I've been deep diving into Swains Scene and Sequel (SS) and comparing it to the Storygrid scene structure (the 5 commandments of scene structure according to Shawn Coyne). While the Story Grid scene strcuture has a strong resemblance to the Swain Scene structure, a tiny bit of the StoryGrid scene structure isn't sitting right with me, namely its Dilemma portion. Here's the comparison: Swain Scene........................................Story Grid Setup...................................................................Setup Goal (+Stakes/Consequences).........................Inciting incident (+Stakes/Consequences ) Conflict (POV attempts.....................................Progressive Complications leads to turning point to overcome obstacles) PART OF SEQUEL.........................................Crisis/Dilemma (ruminates over best of worst options) Disaster...................................................................Climax Resolution.............................................................Resolution The only real difference between the two is the dilemma....which seems like it belongs in Swain's Sequel portion. I've written some scenes using the StoryGrid method and my scenes are strong-ish. I like it all except for the dilemma portion of StoryGrid scene construction. For example, the POV character has been grappling with the various obstacles and then he stops in the middle of it all to have a think about what do (StoryGrid Dilemma). In a sense, it kind of feels like he has stopped all the action to decide (which is usually part of the Sequel). It doesn't sit right. Or, maybe I'm not handling the StoryGrid dilemma correctly! So, maybe the Dilemma portion in the Storygrid structure can be handled differently so as to fit in better with the scene. OR, I'm kinda thinking that maybe the Storygrid commandments mirror the almost complete S+S cycle?? Has anyone worked with both Storygrid and Swain's SS? What are your thoughts?
They're guidelines rather than rules. I like Swain's better because the dilemma portion is separate from the goal portion. I didn't like StoryGrid's version because it supposes that the goal and dilemma are always inextricable. It would be exhausting to the reader if every scene is always followed with a sequel. If you look closely in some stories, you'll find that dilemma usually happens near the end of Act 1 and Act 2. For example Katniss' dilemma in the reaping and then Katniss' dilemma in consuming the poisonous berries. In between acts, there are mini-dilemmas, but they're never as dire as the main plot points.
Yeah, I'm agreeing with you on the Dilemma in the middle of a scene thing (from the StoryGrid 5 commandments). It seems out of place. I'll take alook at the Katniss Dilemma over the berries—thanks for that tip! Story Grid/Shawn Coyne praises Silence of the Lambs. So, I had a look at Lambs. In the first couple of scenes, I can't see a Dilemma in there (unless Harris has disguised it well). Starling wants the job no matter what. So, it got me thinking that maybe Shawn Coyne's definition of Dilemma is different to what I understand Dilemma to be. I don't know what it is then, lol! Also, in Silence of the Lambs, there are plenty of Sequels (namely Chapters 4 and 5). But, Story Grid doesn't include Sequels in its methodology (it seems). Personally, I like Sequels because they help orient me (the writer) and the character. It's my thinking-on-the-page. I can cut them out later but for a draft I find them helpful. Generally, sequels can be dotted where needed, yes. It's possible to make sequels much smaller than a prototype Swain Sequel and there's a great book on how to customise them. Scenes and Sequels by Mike Klaassen (my new bible). He explains how to make sequels better fit modern books. He confirms that Sequels are often skipped over and will appear here and there, random-like. So, they don't have to follow the scene all the time.
I boil down scene and sequels into questions. For scenes (the Swain definition), it's a "Yes/No, then complication" question. Some examples, "Will Luke defeat Vader? No, and furthermore he gets his hand cut off." "Will Katniss be safe from the reaping? Yes, but her little sister is chosen instead." You can check more on this in Jim Butcher's blog post under the "Setback" section. (https://jimbutcher.livejournal.com/2647.html) For sequels, it's a "Dilemma" question. You know this already with Shawn Coyne's Story Grid. Basically it's a "best bad choices" or "irreconcilable goods." Some examples, "Will Luke join his father, but betray his friends? Or will Luke not join, but die?" "Will Katniss stay quiet, but condemn his little sister in the Hunger Games? Or will Katniss volunteer, but risk her own life?"
Thanks for the link, I’ll check it out. Great examples! I had a quick look at Hunger Games, the book. Chapter 1 ends on Prim’s name being called out. To me, that’s the end of the scene. Chapter 2 starts with the Sequel- emotion/dilemma/decision..which is Katniss‘s process of deciding what to do. Classic.
I don't use any formal techniques anymore for writing - though I do loosely follow the scene/sequel method. But generally, I try to set goals and questions for each chapter, that simply advance the story - rather than aiming for a specific conclusion I try to simply advance the story with a view towards reaching a specific end goal with several key plot points in between so the story has direction and continues. But each chapter is designed between those plot points oriented around needs, wants, desires and decisions of the characters at that moment. I rarely have a clear picture of exactly how that will play out before I write the scene. But, it feels more natural, and for me at least, it allows me to bring the characters to life, putting my mind in theirs as the events of their world unfold. Allowing them to react and make decisions in that moment which often guides the story in unexpected and interesting ways. For example - when I started my current project - I intended for the main character to get together with a different main character. But that simply hasn't played out that way, so the story has had to unfold slightly differently to how I originally envisioned. But it has worked out for the better, the character of the girl was simply endearing, and I just allowed John followed his heart in a way that made sense in the context of the story. Si
It helps me to ask myself, before I start writing any scene, "what do I want this scene to accomplish?" I force myself to answer the question specifically. (Sometimes I even write the answer down.) Things like: "I want my main character to realise that his friend is working behind his back to undermine him." Or: "I want the reader to understand how my main character feels about that woman—and why." Or: "This is the scene where my main character meets his teacher for the first time—and doesn't like her." Things like this. This method is good because it doesn't set 'structure,' but gives you something you need to accomplish before the end of the scene (or chapter.) The structure falls into place without a lot of effort. By focusing this way, you don't run the risk of just moving from plot point to plot point in a flat manner. You have to create the scene and fill it with meaning and life. But the scene will also have a purpose, which moves the story forward. It also keeps you, the writer, on track. It's too easy to go off on tangents when you're writing. This approach helps to prevent that happening.
