Scene and sequel

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Scene and sequel are two types of written passages used by authors to advance the plot of a story. Scenes propel a story forward as the character attempts to achieve a goal. [1] Sequels provide an opportunity for the character to react to the scene, analyze the new situation, and decide upon the next course of action. [2]

Plot (narrative) concept in narratology: presentation of a sequence of events in a narrative work

Plot refers to the sequence of events inside a story which affect other events through the principle of cause and effect. The causal events of a plot can be thought of as a series of sentences linked by the connector "and so". Plots can vary from simple structures—such as in a traditional ballad—to complex interwoven structures sometimes referred to by the term imbroglio. The term plot can also serve as a verb referring to a character planning future actions in the story.

A narrative is a report of connected events, real or imaginary, presented in a sequence of written or spoken words, or still or moving images, or both. The word derives from the Latin verb narrare, "to tell", which is derived from the adjective gnarus, "knowing" or "skilled".

A character is a person or other being in a narrative. The character may be entirely fictional or based on a real-life person, in which case the distinction of a "fictional" versus "real" character may be made. Derived from the ancient Greek word χαρακτήρ, the English word dates from the Restoration, although it became widely used after its appearance in Tom Jones in 1749. From this, the sense of "a part played by an actor" developed. Character, particularly when enacted by an actor in the theatre or cinema, involves "the illusion of being a human person". In literature, characters guide readers through their stories, helping them to understand plots and ponder themes. Since the end of the 18th century, the phrase "in character" has been used to describe an effective impersonation by an actor. Since the 19th century, the art of creating characters, as practiced by actors or writers, has been called characterisation.

Contents

Scene

The concept of a scene in written fiction has evolved over many years. Dwight V. Swain, in Techniques of the Selling Writer (1965) defined a scene as a unit of conflict, an account of an effort to attain a goal despite opposition. According to Swain, the functions of a scene are to provide interest and to move the story forward. The structure of a scene, as described by Swain, is (1) goal, (2) conflict, (3) disaster. [1]

Fiction any story or setting that is derived from imagination, can be conveyed through any medium (films, books, audio plays, games, etc.)

Fiction broadly refers to any narrative that is derived from the imagination—in other words, not based strictly on history or fact. It can also refer, more narrowly, to narratives written only in prose, and is often used as a synonym for the novel.

Dwight V. Swain American writer

Dwight Vreeland Swain, born in Rochester, Michigan, was an American author, screenwriter and teacher. Swain is a member of the Oklahoma Writers Hall of Fame.

Conflict (narrative) literary element; the opposition main characters must face to achieve their goals

In works of narrative, conflict is the challenge main characters need to solve to achieve their goals.

In The Art of Fiction (1983), John Gardner described a scene as having an unbroken flow of action without a lapse of time or leap from one setting to another. [3] Over the years, other authors have attempted to improve on the definition of scene, and to explain its use and structure. [4] [5] [6] [7] [8]

Sequel

In addition to defining a scene, Swain described a sequel as a unit of transition that links two scenes, adding that a sequel functions to translate disaster into goal, telescope reality, and control tempo. Swain also described the structure of a sequel as (1) reaction, (2) dilemma, and (3) decision. [9] Other authors have attempted to improve on the definition of a sequel and to explain its use and structure. [10] [11] [12]

A dilemma is a problem offering two possibilities, neither of which is unambiguously acceptable or preferable. The possibilities are termed the horns of the dilemma, a clichéd usage, but distinguishing the dilemma from other kinds of predicament as a matter of usage.

Proactive vs. reactive

Rather than viewing scenes and sequels as distinct types of passages, some authors express the concept as two types of scenes: proactive and reactive. [13] [14]

Scenes and sequels

Swain defined, described, and explained scene and sequel as if they were separate entities, but then he explained that they must complement each other, linking together smoothly into a story. He went on to observe that

Structural units of fiction

The structural units of fiction writing comprise all fiction. [16]

Types of passages

Passages of writing may be classified into four groups: (1) scenes, (2) sequels, (3) passages that are neither scenes nor sequels, and (4) passages that include elements of both scenes and sequels. Examples of passages that are neither scenes nor sequels include fragments [21] of scenes or sequels and passages of narration, description, or exposition. An example of a passage that includes elements of both scenes and sequels is the problem-solving passage, common in mystery and detective stories. [22]

Types of scenes

Scenes may be classified by their position within the story (such as an opening scene or a climax scene). A scene may be classified by the fiction-writing mode that dominates its presentation (as in an action scene or a dialogue scene). Some scenes have specialized roles (such as flashback scenes and flashforward scenes). [23]

See also

Footnotes

  1. 1 2 Swain, p. 84-85.
  2. ↑ Swain, p. 96-100.
  3. ↑ Gardner, p. 59.
  4. ↑ Bickham, p. 23.
  5. ↑ Klaassen, p. xxii.
  6. ↑ Obstfeld, p. 2.
  7. ↑ Rosenfeld, p. 5-6.
  8. ↑ Scofield, p. 12.
  9. ↑ Swain, p. 96, 100.
  10. ↑ Bickham, p. 50-51.
  11. ↑ Morrell, p. 84.
  12. ↑ Klaassen, p. xxiv.
  13. ↑ Marshall, p. 61, 63.
  14. ↑ Ingermanson and Economy, p. 168, 170.
  15. ↑ Swain, p. 113-115.
  16. 1 2 Klaassen, p. 3.
  17. ↑ Scofield, p. 12-13.
  18. ↑ Klaassen, p. 2.
  19. ↑ Lukeman, p. 159.
  20. ↑ Lukeman, p. 160.
  21. ↑ Scofield, p. xvi.
  22. ↑ Klaassen, p. 81-82.
  23. ↑ Klaassen, p. 23.

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