The 2 Key Elements That Make a Great Scene

Writing immense situations takes a lot of rehearse and know-how. There are so many elements that must work beautifully, perhaps magically, to draw in readers and get them hooked.

It’s crucial you seriously understand the exact genre you are writing in because those books who pick up your journal have hopes. And you must meet those possibilities, or you are going to thwart them.

It’s as simple as that.

Search Carefully at First Scenes

I’ve written thousands of words in my bibles and blog berths about first representations. In information, I have an entire book devoted to only first sheets of best sellers–analyzing, crying them apart, to show you what works and what doesn’t.

You should be doing this same type of homework, whether you write fiction or nonfiction. There is a target audience for your diary, perhaps hundreds of thousands of readers–readers who would love your book.

But you aren’t going to reach them or please them unless you first identify what they look for in a volume like yours.

It really isn’t rocket science.

If you write YA romance, you grab a dozen or more best sellers in that genre and you study hard-handed how those incidents are written. It’s not just about coming up with a great plot and appropriate character types and call it good.

You have to look at voice, parole option, period of decisions, period of sections, sum and type of description, and the roster goes on and on.

But the two most important “markers” you need to study are the writing style and the microtension.


Because it’s the writing style that dazzles and screams “genre” to the reader. And it’s the microtension that grabs them and keeps them reading. Without mastering these two elements and nailing them, you may as well toss your bible project into the little trash icon on your computer.


Microtension is all about raising curiosity in your reader. Every word, word, and sentence that gives your reader pause and builds them bizarre equates to microtension.

Go through those best sellers and highlight those parts on each sheet that realize you wonder what is going on, why that one word was used, what the author is implying, what might happen next.

How many words and quotations did you highlight? That say to you what is required to do on every page of your romance or short story.

If you can print out this blog affix, do so, then try military exercises with the verse I share below from Marcus Sakey’s third journal in his Brilliance series, Written in Fire.

Part of View

Take a look at how Sakey develops strong interest by disappearing late into POV.

If you haven’t noticed, most successful commercial-grade novels of our time are told in deep POV. That means you are in the character’s head, in his singer, every word of every cable. This is not the author order and explaining what the tale is about. This is all about reveal minutes in real hour wholly through a character.

If you write story, and you haven’t mastered deep POV, you need to put your writing on Pause and study this technique. You will have a hard time seeing success with your tales if you don’t do this.

Writing Style

I want you to likewise take a look at the writing auto-mechanics in this scene. The room you, the book, are made to pause, pay attention to specific paroles. That’s done with the use of short( sometimes one-word) decisions. They are like strong punctuation marks.

Beautiful writing pulls in literary maneuvers. You’ll note Sakey exploits anaphora–repetition of a starting word in variou words of verse. Using literary inventions doesn’t mean you are writing highbrow or complex convicts hard to understand. But doing so can elevate your writing.

With this type of suspense/ thriller category, a novelist needs to write tight. Every word counts. That should be the case no matter what you write. But some genres are wordy and flowery, and readers expect and want that.

Do I need to remind you? Do your category homework, and simulate what the best-selling, best-loved generators do.

As you read this partial scene, essentially a prologue, listen to the character’s voice, experience whatever it is you learn lessons him soon, and indicate those parts that create curiosity in you. What is odd, unique, unexpected, surprising, repugnant?

After you read a great scene in your targeted genre, do this kind of analysis. Highlight the textbook in your Kindle, or mark up a paperback. I always buy paperbacks so I can do this type of homework in the sheets, using different dyes to highlight different things.

I learn a lot. You will too.

So … dig into Sakey’s scene and examine whatever it is you notice 😛 TAGEND

Written in Fire

This must be what God feels.

A single glance at my outstretched hand and I know the number of hair follicles plowing the back of it, can differentiate and quantify the darker androgenic ropes from the barely noticeable vellus hairs.

Vellus, from the Latin, meaning fleece.

