiences in the story and as such, they create distance.

Naturally, there are occasions where using these words as in the examples I mentioned earlier, it’s necessary. They are particularly useful when one writes about a dream and want to show that distance of what is real and what isn’t. Use with moderation, though, cause a dream often has a profound effect. Generally speaking, whenever you want to add tension and want the reader to feel immersed in the scene or in the feeling, avoid them. I’ve come to terms with using them during my first drafts, though the more I write and I practice, the more I find myself to be aware of them making their way into my writing and rearranging my thoughts as I write them down. Remember last
week’s post about the importance of writing on a daily basis? It helps a lot in cases like this, because you get to practice.

Have a look at your current and older manuscripts. Do these words appear anywhere? Were you aiming for tension when you used them? If yes, have you considered revising that part and adding more tension by simply removing that filter word? I know my writing has gone up a level since I learned about it and implemented it on my manuscripts. I’m sure yours could benefit from it too. Also, have you found any other filter words like the above? If so, please post them in the comments below, so more aspiring writers can benefit.