I summon the sheet in Gray’s Anatomy on which I learned the word and examine the diagram of a fuzz follicle. But also: The quality and weave of the working paper. The attenuation of light-headed from the banker’s lamp that crystallizes it. The sandalwood fragrance of the girl three chairs down. I can conjure these details with excellent purity, this utterly forgettable and forgotten time that nonetheless was imprinted in a gather of intelligence cells in my hippocampus, as every other moment and experience of “peoples lives” has been. At a conceit I can initiate those neurons and clean forward or backwards to relive the working day with full erotic clarity.

An unimportant day at Harvard thirty-eight years ago.

To be precise, thirty-eight years, four months, fifteen hours, five minutes, and forty-two seconds ago. Forty-three. Forty-four.

I lower my hand, feeling the expansion and constriction of each individual muscle.

The world hurry-ups in.

Manhattan, the angle of 42nd and Lexington. Automobiles and creation noises and swarms of lemming-people and cold December air and a catch of Bing Crosby singing “Silver Bells” from the opening door of a cafe? and the smells of exhaust and falafel and urine. An aggression of superstar, unfiltered, overwhelming.

Like descending a staircase and forgetting the last step, empty-bellied breeze where solid storey was expected.

Like sitting in a chair, then noticing it’s the cockpit of a fighter jet leading three times the speed of sound.

Like lifting an abandoned hat, merely to discover it rests on a severed head.

Panic floods my skin, panic encloses my organization. My endocrine system drops adrenaline, my students wide my sphincter tightens my fingers clench–




Mantra: You are Dr. Abraham Couzen. You are the first being in record to transcend the boundary between ordinary and abnormal. Your serum of non-coding RNA has radically altered your gene look. A genius by follow-up measures, you are now more.

You are brilliant.

People flow around me as I stand on the reces, and I can see the vector of each, can predict the moments they will cross and bump, the braked gradation, the itched elbow, before they happen. I can, if I bid, screen everything down to routes of gesture and army, an interactive map, like a fabric weaving itself.

The scene goes on for another page, and Couzen realizes he’s being watched. After examining the stimuli that tells him this happening, we read the last threads of the situation 😛 TAGEND

They are many, they are armed, and they are here for me.

I roll my neck and cranny my fingers.

This should be interesting.

That’s the conclusion of its scene.

Other Observations

I hope you noticed the smart way Sakey tells books who this reference is and what he’s done( a doctor who’s developed a serum that can make any “normal” into a “brilliant” or abnormal human, and he’s experimented on himself as his first human topic ). He does this in POV. Not columnist interrupting and interpreting to the reader. Having Couzen recite this mantra draws sense.

Whether you’ve predict the two prior books or not, Sakey does a “brilliant” job of defining the stage, bring back the title of his line( likewise his theme ), creating pressure( inner and outer) and interposing conflict( inkling at high-pitched bets ), establishing ardour and figure awareness( important !).

Look at the white space on the sheet. Did you be seen to what extent altering between long clauses and short-lived, tighten fronts( even a word or two) keeps the reading fresh and interesting? If he had written all very long sections, consider how that would have impacted your reading.

Try this with your own writing, specially if you tend to craft long paragraphs OR sections that are almost all the same length. Think about those pauses and where you need to create them. Where do you want books to slow or speed up? This is done with writing style and mechanics.

I hope you will start doing this type of analysis with every book you read. Especially note what’s not working and what’s lacking in bibles that bore you.

For every “brilliant” book I look at( I pick up a lot of free tales on Amazon for my Kindle specific to do this type of analysis ), there are about fifty others that are boring, inadequately written records. And these two elements are usually the dominant the justification for story fail.

Two key elements: writing style and microtension. Don’t leave home write any scene without them!

Share in the comments your thoughts and reactions to this passage. What stands out to you as luminous? What did you learn from this post and this examination?

Featured Photo by Soroush Karimi on Unsplash

The affix The 2 Key Elements That Make a Great Scene first appeared on Live Write Thrive.

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